TCG Nordica Stimulating reflection on human worth as expressed in various Art Forms. Mon, 05 Aug 2019 03:09:09 +0000 en-US hourly 1 LOOKING BACK,LOOKING FORWARD丨Commemorating 40 Years of U.S.-China Relations Mon, 05 Aug 2019 03:09:07 +0000

“What is a road?It is something trampled out of a place where once there was no road; it is made from a place where once there were only brambles and thickets.”——Lu Xun

Time:Aug 9 – Sep 7, 2019
Opening:19:30 P.m. on Aug 9,2019
Venue:F.3 -B.1 the Second Avenue of Rain Town, KunmingTCGNordica International Culture Center

Organizers:U.S. Consulate General Chengdu TCGNordica International Culture Center

片名/Title:《Finding Kukan》/《寻找苦干》
导演/Director: Robin Lung
编剧/Edit: Robin Lung
主演/To star:   李灵爱Li Linai / 雷伊·斯科特Ray Scott / 拉尔夫·斯库尔曼Ralph Skulman / 胡凯莉Hu Kaili / 金大贤Jin Daxian
On the opening day,we will share with you the story of the mysterious documentary “Finding Kukan”, which won the Oscar Award for the Best Documentary in the 1940s but has disappeared since then.We will take a close look at the unforgettable years when the American and Chinese people jointly fought against Japan,and the investor and heroine of the documentary,Li Lingyai.Little by little,she tells us how hard she worked to collect these precious historical materials,and to make them into this award-winning documentary “Finding Kukan”.
President Richard Nixon meetswith Chairman Mao Zedong. 1972
Courtesy of the Richard Nixon Presidential Library and Museum,


Officials and citizens in the United States and the People’s Republic of China had no pre-ordained path to follow as they sought to establish diplomatic relations in the 1970s.It was not certain then that we would embark on a relationship highlighted by engagement in the decades that followed.Nonetheless, a pathway was forged through the wilderness that has become wider and more well-trodden than anyone could have ever imagined when formal diplomatic relations were established on January 1,1979.Indeed, engagement between our countries has gone from something that was carefully managed, high-level, and rare to an occurrence so frequent in business, science, academia, politics, tourism, and everyday life that we often take it for granted.The road created by our predecessors-while not wholly smooth, rarely straight, and at times challenging to travel-has contributed to prosperity for the people of both countries, and the whole world, through exchange of people, ideas, information, culture, and commerce.Today, the future path of our bilateral relationship is also uncertain.The road we choose to create will be hugely consequential for the people of the United States, the People’s Republic of China, and the world.We owe it to our contemporaries and to those who will come after us to proceed in a way that honors the magnitude of that potential, even while we remain attentive to protecting the ideals and interests of our respective countries.The images in this exhibition, curated by Meridian International Center with support from the U.S.Embassy in Beijing, exemplifies many aspects of engagement between our countries.I hope thatvisitors to it will not only reflect upon the past, but also ponder what photographs we might display another 40 years from now on the 80th anniversary of our formal diplomatic relations.The possibilities are almost endless.The brambles and thickets await our best efforts.

Dan Murphy

Executive Director

Fairbank Center for Chinese Studiesand Harvard China Fund

Harvard Universitynull

A young man holds a Coke in the Forbidden City
1981 Beijing
In 1979, Coca-Cola became the first international company to re-enter China with its namesake soft drink. At first, they ran into an issue: Chinese consumers thought Coke tasted like medicine because vendors were selling it warm instead of cold. Now Coca-Cola’s third largest market, it’s safe to say that China has come to enjoy the American soft drink. Thanks to both Chinese and U.S. consumers, people around the world consume 1.7 billion Coca‐Cola Company products every single day— that’s about 19,400 beverages every second.
——Liu Heung Shing
Andy Warhol visits the Forbidden City, 1982 Beijing, China
China was a source of inspiration for influential American pop artist Andy Warhol. Although he is known for repetition in his artwork, Warhol visited China only once in his lifetime. During his 1982 trip, Warhol was just another tourist to most Chinese, who did not recognize the iconic artist. East met West when Warhol exchanged artwork with master painter Dr. Chang Ku-nien. Which of Warhol’sfamous paintings is your favorite?
——Christopher Makos

To celebrate the 40th anniversary of the establishment of diplomatic relations between the United States of America and the People’s Republic of China, we invite you to an exhibition opening at 19:30 August 9th 2019. We would be honored by your presence!

