Project Space Young Curators Lab - The Liver

  • Dates:2016-09-02 - 2016-09-23
  • Location:2C, CAFA Art Museum
  • Opening:2016-09-02 13:00
  • Organizer(s): CAFA Art Museum CAFA Institute of Art Management and Education
  • Co-Organizer(s): CAFA Art Museum CAFA Institute of Art Management and Education
  • Chief Curator: Li Shengzhao
  • Artists: Guo Yilin Zhu Changquan Pan Zishen Wang Jianxin Yi Lian Song Zhen Liu Guoqiang Ye Nan Jia Hongyu

Details

About the Curator: Li Shengzhao, is an independent curator and researcher in the Open Matter Institute. He graduated with a master’s degree from the School of Intermedia Art in the China Academy of Art. He has long been committed both in curation and theoretical research, consecutively writing and... More
About the Curator:
Li Shengzhao, is an independent curator and researcher in the Open Matter Institute. He graduated with a master’s degree from the School of Intermedia Art in the China Academy of Art. He has long been committed both in curation and theoretical research, consecutively writing and creating new work. Since 2010, he has begun to curate many academic exhibitions and has edited artists’ paintings albums. He won critics award with his article about contemporary art from the Art Forum in 2010. His curatorial plan Memorandum for Gaia was selected as the superior proposal by the Emerging Curators Project of the Power Station of Art in 2014. In 2015, he was appointed as the art director in the Inna Art Space. His articles were published in many art journals and periodicals. At present, his studies focus on anti-establishment and the practical possibilities of the daily life. He now lives and works in Hangzhou.

About the Medical Advisor:
Liang Xiao, chief physician of the hepatopancreatobiliary surgery department of the Sir Run Run Shaw Hospital (SRRSH), affiliated with the Zhejiang University School of Medicine, is a vice-professor, master tutor and M.D. He is a member of the Chinese Committee of Biliary Surgeons (CCBS), a member of the youth committee of the Chinese Medical Association, and a member of the Enhanced Recovery after Surgery (ERAS) Committee and Digital Medicine Committee of the Chinese Research Hospital Association.

About the Artists:

Guo Yilin
Guo Yilin, born in Shanxi Province in 1985, now has long-term cooperation with Sir Run Run Hospital to produce documentaries, living and working in Hangzhou. He has exhibitions experience partly as follow:
1) The eighth Three Shadows (2016).
2) Jimei, xiamen-Les Recontres d’Arles (2015).
3) Hong Kong Hanart TZ Gallery Charcoal Charcoal Space (2011).

Jia Hongyu
Jia Hongyu, born in the 1980s, now lives and works in Beijing. His creative inspiration comes from his constant observation in the street. He focuses on the changing of the streets with the capricious light. He has a particular interest in matter and material.

Liu Guoqiang
Liu Guoqiang, born in Shandong province in 1988, has exhibition experiences as follow:
1) Solo exhibition in the Hive Center for Contemporary Art (2016)-The Moving Images.
2) Wall Power-The First Wallpost Artist Exhibition in the Today Art Museum (2016).
3) OCAT Shanghai Photo (2015).
4) This is not Video, Asia Art Center, Taipei (2015).
5) Memorandum for Gaia in the Emerging Curators Project of the Power Station of Art (2014).
6) Art Sanya-Huayu Youth (2014).

Pan Zishen
Pan Zishen, born in the 1980s, is an interdisciplinary artist. He is dedicated to combining medicine and art. His exhibition experiences include:
1) Healing-Seaming, Sino-Japan contemporary Art Exhibition (2016).
2) Naked Eye Female Artist Exhibition (2015).
3) Hermit’s spring (2013).

Song Zhen
Song Zhen, born in Zhangjiakou, Hebei in 1983, is a teacher at the China Academy of Art. His exhibition experiences include:
1) Reactivation, the 9th Shanghai Biennial (2012).
2) Shanghai and Venice, Gervasuti Foundation (2013).
3) Market forces: The Friction of Opposites, Osage Gallery (2013).
4) Emerging Curators Project of the Power Station of Art (2014).
Wang Jianxin
Wang Jianxin is a draftsman who has a unique taste in eerie images. Every day, he explores the Internet and the old bookshops to find rare objects and expands his painting skills.

