Light from Light Catalogue

Light from Light2 0 1 0 — 2 0 1 2

光源自光

M A A P — M e d i a A r t A s i a P a c i f i c

Catalogue Editor Kim MachanProduction Madeleine KingDesign Paul BaiPublisher Media Art Asia PacificPrinter MBE

©Copyright, MAAP–Media Art Asia Pacific Inc and the authors, 2012. All rights res erved. No part of this publication may be reproduced, stored in retrieval system, transmitted or utilised in any form or by any means, electronic, mechanical, photo-copying, recording or otherwise, without permission in writ-ing from the publisher.

Published December 2012 Brisbane

Notes on the Catalogueessays for this catalogue have been provided by the authors as attributed. The views expressed are not necessarily those of the publisher. Essays have been edited for style, consistancy and length.

ISNB xxxxxxx xxxxxxxx

The State Library of QueenslandShanghai Library

National Library of ChinaNational Art Museum of China

Hangzhou Public Library

Top image: Pak Sheung Chuen, Making Thousand of Suns, Vinyl, wooden shelf and books, 2010. (detail)Lower image: Janet Burchill & Jennifer McCamely, Light from Light, self-powered geodesic dome, 2010. (detial)

ContentKim Machan Essay couratorial rational and outcome 9-12

Pauline Yao Essay beijing arrow factory and survival 13 –16

List of Artists – 19

Brisbane 20 – 37

Shanghai 38 – 55

Beijing 56 – 77

Hangzhou 78 – 99 Artist Bibliography 100 – 110

Above: Artist Joyce Hinderding and SLQ staff install the antena that will record the sounds of solar winds interacting with the earth’s atmosphere.Below: Workers in Shanghai installing the outdoor sculpture Light from Light by artists Jenet Burchill & Jennifer McCamely.

9

Essay on couratorial rational and outcome

Kim Machan

Modernism includes more than art and literature. By now it covers almost the whole of what is truly alive in our culture. It happens, however, to be very much of a historical novelty. Western civilization is not the first civilization to turn around and question its own foundations, but it is the one that has gone furthest in doing so. I identify Modern-ism with the intensification, almost the exacerbation, of this self-critical tendency that began with the philosopher Kant. Because he was the first to criticize the means itself of criticism, I conceive of Kant as, the first real Modernist.

The essence of Modernism lies, as I see it, in the use of characteristic methods of a dis-cipline to criticize the discipline itself, not in order to subvert it but in order to entrench it more firmly in its area of competence. Kant used logic to establish the limits of logic, and while he withdrew much from its old jurisdiction, logic was left all the more secure in what there remained to it.

The self-criticism of Modernism grows out of, but is not the same thing as, the criticism of the Enlightenment. The Enlightenment criticized from the outside, the way criticism in its accepted sense does; Modernism criticizes from the inside, through the proce-dures themselves of that which is being criticized. It seems natural that this new kind of criticism should have appeared first in philosophy, which is critical by definition, but as the 18th century wore on, it entered many other fields. A more rational justification had begun to be demanded of every formal social activity, and Kantian self-criticism, which had arisen in philosophy in answer to this demand in the first place, was called on eventually to meet and interpret it in areas that lay far from philosophy.

We know what has happened to an activity like religion, which could not avail itself of Kantian, immanent, criticism in order to justify itself. At first glance the arts might seem to have been in a situation like religion’s. Having been denied by the Enlighten-ment all tasks they could take seriously, they looked as though they were going to be as-similated to entertainment pure and simple, and entertainment itself looked as though it were going to be assimilated, like religion, to therapy. The arts could save themselves from this leveling down only by demonstrating that the kind of experience they provid-ed was valuable in its own right and not to be obtained from any other kind of activity.

Each art, it turned out, had to perform this demonstration on its own account. What had to be exhibited was not only that which was unique and irreducible in art in gen-eral, but also that which was unique and irreducible in each particular art. Each art had to determine, through its own operations and works, the effects exclusive to itself. By doing so it would, to be sure, narrow its area of competence, but at the same time it would make its possession of that area all the more certain.

It quickly emerged that the unique and proper area of competence of each art coin-cided with all that was unique in the nature of its medium. The task of self-criticism became to eliminate from the specific effects of each art any and every effect that might conceivably be borrowed from or by the medium of any other art. Thus would each art be rendered “pure,” and in its “purity” find the guarantee of its standards of quality as well as of its independence. “Purity” meant self-definition, and the enterprise of self-criticism in the arts became one of self-definition with a vengeance.

