TCG Nordica http://en.tcgnordica.com Stimulating reflection on human worth as expressed in various Art Forms. Fri, 17 Nov 2017 07:04:04 +0000 en-US hourly 1 https://wordpress.org/?v=4.9 Janeric Johansson:Pictures of Hope http://en.tcgnordica.com/2017/janeric-johansson-2/ Fri, 17 Nov 2017 07:03:02 +0000 http://en.tcgnordica.com/?p=7886

DETAILS

Artist: Janeric Johansson

Time: 2017-11-17, 19:30 — 21:30

Ticket: Free

Tel: 0871-64114691

Add: TCG Nordica, #101 Xiba Road, Xishan District, Kunming


old picture:Sweden Family

ABOUT THE LECTURE 

Pictures of Hope – the Swedish who changed the history of China.

The Swedish artist Janeric Johansson will show us some of his art and tell us about Yangshao culture, the beginning of the Chinese history, and the swedish involvment in how it was found.This happend one hundred years ago and is one of many examples when east meets west in a positive way. We will get to know about Johan Gunnar Andersson a swedish scientist who made the discovery with the help of Maria Pettersson, missionary and a Swedish mother Teresa who saved the lifes of more than 3000 children.


Yang Shao Culture

 

About Artist

aneric Johansson

Janeric Johansson, Swedish. Born in 1950.He has been working as a fulltime artist for 49 years. Janeric is one of the most famous international artists in Sweden and had more than 200 solo exhibitions in 17 countries.

Museums/Collections:

Janeric Johansson’s artwork is represented by 35 museum all over the world.

National Museum, Stockholm Sweden – Malmö Museum and 15 other swedish museums.

Metroplolitan Museum of Art, Tokyo Japan

Israel Museum, Jerusalem, Israel.

Ulster Museum of Art, Belfast, Northern Ireland

Lillehammer Art Museum, Norway.

Svendborg Museum, Denmark.

Yangshao Cultural Museum, Mianchi, Henan, China

Waikato Art Museum, New Zeeland.

CIPB permanent Collection, Cabo Frio, Brazil.

General Mills Collection, USA

Musee Papier Paint, Rixheim, France

Archive for modern art, Nurnberg, Germany

Artworks from Janeric Johansson

WELCOME TO JOIN

 

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The 14th Annual International Christmas Fair http://en.tcgnordica.com/2017/christmas-fair-4/ Fri, 10 Nov 2017 09:16:44 +0000 http://en.tcgnordica.com/?p=7881
Christmas Fair Details
ORGANIZER: TCG Nordica Culture Center 

DATE:2017 Dec 1  Friday 17:00—21:00

2017 Dec 2  Saturday 10:00—18:00

TICKET: 5 RMB/ Person

BUS:#62. #95. #120. #A1

BUS STATION:Yong Le Lu Kou

ADD: Xi Ba Road #101,Chuangku,KM

TELEPHONE: 0871- 64114691

       

Christmas Fair Introduction

TCG Nordica hosted thirteen years of the Christmas Fair,This year TCG Nordica will host the 14th annual Christmas Fair again. Over 30 different vendors will help transform the venue into abustling Christmas market. They will provid a variety of products ranging from Christmas cookies and treats, an assortment of hand-made crafts, jewelry andmore. There are also dedicated food vendors providing coffee, snacks and meals from different cuisines.

There are also a variety of different performances on the stage on both Friday and Saturday. It is wonderful that the community that has formed around Christmas Fair each year can perform with song and dance, either it is traditional Christmas music or more exotic. It is especially positive that many youth are willing to contribute to making the Christmas Fair one of the leading events during the holiday season here in Kunming.

It is also important to set light on the Christmas Fair tickets and annual earnings of 5% will be used for public welfare and charity to benefit the weakest in our local society.

