TCG Nordica http://en.tcgnordica.com Stimulating reflection on human worth as expressed in various Art Forms. Thu, 15 Nov 2018 03:55:50 +0000 en-US hourly 1 https://wordpress.org/?v=4.9.8 Alfred Vaagsvold: SEE AND BE SEEN http://en.tcgnordica.com/2018/alfred-vaagsvold-see-and-be-seen/ Wed, 14 Nov 2018 14:10:23 +0000 http://en.tcgnordica.com/?p=8032

SEE AND BE SEEN

I am. You are. He, she and it is. We are. You are. They are.
Let us make this visible in making art together. All visitors are welcome to take part in the creative process. Add your work to the great installation. Norwegian artist Alfred Vaagsvold will guide you to the art! Welcome!
What happens when the artist lets the visitors take over and the process of creativity is not only the artist’s work? In the post-modern art, many artists invite people to cooperate in the artwork. That means the final result is unpredictable. We have to respect the result of what the participants choose of colors, form and design. I choose the materials: paper, ink, tread and tape. As artist I don’t know the way the installation will take form. I am just leading the creative process. When does the art start? When does it end?

Artist: Alfred Vaagsvold
Curator: Luo Fei
Assistants: Visitors, invited artworkers and students
Place: Grand Gallery, TCG Nordica
Opening: 8pm, October the 20th 2018
Exhibition Duration: Oct 20th to Nov 17th ,2018 (Sundays Close)
Continuing installation work up to the exhibition ends

This exhibition is the result of the collaboration between the artist Alfred Vaagsvold and the participants. It is also an exhibition that grows because of people’s participation, especially those who are physically special, giving the entire exhibition a unadorned and natural energy, in the lines unconsciously outlined, in the paper balls nailed to the wall, and in the wire hanging in the air. These simple objects and traces together constitute a loose daily nature that has not been disciplined and continues to grow.
— Curator: Luo Fei

About Art Class:
The Art class in Trinity International Church, Kunming, is a week-end activity for children and young people with different handicaps. It was started in 2016 and continues with art studies every week. The idea is to use everyone’s possibilities in basic drawing, painting and sculpture forming. The leaders are Ms Lily Zheng and Ms Bjorg. Mr Wang is a teacher in cooperation with Alfred Vaagsvold. Other assistants are also helping. The Art Class is specially invited to participate in the artwork SEE AND BE SEEN. The workshop started Saturday the 13th of October and will continue till the end of the exhibition. All works from the Art Class in this period will be shown in the exhibition, curated by Mr. Luo Fei and organized by Ms Tina Hu.

“I am. You are.” Participants from the neighborhood restaurants in Kunming . in Paper construction.

From the opening of SEE AND BE SEEN. Sat the 20th October 2018 Grand Gallery in TCG Nordica. From left: Artist: Mr. Huang. Curator in TCG Nordica: Luo Fei. From Art Class: Mrs Deng, Teacher Wang, artist: Alfred Vaagsvold, From Areopagos: Grethe Raddum, From TCG Nordica: General manager: Helen Wu. Organizer: Tina Hu.

Spontanous performance by He Libin(right) and Li Zhiyang(left)

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Monica Dematté: Thirty Years of Chinese Contemporary Art http://en.tcgnordica.com/2018/monica-dematte-thirty-years-of-chinese-contemporary-art/ Wed, 07 Nov 2018 01:17:02 +0000 http://en.tcgnordica.com/?p=8058

Monica Dematté
– Thirty Years of Chinese Contemporary Art

2018/11/13
19:30–22:30

Program:
Film Show: IL SOGNO DI MO
Dialogue with Monica Dematté face to face

Lecturer: Monica Dematté
Italian freelance writer / art critic / curator
Academic Director of Mo Art Space in Xinmi, Henan

Moderator: Luo Fei, TCG Nordica curator

Language on site: Chinese

Sign up for participating:
1, on TCG Nordica’s WeChat Platform
2, send email to gallery@tcgnordica.com with title “Monica+number of participants”

About the Film

The first time Monica Dematté went to China was in 1986, when Chinese contemporary art was a mysterious reality that was completely unknown. Her first trip to China, which was a long time ago, lasted for five months, but it was just the beginning of a journey, seeking knowledge and emotions and leaving a mark on the lives of many Chinese artists. Some of them became stars, and they are incomparable today. Her interest in direct contact and long-term relationship with artists has always been one of the most important and unique features of her work style. This documentary reviews this extraordinary experience through the narration of Monica and the artists she worked for, and a lot of the unpublished content recorded in the last three decades, is precious. At the same time, it also puts forward some essential questions about the commercialization and “materialization” of art in the world today, together with other promptings.

