The Paper's reporter Qian Xue'er Ye Rong
The Paper has learned that Hermann Nitsch, a representative of the Vienna Activism, recently passed away at the age of 83 and his work appeared at the Venice Biennale; The Queens Museum in New York announced the appointment of Lauren Haynes as curatorial director.
In Beijing, the well-known architect Mr. Wu Liangyong will celebrate his 100th birthday in May, and in Hangzhou, the "Looking Back and Expanding - Wu Jide Works Exhibition" was exhibited at the Zhejiang Art Museum, presenting the artist's classic prints and sketches. The Paper, Art Review, provides you with news and coverage of important people over the past week.
Wu Liangyong, a well-known architect in Beijing |, celebrated his 100th birthday
Travel thousands of miles, seek the search for thousands of homes
Wu Liangyong
In May 2022, the well-known architect Mr. Wu Liangyong will celebrate his 100th birthday.
According to Shan Jixiang, former director of the Palace Museum, Wu Liangyong was born in 1922 to an intellectual family in Nanjing, Jiangsu Province. A "yong" character pinned on his father's high hopes for him - "yong" is a large bell hanging in the middle of the bell frame in the ancient Chinese court band, which can play the magnificent yellow bell Dalu with instruments such as sheng, drums, and chimes. A hundred years later, we can say that in the Chinese architectural circles, Wu Liangyong's role is sometimes the big bell.
On the morning of February 14, 2012, Wu Liangyong, who was 90 years old and had just recovered from a serious illness, won the most important honor in his life: the highest national science and technology award. This is the first person to be ranked among the highest honors in China's scientific and technological circles as a "people's architect". The review committee wrote in the review opinion: "Academician Wu Liangyong is the founder of the human settlement environment science in the mainland. He established spatial planning and design methods and practice models with human settlement environment construction as the core, and provided a theoretical framework for achieving the goals of orderly space and livable environment. ”
"I am a construction worker, love my motherland, love this society, the core of architecture is to serve people." He said.
Wu Liangyong is most proud of working in tsinghua university for more than 70 years in architectural education. On July 27, 1940, the city of Hechuan in Chongqing, where he lived, was attacked by the Japanese army, and most of the city was engulfed in flames. Having just graduated from high school, he deeply felt that "the world is big, but there is no land of happiness", so he gave up his original ideals and hoped to become an architect after the victory of the War of Resistance against Japanese Aggression and rebuild his home with his own hands. After graduation, Liang Sicheng invited him to the "Theater Cultural Relics Preservation Committee" to assist in compiling the "National Catalogue of Cultural Relics Protection", and then went to the Department of Architecture of Tsinghua University as a teaching assistant. "Following Mr. Liang Sicheng to Tsinghua University was the most important turning point in my life."
Wu Liangyong has made impressive achievements in architectural design, urban planning, regional research, human settlements and environment science and many other aspects. He has presided over a number of major projects, such as the design of the new library in Beijing, the expansion planning and design of Tiananmen Square, the planning and design of the central area of Guilin in Guangxi, the campus planning and design of the Central Academy of Fine Arts, and the planning and design of the Confucius Institute. Among them, he presided over the pilot project of the reconstruction of dangerous old houses in Ju'er Hutong, Beijing, which won the Gold Award of the Asian Association of Architects and the World Habitat Award in 1992.
Ju'er Hutong
The Ju'er Hutong transformation plan retains the living environment of the old Beijingers who "have heaven and earth, courtyards and trees, and neighborhoods and hutongs", and exudes the cordial energy of the old courtyard and incorporates the convenience of modern urban homes. At that time, in this large courtyard developed from the dilapidated family temple, there were 44 households, but there was only one tap and street public toilets, the per capita housing area was only about 5 square meters, and the courtyard space was less than 1/5 of the total area, occupied by two old trees. The remodeled Ju'er Hutong is surrounded by small buildings of two to three floors, which Qian Xuesen calls "building courtyard", which is highly appreciated. As a result, the per capita living area of residents has been greatly increased, and the yard space has also been opened. In order to ensure reasonable sunlight, Mr. Wu Liangyong also specially calculated the sunshine conditions of the winter solstice on the bottom window sill, placed the stairs in the four corners of the building, and made an open layout under the stairs, so that ventilation could be formed between the courtyard and the courtyard, and the two ancient trees were no longer held in a circle of shantytowns, but liberated into the center of the courtyard and became the symbol of "its life restoration" in Ju'er Hutong.
The experiment of Ju'er Hutong is a successful experiment of Mr. Wu Liangyong's "Scientific Theory of Human Settlement Environment" and "Architecture in a Broad Sense". His academic horizons became more broad in his later years.
Nanjing Jiangning Weaving Museum
In the summer of 2008, the Nanjing Jiangning Weaving Museum project was in an important stage, 86-year-old Wu Liangyong due to excessive fatigue, coupled with not drinking water in time, brain nerve damage, the right half of the body can not move, can not wear chopsticks. For nearly a year and a half since, he has spent in the wards of the rehabilitation center. In 2010, Wu Liangyong, who returned to work, burst out more ideas. Next to his pillow, there was always a pen and a notebook, and the first thing he did every day after getting up was to open the notebook to record the new thinking of the problem. In the Spring Festival of 2016, he wrote a pair of Spring Festivals to encourage himself: "The old Ji Futuo is determined to be in a thousand miles, and the clumsy craftsman has not yet reached the age of pride!" "It's an expression of his anticipation and passion for the future. Today, Wu Liangyong is a centenarian, but "the old age has not forgotten the country", so that more people "poetically inhabit" the vast land, is still his dream. (Zonghe)
Lauren Haynes, curator of the New York |
Curatorial Director at the Queens Museum in New York
Lauren Haynes
According to Artforum, The Queens Museum in New York announced the appointment of Lauren Haynes as director of curatorial affairs. Haynes will leave her senior curatorship position at Duke University's Nasher Museum of Art to take up her new position in mid-July. She will oversee the Curatorial and Projects Department of the Queens Museum and work closely with the Department of Education to integrate the museum's work in these three areas. Staff from the three departments will form a new content team, operating under the direction of Executive Curator Sally Tallant.
