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  Artist Note: Three Layers of Thoughts on the Project A Tale of Two Rooms and a Blind Man

  Bo NIU 牛波

  Niu Bo (texts translated by Ren Jiangguo)

  This artist note corresponds to the Z Gallery exhibition "A Tale of Two Rooms and a Blind Man" in 1996. An album of the exhibition is also attached to this document entry. (Jerry Wu'23).

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  Correspondence: ZHOU Yan to SONG Dong and YI Xiuzhen to Respond Inquires

  Dong SONG 宋冬

  ZHOU Yan

  This hand-written letter is scripted in Chinese. (Jerry Wu'23).

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  Correspondence: ZHOU Yan to SONG Dong and YI Xiuzhen on Works Submissions

  Dong SONG 宋冬

  ZHOU Yan

  This letter is mainly scripted in Chinese -- except for a note on posting address. (Jerry Wu'23).

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  Essay: Reflecting on Subsistence and Breaking Through Conundrums -- Readings of SUI Jianguo's Arts 生存的自省与困境的突围 -- 隋建国艺术读解

  Jian-Guo SUI 隋建国

  JIA Fangzhou

  This essay by Jia Fangzhou about artist Sui Jianguo is scripted in Chinese. The essay was published in journal "Art Observation 美术观察" in 1993 (issue No.3). (Jerry Wu'23).

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  Essay: Traces and Paths 印迹与途径

  Jian-Guo SUI 隋建国

  Sui Jianguo

  This essay of the artist (first page of the file) is scripted in Chinese. On the second page of the file, a brief artistic bibliography of SU is included. The article(s) was(were) published in journal "Art Observation 美术观察” in 1996 (issue No. 3). (Jerry Wu'23).

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  Exhibition Pamphlet: Superreal - Szeto Keung

  Szeto KEUNG 司徒强

  Hanart TZ Gallery

  This pamphlet features 1) two essays on the artist by critics; 2) display of selected images; 3) a brief bibliographical account on the artist; and 4) exhibition information. The texts are scripted in both English and Chinese (traditional). The pages in the quadra-fold pamphlet have been re-arranged for reading conveniences. (Jerry Wu'23).

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  Essay：After cutting an apple - The inner withering or regeneration? 切开苹果后- 内部革命的枯萎或再生？

  Qi ZHU 朱其

  Zhu uses ZHANG Xin’s artwork, “The state of the apple being cut,” as an example to discuss how China, a third world country at that time, after experiencing the fraction in culture and the cultural colonization of the West, the modern art lacks the foundation and the soil to develop its own style. In such a situation, a group of people is using their way to localize Chinese modern art. In this process, artists are mainly divided into two groups. Zhang Xin and Qian Weikang’s group, trying to remove art from its cultural background and restore the essence of objects; Another group, led by Ni Weihua and Wang Nanming, has tried to separate art from its everyday and cultural context through the special process (such as piecing together random words that strip away the most important “Expressive” function of words). However, the author then quotes Shi Yong’s proposition that it is impossible to express an ideology in artworks and to remove the humanistic metaphor brought by the social culture at the same time. The artistic expression will be affected by the author’s idea and the whole art history ideology. A few years later, the artists began to revise their past practices, and in the end, the author was open to the possibility of success in the localization of Chinese modern art.（Hao Yang ‘25）

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  Resume 2: WANG JinSong

  Jin-Song WANG 王劲松

  Wang JinSong

  This brief bibliography of Wang is scripted in both Chinese and English. Note the publish date of the resume is only surmised upon the last activity listed and the due date of the file submission. A copy of Wang's business card is also attached to this file entry. (Jerry Wu'23).

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  Exhibition Catalogue: "please don't move" 展览目录：“请不要动”

  Shan-Zhuan WU 吴山专

  Wu Shanzhuan & Inga Svala Thorsdottir

  “Please don’t move” is an exhibition catalogue that is published under the co-authorship of Inga Svala Thorsdottir and Wu Shan Zhuan in Galerie der Stadt Essslingen, Germany. It consists of nine photoworks, the drawing and the English version of the chapter 15th of “Today No Water - The Power of Ignorance”, photoworks and artist notes for a project titled “Pulverization'' which is under the direction of Thorsdottir, and a biography of both artists. “Today No Water - The Power of Ignorance,” an important artist’s notes in the exhibition catalogue “please don’t move '', consists of eight sections. Each section has its subtitle in bold. The artist draws between the lines to illustrate his ideas. There are philosophical notes that are inspired from daily life, topics related to the collision of modern and traditional, western and eastern culture, significant terms in his ideology that are redefined by him from the 1984 edition of Xinhua Dictionary, and a recipe of dishes named “Today’s recipe” etc. Besides, by throwing questions to the readers in the first-person narrative, he engages the readers with philosophical discussions in depth. Throughout this artist's notes, Wu utilizes a combination of knowledge from natural sciences, social sciences, humanities and arts to demonstrate his thoughts. He also permeates his ideology, in the name of “Today No Water,” the intention of writing, the expectation on selling, and where “Today No Water” would belong. One of main features of Red Humor group, a vanguard group led by Wu Shanzhuan in the mid-1980s, is a “serious absurdity”, according to Zhou Yan, “Wu Shanzhuan is greatly mastered in the subject of absurdism, and this is determined by his unique personality, his attitude of treating life as a play, his intelligent and interesting way of speaking, and many other organic components of the characteristic of him as an individual." (Gao Minglu, Zhou Yan, Wang Xiaojian, Shu Qun, Wang Mingxian and Tong Dian, “Chinese Contemporary Art History: 1985—1986”, Shanghai People’s Publishing House, 1991, p.206) (Yifan Shang ‘25)