Film Director: Francesco Dal Bosco
Producer: Wei Shijian, Carlo Dal Bosco, Luca Dal Bosco
Music: Carlo Nardi
Cover Design: Emmanuele Lamedica
Produced by FILMWORK SRL in 2017
Film length: 135min
Language: Italian / Chinese
Subtitle: Chinese / Italian

About Monica Dematté
Monica Dematté was born in 1962 in Trento, Italy. After graduating from the G. Prati High School in Trento, she received a Bachelor of Arts degree in Art History from the School of Arts, Music and Drama (Bologna University of Bologna) and qualifications as an Italian Art Teacher. She came to China in 1986 and studied Chinese art history and art criticism at the Guangzhou Academy of Fine Arts from 1988 to 1989. She received a Ph.D. from the University of Genoa, entitled “Chinese Contemporary Art from 1989 to 1994.” In 1990, 1991, and 1992, three documentaries on Chinese contemporary art were produced. From 1996 to 1997, she was a curator at the Singapore Art Museum. She has taught Chinese culture and art at the Department of Oriental Languages at the University of Bologna and the Department of Oriental Art at the University of Venice. In 1999 and 2001, she participated in the work of the Venice Biennale twice and wrote a series of review articles for the exhibition album. Since 1994, she has independently curated exhibitions of Chinese and foreign artists.

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Drawing to Heart: Huang Jianzhang’s Art Exhibition http://en.tcgnordica.com/2018/drawing-to-heart-huang-jianzhangs-art-exhibition/ Wed, 10 Oct 2018 02:15:09 +0000 http://en.tcgnordica.com/?p=8042

Drawing to Heart
Huang Jianzhang’s Art Exhibition
Opening: 8pm, Oct 20th, 2018
Exhibition Duration: Oct 20th to Nov 17th, 2018
Opening Hours: 11am-5pm, Sundays Closed.
TCG Nordica Culture Center, Xibalu 101, Kunming

To the soul that lives/living in the ball-pen drawings
Text: Huang Jianzhang

I am an artist of ball-pen drawing, abandoning the bright colors of traditional paintings, obsessing with the relationship between the single color of ballpoint pens and contemporary art, showing a casual and steady style of painting. I use force to control the lines, free, easy and casual layout, and depict the works with emotions.
I was born in Yunnan, a region with many ethnic minorities. I love the traditional handicrafts of ethnic minorities and are fascinated by the unique linework of ethnic minorities. They are keen to reuse lines for painting. I applied a lot of lines of elements to my creation, improvised in the moment of inspiration, showing the light and shade of the lines by controlling the pen.
At the beginning of my creations, I don’t conceive the picture, but I sketch the lines as I want, and am able to truly understand myself after the creation. Others express themselves through works, but I know myself through works. In the moment when the picture is finally presented, I will really understand a different perspective of myself through the work. Such a creative process can reveal a different world of the soul, and be able to find a free and easy life in a regular world of rules and regulations. It provides a distance to the closeness of real life and thus alleviates the limitations of our time.
People can express their understanding of art through any means or carrier. This nostalgic feeling and theme are consistent with my inner feelings. It also expresses contemporary people’s attachment to national culture and the realm of life from one aspect. The single color and line are seemingly simple, but can portray a more complete and vivid me in the abstract expression.
The soul that lives in the ball-pen has gone through ten springs and autumns.

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RECRUITING: TCG Nordica’s15th Annual Christmas Fair http://en.tcgnordica.com/2018/recruiting-tcg-nordicas15th-annual-christmas-fair/ Sun, 30 Sep 2018 12:11:47 +0000 http://en.tcgnordica.com/?p=8038

TCG Nordica’s15th Annual Christmas Fair

You are welcome to apply as a vendor, performer, charity or activity coordinator. Please read our guidelines(https://www.surveymonkey.com/r/J5NDGVJ) before you apply, and then send your application email to christmasfair@tcgnordica.com before Sunday, October 30th.

Please write “vendor application” as the subject of your email.

Tel: 0871-64114691

Mobile: 13908804673

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AiR: FREDRIK FERMELIN http://en.tcgnordica.com/2018/air-fredrik-fermelin/ Thu, 20 Sep 2018 03:48:29 +0000 http://en.tcgnordica.com/?p=8025

FREDRIK FERMELIN

A Swedish artist who currently works with painting but also with performativity and sound. His work is sometimes conceptual within the frames of what an artistic practice is as a form of a time-killer, passivity and in-activity. Also his approach is an un-motivational input, artistic practice as a last resort, a compulsion. What can one do in todays society(civilization) when markets, success, happiness as an constant isn’t enough anymore? He will be here from September to November as an artist in residence at TCG Nordica to continue his paintings in one of the studios.

Kunsthalle Bern, Switzerland 2015 Exhibition ”Morgonröte, aurora borealis and levantin: into your solar plexus”, Wallpaintings, performance. photo by David Aeby

Studio 44, Stockholm Sweden 2017 Exhibition ”Tripprapport” Ink drawings and video installation with sound performance.

In an odd sense it felt like a moment of truth when Fermelin was standing there and swaying on one leg wearing nothing but an adult diaper on stage, arms stretched out as being crucified or to maintain the balance while singing: ”Happy birthday dear Falukorv, happy birthday to you”. It was totally mad, desperate, touching, naked and suicidal. It was forces of contradictions, an everything struggle against everything else in a cohesion that was on the verge to fulminate or disintegrate.
— Lars-Erik Hjertström Lappalainen, art critic, curator and writer.

