{"id":10827,"date":"2020-11-20T10:00:00","date_gmt":"2020-11-20T02:00:00","guid":{"rendered":"https:\/\/www.meishuwenxian.com\/?p=10827"},"modified":"2023-05-25T14:18:09","modified_gmt":"2023-05-25T06:18:09","slug":"%e7%ac%ac%e4%ba%94%e5%b1%8a%e7%be%8e%e6%9c%af%e6%96%87%e7%8c%ae%e5%b1%95%ef%bc%9a%e7%94%9f%e7%94%9f-%e8%87%aa%e7%84%b6%e3%80%81%e4%ba%ba%e5%92%8c%e6%8a%80%e6%9c%af%e7%9a%84%e7%94%9f","status":"publish","type":"post","link":"https:\/\/www.meishuwenxian.com\/en\/%e7%ac%ac%e4%ba%94%e5%b1%8a%e7%be%8e%e6%9c%af%e6%96%87%e7%8c%ae%e5%b1%95%ef%bc%9a%e7%94%9f%e7%94%9f-%e8%87%aa%e7%84%b6%e3%80%81%e4%ba%ba%e5%92%8c%e6%8a%80%e6%9c%af%e7%9a%84%e7%94%9f\/","title":{"rendered":"5th Documentary Exhibition of Fine Arts Physis\uff1aProduction of Nature\uff0cHuman and Technology"},"content":{"rendered":"
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5th Documentary Exhibition of Fine Arts Physis\uff1aProduction of Nature\uff0cHuman and Technology
Duration: 20th November, 2020 - 7th March, 2021
Location: Hubei Museum of Art, Fine Arts Literature Art Center
Chief Curator: Fu Xiaodong
Curators: Xia Zi, Huang Jinglan, Fu Jian, Liu Hongxiao, Lin Yan
Academic Committee (in alphabetical order): Fang Lijun, Hu Yongfen, Hu Ying, Lu Hong, Pi Daojian, Sun Zhenhua, Wei Guangqing, Yang Xiaoyan, Yin Shuangxi, Zeng Fanzhi
Exhibition Directors: Ji Shaofeng, Liu Ming
Art Director: Fu Zhongwang
Administrative Directors: Liu Liying\uff0cWu Yin\uff0cHu Ying
Exhibition Execution: He Shujun, Jian Jie, Tian ying
Exhibition Design: Qiao Jie, Wang Jun, Tian Ye
Public Programmes: Lei Yating, Song Can
Media Publicity: Xia Zi, Fu Jian, Zeng Jing, Che Yihao
Collection Support: Ma Wenting,Zhang Li
Exhibition Coordinator: Huang Li,Wang Jiawen<\/strong><\/p>\n<\/div><\/div>\n\n\n\n

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List of Artists<\/strong><\/p>\n<\/div>\n\n\n\n

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\u5929\u4eba\u5173\u7cfb\u4e0e\u80fd\u91cfRelation Between Heaven and Man & Energy\uff1a<\/strong>\u5b89\u5c3c\u65bd\u00b7\u5361\u666e\u5c14(\u82f1\u56fd\uff09\/Anish Kapoor\uff08U.K.\uff09\u3001\u6210\u745e\u5a34\uff08\u7f8e\u56fd\uff09\/Emily Cheng(U.S.A.)\u3001\u90ed\u51e4\u6021\/Guo Fengyi\u3001\u9ec4\u5b87\u5174\/Huang Yuxing\u3001\u6881\u7855\/Liang Shuo\u3001\u6881\u7ecd\u57fa\/Liang Shaoji\u3001\u9a6c\u4fee\u00b7\u5df4\u5c3c(\u7f8e\u56fd\uff09\/Matthew Barney\uff08U.S.A.\uff09\u3001\u4efb\u620e(\u5fb7\u56fd\uff09\/Ren Rong(Germany)\u3001\u738b\u5149\u4e50\/Wang Guangle\u3001\u738b\u4ee4\u6770+\u90dd\u7ecf\u82b3\/Wang Lingjie+Hao Jingfang\u3001\u738b\u6b23\/Wang Xin\u3001\u5f90\u5c0f\u9f0e\/Xu Xiaoding\u3001\u95eb\u6653\u9759(\u52a0\u62ff\u5927)\/Yan Xiaojing(Canada)<\/p>\n\n\n\n


