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Correspondence: YOU Jin-Dong to ZHOU Yan in March and February 1999
Jin-Dong YOU 尤劲东
YOU Jin-Dong
The artist mentioned several topics in this series of e-mails sent in 1999. On February 27, he provided his basic information, including his native place, place of origin and adolescent experience, academic life at the Central Academy of Fine Art and his cultural revolution experience in Beidahuang, Heilongjiang Province. Then, following up with the other two emails on March 4, they are about some thoughts on his exhibition, "My Window-You Jindong album exhibition of own works." For information about the show, please refer to https://digital.kenyon.edu/zhoudocs/391/. The subjects of the works mentioned in these emails are mainly about the Cultural Revolution. He recalled a piece of private memory of the Cultural Revolution, which explains the inspiration and goal of this exhibition: redemption and introspection for what has happened in Chinese history. The last one was sent on March 12. It provided caption information of the works; in addition to his explanation of these works. (Zhuocheng Jiang '26)
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Correspondence: YOU Jindong to ZHOU YAN on "My Window-You Jindong Album Exhibition of Own Works"
Jin-Dong YOU 尤劲东
YOU Jin-Dong
The goal of this letter is to provide textual information for the critic, Zhou Yan to write an article on You's work. He mentioned thoughts for the exhibition, "My Window-You Jindong Album Exhibition of Own Works," as well as the new technology adopted, such as CGI and digitization of photos and paintings. The artist also mentioned some ingenuity manifested in the exhibition to build an immersive set-up, as well as some stories of creative process. As for the remuneration, it was politely refused, according to the critic. (Zhuocheng Jiang '26)
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Review: From overseas to investigate YOU Jin-Dong's Recent Works 尤劲东新作隔洋观
Jin-Dong YOU 尤劲东
Yan ZHOU
In this review written by Zhou Yan, the major concern is the artist's exhibition in 1998, "My Window-You Jindong album exhibition of own works." For further information, please refer to https://digital.kenyon.edu/zhoudocs/391/. This exhibition essentially reflects on the history of the Cultural Revolution. The artist, who has personally experienced the period of time, regrets the crimes he and other people have committed. With guilt, he dissected the time, individuals, and collective unconsciousness through a little "window," a representation that occurs in every one of his works, for the audience to pry into the tragedies and chaos out of ignorance. Then, Zhou Yan also discussed the new technology adopted in the works and the artist's transition from academic realism art to modern art. Then, at the end, he reflected on the poster of the exhibition to put his works in a pluralist and post-modernist context. In other words, the work goes beyond trauma and sins and involves the discussion of the identity of Chinese.(Zhuocheng Jiang '26)
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Bound: Unbound
Tian-miao LIN 林天苗
Tian-miao LIN 林天苗
In this essay written by Lin Tianmiao, she reveals the origins of her thread winding technique. She expresses feeling as though she was enduring some form of “torture” while helping her mother wind thread into balls as a child. Through the implementation of this technique into her work, she explores the experience of women in the realms of male and female, old and new. According to other documents related to this essay, it is likely that it was written in 1997. (Russ, Hannah '18)
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Lin Tianmiao Resume
Tian-miao LIN 林天苗
According to other documents related to this resume, it is likely that it was written in 1995. (Russ, Hannah '18)
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What I Feel in a Wooden Box and Moisture Cream
Tian-miao LIN 林天苗
Tian-miao LIN 林天苗, Wei Dong
In this essay written by Lin Tianmiao, translated by Dong Wei, Lin expresses her initial draw towards the wooden boxes presented in her work, "The Temptations of St. Theresa." She explains that these boxes evoked a reaction within her that lead her to subverting the hardness of the boxes by covering them with a soft substance, moisture cream. According to other documents related to this essay, it is likely that it was written in 1994/1995. (Russ, Hannah '18)
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Random Thoughts on "Thread-winding"
Tian-miao LIN 林天苗
Tian-miao LIN 林天苗, Wei Dong
This essay, written by Lin Tianmiao, details the physicality of winding thread into balls, which is essential in the creation of her work. She, as well as her friends, expressed different experiences with thread winding, all emerging as individuals as a result of this task. In addition, she explores the dualities in her work with regards to male and female, hard and soft, as well as others, which emphasize the contrast of opposites. According to other documents related to this essay, it is likely that it was written in 1995. (Russ, Hannah '18)
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Anecdote (轶事)
Huan ZHANG 張洹
This document contains an anecdote from the artist where he explains the time he climbed into a large metal box located inside his apartment and got hopelessly stuck. It was nighttime and he was all alone. He could only see from a tiny hole in the box just large enough for him to be able to stick out his arm. He reflected on how he at the time mainly communicated with friends by cellphone or BP machine. After many minutes of struggle and screaming for help, a neighbor came to open the box lid. After his frightening entrapment, he felt the true meaning of freedom after escaping the box. He felt that money and women are not needed, and only freedom instead. In the anecdote, he exclaims that he experienced the mindset of people between life and death and understood that life is worth cherishing. After being freed he immediately called his friends and told them about his experience and how people need help to live. He ends the anecdote by saying he never wanted to encounter the box again after that night. (Nicole Wang '26).