Christmas Fair Activities
1、Fair:Handrafts,Decorations,Jewel
2、Amazing performance during Christmas Fair3、Feast on International cuisine and coffee4、Meet Santa,Recording moment with friends

5、Different kind of children activities

Welcome join Kunming´s 14th annual international Christmas Fair in TCG Nordica!

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Invisible Planet – An Art Exhibition on Environment Issues http://en.tcgnordica.com/2017/invisible-planet-project/ Tue, 24 Oct 2017 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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Christmas Fair 2017 Vendor Application http://en.tcgnordica.com/2017/christmas-fair-2017-vendor-application/ Sat, 30 Sep 2017 06:42:59 +0000 http://en.tcgnordica.com/?p=7851 TCG Nordica has started preparation for Kunming´s 14th annual Christmas Fair
and the committee is inviting you to apply to join!

This year Christmas Fair will be held the first weekend of December; Friday 1st and Saturday 2nd.

 

Vendor application

Please read our guidelines before you apply and then send your information to: christmasfair@tcgnordica.com before Monday October 30th. Please write “vendor application” as the subject of your e-mail.

Vendor Applicatio

 

Charity application

We are looking for a non-profit charity organization to support. Every Christmas fair, Nordica gives profit from the Christmas fair to support an important humanitarian project. Please let us know if and why your project would like this support. Send your application to: christmasfair@tcgnordica.com no later than Monday October 30th. Please write “charity application” as the subject of your e-mail.

 

Professional Christmas greeting portrait/family photographer application

 

We are in need of a Christmas portrait photographer to take professional family photos.

What we provide:

A good space at Nordica (around 30 m2)

Around 3000 visitors that can be potential clients

What you provide: Equipment needed (including photography equipment and decorations for the pictures)

Your need to pay the same fee as all vendors and are expected to charge your customers. Please note that 5% of your income will be donated to charity same as for all vendors.

Please send a CV and some examples of your work to: christmasfair@tcgnordica.complease write “photograph application” as the subject of your e-mail.

 

Performers´ applications

We are looking for stage entertainment; local and foreign artists that are willing to donate their time to perform on our stage. Christmas themed performances are very much appreciated, but not necessary. Performers will get a free ticket to the fair.

Please send your application, including information about what kind of entertainment you can provide, to: christmasfair@tcgnordica.complease write“performer application” as the subject of your e-mail.

This is an opportunity to get good and free advertisement for who you are and what you do. We have an average of 3000 visitors during these days.

 

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Artists Roles/Artists Rules II http://en.tcgnordica.com/2017/artists-roles-artists-rules-ii/ Mon, 21 Aug 2017 04:03:39 +0000 http://en.tcgnordica.com/?p=7815

Artists Roles/Artists Rules II – China/Sweden Art Exchange Project (Station Kunming)

Initiators: Madeleine Aleman, Luo Fei

Curator: Luo Fei

Executive Curator: Wang Bei

Chinese Artists: Lei Yan, Luo Fei, Zi Bai, Xue Tao

Swedish Artists: Rikard Fåhraeus, Madeleine Aleman, Jannike Brantås, Ylva Landoff Lindberg

Opening: 20:00, Sep 9th, 2017

Performances on the opening by: Jannike Brantås and Madeleine Aleman

Exhibition Duration: 11:00-21:00, Sep 9th to Oct 8th, 2017, Sundays Closed

Host by: TCG Nordica

In cooperate with Studio 44 (Stockholm), City College of Kunming University of Science and Technology

Artist Talk:

Artists: Luo Fei, Madeleine Aleman, Rikard Fåhraeus, Jannike Brantås

Time: 7pm, Sep 7th, 2017

Location: Lecture Hall, City College of Kunming University of Science and Technology

About Artists Roles/Artists Rules

Artists Roles / Artists Rules is an exhibition on the artist’s mission, responsibility, duty and position in society- sometimes enforced, sometimes self-imposed. Each artist has worked individually from a personal standpoint on an individual basis as well as with the vision of how things ideally could be.

