[lang_zh]水主宰的世界(装置影像展)Kay S Lawrence (澳大利亚)[/lang_zh][lang_en]My Body is Mostly Water by Kay S Lawrence[/lang_en]


Eco AiR program-苔画廊生境艺术驻地项目

Kay S Lawrence (澳大利亚Australia)
展期:2013.11.29 -12.07

开幕酒会:2013.11.29, 16:00-21:30

开放时间: 每天10-22:00
+86 871 65385159


项目支持:Greening the Beige(点废成绿) 该机构邀请艺术家参与研究环保问题,通过艺术的方式为当地的环境提供多元思考。项目以艺术家驻地,讨论,讲座,工作坊,展览的方式呈现。

人性是一种活跃的生态机构,由于人类强烈的自我意识而产生的所作所为正深刻地影响着这千变万化的现实。 在21世纪,我们很有必要仔细斟酌自己与这个星球共处的方式,并重新探讨自然与文化的关系。纺织业与数字媒体的并存对于我们解决当前环境和可持续发展问题的方式有着隐喻的指导意义——我们需要在过去与现在的科技与知识之间找到平衡。 我的环境研究中包含了根植于这些空间中的文化和社会记忆。行为作品和摄影,一直秉持以人为中心的社会理念的创作。人体在我的作品中是不可或缺的元素。通过材料和技术等与人体有关的形式,我直接或间接地表达出这个意象来。我利用布料的隐含关联来唤醒人们的记忆,用认知和文化的关联来使这些作品能与观者产生一种高于视觉层面的交流。





Eco AiR program-at Tai Project

My Body is Mostly Water
Kay S Lawrence (澳大利亚Australia)
2013.11.29 -12.07

Reception:2013.11.29, 16:00-21:30

Tai Project, A zone, Jin Ding 1919•Loft, North JinDingShan Lu No.15, Kunming, China
Open Hours: Mon-Sun10-22:00
+86 871 65385159


Residency duration:2013.11.01–12.08

Support by Greening the Beige(点废成绿)


About the Work/ Artist Statement
Kay S Lawrence’s work addresses the boundaries of nature and culture, developing parameters and perspectives that embrace fractures and dislocations of time/space continuum and the precarious balance in which our fragile natural environment resides. She uses the visual and other sensual qualities of fibre and digital media to address ecological, social and cultural issues of the21st Century.

Humanity is an active ecological agent impacting on this volatile situation, due to our overwhelming anthropomorphic-centric behaviours. In the 21st Century it is imperative that we critically evaluate the ways in which we interact with our planet and that the relationships between nature and culture be renegotiated. The juxtaposition of textiles and digital media is metaphoric for the approach required to current environmental concerns and sustainable practices; the need to find a balance between old and new technologies and knowledge. In my investigations of environments, I embrace the cultural and social memories embedded in those spaces. I move from two dimensional and three dimensional works through performative photographic works to create works that reference the notion of our anthropomorphic-centric society. The body is an integral element in my works, depicted either directly or indirectly, through forms, materials and techniques that have a link to the human body. I use the metaphoric associations of cloth to evoke memories, perceptions and cultural associations to enable the works to create dialogue with viewers on more than a visual level.

Previous residencies in Asia have demonstrated the importance of an open mind to absorb and reflect on cultural and social differences. The experience is magnified when there is interaction with the local community, not just the art community or host organisation. Residencies have provided time for research, reflection and production and emphasised the importance of meaningful and multi-layered cultural exchange and immersion into another culture. Residencies help understand the level of commitment to sustainable practices and environmental protection in our anthropomorphic-centric world.

My experience of residencies indicates that works produced are always very site-specific: ideas crystallise through observation when in residence. Accordingly any plan would be subject to revision. Previously in Beijing, I worked with environmental issues concerning cyanobacteria, specifically, Microcystis. I see that this same species is problematic in Dian Chi as is water hyacinth. At the present time, I can envisage a number of works focusing on water purity. To help identify the specific focus for the residency, I am currently examining other invasive and endangered species and reports of the Yunnan Environmental Court as I am keen to follow any recommendations they may have concerning topical issues requiring immediate attention.


[lang_en]Exhibition Works[/lang_en]