Ye Nan
Born in 1984, Ye Nan lives and works in Beijing and Hangzhou. His exhibition experiences include:
1) The 9th Shanghai Biennale (2012).
2) Out of Sight, Tang Contemporary Art, Bangkok (2013).
3) My Generation: Young Chinese Artists, Tampa Museum of Art (2014).
4) Polyphony II: Ecological Survey of Chinese Art-Beijing (2014).
5) Sage times: Power Station of Art (2015).

Yi Lian
Born in Jiangxi province, Yi Lian graduated with a master’ degree from China Academy of Art. His exhibition experiences include:
1) CHINA8 – Rhein-Ruhr Chinese Contemporary Art (2015).
2) AVIFF (2014).
3) Reformation, Australia (2014).
4) Shanghai West Bound 2013 A Biennial of Architecture and Contemporary Art (2013).
5) Reactivation, the 9th Shanghai Biennial (2012).

Zhu Changquan
Zhu Changquan, born in Shandong province in 1989, gets his inspiration from daily life. He tries to reveal the rule of the daily life through analyzing the potential factors of human’s daily behavior. The power of video does not come from their meaning but from their inherent energy, which awakes the experiences of the viewers, and more significantly, consciously behaving oneself in the society.
His exhibition experiences include:
1) Internationale kurzfilmtage Oberhausen (2015).
2) This is not Video, Asia Art Center, Taipei (2015).
3) Compressed Project, Vanguard Gallery (2015).
4) Nanjing International Art Festival (2015).

Organizing Committee for the Project Space Young Curators Lab
Master Planner(s): Wang Huangsheng, Yu Ding
Coordinator(s): Wang Chunchen
Chief Executive(s): Liu Xiyan, Chen Jie, Chi Zhao
Public Education: Ren Rui
Publication: Song Liang
Visual Director(s): Ji Yujie
Organizer(s): CAFA, The CAFA Institute of Art Management and Education
Co-Organizers(s): Wu Zuoren International Foundation of Fine Arts Young Curator Fund
Supporter(s): Beijing Zhenghecheng Cultural Development Co., Ltd
Designated output institution: Beijing Flyingfish Cultural Development Co., Ltd. Art Micro-jet Studio

About “Project Space Young Curators Lab”
The CAFA Art Museum “Project Space Young Curators Lab” 2016-2017 project will be officially launched at the CAFA Art Museum in July this year. The project was jointly initiated by the CAFA Art Museum and Wu Zuoren International Foundation of Fine Art Young Curator Special Fund. Six young curators and teams were invited to plan, implement and display six cross-border exhibition experiments in different directions on the “project space” platform. This year's “Project Space Young Curators Lab” emphasizes theme and experiment. It is a brand-new measure to respond to the new artistic environment and the status of young curators and is also a continuation and extension of the core concept of “project space.”

The “Project Space” exhibition plan was started in October 2009, which is aimed to cultivate outstanding young curators and to promote and support the curatorial practice of young curators with an international perspective and academic depth. So far, the “project space” has launched nearly 20 projects, which has established a platform for academics and exhibitions for a group of young curators. “Project Space” will continue to maintain close contact with young curators and groups in the future. Through the support of museums and foundations, it will continue to explore and train young Chinese curators and provide them with opportunities for curatorial and exchange activities to inspire the young power and vitality of China's strategic exhibitions.

About Wu Zuoren International Foundation of Fine Art Young Curator Special Fund
Wu Zuoren International Foundation of Fine Art Young Curator Special Fund was established on July 15, 2012, with the purpose of supporting and nurturing young curators with international vision and professional qualities. The project involved young curators overseas training programs, international curators and master workshops. In October 2009, it cooperated with the CAFA Art Museum to start the “Project Space” exhibition plan.

“Project Space Young Curators Lab” 2016-2017 Exhibition Plan
July 2016: When Form does not Become Attitude: Encounters between Biology and Contemporary Art (Curator: Jo Wei)
September 2016: The Liver (to be confirmed) (Curator: Li Shengzhao)
October 2016: Rheological “Sound” (to be confirmed) (Curator: Chao Jiaxing)
December 2016: Visual is Reality - Fantasy and Immersion (Curator: Shi Guanzhe)
March 2017: The Mechanism (Curator: a group)
April 2017 : Poolroom (Curator: Liu Tian/ Open Matter Institute)

Preface

The liver mirrors heaven.

