CEAC - ROLLING SNOWBALL 4

Press Release

Rolling Snowball/4 – Quanzhou
Opening: Sunday December 1 at 4PM, 2013
Duration: December 1 till 28, 2013
Open: Monday till Sunday 11:00 till 21:00
Venue: 2nd Floor Youshow Space, Building 7 LS Wonderland Lotte Square, South Citong Road, Fengze District, Quanzhou, China
T/F +86(0)595 28667777 www.ceac99.orgwww.1showing.com

Rolling Snowball/4 is an international visual art exhibition that presents the works of thirteen visual artists from different parts of the world that have conducted research, produced work and exhibited in many countries. This cultural exchange and collaboration has enriched the respective cultural ideas and senses. This helped them to sharpen their perspective on art and redefine their relationship to art in their home country.
The CEAC was founded by Mrs.InekeGudmundsson from the Netherlands and Prof. Qin Jian of the Xiamen University art college in 1999. CEAC is a non-profit art center with an artist–in–residence program open to visual artists, architects, (fashion) designers, curators, composers and writers. The art center’s exhibition calendar consists of ten to twelve shows annually, with supplementary programs including lectures and workshops, outdoor video and film festivals, and concerts.
With the exhibition Rolling Snowball/4 in Quanzhou, CEAC would like to share and discuss the past and future exchange and collaboration with the people of the creative cultural company Live Show Wonderland.

Artists Statements:
Ann Noël (UK/Germany)GIVE AND TAKE A project by Ann Noël, artist-in-residence at the CEAC in Xiamen from September 16 -- November 16, 2013.In English the expression to 'give and take’ has the meaning that one must be more tolerant of another person to make a friendship work.In this exchange between me and people I meet in Xiamen, I want to have a talk on a one to one basis and find out a little bit about what is important to them in their daily lives. I shall ask them to exchange a small object of personal value -- a souvenir, a talisman, akeepsake -- for a postcard of mine with a signed statement acknowledging their participation in the project. I'd like them to tell me the story behind their object. There will be recordings of our conversations and the stories, with photos of the objects, will be documented in a book.

ArniGudmundsson (Iceland/The Netherlands)
ArniGudmundsson is a Stockholm-based artist working in a variety of mediums--from sculpture to photography, performance, and drawing. Taken from an upcoming exhibition in December 2013, the works on display in Quanzhou are part of a larger installation entitled, “Living Room”, which was created while in residency at the Chinese European Art Center in Xiamen. Artists-in-residence seldom have all of the tools or workspace they are accustomed to in their home environments. This means the artist-in-residence is removed from his normal process of idea creation and production.For Gudmundsson, the development of ideas happens not in his studio, but while sitting on the couch in his living room. In an attempt to develop this creative living space away from home, the artist assembles together sculpted furniture and decorates the walls with his own drawings. In Quanzhou, a few individual personal artifacts from the complete installation are presented with an eye towards personalization of, and identification with specific objects.

BjørnNørgaard (Denmark)
Because of their new approach to subject matter, the artists of the Renaissance were the first 'free' artists, in our sense of the word, to break with the traditional role of the artist.
When artists in the 17th and 18th century began to cast classical sculptures andarchitectural elements at the academies, these forms were simultaneously liberated from their social and representative context. The forms were studied as autonomous objects and through sketches and drawings from the plaster casts one gained insight andknowledge about their shapes and proportions. Thus an autonomous language on sculpture was developed independent of which king or deity the sculptures were originally meant to represent. Thus art was made free as an independent way of knowing. Plaster casting in the 18th century liberates the reality of form and art, thereby creating the precondition for the modern concept of art.If art loses its own space it disappears as an independent way of knowing. This is why the work's physical form is important.