The origins of the project is the desire to explore and discuss the differences as well as the similarities in working conditions for artists in China and Sweden.

We have a desire to, through this exchange, as artists achieve greater awareness of each others lives and our respective communities.

The only common language for the participants in this project have been the imagery. The language barrier made written communication sparse and poor. Initially, we have communicated through short videos on a chat forum, a channel open and possible in a Chinese – Swedish communication. It has given us the opportunity to learn from each others. These videos have then been merged into a joint work on show in the gallery.

The exhibition features the collaborative video as well as individual video works, installations, collages, photographic works, drawings and documentation of performances.

The project part one has been hold at Studio 44 in Stockholm last Aug  and Sep, now ready to present the project part two at TCG Nordica, the 9th of Sep, 8pm, welcome!

Artists Roles/Rules Part I at Studio 44 in Stockholm, 2016

opening performance “am I a refugee?” by Luo Fei, Studio 44, Stockholm, 2016 (photo by Anna-Britta Sandberg)

 

Ylva Landoff Lindberg’s works

Jannike Brantås installation

drawing by Madeleine Aleman

Rikard Fåhraeus works

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[AiR] Open Studio- Samuel Nilsson http://en.tcgnordica.com/2017/air-open-studio-samuel-nilsson/ Mon, 07 Aug 2017 07:12:57 +0000 http://en.tcgnordica.com/?p=7802

Samuel Nilsson

PROFILE
I am currently working as an artist and as a teacher in art. I want to express my personal artistry
in combination with a pedagogy that concerns visual culture.

EDUCATION
2010 – 2015 Master of Science in Education, Konstfack, University of Arts, Crafts and Design, Stockholm
2008 – 2010 Gerlesborg Scool of Fine Art, Stockholm
2009 – 2010 Literary Studies (30) Linnaeus University, Kalmar
2005 – 2006 Pedogogy Studies (30) Linköping University, Linköping
2001 – 2002 Lunnevads folkhögskola (Fine Art department), Linköping

EMPLOYMENTS
2015 – 2017 Art Teacher, Kumla Junior high school, Stockholm
2014 – 2016 Teacher in Creativity, Ågesta folk high-school, Stockholm
2012 – 2014 Art Teacher, Tensta high school, Stockhom

SHOLARSHIPS
2009 Liljessonska, foundation schoolarship, Motala

EXIBITIONS
2015 What do Morphs Want? Group exibition at Konstack, Stockholm
2015 A Diamond is Forever, Group exhibition at Konstfack, Stockholm
2010 Social Construct, Group exibision at Gerlesborg, Stockholm
2011 A pyramid of sound, a sound installation with project Self I Sound Ö Gård, Mjölby
2002 A Study of colour, Group exhibition at Gallery Lunnevad, Linköping


Samuel Nilsson painting, Kunming, Oil on canvas


Samuel Nilsson painting, Kunming, Oil on canvas


Samuel Nilsson painting, Kunming, Oil on canvas

Pictures from Open Day

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LOST AND FOUND http://en.tcgnordica.com/2017/lost-and-found/ Thu, 22 Jun 2017 11:08:27 +0000 http://en.tcgnordica.com/?p=7776

Music and dance Drama

Three famous musicians who have been doing music more than 20 years  – Li Jiazheng, Wang Jianyun, Zeng Xiaogang, is committed to improvisation music, intended to feel the moment. Three dancers – Luo Yanjin, Li Guangliang, Chen Jia, they always dancing from the heart of the natural show of feelings, with the body dancing out of the real.

