Flying into Dalian. Soundtrack performed by by the Kate Lush Band 'Midnight in Harlem'
This video was shot from my window seat when coming into land, on a cold clear winter's night, at the northern port city of Dalian in China.
The audio is from my video of the Kate Lush Band performing Midnight in Harlem
This video was selected for an exhibition of some works by the Manly Art Gallery & Museum's artists. I am a visual artist and a member of the Gallery.
201205 - ARCHITECTURAL ANIMATION - DALIAN PLANNING MUSEUM
Далянь. Китайская Мечта / Dalian. Chinese Dream
«Следующая Станция - Китай-Город», видео арт-проект. Фотобиеннале-2012. галерея Файн Арт
часть 3: Далянь. Китайская Мечта
«The Next Station is Chinatown», video art-project. Photobiennale-2012. Fine Art gallery
chapter 3: Dalian. Chinese Dream
idea & cut: Serge Golovach
execution:
produсer & director: Igor Faiman
camera: Roman Fedosenko
music: the opening ceremony of the 14 th Dalian international fashion festival & Pet Conspiracy - Depot
An extravagant chinese dinner on Rotating Table in Dalian, China
An extravagant chinese dinner on Rotating Table in Dalian, China
Urban planning center Dalian City
Artist-in-residence:Canal Cheong Jagerroos
A video about the experience of Canal Cheong Jagerroos at the International Artist-In-Residence Program in Beijing 2017, including images from the opening of her related solo exhibition ‘Waking/蘇醒’ at Being 3 Gallery, Beijing, China.
Canal Cheong Jagerroos (b.1968), a Chinese contemporary visual artist who grew up in an artistic family in Macau. She works between Helsinki, Nice and Berlin. As far back as Canal can remember, at the time other children her age were playing with crayons, her father taught her the fundamentals of Chinese ink brush painting. In many ways, Canal’s father teaching has strongly influenced her journey to find artistic expression.
Canal has lived and worked for 25 years in numerous countries from Asia to Europe and Africa. She is currently living with her family in Finland. The unique experience of having lived in such culturally diverse places, namely; Hong Kong, Shanghai, France, Switzerland, Italy, Senegal and Finland has influenced her work greatly whether consciously or subconsciously. Canal has discovered that walking the line between the east and west, facing different cultures, can be both constructive and destructive, but always inspirational.
Canal Cheong Jagerroos is the co-founder of the ongoing art project ‘Blue and Red’ which will be showing in numerous museums in China and Finland from 2018 - 2020.
Canal’s upcoming Exhibitions:
2017 LA Art Show, Los Angeles, USA
2017 Art Palm Beach, Florida, USA
2017 Art Boca Raton, Florida, USA
2017 Artist In Residency, Beijing, China
2017 'Waking / 苏醒' Solo Exhibition, Being 3 Gallery, Beijing, China
2017 China-Italy Biennale, Shenzhen, China
2017 Dalian Contemporary Art Fair, Dalian, Liaodong Peninsula, China
2017 Art Southampton, NY, USA
2017 Finlayson Art Centre, B&RAP, Finland
2017 Tai Yuan Art Museum, Art Shanxi, China
2017 ICFF Miami Art and Design, Miami, USA
2017 Basel Art Center, B&RAP, Basel, Switzerland
2017 Art Miami Aqua, Miami, USA
2018 Xian Art Museum, Xian, B&RAP, China
2018 Tang Bo Art Museum, B&RAP, Xian, China
2018 LA Art Show, Los Angeles, USA
2018 Salo Art Museum, B&RAP, Finland
2019 Jyvaskyla Art Museum, B&RAP, Finland
2019 Chengdu Art Museum-Blue Roof, B&RAP, Chengdu, China
2019 Joensuu Art Museum, B&RAP, Finland
2020 Rovaniemi / Korundi Art Museum, B&RAP, Finland
CHINA BEIJING WINTER ITINERARY SAMPLE || SUMMER PALACE
#VLOGMAS #BEIJING #WINTER
HI GUYS! JOIN US IN OUR 2019 FAMILY CHRISTMAS VACATION IN BEIJING CHINA! YOU CAN ALSO FOLLOW OUR ITINERARY FOR YOUR OWN GUIDE!