Realistic, naturalistic art had dissembled the medium, using art to conceal art; Mod-ernism used art to call attention to art. The limitations that constitute the medium of painting -- the flat surface, the shape of the support, the properties of the pigment -- were treated by the Old Masters as negative factors that could be acknowledged only implicitly or indirectly. Under Modernism these same limitations came to be regarded

10

The Old Masters had sensed that it was necessary to preserve what is called the integrity of the picture plane: that is, to signify the enduring presence of flatness underneath and above the most vivid illusion of three-dimensional space. The apparent contradiction involved was essential to the success of their art, as it is indeed to the success of all picto-rial art. The Modernists have neither avoided nor resolved this contradiction; rather, they have reversed its terms. One is made aware of the flatness of their pictures before, in-stead of after, being made aware of what the flatness contains. Whereas one tends to see what is in an Old Master before one sees the picture itself, one sees a Modernist picture as a picture first. This is, of course, the best way of seeing any kind of picture, Old Master or Modernist, but Modernism imposes it as the only and necessary way, and Modernism’s success in doing so is a success of self-criticism.

Modernist painting in its latest phase has not abandoned the representation of recogniz-able objects in principle. What it has abandoned in principle is the representation of the kind of space that recognizable objects can inhabit. Abstractness, or the non-figurative, has in itself still not proved to be an altogether necessary moment in the self-criticism of pictorial art, even though artists as eminent as Kandinsky and Mondrian have thought so. As such, representation, or illustration, does not attain the uniqueness of pictorial art; what does do so is the associations of things represented. All recognizable entities (in-cluding pictures themselves) exist in three-dimensional space, and the barest suggestion of a recognizable entity suffices to call up associations of that kind of space. The fragmen-tary silhouette of a human figure, or of a teacup, will do so, and by doing so alienate pic-torial space from the literal two-dimensionality which is the guarantee of painting’s inde-pendence as an art. For, as has already been said, three-dimensionality is the province of sculpture. To achieve autonomy, painting has had above all to divest itself of everything it might share with sculpture, and it is in its effort to do this, and not so much -- I repeat -- to exclude the representational or literary, that painting has made itself abstract.At the same time, however, Modernist painting shows, precisely by its resistance to the sculptural, how firmly attached it remains to tradition beneath and beyond all ap-pearances to the contrary. For the resistance to the sculptural dates far back before the advent of Modernism. Western painting, in so far as it is naturalistic, owes a great debt to sculpture, which taught it in the beginning how to shade and model for the illusion of relief, and even how to dispose that illusion in a complementary illusion of deep space. Yet some of the greatest feats of Western painting are due to the effort it has made over the last four centuries to rid itself of the sculptural. Starting in Venice in the 16th century and continuing in Spain, Belgium, and Holland in the 17th, that effort was carried on at first in the name of color. When David, in the 18th century, tried to revive sculptural painting, it was, in part, to save pictorial art from the decorative flattening-out that the emphasis on color seemed to induce. Yet the strength of David’s own best pictures, which are predominantly his informal ones, lies as much in their color as in anything else. And Ingres, his faithful pupil, though he subordinated color far more consistently than did David, executed portraits that were among the flattest, least sculptural paintings done in the West by a sophisticated artist since the I4th century. Thus, by the middle of the 19th century, all ambitious tendencies in painting had converged amid their differences, in an anti-sculptural direction.

Modernism, as well as continuing this direction, has made it more conscious of itself. With Manet and the Impressionists the question stopped being defined as one of color versus drawing, and became one of purely optical experience against optical experience as revised or modified by tactile associations. It was in the name of the purely and liter-ally optical, not in the name of color, that the Impressionists set themselves to under-mining shading and modeling and everything else in painting that seemed to connote the sculptural. It was, once again, in the name of the sculptural, with its shading and modeling, that Cézanne, and the Cubists after him, reacted against Impressionism, as David had reacted against Fragonard. But once more, just as David’s and Ingres’ reaction had culminated, paradoxically, in a kind of painting even less sculptural than before, so the Cubist counter-revolution eventuated in a kind of painting flatter than anything in Western art since before Giotto and Cimabue -- so flat indeed that it could hardly contain recognizable images.

