Zhou Documents

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Project Statement - Marriage Law （婚姻法）

Jian-Yi GENG 耿建翌

This statement includes a few images of the work and some textual notes explicating the work (the texts are in Chinese). The statement was published by Heipishu in 1994 in Beijing (Volume 1). (Jerry Wu'23).
Catalogue Excerpt: Artist Statement of Wen Yi Hou

Wen-Yi HOU 侯文怡

HOU Wenyi

The excerpt concerning HOU Wenyi on the page has been marked out by red squares and arrow. (Jerry Wu'23).
Artists' Introductions of APE'94 Art Show

Jian-Ping HU 胡建平

This introduction of seven artists is composed majorly in Chinese. The order of the artists introduced accords with the order of the artists' names on the cover (top->bottom). Each introduction of artists consists a photo of him(her), a statement written by the artist, and a brief ID of the artist by the bottom-right corner. (Jerry Wu'23).
Invitation of the APE'94 Art Show

Jian-Ping HU 胡建平

This invitation is scripted in both Chinese and English. The first page of the file displays the cover page of the invitation; the second page of the file shows the back side of the invitation card with logistical information and introduction of the art show. (Jerry Wu'23).
Project Proposal - Gravity's Rainbow

Jian-Ping HU 胡建平

HU Jianping

This proposal consist of one introduction of the project and the artist Hu Jianping (the first page of the file) which was published in book "Chinese Contemporary Artist's Agenda" in 1994, and a design graphic of the work (the second page of the file). (Jerry Wu'23).
Project Proposal - Traffic Light

Qiang LI 李强

LI Qiang

This project proposal includes a brief resume of LI Qiang (the artist), a description of the project itself (in Chinese and English), and a graphic illustrating the project. (Jerry Wu'23).
Catalogue: Rough No. 58-59; 64: Young Mao

Shan LI 李山

This selected portions of the catalogue feature an image of the work by the upper part of each page and caption of the work by the lower (in English). (Jerry Wu'23).
Li Xu - "Appearance of Crosses" of Ding Yi

Yi DING 丁乙

Li Xu

This review is scripted in both languages of Chinese and English. It is excerpted from the catalogue "Ding Yi" issued by Shanghai Art museum. A cover of the catalogue along with its publisher information are included in this document (the first and second page). (Jerry Wu'23).
Project Plan - (translated as) Happy House Amusement Park

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. The proposal is scripted in Chinese. (Jerry Wu'23).
Wang Gongxin - Open Studio

Gong-Xin WANG 王功新

Karen Smith

Within this article by Karen Smith, Wang Gongxin’s work, "Edible Grey," is described as embodying characteristics of the distinct Chinese culture through a contrast that mirrors the “yin” and “yang” dichotomy. However, Smith notes that these characters in fact transcend Chinese culture, representing universal concepts of nature and nurture. (Russ, Hannah ‘18)
Grenzgänger zwischen Ost und West; Halle im Papierkleid; Letzte Kunstausstellung in der Halle 10 der Reinhardtkaserne; Yin und Yang

Gong-Xin WANG 王功新

In August, 1995, Wang Gongxin presented his work, “Biao,” in Hall No. 10, a non-profit art center in Stuttgart, Germany. This venue, commonly used for solo art exhibitions, has a unique historical background. Following World War II and into the cold war, this space served as a garage for United States military vehicles. The many exhibitions that take place in this hall all must have some relation to space itself in one way or another. Following each exhibition, the space has to be restored. Wang Gongxin’s work, “Biao,” was created in this way. “Biao,” the title of his work takes on double meanings. The first, derived from the character 裱 (biao) refers to the mounting of ink paintings. The other, derived from the character 表 (biao), literally “a watch” refers to time. In creating the work, Wang “mounted” the entire 500 square meter space with “xuan” paper, using a paste made from flour and water as adhesive, as a worker of painting mounting works. This took him more than a month to complete. On the original floor, there were ten parking spots, defined by painted lines. After taking photographs of the ten numbered spaces, he set them in iron trays in their respective places. In each tray, he covered the photographs with developing fluid and hung a red light above each. As the photographs developed from the opening day of the exhibition to the last, they gradually reddened. (Russ, Hannah '18)
"Bird Trap" design sketch "捕鸟器"设计草图

