Where Mountains Meet the Sea
Duration
2024.05.20-2024.09.23 10:00-18:00 (Mon.-Sun.)
Venue
The Gravity Field Art Gallery, Teaching Complex D101, The Chinese University of Hong Kong, Shenzhen, 2001 Longxiang Boulevard, Longgang District, Shenzhen
Organizer
The Chinese University of Hong Kong, Shenzhen
Hosted by
University Arts Centre of The Chinese University of Hong Kong, Shenzhen
Device Support
Shenzhen GUANGYINGSHIDAI Technology Co., Ltd.
Curator
WEI Xiangqi
Artists
CAO Fei, CHAO Ge, CHEN Jian, Lodtalad, Michael CHERNEY, WANG Huangsheng, WANG Shuye, WU Sibo, XIANG Yang, YANG Yongliang, ZHAN Wang, ZHANG Wenchao, ZHAO Zhao, ZHOU Shaohua
Preface
Paving the Ways
Today, we can freely and conveniently travel to experience the majesty of China’s land and the splendor of its fertile terrain. From the snow-covered plateaus to the coast of the East China Sea, from the White Mountain and Black Water to the yellow sands and blue waves, we can traverse the Tianshan Mountains, Kunlun Mountains, Himalayas, Bayan Har Mountains, Hengduan Mountains, Taihang Mountains, and cross the Yellow River, Yangtze River, and the Pearl River. Seeing first hand such a land of rich beauty was unimaginable half a century ago. Only by continuously promoting the construction of a community with a shared future for mankind in the process of globalization, adhering to the concepts of mutual respect and equality, openness and inclusiveness, exchange and mutual learning, peaceful development, and deepening cooperation mechanisms in fields such as global politics, economy, technology, and culture, can humanity break free from the difficulties of real life and truly cherish a desire for poetic experiences and distant lands.
On this ancient and vibrant land, the five-thousand-year history of Chinese civilization, with its continuity, innovation, unity, inclusiveness and peacefulness, has blossomed in the garden of the world’s civilizations. Among these, the most representative is the introduction of Buddhist thought and art into China through the Silk Road. Conversely, there is the challenge of interpreting and adapting them into Chinese culture, as well as the reverse problem of reshaping Chinese culture through Buddhist thoughts and arts. We cannot underestimate the breadth, intensity, and depth of human civilization in the ancient world, which may be far more complex than what the limited picture today’s map stitched together through archaeological excavations suggests.
Of course, for a considerable period of history, the connections between human civilizations may have been weak, and only bold travelers who dared to cross the mountains and deserts could find the way connecting different civilizations. However, these roads were often dangerous, fragile, and could collapse at any time. We can often only glimpse travelers’ notes in some scattered poems and literary works, and vaguely know that the distant world exists. The distance is always beautiful, because the travelers must have been fortunate, otherwise they would not have left these records. However, many times these travelers were not professional explorers. They were likely to be merchants dealing in rare and valuable commodities, bringing items and information from distant worlds, and also dispersing items and information from here to distant places. Travelers were more likely to be exiles who had left their homes. They had to leave the places where they once lived and venture into more barren lands and settle in more harsh and cold wildernesses. These itinerant traders and exiles might also have been scouting armies, tireless pilgrims seeking scriptures, and missionaries carrying their faith. It is commonly believed that with the advancement of navigation technology, mankind ushered in the Age of Discovery in the 16th century. Navigators designed more sophisticated instruments and drew more accurate nautical charts so that ships could reach the New World without losing their way. They opened up a new pattern of global development and a new space for human knowledge.
Meanwhile, many human civilizations in the New World have turned a new page, beginning a chapter of turmoil and conflict. Alongside records from oceanic merchant ships, colonizers, and missionaries, the first tourists emerged, offering vivid descriptions of their experiences. The distant world always seemed so thrilling and unfathomable. Of course, they were not all ruthless conquerors; some even spent their whole lives as expatriates, trying to integrate into the thoughts, cultures, and lives of the locals, understanding and translating multiple languages and scripts. In fact, they have been recognized as messengers of cultural exchange and mutual learning among human civilizations. Today, it is hard for us to imagine the hardships these adventurers endured, or that many more may have been swallowed by raging waves and desolation, leaving no trace behind. Yet, it is along their footsteps that we pursue new journeys today.