Kay S Lawrence 云南之水Yunnan water影像Video Length 1min3s 2013 (2)      Kay S Lawrence 云南之水Yunnan water影像Video Length 1min3s 2013 (1)      Kay S Lawrence 响沙Squeaky Sand Length 30s影像Video 2013Kay S Lawrence 饰羊Acting the Goat #1艺术微喷 archival digital print 29.7 x 42cm 2013 (3)      Kay S Lawrence 饰羊Acting the Goat #1艺术微喷 archival digital print 29.7 x 42cm 2013 (2)      Kay S Lawrence 饰羊Acting the Goat #1艺术微喷 archival digital print 29.7 x 42cm 2013 (1)Kay S Lawrence 表面之外Beyond the Surface 艺术微喷archival digital print on linen 39x89.5cm 2013      Kay S Lawrence入侵Invasion艺术微喷archival digital print on linen 39x89.5cm 2013      Kay S Lawrence 长江YangZi River 丝绸,棉线,毛发Silk, Cotton threads, Human Hair 66x150cm 2013Kay S Lawrence 水主宰的世界My body is mostly water 铁丝,化纤面料,缠绕wire, synthetic fabric, hand dyed indigo thread 可变尺寸variable size 39x89.5cm 2013      Kay S Lawrence 遥远的地平线Far Horizon 艺术微喷archival digital print on linen 39x89.5cm 2013      Kay S Lawrence 沙溪之夜Sha xi Evening 艺术微喷archival digital print on linen 39x89.5cm 2013      Kay S Lawrence 洱海Lake Er Hai 艺术微喷archival digital print on linen 39x89.5cm 2013


[lang_en]Previous Works[/lang_en]

Kay-S-Lawrence_A-singular-bind Kay-S-Lawrence_Mending_1 Kay-S-Lawrence_Microcystis Kay-S-Lawrence_microcystis-video-still Kay-S-Lawrence_Penitence Kay-S-Lawrence_Tree-lines_1-(1) Kay-S-Lawrence_your-silence-gives-consent


[lang_zh]Krzysztof Debicki(加拿大)昆明建筑群走访记录[/lang_zh][lang_en]Krzysztof Debicki(Canada)Kunming Building Research[/lang_en]

[lang_zh]Krzysztof Debicki(加拿大)昆明建筑群走访记录



开放时间:每天10-22:00 中国昆明金鼎山北路15号,金鼎1919艺术园,A区,花朵画廊(原苔画廊)

+86 871 65385159






克里斯托弗对赋有建筑人文和历史感的空间感兴趣,尤其是那些受城市规划或房地产开发项目影响的区域。中国的城市化规模与发展速度创造着独特的实例。克里斯托弗驻留昆明花朵画廊(原苔画廊)期间,一直在走访这座城市日新月异的变迁,记录那些将在历史上消失地方性。 [/lang_zh]


[lang_en]Krzysztof Debicki(Canada)Kunming Building Research


Duration: 2013.08.23–29


Reception:16-21:30pm, August 23, 2013

Open Hours: Mon-Sun 10am-22pm

Address: ContemporaryYunnan, A zone, Jin Ding 1919•Loft, North JinDingShan Lu No.15, Kunming, China

+86 871 65385159





Artist’s Statement

Krzysztof is interested in the spaces where architecture, humanity, and history meet, especially when they are influenced by large forces such as urban planning or the real estate market. In China, the scale and speed of urbanization is unlike anything the world has seen, creating unique instances of such spaces. While in Kunming as a guest artist at the Artist in Residency Program at Contemporary Yunnan, Krzysztof has been exploring and documenting sites of urban renewal in an attempt to portray a localized history at the moment it is being erased.

Documentation of the research: http://kunming-free-spaces.tumblr.com

Krzysztof’s website: www.debicki.net


photo by Krzysztof Debicki (5)      photo by Krzysztof Debicki (6)      photo by Krzysztof Debicki (3)photo by Krzysztof Debicki (9)      photo by Krzysztof Debicki (1)      photo by Krzysztof Debicki (8)



[lang_zh]王锐个展[/lang_zh][lang_en]Wang Rui Solo Exhibition[/lang_en]

Poster 王锐个展 海报








+86 871 65385159





[lang_en]Wang Rui Solo Exhibition

Curator: Xue Tao

Duration: 2013.08.23–09.10

Reception:16-21:30pm, August 23, 2013

Open Hours: Mon-Sun 10am-22pm

Address: ContemporaryYunnan, A zone, Jin Ding 1919•Loft, North JinDingShan Lu No.15, Kunming, China

+86 871 65385159




前言Forward by Xue Tao











[lang_en]Art Works[/lang_en]

Wang-Rui王锐-山顶风景Hilltop-Scenery布面油画Oil-on-Canvas70x100cm2012      Wang-Rui王锐-独自行走-Walking-Alone布面油画Oil-on-Canvas120X145cm2012      Wang-Rui王锐-大风景No.6--Scenery-NoWang-Rui王锐-飞了No.2-Fly-No      Wang-Rui王锐-春天的三棵树Three-Trees布面油画Oil-on-Canvas100X190cm2012      Wang-Rui-王锐--飞了No.1-Fly-NoWang-Rui王锐-那下山的路Path-to-the-Mountain-Foot布面油画Oil-on-Canvas80x100cm,2012      Wang-Rui王锐--枯山逢春-Dry-Spring-Hill布面油画Oil-on-Canvas90x160cm2012      Wang-Rui王锐-半山Half-Way-布面油画Oil-on-Canvas70X100CM2012

[lang_zh]苏家喜个展[/lang_zh][lang_en]Su Jiaxi Solo exhibition[/lang_en]