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The Changing Shape and Subject of Man---A Review of Zhan Wang's Sculpture 形的变异与人的主题——展望雕塑评析
Wang ZHAN 展望
YI Ying
Translated by YAO Jun and James Carl, this journal is an overall critique of stylistic changes of ZHAN’s sculptures from 1980s to 1990s, based on his sculptural piece “Sitting Girl” (坐着的女孩), “Kong Ling Kong” (空灵·空), “Seduction Series” (诱惑之旅), and “Sidewalk” (人行道). Written by Chinese art critic YI Ying, it was published on “Trend of Art" (美术潮流). (Fiona Ruqin Mu'21)
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Playing to Whoever In Distant Galaxies
Guo-Qiang CAI 蔡国强
Holland Cotter
A digital version (in The New York Times) of the document is available on [https://www.nytimes.com/1997/08/15/arts/playing-to-whoever-in-distant-galaxies.html].
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Project Report: AGEPASS
Qiang CHEN 陈强
Three reports are included in this compile: 1. Aqua (regarding the water samples) monument progress report. 2. (Yellow River) Origin monument progress report. And 3. Media works report. This document is scripted in Chinese. (Jerry Wu'23).
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Exhibition Plan - "Xinkedu" Group attending Spain (Barcelona)/China Modern Art Exhibition
Shao-Ping CHEN陈少平
This file is hand-written, and is scripted in Chinese. (Jerry Wu'23).
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Exhibition Plan - Conversation between the "Xinkedu" Group and Günther Uecker
Shao-Ping CHEN陈少平
This file is hand-written, and is scripted in Chinese. (Jerry Wu'23).
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Exhibition Plan - "Xinkedu" Group attending Configura 2
Shao-Ping CHEN陈少平
This file is hand-written and is scripted in Chinese. (Jerry Wu'23)
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Project Plan - Floor
Shao-Ping CHEN陈少平
This proposal takes form of postcard: the front side (first page of the document) registers a sketch of the project, and the back side (second page of the document) writes a textual description of the project. Both languages of English AND Chinese are included in this proposal (the front side may contain untranslated Chinese). (Jerry Wu'23).
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Resume: CHEN ShaoXiong
Shao-Xiong CHEN 陈劭雄
This document contains two versions of CHEN ShaoXiong's resume: the first page is the one that scrips in Chinese, and page 2-3 is another resume of him in English (they are not direct translations of each other). (Jerry Wu'23).
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Exhbition plan - "SEE-SAW" and "Change the TV channel, change the bride's decision"
Shao-Xiong CHEN 陈劭雄
This document contains the descriptions of two of Chen ShaoXiong's works ("SEE-SAW" and "Change the TV channel, change the bride's decision"). (Jerry Wu'23).
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Project Plan (in sketch) with the Actual Work (in photograph): Wind & Gate 风与门
Yan-Yin CHEN 陈妍音
The first page of the file displays the photographs of the actual work (in three stages), with captions and explanations scripted in both English and Chinese. The second page of the file is a sketch of the work that corresponds to the photographs on the previous page (in three stages); the second page, however, scripts only in Chinese. (Jerry Wu'23).
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Resume: CHEN YanYin
Yan-Yin CHEN 陈妍音
This resume is hand-written, and is scripted in both language of English and Chinese -- majorly English; Chinese serves as auxiliary translations (incomplete). (Jerry Wu'23).
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Resume: DING Yi
Yi DING 丁乙
DING Yi
This resume is scripted in both languages of Chinese and English. A business card of DING Yi is attached to this resume (see the attached file to this document entry). (Jerry Wu'23).
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Layout of the Installation "My Private Album"
Meng-bo FENG 冯梦波
This layout plan consists of print graphics -- the settings -- and accompanying measurements and notes. Several hand-marked arrows are also included to connect the side-notes with the graphics. (Jerry Wu'23).
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