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HIGHLIGHTS FOR DAY 3&4
*WANG FU JING STATION
*FORBIDDEN CITY
*CHINA ACROBATIC SHOW
*JEWELRY ART GALLERY
*SUMMER PALACE
*JADE GALLERY SHOP
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Spherical Kaleidoscope art installation appeared in Dalian square
On November 15th, the spherical art installation was showed in Dalian Times Square. The interior of the device is like a large kaleidoscope. It was created by the square staff and Portuguese artists. Entering it, people seem to be in a mysterious and beautiful star sea.
Politically charged Chinese art
(1 Feb 2010)
AP Television
Beijing, China, 5 December 2009
1. Pan Gao brothers walking in street
2. Exterior of Gao Brothers gallery
3. Close of sign reading Gao Brothers Centre for Contemporary Art
4. Zoom out from brothers to installation called Execution of Christ
5. Various of bronze statues resembling Mao Zedong pointing rifles at a statue of Christ
6. SOUNDBITE (Mandarin) Gao Qiang, Artist:
The composition of this set was imitated from a famous painting of Manet: Execution of the Emperor Maximilian. And Manet''s painting copied the composition of Spanish artist Goya''s The Execution of the Rebels, which was about executing a group of rebels. Our work is very similar to that one in terms of composition. Yet we have converted the art form. We used the language of sculpture on this set.
7. Close of head of Christ with bronze statues resembling Mao Zedong in background
8. SOUNDBITE (English) Arthur Wang, Art curator:
And I think the point to put across really is, the way I put it is that they are really social and political activists who happen to be artists. Rather than say an artist who happens to have some political views.
9. Various of Miss Mao sculpture
10. Wide shot Gao Zhen sitting in front of artwork
11. SOUNDBITE (Mandarin) Gao Zhen, Artist:
We think humanity is unified. Human beings share something in common. After the Cultural Revolution we started to review the things we learnt from the propaganda, and think for ourselves.
12. Various of artists driving car
13. Various of car stopping and Gao brothers opening gate to studio
14. SOUNDBITE (English) Gao Qiang, Artist:
This work will be shown in the Kemper Museum in Kansas City next year (2010).
15. Tilt down of sculpture entitled Catching Prostitute
16. Close of face of sculpture
17. Wide shot Gao brothers standing in front of painting entitled Meeting of Monsters
18. Various of painting entitled Meeting of Monsters
19. Various of artists placing head on statue of Mao Zedong entitled Mao''s Guilt
20. SOUNDBITE (Mandarin) Gao Zhen, Artist:
This studio was rented two years ago. At that time our studio in 798 was forced to shut down as the government wanted to drive us out of 798, so we prepared this studio as a backup. We have rented this one and another bigger one nearby, which you will see later. This is basically our production base. Many of our works, like these paintings and sculptures, were all finished here.
21. Various of brothers in studio filled with unfinished plaster casts of works
22. Close of face of statue
23. Tilt down from portrait of President Obama by Gao Brothers to Cheng Meixin talking
24. SOUNDBITE (Mandarin) Cheng Meixin, Art Critic/Lecturer, College of Architecture and Arts, Dalian University of Technology:
For China''s modern art, there are not many people like the Gao brothers who have kept their accurate perspective and critical spirit. Although China has many modern artists and art styles, artists who can always hold on their spirit of independence are very, very few.
25. Pan from statue of Mao Zedong holding rifle to gallery
26. Zoom in to photo of woman on bike
LEAD IN:
They''re the enfants terribles of the modern Chinese art scene.
The Gao Brothers have been attracting the attention of not only the Chinese art world but further afield, as they prepare to take their politically-charged art to the US and Europe in 2010.
STORYLINE:
Loved and loathed in equal measure, the Gao brothers are certainly not worried about causing a stir.
In the past they claim some of their shows have been shut down because of the politically sensitive nature of their work in China.
