2023 – CEAC https://www.ceac99.org CEAC Wed, 03 Jan 2024 05:59:55 +0000 zh-CN hourly 1 https://wordpress.org/?v=6.5.3 “The Sea That Stands Before Me…” https://www.ceac99.org/12380/exhibitions-and-events/ https://www.ceac99.org/12380/exhibitions-and-events/#respond Tue, 12 Dec 2023 09:28:03 +0000 http://www.ceac99.org/?p=12380

Opening

December 16 at 5 PM, 2023

Duration

December 16, 2023 till 30, 2023

Location

CEAC, Xiamen, China

Faced with hope or despair, humanity often navigates the unknown in life to find what it desires. In their quest for something more, they leave behind the comforts of what was once familiar. Nothing is assured when venturing into the open waters.

“The Sea That Stands Before Me…”, is an exhibition contemplating the notion of one’s devotion to living as a form of armament. My conceptual practice continues its inquiries into psychology, folklore, mythology, and philosophy, binding them as a cohesive tale.

How do we find one’s dreams if all seems lost? Can we rise from sorrow to feel worthy of embracing life again? These are the questions posed in the form of digital video landscapes, 3D-printed sculptures, and neon lights.

The experience of dreaming is one of the most universal of human experiences. “As Far As I Could See…” is a series of digital landscapes that illustrates this aimless sense of wandering merged with solitude. At times, the sensation seems almost symphonic.

When left to silence and to our own devices, our minds tend to wander, losing their ability to focus. “…The Things I Never Said” and “These Are My Letters…Forever & Ever” are companion pieces arranged as still-lifes. Wishes that go unspoken are often the most unsettling. Each sculpture is elegantly engraved with passages of text indicating the significance of the series, encased in vintage glass inkwells and bottles that contain 3D-printed quills and scrolls of letters.

Resembling washed-up debris in the shape of neon lights, this installation sits motionlessly against a wall, reminding us of the outside forces one cannot control, like a tide that cannot cease. We accept all potential by allowing ourselves to ease into life’s cadence.

Investigating loss and finding catharsis, “It’s Not A Lot…But It’s Something” are diptych sculptures lathered in electromagnetic chrome, resembling a couple of oversized dessert jellies. Galvanized by its exterior shell, these amorphous beings are captured in stasis like a memory frozen in time.

Much like the spirit of a celestial star, once a starfish becomes deceased, its body ceases to exist as a whole, transforming itself by releasing its physical form. Resisting the longing to calcify, “This Is Where I Wish To Be…” are a series of sculptures plated in electromagnetic chrome and embellished with candy to conceal their diminishment in size, preparing to celebrate the next phase of their journey.

Gallery

]]> https://www.ceac99.org/12380/exhibitions-and-events/feed/ 0 A horse is not a pony https://www.ceac99.org/12358/exhibitions-and-events/ https://www.ceac99.org/12358/exhibitions-and-events/#respond Tue, 07 Nov 2023 08:29:06 +0000 http://www.ceac99.org/?p=12358

Opening

November 11 at 5 PM, 2023

Duration

November 11, 2023 till December 9, 2023

Location

CEAC, Xiamen, China

There is a distinction between the moment an artist starts and the moment they finish an artwork.

In the first place, the artist typically chooses the materials and then, following a series of decisions, they use those materials to create an artwork – for instance a painting or a sculpture.

But what if an artist refuses to make those decisions while still wanting to make an artwork? In the work of Kimball Gunnar Holth, those decisions are left unmade, and we see a search for an image that never fully takes shape.

A half-assembled bed, blankets and sheets packed in plastic bags without a mattress in sight suggest a false start, or an abandoned attempt to reach some sort of order. He paints the silhouette of a horse (or a pony?) again and again, yet its face is an indistinguishable collection of random-looking marks.

These works ask the question of what is and isn’t important, which is similar to that of what is and isn’t art. When an artist does something, there is also an option to do nothing – to wait and to see what is already happening on the canvas, and to be open to a different outcome than the one you had in mind.