展期:2013.07.06 – 07.26

开幕酒会:2013.07.06, 16 – 21:30


+86 871 65385159


[lang_en] Su Jiaxi Solo Exhibition

Duration: 2013.07.06–07.26

Curator: Xue Tao
Reception:2013.07.06, 16 – 21:30
Open Hours:Mon-Sun 10am -22pm

Address: ContemporaryYunnan, A zone, Jin Ding 1919•Loft, North JinDingShan Lu No.15, Kunming, China
+86 871 65385159

前言/Forward by Xue Tao






Su Jiaxi 苏家喜 《不规则的风景》,纸本丙烯,2012 高18cm,      Su Jiaxi 苏家喜 《椭圆的风景》,纸本丙烯,21x17cm,2013      Su Jiaxi 苏家喜《方形的风景》,纸本丙烯,13.5x4.5cm,2012Su Jiaxi 苏家喜 直径17cm至10cm, 2012      Su Jiaxi苏家喜《椭圆的风景》纸本丙烯,26X37cm, 2011      Su Jiaxi 苏家喜小画-纸本丙烯 4x5cm至11x18cm, 2010-2012Su Jiaxi苏家喜《树》,纸本丙烯,70cmX50cm, 2012      Su Jiaxi 苏家喜《摇漾春如线》50cmX70cm-纸本丙烯-2012      Su Jiaxi 苏家喜《无题》202cmX314cm纸本丙烯2012Su Jiaxi 苏家喜《无题》05,纸本丙烯,100X70cm,2012      Su Jiaxi 苏家喜《无题》04, 纸本丙烯,70x52.5cm,2011      Su Jiaxi 苏家喜《水》51.5x150cm,纸本丙烯,2011
苏家喜日记节录 Diary from Su Jiaxi 














[lang_zh]落纸云烟 – 孙瑾个展[/lang_zh][lang_en]Paper Memory by Sun Jin[/lang_en]



开幕酒会:2013.05.25, 16 – 21:00
展期:2013.05.25 – 06.15


+86 871 65385159

孙瑾喜欢漫画,漫画思维一直影响着她,并且成为无法舍弃的一部分。同时它也使孙瑾的思维潜移默化受到日本式的禁锢,有一部分成为习惯,有一部分被职业的艺术创作吸收 。漫画思维成为她观察事物的一种方式,她喜欢这种方式,并因此获得一种捕捉和描绘生动形象的方法,同时还由此具备了对事物特有的敏锐的感知能力。大家可以从这些作品中进行各自不同的想象和体验。

[lang_en]Curator: Xue Tao
2013.05.25 – 06.15
Reception:2013.05.25, 16 – 21:00
Open Hours:周二-周日Tue-Sun 13-21:00

ContemporaryYunnan, A zone, Jin Ding 1919•Loft, North JinDingShan Lu No.24, Kunming, China
+86 871 65385159

Paper Memory – Sun Jin solo exhibition
By Xue Tao

Contemporary Yunnan has been promoting a Solo Exhibition Program for local Young artists within 2013. Sun Jing’s solo exhibition, as the third one involved in this program, presents some daily routines works and sketches she created casually.

Usually, an artist works and accomplishes the art work creation in a formal state, especially when they use canvas for their painting, this “formal” sense becomes more evident and the artist can easily enter into a state of preciseness and control and  arrange the painting appropriately. On the contrary, with a piece of paper, which can be grabbed anywhere, or a sketch book use for recording their instant ideas and inspiration, in hand, they can relax them into an unconstrained woolgathering state. This relaxation may inspire the artist with some free and natural thoughts, and then result in appearing vivid and lively objects on the paper.

Sun Jin likes cartoon. The cartoon thinking has been affecting her all the time, and has already become an inseparable part of her. In the same time, Sun Jin’s thinking has been invisibly and formatively influenced by this Japanese style cartoon. And this influence resulted partially in some habits, and partially in reflection through her professional art creation. Cartoon thinking has been a style she views the world. She enjoys this style and even developed a special approach to catch and depict a vivid image, and also thereout be equipped with a unique sensitivity and perception. Different individual imagination can be experienced on her works in this exhibition.

These arbitrary but mysterious manuscripts in exhibition are reflecting her secret and imperceptible thinking segments. It is a journey on the paper, through which one’s real spirit can be touched.