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  Exhibition Introduction: A Tale of Two Rooms and a Blind Man

  Bo NIU 牛波

  Z Gallery

  This exhibition description was prepared by Z Gallery in February 1996 for the show "A Tale of Two Rooms and a Blind Man" debuted later that year in March. (Jerry Wu'23).

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  Correspondence: FENG Mengbo to ZHOU Yan about Planning the Exhibition in Guggenheim Museum of Art

  Meng-bo FENG 冯梦波

  FENG Mengbo

  This letter is scripted majorly in Chinese, and is hand-written. (Jerry Wu'23).

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  Review: Guan Wei at Hanart T Z Gallery

  Wei GUAN 关伟

  Ian Findlay

  This review is scripted in English. It was published in Asian Art News in 1996 (March/April issue). (Jerry Wu'23).

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  Exhibition Invitation: A Tale of Two Rooms and a Blind Man

  Bo NIU 牛波

  Z Gallery

  The first page of the file displays the front side of the invitation card, and the second page shows the back. An explanation of the card is attached to this document entry (scripted by Z Gallery). (Jerry Wu'23).

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  Correspondence: QIU Ping to Julia Turrell on Recent Two Works and the Upcoming Guggenheim Exhibition

  Ping QIU 邱萍

  Qiu Ping

  The second page of the file corresponds to the back of the original letter. (Jerry Wu'23).

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  Essay: Old China Hands

  Bo NIU 牛波

  Mark Stevens

  The article is scripted in English. Texts related to the artist Niu Bo is either highlighted or squared. The essay was published in the "New York" magazine in 1996.

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  Correspondence: HOU Wenyi to Julia TURRELL on Artworks Submission

  Wen-Yi HOU 侯文怡

  HOU Wenyi

  This letter is hand-written and is scripted in English. The page-order of the letter is indicated by the parenthesized numbers by either the bottom or top-right corners of the pages. (Jerry Wu'23).

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  Correspondence: WANG GongXin to ZHOU Yan on Works/Documents Submission

  Gong-Xin WANG 王功新

  Wang Gongxin

  This hand-written letter is scripted in Chinese. (Jerry Wu'23).

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  AGEPASS - Carrier installation of the Yellow River: Brief Introduction

  Qiang CHEN 陈强

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  Correspondence: HOU Wenyi to ZHOU Yan on Artworks Submission and Explanation

  Wen-Yi HOU 侯文怡

  HOU Wenyi

  This letter is hand-written and is scripted in Chinese. (Jerry Wu'23).

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  Correspondence: WANG GuangYi to ZHOU Yan on Works Submission

  Guang-Yi WANG 王广义

  Wang Guangyi

  This hand-written letter is scripted in Chinese. (Jerry Wu'23).

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  Correspondence: FENG Mengbo to ZHOU Yan about Project "My Private Album"

  Meng-bo FENG 冯梦波

  FENG Mengbo

  This letter is scripted in primarily in Chinese. Aside from a hand-written signature, other texts are digitally printed. (Jerry Wu'23).

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  Correspondence: HUANG Yong Ping to Julia Turell about Submission of Work to the Guggenheim Exhibition China: 5000 Years (1998)

  Yong-Ping HUANG 黄永砯

  HUANG Yong Ping

  This letter is hand-written and is composed primarily in Chinese (some titles of works are written in their French original). (Jerry Wu'23).

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  Correspondence: GENG Jian Yi to ZHOU Yan about the Exhibition in Guggenheim Museum of Art

  Jian-Yi GENG 耿建翌

  GENG Jian Yi

  This letter is scripted in Chinese and is hand-written. (Jerry Wu'23).

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  Correspondence: SONG Dong to ZHOU Yan on the Exhibition Requirements (For "China: 5000 Years" in Guggenheim Museum of Art in 1998)

  Dong SONG 宋冬

  Song Dong

  This letter is scripted in Chinese. Contents irrelevant to the exhibition is reserved at the bottom of the letter, under a demarcating line. (Jerry Wu'23).

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  Correspondence: FENG Mengbo to ZHOU Yan about Future Plans for "My Private Album"

  Meng-bo FENG 冯梦波

  FENG Mengbo

  This letter is scripted majorly in Chinese and is hand-written. (Jerry Wu'23).