新西兰:生态 & 叙事的比较级 New Zealand - ECOLOGIES & COMPARATIVE DEGREES Toggle


蓝顶美术馆馆际交流项目展·新西兰:生态 & 叙事的比较级
Blue Roof Museum Exchange Exhibition - New Zealand


陈伟才/Chen Weicai、何利平/He Liping、李俊/Li Jun、李琨/Li Kun、李勇政/Li Yongzheng、王俊/Wang Jun、宋永兴/Song Yongxing、周斌/Zhou Bin

Ben Woollen, David Sidwell, Gareth Williams, Geoffrey Clarke, Horomona Horo, Jeremy Mayall, John Mandelberg, Kent Macpherson, Lynda Wilson, Mark Purdom, Paul Nelson, Stefanie Young, Tim Croucher, Tony Nicholls, Tracey Stockley-Smith, Xavier Meade

Co-organizer: Blue Roof Museum of Chengdu, Waikato Museum Te Whare Taonga o Waikato
Supporter: Waikato Institute of Technology
Seminar: 16:00 - 18:00, Sept 24th, 2016
Duration: Sept 24th  - Oct 23th, 2016
Address: No.2 Hall, New Venue of Blue Roof Museum
策展人/Curator:丁奋起/Ding Fenqi、Leafa Wilson

The artists would like to thank:
Professor Jinyu Xie, Consultant to Blue Roof Museum of Chengdu
The Director and staff of Waikato Museum, Hamilton especially Chinese translator - Sheena Liu
Leafa Wilson, Curator of Art, Waikato Museum Te Whare Taonga o Waikato, Hamilton
Jeremy Mayall, Research Leader, School of Media Arts, Wintec, Hamilton
Sam Cunnane, Head of School of Media Arts, Wintec, Hamilton
The Research Office, Wintec, Hamilton
Xu Ze, Tracy Croucher and Wang Jingjie
David Christiansen, Senior Advisor to the Chief Executive’s Office, Wintec
The Offshore Projects team and The Contracts Office, Wintec, Hamilton

鸣谢:参展艺术家们向成都蓝顶美术馆顾问谢晋宇教授、汉密尔顿怀卡托美术文化博物馆馆长及全体员工、中方议员刘希娜(Sheena Liu)、汉密尔顿怀卡托美术文化博物馆艺术策展人莉法·威尔逊(Leafa Wilson)、汉密尔顿怀卡托理工学院传媒艺术系研究领导杰里米·梅耶尔(Jeremy Mayall)和传媒艺术系主任山姆·昆南(Sam Cunnane)、怀卡托理工学院研究办公室、徐泽(Xu Ze),特蕾西·库拉彻(Tracy Croucher)和王婧劼(Wang Jingjie)以及怀卡托理工学院行政长官办公室高级顾问大卫·克里斯蒂安森(David Christiansen)和怀卡托理工学院海外项目团及合约办公室表示最衷心的感谢!





莉法•威尔逊(Leafa Wilson)

Recent works from Wintec School of Media Arts, Hamilton, New Zealand

Te Moananui –a-Kiwa (the Pacific Ocean) is the vast body of water that separates us from China and many other nations..  We are each attached to the ecologies within which we live and have agency. It is the relational exchange between our extremely different ecologies that enables us to further understand who we are and how we operate in relation to others. 

The visual discourse between artists associated with Wintec School of Media Arts in Aotearoa and Blue Roof Museum of Chengdu in China opens the expanse of water that connects us. Through trade and through this new art exchange, this body of water both contains and connects us: Aotearoa to China forming nascent art ecologies. 

Leafa Wilson
August 2016


展览缘起于新西兰艺术家Tim Croucher 3年前来到中国的文化猎奇,以及9个月前谢晋宇教授和我本人在新西兰的"游山玩水"。







Comparative Degrees of Narration
The reason for holding the exhibition has something to do with the New Zealand artist — Tim Croucher’s travel to China for exploring Chinese profound and extensive culture three years ago as well as with the “sightseeing tour”to New Zealand made by me and Professor Xie Jinyu nine months earlier.