May, 2013[/lang_en]


孙瑾 SUN JIN 褪 Shed 纸本水墨Ink on Paper 29.5x44cm  2013      孙瑾 SUN JIN 瞥 A Quick Glance 纸本水墨Ink on Paper 29.5x44cm 2013      孙瑾 SUN JIN 木 Tree 纸本水墨Ink on Paper 29.5x44cm 2013孙瑾 SUN JIN 泥 Mud 纸本水墨Ink on Paper 29.5x44cm 2013      孙瑾-SUN-JIN-蚓-Earthworm-纸本水墨Ink-on-Paper-29.5x44cm-2013      孙瑾 SUN JIN 眼 Eye 纸本水墨Ink on Paper 29.5x44cm 2013孙瑾 SUN JIN 蝇Fly 纸本水墨Ink on Paper 17x23cm 2012      孙瑾 SUN JIN 墨 Pitch-dark 纸本水墨 Ink on Paper 29.5x44cm 2013      孙瑾 SUN JIN 虫 Insect 纸本水墨Ink on Paper 29.5x44cm 2013


[lang_zh]即兴舞蹈工作坊-Vangelis Legakis (希腊)[/lang_zh][lang_en]Improvisation Dance Workshop by Vangelis Legakis[/lang_en]



授课艺术家:Vangelis Legakis (希腊)
时间:2013年5月10,17,24,31日 19 -21:30
费用:¥420 单次¥120

报名电话:65385159 contemporaryyunnan@gmail.com

Vangelis Legakis 是位希臘舞蹈家,英國 The Van-L 舞蹈團的藝術總監。他曾在歐洲、拉丁美洲、亞洲(包括中國和印度等)表演、編舞及教學。他目前應邀在昆明苔画廊驻地创作,这次即兴舞蹈工作坊Vangelis将教授基于东西方哲学的能量梳理、舞蹈构成的一些重要原则,融合佛赛即興及武術動作,包括日本的Budo、Kundalini 瑜珈、Forsythe即興技巧,不單是一種新鮮技巧的訓練,同時也是探索结合情感、感觉和冥想的身体运作。他将和无任何舞蹈资历背景的朋友们一起来增强身体的意识、能量的流动、感觉和感受,身体的意图、意识、知觉,让你无忧无虑地在人群中舞蹈![/lang_zh]

[lang_en]Improvisation Dance Workshop by Vangelis Legakis
Date: May 10, 17, 24, 31, 19-21:30pm
Fee: ¥420 (¥120 per time)
Workshop is conducted in English with Chinese translation
Booking: 65385159 contemporaryyunnan@gmail.com
Venue:ContemporaryYunnan Gallery, A zone, Jin Ding 1919•Loft, North JinDingShan Lu No.24, Kunming(650031),Yunnan, China

Vangelis will teach principles of dance and energy work focusing on the six senses, the feeling of the present, dance and choreography so as to fuse spirituality with performance and dance. The participants will have the chance to explore creative movement to find individual voices, communicate and express their inner emotions. The workshop is open to all disregarding their professional background and/or art discipline.

The sessions will be focused on energy work through Kundalini Yoga, meditation and Reiki to enhance energy levels and awareness. Special focus will be given to the heart energy center to dance out of love and compassion. Vangelis will incorporate improvisation and dance coordination methodologies that are accessible to all, and analyse the structure of emotions and feelings to reach a deep meditative dance practice.

The workshop aims to enhance performance, creativity, expression through dance, awareness, spirituality and develop perception and consciousness in performance and everyday life.

Vangelis, Greek – UK based, is a performer, choreographer and therapist. He has been teaching for many years in Latin America, Europe and Asia integrating dance with spirituality. He has originated novel ways to enhance performance and presence based on eastern and western philosophies – and on studies of emotions, feelings and human behaviour. www.thevanldancecompany.com[/lang_en]

[lang_en]Previous Workshop[/lang_en]

Vangelis Legakis previous      Vangelis Legakis previous workshop之前工作坊 (16)      Vangelis Legakis previous workshop之前工作坊 (15)Vangelis Legakis previous workshop之前工作坊 (13)      Vangelis Legakis previous workshop之前工作坊 (8)      Vangelis Legakis previous workshop之前工作坊 (7)Vangelis Legakis previous workshop之前工作坊 (6)      Vangelis Legakis previous workshop之前工作坊 (5)      Vangelis Legakis previous workshop之前工作坊 (3)Vangelis Legakis previous workshop之前工作坊 (1)


[lang_zh]石来运转 张华个人雕塑展[/lang_zh][lang_en] Stone Fortune – Zhang Hua Solo Exhibition[/lang_en]



[lang_zh]石来运转 张华个人雕塑展


开幕酒会:2013年4月12日 周五 16-21点 展期:2013年4月12 日- 5月12日


电话:+86 871 65385159















[lang_en]Stone Fortune – Zhang Hua Solo Exhibition

Curator: Xue Tao

Reception: 2013.04.12, 16 – 21:00

Duration: 2013.04.12 – 05.12

Add:  A zone, Jin Ding 1919•Loft, North JinDingShan Lu No.24, Kunming(650031),Yunnan, China

Tel:+86 871 65385159





Preface by Xue Tao

Zhanghua’s solo sculpture exhibition which will be presented soon in Contemporary Yunnan Gallery is going to interpreter an attitude of a metropolitan-based naturalism artist towards sculpture works creation, and an instinct response when approaching the genesis of art.

