walking in forest sculpture 林间步履——北京雁栖湖景观雕塑创作营

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the Environmental Sculptures at Yanqi Lake, Beijing, China, about The Landart, public art & the landscape sculpture in Beijing Yanqi lake park. 中国北京雁栖湖,景观雕塑作品集

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  • Walking in forest The Environmental Sculptures at Yanqi Lake

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    Contents

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    Walking in forest The Environmental Sculptures at Yanqi Lake

    Yanqi Forum

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    Walking in forest The Environmental Sculptures at Yanqi Lake

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    Walking in forest The Environmental Sculptures at Yanqi Lake

    2001,7988310

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    2006

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    This is a long expected catalogue.It was the Autumn of 2000 when we concluded the Public Art Symposium of Stepping into the Sun for the Red Scarf Park in Beijing. Our friend Mr. Zhang Yongzhong said he wanted to see the sculptures in the Red Scarf Park together with Mr. Liu Xing, the director of Yanqi Lake Park in Huairou, Beijing. After the visit, Director Liu was greatly impressed and invited us to organize a similar event for his park therefore the Yanqi Lake Environmental Sculptures Symposium took place in no time. In the period of December, 2000 to March, 2001, we had frequent and passionate contact with the Yanqi Lake, including the environment and the people there. We took a large number of photos, made measurements on site, wrote specific proposals, held seminars the sculptures gradually took shape. What we appreciated is that, the directing team of the park offered the artists very relaxing space for the artistic creation as in the Red Scarf Park. The self-cultivation of Director Liu is worth mentioning. As a photographer, he made the communication process for the project very smooth and effective. Without their openness and understanding, it would have been impossible to execute the project so successfully.In our original proposal, we planned two symposiums to set up over 20 sculptures for this 113,333 square meters area of the

    Preface for the Environmental Sculptures at Yanqi LakeBy Zhu Shangxi

    west Yanqi Lake. In the first symposium we

    made 10 pieces in several months, and had finished the selection of sculpture projects

    for the second symposium. Unfortunately, due to some unexpected difficulties of the

    park, the opportunity to realize the second symposium never arrived. This catalogue shows our overall idea for the west Yanqi Lake sculptures. It is a pity for all the people to leave the project half way. However, the first symposium with 10 sculptures have fully implemented our academic view on the present situation. We have seen too many kitsch public sculptures in China. Material in stainless, balls and belts too much over-used, roughly made stereotyped sculptures can be found everywhere. Artists are talking about environmental art, but the way to set up sculptures without deliberate planning has never changed yet, so everybody is happy with it. This is unfortunately the present situation in Chinese public sculpture. We are aware of the comprehensive causes, however, artists and designers can hardly say they are not one of them. Few artists can stay aloof from fame and gain. Money talks. The clients are the boss. Artists social responsibilities are never shouldered. Against the above mentioned problems, we made the fo l lowing proposals for the artists attended the Yanqi Lake Symposium. First of all, the artists should spare no efforts on unique and creative ideas for the

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    works. They should be unique not only in the shape, but also in their relation to the environment, which means the sculptures are not collaged to the surroundings, but growing within the environment. They are not common objects, seeing them will make people feel overjoyed. The second proposal was that we should go on with the openness of the space and interaction with viewers that had been successfully realized in Red Scarf Park.The third proposal was that artists should use simple, less expensive local materials. This was not only out of the economic consideration for the client, but an animadversion on the overused stainless steel and a reflection on the traditional use of the material in bronze and stone. As well it served as a good solution to the problems. It was a not-for-profit symposium, artists might only receive a small subsidy, but everybody involved enjoyed themselves to the full. Their enthusiasm was even greater than getting a commercial project. It was not only an academic artistic experiment, but a call to the artists for their social mission and responsibility to return. The Summer of 2001 is unforgettable. The artists made all the efforts in the production of the art works. Due to its significance against normal commercial projects, most artists got themselves involved in person in the execution process, either making or supervising

    making the sculptures. Xu Yuling drove his jeep around to search for the right cobblestones for his piece. He and Zhao Lei camped on site, starting the work in dawn and went on till sunset. When it was too hot they jumped into the lake to enjoy the coolness of the water. Lao Pan visited many garbage stations to collect as many parts as possible to use in his works for the public to play with. Meanwhile Yang Jinhuan experimented at home with cement to produce his geometrical eggs. Han Dong, Zhang Wei and Zhao Bo made clay molds in 798 factory, the 8 meter chair and 3 meter vase looked spectacular inside the house. As for me, I always felt exhausted while doing my Red Planets and managed the project at the same time. I didnt drive at that time, so had to get up very early every morning to take the public bus from Dong Zhimen to Huairou. The most solemn moments were the installation for the chairs by Zhao Bo and my big wells. On site there was no any mechanical facility for the installation, moreover, the road conditions were also not right for these pieces. It had to be man to pull and push. Under the pieces over tons you could see dozens of legs draggling bit by bit, they looked like ETs wriggling in the wild!I was very angst on the installation safety that day. However, thanks to Godnothing happened. Our 10 sculptures were successfully installed in golden autumn,

    and ever since then, Yanqi Lake became a place where our soul perches. We go there in all seasons. Among the photos taken there, views with snow are the most marvelous. We also like to take our foreign colleagues there, the mountains, the water, the Great Wall, the woods, the red trouts and the farmhouse green foods are all those we boast and recommend to the friends. F i v e y e a r s f l i e d a w a y w i t h o u t consciousness. Shaped by the power of nature, the works in the wild become more and more charming, however, some of them have come to their time. We witness the changes, we have the responsibility to record and unveil their elegant demeanor in different seasons so as to console their silence in years. Our action has been heard and talked in the circles, and we are still confident to recall the past and tell more people what it was all about.The one who should not forget to mention is Mr. Zhang Yongzhong. As a successful entrepreneur and artist, he is the matchmaker of our Stepping Artists Group. The public art symposiums in 2000 and 2001 were both made possible by him. If these two symposiums gained us reputation and knowledge in public art, Mr. Zhang Yongzhong was the one who helped us achieve the goals. I would like to express our gratitude and great respect on behalf of the curatorial team and the Stepping Artists Group.

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    We would a lso l ike to express our gratitude to Dr. Zou Yuejin from China Central Academy of Fine Arts. He was our art director and frequently gave us suggestions. There are more people whom we want to say thanks to: Mr. Cao Chunsheng, professor and sculptor from China Central Academy of Fine Arts, Dr. Yin Shuangxi, famous art critique from China Central Academy of Fine Arts, Mr. Yu Huayun, Director of Beijing Public Art Management Office , Mr. Wang Mingxian,

    critique in architecture and Mr. Gao Ling, art critique who has always been supportive to us. With the invitation of Director Liu, we made 5 more sculptures for the East side of Yanqi Lake, though they were not within the proposal for the West side public art, they followed our original ideals and went even further with our experience. Therefore we decided to include them into this catalogue.

    December, 2006 Song Zhuang Village, China

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    ecoism

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