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Artist Talk: International Residency as an Encounter State http://en.tcgnordica.com/2018/artist-talk-international-residency-as-an-encountering-state/ Wed, 05 Sep 2018 11:34:33 +0000 http://en.tcgnordica.com/?p=8011

International Residency as an Encounter State
– Luo Fei’s encountering with and observations in the Zurich Residency Project

From May to August 2018, Kunming curator and artist Luo Fei, also the director of TCG Nordica gallery was invited to participate in the Kunming-Zurich Friendship City Exchange Residency Project. This was also the first time that Luo Fei visited Switzerland. During his stay in Zurich, Luo Fei visited local art museums and galleries. Furthermore, he visited off-spaces, curators, artists, and deepened the local rich artistic ecology. Luo Fei noted that the structuralist traditions in Swiss contemporary art are ubiquitous in today’s phantom, noting the tradition of oral performances among Swiss performance artists, and the artists’ embrace and re-engineering of entertainment culture.

During nearly three months of observation and communication, Luo Fei experienced the charming city of Zurich – an ordinary, affluent, stable, and high standard of daily life. It is such daily life that shapes the “formal correctness” and “media bombing” of contemporary art today globally. It is also in such a society where everything is guaranteed, that people still express their dissatisfaction with reality. Where is the criticality of art? Political art? There, everyday life, like contemporary art, is more textual and theoretical, and any kind of “barbarous”, “self-deprecating”, “boring” or “scientific” art has become part of the vain and elegant life. It provides protection against pleasure and nothingness, and provides protection from ethical evaluation. So, what is the goal of life? What is the appeal of art?

During his stay in Zurich, in addition to visiting Italy, Norway, Sweden and other places, Luo Fei purposefully visited the Auschwitz concentration and extermination camp in Krakow, Poland. With the confusion of “no poetry after Auschwitz”, Luo Fei walked in the “rural hell” that looked beautiful and rational. There, everything is beyond the imagination of man. Where has “humanity” been hidden or enlarged since the Enlightenment? What is the value of Hannah Arendt’s reflection on “the banality of evil”?

To Luo Fei, the artist resides in the project as a temporary life that constantly meets people and returns to himself. In a strange way, he does not set an expected goal. He just keeps accumulating and adjusting himself. Keep open, keep communicating, keep thinking, and keep sharing.

The talk will be on Sep 14th, 7pm at TCG Nordica.
It will be in Chinese.
Sign up for free by sending “lecture914 + number of participator” to gallery@tcgnordica.com
Welcome!

Speaker: Luo Fei

Special Guests: Li Ji, He Libin, Xue Tao

Zurich city

Luo Fei and Daniel Morgenthaler, talk "Art From Zurich Makes Me Want To Sleep" at Helmhaus Zurich

Luo Fei and Daniel Morgenthaler, talk “Art From Zurich Makes Me Want To Sleep” at Helmhaus Zurich (photo by Tanja Kalt)

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Invisible Planet – An Art Exhibition on Environment Issues http://en.tcgnordica.com/2018/invisible-planet-project/ Fri, 15 Jun 2018 10:26:46 +0000 http://en.tcgnordica.com/?p=7862

Invisible Planet – An Art Exhibition on Environment Issues

From thematic concerns, cultural metaphors, to poetic expressions, lifestyles and other aspects, artists living in Yunnan are calling people to respond to, think and concern themselves about the increasingly serious environmental problems. Because behind our ways of production and living, that we are so accustomed to, we are modelling the unique Planet we all share together.

Curators: Luo Fei, Wang Bei
Artists: Alfred Vaagsvold(Norway), He Libin, Jia Yi, Li Ji, Lei Yan. Liu Yifan, Martin Haarr(Norway) Su Jiashou,Vera Regina van de Nieuwenhof(Netherland), Paper, Xue Tao, Xiang Weixin, Xiong Wangxing, Ying Borui, Yan Wan, Zi Bai, Zhu Lanjing, Zhang Jingxi, Zhang Hua

Opening: 2017-11-4, 20:00
Duration: 2017-11-4——2017-11-26,11:00-21:00, Sundays off
Opening performances by He Libin and the Paper Group
Host: TCG Nordica
Address: ChuangKu Loft, Xi Ba Road 101#, Kunming
Tel: 0871-64114691
www.tcgnordic.com

//Lectures//

Lecture I: Art Expression and Ecological Ethics
Guests: Li Ji, Xue Tao, Luo Fei
Language: Chinese
19:30–21:00, Nov 8th, 2017

Li Ji’s painting: The Last Nature

Lecture II: Crossing borders, traversing cultures
Speaker: Vera Regina van de Nieuwenhof (Netherland)
Language: English and Chinese
19:30–21:00, Nov 14th, 2017

Vera Regina van de Nieuwenhof on her bike trip

//English Corners//
2017-11-1, 19:30-20:30
Topic: Pollution
Pollution is an increasing problem in our world. How can we solve it? What is our responsibility as a group and as individuals?

2017-11-15, 19:30-20:30
Topic: Meat Production and Consumption
In today’s society we eat more and more meat. This can be bad both for our health and for the planet. Should we change our eating habits?

2017-11-22, 19:30-20:30
Topic: Economical Growth vs the Planet
As the world becomes richer, the planet becomes sicker. How can we continue to grow economicaly and at the same time take care of our planet?

Zhang Hua, “Reconstruction”

Invisible Planet

By Luo Fei

1
According to encyclopedic dictionary, the term “the environment” consists not only of such substantial factors as air, water, soil, plants, animals and micro-organisms but also concepts, systems, codes of conduct and other nonquantifiable elements. There are both natural and social components to it, including abstract concepts as well as living life forms. Strictly speaking, it often refers to the sum of all environmental elements relative to mankind as the subject.