The history of sculpture usually is known initiated from the Stone Age. Stoneware honing is deem to be a positive recognition behavior for human being to learn the concept of volume, while hole-drilling on animals’ tooth was the first experience for human being to explore dimensional position. With the growing up and development of human’s civilization and science and technology, materials for sculpture also expanded from stone and wood to pottery, metal and porcelain, even to today’s plastic/resin and such high-tech materials. This is a widely acknowledged development process of sculpture material.

Zhanghua’s art creation, though, is a converse process to sculpture development process. Most of his early sculpture works were based upon the use of resin and gypsum in the beginning period of being a professional artist when he graduated from the art institute. All information about Zhanghua we can find from Baidu on the Internet is about resin works. After a plenty of resin sculpture work creation, he became unsatisfied with this material and started to attempt with the other materials. He even spent two years on ceramics but didn’t result in a big satisfaction. Ha said he could often gather some discarded stone materials and constructive materials near his house. These discarded stone materials collected from the waste heap were brought back home and then manually engraved by Zhanghua, and eventually became these amazing works exhibiting in this gallery now.

Zhanghua’s sculpture creation development, which transformed from resin to pottery, then to stone, and even to bamboo and tree branches, is just a reverse path of conventional sculpture history which we learned in academies. This is the most interesting factor of him. This reverse path presents the artist’s attitude to the relationship between human and environment. The direction of development of our city and urbanization is departing from the nature; science and technology, especially space technology are leading human being to depart from the earth. Is it really a right way that leads human being to safety and welfare? I myself was inspired to this kind of imagination by Zhanghua’s art works.

Zhanghua now likes working on his sculptures by hand. He doesn’t like any machinery which can bring convenience such as grinding machine. It reveals his preference and support to human’s prime power. At the same time, he attempts to prove the fact that the manual handling is the only way for artist to directly communicate with material and to learn more about material and the nature, and to show our respect and sincerity to the nature. Otherwise, we will gain nothing but a huge waste, even dreadful ruin.

One of the effective ways of learning about an artist in today’s context is to learn about the materials used in their art works and their manners of art creation. To a great extend, from the materials they are using, we can learn this artist’s value orientation and value judgment. The choice of material usually tells the attitude of this artist.

Ma.28th, 2013 [/lang_en]


Zhang Hua张华石来1 汉白玉White marble 18x12x12cm 2013      Zhang Hua张华 石来38 黄砂石Sandstone 20x10x14cm 2012      Zhang Hua张华 石来30 大理石Marble 26x9x11cm 2012Zhang Hua张华 石来34 鹅卵石 20x16x15cm 2011      Zhang Hua张华 石来21 海棠白Quartzite 17x20x22cm 2011      Zhang Hua张华 石来28 红砂石Sandstone 12x12x8cm  2012Zhang Hua张华 石来19 黄砂石Sandstone 12x12x19cm 2012      Zhang Hua张华 石来17 大理石Marble 23x12x9cm 2012      Zhang Hua张华 石来18  鹅卵石 27x14x12cm 2011Zhang Hua张华 石来11石林青石 Limestone 15x11x21cm 2012      Zhang Hua张华 石来7 红砂Sandstone 26x18x8cm 2013      Zhang Hua张华 石来12石林青石Limestone 8x8x32cm  2012Zhang Hua张华 石来4 海棠白Quartzite 18x12x12cm 2011      Zhang Hua张华 石来3 黄砂石Sandstone 28x16x18cm 2012      Zhang Hua张华 石来2 海棠白Quartzite 15x12x12cm 2012《总有一面是平的》10x12x8cmx无数颗20130408JPG      布展中      现场



[lang_zh]24小时漫画挑战[/lang_zh] [lang_en]24-Hour Comic [/lang_en]





24小时漫画挑战是美国漫画家斯科特•麦克劳德Scott McCloud)发起的,请浏览www.scottmccloud.com 了解这个挑战的辉煌历史!








此次昆明“24小时漫画挑战”由美国漫画家Kaytea Petro 和高毓林发起,希望和当地漫画爱好者们一起创作交流。更多关于她的信息这儿[/lang_zh]



[lang_en]Time: 12pm, March 16 – 12pm, March 17

Address: Livstone Houese, A zone, Jin Ding 1919•Loft, North JinDingShan Road No.24, Kunming(650031)Yunnan, China



The original 24-Hour Comic was created by Scott McCloud. Visit www.scottmccloud.com for a wonderful history of the 24-Hour Comic, 24-Hour Comics Day and much more! From Scott McCloud:

THE DARE:   To create a complete 24 page comic book in 24 continuous hours.   That means everything: Story, finished art, lettering, color (if applicable), paste-up, everything. Once pen hits paper, the clock starts ticking. 24 hours later, the pen lifts off the paper, never to descend again. Even proofreading has to occur in the 24 hour period. (Computer-generated comics are fine of course, same principles apply).