Arthur Wang, an art curator, says the Gao''s are political activists that happen to be artists.
You can license this story through AP Archive:
Find out more about AP Archive:
Wenda Gu
Gu Wenda was born in Shanghai in 1955; his parents were bank employees, his grandparents on his mother's side worked in wool. His sister being a musician, and his mother an amateur painter and singer, Gu was exposed to culture throughout his childhood, and encouraged in his pursuits. His paternal grandfather, an actor, was one of the few to appear in Chinese films at the time, and the first to introduce the spoken word into the traditionally sung Chinese theatre. As a result of the Cultural Revolution, however, it was dangerous to continue to live this life. Gu's grandparents were taken away for reeducation, and much of the artistic documents and objects in the house were seized or destroyed by the authorities.
Nevertheless, like many young Chinese boys of the time, Gu aspired to grow up to become one of the Red Guards, and eventually succeeded. As one of the Guards, he worked to simplify the Chinese language, and to encourage people to embrace new attitudes towards their old language; this was the time when he became educated in, and interested in, the traditional calligraphy which would later play a major role in his artworks. He was also taught woodcarving at this time, but relates it as being a strictly practical exercise, devoid of real creativity and art. He devoted much of his free time to dreams of art and fame, and to ink painting in private.
Though he was meant to later be sent off to a further wood-carving school, he was instead sent to design school, where he continued his pursuits in painting. Teachers at this school encouraged and aided him, and saw the beginning of his career as an artist. He would later study at the China Academy of Art in Hangzhou, under Lu Yanshao. Though he originally resisted tradition, he has since come to appreciate that one must understand tradition in order to better rebel against it.
In the 1980s, he began the first of a series of projects centered on the invention of meaningless, false Chinese ideograms, depicted as if they were truly old and traditional. One exhibition of this type, held in Xi'an in 1986, featuring paintings of fake ideograms on a massive scale, was shut down by the authorities who, being unable to read it, assumed it carried a subversive message. The exhibit was later allowed to re-open on the condition that only professional artists could attend.
After waiting for a student visa for five years, Gu came to the United States in 1987, at the age of 32, this journey being his first airplane experience. Asked if he left China for political reasons, he insists that, rather, he wanted to come to New York to seek a more international audience for his art, and to live and work in the contemporary art center of the world. After spending some time in San Francisco, he moved to New York, and put his art work aside for a year while he learned English, and served as artist-in-residence at the University of Minnesota for a few months.
Turning from his work on language, Gu developed an interest in bodily materials, and in understanding humanity, across ethnic and national boundaries, through hair and other bodily substances. One exhibit he produced, organized around sanitary napkins sent to him by women from sixty countries, was attacked by feminist movements and refused to be shown at every venue he approached. Some of his other works included the use of semen and a placenta, which are supposedly far less shocking materials in China than in the West, as they are sometimes used as part of traditional Chinese medicine. However, most of his creations in this vein focus on hair. These are known collectively as the United Nations Project. The United Nations Project was exhibited in the Baker-Berry Library at Dartmouth College for four months in 2007.
In some places, such as Łódź, Poland, where his exhibition of piles of human hair were first seen, they have brought powerful resistance from those who see it as a reminder of the piles of hair generated at the concentration camps where Jewish prisoners had their heads shaved. The exhibition was closed in Poland after only twenty-four hours, and despite attempts to play up the international message and theme of his work, and to deny any intentional reference to The Holocaust or other such tragedies, the exhibit received a similar response in parts of Sweden, Russia, and Israel.
Gu's work today focuses extensively on ideas of culture, and his identity. He tends not to discuss or compare himself to other Chinese artists, and much of his work does not seek to embrace nor rebel against Chinese traditions. His work with human hair, including paintings created with a brush made from human hair, painted in public, continues the theme of the United Nations and seeks to evoke thoughts of human identity and unity.
