非常现场
从今日开始,拒绝为任何人写艺评文章。我写和艺术有关的文字,本意是澄清思想,自我求助。免得被伪批评家伪装成学术的胡说八道弄晕了脑子---至今也还是这一目的。不意近年以来,约为画册画展作文者渐多。四方亲朋,多处设局。强我所难,百口莫辞。分身乏术,身心俱疲。兹有此告:今日之前之旧约,将尽快清账。自今日始,请诸方君子,好我恤我,勿开尊口,以免尴尬。强我为文者,即是陷我害我,侮我辱我。有欲再三相强者,请自行下载本段文字使用可矣!----邱志杰 2006.7.6

长期征集关于国际机场的故事

为创作互动多媒体作品《国际机场共和国》,我向各位朋友征集你自己过着你所听说过的人们在各种国际机场的经历,所见,所遇,感触,奇闻轶事都可以。您的故事将有可能作为音频出现在多媒体作品中。欢迎直接提供你本人讲述的音频。可发我邮箱 
世界各地的国际机场,在一个国家的海关和另一个国家的海关之间,创造了一个本质上不属于任何国家的崭新的空间,同时,也在时区之间创造出一种新的时间经验。因此作者将这一空间与时间的独特存在命名为国际机场共和国。国际机场是面孔的盛宴,也是地方与全球经验、种族、文化、宗教、经济阶层相互混杂和交换的场所。它是个人的身份确认的场所,也是跨国公司进行商业竞赛的兵家必争之地。它是时尚的最大的窗口,也是孤独、团聚、等待、离别等永恒的人类情感重新发酵的场所。---邱志杰 2007.11

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QIU ZHIJIE’ Bird eyes view

Mark D Johnson
The confluence of conceptual approaches and the classical traditions of ink have invigorated contemporary Chinese landscape painting in exciting ways.  Qiu Zhijie (born 1969) became known for his work in photography and video that explored aspects of Chinese language and famous texts.  But in 2012, the artist began an ambitious series of maps, often displaying them as scrolls and sometimes in high-profile venues including the Venice and Gothenburg biennials.  Qiu Zhijie’s monumental Bird’s Eye from 2013 was conceived as an immersive environment of twenty-six contiguous scrolls. The work premiered at Hanart TZ Gallery in Hong Kong, and eight of the original twenty-six scrolls are featured in the current exhibition (a contiguous set of three and a separate set of five).  These paintings synthesize elements drawn from topographical maps, aerial perspectives and photography, and feature eclectic ahistorical imagery and short poetically ambiguous texts that are encapsulated in dozens of small cartouches dispersed across the works.  Imagery on the scrolls include strip mines, mountaintop mines, nuclear power plants, off-shore oil rigs, craters, archeological sites from Greek and Mayan cultures, pyramids and a buried obelisk, pagodas and a Hakka walled village, castles, 21st century high-rises, mountains, agrarian landscapes, rivers, bridges, an orderly European harbor town, mosques, aircraft carriers, fish weirs, ancient sailing vessels, giant footprints made by shoes with different soles, and a camel-train – virtually the only living beings depicted in this encyclopedic frieze.  It is as if this “bird’s eye” gives us an overview of human history – not the surveillance seeing-eye of a panopticon, but the analytic archeology of a detective approaching a crime scene.
Qiu Zhijie’s map paintings provide an unexpected parallel to the distinctively literary aesthetic of Chinese painting.  The artist has also drawn a link between ‘bird’s eye’ perspective and the
“subtle use of the Chinese technique of multiple perspectives, in which elevated and distant views of mountain peaks and ranges draped in clouds and mist are linked together in a single panorama, giving the view the exalted feeling that he is embracing the entire world…

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