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Review: FANG Lijun and His Art - Per Hovdenakk

Li-jun FANG 方力钧

Per Hovdenakk

The essay(s) is(are) excerpted from the catalogue "Fang Lijun: Human Images in an Uncertain Age", of which the cover and publisher pages are attached to this entry. The review is scripted in both Japanese and English (translated by Yoshinob Shimazaki). The catalogue images which the review may refers to are also included in this entry for your convenience. (Jerry Wu'23).
Selected Biography - FANG Lijun

Li-jun FANG 方力钧

The selected biography is excerpted from the catalogue "Fang Lijun: Human Images in an Uncertain Age", of which the cover and publisher pages are attached to this entry. The review is scripted in English. (Jerry Wu'23).
Autobiographical Account: FANG Lijun

Li-jun FANG 方力钧

FANG Lijun

The autobiography by FANG Lijun is excerpted from the catalogue "Fang Lijun: Human Images in an Uncertain Age", of which the cover and publisher pages are attached to this entry. The review is scripted in both Japanese (translated by Tamako Akiyama) and English. The catalogue images which the autobiography may refers to are also included in this entry for your convenience. (Jerry Wu'23).
Bibliography and Artist Statement: LIU Da Hong

Da-Hong LIU 刘大鸿

This bibliography + artist statement is scripted in Chinese. It was published in "Fine Art Literature （美术文献）" in December 1996. (Jerry Wu'23).
Artist Statement: LIU Da Hong

Da-Hong LIU 刘大鸿

LIU Dahong

This artist note is scripted majorly in Chinese. (Jerry Wu'23).
Review: Bo Niu at Z Gallery

Bo NIU 牛波

This review was published in "Asian Art News" in 1996 (Volume 6, No. 1) (Jerry Wu'23).
Review: Art in Space (review on work Space Atelier)

Bo NIU 牛波

Daniel H. OU

The texts relevant to Niu Bo is squared by highlighter. The review was published in the "A. Magazine" in 1996 (June/July). (Jerry Wu'23).
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).
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).
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).
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).
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).
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).
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）
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).
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)
Project Proposal: A Factory of Great Persons 伟人工厂

Shuang-Gui YE 叶双贵

This is one of installation art proposals conceived by the artist. In his vision, the installation will be a wall of glass cabinet set in a 15 x 4 m exhibition room. Plastic idols of famous persons chosen by artists from all across the world in history, including Heraclitus, Aristotle, Laozi, and Confucius, among others, will be displayed in the glass cabinet. He sought to make furniture industrial, as in a factory. In his proposal two, he offered an alternative scheme. On three walls of the exhibition room will be glass cabinet of great persons, while fourth wall will be a projection screen displaying the chemical ingredient s of plastic idols as well as the name, deeds and personalities of great persons. In the middle of the room, the artist will be in charge of the console. (Zhuocheng Jiang '26)
Review: Ye Shuanggui: Does Art Have to Be Synical? 艺术一定要愤世嫉俗吗？

Shuang-Gui YE 叶双贵

In this review, the author briefs the artist's life experience and then focus on the artist's "Meta-Ceramics Series" and the artist's strategy that artist should embrace daily life and transfer art language into daily language. The author considers the artist's work as a bridge that connects life and art. (Zhuocheng Jiang '26)
"切开苹果后，内部革命的枯萎还是再生?(When the apple is cut in half, will the inner revolution, previously withered, still revive?)"

Wei-Hua NI 倪卫华, Nan-Ming WANG 王南溟, Wei-Kang Qian 钱喂康, Yong SHI 施勇, and Jin WANG 王晋

Zhu Qi

This art observations by Zhu Qi analyzes how various artists have responded to Zhang Xin's <苹果被切开后的状态>, and situates these responses into a Western philosophical context. Zhu Qi raises questions about national identity and the ideology of art in of itself. Artwork is provided by the list artists in this paper. The ZYCCAA has made a revision in the English translation of the original title, translating "再生“ to "revive". (Nicole Wang '26)
Exchange of 30 x 30 x 30cm Chinese and German Soil 置换中国和德国的土地 30 x 30x 30cm

Ban-di ZHAO 赵半狄

A bilingual description of the process of exchanging Chinese and German soil is provided by the artist. There are German print and its Chinese translation in pen mark on this paper. The soil being exchanged is designed to be 30 x 30 x 30 cm, and the work of sampling soil from China and Germany was done through May and June of 1996. The work of placing the German and Chinese soil to their designated location is yet to be finished according to the artist. (Yifan Shang '25)
Exhibition Document: PROSPECT 96

An-Ping LIU 刘安平

This exhibition document presents the artists who participated in the exhibition "PROSPECT 96" in Frankfurt, Germany, from March 9th to May 12th, 1996. (Yifan Shang '25)
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).
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).
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).
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).