2004 上海雙年展致未能出席藝術家信件 Letter to Artists



 

March 22, 2016

 

Rafael Lozano-Hemmer
1-3954 Av. Parc LaFontaine
Montréal, Québec H2L 3M7

 

Dear Rafael,

 

More than a month has passed since the closing of the 2004 Shanghai Biennale on November 27th, and I wanted to take this opportunity to thank you for your participation in this event.  Your presence in the Biennale was extremely well received, and on a personal note, I enjoyed working with you through the installation of your work.  Having you and Conroy there contributed to the important role of Canadian artists in the exhibition.  The following letter is a general report of the event, meant for artists that did not have the opportunity to attend the Biennale.  I am sending you a copy, in case there are certain details that may be of interest to you.

 

The opening of the Biennale on September 28th was among the most well attended in the history of the event.  The opening ceremony held on the evening of the Mid-Autumn Festival, was a multi-media celebration that included original works by 20 artists incorporating music, digital film, installations, and dance, cumulating in a DJ/VJ dance party. More than 5000 artists, curators, collectors, museum directors and journalists from thirty countries attended the event, and in the week following the opening, the Shanghai Art Museum saw record attendance of local and international visitors.

 

This year’s exhibition was not only successful for these impressive audience numbers, but also for the international participation of artists and curators. The 2004 Biennale included participation by artists from thirty-five countries, and for the first time since its inception in 1994, saw the inclusion of more international artists than those from China.

The Biennale itself included more than 110 separate artists’ projects, and was primarily housed in the four-story Shanghai Art Museum.  Additional exhibition spaces were built in the adjacent People’s Park, where digital and technological based works were shown in ten separate Media Houses. A glass bridge was built between the Museum and the Park to make access between the two venues easier.

 

The theme of the Biennale “Techniques of the Visible” was chosen by the curators as a way to showcase work that deals with the mechanisms of visuality, and the close relationship between art, science, and technology.  In particular the exhibition investigated how art has revealed the interdependent social and political forces that produce and subject technology and humanity. Bringing film, photography, video, installation, interactive technologies and performance together, the exhibition drew on the diversity of contemporary practices from Asia, South America, Africa, Europe and North America, revealing the interconnected and interdependent nature of art that engages technology. Owing to the global presence of artists included, the curatorial premise was strengthened by a truly diverse range of perspectives; with works ranging from paintings, paper cuttings and sculpture, to various forms of photography (a working darkroom too), digital projections, performance and various complex multimedia installations. In addition to the exhibitions, the Biennale also included an International Film Festival that included short films by independent Chinese and international filmmakers, as well as Chinese documentary films. A symposium was also held on September 29th and 20th, were Chinese and international scholars presented papers that engaged the curatorial premise of the Biennale. Some of the conference participants included Geeta Kapur, Coco Fusco, Jean Fisher, Wonil Rhee and many of the participating artists in the exhibition.

 

The Biennale has received coverage by various print, radio and television sources from China and abroad.  While much of the coverage is in Mandarin, Art in America will publish a 9 page review of the exhibition in English by Richard Vine in the February issue. The online website universes-in-universe (www.universes-in-universe.de/car/shanghai/2004/english.htm) also provides detailed information on the exhibition, as well as photographs of the events.  Yishu Journal of Contemporary Asian Art also dedicated their Winter/December 2004 issue to both the Shanghai and Taipei Biennales.  A catalogue was also produced by the Biennale, which includes essays by each of the curators, as well as images and information on each participating artist. If you have not received your copy of this catalogue, please contact either myself, or the Biennale Office directly at shanghaibiennale@163.com

 

Once again, I would like to thank you for your participation in this event.  It has been a pleasure to work with you. If you have any questions, please do not hesitate to contact me.  I look forward to working with you again on future projects.

 

 

Thank you

 

 

Shengtian Zheng

 

 

 



 

 

 

March 22, 2016

 

Jeff Wall

762 Powell Street

Vancouver, BC

 

Dear Jeff,

 

More than a month has passed since the closing of the 2004 Shanghai Biennale on November 27th, and I wanted to take this opportunity to thank you for your participation in this event.  While many artists were able to travel to Shanghai for the opening, for those who were not able to, I am sending this brief report on the exhibition and associated programs for your information. 

 

The opening of the Biennale on September 28th was among the most well attended in the history of the event.  The opening ceremony held on the evening of the Mid-Autumn Festival, was a multi-media celebration that included original works by 20 artists incorporating music, digital film, installations, and dance, cumulating in a DJ/VJ dance party. More than 5000 artists, curators, collectors, museum directors and journalists from thirty countries attended the event, and in the week following the opening, the Shanghai Art Museum saw record attendance of local and international visitors.

 

This year’s exhibition was not only successful for these impressive audience numbers, but also for the international participation of artists and curators. The 2004 Biennale included participation by artists from thirty-five countries, and for the first time since its inception in 1994, saw the inclusion of more international artists than those from China.