No sketches, designs, plot summaries or any other kind of direct preparation can precede the 24 hour period. Indirect preparation such as assembling tools, reference materials, food, music etc. is fine.

Your pages can be any size, any material. Carve them in stone, print them with rubber stamps, draw them on your kitchen walls with a magic marker. Whatever you makes you happy.   The 24 hours are continuous. You can take a nap, but the clock keeps ticking. If you get to 24 hours and you’re not done, either end it there (“the Gaiman Variation”) or keep going until you’re done (“the Eastman Variation”). I consider both of these “Noble Failure” Variants and true 24 hour comics in spirit; but you must sincerely intend to do the 24 pages in 24 hours at the outset.   THE ONLINE VARIATION: The above applies to printed comics or online comics with “pages” but if you’d like to try a 24-hour Online Comic that doesn’t break down into pages (like the expanded canvas approach I use in most of my own webcomics) then try this: At least 100 panels AND it has to be done, formatted and ONLINE within the 24-hour period![/lang_en]


[lang_zh]隐语-杨剑波个展[/lang_zh][lang_en]Brushing Words by Yang Jianbo[/lang_en]


[lang_zh]开幕酒会:2013年3月1日 周五 20:00






+86 871 65385159


Curator: Xue Tao

Academic Host: He Libin

Reception:2013.03.01, 20:00


Venue: Contemporary Yunnan, A zone, North Jindingshan Lu No.24, Kunming, China

+86 871 65385159   www.943studio.cn



[lang_zh]部分展出作品和手稿[/lang_ch][lang_en]Works  and Draft from the exhibition[/lang_en]

Yang Jianbo《隐去的2011-7》-纸面、碳笔、树脂-直径70cm-2011年      Yang Jianbo《隐去的2011-11》-纸面、碳笔、树脂-直径70cm-2011年      Yang Jianbo《隐去的2011-12》-纸面、碳笔、树脂-直径70cm-2011年Yang Jianbo《隐去的2011-16》-纸面、碳笔、树脂-直径70cm-2011年      Yang Jianbo《隐去的2011-17》-纸面、碳笔、树脂-直径70cm-2011年      Yang Jianbo《隐去的2011-18》-纸面、碳笔、树脂-直径70cm-2011年Yang Jianbo 手稿19-1      Yang Jianbo 手稿20-1      Yang Jianbo手稿21-1














旷野里的挽歌 ——杨剑波的绘画



















1972 生于云南昆明



展览 (部分)

2013  “与此同时”,云南省博物馆,昆明

2012  “携手2011”,云南油画学会第二届作品展,伍集成会堂,昆明


2011   云南水彩画名家作品展,宁波

2010  “合订本-2009”,昆明

2009  “情感圭山”油画作品展,昆明


2008  “再度圭山”庆祝联合国成立63周年油画作品展,北京

2006   中国美协第十八届新人新作展,无锡

2005   首届昆明油画风景双年展,昆明

2004   第十届全国美展,广州

2003   第三届中国油画展,北京


1998   首届云南风景油画展,昆明

1997   九七云南油画作品展,昆明




[lang_en]The anguish of system transformation

By Xue Tao

“System” has been a very special term during the past decades in China. Within such a special period, someone preferentially benefited from this system and achieved a wealthy and decent life, while the others had their family and life ruined because of the “system”. The special historical period gave “system” an overriding power and influence in China. From the Republic of China up to now, the “system” has been impacting the soul of Chinese people and controlling their growth experience generation by generation. The cause of forming this historical period is quite complicated. We can trace back its root reason to the May 4th Movement, the 1911 Revolution, the Westernization Movement in later Qing Dynasty, the Taiping Rebellion, or even Tiandihui Rebellion and Manchu troop invading into Shanhaiguan pass. Old and new factors from several centuries finally developed and strengthened this system, and people from different industries have been suffering from it.

In China, the “system” in art territory implies to these government-supported cultural institutions such as Artists Association, Painting Academy and art academies for which people work can get salary from the government. During a considerable long period, this art system also had a mighty power and influence. It played a very important role in Chinese art development. It provided not only spiritual sport but also a well-off and decent material life, and even guided the direction of social development. It was really a bright and honorable undertaking in China.

However, the magnificence of system started to be changed since the implementation of China’s “reforming and opening” policy. All professions and trades in Chinese society underwent tremendous change after that notable “Spring Story” took place in 1993. The Chinese art territory experienced three revolutionary change, they are: the 85 Trend of Thought, Yuanmingyuan Artist Camps, and “Beijing 798 Artist Center”. The 85 Trends of Thought was an enlightenment of modernism for Chinese art, Yuanmingyuan Artist Camps enabled the Chinese artist an independent art creation and a lifestyle at liberty; the establishment of Beijing 798 Art Center initiated and accelerated the marketization of Chinese Art works. The art market provided the possibility that the artists can not only live and work on their art creation independently but also become well-known and prosperous through their art work. After these three transformations, the Chinese art system has no longer been glorious as before. With the institutional reform in the cultural departments from the central government down to grass-root level, this sort of “system” could no longer bring artists any security and glory, let alone any other value or achievement. It made some “in the system” artists start to rethink their position and mission, and then to seek a new direction for themselves. They thought about the questions like: what is the mission of art and artist? What kind of art can bring an inner satisfaction? How to engage in the art creation to demonstrate the significance of human being’s existence? But to be able to reflect with these questions, one needs to be equipped with ability of independent thinking.