Gerald van der Kaap (The Netherlands)
In the 1980s Gerald Van Der Kaap opened up new horizons as a pioneer of digital image processing. He experimented with the new media’s technical, visual and communicative possibilities. In 1991 he had his first solo exhibition in the Stedelijk Museum Amsterdam, ‘Hover Hover’, which was followed by numerous shows in Dutch and foreign museums.
Moreover, he works as a VJ and has designed an automatic vee-jay machine.
He was an artist-in-residence at Chinese European Art Center(CEAC) in Xiamen in 2002 where he worked on his project ‘Passing the Information’. Van Der Kaap is a multi-faceted artist who, using his photography as a point of departure creates links to all manner of other fields, including film, video, audio, cellular telephony, and the Internet. According to the jury, the power of his work lies in the long-standing consistent topicality of the means he uses and themes he addresses. Gerald Van Der Kaap was in Xiamen for the month of September in 2013 preparing his latest art movie with the working title: "Passing the Information". For this he made props, scouted locations and did some screen tests on the beautiful terrace in front of CEAC and the newly opened 'Upstairs Café'.  He will continue to do research in December.

Hanne Tyrmi (Norway)
Hanne Tyrmi is a Norwegian artist who is unafraid of using a variety of visual languages to achieve her goal. She is a visual polyglot who has a reputation for making sculptures, installations, videos and photographic works that invade the emotions like a benign virus. Her work is infectious and contact with it sets in motion a metamorphosis that brings about a healthy resistance to the emotional malaise of our time. There is also a sense of adventure in her work. Something she learnt from going out into the world without fear and with an open mind. For years she lived and worked in Brazil and South Africa and, more recently she moved her studio from Oslo to Xiamen, in order to work in Chinese workshops. She has ventured into the world of art unafraid of its conventional canons and she is willing to address issues many artists would shy away from. Her curiosity is focused on how one’s mind and body react when confronted by certain images and environments, on what happens to the viewer emotionally.

Juha van Ingen (Finland)
Juha van Ingen b.1963 is a visual artist working and living in Helsinki Finland. Van Ingen utilizes various mediums in his works ranging from objects and spaces to moving image and sound. I like to work in and with different mediums. Often the starting point for my work is a situation, space or a concept, which I happen to encounter. My working process starts by stripping the subject I have selected down to basic elements which I then recompose to meet my artistic objectives. Coincidence is my favourite tool, if I would have to name one.
Blizzard, silent, loop, 16:9, 2013: The video loop is made of snapshots of snow against the night sky. The motion of the snowflakes flying in the strong wind has been stopped by the flash and converted into a delicate sparkling animation.
Silent Disco, silent, loop, 16:9, 2013: Three photos of a tropical sunset are presented in a rapid loop.

MarjanLaaper (The Netherlands)
MarjanLaaper 1971, graduated from WDKA’s Fine Arts Department in 1994. She was educated at the Maryland College of Art, Baltimore, USA and the Rijksakademie, Amsterdam, NL.She specializes in large-scale video projections, installations and public art commissions. In 2013 she received a grant to work in Xiamen for 9 weeks. During her stay she was fascinated by the urban surrounding in Xiamen where big LED screens where situated in the city centre but also by the natural beauty of the mountains which the city was built around. Just like old poets and painters she wanted to bring an ode to nature and the mystery of life itself.Here she made the public artwork: “The Gift”. The work: “The Gift” (2013) shows two hands that are filmed from above. The hands are held close together as if they were asking for something. After a while a small bird lands into the hands and makes it his resting place for a short while. After some time the bird flies away, leaving the hands waiting for the next gift.The work “The Gift” can be seen on August 28thand 29th2013 on a 6.45 by 15.5 meter LED screen. The LED screen is situated on Yanwu Road above “Fu Wan Bang” shopping mallopposite Xiamen University West Gate and nearby Nanputuo Temple in Xiamen, China.
PersijnBroersen& Margit Lukács (The Netherlands)
PersijnBroersen& Margit Lukács work in a wide variety of media - most notably video, animation and graphics - producing a myriad of works that reflect on the ornamental nature of today's society.With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. PersijnBroersen& Margit Lukács were in residence at the CEAC in Xiamen in 2003 and 2010. They collaborated with local dancers, musicians, artists, actors, carpenters and tailors to recreate Goethe’s The Sorrows of Young Werther and gave lectures at Xiamen University. The work Time and Again is a contemporary vanitas motif, reflecting the surface of our culture, seen as an elastic network of virtual realities in which decay and resurrection go hand in hand. In the video projection one sees a polygon model of a lily decaying and blooming at the same time. The lily, itself a symbol of eternal beauty and purity, appears as a white light on the wall. An arabesque that is not bound to time and space, fixed in an eternal now.