\u81ea\u7136\u7684\u751f\u4ea7Production of Nature\uff1a<\/strong>\u6bd5\u5efa\u4e1a\/Bi Jianye\u3001\u66f9\u96e8\u897f\/Cao Yuxi\u3001\u9093\u6d27\/Deng Wei\u3001\u9093\u60a6\u541b\/Deng Yuejun\u3001\u6bb5\u6b63\u6e20\/Duan Zhengqu\u3001\u803f\u65d6\u65ce\/Geng Yini\u3001\u9ec4\u592a\u7199(\u7f8e\u56fd\uff09\/Taehee Whang(U.S.A.)\u3001\u4ed8\u4f73\u59ae+\u53f2\u660a\u9e4f\/ Fu Jiani+Shi Haopeng\u3001\u5eb7\u5251\u98de\/Kang Jianfei\u3001\u674e\u8c61\u7fa4\/Li Xiangqun\u3001\u6797\u6d77\u949f\/Lin Haizhong\u3001\u5218\u4e39\/Liu Dan\u3001\u6b27\u9633\u82cf\u9f99\/Ouyang Sulong\u3001\u79e6\u7426\/Qin Qi\u3001\u53f8\u5efa\u4f1f\/Si Jianwei\u3001\u968b\u5efa\u56fd\/Sui Jianguo\u3001\u738b\u68b5\u50e7\/Wang Fanseng\u3001\u738b\u749c\u751f\/Wang Huangsheng\u3001\u4e00\u4e86\/Yi Liao\u3001\u5c55\u671b\/Zhan Wang\u3001\u5f20\u6e58\u6eaa\/Zhang Xiangxi\u3001\u5468\u6625\u82bd\/Zhou Chunya


\u4eba\u7684\u751f\u4ea7Production of Human: <\/strong>\u8fdf\u4e16\u6797\/Chi Shilin\u3001\u7b2c\u516b\u65e5\/The Eighth Day\u3001\u803f\u5efa\u7fcc\/Geng Jianyi\u3001\u9f9a\u5251\/Gong Jian\u3001\u80e1\u4ecb\u9e23\/Hu Jieming\u3001\u9ec4\u5c0f\u9e4f\uff08\u9ec4\u8fb9\u7ad9\u548c\u7b2c\u4e94\u5de5\u4f5c\u5ba4\uff09\/Huang Xiaopeng\uff08HB Station and the 5th Studio\uff09\u3001\u8d3e\u853c\u529b\/ Jia Aili\u3001\u674e\u7ee7\u5f00\/Li Jikai\u3001\u5ed6\u6587\u5cf0\/Liao Wenfeng\u3001\u6bdb\u6668\u96e8\/Mao Chenyu\u3001\u5b5f\u601d\u7279\/Meng Site\u3001\u5357\u4eac\u793e\u533a\u539f\u751f\u827a\u672f\u5de5\u4f5c\u5ba4\/Studio Art Brut of Nanjing Community\u3001\u4ec7\u6653\u98de\/Qiu Xiaofei\u3001\u53f2\u91d1\u6dde\/Shi Jinsong<\/p>\n\n\n\n