Gallery

]]> https://www.ceac99.org/12358/exhibitions-and-events/feed/ 0 Post-terrona https://www.ceac99.org/12331/exhibitions-and-events/ https://www.ceac99.org/12331/exhibitions-and-events/#respond Tue, 26 Sep 2023 09:40:04 +0000 http://www.ceac99.org/?p=12331

Opening

October 7 at 5 PM, 2023

Duration

September 30 till November 4, 2023

Location

CEAC, Xiamen, China

Terrone is a pejorative term used by northern Italians to address and describe southern Italians. Rooted in the world “terra”, which means ground, terrone suggests the action of working the land by a poor and uneducated person. The reference to the ground is also connected with the color brown as a way to address the fact that people from the south of Italy have darker skin than people from the north. The term “terrona”, the female form of “terrone”, refers to the southern Italian woman. Famous twentieth-century movies, such as Marriage Italian Style (1964) with Sophia Lorenand Mamma Roma (1962) with Anna Magnani, created the stereotype of the terrona, propelling her into celebrity while also making her charming and lovable. These depictions thus serve only to reinforce the idea that the terrona is a chaotic person lacking intellectual and political agency.

According to these representations, the terrona makes guiding decisions and has authority only in the confinement of her domestic space. Her seductive body is a source of pleasure exclusively for the hetero sexual male needs: she is largely a subject of the male gaze. She leads a cloistered existence as it is only her close family members that benefit from her finely-honed skills to care for and protect the beloved. Unique from this depiction, the drawings composing this exhibition encourage the viewer to deconstruct the stereotype of terrona: to fantasize about a different and imaginative way to signify her.

According to this reconfiguration, the terrona’s aggressive and fiery temperament allows her to act ecologically: to govern the Mediterranean territory and to cultivate its natural elements. Brunetti’s drawings reveal how the terrona’s attractive and provocative body exceeds the enjoyment she is supposed to provide to the hetero sexual male. She becomes an autonomous agent of self-love that extends to the world around her. Her bond with the richness of the Mediterranean environment activates this ecstasy and joie de vivre. In addition to this, her talents of hospitality, usually kept for her family alone, invest her with the political and social authority to protect and preserve the natural resources of her environment.

Gallery

]]> https://www.ceac99.org/12331/exhibitions-and-events/feed/ 0 Black Tree Bridge https://www.ceac99.org/12306/exhibitions-and-events/ https://www.ceac99.org/12306/exhibitions-and-events/#respond Tue, 22 Aug 2023 11:05:13 +0000 http://www.ceac99.org/?p=12306

Opening & Performance

August 26 at 5 PM, 2023

Duration

August 26 till September 23, 2023

Location

CEAC, Xiamen, China

Black Tree Bridge is a full length play that uses a biracial identity whirlpool to explore how we might reconcile the binaries of myth, culture and reality to find meaning in our lives.

I’m a Chinese-Pakeha woman, multi-ethnic or mixed race. Finding one’s cultural (non white) roots has become its own legend among the Asian diaspora, a holy grail, pushing us towards finding importance and meaning in our cultural identity. But what happens if your family and culture are disconnected? Which myths do you use to find meaning?

In Black Tree Bridge, Chrys, a young biracial Chinese-Pakeha (New Zealand White/European) woman, spirals in a post-grad panic. When she meets firecracker Leo, she finds a welcome gateway to her Chinese side. But when he disappears, she must reconcile the myths she’s created around ‘Chineseness’, duality and identity itself.

The image of the fictional village called ‘Black Tree Bridge’ is her symbolic yearning to feeling whole in her Chinese identity – a literal ancestral home but also a bridge between the fractured identity of being biracial. But it’s a red herring. In the end the reflection in the water beneath the bridge becomes a portal that opens, a circle, a new symbol of wholeness to break the illusion of binaries within anything.

Putting a play in the context of an exhibition piece for a gallery is unique to my work so far
(which is mostly producing theatre with my company Proudly Asian Theatre in New Zealand). I’ve finished a draft of the full-length piece, utilising the artistic talents of students from Institute of Creativity and Innovation 淦馨悦 Xinyue Gan, 曹欣然 Xinran Cao, 袁梓超 Zichao Yuan and 夏季 Ji Xia to test some set concepts as well as an animation piece from incredible Xiamen based artists 张峥 Zhazha and陈溢 Yi Chen. We open with a performed reading of a 25 min super cut of the play; what remains will be the exhibition for the next 4 weeks. I can’t thank the team, and all the artists I’ve connected with here, enough for their incredible work and rich ideas that I’ll be unpacking for a long time to come.