The Biennale itself included more than 110 separate artists’ projects, and was primarily housed in the four-story Shanghai Art Museum.  Additional exhibition spaces were built in the adjacent People’s Park, where digital and technological based works were shown in ten separate Media Houses. A glass bridge was built between the Museum and the Park to make access between the two venues easier.

 

The theme of the Biennale “Techniques of the Visible” was chosen by the curators as a way to showcase work that deals with the mechanisms of visuality, and the close relationship between art, science, and technology.  In particular the exhibition investigated how art has revealed the interdependent social and political forces that produce and subject technology and humanity. Bringing film, photography, video, installation, interactive technologies and performance together, the exhibition drew on the diversity of contemporary practices from Asia, South America, Africa, Europe and North America, revealing the interconnected and interdependent nature of art that engages technology. Owing to the global presence of artists included, the curatorial premise was strengthened by a truly diverse range of perspectives; with works ranging from paintings, paper cuttings and sculpture, to various forms of photography (a working darkroom too), digital projections, performance and various complex multimedia installations. In addition to the exhibitions, the Biennale also included an International Film Festival that included short films by independent Chinese and international filmmakers, as well as Chinese documentary films. A symposium was also held on September 29th and 20th, were Chinese and international scholars presented papers that engaged the curatorial premise of the Biennale. Some of the conference participants included Geeta Kapur, Coco Fusco, Jean Fisher, Wonil Rhee and many of the participating artists in the exhibition.

 

The Biennale has received coverage by various print, radio and television sources from China and abroad.  While much of the coverage is in Mandarin, Art in America will publish a 9 page review of the exhibition in English by Richard Vine in the February issue. The online website universes-in-universe (www.universes-in-universe.de/car/shanghai/2004/english.htm) also provides detailed information on the exhibition, as well as photographs of the events.  Yishu Journal of Contemporary Asian Art also dedicated their Winter/December 2004 issue to both the Shanghai and Taipei Biennales.  A catalogue was also produced by the Biennale, which includes essays by each of the curators, as well as images and information on each participating artist. If you have not received your copy of this catalogue, please contact either myself, or the Biennale Office directly at shanghaibiennale@163.com

 

Once again, I would like to thank you for your participation in this event.  It has been a pleasure to work with you. If you have any questions, please do not hesitate to contact me.  I look forward to working with you again on future projects.

 

 

Thank you

 

 

Shengtian Zheng

 

 

 

 



 

 

 

March 22, 2016

 

Gu Xiong

1081 E.38th Ave.,
Vancouver, BC V5W 1J4

 

Dear Gu,

 

More than a month has passed since the closing of the 2004 Shanghai Biennale on November 27th, and I wanted to take this opportunity to thank you for your participation in this event.  Your presence in the Biennale was extremely well received, and on a personal note, I enjoyed working with you through the installation of your work.  Having you there contributed to the important role of Canadian artists in the exhibition.  The following letter is a general report of the event, meant for artists that did not have the opportunity to attend the Biennale.  I am sending you a copy, incase there are certain details that may be of interest to you.

 

The opening of the Biennale on September 28th was among the most well attended in the history of the event.  The opening ceremony held on the evening of the Mid-Autumn Festival, was a multi-media celebration that included original works by 20 artists incorporating music, digital film, installations, and dance, cumulating in a DJ/VJ dance party. More than 5000 artists, curators, collectors, museum directors and journalists from thirty countries attended the event, and in the week following the opening, the Shanghai Art Museum saw record attendance of local and international visitors.

 

This year’s exhibition was not only successful for these impressive audience numbers, but also for the international participation of artists and curators. The 2004 Biennale included participation by artists from thirty-five countries, and for the first time since its inception in 1994, saw the inclusion of more international artists than those from China.

The Biennale itself included more than 110 separate artists’ projects, and was primarily housed in the four-story Shanghai Art Museum.  Additional exhibition spaces were built in the adjacent People’s Park, where digital and technological based works were shown in ten separate Media Houses. A glass bridge was built between the Museum and the Park to make access between the two venues easier.

 

The theme of the Biennale “Techniques of the Visible” was chosen by the curators as a way to showcase work that deals with the mechanisms of visuality, and the close relationship between art, science, and technology.  In particular the exhibition investigated how art has revealed the interdependent social and political forces that produce and subject technology and humanity. Bringing film, photography, video, installation, interactive technologies and performance together, the exhibition drew on the diversity of contemporary practices from Asia, South America, Africa, Europe and North America, revealing the interconnected and interdependent nature of art that engages technology. Owing to the global presence of artists included, the curatorial premise was strengthened by a truly diverse range of perspectives; with works ranging from paintings, paper cuttings and sculpture, to various forms of photography (a working darkroom too), digital projections, performance and various complex multimedia installations. In addition to the exhibitions, the Biennale also included an International Film Festival that included short films by independent Chinese and international filmmakers, as well as Chinese documentary films. A symposium was also held on September 29th and 20th, were Chinese and international scholars presented papers that engaged the curatorial premise of the Biennale. Some of the conference participants included Geeta Kapur, Coco Fusco, Jean Fisher, Wonil Rhee and many of the participating artists in the exhibition.