\u6280\u672f\u7684\u751f\u4ea7Production of Technology:  <\/strong>\u6bd4\u5c14\u00b7\u6c83\u6069(\u52a0\u62ff\u5927\uff09\/Bill Vorn\uff08Canada\uff09\u3001\u6625\u534e\u00b7\u51ef\u745f\u7433\u00b7\u8463(\u52a0\u62ff\u5927\uff09\/Chun Hua Catherine Dong\uff08Canada\uff09\u3001\u9648\u6653\u4e91\/Chen Xiaoyun\u3001\u9648\u6b23+\u9ec4\u94b0\u6587\/Chen Xin+Huang Yuwen\u3001\u8d39\u4fca\/Fei Jun\u3001\u90ed\u9510\u6587\/Raven Kwok\u3001\u674e\u59dd\u777f\/Li Shurui\u3001\u6797\u8212\/Lin Shu\u3001\u9c81\u5927\u4e1c\/Lu Dadong\u3001\u80fd\u5c16\u65e5\/Nhozagri\u3001\u65f6\u5b50\u5a9b\/Shi Ziyuan\u3001\u738b\u54c1\u6dfb\/Wang Pintian\u3001\u6768\u5e06\/Yang Fan\u3001\u6768\u946b\/Yang Xin\u3001\u5f20\u667a\u5cf0\/Zhang Zhifeng\u3001\u5f20\u5468\u6377\/Zhang Zhoujie\u3001\u90d1\u8fbe\/Zheng Da\u3001\u540e\u4eba\u7c7b\u5f71\u50cf\u653e\u6620\u5355\u5143\uff08\u8521\u5b87\u6f47\u3001\u96f7\u78ca\u3001\u6881\u6587\u534e\u3001\u5f6d\u6d69\u65fb\u3001\u7530\u6653\u78ca\u3001\u8881\u4e2d\u5929\u3001\u5f20\u6587\u5fc3\u3001\u5f20\u7fbd\u6d0b\uff09\/ Post-human Films(Cai Yuxiao, Lei Lei, Liang Wenhua, Peng Haomin,Tian Xiaolei, Yuan Zhongtian, Zhang Wenxin, Zhang Yuyang)
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\u5927\u5730\u6bcd\u4eb2The Earth Mother:<\/strong>\u90ed\u6862(\u7f8e\u56fd\uff09\/Guo Zhen (USA)\u3001\u9ec4\u9759\u8fdc\/Huang Jingyuan\u3001\u80e1\u6653\u5a9b\/Hu Xiaoyuan\u3001\u9773\u536b\u7ea2\/Jin Weihong\u3001\u4e54\u6cbb\u00b7\u5fb7\u00b7\u5951\u91cc\u67ef(\u610f\u5927\u5229\uff09\/Giorgio de Chirico\uff08Italy\uff09\u3001\u5415\u80dc\u4e2d\/Lv Shengzhong\u3001\u7533\u4eae\/Shen Liang\u3001\u6768\u5b50\u654f\/Yang Zimin\u3001\u55bb\u7ea2\/Yu Hong<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Exhibition Site of Hubei Museum of Art<\/strong><\/p>\n\n\n\n

Relation Between Heaven and Man & Energy<\/strong><\/p>\n\n\n\n

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Production of Nature<\/strong><\/p>\n\n\n\n

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Production of Human<\/strong><\/p>\n\n\n\n

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Production of Technology<\/strong><\/p>\n\n\n\n

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Exhibition Site of Fine Arts Literature Art Center<\/strong><\/p>\n\n\n\n

The Earth Mother<\/strong><\/p>\n\n\n\n

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Partial exhibits<\/strong><\/p>\n\n\n\n

