Is­lands of cre­ativ­ity

China Daily (USA) - - LIFE - Con­tact the writer at [email protected]­

Tian­miao agrees. She trans­formed an old house on Ogi­jima is­land into an in­stal­la­tion by us­ing more than 1,000 ev­ery­day items that were left in the house by its owner, such as a note­book, pill boxes, a har­poon and sticks from a curl­ing iron.

“The house owner cried when he saw my in­stal­la­tion. It was like a re­vival of his fam­ily’s mem­ory. I was also moved by my work. It en­ables vis­i­tors to imag­ine the changes of both a Ja­panese fam­ily over sev­eral decades and also of the so­ci­ety in which they live,” says Lin.

A site-spe­cific work for an art fes­ti­val like the Se­touchi Tri­en­nale re­quires the artists to learn and do re­search about the lo­cal com­mu­nity, the cul­ture and the his­tory, Lin says. That, she says, is an ef­fi­cient method to know the peo­ple there.

Chi­nese mu­si­cian and artist Zhu Zhe­qin, who’s also known by her stage name, Dadawa, and Xiang Yang, an in­stal­la­tion artist, will take part in the next year’s tri­en­nial.

Zhu draws in­spi­ra­tion from var­i­ous sounds from Sho­doshima is­land and will pro­duce a bell house. She will also write a song for Se­touchi and de­velop a spe­cial app bring­ing to­gether all the in­for­ma­tion needed to visit the is­land.

Artist Xiang Yang will pro­duce a three-floor wooden boat named Next Is­land — made from dis­carded ma­te­ri­als and old fur­ni­ture — where he will in­vite other artists to dis­play their work.

The tri­en­nial will span three sea­sons: The spring ses­sion from April 26 to May 26, the sum­mer ses­sion from July 19 to Aug 25 and the au­tumn ses­sion from Sept 28 to Nov 4.

Vis­i­tors can also en­joy a con­sid­er­able num­ber of mu­se­ums and per­ma­nent art in­stal­la­tions from pre­vi­ous fes­ti­vals that are scat­tered through­out the 12 is­lands. Dra­mas, dances and per­for­mances in­volv­ing lo­cal peo­ple will also be staged.

Af­ter the end of the fes­ti­val, the art in­stal­la­tions will re­main and a se­ries of reg­u­lar art events will con­tinue to take place in the area for vis­i­tors.

“It’s not just a 100-day fes­ti­val. Art events go on dur­ing all the three years be­tween each tri­en­nial,” says Fu­ramu. but com­bines paint­ing or in­scrip­tions by other artists, can fully show the rich­ness of tra­di­tional cul­ture, Li says.

Jia, a na­tive of Bei­jing, was born into a fam­ily that has a long tra­di­tion in relic re­pair. He has been in­volved in restora­tion since the late 1970s, work­ing at or­ga­ni­za­tions in­clud­ing the Bei­jing Bureau of Cul­tural Her­itage, the Cap­i­tal Mu­seum and the China Agri­cul­tural Mu­seum.

Jia’s whole-shape rub­bings have evolved thanks to his rich ex­pe­ri­ence in bronze­ware restora­tion. He ab­sorbed the ex­pe­ri­ence of his pre­de­ces­sors and ex­plored new tech­niques to form his own unique meth­ods, which al­low him to present ac­cu­rate shapes, clear de­tails and re­al­is­tic ef­fects.

His rub­bing of the Boju Ge, which is re­garded as one of Jia’s rep­re­sen­ta­tive works, was given to for­mer French pres­i­dent Jacques Chirac as a present by China in 2011.

Boju Ge is an an­cient three-legged bronze ves­sel used for sac­ri­fices that was un­earthed in Bei­jing in 1974 that dates to the Western Zhou Dy­nasty (c.11th cen­tury-771 BC).

In re­cent years, Jia has also been de­voted to the in­her­i­tance and pro­mo­tion of whole-shape rub­bing, in­clud­ing train­ing younger gen­er­a­tions to per­form the al­most-lost tech­nique.

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