2019 US-China Nature&Tourism Photo Exhibition Fri, 05 Jul 2019 10:46:22 +0000

The exhibition will open on July 5, 2019 at the Xishuangbanna Museum of Nationalities. The exhibition will show the natural scenery of Sichuan captured by American photographer Jed Weingarten, the works of wildlife and the scenery of American National Park captured by Chinese photographer Wang Jianjun.

Organizers:The U.S.Consulate General Chengdu

Xishuangbanna Dai Autonomous Prfecture Museum of Ethnology

Co-organizer:TCG Nordica International Culture Center

Opening:19:30-21:00 p.m. on July 5, 2019

Location:Jinghong Xishuangjing Rainforest Art Museum


Stephanie Fitzmaurice, the new Consul of Journalism and Culture, will discuss natural environment and wildlife conservation with four guests from different fields on the evening of July 5. You can ask questions and talk with the guests at the sharing meeting. BrandUSA’s U.S. Tourism Promotion Bureau will also show you a documentary of the National Park of the United States.

The Matter Matters-Theme Tour Exhibition 2019-First stop,In Beijing Thu, 27 Jun 2019 05:55:25 +0000
Several years ago, I was invited to attend a forum entitled “Contemporary Art and Liturgy”  organised by curator Luo Fei together with Mrs Wu Yuerong, the general manager of Kunming TCG Nordica International Culture Center. We discussed topics like the possibility of sacredness in contemporary art making, as well as the tension, the dissonance and dissimilarities between ritualised sacraments and contemporary art. 
Initially, I was extremely doubtful of any correlation between contemporary art and ritualised sacraments because at the core of contemporary art is a rejection of the sacred and an emphasis on a fragmented thinking mode in the context of diversity. In contrast, ritualised sacraments reminds people to return to order and highlights the value and meaning of art making. Basically, one is about deconstruction and the other construction; the tension is obvious. 
After several days of discussion with people from diverse cultures and backgrounds, we decided on a possible frame of reference: In a fragmented multicultural context, we need to highlight the intrinsic clash between law and order.
This breakthrough led us to the concept of “prophetic dimension” in art making. We coincidently decided on the theme “Contemporary Art and Prophetic art” as the focus of the following year’s forum in Denmark. During the forum, the Norwegian theologian Ole Jørgen asked me: “Are all good art works prophetic in nature?” My answer was an emphatic yes. From a certain viewpoint, good art works are those that achieve breakthrough in the aesthetic language system, thereby making them prophetic. But in my view, the best art is that which achieves a complete breakthrough in both thought and language, and at the same time points to an ultimate value. This kind of work of art could then be meaningfully called prophetic art. From my understanding of the prophetic, it is about having a sacred vision that comes from God’s supernatural revelation. It assumes a vertical thinking mode – from top to bottom. 
Later, our discussion turned to the attributes, characteristics and the different perspectives of the prophetic art. The calling aspect of prophetic art was first featured in my art piece – The Stray Lamb. Only within this vertical mode of calling is there a transcendent love and care in our horizontal relationships. 
In 2015, we had the third volume of forum entitled “Contemporary Art and Social Care” in Beijing, where our discussion was developed further into the realm of art and society. We emphasized the interdependence between the individual and the society in horizontal relationships. In the many horizontal relationships, the social interpersonal bond is of highest importance which is also important and common in contemporary art. The focus of our thinking was debating from which angle we view this kind of relationship, which directed us into a deeper and more detailed discussion.
In 2017, at the invitation of the Meta Hansens Culture House in Lillesand, Norway, we attended the “Grace and Reconciliation” Contemporary Art Exhibition curated by the Norwegian artist Barbro Raen Thomassen. We continued to trace and recapitulate this type of relationship that we have developed in past years. Finally, we turned the discussion into an exhibition, resulting in an interaction between two different modes of presentation– verbal and visual. 
How time flies! Even though our discussion was kept within a small circle, and progress was slow because of financial constraints, etc., all of us had a common desire to persevere. At Wu Yuerong’s suggestion, and based on the experience gained over the past years, we came up with another theme – Matter Matters. Matter Matters focuses our attention on the theme of the relationship between human and ecology, and can help us explore some current and relevant topics. 