The environment which human beings depend on to live, especially in terms of natural ecology, has undergone unprecedented changes since the Industrial Revolution two hundred years ago. The globalization that started in the eighties of last century has made the Earth a community of people closely connected – a global village. While humans enjoy the fruits of industrial civilization and globalization, together with other living bodies on this planet they are also suffering from environmental pressure and threats due to the exponential growth in population and consumption, such as global warming, a sharp drop of biodiversity, nuclear pollution, and land desertification and so on. In 2002, Paul Crutzen, a Dutch Nobel Prize-winning atmospheric chemist, presented the concept of “Anthropocene”, a new geologic time scale characterized by the drastic effect of human activities on the Earth, mostly the carbon dioxide emissions which have surpassed any other generation. This means that geologists thousands of years in the future will be able to draw a clear line of human activity according to the traces of rocks and sediments. Just like people nowadays can determine the touches of the Jurassic dinosaurs and the Cambrian explosion. Edward O. Wilson, a leading biologist at Harvard University, says: “we (human beings) are the first species to become a geophysical force (in the history of life on Earth).” As contributors to the Earth ecosystem, humans are being transformed while they are giving the planet a make-over.

In this context, since the 1970s, eco-environmental issues have begun to attract attention and discussion in Western arts and cultural studies. People have realized that there is a need for ecological criticism and that art can’t be appreciated as it should be when bypassing the fields people live in and their cultural connotation. Through ecological and ethical criticisms artists, curators, and critics are reexamining ever increasing desertification, and reviewing the contradiction among natural deterioration, the sharp decrease of animals, and human invasions. As a result, a series of important exhibitions and works that lead avant-garde art movements were born, such as Arte Povera, Earth-Art, and Ecological Art. The visual narratives and reflections on the environment by the artists have become something we simply cannot ignore today. It has also become another ethical perspective for us to interpret in the arts today.

Alfred Vaagsvold, Tsunami project, Sweden 2008

2
At its fundamental level, artists’ concern for environmental issues, as subject-oriented judgement, is to use artistic media to arouse people’s attention on the sensory and cognitive levels to present environmental issues. Examples are wildlife themed photographs by Liu Yifan, Xiong Wangxing and others that present the alienation and injury that human action afflicts on animals. Xiang Weixing, by digital post-processing, put wild animals into the living environment of cities, presenting a sense of expectation as well as absurdity. Lei Yan made birds out of paper to reflect the end of the animals when they hit a glass wall in the cement jungle. Su Jiashou‘s oil paintings showcase the tension of flying birds in the air and plastic waste on the ground. Yan Wan’s paintings are about the potential impact of industrial pollution on people’s mental state.

At a cultural level, the environmental problems are treated, like diseases, as metaphors by artists to develop their deeper critique for reality. In this regard, chemical suits were used by Yin Borui to highlight the sense of isolation. Jia Yi‘s paintings show the isolation of people who wrap themselves like trees. Zi Bai’s pictures show mountains of human waste reminiscent of the “Junk Republic” on the Pacific Ocean. Not only is it threatening the aquatic organisms, but through the food chain, it will come back to human beings. As a symbolic image, this work also points to the inner hunger of men, universal and ever unsatisfied. The “Tsunami” project by Norwegian artist Alfred Vaagsvold was an earth art program which lasted for multiple years. It was implemented in different locations throughout Norway, both in churches, villages, cities and on coasts. Thousands of pieces of used clothing formed dramatic scenes one after another. Like sites of invasion and conquerings by “others” (humans or aliens). Or it can likewise be seen as the threat of excessive consumption and overproduction.

Excessive production and consumption have inspired artists to reuse discarded daily items and develop a powerful voice of materials. The installation “Shake”, by Xue Tao, was made of waste newspapers to present a collapsing yet stable form. This work has a lot to do with the inner shock of the artist from the 2008 Wenchuan earthquake. The opposite of poverty and roughness is the standardized luxury. In this consumer era, people embrace glistening, eye-catching and streamlined things. In the paintings by Zhang Jinxi, human beings themselves become the polished glass products, delicate and fragile. The pictures appear to be nostalgic, while the nothingness that characterized the spirit of the consumption era could not be more obvious. Through his lens, Norwegian artist Martin Haarr recorded the odd calm left by human activities in nature. The animals’ feeding bags piled up in the fields are like a giant insect. The waste of human life stuck in the rock crevices are very much like scattered human organs.

photo by Martin Haarr

As a strategy of postmodern art, artists employ the images from established art history to describe current issues. “The Last Nature” Series I and II by Li Ji are parodies of Goya’s “The Third of May 1808” and Jean-François Millet’s “The Angelus” respectively. They are to show how humans at the top of the food chain domesticate and slaughters animals on a massive scale. Zhu Lanjing put “A Thousand Li of Rivers and Mountains”, a classic painting by Wang Ximeng of China’s Northern Song Dynasty, in the context of cities, making the quiet and ethereal painting into one of hustle and bustle.

Artists also express their innermost expectation by creating ideal environments. In his performance art “Nest”, He Libin built up a huge birds nest with withered branches and stayed in there. It is just like Friedrich Hölderlin famously put it: “Poetically Man Dwells”. Zhang Hua used the architectural waste like stones and steel bars to “reconstruct” landscape and courtyard-like paintings, to offset the wretchedness of reality with fragmented poems.