By the Norwegian AREOPAGOS institutions and the Swedish HYLLIE PARK People’s College invited and support, Those musicians and dancers just ended Denmark, Norway and Sweden tour .with the understanding of LOST AND FOUND, musicians will perform with Guqin, Bell, Sur, Li Luqin and other world music instruments, and three dancers’ deep meaning of the interpretation will be express by world music. which is quiet, distant and full of tension.
LOST AND FOUND 
Each of us continues to grow, has its own life trajectory, and when life has an involuntary change, we always lost. So,looking for the voice of the heart, is the main purpose to guide our direction.
These voices is the voice of life, which is full of happiness, but also exposed the voice of life.
We are looking for the voice of the life , But also Lost in the world that we are pursuit. Then we need relying on this voice to find the direction once again.

Because of the search and into the world, because of the world and confused, due to change and confused, in fact, as long as you have been able to hear this sound, we will be able to find the way home.
Home is not in the far away place, but where you believe.
because,
Home is in your heart where you feel warm and calm.
Denmark, The red sky warm the musicians and dancers heart

 ABOUT MUSICIANS AND DANCERS
 MUSICIANS

 JIAZHENG LI
Born into a musical family. Began studying violin and piano with parents at age 4.
1997,admitted into the Toronto Royal Conservatory of Music.
1998, formed the first jazz trio in Yunnan “Gene.”
2003, traveled to Vienna to study jazz piano and composition (direction of major: film score).
2011, invited to attend the Master Class in Composition at the Beijing Contemporary Music Academy.
2013,formed the jazz trio “ShengQiaoMing Trio,” invited to perform at the Beijing 9 Gates International Jazz Music Festival.
2015, studied shakuhachi atthe Tozanryu Shakuhachi Foundation in Osaka, Japan;
2016, began performing ambient music.
Instruments: Shakuhachi,lyre, Nara flute, Native American flute, singing bowl, piano
 XIAOGANG ZENG
Zeng Xiaogang  is interested in the diversity of world instruments and world ethnic music, specializes in the Guqin (seven-stringed Chinese zither). graduated from the Academy of Music at the University of Gothenburg with amajor in World Music. Currently resides in Sweden.Zeng Xiaogang places the Guqin in its own pure, definitive realm. He takes a balanced path that harmoniously integrates the intention of the music, the essence of the instrument, and the true nature of the musician. It is a path of devotion that continually explores the aesthetics of the Guqin. The instrument acts as amirror to reflect the breadth of life: joy and pain, the perfect and the flawed. Being with the instrument is an encounter with the self; playing the instrument is a process of embracing the essence and letting go of the rest.The string must be one with the finger, the finger must be one with the music,and the music must be one with the intention – though many have expounded onthe importance of this the oretical approach, few have truly understood the essence of the message. Zeng lives his life as a journey through music; as aresult, all the stages of his life have thus culminated into the musical nature that he embodies today.
JIYUN WANG (“HANYING”)
Independent musician.Born in Yunnan, studied classical music (cello) since an early age.
Promoting the return to a peaceful and respect relationship between human and nature.
Long-term explorer in diverse fields of world cultures and music. Focused on collecting field recordings and concurrently, developing own creative process; specializesin creating handmade world instruments and inventing new instruments; dedicated towards the discovery of sounds and live improvisational music. Collaborated with members of different artistic fields. From 2007-2015, produced andpublished various musical works, including solo albums”Door”and”Growth.”

DANCERS
 Luo Yanjin
Has graduated from the Chinese Art University, Majoring in Chinese Dance Professional, Then was studied in Yunnan Art Academy Dance Director Professional, 2013 She was recommended by TCG Nordica to Denmark Ollerup International College to learn modern dance, Got international coach qualification certificate, during the school she was “the most Good dancers “awards. she joined many International Dance Festival. Three choreography and participating in TCG Nordica CCAM Nordic tour project.
Li Guangliang
Li Guangliang’s dance steps revealing handsome self-expression, his dynamic and rhythm very appealing. Good at Chinese dance, jazz, HIP HOP and contemporary dance, Now he is the incumbent artist of the Shenzhen Performing Arts Company, he was invited to join Europe for art exchange performance many times, with the Nordic famous artists on the same stage and get the audience and the artists love. This time, on behalf of TCG Nordica to participate in CCAM Nordic tour.
Chen Jia
Chen jia has been blessed by the dance, but also hope that through the dance to bless more people. Good at Power Jazz, Hip-Hop Jazz, Lriycal hiphop, Contemporary, Urban Dance and Chinese classical dance. Under the tutelage of Koharu Sugawara (internationally renowned choreography), Huang Xiao. she was invited to Denmark, Sweden, Norway and other countries for dance exchange and  learning performance. Has served as the Yunnan Academy of Arts Dance School jazz dance teacher; incumbent TCG Nordica LC Dancer studio Manager, got the Sports General Administration jazz dance coach qualification certificate.