11

The Old Masters had sensed that it was necessary to preserve what is called the integrity of the picture plane: that is, to signify the enduring presence of flatness underneath and above the most vivid illusion of three-dimensional space. The apparent contradiction involved was essential to the success of their art, as it is indeed to the success of all picto-rial art. The Modernists have neither avoided nor resolved this contradiction; rather, they have reversed its terms. One is made aware of the flatness of their pictures before, in-stead of after, being made aware of what the flatness contains. Whereas one tends to see what is in an Old Master before one sees the picture itself, one sees a Modernist picture as a picture first. This is, of course, the best way of seeing any kind of picture, Old Master or Modernist, but Modernism imposes it as the only and necessary way, and Modernism’s success in doing so is a success of self-criticism.Modernist painting in its latest phase has not abandoned the representation of recogniz-able objects in principle. What it has abandoned in principle is the representation of the kind of space that recognizable objects can inhabit. Abstractness, or the non-figurative, has in itself still not proved to be an altogether necessary moment in the self-criticism of pictorial art, even though artists as eminent as Kandinsky and Mondrian have thought so. As such, representation, or illustration, does not attain the uniqueness of pictorial art; what does do so is the associations of things represented. All recognizable entities (in-cluding pictures themselves) exist in three-dimensional space, and the barest suggestion of a recognizable entity suffices to call up associations of that kind of space. The fragmen-tary silhouette of a human figure, or of a teacup, will do so, and by doing so alienate pic-torial space from the literal two-dimensionality which is the guarantee of painting’s inde-pendence as an art. For, as has already been said, three-dimensionality is the province of sculpture. To achieve autonomy, painting has had above all to divest itself of everything it might share with sculpture, and it is in its effort to do this, and not so much -- I repeat -- to exclude the representational or literary, that painting has made itself abstract.At the same time, however, Modernist painting shows, precisely by its resistance to the sculptural, how firmly attached it remains to tradition beneath and beyond all ap-pearances to the contrary. For the resistance to the sculptural dates far back before the advent of Modernism. Western painting, in so far as it is naturalistic, owes a great debt to sculpture, which taught it in the beginning how to shade and model for the illusion of relief, and even how to dispose that illusion in a complementary illusion of deep space. Yet some of the greatest feats of Western painting are due to the effort it has made over the last four centuries to rid itself of the sculptural. Starting in Venice in the 16th century and continuing in Spain, Belgium, and Holland in the 17th, that effort was carried on at first in the name of color. When David, in the 18th century, tried to revive sculptural painting, it was, in part, to save pictorial art from the decorative flattening-out that the emphasis on color seemed to induce. Yet the strength of David’s own best pictures, which are predominantly his informal ones, lies as much in their color as in anything else. And Ingres, his faithful pupil, though he subordinated color far more consistently than did David, executed portraits that were among the flattest, least sculptural paintings done in the West by a sophisticated artist since the I4th century. Thus, by the middle of the 19th century, all ambitious tendencies in painting had converged amid their differences, in an anti-sculptural direction.Modernism, as well as continuing this direction, has made it more conscious of itself. With Manet and the Impressionists the question stopped being defined as one of color versus drawing, and became one of purely optical experience against optical experience as revised or modified by tactile associations. It was in the name of the purely and liter-ally optical, not in the name of color, that the Impressionists set themselves to under-mining shading and modeling and everything else in painting that seemed to connote the sculptural. It was, once again, in the name of the sculptural, with its shading and modeling, that Cézanne, and the Cubists after him, reacted against Impressionism, as David had reacted against Fragonard. But once more, just as David’s and Ingres’ reaction had culminated, paradoxically, in a kind of painting even less sculptural than before, so the Cubist counter-revolution eventuated in a kind of painting flatter than anything in Western art since before Giotto and Cimabue -- so flat indeed that it could hardly contain recognizable images.

12 Custom built photovoltaic panel produced for Janet Burchill and Jennifer McCamley’s commissioned sculpture Light from Light, 2010.

13

Essay beijing arrow factory and survival

Pauline Yao

Modernism includes more than art and literature. By now it covers almost the whole of what is truly alive in our culture. It happens, however, to be very much of a historical nov-elty. Western civilization is not the first civilization to turn around and question its own foundations, but it is the one that has gone furthest in doing so. I identify Modernism with the intensification, almost the exacerbation, of this self-critical tendency that began with the philosopher Kant. Because he was the first to criticize the means itself of criticism, I conceive of Kant as, the first real Modernist.

The essence of Modernism lies, as I see it, in the use of characteristic methods of a disci-pline to criticize the discipline itself, not in order to subvert it but in order to entrench it more firmly in its area of competence. Kant used logic to establish the limits of logic, and while he withdrew much from its old jurisdiction, logic was left all the more secure in what there remained to it.