As a conceptual form, environmental protection encourages people to change their lifestyles, to pay attention to the sustainable management and development of resources on Earth. Recently, the Dutch artist Vera Regina van de Nieuwenhof spent a year and a half riding from Amsterdam to Tokyo. She passed by Kunming, then later returned and settled here. She made a cyclist installation with the inner tubes of bicycles to appeal to people to travel green and to rediscover their inner power.

3
From thematic concerns, cultural metaphors, to poetic expressions, lifestyles and other aspects, artists living in Yunnan are calling people to respond to, think and concern themselves about the increasingly serious environmental problems. Because behind our ways of production and living, that we are so accustomed to, we are modelling the unique Planet we all share together.

October 2017

Translated by Xiao Diming
Proofread by Liya Norling Åslund

Painting by Ying Borui

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Northern Lights | Artists in Residence at TCG Nordica http://en.tcgnordica.com/2018/northern-lights/ Wed, 30 May 2018 09:09:45 +0000 http://en.tcgnordica.com/?p=7993

May first, Kunming Airport. The morning mist and clouds being smeared out by the sunlight can be seen through the airplane window as Annika Bergmark, Annasara Yderstedt and Jonatan Lundin once again touch ground on the landing strip, eleven years after their last visit to Kunming. The streets and alleys of Kunming, the pu’er tea drunk in the homes of their friends, the lights on Nordicas stage and the blossom smell that filled the air eleven years ago have all turned into cherished memories. The artists now return to source of these memories, this time as Nordicas artists in residence.

The three Swedish artists and local artists from Kunming were already familiar with and each other through their music and dance. When once again standing together at Nordicas stage their warmth and emotion towards each other shone through. Ten dancers and musicians from Scandinavia and China alike used their bodies to express their feelings and and thoughts from the last ten years. Through these emotions they write new stories and bring about new art expressed through their music and dance performance ”Northern Lights”.

As part of the residence program musician Jonatan Lundin, and dancers Annika Bergmark and Annasara Yderstedt were invited to the Yunnan Arts University. There they held a workshop for students and teachers from the departments of music and dance, giving them a taste of the essence and characteristics of Swedish modern dance and music. The focus of this exchange was the interaction between music and dance. The three young artists teared down the walls between the faculties, finding possibilities for dance within the rhythm of music, and finding inspiration for music within the movements of dance. The music and dance erased the differences between the different cultural fields, allowing artists from different backgrounds and disciplines to form new bonds in an open, respecting and relaxed atmosphere.

Culture exchange between China and western countries has always been a central part of TCG Nordicas work. Nordica has established a cultural bridge between China and the nordic countries. Over the last 20 years the cultural exchanges have resulted in many beautiful stories. As a platform for cultural meetings between east and west Nordica will continue to work for and promote cross-cultural understanding, trust and interflow as well as the development of local artists while stimulating reflection on human worth as expressed through various art forms.

About Artists

Annika Bergmark

Annika is a dancer, musician, performer, physiotherapist and teacher based in

Stockholm. She has studied dance at Copenhagen Contemporary Dance School, The Ballet Academy in Stockholm and has bachelor degree in physiotherapy from Karolinska Institute i Stockholm. Annika has worked with dance companies such as Avensis and The Expert Dance Company touring around Sweden. Annika har also choreographed the dance theatre show ”Dear body” which pays attention to opinions about the body and how we feel about it, which is still touring in Sweden.

Annika has been singing with several music artists as Arash, Timbuktu, Carola, Cosima, IIDA and also created music videos and stage performances.

11 years ago she came to Kunming for the first time. After that she studied music, dance and physiotherapy.

Annika is fascinated by the human body; how it works, how it moves and how it relates to others. When present in the body while moving to the music – she experiences freedom. 

Lars Jonatan Lundin

Jonatan started playing music at the age of ten and has done so ever since. After high school he studied at the Royal Music Academy in Stockholm, graduating in 2014. Since then he has been a freelancing musician and producer, touring and recording with several artists and shows all over Sweden.

This is Jonatan. Six years ago he lived for a year in Kunming, and now he is very happy to be back.

Here he can pursue his two biggest interests: music and language. He think the two are very similar. He would even say that music is a language – a universal language. 

Annasara Yderstedt

Annasara is a choreographer, dancer, and teacher based in Stockholm, originally from Malmö, Sweden. She finished her bachelor’s degree in dance and pedagogy at the University of Stavanger, Norway in 2014, where she also studied one semester abroad at SUNY Brockport, USA. Since graduating she has worked freelance for several projects around the world including in USA, Germany and Namibia. Annasara has danced with Avensis, KidZ Dance Crew, OYO Dance Troupe, Mariah Maloney and Flexer & Sandiland. Her choreographies have been showcased at Moderna Dansteatern, Dansehallerne, Dalsnuten, Kulturhuset in Oslo, Starke Stükke Festival, Festival Franje and Stockholm Fringe Festival. Currently, Annasara studies project management at the University of Stockholm and works as a freelance dancer, teacher and choreographer.

This is Annasara from Sweden. She is a dancer, choreographer and teacher. Last time she danced at TCG Nordica she was 17 years old. Today she is 28.

Her passion is to explore dance as a tool to bring people together across cultures, differences and preferences. 