Renate Wernli (Switzerland)
Renate Wernli, born in 1967, works and lives in Switzerland. The work about people with Alzheimer’s disease is an ongoing project she has being working on for several years inSwitzerland. Worldwide, 7.7 million people are diagnosed with dementia every year, which means one new case is diagnosed every four seconds. Moreover, the number of those afflicted has been doubling every 20 years, so by 2030 there could be roughly 65.7 million people with the disease world wide.What she began in Switzerland, she wanted to continue in China – to take photographes about centenarians. The pictures are taken in a unspectacular, but in a dignified way. Not pitiless, but a subtle few, which should make us think about society and our treatment of old people. During her 3 month residency in CEAC, Xiamen, Renate Wernli also wanted to learn more about Chinese people so she made some small video works about “cultural differences“.

SigurdurGudmundsson (Iceland/The Netherlands)
SigurdurGudmundsson was born in Reykjavik, Iceland 1942 but he has been living for the most of his life in other countries. He studied art in Iceland and Holland and was an art teacher in many art academies in different countries. When The Chinese European Art Center was founded in November 1999 it opened with an exhibition of Gudmundsson who has been closely involved to the CEAC ever since. SigurdurGudmundsson is best known for his photographic works which were always based on poetry and philosophy. His work has been exhibited in many countries worldwide. In this exhibition Gudmundsson is showing new work from the past two years. The works in the exhibition are photos, videos and sculpture. In the book Mutes which was about Gudmundsson’s art he says the following: It is not something built on an idea that then becomes visual, but something more like a molecule: something that doesn’t present but is the object it self or the characteristic of it. My art is not something that I know or espouse but something that I believe I need to know or understand. I want the work to create a new kind of intelligence that is new to me. My art is not showing my opinions on one thing or another but it is opinions that have yet to come to me. When I understand an art work I am always disappointed, I much rather like to believe the work than to understand it. I prefer to eat the cake itself rather than reading the recipe of it.

Stevens Vaughn (USA)
Stevens Vaughn 1958, grew up with a rare form of autism and lived on a small farm in the United States. Through the years, he is mostly known for blending art and life into a holistic ritual usually centering on the dinner party. Stevens presents the performance Water is a Color at this exhibition. In “Water is a Color”, as in life, I cannot control or take responsibility for the water’s interaction with the pigments. At best, I can only create an environment where they are free to interact and create their own story. “Water has no bones. Flowing water and color. Welcome to my table of life.” In the past years, I have become intensely interested in the relationship between construction and deconstruction of ideas in our lives. Without this constant energy and ability to deconstruct, we have no room in our psyche for creating new avenues. I like to think of my life as a giant sandbox where I can welcome everyone to come play with me. In playing together, we establish dialogue that feeds our imagination.Stevens lectures and exhibits in cooperation with Hafnia Foundation at various museums and galleries worldwide. 

Voebe de Gruyter (The Netherlands)
Voebe de Gruyter’s work reveals and analyses domains that attract her curiosity. In The Chewing Gum Drawings of 1994, for instance, she explored the notion that information can penetrate small particles. She imagined that the sentences people spoke when they were chewing gum ended up in the gum. Figuratively speaking, but also physically, words are composed of sound and sound is composed of vibrations. Vibrations, according to De Gruyter, can linger. Voebe de Gruyter’s work is never finished. It exists simultaneously and in various stages of development. It exists in the physical space, which– even if we call it an illusion – is the most real we have at our disposal, and it exists on paper and only comes to life in the mind of the viewer.

Photo's of the exhibition

Photo's of the exhibition