In recent years, the art industry has begun paying attention to ecology and ecological care with an increasing number of artists choosing to focus on this subject matter. The trend is likely the result of people’s great concern with the various environmental disasters in recent times – global warming, haze, waste, and groundwater pollution, all of which are the repercussions of industrialization and urbanization – all of which give us pause for thought. However, when we refer to ecological care, we are not only talking about the environment, but also about the need to go deeper to the level of the social and spiritual ecology of human beings. Only then will we be able to find the root of the matter, which may lead to deeper reflections on the effects of individualism. 
At its root, the ecological crisis is a conceptual problem. According to the Book of Genesis in the Bible, the cool (wind) of the day referenced after Adam and Eve sinned against God seems to foreshadow a broken world that once enjoyed indescribable harmony. The concept here is that human sin had resulted in the initial ecological imbalance. The subsequent rise of individualism and the human-centred ecological mind-set with its accompanying values, morale and ethics, are the chief culprits behind the modern day ecological crisis. Therefore, when we reflect on this phenomenon from a critical standpoint, we inadvertently face opposition from the rationalists and consumerists. 
Admittedly, art itself cannot change the reality of the predicament. What it can do is raise a conceptual question. If we want to change this ecological crisis, first of all we must start with such a conceptual question, which is the purpose of the exhibition Matter Matters. 
However, people have different ideas about the intrinsic value of ecological care. People with a differing ideological structure will respond differently to crisis and use different strategies to solve them. To balance the conflict of interest between humans and nature and to manage the gap caused by anthropocentrism and ecological egalitarianism, we need some absolute spiritual principles built on consensus through dialogue. 
 So, the question is: How does an artist express this concept through his or her artwork? When the artist is facing a complex social issue, should she or he communicate this concept using visual art language or just simply by presenting the crisis scene? Certainly, different people have different approaches. Yet these very approaches will challenge each artist’s ability to confidently communicate through visual art language, because the inner thoughts of an artist can only be expressed through ‘basic’ visual images with no need for explanation through words. 
 As we are faced with the reality of the ecological crisis, we want to present our work from different angles, showing the various viewpoints and dimensions, and exploring the issue from various aspects such as human spirit, culture, society and nature. Doing so will give us the means, and will cause a fissure in the realistic logic of modern rationality, development, consumerism and capital market, and what is more, it will enable us to highlight the ecological responsibility of the active steward. 
  Finally, our own desire for meaning in life will give rise to a positive burden; the attitude behind the desire is encapsulated in the question:  “What do you care about?” 
                                          Jiuyang Zhu

开幕时间 Opening
15:00,May 25th,2019
展出地点 Exhibition Location
北京中捷当代美术馆 5月25日-6月3日
Czech China Contemporary Art Museum(CCC),Beijing,May 25th-3rd June


What do we care about ?

On facing the eco crisis of our time. The Norwegian visual artist and writer Barbro Raen Thomassen is also a gardener. Has creating art and cultivating soil anything to do with each other and the eco crisis? 

For the Horizon Museum in HeFei, she has created an installation with the title “All flesh is grass”. The installation consists of an office chair and a table. On the table there is a computer. All the elements are covered with a thin layer of clay, sown with grass seeds and watered. Hopefully the seedlings will sprout and the installation will be covered with a carpet of green at the opening of the exhibition. However, as the grass has no depth of soil, it will soon wither. The installation is a symbol of  modern man, spending his days in front of computers, having cut the connection with basic life, not knowing anymore how to grow his own food and take care of the earth. Without a respectful understanding of existence, modern man is accelerating the pollution and exploiting Mother Earth.