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Anish Kapoor
Pilgrim
Gouache On Watercolour Paper 50.7cm\u00d767cm
2010<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Chen Xiaoyun
Arrival
Acrylic on Canvas 340\u00d7300 cm x2
2018<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Chun Hua Catherine Dong
Alone Together_#1
Digital Prints
32''\u00d740''
2018<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Deng Wei
Rare stone Sunrise
Acrylic on board
160\u00d7180 cm
2017<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Duan Zhengqu
Mahuangliang
Watercolor and Pastel on Paper
100cm\u00d7180cm
2018<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Guo Fengyi
Day and Sun Garden Party
Color Ink and Old Wall Calendar Paper
52.2\u00d775.4cm
1990<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Huang Yuxing
The Joy of the Ignoramus
Oil on canvas
300\u00d7200cm
2018<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Jia Aili
Untitled
Oil on canvas
170\u00d7207cm
2008\u20142013<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Liang Shaoji
Drunkness
flask, pottery clay, iron(iii) oxide (rust), carbon, plaster, alcohol, kiln fired, aluminium-plastic panel, silk
40\u00d7122\u00d7120cm
2020<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Lin Haizhong
The Painting About Taihu Lake
Ink on paper
180cm\u00d7776cm
2019<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Lv Shengzhong
Humanity Book
Red ` Black (Four Volumes and One Book Totaling
paper, canvas, lines, paper-cut bound book
43.8\u00d733.7\u00d71.3cm\/copy
2002\u20142004<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Matthew Barney
M Predator
graphite and gouache on paper in polyethylene frame
39.4\u00d731.8\u00d72.9cm
2020<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Matthew Barney
Fortress
experimental film (static-frame) 134'03''
2018<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Meng Site
Behind Rainbow
Oil on canvas
150\u00d7170cm
2017<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Qin Qi
Night Fragrance
Oil on canvas
300\u00d7800cm \u00d74
2018<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Shi Ziyuan
Summer Night
Mixed material
Movable device
about 550\u00d7450\u00d7300cm (changeable\uff09
2019<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Wang Fanseng
Yunmeng Ze(Yun-meng Lakes)
Oil on Canvas 200cm\u00d7160cm
2020<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Wang Guangle
190506
Acrylic on Canvas
230\u00d7160cm
2019<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Wang Huangsheng
plant collected along the pearl river
photography film 21\u00d729cm\u00d756 pieces
2020<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Wang Huangsheng
plants at the pearl river source in pictures
ink painting and rubbing techniques
34\u00d745cm\u00d747
2020<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Yan Xiaojing
Cloud
Freshwater Pearl Fishing Line Aluminum
120\u00d7360\u00d7300cm
2016\u20142017<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Zhan Wang
Plaster Figure
Plaster
193\u00d7107\u00d7130cm
2015<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Zou Chunya
Beautiful Peach Blossoms on the River in Warm Spring
propylene-color on paper
191\u00d7120cm
2020<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Essay<\/strong><\/p>\n<\/div>\n\n\n\n

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Physis\uff1aProduction of Nature\u3001Human and Technology<\/strong><\/strong><\/p>\n\n\n\n

Fu Xiaodong<\/p>\n\n\n\n

In the face of disasters, we are survivors from disasters. How to deal with the uncertain \ndisasters and reflect on the tension between the anthropocentric survival and possession \nway and the technology, system and nature, are urgent issues concerning the continuation of \nour civilization and species. The \u2018Physis\u2019 exhibition held at Wuhan, Hubei Province in 2020 \ntries to initiate discussions on how nature and technology are created, the function of art, and \nhow to understand the mind of mother nature. The exhibition attempts to regard nature and \nother subordinate existence as conscious subjects like human beings or take human subject \nconsciousness as a natural data algorithm. In complex systems, all factors and correlations \nevolve, emerge, and vary in a turbulent manner, which is difficult to predict by manpower. \nBased on this perspective, the \u2018Physis\u2019 exhibition attempts to discuss the traditional Chinese \nworld outlook of cosmological ontology, spontaneous generation, and the harmony of nature \nand man, and to think about how to rebuild the interactive relationship between natural law and \nhuman technology, and nature and culture. From the perspective of bio-politics, this exhibition \nalso plans to discuss the perfect experimental mechanism of human subjects through topics \nsuch as labor, education, skills, and life forms. Finally, it will reflect on the myth given by human \ncivilization from the ontological perspective of the \u2018things\u2019 created by technology.\"<\/p>\n\n\n\n