 DETAILS
日期/Time :2017/6/25   20:00
预售电话/Tel :0871-64114691
网址/Website :www.tcgnordica.com
票价/Ticket :
预售/Presale—- 120 RMB / Person
现场/At Door —- 150 RMB / Person
学生/ Student —- 100 RMB / Person
儿童/Kid —- 60 RMB / Person( 6-12 y/o)
微店/WeChat: tcgnordica
地址/Add :昆明市西坝路101号TCG诺地卡文化中心
TCG Nordica Culture Center,Chuangku,Xiba Road NO.101.Kunming.


  THANKS
    
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Descending Movements http://en.tcgnordica.com/2017/descending-movements/ Wed, 21 Jun 2017 10:38:18 +0000 http://en.tcgnordica.com/?p=7737

Descending movements
Artist: Sveinung Rudjord Unneland / Norway
Author: Andreas Vermehren Holm / Denmark
Opening: 2017-6-24, 15:30
Duration: 2017-6-24——2017-7-1
Address: TCG Nordica, Xiba Road 101#, Xi Shan District , Kunming

Visual artist Sveinung Rudjord Unneland and writer Andreas Vermehren Holm presents Descending movements, a collaborative artwork elaborating on the Anthropocene, bodily degradation and creaturely worth. The exhibition contains both photographic images, drawing material, sculptural work, installations and written text. The exhibition is commissioned by TCG Nordica and produced in Kunming, June 2017.
Opening: 2017-6-24,15:30
Duration:2017-6-24——2017-7-1
Welcome!

Exhibition site at TCG Nordica:


Andreas Vermehren Holm, Wang Bei, Sveinung Rudjord Unneland and Luo Fei

On the artist

Sveinung Rudjord Unneland (born 1981) is a norwegian artist based in Bergen, Norway. His work is usually concerned with questions of how artworks inhabit the space in which they are presented, and how they are shaped in and by this concrete dialogue. He often lets specific situations, such as geographical conditions or restrictions imposed by architecture or social context, play a vital role in developing the work.
At the centre of Sveinung Rudjord Unnelands artistic creation lies the practice of painting. From this point of departure he ventures into a wide range of experiments with materials, forms, volumes and artistic strategies. Central to the methodology of the work is the combination of sculptural elements, video installations, and graphical works, that all together develops a tension between the different elements put into play. Sveinung Rudjord Unneland holds his BA and MA degree from the Academy of Arts at the University in Bergen and from 2007. He has presented his artworks mostly in Norway at LNM, Entrée, Hordaland Kunstsenter, Lautom Contemporary, Kunstnerforbundet, Tag Team Studio, Kristiansand Kunsthall, Waterside Contemporary, Høstutstillingen and KODE.