Barbro Raen Thomassen will also show three drawings of enlarged butterfly eggs. The specific  eggs she has chosen are eggs of endangered species.

Artist Web Page:


Born 1955 in Norway


Art History, University of Bergen 1982-86 

Vestlandets Kunstakademi, Bergen 1979-82

Ecole des Beaux Arts, Angers, France 1977-79

SOLO EXHIBITIONS (a selection)

«Fan» with Marianne Rønnow, TCG Nordica, Kunming, China 2016

Festival exhibitor «Ibsen- and Hamsun Days», Reimanngården, Grimstad 2015

«Plantasi II» with Marianne Rønnow, Søgne Gamle Prestegård 2015

«Seed Objects», Museum of Archaeology, University of Stavanger 2012-2013

Galleri Grand, Arendal 2012-2013

«Plantasi» with Marianne Rønnow, Kirsten Kjærs museum, Frøstrup (DK) 2012

«Gastspiel Kunst und Kirche». The installation «From Ash» in St. Markus, Munich 2012

«From Ash», installation in Vågsbygd Frikirke, Kristiansand 2009

RAM Gallery, Oslo 2007

Agatunet, Hardanger 2007

«Far within a green sound». Travelling exhibition for Primary School in Telemark 2005-2006, Vest-Agder 2008-2009, and Aust-Agder 2010

Agder Art Centre, Kristiansand 2005

«Samen und fliegende Teppiche» with Ingrid Juell Moe, Inselgalerie, Berlin 2005

Bomuldsfabriken Kunsthall, Arendal 1999, 2003

Allmenningen Galleri og Kunsthandel, Bergen 2001

Søgne Gamle Prestegård 2000

Hå Gamle Prestegard 1999

Seljord Art Society 1998

Schuvalov Palace, St. Petersburg, Russia 1998

Bohusgalleriet, Uddevalla, Sweden 1996

Lillesand Art Society 1992, 1995, 2014

Gallery Lista Lighthouse 1993, 2001, 2004

Oslo Art Society 1989

Tromsø Art Society 1986

Galleri Langegården, Bergen 1985


«Personal Structures», GAA Foundation / European Cultural Centre, Venice 2019

Norwegian Sculptors Society´s Summer Exhibition at Akkerhaugen, Sauherad 2018

Norwegian Sculptors Society´s Summer Exhibition at Refsnes Gods, Jeløya 2017

Sørlandets Kunstmuseum´s Travelling Exhibition in Primary Schools Autumn 2016

Jubilee Exhibition Sørlandets Kunstmuseum, Kristiansand 2015-2016

Guest exhibitor Sørlandsutstillingen, Bomuldfabriken Kunsthall, Arendal 2015

«RART», Kunsthal Nord, Aalborg (DK) 2014

«Art as vote and voice», Arendal Art Society 2013

«The Art of Drawing», Agder Art Centre, Kristiansand 2010

«Artist`s Book», Tegnerforbundet, Oslo 2009

«Sculpture and Object XIII», Bratislava 2008

«Der er Gud» with Rønnow and Refsum, Rundetaarn, Copenhagen 2008

«God is there» with Rønnow and Refsum, Trygve Lie Gallery, New York 2007

«Room by room», Sørlandets Kunstmuseum, Kristiansand 2005-2006

«New Works», Sørlandets Kunstmuseum, Kristiansand 2004-2005

«Pensieri Paralleli», 1st International Alabaster Symposium, Volterra, Italy 2004