12 years ago, these three dancers Annasara, Annika and Chen Jia met for the first time here at Nordica. In 2017, they met again, in Sweden. The first question Chen Jia asked was “When are you coming back to China?”.

So here they are, one year later, dancing together again. Friendship is a powerful thing – they feel like they’ve never been apart.

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“Another Dimension”|Group Exhibition http://en.tcgnordica.com/2018/another-dimension%ef%bd%9cgroup-exhibition/ Tue, 01 May 2018 04:49:54 +0000 http://en.tcgnordica.com/?p=7979

Information

Title: Another Dimension
Artists: Bin Yi, Huang Junhong, Zou Jibiao, Lu Dongjie, Sun Hui, Zhu Wenlan
Organizer: Sun Hui
Gallery Director: Luo Fei
Essay: Xue Tao
Graphic Design: Duan Yunhao
Opening: 2018-5-5  19:30
Duration: 2018-5-5~2018-6-9
Add: TCG Nordica Culture Center, 101# Xiba Road, Xishan District, Kunming
Tel: 0871-64114691

 

About “Another Dimension”

After so many years of painting, I realize that the era of painting has gone!
The art training industry nowadays is increasing in quality and structure. Nevertheless, the number of painters are decreasing. It seems art is marginalized. However, when I step into an art museum such as Louvre and Metropolitan Museum of Art or just sit silently on the bench in a library, art becomes an intimate friend accompany with me. The magic power of art is like air all around. It is imperceptible but does exist. There will always be someone getting together and talking about painting or sculpture at night, regardless of the earth rotating indifferently from day to day. Crowd comes and goes in museums in Shanghai and Beijing, and Works have been opened to the public and market for a long time, but the creation process of works is private. Painters always have their own view to the world and their modes of observation and thinking processes are different with others. It is just like the strings in canvas. Sometimes they interweave with each other occasionally and sometimes separate, which reflects the unification of difference and harmony.
The essay is written for the group exhibition on 5th May.

Sun Hui

 

The greatest achievement of the contemporary art practice in China over the past thirty years must be the expression of the essential power from artists. The essential power stems from exhibitions and activities which are organized spontaneously. That means artists’ self-organization is much more significant and contributory than their art creations. It is understandable because there is few world-class masters in the area of contemporary art of China during last thirty years, but the energy of Chinese artists’ self-organization since 85 culture movement must be an indispensable part of the world’s contemporary art practice. In a sense, self-organization is the beginning of Chinese artists’ independent thinking and action.
Artists’ self-organization has a history of more than thirty years in Yunnan. Mao Xuhui, Zhang Xiaogang and other artists initiated and implemented an exhibition tour which called “New Figuration” in 1985 and 1986 and founded “Art Research Group of Southwest China”. During 1994 to 2010, the “Hong Xin Club”, organized by Xue Tao, He Libin, and other artists, had been holding national exhibition activities for 16 years. Ye Yongqing established “Shang He Hall” in Kunming in 1999, and he also established “Chuang Ku” in Kunming with Tang Zhigang and other artists in 2001. In 2005 and 2006, Xiang Weixing, Luo Fei and other artists initiated a project called “Jiang Hu”. In 2006, Lan Qingxing, Tao Jin, Xue Tao and other artists initiated “One-Volume Edition Artist Book Project”, which last until now. In 2009, He Libin and other artists initiated a live art festival called “Obove the Clouds”, which also last until now. From 2009 to 2011, Sun Guojuan, Lei Yan and other artists initiated a female art exhibition called “The Four Seasons”. And in 2014, Zhao Leiming, Xue Tao, Luo Fei and other artists initiated “Art Cycling”. These events are all initiated and implemented by local artists in Yunnan and completely come out of the original motivation for survival and passion for art. Although some activities seem a little bit rough, but it is rough that enriches the imagination of artists in Yunnan, props up their eternal vitality and proves the independent thinking of Yunnan contemporary art.
Sun Hui, an artist who was born in 1985, comes from Datong, Shanxi. He has studied and lived in Kunming for years, which makes him to be one of the artists in Yunnan art environment. Although he has studied and worked in Kunming for nine years, but as an artist born in 80s. he spends most of his time creating in a relatively closed studio and has a few connections with the outside world. In the beginning of this year, he came up with a strange idea. He planned to hold a group exhibition of the generation born in 80s and 90s. It is an exhibition without any sponsor or commercial support, but completely a self-fundraising and self-organized one, which totally belongs to themselves. In this fully commercialized era, it is silly to hold an art activity only in an instinctive urge and without any sponsor or commercial support. However, what makes art valuable is abandoning the value and judgement of successful and vulgar sociology, and instead practicing the inherent original impulse, doing things that is insignificance in others’ eyes. Although this kind of impulse has no practical significance, but it is only this impulse that can escape from the exquisite egoism and can really feel the texture of life.
In this group exhibition organized by Sun Hui, there are six artists, including Bin Yi, Huang Junhong, Zou Jibiao, Lu Dongjie, Sunhui and Zhu Wenlan. Although their works are quite different from contemporary art since they still try hard to complete a masterpiece, but the meaning of their self-organization is much more important than their works. It conveys the native spirit of Yunnan contemporary art. All through the ages, the Yunnan contemporary art has been staying far away from the system and commerce to survive. If the contemporary art must rely on a system to survive, it will be very fragile, and its independent spirit will be questioned. Such indomitable vitality of Yunnan contemporary art is absolutely due to its staying far away those systems and displaying a spiritual value of independence and freedom by pure art pulse.
It is prone to let the chance slip. In any era, each group of artists has their own mission to accomplish. Once miss, the chance will disappear forever. Most of the time, struggle leads to failure, but the much more horrible thing than failure is wasting life. Worshiping to and then gaining grace from “correctness” will not nourish art. On the contrary, it probably be a dose of violent poison. If the artists who were born in 80s and 90s dare not to face failure, their works will have no difference from cheap but exquisite take-out. Sun Hui and other five artists’ exhibition is absolutely a failure, but they are fortunate because they will grow in failure rather than die in success as many artists do.