Pictures from the exhibition “U.T – Self-portrait as a dummy”, at Entree, Norway, 2012


Pictures from “Palinka Pastorale” HKS, Norway, 2010

On the author

Andreas Vermehren Holm (born 1988) is a danish author, translator and editor based in
Copenhagen, Denmark. He has published several volumes of poetry in which he elaborates on
cultural evolution, the anthropocene and creaturely poetics. In his work creation is composed of a lowering of oneself, identifying with affliction and powerlessness rather than strength and omnipotence. In this perspective the gift of our wounds are the very tools we need in order to relate to the beings that continuously refuse to serve as ends. Vulnerability and creaturely indebtedness serves as tools capable of withstanding any dry theorisation about the hopelessness of the world.
Andreas Vermehren Holm holds his MA and Diploma in Literary Composition, Poetry and
Prose, from the Art Academy of Gothenburg, Sweden. Visit: www.Andreasvermehrenholm.dk

Pictures of Andreas Vermehren Holm’s works, 2016

On the collaboration

In 2016 Sveinung Rudjord Unneland and Andreas Vermehren Holm co-published The Darkening on Lord Jim Publishing in Norway. The book was based on Sveinung Rudjord Unnelands major exhibition Neo Compressions and a shared visit to Greece in january 2016, documenting the democratic center of Athens, Syntagma Square, in relation to the vast number of human refugees in Europe 2016. The Darkening tackled questions of receptivity and creaturely worth, striving towards an ontological subversion where the desperate situation of the refugees in Europe and the middleaast was transformed into a unique opportunity for the west to face the crisis of their own helplessness and to care for this fundamental condition in a conscious way.
They further developed this collaboration in Tag Team Studio in Bergen, Norway, november
2016, where Sveinung Rudjord Unneland reconstructed Syntagma Square in the gallery space, stacked and disrupted, and combined it with elements of text by Andreas Vermehren Holm that tackled questions of unbearable unreality, dizziness and emotional distance.
In this work, Descending movements, they further develop fundamental questions on bodily creatures as an integrate part of nature; on certain bodies that constitutes the ‘burning class’ of society; the inherent limits of change and what to do with them. What is the relationship between our bodies and the world? Should we change it? Can we change it? In order to answer these questions, we must necessarily turn to something other than ourselves.


Pictures from the exhibition “Neo-compressions” at Kristiansand Kunsthall, Norway, 2016

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[AiR] Lauren Redican http://en.tcgnordica.com/2017/artistinresidency-lauren-redican/ Thu, 15 Jun 2017 06:43:28 +0000 http://en.tcgnordica.com/?p=7729

Lauren Redican

New Zealand visual artist who works in a range of different mediums: drawing, video, sculpture,
philosophical poetry, photography, and art publications. Her work is often conceptually driven with attention to formal details. Her practice involves research, experimentation and play.
She from April to June residence in TCG Nordica and do research and practice in here.

-Interview-

TCG Nordica: You have been living in New Zealand to Kunming for two months now. Can you talk about how it feels to live here?
Lauren Redican :
Kunming has been a really interesting city to get to know. It has a great vibe – a strange mix of being quite laid back and relaxed, while also somehow chaotic and spontaneous. Every day has been an adventure!

TCG Nordica: And what about the Kunming art scene?
Lauren Redican :
Although I’m beginning to understand aspects of the art scene here, I am still very much like a guest. Two months is such a short time really.
The art scene here is rather dispersed, and faceted. The painting scene is dominant – a primary medium within tertiary art-education here. Traditional practices like calligraphy, woodblock printing and ceramics also play a prominent role. I’ve experienced a small yet impassioned performance art scene during my months here (although this type of creative practice isn’t supported/taught by formal institutions and universities, artists such as He Libin and Luo Fei have worked over the years to develop and cultivate this kind of work amongst younger artists).

TCG Nordica: In New Zealand, aside from doing art you also have a formal job. How do you balance art and paying the bills?
Lauren Redican:
It’s always a juggling act! Since finishing my MFA, I’ve tried to only work part time – primarily working for a residency programme run by Massey University (Te Whare Hēra Wellington International Artist Residency), but also teaching. I make sure to have time each week for concentrating on my own creative practice, either producing new work or writing out proposals and applications.