Toyamura International Sculpture Biennale, Japan 1999, 2003

Bomuldsfabriken Kunsthall, Arendal 2002

«Ikon 2001», Næs Jernverksmuseum 2001 

Gallerihuset, Stavanger 2001

Linya Art, Gallery of Contemporary Art, Moscow 2000

Bohusgalleriet, Uddevalla, with Kari Stiansen and Alfred Vaagsvold, Sweden 2000

Sørlandets Kunstmuseum, Kristiansand 2000

Millenium Exhibition, Christiansands Kunstforening, Kristiansand 1999-2000

The First International Drawing Competition, Wroclaw 1999-2000 

Aalborg Kunstpavillon, with Kari Stiansen and Alfred Vaagsvold, Denmark 1999

«Norwegische Kunst», Galerie Norderforum, Flensburg, Germany 1999

Künstlergemeinschaft Schanze, Stadthausgalerie, Münster 1998 

4th International Biennial of Drawing and Graphic Arts, Györ, Hungary 1997

Mail Art Exhibition, Hanstholm, Denmark 1997

4th International Sculptural Drawing Biennial, Budapest 1996

Nordic Drawing Triennial, Sweden and Norway 1995

Udstillingsbygningen Kastet, Thisted, Denmark 1995

St. Peter`s Church, Riga 1995

“Women Light Up the Night”, open-air slide show, Tacheles Kunsthof, Berlin 1994

Bispegården, Kalundborg, Denmark 1994

«Five from Norway», Galeria Gerulata, Bratislava 1994

Heltborg Museum, Denmark 1993

Hå gamle Prestegård, 1992

Agder Art Centre, Kristiansand 1990, -97

International Small Sculpture Trinnial of Budapest 1990

The National Annual Autumn Exhibitions, Oslo 1989, -96

Rogaland Art Centre, Stavanger 1987

Southern Country Exhibitions, Norway 1987, -88, -89,-90, -91,-92,-93, -96,-97, -98, – 00, -15 

Bryggens Museum, Bergen 1985

Western Country Exhibitions, Norway 1982, -83


Sculpture for the City Garden in Grimstad 2019

Sculpture for pedestrian precinct in Vennesla city 2018

Grasham Rural Museum, Birkenes 2018

The Chapel at Sandom Retreat Centre, Garmo 2013

The Chapel at Viken Folkehøyskole, Gjøvik 2013

Museum of Archaeology, University of Stavanger 2012

Haugenparken in Songdalen 2012

Bøler Church, Oslo 2011

The Chapel at Prestegården, Vigmostad 2011

Birkenes Church 2008

Konow`s Centre for Deaf and Deafblind, Bergen 2003

Sørlandet Hospital, Arendal 2002

Valhalla Sykehjem, Kristiansand 1998 

Arendal Police Station 1996 

Engehaugen Church, Gjøvik 1995

The A-clinic, Kristiansand 1989

The Chapel at Sørlandet Hospital, Kristiansand 1987


«Horizons and Fragments», Sculpture Trail at Bru, Stavanger 2008

«Metamorphoses», Land Art Symposium, Kirsten Kjærs Museum, Frøstrup, (DK) 2004 

«Genius Loci», Søgne Gamle Prestegård, Norway 2000 

«Bunker-95», Gallery Lista Lighthouse 1995


Museum of Archaeology, University of Stavanger 2014

Bergen Museum 2007

Sørlandets Kunstmuseum, Kristiansand 2002, 2003

Norsk Skogbruksmuseum, Elverum 2000

City of Toyamura, Japan 1999

Bohuslandstinget, Sweden 1996

Viborg Amt`s Art Collection, Denmark 1993

The Art Museum of Northern Norway, Tromsø 1989

Arts Council Norway 1989

Mandal Art Society 1987


Honorary Diploma, 4th International Biennial of Drawing and Graphic Arts, Györ, Hungary 1997


Kardowsky House, Pereslavl Saliesky, Russia 2000

TCG Nordica, Kunming, China 2009 and 2016

在乎万有 MATTER MATTERS Thu, 20 Jun 2019 07:42:40 +0000

Project Description

“We are faced not with two separate crises, one environmental and the other social, but rather with one complex crisis which is both social and environmental. Strategies for a solution demand an integrated approach to combating poverty, restoring dignity to the excluded, and at the same time protecting nature.”1 

Today, all our lives are affected by the ongoing ecological crisis and climate change. Oceans and continents have suffered as a result of human activity over the last millennia, a process greatly accelerated during the past few decades. Some people are trying to mitigate the ecological crisis using a technological or economic approach. However, the benefits of these solutions are minimal, with new technologies prone to continue to pollute our social and natural environment. What matters need to matter today? Our contention is that by going back to the original source of our created matter we can rediscover our responsibility to all of God’s creation, nature, environment and human life alike! 