As the work was conceived as early as 2014, the process became very meta. The idea for the play was sparked by the fantastical imagination of my family village in China, before I ever set foot there. Living in Xiamen with the actual village and
my family only an hour’s drive away, mid-residency I pushed the fiction further
as my own sense of future-nostalgia became an even more beautiful reality in real time.

The character’s journey is a historical document for a lost and floundering age
when I wanted the world to reach out and give me a sign. It’s tongue in cheek,
using tropes and known myths. It asks: who are the gatekeepers of culture and
meaning? Can we find meaning in culture without mythology? Can culture exist
without mythology? Without lineage? Is it inevitable for lineage to become myth?

Something a new friend told me in my first month here was to just go with the flow.
I feel like this ‘Xiamen attitude’ is a better summary of the moral of the story;
there are no answers anywhere, only beautiful duality, multiplicity and eternal
shape shifting.

Gallery

]]> https://www.ceac99.org/12306/exhibitions-and-events/feed/ 0 Water Glass https://www.ceac99.org/12286/exhibitions-and-events/ https://www.ceac99.org/12286/exhibitions-and-events/#respond Wed, 28 Jun 2023 07:27:46 +0000 http://www.ceac99.org/?p=12286

Opening

July 1 at 5 PM, 2023

Duration

July 1 till 29, 2023

Location

CEAC, Xiamen, China

I wonder since when, every time I go back to my home in Hubei, I have to walk around the old house a few times. This is mainly because I can see new changes every time I walk. Below the eaves is a stream and different green plants constantly grow on its banks throughout the four seasons. Some of the plants have been there as long as I can remember, yet I am never able to name them. For example, there is a large plant with broad green leaves. I often sit in the middle of it as my exclusive sofa. Its leaves are very strange, a bit like aloe vera, but not as thick as it and without thorns. It has over a hundred leaves like that and can even lift me up halfway. Its stamens, which are stiff and fragrant, emerge in the middle each year. I know there are apps to identify photographed plants, and it should be easy to find out the species, yet I still feel reluctant to break the mystery. So I simply conserve it in memory. There are also some plants that I can name, such as orange trees, tangerine trees, plantains, bluegrass, ginger seedlings, konjac, celosia, and morning glory. The plants under the eaves are changing all year round. Some are seasonal flowers and plants, and mom always picks out the beautiful ones and keeps them. I, however, can only occasionally see these naturally growing plants in the rain with dripping raindrops during my brief visit back home.

As I want to reproduce the garden in my mind today, she is like a cool summer mat, gently rubbed on the drawing board. I have a pleasure of trying to compete with the city in terms of quietness. Although it seems to be coaxing myself, I really feel more connected to the moment when I first produce them. They travel from the number 0 to this world peeped by living creatures. Thus form is still important, even though it may be a mere shape.

Gallery

]]> https://www.ceac99.org/12286/exhibitions-and-events/feed/ 0 Man Trapped In a Room https://www.ceac99.org/12275/exhibitions-and-events/ https://www.ceac99.org/12275/exhibitions-and-events/#respond Wed, 17 May 2023 05:30:43 +0000 http://www.ceac99.org/?p=12275

Opening

May 20 at 5 PM, 2023

Duration

May 20 till June 17, 2023

Location

CEAC, Xiamen, China

Artist

“I have been exploring the possibilities of images, not just a momentary freeze. Reality has always been a puzzle to me, walking in the world is not necessarily more real than a dream, since I was young I like to observe quietly in the corners of the crowd. Those individuals like me, one by one, make up the so called reality, do they see what I see? Do they think the same as me? Is the environment or a memory stagnating? Individual absurdity emerges spontaneously. What about a group? A group is consisting of multiply individuals, the sum of absurdity. In the myth of Sisyphus, Camus said that once a person realizes the absurdity, he does not belong to the future. Since then my life has merged with dreams, books, movies, and photos, they have all become three dimensional, life is inseparable from them. Photography walks towards me as I walk towards photography, I cannot explain it, My thoughts always appear in a strong visual way on images, filled with magical mysticism in front of the camera the display is unobstructed, this is the sense of mission photography gives me.”