TCG Nordica: Nowadays, artist in residence programmes are popular all over the world. What do you think the significance of this is?
Lauren Redican :
There are different reasons that contribute to a need to uproot yourself from your normal environment; education, experimentation, developing new relationships. Sometimes seeking to be challenged, sometimes to challenge, to get lost, to experiment, to fail.
I think the best programmes are those that allow for enough time to understand and connect, to get inspired and to change one’s mind.
There are certainly different ways to approach being an artist in residence, different positions you can take. At the beginning of a residency, there is always the question “what is the role of the artist?” and “what strategy should be employed?”
In my experience, undertaking a residency always brings about certain kinds of thoughts. You’re a guest, first and foremost – and this is often something that has to be carefully negotiated. A residency is a crossing of thresholds both physically and also mentally. I find myself thinking about language, mobility, temporary homes (hotels, motels), the dynamics of guest and host relationships, the 30 or so kilograms of luggage you’re able to bring with you: a finite number of pants, shoes, shirts, hats.
Sometimes it’s hard to overlook these conditions. It often becomes part of the work in itself.

TCG Nordica: What is the most attractive thing for you about Kunming?
Lauren Redican:
One of best things has been meeting some really interesting people; from around China, as well as places like Denmark, Norway, Sweden, Bangladesh, USA.

TCG Nordica: Please talk about the works and ideas you’ve made in Kunming.
Lauren Redican:
My time in Kunming is the initial stage of a larger 7-month project based in China. After Kunming I will travel to Beijing, and then Chongqing. I’ll have a solo exhibition at Organhaus gallery in October.
I wanted to use my time here in Kunming to absorb and learn a bit about my new context. I’ve read a lot, and made a lot of drawings, photographs and writings. Most recently have been working with a Chinese ceramicist in a nearby suburb.
My time here in Kunming came with no expectation to produce a set body of work, and I’m really lucky to be able to have used this time to explore in an organic way. This flexibility, or “a time without quality”, has allowed me time to immerse myself in research and explore new practices.
Many people don’t speak English in Kunming, so from the get-go it became evident that language would be an important aspect of my experience – not only in my everyday life, but also in my work. I actually came to China with a pretty solid idea about what I wanted to do with my time here, but within the first few weeks I realised how much ideas around language and communication (and miscommunication) were having an impact my work and thinking.
I’ve dedicated a lot of time to learning Chinese, which has allowed me to speak to a range of different people within the city. This has been one of the hardest yet also the most rewarding aspects of the past months. Life has become so strangely poetic! It’s been extremely difficult yet interesting having such a limited range of communicative capabilities. For instance, when you know the word for ‘bowl’ but not ‘bucket’ – you just have to make do.
Every day I’ve been writing a text-piece in Chinese, and this routine is a really interesting process – trying to express myself with such a limited set of possibilities. I’m often trying to say something specific, and going about it in a really roundabout way, or find myself mid-sentence changing tactics altogether.
One of my favourite writers Avital Ronell, writes about the body in pain. She says that when the body is working well, and functioning properly, it is kind of rendered invisible. You aren’t really aware that you have a body until it’s not functioning properly.. then it’s like – oh I’m so aware of having a body right now.
I’ve thought about this a lot. And I think that this is really relevant in relation to language. You become so aware of language (spoken or written and also – body language) when you can’t understand it.


Lauren Redican, Work in progress,lines from people I meet,Kunming,2017


Lauren edican, Visitor work in progress, Kunming, 2017


Lauren Redican, Work in progress, Daily texts 18, Kunming


Lauren Redican, Work in progress, Daily texts 9, Kunming

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Wake Up Dreaming— Bai Xuejuan http://en.tcgnordica.com/2017/wake-up-dreaming-bai-xuejuan/ Fri, 09 Jun 2017 08:50:40 +0000 http://en.tcgnordica.com/?p=7721
Wake Up Dreaming— Bai Xuejuan

Curator: Wang Bei
Art Director: Luo Fei
Academic Host :Sun Guojuan

Opening:2017-5-27 20:00
Duration : 2017-5-27 ——2017-6-17
Address: TCG Nordica, Xiba Road 101#, Kunming