Museum of Contemporary Art & Planning Exhibition
Museum of Contemporary Art & Planning Exhibition
Shenzhen, China, 2007-2013
For more information contact:
communications@coop-himmelblau.at
coop-himmelblau.at
facebook.com/pages/Wolf-D-Prix-Coop-Himmelblau/164392240241044
Dalian's historic buildings adorned with QR code boards
The northeast Chinese port city of Dalian has an eclectic mix of historical architecture, with Russian and Japanese influences from the first half of the twentieth century. Now to inform visitors and residents about the city's history, boards with QR Codes have been hung on many of the city's buildings.
ARTIST GALLERY YISHAN LI
images of Yishan Li and her art.
做过国企技术科科长，也做过街道清洁员，这样的人生完整了 | 二更
麦秸画，又名麦秆画、麦草画、麦烫画、烧烫画，始于隋唐时代，是中国独有的特色工艺品之一，中国民间剪贴画的一种。麦秆要经过：“熏、蒸、漂、刮、推、烫、剪、刻、编、绘”等多道工序，制作出的作品栩栩如生、活灵活现，它以其独特的艺术风格和精湛的制作工艺，赢得了国内外艺术界很高的评价，被誉为“中华瑰宝”。
今年50岁的崔桂君是麦秸画的传承人，多年前，她放弃了国企科长的工作，随丈夫到了大连。当时待业的崔桂君在家带着年龄不大的孩子，家里的生计只能靠丈夫一人的收入来维持，不甘做“白吃饱”的崔桂君暗自下决心，无论如何自己都要把孩子的奶粉钱挣出来。迫于当时的家庭经济情况，崔桂君不得不暂时放弃自己关于艺术的梦想，从事一些基础的岗位。从国企科长到扫大街、挑豆子、系海带扣，那时难以承受的巨大落差让崔桂君喘不过气，她还是咬着牙坚持下来了。
熬过艰辛，终见彩虹。机缘巧合，崔桂君重新拾起麦秸画，这也让她重拾了对生活的信心。原来内心深处对于美术的热忱，从未冷却。
如今，跟着崔桂君学习麦秸画的人越来越多，上到八十岁老人，下到几岁的小学生，都崔老师崔老师地叫着，这一切都源于崔桂君的坚定与热爱。她用近30年时间完成了一个中年女性的“人生三部曲”，用双手赋予麦秸“生命”，用画作传递快乐。
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The Price Of Neglect
By Lu Guang
Opens 16 June: 7pm - 10pm
17 June through 4 July (Tue – Sat: 12 noon – 7pm; Sun: 12 noon to 5pm; Mon: Closed)
DECK
In his powerful, wrenching work which immediately engages the viewer, world-renowned Chinese photographer Lu Guang confronts us with the compelling and terrifying truth about the astronomical human and environmental costs of China’s rapid industrialisation. From the twisted beauty of tortured landscapes to intimate portraits of ordinary folk suffering from the worst effects of industrial pollution, Lu’s beautifully composed and intensely coloured photographs weave a dramatic narrative.
While the world marvels at the spectacular rate of China’s economic growth, Lu’s photojournalism shines an uncomfortably bright spotlight on the plight of those at the lower rungs of Chinese society who often pay the cost of – and yet are ignored in – the country’s quest for advancement. Through his uncompromising lens which demands accountability, Lu has captured a plethora of stories, from peasant farmers who contracted HIV/AIDS after trading their blood for fertiliser, to the courageous fire-fighters who cleaned up the Dalian oil spill.
Born in Zhejiang in 1961, Lu has risen from his humble beginnings as a factory worker to become one of the most important and celebrated social documentary photographers of his generation. While capturing his spectacular, unprecedented images, Lu has maintained his independence, his investigative conscience and his integrity.
In the citation for Lu’s latest honour as the 2013 Prince Claus Laureate, he was lauded for his courage and sustained commitment to using photography to effect social change.
“By making visible what is usually covered up, Lu Guang opens a critical public space in which issues can be scrutinised and changed. Shared on the Internet and hotly debated on Chinese Twitter, his images have inspired people to act and forced authorities in China to take action on several occasions.”
2013 Prince Claus Awards Committee Report
WHAT REMAINS AFTER?
FREE ADMISSION with O.P.E.N. Pass or single entry ticket to Lu Guang’s exhibition.