According to the Bible all matter originates from the Creator. The Author of the extravagance of creation is also the One who is generous in giving it away for care and protection. In the Creator’s plan, every creature has an intrinsic value and He entrusts all this to the beings created in His own image – human begins. The Bible also tells us about the fall of human beings and how His creatures’ sin now reflects upon the suffering of all created matter. The anguished groaning of the environment reflects the human sinfulness and suffering. This is the message that the Bible can bring to the global communities now affected by the social and environmental crisis. The visual art project Matter Matters has as its purpose to establish an important dialogue about environmental protection through artistic expressions. We want to bring the biblical concept of stewardships into different cultural contexts where there’s an urgency with regards to issues of environment protection and protection of human life. 

Arts offer a powerful language which can speak into one’s heart and generate deep reflection whether by watching a painting, listening to a piece of music, enjoying a dance performance, or reading a book. Nobel Prize laureate writer Saul Bellow once said: “Only art penetrates what pride, passion, intelligence and habit erect on all sides – the seeming realities of this world. There is another reality, the genuine one, which we lose sight of. This other reality is always sending us hints, which, without art, we can’t receive.”2 The project Matter Matters is an international visual art project that will include a launch exhibition, discussion forums which will provide a platform for conversations, and a catalogue which will include both art works prints and relevant articles on the topic of environment. The project asks the artists to seek and portray challenging realities through artistic expressions in order to stimulate participants and viewers to a conversation about the restoration of our human relationship with the natural environments. 

The project Matter Matters will last for three years and will take place in various locations, in order to stimulate a meaningful dialogue about these important social and ecological dimensions of our societies, and how we should go about seeking reconciliation with ourselves and the created order. The project will be inaugurated in China in May 2019. We plan to hold the first exhibition in Beijing, followed by programmes in the coastal area in Hebei and in Kunming City. We have selected these locations because of their geographic importance in environmental terms but also because they are active hubs for contemporary Chinese artists. Beijing, as the capital city of China, plays an important role in terms of policies and decision-making fir the country and the world. Beijing area is also host to Songzhuang, the biggest artist village in the world. Having an exhibition launch and a discussion forum there is important because of the project’s purpose of generating a dialogue with fellow artists on these topics. In the coastal areas we find good examples of climate change, especially marine pollution. Kunming City is situated at the entrance point into the Mekong Region. The Mekong basin is one of the richest areas of biodiversity in the world. The Mekong is one of the world’s longest rivers, accessed by several countries (China, Myanmar, Laos, Thailand, Cambodia and Vietnam). Much of the 8.3 billion tonnes of plastic present on earth makes its way to the oceans. Ninety percent of plastic in the oceans is flushed there by just 10 rivers, and Mekong is one of them. 

This project seeks to invite 21 artists to attend and display at the launch exhibition in Songzhuang, Beijing. The artists’ art works must be linked to the brief here, focusing in some way towards the social or natural environment. In order to generate dialogue opportunities and allow several voices, the artists should come from both China and the rest of the world. Alongside this, we will set up an academic consultation group in order to guarantee the project reaching the required level of expertise. 