A number of artists made their new choices after rethinking about the art and the life, and reflected new thinking in their art creation. This phenomenon became so obvious particularly when it came into the 21st century. It’s already been an unquestioned fact within both the up-top national art academies and low level art schools. Here in Yunnan, Yang Jianbo’s painting illustrates the fact of reflection on the “system” once again.

Anyone who lacks of ability of reflection will not be able to move forward no matter who, where or what profession. This has been my understanding all the time. I believe those artists who can reflect are lucky, for they can be motivated with a self-driven progressive force. On the contrary, it is very dangerous to be conservative and just spend the day in a muddle. We can easily find in history that there is no solution that hold good for all time. Rules keep changing all the time. Only through continuous reflection and constant learning, can one have a full and wonderful life.

Yang Jianbo’s art works show us his effort put on the painting. The epic the Fading Year of 2011-33 demonstrates his excellent painting skill and great vigor. It also illustrates a universal situation of the individual artist and their art creation in the process of Chinese system transformation, and their anxiety and the confusion of having nothing to follow when they encounter never-ending changing rules. I personally appreciate his wisdom about his reflection and changing. It doesn’t mean that I instigate him to get rid of the system. Quite the opposite, I agree that the result of Jianbo’s reflection can be either a giving up or perseverance in his previous art style. No matter what the new direction is, the deliberated determination is reliable. Usually, in Chinese art territory, the opposite of the “system” is known as Jianghu. The art in Jianghu tends to criticize and examine the system. And the result of criticizing and examining is to decry the system and to support Jianghu. But if there is only one voice for this result of reflection and criticizing, it would be a pity and very ineffective. Only when different voices are all heard, can a better and more prosperous art kingdom be achieved. The point is, whatever we persevere in, we have to source out its reason after serious consideration, instead of just following with the stream.

Of course, it is not easy at all to reflect and even change an art style developed through many years. It might be a very difficult and painful experience to exceed old habit and break through convention. It requires big wisdom and courage. Yang Jianbo has been attempting to exceed his own thinking pattern finalized during past decade, and to explore some new methods that are more inspired for art creation motivation. Either in experimental materials or in refreshing the picture image, he keeps seeking the best condition for his art creation, keeps renewing his cognition about art and art creation through proactive adjustment his own state and achieve a sophisticated dealing with art. Although he is still in the process of self-adjustment, it is already a big step for a person in the age of 40s to make a decision of changing.

Jianbo is an example of those artists born in the later years of the Cultural Revolution. Throughout his growth experience, we can find he is an age-beloved of which the people will be envious; we can also discover some anguish and secret worry. It is the consequence that the entire generation has to undergo. This secret worries maybe just starts, maybe has been long-standing……

January 31, 2013

 The elegy in the wild field       

                              –For Yang Jianbo’s painting                                      

By He Libin

The wild field, dried trees, precipice, fragmentary torso, falling leaves, declining road sign, silent face… these dream-like scenes continuously appear in Yang Jianbo’s painting works—Brushing Words (series). It seems to tell the same story, but would not have it told. They somehow immerge in the background of the vast desert.

The French phrases in the frame of pictures play a key role of explaining the meaning of the picture. These French phrases come from different literatures and poets, involving the topic of the nature, society, and sentiment. They are indispensable for the painting series, and offering the literary and narrative connection to the painting works. Literature and painting have been incorporating with each other for such a long time throughout the art history. Almost all master pieces of realistic painting created in the renaissance Europe are the fruits of compromise between painting and literature narration, between painting and religious stories. This sort of incorporation also brought up so many maestros such as Michelangelo, Rembrandt van Rijn, Bosch Hieronymus, El Greco, Francisco Goya, Nicolas Poussin and David, and those great artists such as Francois Millet, Gustave Courbet, Eugène Delacroix, Paul Gauguin, Edvard Munch, Gustave Moreau, Chirico, Vincent Willem van Gogh from different modern and contemporary art schools who represent Barbizon School, realism, romanticism, symbolism, surrealism and expressionism. Their art creation were all influenced and inspired by modern literature and poetry. In the Chinese water-ink painting, the tradition of combination between painting and poetry has never been changed. It is commonly believed that literature is used to convey and express ideas and proposals. The Chinese scholars used to express their ideal and political ambitions via the combination of painting and poetry. Nevertheless, Jianbo is a contemporary artist who lives in modern China and his case is different from above phenomenon. The connection of literature and painting in his art works is neither as same direct as that of the western artists, nor like the ancient Chinese scholars did, but much more about personal interior monologue. It partially derived from his tolerant and veiled personality, and also related to the original intention of creating this series of Brushing Words. Like what he said, his own secret experience is more suitable for revealing through a covert method. This is a distinctive point of Jianbo’s works. These constantly appearing French phrases are the key points of the pictures, but keep a distance from the pictures. Word characters and the pictures are independent from one another, but relevant with one another. The old trees, dried vines, broken cliffs, the ruins, wild land, and desert in the pictures, symbolizing the fragments of different time and memories, are incongruously set up in one space to compose a pathetical and shyly spoken-out elegy.

