Oma Has Completed the First Part of the Refurbishment of Ucca Center for Contemporary Art

Qiu Zhijie

"Mapping the World Projection"——All of the Objects Series

2015-2017

Ink on paper

From Jan 19 to May 5, 2019, UCCA presents "Qiu Zhijie: Mappa Mundi," the first exhibition afterwards a complete architectural renovation of UCCA's Main Hall designed by OMA, and the almost comprehensive presentation of the creative person's "Mapping the World Project" to engagement. The exhibition includes 24 large-calibration, ink-on-paper maps from the artist's All of the Objects Series (2015-2017); besides as three curatorial maps that the artist devised in the last iii years. The exhibition too includes several freestanding objects, similar Isms at the Stop of the Globe (2016), three video artworks depicting Qiu's creative process, an AI software work, and, notably,Map of the Art Globe, a ix-by-10-meter wall painting devised specifically for UCCA'south newly renovated atrium.

Nearly a decade ago, in the catalogues for his exhibitions, Qiu Zhijie (b. 1969, Zhangzhou, Fujian) began to plot out intricate maps of the relationships among his various artworks. It was from this synthesis of inquiry, writing, imagination, and action that theMapping the Earth Projection was born. In the hundreds of maps that have followed, the ink and brushwork of landscape painting outlines a coordinate organization which condenses ideas, individuals, objects, incidents, and situations, weaving them together and offer a possibility for understanding them in relation to each other.

Trained as a printmaker, and an early pioneer of conceptual photography and video, Qiu is a prolific writer, curator, and educator. The cardinal question of his fine art since the early 1990s, and his pedagogy since the mid-2000s, is how creative work can arbitrate in daily life, supervene upon received ideas, demolish clichés and stereotypes, and achieve a new marriage between art, life, and social practice. With these maps, he shows what drives his ambitious answers to this question: expansive learning, likewise every bit his teacher's urge to deconstruct and reassemble ideas for further consideration and word. In each, he uses the pictorial conventions of cartography and mural painting to chart geographies that embrace history and philosophy, retention and gossip.

Created for the 2022 edition of the Singapore Biennale, Map of Maps depicts the artist's inquiry on cartographic engineering. This mythopoeic take on the history of human exploration begins with the Heart Ages and encompasses the development of mapmaking in unlike countries, the Historic period of Discovery, Zheng He's voyages, and other landmark moments in the history of geography. All of the Objects Series consists of 24 maps that form an inventory of worldly objects. In producing this series, Qiu investigates fields every bit varied every bit folklore, politics, historiography, and anthropology. He combines different methods of organizing information, fleshing out his mind maps with traditional Chinese landscape painting, calligraphy, and information languages of the post-internet age. Map of Memories was outset presented at UCCA'southward 2022 exhibition, "Practice and Exchange: An Exhibition of Chinese Gimmicky Art." This grouping of artworks explores the techniques and politics of retentivity. The "archipelago" on the left investigates processes and methods for producing memory, different categories of retentiveness, and emotional states linked to retentivity; the "archipelago" on the right explores the relationship betwixt individual, collective, and national memories, besides equally the roles memory plays in political mobilization and historiography.

Isms at the End of the Globe is a series of 28 installations—each a map spread on a tabular array—and forms some other archipelago, arrayed across the exhibition space. Visitors can walk among each object, every bit if shuttling between different schools of thought. Unlike the ink-on-newspaper artworks, these maps apply an aboriginal Chinese ink rubbing technique traditionally used to copy the surfaces of steles and ceremonial vessels. In his early years, Qiu trained in calligraphy and seal carving; for him, they serve as both artistic technique and cultural inheritance. Map of the Art World, created specifically for "Mappa Mundi," is Qiu'south latest in a series of site-specific murals, offering a concise history of China'southward art world since 1989. The work is suffused with the artist's wry sense of sense of humour and his poetic sensibility, from the naming of geographic elements to the surprising arrangements of space.