Kunming 6.2018

主办机构 Host Organizer

诺地卡文化中心 TCG Nordica International Culture Center

项目策划 Proiect Planner

吴月蓉 Yuerong Wu

时间 Time


出地点 Exhibition Location

北京 中捷当代美术馆 5.25-6.3

Czech China Contemporary Art Museum(CCC),Beijing,May 25th-3rd June

合肥 大地美术馆 6.8-7.8

Hefei Dadi Art Museum, June 8th-July 8th

昆明 TCG诺地卡国际文化中心 9.20-10.31

TCG Nordica International Culture Center, Kunming, September 20th-October 31st

2019 年主题巡展

Theme Tour Exhibition 2019

第一站 北京

First stop,In Beijing



展出地点 Exhibition Location

北京中捷当代美术馆 5月25日- 6月3日

Czech China Contemporary Art Museum(CCC),Beijing,May 25th-3rd June

策展人 Curator

朱久洋 Jiuyang Zhu

学术主持 Academic Host

艾蕾尓 Ariel Wang

学术顾问 Academic Consultants

Sara Schumacher(英国/UK)、郝青松 Qingsong Hao、徐旭 Xu Xu、祝凤鸣 Fengming Zhu、查常平 Changping Zha 、罗菲Fei Luo

展览统筹 Exhibition Planner

吴月蓉 Yuerong Wu

展览支持 Representatives of Exhibition Supporters

Cristian Romocea(英国/UK) 、Jock L.Foo (新加坡/Singapore) 、覃琨瑛  Kunying Qin 

参展艺术家  Exhibition Artists

曹原铭 Yuanming Cao(中国/CN)

雷燕 Yan Lei(中国/CN)

李心沫 Xinmo Li(中国/CN)

任宏伟 Hongwei Ren(中国/CN)

萨子 Sa zi(中国/CN)

何海 Hai He(中国/CN)

姚运 Yun Yao(中国/CN)

苍鑫 Cang xin(中国/CN)

薛滔 Tao Xue(中国/CN)

资佰 Zi bai(中国/CN)

熊云皓 Yunhao Xiong(中国/CN)

戴光郁 Guangyu Dai(中国/CN)

朱久洋 Jiuyang Zhu(中国/CN)

Barbro Raen Thomassen(挪威/Norway)

Alfred Vaagsvold(挪威/Norway)

Oscar Furbachen (瑞典/Sweden)

Katharine Dowson (英国/UK)

Roger Wagner(英国/UK)

Deborah Tompsett (英国/UK)

Alastair Gordon(英国/UK)

Straka Jiri(捷克斯洛伐克/Czechoslovakia)

媒体支持 Media Supports

雅昌艺术网  Artron. Net 

中国美术报  China Art News 

艺术市场  Art Market

东方艺术大家  Oriental Art·Everyone 

新浪当代  Sina Contemporary Art Channel

环球时报  Global Times 

收藏  Collections


亚洲艺术  Arts of Asia

艺术商业  Art Trade Journal

收藏投资导刊  The Collection Investment Guide

艺术中国  Literary Life(Art China)

Announcement Tue, 29 Jan 2019 09:02:48 +0000 2019 is going to be a year full of new energy at TCG Nordica! Firstly, we will close our center at the Loft from Jan 31st. Soon after the renovation is finished, we will open our new space that is situated at the second road of Rain Town. After the opening, our new center will continue to offer high quality activities as always. The design of our new center has a Scandinavian feel, and a Swedish architecture and a Norwegian artist cooperatively created it. They share the conception of keeping zero distance between art and audiences. Moreover, they created even more possible spaces for all kinds of art forms. Providing a comfortable and tidy atmosphere is a high priority. Parking will not be a problem at all by the new place. However, you should come and experience the atmosphere of the new Nordica, and see for yourself!

Please keep following our media platforms for new updates! All weekly events will contemporarily stop.

We wish you a Happy Chinese New Year!

Outrageous, like a painting. Thu, 20 Dec 2018 10:38:31 +0000

Curator: Luo Fei
Artists: Fredrik Fermelin, He Libin and his students from the Yunnan Arts University

Opening: 8pm, Dec 28th, 2018
Exhibition Time: Dec 28th 2018 to Jan 7th 2019 (Sundays Close)
TCG Nordica Culture Center, Chuangku, Xibalu 101, Kunming
Organized by TCG Nordica and Oilpainting Department of Yunnan Arts University
Live Music on the opening: Eilev Stoveland Dekko, Fredrik Fermelin

Outrageous, like a painting.
text: Luo Fei
editor in English: Sanne Raabjerg

Painting is probably one of the most intimate and vexing things in the art world today. It always provides stories about itself. These stories set a lot of road signs for later painters. Sometimes, it heralds some sort of end, and sometimes it heralds a return. More frequently, it is just an ancient game that makes people feel like they can continue on their paths. For many painters, painting is just a matter of their own interest, and the continuing growth of their vision and craftsmanship is fascinating, and nothing more.