The Great Treatise II, Book of Changes (pinyin: Zhou Yi Xi Ci) said, \"The 'Physis' means changes.\" \nShuo Wen Jie Zi mentioned, \"The 'Physis' means evolution, meaning of buds bore through the \nsoil.\" The 'Physis' means both \"production\" and \"products.\" As a unique framework of cosmological \nontology and the harmony of man and nature, the 'Physis' is the theoretical basis of new systems \nand also the cornerstone for building the epistemology with isomorphic relations of \"me and \nothers - matter and me\", \"universe - man\", and \"nature-culture\". The 'Physis' contains the qibased generation theory showing the combination of yin and yang in everything. The universe \nis an abiogenetic, self-generating, and dynamically balanced system. Qian (heaven) stands for \ncreation and Kun (earth) means final accomplishment. It is an objective process that heaven and \nearth interact with each other, naturally grow, and continuously move. Taoism believes that various \nattributes of the universe are like humans' inner organs, part of a greater body. Human life and the \nuniverse are alike, with the internal and the external interacting with each other. Ancient people \nsaw the integrity and connection beyond materiality. Tiny individuals and macro universe create a \ntopological structural isomorphism that is mutually inspired, reversed, and correlated due to yinyang and five elements that reinforce and neutralize each other. The Chinese outlook of the unity of \nman and nature objects to the opposition of man and nature. The animist ontology popular among \nAmerican Indians usually refers to the soul, spirit, or something alike flowing freely in the body of \nhumans or everything. The theories of totem and analogy have unveiled the alternative cognitive \nmode between human and non-human existence. Both the West and the East have the world \noutlook on the correspondence of holism: the universe is considered a magnificent and harmonious \norganic integrity, and all parts are mutually correlated, without intermediaries or the cause-effect \nchain. The concept, \"correspondence\" in Chinese culture can be seen as an introducer of the \npluralistic epistemology in the context of cultural interaction, which is a reflection on modernity, and \nalso a pathfinder and regenerator of knowledge about diverse fields by virtue of artistic creation.<\/p>\n\n\n\n

In the meantime, \"physis\" involves the germination and growth of human subjectivity, which is associated with the production of human and the creation of life forms. Bio-politics cannot \nbe circumvented. As labor is tortured into a kind of imperative work resulted from capital \noppression, human beings are just incarnate tools for profits. Against this backdrop, \nhuman beings are likely to realize self-emancipation and regain their self-awareness only \nthrough the initiative and unparalleled labor, or the creative practice, that is artistic practice. \nOnly when human beings see the true self, and the spirit, nature, value, and function \nwithin can they break the tether and pressure they put on themselves, and overturn the \nstate in which they are alienated by the capital system and authority structure. By that \nmoment, they will be autonomous individuals, who are capable of making labor creative \nand initiative to liberate themselves. This document exhibition will showcase artistic \nprograms through education and take it as the medium to grope for the purposes, forms, \nprocess, and evaluation system of education through diversified attempts. By borrowing \nthe connotation of \"Social Sculpture\" (\"Soziale Plastik\" in German by Joseph Beuys), the \ndocument exhibition will ruminate over the college education with ranked authority as the \nhelm. Moreover, the document exhibition will act as an educator to enable more people to \nenlighten, contact, and exchange with one another, whereby they will be bundled together \nas they share a common knowledge system and interests. In addition, the document \nexhibition advocates the \"Theory of Self-cultivation\", by which human beings fulfill selfcultivation through their own choices, and obtain identification from society with creative \npractices to unleash their autonomy and potential.<\/p>\n\n\n\n