From 2020-2021 I devoted most time in my film project MAN TRAPPED IN A ROOM.

It tells about a story that this lonely man that been always trapped in a room imagined by himself, all his life is based in this imaginary room he built up, everything he use is illusionary objects comes from himself, this lonely man also projects his imagination about the outside world on the wall of the room. Till the end of this film I wanna raise the question to the audience about the current reality we have been living in the whole time, how we treat life and death, how us as human beings are so limited in our own consciousness cause these kind of questions are what I face on daily bases , I never understand this world we live in, attached with the rules and values human built up , these thinkings drive me to create art in general.

MAN TRAPPED IN A ROOM is in a way an end result after all the research (mostly focus on Lacan’s mirror theory) I did.

Gallery

]]> https://www.ceac99.org/12275/exhibitions-and-events/feed/ 0 Within Reach of Naturalness https://www.ceac99.org/12246/exhibitions-and-events/ https://www.ceac99.org/12246/exhibitions-and-events/#respond Thu, 13 Apr 2023 07:10:00 +0000 http://www.ceac99.org/?p=12246

Opening

April 15 at 5 PM, 2023

Duration

April 15, 2023 till May 13, 2023

Location

CEAC, Xiamen, China

Artist

The show stems from Yi Chen’s ongoing project, “Nearly Natural,” is a response to his experience of feeling alienated while living in urban environments. By exploring the boundary between naturalness and artificiality in these spaces, Yi investigates how the built environment is intentionally crafted through landscape design and architecture. Through his work, he integrates the concept of engineered space-making into his image-making process, employing digital manipulation and staged settings to offer a new perspective of the urban landscape from an elevated vantage point. Through this approach, Yi highlights how the identity-less urban environment blurs the line between reality and illusion, reflecting the everyday experience of urbanization. The natural elements incorporated in his work become a visual metaphor for our desire for fantasy and escape from the busy city life. Ultimately, “Nearly Natural” is a reflection of the human need for compensation in the face of a reality that can often feel overwhelming.

—-Boyang Yu

Gallery

]]> https://www.ceac99.org/12246/exhibitions-and-events/feed/ 0 The Geography of The Past Future https://www.ceac99.org/12231/exhibitions-and-events/ https://www.ceac99.org/12231/exhibitions-and-events/#respond Mon, 20 Feb 2023 09:51:39 +0000 http://www.ceac99.org/?p=12231

Opening

February 25 at 5 PM, 2023

Duration

February 25 till March 25, 2023

Location

CEAC, Xiamen, China

Artist

“The Geography of The Past Future” exhibited this time features a group of sculptures with ceramics as the main material. By applying some basic laws of plate movement in the continental drift theory as a framework, I synthesized my personal experience with the connections between super consciousnesses, and incorporated it into my work in an effort to simulate the miniature landscape constituted by the continental plates 200 million years later. 

As part of  “The Past Future”  series, this work was inspired by my hallucinatory experience when hiking in Iceland. Back then, I often traveled between various landforms, including black sand beaches and wilderness permeated with sulphurous fume … Outside my residence were rolling ridges, where I hiked many times. I remember I was constantly looking for something subconsciously carrying the intuition that I might spot the answer in the next step. Since it was the polar day then, the sun revolved around the mountain peak rather than setting behind it. Each time I looked up as I was hiking in the mountains, I saw the sun hanging in different places of the mountain, staring at me moving on the landscape like an observer, as if gazing at ants crawling in the boundless hills. 

I proceeded with that sight, and it followed me to the depths of my subconscious. Even when I returned to the city, the rounded light spot never dimmed; instead, it often flashed in my mind, drifting and expanding. Mountains and planets emerged from it, swimming crosswise and merging into one… These images and emotions continued to accumulate, giving rise to the occasion to create  “The Past Future” series. Last year I completed “The Blurred Landscape” as part of this series, which explored my experience with the blurred landscapes. In the subsequent creation of “The Geography”, I began to try a more rational framework, that was, the logic of geography, to present the scenes that I had experienced yet were hard to prove, the countless transient things that were perceived via way of reality, as well as the gap intertwined by superconsciousness and reality.  