Xue Tao
April 24th, 2018

 

Artists

Bin Yi

He was born in 1987 in Yulin, Guangxi, and graduated from  Guangxi Arts Institute with the major of oil painting. He is self-employed now.
“For me, art is freedom and all the painting come out of interest. It quite likes an interesting game and I play it with the way I want. I love the images in my memory. My visual dimension is to translate the memory into visible art on canvas. ”

 

 

Huang Junhong

He was born in 1994 in Jieyang, Guangdong and has been studied in Yunnan Arts Institute with the major of oil painting since 2014.
In his works, the objects are simple symbolic things. The process of painting is not only painting itself, but also is a performance — a process of description.

 

 

Lu Dongjie

He was born in 1987 in Xinjiang, Shanxi and  graduated from Yunnan University in 2015 with a master’s degree.
He pursues  the expression of colour relations and explores the beauty in structure of objects through painting.

 

 

Sun Hui

He was born in Datong, Shanxi in 1985 and graduated from Yunnan University with a master’s degree of oil painting. He studied in Australia in 2015.
He shows his feeling in his works as well as explore the beauty of art langurage.

 

 

Zhu Wenlan

She was born in Putian, Fujian in 1995. She studied oil painting in Yunnan Arts Institute during 2013 to 2016 and then studied in Yunnan University.
Her works mostly express the emotional relations between materials and images. No matter what mateirals she used, painting leads the language in combination of  feelings.

 

 

Zou Jibiao

He was born in Shangrao Jiangxi in 1984 and graduated from Yunnan Arts Institute with a master’s degreee of oil painting.

He is finding a kind of freedom of painting by exploring and enriching painting language in his creation.

 

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[AiR]Mirjam Raen Thomassen http://en.tcgnordica.com/2018/air-mirjam-raen-thomassen/ Thu, 29 Mar 2018 08:47:51 +0000 http://en.tcgnordica.com/?p=7936

Mirjam Raen Thomassen

Mirjam Raen Thomassen (born 1982) is a visual artist based in Arendal, Norway. She is a Master of Fine Art graduated from the Academy of Art at the University in Bergen (2013). She has exhibited at venues such as Sørlandets Art Museum, Artendal/Bomuldsfabriken, Kunstgarasjen and Arteriet (NO), and further on in England, Scotland, Lithuania, Thailand and Slovakia.

(Mirjam’s work)

Light is the main core of her practice, using installation, painting, photography, object and site specific works. Through a combination of strategies, both formal aesthetics and interventions in urban spaces and nature, she is investigating the transitions between the visible and invisible, between place and no-place. Her artistry has a genuine aspiration towards the poetic, emphasizing a subtle and often monotonous expression. Dwelling in the sensual aspects of tangible and intangible phenomenons, her aim is to encounter the viewers perception.

(Musician Han Ying is Playing the Cello on the Opening)

(The Opening Scene)

During 4th -24th April, 2018 Mirjam will work in TCG Nordica. She will communicate with local artists, create new works and have an exhibition here. Special thanks to the Royal Norwegian Embassy in Beijing.

(Artists Talk on Opening, Gallery Director Luo Fei, Artist Mirjam Raen Thomassen, and the Head of Culture and Communication Lise Tønnesland Børresen)

The title of exhibition is “Moving Light” and it will open at 19:30 on 13th  April. After the opening, there will be an artists talk. The duration will be 13th -22th April, 2018.

In the exhibition «Moving Light» Mirjam Raen Thomassen is using light as a main core. With photography as medium/tool, different areas of light are manifested, turning the intangible to somewhat constant. Based on the photographies, a series of work have been produced in Norway, consequently made with the local light. These works can be seen as fragments of certain places and moments. The transfusion of light from one place to another, from Bergen and Kristiansand to Kunming, prompts a shift. Located between north latitude 25°02’20” and 102°43’6″E, Kunming receives an annual average sunshine of more than 2,400 hours, which are giving a completely other light then in Bergen and Kristiansand with its latitude between north 60°23′ 33″ and 005°19′ 24″E /  north 58°08′ 27″ and 008°00′ 000″E.

The works are a series of paintings, made by the photographies together with glue and reflexive glass beads on canvas. The canvas is of thin and translucent quality and can be adapted from both sides. The ink from the photographic print reacts with the glue and is being absorbed into the canvas, making new expressions and colour play. The reflexive glass beads are amplifying the conceptual content, due to its quality of trowing the light back to the exact same direction from where it comes from.

Alongside the works made in Norway, the exhibition will contain interventions in the gallery space composed by the light of the sun in Kunming, so that the different light are set in conversation.

The aim is to question the constant and intangible aspects in a poetic and existential perspective.