Aristotle held that techniques are born to supplement and imitate nature. Similarly, the \nlogic of nature can be verified by proficient techniques and the growth of natural objects \ncan be interpreted by the mode of production. In Greek, \"nature\" (\u03c6\u03cd\u03c3\u03b9\u03c2) is the verb form of \n\"growth\" (\u03c6\u03cd\u03c9), which implies the growth of nature. Meanwhile, we start from ourselves to \nseek creativity as we apply techniques, which are an upgraded version of the production. \nWe invent ourselves just like heaven and earth create all things. In the \"Chthulucene\" of \nthe post-Anthropocene, human and non-human co-exist. As guidelines on the production \nand creation, objects with technological content became the essential factor of all future \npossibilities. The non-anthropocentrism believes in the transpositional consideration \namong different species, which requires human beings to group other nonhuman species \nlike AI and nature as a subject with its inherent laws and visions. The interpretation of \nclassifying nature and other non-human existence as a whole complies with the \"Gaia \nhypothesis\" (Gaia: Earth Mother) related in Bruno Latour's book\u2014Facing Gaia: Eight \nLectures on the New Climatic Regime (Face \u00e0 Ga\u00efa: Huit conf\u00e9rences sur le Nouveau \nR\u00e9gime Climatique), and the \"Chthulucene\" (the intra-action among transhuman, \nextraterrestrial, non-human, and humic human) presented by Donna Haraway in her work \ntitled Staying with the Trouble: Making Kin in the Chthulucene. Human beings become \nthe secondary subject following and relying on the \"Earth Mother\". The contemporary era \nwitnesses the mix of disciplines, in which human beings are more like tools standardized \nby technologies. Our preferences, emotions, habits, etc., are seen as commodities that \ncan be predicted and controlled with big data. Unexpectedly, contingencies come and \nbreak in this closed cycle, ending up the programmed algorithm. It is undeniable that \nbioscience based on gene modification, computer programming rules, and technologies \nof AI and deep learning (DL) also show the possibility of losing control, contingencies, and \nabrupt changes, which are creative accidents. Uncertainty is the art of creativity. \"Physis\" \nconveys the idea to regard artificiality as a subject with creativity. Imitating the setting \nmode of technical subjects, it ponders over the relationship between human beings and \nthe world: whether human beings create the world or the contrary? Technology and natural \nlaw, and neo-materialism and non-human also form a relationship of isomorphism.
Life will continue to thrive as we treat all species other than human beings with an open \nmind and without the pursuit for anthropocentrism, which speaks to the eagerness for \ninstant success and quick profits. Amid this environment in which births and deaths \nhappen simultaneously and continuously, and all creatures co-exist while multiplying, we \nkeep corresponding with others and interact from time to time.<\/p>\n\n\n\n

<\/div>\n\n\n\n

5th Documentary Exhibition of Fine Arts Physis\uff1aProduction of Nature\uff0cHuman and Technology<\/strong><\/strong><\/p>\n\n\n\n

Preface I<\/strong><\/p>\n\n\n\n

The 1st Documentary Exhibition of Fine Arts was held in 2004. In 2007, the Hubei Museum of \nArt (here in after referred to as \"the Museum\") worked together with the Fine Arts Literature Art \nCenter (here in after referred to as \"the Center\") to hold the 2nd Documentary Exhibition of Fine \nArts, the first exhibition held in the Museum after it was established. Since then, the Museum has \nbeen holding the Documentary Exhibition of Fine Arts for 14 years under its long-term strategic \ncooperation with the Center. The duration of 14 years is a long time for the past and a short \ntime for the future. As a public cultural institution, the Museum has continuously made efforts \nto meet the diversified cultural requirements of citizens and comprehensively sorted out the \ndevelopment venation of the local fine arts while collaborating with local art institutions to leave \ncontemporary cultural imprints in Wuhan. In the future, the Museum will be dedicated to building \nthe Documentary Exhibition of Fine Arts into a foresighted, research-oriented and international \ntriennial brand, making it an academic exchange platform that will be held constantly. Meanwhile, \nthe Museum will continue to join hands with the Center to participate in, record, and witness the \ndevelopment and prospect of China's contemporary art.<\/p>\n\n\n\n