Being co-curated by the curators-in-residence from both Waikato Museum in New Zealand and Blue Roof Museum of Chengdu in China,the whole exhibition under the common theme of ecology proposed by Leafa, the New Zealand curator, seems quite official with nearly all New Zealand participating artists coming from their National Waikato Institute of Technology. What’s more, Chengdu and Hamilton have already become sister cities and their partnership has lasted for more than a year. Instead of discussing the academic value of such an official exhibition that tries to represent the harmony in the world from the perspective of ontology of art, we’d better truly appreciate the same or different artistic charm of our two countries with a light heart as if we feel New Zealand original natural force. Thus, some words written by me during my “sightseeing tour” in New Zealand come to my mind : Looking down from the airplane bound for Auckland from Queenstown, I found that the snow mountains look like the candy bars in the tray and the clouds seem like cotton candies, both in white color but with totally different texture. Lakes with a color of cyanine in Chinese blue and green landscape painting are as translucent as a jasper. Although the color of cyanine is similar to that of the stone, its unique grace exactly brings out the beauty of the lake water. Around the whole lake is built a golden road, extremely like the golden edge inlaid on the jade jewelry, which forcefully rounds the lake up as if it is afraid that the elegance of the lake will spill out.

Speaking of the narration in literature, I would like to explore the narrative structure and semantic rhetoric of the exhibition from the perspective of comparative literature. All exhibits presented in the hall form a visual text which lays a foundation for appreciating and understanding the whole exhibition. However, due to the dramatic difference in geography and social form between Chengdu and 
Hamilton, their presented artistic styles are quite different without direct interaction or logical connection in languages. The exhibits put together on the same site at the same time become the example for “parallel study” of the visual text, on the basis of which the semantic association arising from the comparison between some certain works occurs and develops. In  grammar relations, the comparative degree refers to the increase of quality, quantity or relation presented through adjectives or adverbs. However, the “comparative degree” in exhibition structure means the “comparative sentence pattern” in their own artistic style of the bodies of two visual texts to a larger extent without the simple distinction of the quality of the works.

The direct comparative result reached in a narrative way gets me quite surprised: both people and landscape in New Zealand differ a lot as New Zealand is made up of North Island and South Island where each region has its own natural scenery and  geological structure. Moreover, New Zealand embraces the diversity where Maori aboriginals, Samos, Dutch settlers as well as other European immigrants live together and the shapes of crooked trees along the river bank and the shapes of the houses there vary wildly. By contrast, in this exhibition, all works have to center around environmental protection, which seems like the creation under a given theme. Perhaps in curator Leafa’s view, what the theme of the exhibition is does not matter too much. To revivify the true feelings of the artists is of great importance. Thus, the exhibition will deviate from the initial idea put forward by both curatorial teams which relates to a literary narrative: as it is prohibited from coal mining in New Zealand in consideration of its economic structure and the capacity allocation, people there have figured out a solution of importing coals as its main industry power from Shanxi Province in China at a favorable price and the so-called natural farm and animal products produced by them would be sold to Chinese. Such dual “waste” has caused artists to think more about the environment and some of them even get worried about it. During the exchange in Hamilton, most of us voiced our deep concerns about the current environmental situation. 

By comparison, we Chinese as well as our life in reality are so similar that westerners coming to China for the first time may feel difficult to distinguish Chinese people. But our artistic works, like the free combat, hold their own features. After all, China is in the process of social changes, so it is natural for Chinese artists to focus more on naturalism in their subjects or during their creation but the theme is not only limited to nature or ecology. Maybe we perceive the concept of ecology in a much different way, towards which I have not gained a complete understanding till now.

As the word selected from Tao Teh King authored by Lao Zi (a Chinese philosopher in the Spring and Autumn Period) goes “He who self-displays lacks self-knowledge”, the perspective of the other during the cultural exchanges will help us to gain a better understanding of ourselves.

Ding Fenqi
Zhizi Street, Chengdu
September 12, 2016