The self-criticism of Modernism grows out of, but is not the same thing as, the criticism of the Enlightenment. The Enlightenment criticized from the outside, the way criticism in its accepted sense does; Modernism criticizes from the inside, through the procedures themselves of that which is being criticized. It seems natural that this new kind of criticism should have appeared first in philosophy, which is critical by definition, but as the 18th century wore on, it entered many other fields. A more rational justification had begun to be demanded of every formal social activity, and Kantian self-criticism, which had arisen in philosophy in answer to this demand in the first place, was called on eventually to meet and interpret it in areas that lay far from philosophy.

We know what has happened to an activity like religion, which could not avail itself of Kantian, immanent, criticism in order to justify itself. At first glance the arts might seem to have been in a situation like religion’s. Having been denied by the Enlightenment all tasks they could take seriously, they looked as though they were going to be assimilated to entertainment pure and simple, and entertainment itself looked as though it were going to be assimilated, like religion, to therapy. The arts could save themselves from this leveling down only by demonstrating that the kind of experience they provided was valuable in its own right and not to be obtained from any other kind of activity.

Each art, it turned out, had to perform this demonstration on its own account. What had to be exhibited was not only that which was unique and irreducible in art in general, but also that which was unique and irreducible in each particular art. Each art had to determine, through its own operations and works, the effects exclusive to itself. By doing so it would, to be sure, narrow its area of competence, but at the same time it would make its posses-sion of that area all the more certain.

It quickly emerged that the unique and proper area of competence of each art coincided with all that was unique in the nature of its medium. The task of self-criticism became to eliminate from the specific effects of each art any and every effect that might conceivably be borrowed from or by the medium of any other art. Thus would each art be rendered “pure,” and in its “purity” find the guarantee of its standards of quality as well as of its in-dependence. “Purity” meant self-definition, and the enterprise of self-criticism in the arts became one of self-definition with a vengeance.

Realistic, naturalistic art had dissembled the medium, using art to conceal art; Modernism used art to call attention to art. The limitations that constitute the medium of painting -- the flat surface, the shape of the support, the properties of the pigment -- were treated by the Old Masters as negative factors that could be acknowledged only implicitly or indi-rectly. Under Modernism these same limitations came to be regarded

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light slipped through my fi ngers

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black light

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Janet Burchill & Jennifer McCamley (Australia)

Eugene Carchesio (Australia)

David Haines & Joyce Hinterding (Australia)

Lin Tianmiao (China)

Archie Moore (Australia)

Pak Sheung Chuen (Hong Kong, China)

Grant Stevens (Australia)

Josef Strau (Austria/New York)

Wang Gongxin (China)

Wang Peng (China)

Zhang Peili (China)

2020

Brisbane State Library of Queensland


Light from Light 2010 Photovoltaic custom-built panels, acrylic, neon and aluminium frame.

Light from Light is a commissioned sculpture that continues Burchill & McCamley’s collaborative oeuvre, recognisably reflected in the use of materials such as acrylic and neon. A series of photovoltaic cells take on the iconic triangulated form of the geodesic dome and provide power for the underlying neon sculpture.

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Carchesio has painted an edition of four unique books titled Thief of Light. The books reconsider the illuminated manuscript, using Carchesio’s well-known hum-ble approach to materials. The text was translated into Chinese and is displayed here as an electronic book to contrast with Carchesio’s decidedly analogue and unpretentious use of material.

Explaination on other works ........

Space Light Transmission, Audio, 2010.

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Thief of Light, Hand-bound book, watercolour on paper, 2010.

Volume, Single-channel video projection with sound, 2010.

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Joyce Hinterding & David Haines (Australia)

Broadcast from the Ionosphere: Sunvalley Radio (Spher-ics and Fields 2010, Live Broadcast from the Ionosphere 2010)

Hand-made antennae, audio stream, hand-painted fabric and website.

Broadcast from the Ionosphere: Sunvalley Radio is an installation comprising mul-tiple representations of the sun. The artists present a live antenna feed and field recordings. As a departure from our everyday experience of seeing and feeling the sun, we can now hear it. The curious crackles and pops that are broadcast are in fact the sounds of solar winds interacting with the earth’s atmosphere.

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Private Reading Lamp 2010

Fabric, steel frame, light bulb and seat.

Private Reading Lamp invites audiences into a private environment in a public space. As a single-person reading room, complete with a light, this highly peson-alised crafted space stands in contrast to the institutional public setting.Take your favourite book in with you or just sit and think.