For details, visit our website at sifa.sg
Frahm Brothers Say China Has Huge Impact on Art Market
Oct. 13 (Bloomberg) -- Nicolai and Michael Frahm, art advisers at Frahm Ltd., talk about China's influence on the contemporary art market.
They speak with Andrea Catherwood on Bloomberg Television's Last Word.
June 19, 2009: Chinese Cover Up Death of a Chef! (Shishou Riot)
On June 19, 2009, during the Shishou Riot, Chinese authorities reminded their people that China is not a democracy.
The text narrated in this video is from the original article at
For sourcing for that article, please refer to the “Historical Evidence” section of the article on our main site on which this video is based.
Author: Major Dan
Editor and Narrator: Dr. Zar
Video edited using Movie Maker.
Video footage recorded by Dr. Zar on a Sony Handycam HDR-CX440.
Music: “Lau Tzu Ehru” by Doug Maxwell from
Image sources:
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The video by I Ate My Way Through available at is licensed under the Creative Commons Attribution 3.0 Unported license:
This video depicts part of the preparation process of lamian, a type of Chinese noodles, in which the dough is hand-pulled into noodle strands. The kitchen is located at Chef's Gallery on George Street in Sydney, Australia.
The images by GazMan7 at English Wikipedia available at by Husond at English Wikipedia available at by NordNordWest available at by TUBS available at and by Zhangym01 available at are licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license:
The screenshots of articles by Wikipedia contributors available at and contain text that is available under the Creative Commons Attribution-ShareAlike License:
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The video by Free HD Stock Footage available at is licensed under the Creative Commons Attribution license (reuse allowed):
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QR codes tell stories of Dalian's historical buildings
The northeast Chinese port city of Dalian has an eclectic mix of historical architecture, with Russian and Japanese influences from the first half of the 20th century. Now to inform visitors and residents about the city's history, boards with QR codes have been hung on many of the city's buildings.
Having weathered many storms over the past century, these old buildings are now able to tell their stories, accessible at the click of a button.
Museum of Contemporary Art & Planning Exhibition by COOP HIMMELBLAU
The Museum of Contemporary Art & Planning Exhibition (MOCAPE) is part of the master plan for the Futian Cultural District, the new urban center of Shenzhen. The project combines two independent yet structurally unified institutions: The Museum of Contemporary Art (MOCA) and the Planning Exhibition (PE) as a cultural meeting point and a venue for architectural exhibitions. The lobby, multifunctional exhibition halls, auditorium, conference rooms and service areas will be used jointly. Both museums are designed as separate entities emphasizing their individual functional and artistic requirements and yet are merged in a monolithic body surrounded by a multifunctional facade.
This transparent facade and a sophisticated internal lighting concept allow a deep view into the joint entrance and transitional areas between the buildings. Behind the entrance area between the museums, visitors ascend to the main level by ramps and escalators and enter the “Plaza”, which serves as a point of departure for tours of the museums. From the Plaza the rooms for cultural events, a multi-functional hall, several auditoriums and a library can be accessed. A silvery shining and softly deformed “Cloud” serves as a central orientation and access element on the Plaza. On several floors the Cloud hosts a number of public functions such as a café, a book store and a museum store and it joins the exhibitions rooms of both museums with bridges and ramps. With its curved surface the Cloud opens into the space reflecting the idea of two museums under one roof.
The exterior skin consists of an outer layer of natural stone louvers and the actual climate envelope made from insulated glass. These elements form a dynamic surface, which is structurally independent from the mounting framework of the museum buildings. The technical building equipment is designed to reduce the overall need of external energy sources: Pollution free systems and facilities use renewable energy sources through solar and geothermal energy (with a ground water cooling system) and only systems with high energy efficiency have been implemented. The roof of the museum filters daylight for the exhibition rooms, which reduces the need for artificial lighting. MOCAPE is not only an architectural landmark but also an ecological and environmentally friendly benchmark project. Source by COOP HIMMELB(L)AU. Info project
A As Architecture - Discover Architecture