Tarrant praised Haynes as an excellent curator and skilled collaborator, an expert in building and operating collections. "Because she's worked in a variety of contexts, I think she's going to show a lot of leadership and a lot of diverse experience."
Prior to coming to the Nasher Museum last summer, Haynes had been a contemporary art curator at the Crystal Bridges Museum of American Art in Bentonville, Arkansas, since 2016 and was promoted to director of the Artist Program in early 2020. Prior to that, she was associate curator at the Harlem Studio Museum in 2006. In addition, she has curated exhibitions at other institutions, curating exhibitions such as "Soul of a Nation: Art in the Age of Black Power" (2018).
"I like to build things," Haynes says, "and I like to work with colleagues and think with people: Okay, we're great, but where do we want to get?" Instead of thinking we're stuck in the present. The position at the Queens Museum is about thinking about museums from a global perspective, thinking about what can be done through exhibitions, public and educational programs. (Text/Qian Xue'er)
Austrian | 83-year-old representative of the Vienna Activists
Hermann Nitesi dies
Hermann Nitsch
Recently, Hermann Nitsch, the representative of the Vienna Activist Faction, passed away at the age of 83. His work appeared at the Venice Biennale, and his solo exhibition "20th Painting Action" opened on April 19 at Oficine 800, the island of Giudecca, Venice.
The exhibition showcases works created and exhibited by the artist during the Wiener Secession in 1987, and the eponymous work "20th Painting Action", the only action painting in the artist's collection, is the first time that the artist has exhibited these works together in Italy since his creations were exhibited that year.
Born in Vienna in 1938, Hermann is considered one of the most versatile artists of our time, whose practice ranges from performance to painting, composition and set design. He is known for his radical and controversial performances in the Viennese activism movement, where his performances and paintings often combine materials such as blood, flesh and guts. His painting activity first took place in the 1950s, when he conceived the famous Carnival and Mystery Theater, a provocative sensory experience of all kinds of matter and fluid.
Works by Hermann Nitsy
Born in Vienna in the 1960s, in the repressive atmosphere of Post-World War II Austrian society, the Vienna Activists used the horrific body art to criticize the authoritarian Catholic Church and Nazism. The "body", as a medium, began to intervene in art and became the subject of creation, which was an important feature of art in the second half of the 20th century, and they fought back against the bloody violence of World War II with their actions, guiding people to face the tragic, unbearable and taboo social reality. (Finishing/Qian Xueer)
Zhejiang | artist Wu Jide
New Exhibition "Looking Back and Expanding"
Wu Jide
"Looking Back and Expanding: Wu Jide's Works Exhibition" was exhibited on April 29, 2022 in Halls 5 and 6 and Tianguang Chang Hall of Zhejiang Art Museum.
Wu Jide was born in 1942 in Yuhang, Hangzhou. He graduated from the attached high school of Zhejiang Academy of Fine Arts (now China Academy of Art) in 1963, graduated from the Printmaking Department of Zhejiang Academy of Fine Arts in 1968, and graduated from the graduate class of Printmaking of Zhejiang Academy of Fine Arts in 1980 and stayed on to teach. Wu Jide's prints, choosing nutrition from Chinese traditions, endowed with the life of the times, unique, elegant and simple style, mellow local charm; color ink works are fresh and unconventional, advocating the integration of personal feelings into the connotation of ink color, and the integration of Eastern and Western rhythms.
The exhibition exhibits more than 100 paintings of different kinds created by Wu Jide in different periods. The exhibition is divided into two sections: "Looking Back" and "Expanding", the former exhibiting Wu Jide's classic prints and sketches, and the latter exhibiting the ink paintings he has devoted himself to in recent years, full of color and bold with brushes, this part of the work is the first large-scale concentrated display of his works.
Wu Jide's prints
Xu Jiang, vice chairman of the China Federation of Literary and Art Circles, chairman of the Zhejiang Provincial Federation of Literary and Art Circles, and director of the Academic Committee of the China Academy of Art, said in a congratulatory message that Wu Jide's color ink paintings were eye-catching. His paintings can be called both ink and watercolor. Through the combination of rubbing, printing, painting and dyeing, color and ink blend together, and have a unique charm. His kind of paintings, there are many fine works, "Wu Canopy Boat", "Lin Zhiqiu", "Mountains have Akita", "Huangshi Mountain Autumn", dotted line and surface arrangement, black and white gray superimposed, stepping into a kind of leather paper ink color style, the core of which lies in the use of the engraving texture. Ink is the body, color is the clothing, line is the knot, and row is the law. Mountain forest trees, stacked in rows, form a rhythm full of rhyme. Ink and color are harmonious, deep and intertwined, and full of paper. A tree gives birth to a thousand trees, a sail to promote a hundred sails, stacked grammar, laid out summer flowers, winter trees are yellow, the east mountain is majestic, and the west pond is vast.
Editor-in-Charge: Li Mei
Proofreader: Yan Zhang