Although at times we fear outsiders from distant worlds and try to isolate ourselves from them, centuries of historical experiences tell us that this approach only brings more sufferings. The reason why Chinese civilization has been able to endure and rejuvenate is precisely because of its open and inclusive historical and intellectual traditions, which have given it the innovative power to move from decline to revival. Today, as we actively integrate into the new developments in global politics, economy, technology, and culture, the vast land has seen unprecedented growth and vibrancy, profoundly changing our thoughts and spiritual outlook. Only in today’s continuous development of cultural spirit, can we reflect on ancient thoughts and marvel at how this ancient land has become mysterious and even fantastical. We imagine that the ancient people living on this land maybe leading a more peaceful and ideal life. But I say these thoughts are somewhat affected by romanticism, because the impoverished times are not worth living in - although we will face new loneliness and confusion. Because we already have a stronger sense of self, a richer space for thinking and ideas, and the ability to do so.
Shenzhen is a window of China’s reform and opening-up, cultivating a spirit of boldness, innovation, openness, and inclusiveness. The eastern breeze heralds spring; and the story of economic and cultural development in Shenzhen, the Pearl River Delta, and the Greater Bay Area has revitalized this ancient land. People from all corners of the globe come here to start new chapters in their lives. “Where Mountains Meet the Sea” symbolizes the dialogue between history and the present, the juxtaposition of the ancient and the modern, and the integration of nature with civilization. We have progressed from the wilderness to civilization, from isolation to exchange, and from uniformity to diversity, overcoming challenges and obstacles to build a consensus. This is the path to peaceful development, mutual trust, and the exchange of human civilizations. Mountains and rivers merge into the sea, an unstoppable force of nature. The Chinese University of Hong Kong, Shenzhen is a beacon of higher learning within a cross-cultural exchange environment. The inaugural exhibition of the Gravity Field Art Gallery, titled “Where Mountains Meet the Sea”, carries a self-evident message: in the process of constantly reviewing and summarizing historical experiences, we should steadfastly continue our commitment to openness and inclusiveness.
WEI Xiangqi
(Research Librarian, National
Art Museum of China)
May 2024
Curator
WEI Xiangqi
Wei Xiangqi was born in Dangshan, Anhui in 1983. He graduated from Guangzhou Academy of Fine Arts with a master’s degree in 2010, and obtained his doctoral degree from the Chinese National Academy of Arts in 2013. He is currently a research fellow at the National Art Museum of China (NAMOC) and resides in Beijing. He engages in art exhibition planning and research on modern and contemporary art history. He has curated and organized over 30 exhibition projects at the National Art Museum of China (NAMOC) and overseas. Some of the exhibitions he curated have received multiple awards from the Ministry of Culture and Tourism of The People’s Republic of China. He was selected as a participant in the National Art Museum Young Curator Support Programme in 2021, which is hosted by the Ministry of Culture and Tourism of The People’s Republic of China.
Artists
CAO Fei
CAO Fei was born in Guangzhou in 1978. She graduated from The Guangzhou Academy of Fine Arts, living and working in Beijing. She has held solo exhibitions at various prestigious venues, including MoMA PS1 in New York, the Guggenheim Museum’s “Robert H. N. Ho Family Foundation Chinese Art Initiative” in New York, Tai Kwun in Hong Kong, K21 Kunstsammlung Nordrhein-Westfalen in Düsseldorf, Centre Pompidou in Paris, Serpentine Galleries in London (“Blueprint”), UCCA Center for Contemporary Art in Beijing and Maxxi National Museum of the 21st Century Arts in Rome.
CHAO Ge
CHAO Ge was born in Hohhot, Inner Mongolia in 1957, belonging to the Mongolian ethnic group. He graduated from the Oil Painting Department of Central Academy of Fine Arts with a bachelor’s degree in 1982. From 1982 to 1985, he taught at Inner Mongolia Normal University. He started teaching at the Central Academy of Fine Arts since 1988. From 2000 to 2001, he studied at the Royal Academy of Fine Arts in Madrid, Spain, under a Spanish national scholarship. Currently, he is a professor of the Central Academy of Fine Arts, an academician of the Accademia di Belle Arti di Brera in Italy, and an honorary professor at the Ilya Repin St. Petersburg State Academic Institute of Fine Arts, Sculpture, and Architecture in Russia. Now he is based in Beijing. He has held solo exhibitions at various venues including the University of Colorado Museum in the United States, Museo Vittoriano in Rome, Italy, and the main hall of Palazzo Vittorio Emanuele II in Rome.
CHEN Jian
CHEN Jian was born in Qingdao, Shandong Province in 1959. He completed the tutoring programme in Watercolor Painting of the Department of Printmaking at the Central Academy of Fine Arts in 1998 and the Graduate Qualification Programme in the Department of Printmaking of the Central Academy of Fine Arts in 2001. Now he serves as a Distinguished professor and a Ph.D. supervisor at the China Academy of Art, as well as the director of the Watercolor Art Committee of the Chinese Artists Association. Now he is based in Beijing. His works have been featured in solo exhibitions at the China Cultural Center Sydney, Centre Culture de Chine à Paris, the Museum of Asian Art in Nice, the National Art Museum of China, the Art Museum of China Academy of Art, Hubei Museum of Art, Shandong Art Museum and Jiangsu Art Museum. He has also participated in numerous significant national exhibitions.