The holding of the 5th Documentary Exhibition of Fine Arts has gone through various difficulties. \nIn early 2020, the outbreak of the COVID-19 pandemic led to many difficulties in the exhibition \npreparation. Fortunately, personnel from the cultural and art circle paid close attention to Wuhan \nand Hubei and managed to hold this normal brand exhibition as scheduled. It may owe to the \nMuseum's effective measure for spreading the light of hope. Ms. Fu Xiaodong, who was invited \nto be the curator of the 5th Documentary Exhibition of Fine Arts, has determined \"Physis\" as the \ntheme of the exhibition this year. It not only expresses an infinite desire for the vitality of art but \nalso creates a current reflection situation of \"living community\" through the artistic expression \nand the exploration of relations between nature, humans, and technology. The earliest Chinese \ncharacter of \"Physis\" is among inscriptions on tortoise shells. It is also explained in the Shuowen \nJiezi (an ancient Chinese dictionary) as \"meaning of buds bore through the soil\". The ancient \nChinese people used this image to indicate upward growth. In the Book of Changes, \"Physis\" is \nthe basic element of changes and also the greatest kindness from heaven and earth to human \nbeings and living creatures in the universe. Holding the \"5th Documentary Exhibition of Fine Arts: \nPhysis: Production of Nature, Human and Technology\" in Wuhan in 2020 has significance far \nbeyond the exhibition itself.<\/p>\n\n\n\n

This year, over 100 artists will be invited to participate in the exhibition composed of five units \nincluding \"Relation between Heaven and Man & Energy\", \"Production of Nature\", \"Production \nof Human\", \"Production of Technology\", and \"Earth Mother\". Larger than any previously held \nExhibitions of Fine Arts in terms of scale, this exhibition will be held respectively in the Museum \nand the Center to fully embody the openness and inclusiveness of the Documentary Exhibition of \nFine Arts. So, we appreciate the wisdom and efforts of the curator team, participating artists, and \nevery staff of sponsors. The exhibition will never be held as scheduled without their hard work.<\/p>\n\n\n\n

Although the path is long and full of obstacles, we will forge ahead firmly to arrive at the \ndestination. Inspired by \"Physis\", the Documentary Exhibition of Fine Arts will keep moving \nforward.<\/p>\n\n\n\n

Ji Shaofeng, Curator of Hubei Museum of Art<\/p>\n\n\n\n

November 19, 2020<\/p>\n\n\n\n

<\/div>\n\n\n\n

Preface II<\/strong><\/p>\n\n\n\n

The year of 2020 was eventful. We were so close to the \"unknown.\" In such a context, the 5th \nDocumentary Exhibition of Fine Arts co-sponsored by Hubei Museum of Art and Fine Arts \nLiterature Art Center this year in Wuhan as scheduled seems of profound importance. Wuhan \nhas been hailed as a heroic city given what it had been through in 2020, and we dedicate to it \nthe art exhibition \"Physis: Production of Nature, Human and Technology.\" With the joint efforts \nof artists, curators and the said co-sponsors, the 5th Documentary Exhibition of Fine Arts will \nbe held in Wuhan on November 20, 2020.<\/p>\n\n\n\n

Contemporary art is often closely related to the present life, based on which we dwell on the \nfuture. This exhibition is also based on the reflection on the environment we live in to explore \nfor what we should work hard considering the increasing tension between man, nature, and \ntechnology. We look forward to the future but how should we greet it based on the present?<\/p>\n\n\n\n

The first Documentary Exhibition of Fine Arts (triennial) was held in 2004. The curatorleading system was adopted in 2007 for the \"2nd Documentary Exhibition of Fine Arts: Forms \nof Concepts\" (chief curator: Pi Li, 2007). In 2014, Fine Arts Literature Art Center and Hubei \nMuseum of Art launched strategic cooperation, and jointly held the \"3rd Documentary Exhibition \nof Fine Arts: Remodernization\" (chief curator: Ji Shaofeng, 2014), the \"4th Documentary \nExhibition of Fine Arts: Stress Field\" (chief curator: Feng Boyi, 2017), and the 5th this time. We \nhope that with concerted efforts of all parties, more triennials will be presented from different \nperspectives and with different themes.<\/p>\n\n\n\n

I wish the 5th Documentary Exhibition of Fine Arts a complete success!<\/p>\n\n\n\n

Liu Ming Fine Arts Literature Art Center in Wuhan<\/p>\n\n\n\n

November 19, 2020<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Chief Curator: Fu Xiaodong | Exhibition Directors: Ji Shaofeng, Liu Ming | Art Director: Fu Zhongwang | Duration: 2020.11.20 - 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