Deciding upon ceramics as the media to present my work, I conducted a three-month artist-in-residence program in Jingdezhen International Studio. The unique characteristics of the  earthy and organic ceramics and the multiple changes of glaze in the kiln allowed the models in my mind to spontaneously produce the meaning of generation and evolution upon being finished, and finally presenting this series  of “future” geology with magical and legendary temperament .  

Gallery

]]> https://www.ceac99.org/12231/exhibitions-and-events/feed/ 0 Ministerie van Berge en Shi, 50/50 https://www.ceac99.org/12201/exhibitions-and-events/ https://www.ceac99.org/12201/exhibitions-and-events/#respond Tue, 13 Dec 2022 06:14:05 +0000 http://www.ceac99.org/?p=12201

Opening

December 17 at 5 PM, 2022

Duration

December 17, 2022 till January 13, 2023

Location

CEAC, Xiamen, China

Ministerie van Berge en Shi(MBS) is a Sino-Dutch agency that activates an exchange P2P network. Through visual and research projects MBS bridges the geo-cultural distance. Hereby the focus lays on the creation of a connection between individuals from various disciplines and backgrounds. MBS is now operating a interdisciplinary research-based project entitled 50/50 inspired by the Sino-Dutch 50th Anniversaries of 2022. Here in MBS focuses on the current trade of goods and ideas between the two nations.

Year 2022 sees the 50th Anniversary of the Establishment of Diplomatic Relations between China and the Netherlands. Reflecting on this, we as artists from both countries are initiating a research-based project as a duo. Starting from our own perspective, we want to collaborate and study the economic and cultural exchanges between each other’s home countries, to further merge our insight, and deliver a visual presentation. Due to the global situation and travel restrictions, we are working and communicating online, assisting each other with our developing research. This project highlights the Sino-Dutch cross-cultural interactions.

“Individuals represent the essence of the country’s bilateral relations, students and scholars, tourists, piano players and photographers, writers and entrepreneurs, architects and artists. Over the last fifty years, these personal relationships have grown in depth and number.” said Wim Geerts, Ambassador of the Netherlands to China.

In response to the “Sino-Dutch 50”, as a representative of bilateral personal relationships, Chinese artist Huilin and Dutch artist Laila initiated a dialogue this year to look back at history and reflect on the results of contemporary Sino-Dutch interactions in trade and culture, and to brainstorm, disperse, focus, invite and reach more people and issues in the process of dialogue.

The dialogue begins with a two-person transnational research-based art project: we both have our own insights on the phenomenon of cultural transplantation, which brings together a Chinese artist who studied in the Netherlands and is now practicing contemporary art in Shenzhen, the Greater Bay Area, and a Dutch artist who has has enriched her art practice with cultural research and is pursuing a master’s degree in religious studies in Amsterdam. We will both study the influence and change of each other’s countries on our own: Huilin departs from
The Dutch flower town in the Nanshan District of Shenzhen to trace the bulb roots
of the cut flowers, following the seedpods and bulbs exported by Dutch flower
companies to Yunnan, all the way west; Laila starts from the backyard of middle-class
Dutch families in the suburbs of Amsterdam, where she notices that in the secular life
of the Dutch people, Buddha as a symbol of calm and Zen, following
the label of a Buddha statue placed as an ornament to the building materials market
where it was purchased, all the way east. We will bring our own questions, from our
respective ends, and use the advantages of our native language and cultural environment
to complement each other and to exchange knowledge and labor.

That’s why we go fifty-fifty, to share and be fair, to maintain individuality and
strengthen our relationship. By devoting 50% of each partner’s knowledge and labor,
we will be achieving 100% as a result. 50% stands for the Dutch contributions to China:
flowers export from the Netherlands. The other 50% stands for the Chinese thoughts and
symbols that change Dutch people’s daily life.

We envision making our Duo Exhibition happen in both China and the Netherlands. We want
to bring the created material from each other to The Hague, Shenzhen and Xiamen and
present our insight and visuals at local project spaces, where we share our knowledge
about: how the Netherlands influenced China in commerce and creative industries in the
contemporary era. As well as insights into, and reflections on, the influence of Chinese
aesthetics and mentalities present in Dutch material and immaterial culture.

This project and exhibition is made possible with the generous support by the Consulate
General of the Kingdom of the Netherlands in Guangzhou.

Gallery

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