Lodtalad
Lodtalad was born in Guangzhou in 1993. He graduated from the Printmaking Department of the Central Academy of Fine Arts with a bachelor’s degree in 2016 and completed the “National Art Fund Game Talent Training Program” at the Urban College of the Central Academy of Fine Arts in 2019. He is currently a master’s degree student at the Guangzhou Academy of Fine Arts and resides in Guangzhou. He has held solo exhibitions at numerous venues including Platform China Contemporary Art Institute in Beijing, Fake Project in Xi’an, 5 Art Space in Guangzhou, and C Longkou Space in Beijing. He has participated in group exhibitions at various art institutions including MoMA PS1, the National Art Museum of China, Pingshan Art Museum, Huzhou Art Museum, Guan Shanyue Art Museum, and Taikang Space, both domestically and internationally.
Michael CHERNEY
Michael CHERNEY was born in New York in 1969. He graduated from the State University of New York at Binghamton, majoring in Chinese literature and history. Later he pursued Chinese Language studies at Beijing Language and Culture University. He self-learned photography and Chinese art history. He now lives and works in Beijing. Some of his works are held in collections such as the Asian Art Department of the Metropolitan Museum of Art, Cleveland Museum of Art, Nelson-Atkins Museum of Art, Getty Center, Harvard Art Museums, Princeton University Art Museum, Yale University Art Gallery, Los Angeles County Museum of Art, Peabody Essex Museum, Portland Art Museum, Saint Louis Art Museum, Santa Barbara Museum of Art, Berkeley Art Museum, among others.
WANG Huangsheng
WANG Huansheng was born in Shantou, Guangdong in 1956. He graduated in 2006 with a doctoral degree from Nanjing University of the Arts. He has served as the director of the Guangdong Museum of Art and the Art Museum of the Central Academy of Fine Arts. He is currently a professor at the Central Academy of Fine Arts and the director of the New Art Museum Studies and Research Center at the Guangzhou Academy of Fine Arts. He has held solo exhibitions at various institutions both in China and abroad, including the Dresden Museum of Art in Germany, the Hagen-Osthaus Museum in Germany, the Bern Museum of Contemporary Art, the National Art Museum of China, the Long Museum in Shanghai, the Suzhou Museum, the Minsheng Art Museum in Beijing, the Guangdong Museum of Art, the Tang Contemporary Art Center in Bangkok, Thailand, and the October Gallery in the United Kingdom.
WANG Shuye
WANG Shuye was born in Qiqihar, Heilongjiang in 1963. He graduated from the Central Academy of Arts and Design (now the Academy of Arts & Design, Tsinghua University) in 1989. He now lives and works in Beijing and Kamakura. He has held solo exhibitions at different venues in Japan, including the Ikeda Museum of 20th Century Art, Aichi Prefectural Museum of Art, Gallery X in Takashimaya Contemporary Art Space and Tokyo Gallery + BTAP. His works have been exhibited in art museums such as the Casa dei Carraresi in Italy, the Castel Sant’Elmo in Naples, National Art Museum of China, and the Visual Art Center of the Academy of Art and Design of Tsinghua University. He is also one of the initiators of the Neo Mōrōism Exhibition Series.
WU Sibo
WU Sibo was born in Maoming, Guangdong in 1976. He graduated from Guangzhou Academy of Fine Arts with a bachelor’s degree in 2005. Currently, he is a professional artist based in Guangzhou. He has held solo exhibitions at various venues, including Flowers Gallery in Hong Kong, Guangzhou Gallery, Guangzhou Junhan Gallery, and Dongguan 21 Space Art Museum. His works have been exhibited in art institutions and art fairs both domestically and internationally.
XIANG Yang
XIANG Yang was born in Guizhou Province in 1967. He graduated from the Mural Painting Department of the Central Academy of Arts and Design (now the Academy of Arts & Design, Tsinghua University) in 1991, and studied in the Chinese National Academy of Arts in 1994. He relocated to the United States in 1998 and now lives and works in Foshan, Guangdong. His installations and other artworks have been exhibited in many renowned arts institutions, including the Museum of Art and Design in New York, the Painted Bride Art Center in Philadelphia, the National Museum of Australia, the Luminary Art Center in St. Louis, the National Art Museum of China, and the Today Art Museum. Some works have been collected by institutions such as Durham University in the United Kingdom and the National Art Museum of China. He created the massive work Harmony Tower for the Urban Future Pavilion at the Shanghai World Expo. In 2015, in celebration of the UK-China Year of Cultural Exchange, his art project “Ultra Architecture: Garden in Mind” was exhibited during a Thames River cruise in London. From 2018 to 2022, he participated in the Echigo-Tsumari Art Triennale in Japan and the Setouchi Triennale.