Wang ZHAN 展望

ZHAN Wang

The inspiration of "Bird Trap" is from the artist's childhood experience of bird catching. Instead of bird food, ZHAN Wang put books about Ornithology that symbolizes “culture” underneath the bird trap. According to the artist, “culture” brings humans wisdom and emotions, but it is also a metaphysical deception. A bird was placed on the other side of the string outside of the trap, where a person is supposedly at. The angle between the bird trap and the ground was intentionally designed to be 45-degrees, which creates a sense of balance that neither humans nor animals can break through.
Exhibition Plan - CONFIGURA 2

Shao-Ping CHEN陈少平

This document is scripted in Chinese. (Jerry Wu'23).
Correspondence: DING Yi to ZHOU Yi (Yan) about updated address of WANG Zhi Wei

Yi DING 丁乙

DING Yi

This letter is hand-written, and is scripted in Chinese. (Jerry Wu'23).
Interview: From Order to Disorder -- A Conversation with FU Zhong Wang on "Mortise and Tenon Structure"

Zhong-Wang FU 傅中望

ZHU Bin

This interview record is scripted in Chinese. It was published in Art Gallery Magazine in 1995 (volume 3). (Jerry Wu'23).
Exhibition Pamphlet: Treasure Hunt - Guan Wei (1995)

Wei GUAN 关伟

Sherman Galleries Goodhope

This pamphlet is comprised of (1) a brief introduction of GUAN Wei's selected works, (2) GUAN Wei's selected bibliography, and (3) images of GUAN Wei's selected works (The Last Supper, Treasure Hunt, for examples). The pamphlet is scripted in English and was published by Sherman Galleries Goodhope in 1995. The order of the pamphlet pages in this file accords with the intended reading order of the physical trifold booklet. (Jerry Wu'23).
Review: In the Strategy - The Meaning of Hong Hao's "Classics"

Hao HONG 洪浩

Leng Lin

This review is scripted in Chinese and was published in JiangSu Painting Publication in 1995 (volume 8). An English translation of the review is attached to this document entry. Attached also is an image compile of Hong Hao's works published in the same issue with Leng's review. (Jerry Wu'23).
Catalogue: Workspace Program - 5 Years

Wen-Yi HOU 侯文怡

Mina Takahashi, Laurance Wieder, and more

This catalogue features majorly five parts: (1) cover page, (2) exhibition introduction, (3) an catalogue article by Laurance Wieder, (4) artists works, and (5) list of artists and credits page. (Jerry Wu'23).
Review: Ape - A Witness

Jian-Ping HU 胡建平

GAO Zhuang

The review is scripted in Chinese. The section of the article concerns HU JianPing is marked out by a square made by marker. The review was published in STREET in 1995 (volume 5). (Jerry Wu'23).
Essay: From Street to Villa - Fresh Looks in Shanghai Urban Arts

Jian-Ping HU 胡建平

ZHU Qiwen

This essay is scripted in Chinese. The part of the essay concern HU JianPing is marked out by a square made by marker. (Jerry Wu'23).
Project Proposal - Air-Raid

Jie JIANG 姜杰

JIANG Jie

This proposal is composed of the drawn graphics of the projects (with measurements) with the literary explanation of the project's components on the margin (in Both English and Chinese). (Jerry Wu'23).
Project Proposal - Mid-Night Talk on Solitary Hill

Xuan KAN 阚萱

KAN Xuan

The first page of the proposal shows several photographs of the work (with captions in both English and Chinese); and the second page consists of a drawn graphic design of the project, along with literary explanations of the project's components on the margin (In Chinese). (Jerry Wu'23).
Design Patent Request & Acceptance of Application Notice for "SoapHand"

Qiang LI 李强

These legal documents for "SoapHands" are scripted in Chinese. (Jerry Wu'23).
关于《布鲁克林的天空》

Gong-Xin WANG 王功新

Ying Yi 易英

This article relates two of Wang Gongxin’s works, "Edible Grey" and "The Sky of Brooklyn" on their emphasis on Eastern and Western relations and the cultural differences that emerge within such contexts. In his work, "Edible Grey," the fragrant black Chinese ink represents the East, while the milk represents the West. As for "The Sky of Brooklyn," a hole in the ground leading to a video image of the sky of Brooklyn, New York, reflects differing perceptions of the East and West through a play on Western and Eastern sayings, such as the American phrase, “If you have nothing to do, why don’t you dig a hole to China?” Through these multi-sensory experiences, these two installations require both cognitive and physical engagement. Both works were installed at different times in his courtyard home in Beijing. (Russ, Hannah ‘18)
Project Proposal - SoapHand

Qiang LI 李强

LI Qiang

This proposal is scripted in both Chinese and English. (Jerry Wu'23).