----Ancient Babylonian proverb


In the early Babylonian and Arabian languages, the liver was treated as a blood storage organ which equals to life, containing soul, emotion, and intelligence. People were used to using “liver” instead of “heart” to express their feelings. In the Lamentations, the mother said, “My liver was dropped on the ground,” to express her heartbreak feeling when her child was taken from her. The superior position of brain and heart were founded by Plato’s Timaeus. But Plato also regarded the smooth and bright liver as a reflection of the mind’s reason and a supervisor of the belly’s desire. In the Assyrian civilization, the ancient hepatoscopy treated the goat’s liver as a mirrorof heaven, a reflection of God’s will, and the connection between people and the heaven. The prosperity of this kind of augury also promoted the development of ancient medicine and astronomy. According to Huang Di’s Canon, “The liver reflected on the eyes”, both the liver and the eyes are organs reflecting “images”: one reflecting the outer world, the other indicating the mind’s reason and the God’s will.


In all the human organs, the liver has the most robust regenerative capacity. This concept has constituted the basis of modern liver surgery and liver disease treatment, and a significant research subject of regenerative medicine. In the Greek mythology, Prometheus was bounded on the Caucasus mountains, every day his liver being pecked by a vulture and every night his liver growing anew. The punishment was thus carried on. The constant rebirth of the liver prevented the end of the God’s life. Although bitterness was stuck in the clock, hope for changes of destiny was saved. The liver was like “Elpis” left in the Pandora’s box, existing in the story, as well as our bodies.


The concepts of “mirroring” or the images about “hope” with regenerative capacity, all overlapped with the modern medicine’s understanding of the practices on the liver. These notions form a complicated and gigantic civil network. The exhibition tries to combine those previous texts, modern medical explanations and the images of livers. How to make the reflective liver reflect images? How does mirror reflect itself? What does the neutral hope mean to us? All these notions of the liver add to and overlap with an image of the liver--recovering, restoring, repeating, reviving and complicating. Antonin Artaud said, “Double image is a recreation of self, an endless building of subjectivity, unapproachable and without purpose.”


The liver mirrors heaven.

----Ancient Babylonian proverb


In the early Babylonian and Arabian languages, the liver was treated as a blood storage organ which equals to life, containing soul, emotion, and intelligence. People were used to using “liver” instead of “heart” to express their feelings. In the Lamentations, the mother said, “My liver was dropped on the ground,” to express her heartbreak feeling when her child was taken from her. The superior position of brain and heart were founded by Plato’s Timaeus. But Plato also regarded the smooth and bright liver as a reflection of the mind’s reason and a supervisor of the belly’s desire. In the Assyrian civilization, the ancient hepatoscopy treated the goat’s liver as a mirrorof heaven, a reflection of God’s will, and the connection between people and the heaven. The prosperity of this kind of augury also promoted the development of ancient medicine and astronomy. According to Huang Di’s Canon, “The liver reflected on the eyes”, both the liver and the eyes are organs reflecting “images”: one reflecting the outer world, the other indicating the mind’s reason and the God’s will.


In all the human organs, the liver has the most robust regenerative capacity. This concept has constituted the basis of modern liver surgery and liver disease treatment, and a significant research subject of regenerative medicine. In the Greek mythology, Prometheus was bounded on the Caucasus mountains, every day his liver being pecked by a vulture and every night his liver growing anew. The punishment was thus carried on. The constant rebirth of the liver prevented the end of the God’s life. Although bitterness was stuck in the clock, hope for changes of destiny was saved. The liver was like “Elpis” left in the Pandora’s box, existing in the story, as well as our bodies.


The concepts of “mirroring” or the images about “hope” with regenerative capacity, all overlapped with the modern medicine’s understanding of the practices on the liver. These notions form a complicated and gigantic civil network. The exhibition tries to combine those previous texts, modern medical explanations and the images of livers. How to make the reflective liver reflect images? How does mirror reflect itself? What does the neutral hope mean to us? All these notions of the liver add to and overlap with an image of the liver--recovering, restoring, repeating, reviving and complicating. Antonin Artaud said, “Double image is a recreation of self, an endless building of subjectivity, unapproachable and without purpose.”


Photographs

Photographs

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The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

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IV. Licensing Fees

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After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

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CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

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