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East/West Bookcases 2010

Wood and plastic.

The book shelves have been modified by the artist to force cultural specificity. The smaller shelf, with a slight gesture, has transformed into the Chinese character ‘white’. The taller shelf is modelled on the English word ‘black’. Moore neglects the book and instead uses directly modelled text within each shelf.

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Pak Sheung Chuen (HK, China)

Making Thousands of Suns 2010

Vinyl, wooden shelf and books.

Making Thousands of Suns has been created with the help of libraries across Queensland. The window artwork directly uses images of the sun collected from book covers found in Queensland library collections. As the radiant light of the sun is cast through the window, the work metaphorically creates thousands of suns from one sun.

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Turtle Twilight (II) 2006 – 2011

three-channel digital video installation, 10 mins 57 secs loop.

Turtle Twilight uses text sourced from an anonymous tourist’s blog. Slow moving imagery of a cliché sunset or sunrise accompanies the evenly paced text and audio loop referencing ‘new age’ relaxation therapy music. Stevens’ work often employspopular culture and in this work deploys editing techniques that render the light of the sun in a romantic and escapist mantra.

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Josef Strau (Austria)

Theatre of the Lamps Talking in the Light of the Past 2010

Lamps, speakers and poster.

Strau creates sculptures using modified domestic lamps in a highly subjective manner revealing personal stories and recollections. He often distributes his writing by directly pasting his texts onto selected light shade stands. He has created a sculptural theatre with a group of awkward, elegant and complex lamp personas.

This morning I wasted away, as I did with so many mornings, feeling the pure procrastination of daylight like wearing an old pancake on my head shade and then waiting for the big moment to come out of it hopefully with some energy. Slowly, at least slowly, the afternoon came over our neighborhood and I still followed the thoughts in the middle of the days blankness, until finally “something” would be going on with these thin strings in the vast empty space ahead of me. Not much, but it was as if I arrived in some slightly denser region of my introspective days journey. But it was just the voice of the landlord in his backyard garden below my window like last summer with endless daylight, when I, lazy as possible from the endless days, used to listen to his endless monologues.

Like listening again to one of the visitors very long ago, who sometimes spoke polish too. He came by each winter and he would say, the germans, they killed and they killed. He told more about what happened before he was transported to the huge camp, then actually about it. Like he would have said to us, that they put many people together in some square, and he was one of them, and the nazis asked the doctors and teachers to get separated from the rest and go over to the other part of the square, and one of the teachers said, I knew it, they will need us, and so they stood together and the germans killed them after that. It took them some time, they killed more and then the rest were taken away to the camp. He often looked at me particularly, and now I start to understand, what it might have meant to him, maybe he wanted that particularly I hear him and know what happened, and that I will be testimony of the story and tell it later. That way he looked at me and explained that they killed everywhere and anywhere, they came to every new town, they just killed and killed that same way.

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Book Dream 2010

Video screen saver, single-channel projection.

The artist has considered the existing public interface of the Library’s computer systems – the online database and public access computers – as a site. Taking the form of both computer screen saver and single-channel video projector, the work exists as both external and internal to the Library.

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Wang Peng (China)

Distance 2011

single channel video, 5 minutes.

By following the movements of the light spots as a logic and connection between two synchronized pictorial plains, the artwork questions the distance between reality and illusion; abstraction and realism; the future and the present; the ideal and the truth.

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Zhang Peili (China)

Standard Translation 2008 – 2010

LED scrolling text screen.

Standard Translation introduces scrolling text through a high resolution LED screen into the library. Multilingual phrases bleed across the screen in disorientating colour. The work extends the artist’s long history of fragmenting and dissolving meaning through a distant mechanical analysis of form and media.

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Shanghai Shanghai Library



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Volume, Single-channel video with sound, 2010.

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Thief of Light, Hand-bound book, watercolour on paper, digital monitor, 2010.

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Broadcast from the Ionosphere: Sunvalley Radio (Spherics and Fields 2010, Live Broadcast from the Ionosphere 2010)


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Wood and plastic.

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Standing always in some very newly furnished bed room, I often had noticed from the sounds around me coming from the bed, that she would want to start the light at any second … with her invention for turning it on without having to move much, of which she was particularly proud. I used to hear sometime that she would tell, that when she had money and had moved into the new apartment, she finally bought a large floor lamp, an expensive design with porcelain glazing and that she placed the pale beauty next to her mattress, and only months later came up with her invention, by taking two of the long green velvet ribbons that she once brought home for no reason then storing them, tied them together, and attached them to the old fashioned but much too short metal chain that switched on the light of the white lamp. Before the chain had the right length only for someone standing up, but she wanted to turn it on from the bed, without having to move. As herinvention the green ribbon became a green velvet leash with a chain and she laid in bed and pulled the velvet leash without having to get up.