The sun is a constant for our existence, its sunbeams are intangible. Areas of light becomes visible, are in constant movement, and again disappears. These areas of light can be read as transient places – intangible and sensual.

CURRICULUM VITAE

EDUCATION

2010 – 2013  Academy of Art at the University in Bergen, MA Fine art, Norway

2007 – 2010  Academy of Art at the University in Bergen,  BA Applied art, Norway

2009               Glasgow School of Art, exchange studies dep. Sculpture and Environmental Art, Scotland

2005 – 2007  Einar Granum School of Art, Oslo, Norway

SOLO/DUO EXHIBITIONS

2018  Moving Light. TCG Nordica, Kunming, China

2018  Lyskomposisjoner 58°7’22.1″N 7°58’13.2″E +X. Arteriet, Kristiansand, Norway

2017  Lyskomposisjoner, Kunstgarasjen, Bergen, Norway

2016  Konstruksjoner, duo exh. with Martin Woll Godal. Visningsrommet USF, Bergen, Norway

2011  Tøys. Galleri Fisk, Bergen, Norway

GROUP EXHIBITIONS (selected)

2017  Hatch 10 years. X-huset, Kristiansand, Norway

2016  Alone. Touring exhibition, Galleri Lista Fyr, Sør-Troms Museum/Norway, Bratislava/Slovakia

2015  Anniversary Exhibition 2015 – SKMU 20 years. Sørlandets Kunstmuseum, Kristiansand, Norway

2014  art:language:location, in collaboration with Marit T. Dyre. Cambridge, England

2014  Sparebanken Sør Artist Prize 2014. SKMU Sørlandets Kunstmuseum, Kristiansand, Norway

2014  Kunstvisitten. Touring exhibition, Akershus Kunstsenter, several health/welfare institutions, Norway

2013  art:language:location. Cambridge, England

2013  Pop Up exhibition, Odds. Frantz:Navle, Bergen, Norway

2013  Hatch 2013. ARTendal, Bomuldsfabriken Kunsthall, Arendal, Norway

2013  Knock Knock 2013. The Association of Norwegian Sculptors, Oslo, Norway

2013  Stipendutstillingen 2013, Agder Centre of Arts, Kristiansand, Norway

2013  Masterutstillingen 2013. Bergen Kunsthall, Bergen, Norway

2013  Wireless. Touring exhibition, The Norwegian Association for Arts and Crafts, Norway

2012  Odds. Norwegian Museum Of Hydro Power and Industry, Odda, Norway

2012  Between the Four. F – Block Gallery, UWE, Bristol, England

2011  17 m.o.h. Bergen Kjøtt, Bergen, Norway

2010  Hatch. Agder Centre of Art, Kristiansand, Norway

2010  Spes. Bachelor-exhibition at Bergen National Academy of the Arts, Norway

2009  Raw Meat – Cut The Chiffon. GCF Gallery, Glasgow, Scotland

2009  Velkomen til heimen vår. Østre Skotredet 8, Bergen, Norway

2009  In the Making. Gallery of Art and Design, Silpakorn, Thailand

2007  Young Examination. Kaunas Art Biennial, Lithuania

PROJECTS | PERFORMANCE

2016  Fysiske spor, in collaboration with Marit T. Dyre. Landås bibliotek, Bergen, Norway

2016  Hardbakka Ruins Project: Memento Mori. Bergen, Norway

2013  Wind Ensemble, performance group. Prøverommet, Landmark, Bergen, Norway

2011  Tøys. PrøveRommet, Teatergarasjen, Bergen, Norway

2009 – 2011  Pusterom, group collaboration. Nordnesparken/Bergen, Lakseneset/Askøy, Norway

2008  Beats, collaboration group. Light camp, Frederikshavn, Denmark

2007  The Machine Is Truly Silent, performance group. BIT Teatergarasjen, Bergen, Norway

CATALOGUE | REVIEWS | PUBLICATIONS (selected)

2015  Anniversary Exhibition 2015, ISBN: 978-82-994332-9-7, s. 66-67, 109

2014  Nominert til Sparebanken Sør Kunstnerpris, Billedkunst no. 2, s. 5

2013  Odds – the text compilation, ISBN: 978-82-303-2402-8, s. 21, 154-155

2013  Ta en tråd og la den vandre, Tønsbergs Blad April 19th

2013  Tekstil blomstring, Tønsbergs Blad, s. 5, April 23rd

2013  Vil at du skal stoppe opp, Agderposten, s. 50-51, September 6th

2013  Fra polygonporselen til arvesølv, Fædrelandsvennen, s. 12, September 9th

2011  Som liljene på marken – om å leve enklere, Barbro Raen Thomassen, ISBN: 978-82-494-0095-9, s.          205, 208 – 209

2009  Kunst med tyngde, Studvest, August 19th

2008  Nordlys til Frederikshavn, Nordjyske avis, October 15th

2007  Tekstilinis pareiskimas, Literetura ir menas, December 4th

FUNDING | STIPEND

2018  Kristiansand Municipality | project funding

2017  Areopagos | travel funding

2017  Bergen Municipality | project funding

2016  Arts Council Norway | project funding

2014  Bergen Municipality, international support | project funding

2010  Bergen National Academy of the Arts | project funding

2007  Bergen National Academy of the Arts | travel funding

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