Qiu has besides produced curatorial maps for various exhibitions. He created Why the Functioning for an exhibition of the aforementioned name that he curated at the Ming Contemporary Art Museum in 2016. Information technology outlines the history of performance, its various styles and theories, its political implications, and the performativity of modernistic social roles. Map of Continuum, similarly, is a curatorial map prepared for the Chinese Pavilion of the Venice Biennale. The map'due south outline resembles a diagram of a taijitu, more commonly known as yin and yang in Chinese cosmology, and the spatial details are based on terrain of Venice—even the bridges are modeled on real Venetian architecture. "Mappa Mundi" marks the commencement time the ink version of this piece of work has ever been exhibited. Map of "Art and Prc after 1989: Theater of the Globe" was commissioned by the Solomon R. Guggenheim Museum for the eponymous exhibition. It offers an overview of the development of Chinese contemporary fine art. On the upper part of the map, the artist depicts a mountain range that represents changes in Red china's political thought over the past twoscore years. On the bottom, another mount range traces the winding course of globalization. These two mount ranges class a sociopolitical frame for the convergence of rivers at their heart, which symbolizes Chinese gimmicky art.

The exhibition also includes a ready of films and interactive programs. Wall Project Slideshow condenses Qiu Zhijie's "Maps" series into a single video; Mind Map Animation portrays the cosmos of Qiu's mind maps. JD AI Map Generator, born in the collaboration between Qiu and JD AI Research'southward He Xiaodong, is an AI program given a list containing tens of thousands of words taken both from Qiu'southward artistic vocabulary and from JD's ain database; researchers accept applied existing linguistic information to plan the AI'south operating logic, and the creative person has so used one of his own mind maps to teach the software creativity and humour. As audiences speak or input sure words, the program generates, associatively, a map in Qiu Zhijie'south style that incorporates landscape and image elements that run throughout his work.

Qiu believes that map-making produces "sensation" rather than "understanding." The narratives in these maps are rooted in life, appealing to the sensorial, exploring lost meanings and hidden connections that lie exterior of history and common cognition. The exhibition is thus less a collection of finished work than a presentation of a constantly expanding, open experiment. Through the diverse cultural relations found throughout this terrain, Qiu offers united states of america a set of tools to understand our own thinking and creativity against the fraught background of the present.

Virtually the Exhibition

UCCA thank you its strategic partner Aranya for supporting "Qiu Zhijie: Mappa Mundi." This exhibition includes a series of related public programs, which permit participants to respond to Qiu ZHijie's creative practice; they are presented, performed, or curated by the dancer Hou Ying, He Xiaodong of JD AI Inquiry, and the artist himself.

Well-nigh the Artist

Qiu Zhijie (b.1969, Zhangzhou, lives and works in Hangzhou and Beijing) graduated from the printmaking department of China Academy of Art in 1992. He currently serves as dean of the School of Experimental Art at Communist china Central University of Fine Arts and professor at the School of Inter-media Art at People's republic of china Academy of Art. His major solo exhibitions include "Journeys without Arrivals" (Van Abbemuseum, Eindhoven, 2017); "Qiu Notes on the Lantern Festival Project" (Museum of Contemporary Art of CAA, Hangzhou, 2015); "The Unicorn and the Dragon" (Fondazione Querini Stampalia, Venice, 2013); "Qiu Zhijie: Twilight of the Idols" (Haus der Kulturen der Welt, Berlin, 2009); and "Qiu Zhijie: Breaking through The Water ice" (UCCA, Beijing, 2009). Recent group exhibitions include "Art and China later 1989: Theater of the World" (Solomon R. Guggenheim Museum, 2017-2018); and "Bentu: Chinese Artists in a Time of Turbulence and Transformation" (Fondation Louis Vuitton, Paris, 2016). He has participated in the Gotenborg Biennial (2013), the China Pavilion of the 48th Venice Biennale (2013), the Yokohama Triennial (2005), and the Sao Paulo Biennial (2002, 2014). His curatorial credits include: "Image and Miracle," Cathay'due south first dedicated exhibition of video fine art (Hangzhou, 1996); "Post-Sense Sensibility," a landmark series of underground exhibitions between 1999 and 2005; the 9th Shanghai Biennale (2012); and the Communist china Pavilion of the 57th Venice Biennale (2017).

Download "Qiu Zhijie: Mappa Mundi" press release.

Ticketing：

Please scan the QR code to purchase tickets.

*Outcome tickets may not be returned or exchanged.

*From March 7 to x, 2019, part of the artworks from "Qiu Zhijie: Mappa Mundi" will be covered; during this flow, visitors can view the multimedia project, "Urban Spectrum," located in the same infinite. Give thanks you for understanding.

driverexameste.blogspot.com

Source: https://ucca.org.cn/en/exhibition/qiu-zhijie-mappa-mundi/

Share this post