She used to say that the large round cylindrical lampshade was gilded inside and the fragile construction looked like a dome with a golden sky to which no stairs led, only the green ribbons and chain and she said that it was her lamp, always on her leash. Its green leash was her greatest invention. It led deeply into her lamps lethargic inner life. The leash lay next to her and she was able to turn off the light instead of fleeing the apartment or taking long walks on the streets outside.

1

Before I came here I used be staying for a long winter season at a pharmacy in Germany. Actually pharmacies are very comfy places here too. Inside our pharmacy are three big individual vitrines with the counter on it. When I stood my first day in the pharmacy I saw on each vitrine one person in a strange position. Their legs stood normally in front of the vitrine, but the rest of the body was deeply bowed down, the whole upper part of their bodies was shamelessly lying on the vitrine. Maybe they were really very tired I believed and needed rest between all the typical sweet decorative stuffed bears next to them. To the people working here it obviously seemed to be very normal behaviour. I waited for a while until I looked closer. I could of course not see their faces because most of the heads were hidden under blanket-like scarves in the usual Berlin fashion. First I thought that they would be maybe bad sighted and have lost their glasses and tried to look closely to read the descriptions on the different medicines under the glass surface and compare them with their own possible sicknesses. But then I realized they just rested and slowly talked to the pharmacists about their apartments and other things, probably just in order to prolong their stay in the beautiful and warm room with all my light to cover their typical dark mood and low energy attitude.

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Book Dream 2010


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Zhang Peili (China)



0088 – 20111000

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BeijingNational Art Museum of China



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BeijingNational Library of China


Thief of Light, Hand-bound book, watercolour on paper, digital monitor, 2010.

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Broadcast from the Ionosphere: Sunvalley Radio (Spher-ics and Fields 2010, Live Broadcast from the Ionosphere 2010)


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Wood and plastic.

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We arrived at 4am and waited overcoffee until the guys came at 6am. The six Swedes were tired from their trip so we exchanged few words before making the bus ride to the docks.

I decided to have a nap because I hadn’t slept in over a day and it looked like it’d be a long night. I awoke to find that Bob and Irene had arrived bringing another shipmate from Scotland by the name of Kelly

It turned out that I had met one of her best mates, Anna, while I was in Amsterdam. Just one more reason to visit Glasgow.

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Kelly and I went to the beach and practiced yoga when we noticed a huge thunderstorm developing. We watched as sheets of pink lightening lit up the dark cloud formations which were moving in quickly.

It wasn’t more than 15 minutes before the clouds had taken a sudden shift and were heading straight for us. The lightening became more intense, illuminating the ominous clouds that were tumbling closer and closer.

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Book Dream 2010


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Wang Peng (China)

Distance 2011

single channel video, 5 minutes.

need scr

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reen grab

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Zhang Peili (China)



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images

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HangzhouHangzhou Public Library



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more images

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Broadcast from the Ionosphere: Sunvalley Radio (Spherics and Fields 2010, Live Broadcast from the Ionosphere 2010)


images

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Wood and plastic.

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ðâåðéí îìéí: ôðéä áøâùèééï ìçï: ãåã æäáéùúìúí ðéâåðéí áé, àîé åàáé, ðéâåðéí îæîåøéí ùëåçéí. âøòéðéí, âøòéðéí ðùàí ìááé - òúä äí òåìéí åöåîçéí.òúä äí ùåìçéí ôàøåú áãîé ùåøùéäí áòåø÷é ùìåáéí, ðéâåðéê àáé, åùéøéê àîé, áãô÷é ðòåøéí åùáéí.äðä ààæéï ùéø òøùé äøçå÷ äáéò ôé àí àìé áú äðä ìé úæäøðä áãîò åùçå÷ “àéëä” åæîéøåú ùì ùáú.ëì äâä éúí åëì öìéì éàìí áé ÷åìëí äøçå÷ ëé éäí. òéðé àòöåí åäøéðé àúëí îòì ìçùëú äúäåí.áéãå àô÷éø øåçé áòú àéùï åàòéøä åòí øåçé âåéúé ä’ ìé åìà àéøà.

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Book Dream 2010


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screen grab

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Zhang Peili (China)



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Artist Biliography

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