2013 Curating Now and Institutions Forum Series 5
(For English please scroll down)
08. 23(五) 開幕計畫：張培力、朱加選樣作品播映
講座1：「錄像局」 1:00 -2:00 pm
講座2：藝術家講座 2:30-4:30 pm
《Video Bureau》 Exhibition：2013.08.23-09.08
08.23 (Fri.) 6:00-7:00 pm
Opening Event: Screening of selected works by ZHANG Peili and ZHU Jia
8. 24（Sat.） 1:00-4:30 pm
Institution and Artists’ Talks
Lecture 1 : Video Bureau 1:00-2:00 pm
Host: Meiya CHENG
Speakers: CHEN Tong, FANG Lu
Lecture 2 : Artists’ Talks 2:30-4:30 pm
Host: WANG Jun-Jieh
Speakers: ZHANG Peili, ZHU Jia
The fifth series of TCAC’s 2013 Curating Now and Institutions Forum is dedicated to introducing a non-profit organization in China—Video Bureau. We are joined by hosts of Video Bureau, CHEN Tong and FANG Lu, also two artists who were recent additions to the Video Bureau database- ZHANG Peili and ZHU Jia.
As an exceptional case for non-profits, Video Bureau has an astonishingly simple and clear motive and method behind its workings—to create a database focused primarily on Video artists, to create a public space for video research and browsing, and to contribute to a better research environment and a more comprehensive collection of documents for Contemporary art in China.
Since it began in March 2012, the Video Bureau database has expanded from 1 to 17 artists. The enlargement process has been slow, but just as CHEN Tong said in Art Forum (CN), “We have faith in a multiplicative accumulation of efforts, if we receive about 200 pieces of art a year …and that translates into 2000 pieces in 10 years, then after 100 years?”
Just as a myriad of art institutions big and small appear and rise to their peaks, Video Bureau stands among them as a privately initiated space and organization (the founders being CHEN Tong, FANG Lu and ZHU Jia) and financially supported by individuals. Under the current context of China, its operational model resembles a public non-profit organization.
With providing “services and infrastructure” related to the research and viewing of Contemporary video art in China as its objective, this public space founded by artists is not in any way affiliated with the market. Starting from the basics, through regular, slow and continuous development, it will reach its infinite potential. The grassroots motivated organization maintains its operations through the essential participation of the art community may possibly an archetype for the future non-profits of China.
The series will include an opening night event on 8/23 (Fri.), the one and only screening of selected works of ZHANG Peili and ZHU Jia! And on 8/24 (Sat.) afternoon, there will be the Video Bureau panel (CHEN Tong and FANG Lu), Artists panel (hosted by WANG Jun-Jieh) and the Video Bureau Exhibition will be held from 8/23-9/8.
Chen Tong was born in Hunan Province in 1962. He’s a teacher of Department of Traditional Chinese Painting of Guangzhou Academy of Fine Arts. The founder of Libreria Borges Bookshop and Libreria Borges Institute for Contemporary Art in Guangzhou. Chen Tong is also a co-founded Video Bureau (Guangzhou, Beijing).
Chen Tong studied in the Chinese Painting department of Guangzhou Fine Arts Academy from 1979-1983, where he has continued to teach since 1986. In 1992, he launched the 「Encyclopedia of Experimental Art (EALS)」, which includes contemporary art, film, photography, theories, etc. In 1994, he established 「Libreria Borges 」, where he organised events of contemporary art and culture. In 1998, he co-established a publishing studio with Lu Yi and curated “Collection Minuit.” He translated and introduced works from a French publishing house, Les Éditions de Minuit (Midnight Press), esp. works of the nouveau roman. In 2007, he established Libreria Borges Institute for Contemporary Art. His works include: “One’s Own World: French Life and Art” (2002), “About Croquis: An Aesthetic Attitude of life” (2003), “Manet’s Railway” (2005). Received Chevalier des Arts et Lettres from French Ministère de la culture (2009).
Fang Lu born in Guangzhou China in 1981. Now lives and works in Beijing.
She received her BFA from Graphic Design department at School of Visual Art in New York in 2005, and MFA from the New Genres department at the San Francisco Arts Institute in 2007. Her work has been featured in solo exhibitions at Space Station, Beijing (2010), Borges Libreria Institute of Contemporary Art, Guangzhou (2011); and in group exhibitions such as the On/Off exhibition in Ullens Center for Contemporary Art, the Shenzhen Sculpture Biennial (2012), CAFAM Future Exhibition (2012), and in Museu do Oriente in Lisbon (2011), Walter & Mcbean Gallery in San Francisco (2008), Contemporary Artist Center in Massachusetts (2004) and other places. She is co-founder of Video Bureau, an independent video archive resource in Beijing and Guangzhou.
Zhang Peili was born in 1957 in Hangzhou, China. He graduated from the National Academy of Fine Arts in Hangzhou in 1984 with a degree in oil painting. In the 1980s, he was a founding member of the artists’ collective“Pond Society,” and acted as a cornerstone of the avant-garde movement in Hangzhou.
Considered the father of video art in China because of his groundbreaking work in the late 1980s and early 1990s. Many of his works are collected by international art institutions, such as The Museum of Modern Art (New York), Centre Pompidou (Paris). He is currently the dean of the New Media Department of the China Academy of Fine Arts in Hangzhou. In the first years of this century, he devoted much of his attentions to art education in China, and counts numerous important video, photography, and new media artists among his former students. In the past several years he has returned to a more intensive artistic practice.
His earlier works experimented with an aesthetics of boredom and have treated themes of social and political control. Zhang Peili’s work is always implicitly political, and he is infamous for his incisive use of irony that maintains a consistently mocking tone without descending into satire. His more recent work interrogates viewing conventions, perceptions of time, and notions of progress through the remixing and editing of found footage; it also challenges the boundaries ofmedia art, having focused on complex video installations for the past ten years.
Zhu Jia, born in 1963, Beijing. Graduated from China Central Academy of Fine Arts in 1988. He lives and works in Beijing. Selected exhibitions include ZERO-ZHU Jia Solo Exhibition, ShanghART Beijing, Beijing (2012); The Face of Facebook, Zhu Jia Solo Exhibition, ShanghART Beijing (2011); Not Only Time, Zhang Peili and Zhu Jia, REDCAT, Los Angeles, U.S.A.(2010); We Are Perfect-Zhu Jia Solo Exhibition, ShanghART H-Space, Shanghai (2008); Trans Local Motion—7th Shanghai Biennale, Shanghai Art Musuem, Shanghai (2008); 10th International Istanbul Biennial-Not only Possible, But also Necessary-Optimism in the Age of Global War, Istanbul, Turkey (2007); Zooming into Focus (NAMOC)-Contemporary Chinese Photography and Video from the Haudenschild Collection, National Art Museum Of China, Beijing (2005); 50th International Art Exhibition Venice Biennale-Dreams and Conflicts. The Dictatorship of the Viewer, Venice, Italy (2003); Tempo, the Works Show of Contemporary Art in 20th, The Museum of Moden Art (MOMA), New York, U.S.A. (2002); Living in Time-29 Contemporary Artists from China, National galerie im Hamburger Bahnhof Museum fuer Gegenwartskunst, Berlin, Germany (2001); Every Day-11th Biennale of Sydney, Museum of Contemporary Art etc., Sydney, Australia (1998); Another Long March-Chinese Conceptual Art in the nineties, Chasse Kazerne, Fundament Foundation, Breda, The Netherlands (1997).
PHOTO/張巧怡 CHANG Chiao-Yi