Forest NO.12 Oil on canvas 80×60cm 2016


Handmade variable size

Forest Oil on canvas 73×60cm 2016

Painting Makes the Soul Visible (excerpt)

By Luo Fei
On a number of palm sized notebooks, a great many variety of colorful patterns filled the pages. There appear to be some traces of natural growth. One of the covers reads: I’m afraid of waking up, for the dream would be gone. The one who didn’t want to wake up from her dream is Bai Xuejuan, a painter from Yunnan and is now living in Gejiu, a small city in southern China only about 200 kilometers away from Vietnam. She’s a high school teacher there. However, she’s been painting about Nordic islands in recent years: places where human beings are few, forests deep, and iced rivers flowing.
This is due to the residence program that Bai joined in the Nordic Watercolor Museum between February and April 2011 in Sweden. For this three months program on Tjörn, she witnessed how the ice melted in Scandinavia, and the rigid winter changed to the warm early spring. She spent these whole three months in her cabin next to the Pacific. Two diaries were jotted down and countless watercolors painted. And only a few new friends visited her occasionally. The minimalism manifested naturally around her in Northern Europe began to fascinate her. Even back to the mountains of Yunnan, those images related to the Tjörn kept coming back to appear on her paintings. I can feel the characteristic transparency unique to the Nordic in both her watercolors and oil paintings, light and thin, loose and soft. The free-flowing in her paintings is reminiscent of Edvard Munch. Just that one doesn’t sense the desperate darkness, but the bright and poetic flowing.
For Bai Xuejuan, cultural collision and blending are external and concrete, and she does not study art as a cultural matter. When it comes to art, by following the experience deep inside of her heart, she’s been continuously recording like diaries the trajectory of her inner feedback on life, surroundings and her own feelings. She captured in her paintings those moments like cruising the sea, walking in the night or strolling aimlessly. Those are the times that the burden of reality was kept at a distance, and the ones for thoughts and drifting away. To drift is both for the soul to breathe and to escape.
Rather than delving into the texture of a particular piece of leaves or a stone on the ground, Bai does not regard the world as a stable substance, but a series of flowing, breathable and free forms. Going up and down, they are plain and simple, yet grow like a poetry. They are as free as if one falls into a trance. At this very moment, painting makes the soul visible.

Cruise Diary watercolor on paper 10×10cm

Falling in Love with Painting

– by Sun Guojuan

It was about two or three years ago that I saw Bai Xuejuan’s paintings for the first time, and I’ve been deeply impressed by her talent since. It seems that she has never had any problem to paint or to express herself. Her color is unusually elegant, she always paints with thin oil and light color. The objects we see in her works are no longer those in real life, they are images filtered by her heart. Her paintings are both warm, mild like the ink paintings and free, unrestrained like the oil paintings. Bai’s paintings are mostly landscapes, some are desolate, cold wildernesses with the wind blowing through, and others about being alone, and one can easily perceive the loneliness in life. At the same time, she is fascinated by anything around her, be it a window or a chair. More often than not how I would like to live in those beautiful places she painted. They are the ones people are yearning for, where they can dream and rest.
In retrospect, looking at those paintings that Bai has created from the time she graduated from the University, in a short period of six or seven years, the buildup and progress in her works could really make people like myself feel ashamed and jealous. Looking at her paintings, I always wanted to go and see how she did them. I am so curious that how a painter – who has been pushed forward by passion and the desire to expression – could work wonders as these. If you have chance to appreciate the works of Bai after her graduation till now, you will find out that paintings have taken a big part of time in her life, and of course you can tell that painting has always been the love she’s faithful to.
Female artists are the ones I’ve come to spend a lot time with. In my eyes there is always the beauty in them that is so clean and pure, and the aura over their heads so flickering like the flowers bestowed by the Heaven.


Landscape NO.112 50×28cm Watercolor on paper

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