 

The Biennale has received coverage by various print, radio and television sources from China and abroad.  While much of the coverage is in Mandarin, Art in America will publish a 9 page review of the exhibition in English by Richard Vine in the February issue. The online website universes-in-universe (www.universes-in-universe.de/car/shanghai/2004/english.htm) also provides detailed information on the exhibition, as well as photographs of the events.  Yishu Journal of Contemporary Asian Art also dedicated their Winter/December 2004 issue to both the Shanghai and Taipei Biennales.  A catalogue was also produced by the Biennale, which includes essays by each of the curators, as well as images and information on each participating artist. If you have not received your copy of this catalogue, please contact either myself, or the Biennale Office directly at shanghaibiennale@163.com

 

Once again, I would like to thank you for your participation in this event.  It has been a pleasure to work with you. If you have any questions, please do not hesitate to contact me.  I look forward to working with you again on future projects.

 

 

Thank you

 

 

Shengtian Zheng

 

 

 

 



 

 

 

March 22, 2016

 

Stan Douglas

732 Richards St., 3rd floor
Vancouver, B.C. V6B 3A4

Dear Stan,

 

More than a month has passed since the closing of the 2004 Shanghai Biennale on November 27th, and I wanted to take this opportunity to thank you for your participation in this event.  While many artists were able to travel to Shanghai for the opening, for those who were not able to, I am sending this brief report on the exhibition and associated programs for your information. 

 

The opening of the Biennale on September 28th was among the most well attended in the history of the event.  The opening ceremony held on the evening of the Mid-Autumn Festival, was a multi-media celebration that included original works by 20 artists incorporating music, digital film, installations, and dance, cumulating in a DJ/VJ dance party. More than 5000 artists, curators, collectors, museum directors and journalists from thirty countries attended the event, and in the week following the opening, the Shanghai Art Museum saw record attendance of local and international visitors.

 

This year’s exhibition was not only successful for these impressive audience numbers, but also for the international participation of artists and curators. The 2004 Biennale included participation by artists from thirty-five countries, and for the first time since its inception in 1994, saw the inclusion of more international artists than those from China.

The Biennale itself included more than 110 separate artists’ projects, and was primarily housed in the four-story Shanghai Art Museum.  Additional exhibition spaces were built in the adjacent People’s Park, where digital and technological based works were shown in ten separate Media Houses. A glass bridge was built between the Museum and the Park to make access between the two venues easier.

 

The theme of the Biennale “Techniques of the Visible” was chosen by the curators as a way to showcase work that deals with the mechanisms of visuality, and the close relationship between art, science, and technology.  In particular the exhibition investigated how art has revealed the interdependent social and political forces that produce and subject technology and humanity. Bringing film, photography, video, installation, interactive technologies and performance together, the exhibition drew on the diversity of contemporary practices from Asia, South America, Africa, Europe and North America, revealing the interconnected and interdependent nature of art that engages technology. Owing to the global presence of artists included, the curatorial premise was strengthened by a truly diverse range of perspectives; with works ranging from paintings, paper cuttings and sculpture, to various forms of photography (a working darkroom too), digital projections, performance and various complex multimedia installations. In addition to the exhibitions, the Biennale also included an International Film Festival that included short films by independent Chinese and international filmmakers, as well as Chinese documentary films. A symposium was also held on September 29th and 20th, were Chinese and international scholars presented papers that engaged the curatorial premise of the Biennale. Some of the conference participants included Geeta Kapur, Coco Fusco, Jean Fisher, Wonil Rhee and many of the participating artists in the exhibition.

 

The Biennale has received coverage by various print, radio and television sources from China and abroad.  While much of the coverage is in Mandarin, Art in America will publish a 9 page review of the exhibition in English by Richard Vine in the February issue. The online website universes-in-universe (www.universes-in-universe.de/car/shanghai/2004/english.htm) also provides detailed information on the exhibition, as well as photographs of the events.  Yishu Journal of Contemporary Asian Art also dedicated their Winter/December 2004 issue to both the Shanghai and Taipei Biennales.  A catalogue was also produced by the Biennale, which includes essays by each of the curators, as well as images and information on each participating artist. If you have not received your copy of this catalogue, please contact either myself, or the Biennale Office directly at shanghaibiennale@163.com

 

Once again, I would like to thank you for your participation in this event.  Please extend this to Brody, and thank him for all his hard work, which made your work very well received in the Biennale.  It has been a pleasure to work with you. If you have any questions, please do not hesitate to contact me.  I look forward to working with you again on future projects.

 

 

Thank you

 

 

Shengtian Zheng

 

 

 

 

 

shengtian zheng © 2014