YANG Yongliang
YANG Yongliang was born in Shanghai in 1980. He began learning traditional Chinese painting from a young age. He studied Visual Communication Design in Shanghai Art & Design Academy and Shanghai Institute of Design, China Academy of Art. In 2004, he founded his own studio. Since 2005, he has engaged in ink painting, photography and video art. In 2006, he began to teach at Shanghai Institute of Visual Arts. He lives and works in New York and Shanghai. He has held solo exhibitions at venues such as HOW Art Museum and Matthew Liu Fine Arts. In addition, his works have been collected by the UCCA Center for Contemporary Art in Beijing, the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston, the British Museum, the Museum of Modern Art in Paris and the National Gallery of Victoria in Melbourne.
ZHAN Wang
ZHAN Wang was born in Beijing in 1962. He graduated from the Sculpture Department of the Central Academy of Fine Arts in 1988 with a bachelor’s degree and completed the graduate programme in the Sculpture Department of the Central Academy of Fine Arts in 1996. He is currently a professor at the Central Academy of Fine Arts and lives in Beijing. He has held solo exhibitions at institutions such as the National Art Museum of China, the Asian Art Museum of San Francisco in the United States, the UCCA Center for Contemporary Art in Beijing, Today Art Museum, and Long Museum in Shanghai. Some of his works are collected by institutions including the National Art Museum of China, the Metropolitan Museum of Art, the Museum of Fine Arts in Boston, the Arthur M. Sackler Museum at Harvard University, the Cantor Arts Center at Stanford University, the Museum of Contemporary Art, Busan and the K21 Kunstsammlung Nordrhein-Westfalen.
ZHANG Wenchao
ZHANG Wenchao was born in Beijing in 1985. He graduated with a master’s degree from the Graduate School of the Central Academy of Fine Arts in 2014. He is currently a lecturer in the Art and Technology Department at the School of Design of the Central Academy of Fine Arts, and a researcher at CAFA Institute of Sci-Tech Arts, Central Academy of Fine Arts. He works and lives in Beijing. His works have been exhibited in art institutions both domestically and internationally, including the Accademia di Belle Arti di Napoli, the Berlin Municipal Art Museum in Germany, CAFA Art Museum, West Bund Art Center in Shanghai, and the OCT Art & Design Gallery in Shenzhen.
ZHAO Zhao
ZHAO Zhao was born in Xinjiang in 1982. He graduated from the Fine Arts Department of Xinjiang Arts Institute in 2003 and later pursued further studies at the Beijing Film Academy. He currently lives and works in both Beijing and Los Angeles. ZHAO Zhao has held solo exhibitions and conducted individual projects at a variety of art institutions, including the Long Museum in Shanghai, the Carl Kostyál Foundation in Stockholm, Alexander Ochs Galleries in Berlin, Roberts & Tilton in Los Angeles, Chambers Fine Art in New York, Mizuma and One Gallery in Japan, Lin & Lin Gallery, Tang Contemporary Art in Hong Kong, Museu De Arte De Macau, Tang Contemporary Art in Beijing, China Art Archives and Warehouse in Beijing, Song Art Museum in Beijing, Nanchizi Museum and Today Art Museum.
ZHOU Shaohua
ZHOU Shaohua was born in Rongcheng, Shandong Province in 1929. He joined the Fifth Division of the Shandong Detachment of the Eighth Route Army in 1941. He graduated from the Department of Fine Arts of Zhongyuan University in 1950. He has served as the Dean of the Hubei Provincial Academy of Fine Arts and the Chairman of Hubei Provincial Federation of Literary and Art Circles. He was awarded the title of “Artist with Lifelong Achievement” by the People’s Government of Hubei Province in 2008, and was selected as a “Chinese Cultural Figure” in 2014. He is now a council member of the Executive Committee of the China National Academy of Painting and lives in Wuhan. He has held exhibitions, art exchanges, and lectures at various academic institutions both domestically and internationally. His works are collected by institutions including the National Art Museum of China, the Linden-Museum Stuttgart in Germany, the Museum of Asian Art in Berlin, and the State Russian Museum.
Produced by: Dorothy Wong (UAC)
Head of Operation: Cici Tang (UAC)
Exhibition Manager: Zhang Xu (UAC)
Exhibition Assistant: Betty Wang (UAC)
English Proofreading: Yaying Chen(UAC)
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