Jianbo now is in his 40s. In Chinese culture, this is an age when one begins to understand the world. However, Jianbo seems to be not so clear about the world, on the contrary, he has many more confusions about the world. In fact, this is not special. It is a common state for one generation. As a witness of this dramatically changing age, artists have to be affected by the changing and transforming times and reflect different fruits and consequences of the times through their art works. Jianbo and I are a same group born in 1970s, we all experienced and saw major event and transformation took place in China, such as the Cultural Revolution, Reforming and Opening policy, the 85 Trend of Thought, Student Agitation, Democracy Movement, the Market Economy, urbanization, disappearing of the village, urban population explosion, ecological crisis… etc. We saw our traditional value was collapsed, and new value is being established but disordered, and the lack of common belief. This is a noisy, chaotic and disorganized world. Nobody can get away from it. Usually, the artists is more sensitive than ordinary people, Jianbo can be a representative of them. He has no way to pour out his grief but present through his painting. His paintings is not deliberately mystifying or intentionally setting up puzzle. It is because he can’t and is not allowed to say directly. Like those interlaced branches of the old trees appearing in the pictures, which extending to different direction, there are many different paths and possibilities, but without a definite answer. The tiny spots of Greenland in the wild land, they are so bright and attractive, but somewhat dream-like and illusion. They are some sights of the past time and will leave from us in the end.

To farewell to the poetry era in the past, I would like to cite a poem-Silence, by Gustave Flaubert, a French writer, to end up this essay.

So clean the sky Cloud disappear All is silent The sea, The field, Comes melancholy! There isn’t any more The bird’s singing The raven’s crow And the sound of plough…

February 16, 2013


Yang Jianbo

1972 Born in Kunming, Yunnan.

Graduated from the Oil Painting of Fine Art Department of Southwest Normal University, professor of Art and Design collage of Yunnan University


Exhibition (Selection)

2013   Meantime, Yunnan Provincial Museum, Kunming

2012   Hand in Hand 2011: The 2nd Yunnan Oil Painting Association Exhibition, Kunming

The 3rd Kunming Oil  Biennial, Kunming

2011   Yunnan Watercolor Exhibition, Ningbo

2010   Collaborated Art Book Project, Kunming

2009   Guishan Sentiments, Kunming Mao Xuhui,Tan Zhigang – Nomination Exhibition of Young Artists in Yunnan, Kunming

2008   Back to Guishan – The 63 Anniversary of United Nation Found, Beijing

2006   The 18th China Artists’ Association Exhibition, Wuxi

2005   The First Kunming Oil Landscape Painting Biennial, Kunming

2004   The 10th National Art Exhibition, Guangzhou

2003   The 3rd China Oil Painting Exhibition, Beijing

The First Chongqing Oil Painting Exhibition, Chongqing

1998   The First Kunming Oil Landscape Painting Biennial, Kunming

1997  1997 Yunnan Oil Painting Exhibition, Kunming






[lang_zh]Carissa White (澳大利亚)[/lang_zh][lang_en]Carissa White (Australia)[/lang_en]


开放工作室时间: 2013年1月26,13:00-22:00






[lang_en] Residency period: January 1-31, 2013

Open Studio: 13-22pm, January 26, 2013


About the artist:

Australian artist Carissa White works predominately within sculpture and installation whilst also exploring sculptural objects potential through sound and video. Her work plays with the notion of patterns within nature and the interplay between nature and humans through a merging of archetypal shapes and natural materials. Within her time in Yunnan she will be working closely with natural materials to reinterpret and translate their properties from one state to the next whilst creating a poetic model.

Previous work:[/lang_en]

Balance-平衡,-Wild-rice-and-white-sand-野稻米和沙,2012      Beeswax-蜂蜡,2012      Cluster-簇,-sand-沙,2011Homely-家,stones-and-gauze-石头和纱,-2012      Existence-in-Space-太空中的存在,Beeswax-蜂蜡,2012      Mapped-地图,white-rice-and-red-dye-染色大米,2011Patterns-图案,-wood-and-wild-rice-木头和野稻米      Patterns-图案,-wood-and-wild-rice-木头和野稻米,2011      Shapely-型,木头和铁丝,2012