But painting today is no longer the wild land of artists. Today’s artists are not only facing painting itself, but also the entire art world. People go from looking for breakthroughs, in the methods of painting, in the way of seeing images and in the performative part of painting, to painting the possibility of “painting a painting” and to painting the matter of “painting”. This does not only make “painting” more complicated, but it also makes “seeing paintings” more complicated, since they are no longer as intuitive. The task of painting is no longer just to represent or express something, but to provide different possibilities in “painting” and “seeing”. Correspondingly, this is the starting point of our exhibition today.

Fredrik Fermelin, an artist who graduated from the Royal Academy of Fine Art in Sweden in 2015, came to TCG Nordica in September as an artist in residence. Here, he spent three full months focusing on painting. Before that, he mainly engaged in performance, installation, video and digital media, etc. Fermelin’s concept of painting is related to image generation in gif format. Two seemingly similar images are juxtaposed, and the audience themselves associate their correlation, similar to the method of making film montage. However, he just makes two paintings juxtaposed in space, not in time. Although he strongly denies that his paintings are related to the expressionist style, on the surface level they might seem to comprise expressionist tendencies, but that is not what he wants to pursue. He is more concerned with the potential constructional relationship between the pictures.

He Libin’s painting practice in recent years combines the way of performance art with blind painting. In the middle of the night, he paints his impressions and feelings on a large-scale canvas, both indoors and outdoors. In his practice of blind painting, painting, an art form with a long history, is forced into a critical state: Between visible and invisible, between known and unknown, between painting and non-painting. The only thing that can be identified and continually confirmed is the artist’s own existence and self-growth in the vast natural environment. This confirmation is accomplished through inner dialogue and contests in the long-lasting darkness. This turns the painting process into photography development: Developing it in the dark, watching it in the daylight.

He Libin’s and Fermelin’s paintings are very similar in style. They both use expressionism to paint landscapes, and they both provide an unconventional “seeing” experience. He Libin deliberately paints what he has seen when he cannot see; therefore, only time will show the final appearance of the painting. Fermelin’s juxtaposition in space of different paintings, creates uncertainty and dissimilarity in the paintings themselves and in the seeing of the paintings. They both paint in the most intuitive way, but at the same time they create paintings that can be seen on multiple levels.

For this exhibition, more than forty students from Yunnan Arts University participated in He Libin’s short-term expressive painting course. They combine their paintings with the practice methods of action painting, in order to discuss how paintings can be. Fredrik Fermelin, He Libin and the students present us with such a communicative exhibition about “Paintings Behind Paintings”. Here, I have just named it “Outrageous, like a painting”.

The 15th annual TCG Nordica Christmas Fair Fri, 23 Nov 2018 00:59:44 +0000

Please bring your family and join us for

The 15th annual TCG Nordica Christmas Fair .

Theme for this year :

Family-life’s greatest blessing

Time :

17:00-21:00 Dec. 7th,2018

10:00-18:00 Dec. 8th,2018

Address : Xiba lu No. 101, TCG Nordica ,kunming

Tel: 0871-64114691

There will be children’s activities(cookie decorating, story telling, face painting, kids land)international food, pictures with Santa, shopping, family photos, performances and fun for all ages to celebrate the Christmas season.

This year there will be a special presentation from a guest speaker to teach us about the blessings of children and families at 6 pm on Friday and noon on Saturday.

Alfred Vaagsvold: SEE AND BE SEEN Wed, 14 Nov 2018 14:10:23 +0000


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)

Monica Dematté: Thirty Years of Chinese Contemporary Art Wed, 07 Nov 2018 01:17:02 +0000

Monica Dematté
– Thirty Years of Chinese Contemporary Art


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 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.

Photos from the evening at TCG Nordica: