On January 16th, the "Symbiotic Landscape - The Second Nanhai Public Art Exhibition" was launched in Qiandeng Lake Living Water Park in Guicheng, Nanhai, Foshan. The exhibition invited more than 20 important well-known artists at home and abroad, outstanding young and middle-aged artists to participate, and brought 22 public art works to Qiandeng Lake Living Water Park. The exhibition will run until 16 April.
The exhibition is composed of Professor Fan Bo, Vice President of Guangzhou Academy of Fine Arts, as the general consultant of the project, Feng Boyi, He Guiyan, Ji Shaofeng, Wang Huangsheng, Yang Wei, Yang Xiaoyan, Yu Ke, etc. The academic committee is composed, Hu Bin, Dean of the School of Arts and Humanities of the Guangzhou Academy of Fine Arts, is the curator, and Xia Jinwang, President of Foshan Academy of Art Creation, is the exhibition director.
The invited artists are: Antti Laitinen, Cui Yi, Duan Junhao, Fu Zhongwang, Fu Junsheng, Guan Huaibin, Guo Gong, Jiang Shan, Lin Lan, Li Linlin, José Drummond, Song Dong, Sun Jiaxing, Tong Kunbird, Wuyi Studio (Li Chao, Luo Baoquan, Liu Zaixing, Zhao Geng), Wan Duoyun, Yang Xinguang, Yang Guang, Yang Mushi, Yang Yifei, Ant Chao, Zhou Li, including important well-known artists at home and abroad, outstanding young and middle-aged artists, They brought 22 public works of art to the Qiandeng Lake Living Water Park.
Jiangshan "With a Total of 2021 - Gifts" works scene
In the exhibition works, some of the artists use mountain stones, trees and animals as elements and materials for their creations, thus establishing the relationship between nature and modern materials and life. Guo Gong connects large granite with a nut and uses modern technology to dialogue with natural and simple stones; Li Linlin creates a warm, harmonious and romantic atmosphere through a fantastic combination of animals; Tong Kunbird thinks about the relationship between human civilization and natural ecology with a bird-shaped sculpture powered by balance; Yang Xinguang uses "green" concrete attached to rock to express the state of symbiosis and coexistence between nature and artificiality; Zhou Li uses comprehensive materials to build a grand and abstract picture of the prosperity of grass and trees and the coexistence of man and all things.
Yang Xinguang's "Beautiful Concrete" works scene
Foshan has rich Lingnan cultural resources, and how to transform and apply the direction of contemporary art is also the direction of interest of many participating artists.
Cui Yi combines the visual shapes of dragon boats and paper-cuts in Foshan's traditional culture with the recycled steel bars left over from urban transformation to present the transformation relationship between industry and nature; Wuyi Studio implements a set of interactive and interesting installation art projects based on the world-class symbol of Foshan's local culture, "Kung Fu"; Fu Zhongwang uses tenon and tenon structures to connect copper and stainless steel materials to achieve a "fit" between tradition and modernity; Guan Huaibin borrows traditional Chinese gardens to capture the inheritance of classics and The Veins of the South China Sea; Joseph Dimo uses the combination of squares and circles commonly used in traditional Chinese culture to embody the world definition of flexibility and order.
Joseph Dimo," The more you want to forget, the better you will remember
The Pearl River Delta is the heart of south China's manufacturing industry. In this exhibition, the artist also notes that his creation will resonate with emerging industries and technologies in the region, and explore the conceptual renewal and ideological expansion brought about by new materials and new technologies.
Yang Mushi stimulates the viewer's thinking and imagination of the development, change and production relations of the city through the treatment of materials and the dislocation of forms; Yang Yifei uses the "window" constructed by wind and local stainless steel materials as a medium to freeze a certain southern memory; Ant Tide uses local famous aluminum and ceramic materials to construct the molecular shape of water to convey the meaning of acceptance and tolerance; Fu Junsheng assembles the old fishing boats and stainless steel doors of fishing villages into "spaceships" that trigger romantic and free imagination. Lin Lan uses old urban materials such as water pipes and iron tools and umbrella cloth to form a heroic kapok; Sun Jiaxing uses stainless steel materials to form a futuristic "space-time forest".
Ant Tide "Hai Na" works scene
Public art is inseparable from public participation, and many works in this exhibition take public participation as part of the work, making the work change in a gradual process, and also allowing the audience to get a physical and mental experience full of ideological interest.
Andy Letinen allows the audience to experience the process of turning the cube from wood to steel and the transformation of the visual appearance through the simple handmade form of nails; jiangshan's continuous and open interactive art project combines local material craftsmanship and industrial technology, as well as the participation of many ordinary people; Wanduoyun simplifies and refines the local pattern of paper-cutting with amusement facilities to interact with the public; Yang Guang uses the trees on the spot and the modeling elements of local traditional residential buildings to build a space for people to work and rest Song Dong created a seesaw up to 40 meters long, symbolizing the time scale of the present era and the balanced relationship between man and nature.
Andy Letinin's "Nail Cube" work scene
In recent years, more and more continuous public art projects have emerged in China's non-central cities, suburbs and rural areas, which is related to the increasing desire of art organizers to break the rigid model of central cities and find new ways of art to occur; on the other hand, it is also related to the expansion of regional cultural and artistic ecology. This year's Nanhai Public Art Exhibition strives to further focus on the concept of "symbiosis" of new public art on the basis of the expansion of the relationship between works and public space in the first session.
Tong Kunbird's "The Bird That Can't Fly Away" works scene
How art can integrate with such a landscape and form a "symbiotic and co-growth" relationship is a question to be considered in this public art exhibition. Curator Hu Bin said that in today's vigorous promotion of art and aesthetic education, the exhibition tries to make the public art here a "micro-intervention" force, rather than a grand and empty framework, so as to connect with the green ecology, green economy and green culture that the world is concerned about, and also become a way for the people of the South China Sea to live, and promote the optimization and upgrading of the cultural quality and human and natural environment of the South China Sea.
Text/Guangzhou Daily, New Flower City reporter Li Qiaorong
Photo: Li Qiaorong, reporter of Guangzhou Daily And New Flower City
Some of the image sources: organizers
Guangzhou Daily New Flower City Editor Wu Bo