给加拿大外交部的最終報告 Final Report for Foreign Affairs Canada


SHANGHAI BIENNALE 2004 (Canadian Participation)


Please accept this letter as a final report for the grant received from Foreign Affairs Canada towards the participation of Jeff Wall, Stan Douglas, Gu Xiong and Rafael Lozano Hemmer in the 2004 Shanghai Biennale.  The Biennale was held at the Shanghai Art Museum from September 28th to November 27th, 2004.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.

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 me directly.

The participation of Canadian artists at the 2004 Shanghai Biennale was important in highlighting the important role that contemporary Canadian art plays internationally. Jeff Wall included 5 large scale light boxes in the exhibition: Fieldwork 2003; A woman with a covered tray, 2003; Coastal Motifs, 1989; Boys cutting through a hedge, 2003; Cuttings, 2001.  Stan Douglas included a film projection installation of Journey into Fear, 2002 that was translated in Mandarin specifically for the Biennale.  Rafael Lozano Hemmer’s installation Standards and Double Standards, 2004 drew attention from visitors and press for its intricate and elaborate mechanisms.  Gu Xiong installed I am Shanghainese a series of 10 billboard portraits that were placed along the entrance façade to the Museum.

As well as the participation of the 4 Canadian artists, an additional 30 Canadians visited the Biennale, from ten young Vancouver artists participating in an exhibition at the Liu Haisu Museum, to curators, journalists and collectors from across Canada (Scott Watson, Daina Augaitis, Bastien Gilbert to name a few). In addition to the various official Biennale events, other events were held during the opening week to welcome and introduce the Canadian artists and visitors to the Shanghai art community.  On September 29thth a reception was held at the Canadian Consulate’s home in Shanghai for all Canadian guests.  The event was a great success, allowing the Canadian visitors to meet and exchange experiences and stories.  On the evening of the 30th, Yishu Journal of Contemporary Chinese Art sponsored a reception that brought together the Canadian artists and visitors with numerous international artists and curators, providing an opportunity for networking and exchange with more than one hundred people attending. And the strength of the Canadian participation in the Biennale – not only the artists, but all those who attended, was noticed by many at the Biennale.

The financial support provided by Foreign Affairs was extremely important in making the participation of Canadian artists possible at the Biennale. The Biennale was able to draw an impressive list of institutional donors, including Hivos, The Hague; Mondriaan Foundation, Amsterdam; AFAA, Paris; Ministerio de Cultura & Instituto das Artes, Lisbon; Gulbenkian Foundation, Lisbon; Fundacio Oriente, Lisbon; British Council, London; Canada Council for the Arts, Ottawa; and the Consulate General of Israel, Shanghai.  As per the grant requirements, the Foreign Affairs logo was included in all press and publicity, including the Biennale catalogue, the posters and invitations.

Below is a list of the participating artists: (listed alphabetically)

Tariq Alvi, Rotterdam, London

Tiong Ang, Amsterdam

Big Dipper Group (Tang Yingshan Sun Zhezheng Wang Kai Yan Fenglin), Beijing Nanjing Shanghai Wuxi

Miguel Rio Branco, Rio de Janeiro

Tania Bruguera, Havana, Chicago

Robert Cahen, Paris

Chen Haiyan, Hangzhou

Chen Jieren, Taipei

Chen Shunzhu, Taipei

Chen Xiaoyun, Hangzhou

N + N† Corsino (Nicole & Norbert Corsino), Marseille

Mauricio Dias Walter Riedweg, Rio de Janeiro

Gonzalo Diaz, Santiago (Chile)

Stan Douglas, Vancouver

Touhami Ennadre, Paris

Kota Ezawa, San Francisco

Feng Jiangzhou, Beijing

Feng Mengbo, Beijing

Feng Qianyu, Yangjiang (Guangdong)

Fu Yu Jia Haiqing, Beijing

Coco Fusco, New York

Gan Chao Liang Zi, Shanghai

Geng Jianyi, Hangzhou

Maruch Santiz Gomez, San Juan Chamula (Mexico)

Group Muro Sur, ( Represented by: Voluspa Jarpa Josefina Guilisasti ), Santiago (Chile)

Gu Xiong, Vancouver

He Jianjun, Beijing

Hong Donglu, Taipei

Hong Kong Art Centre Videotage, Hong Kong

Hou Bo, Beijing

Hu Jieming, Shanghai

Hung† Keung, Hong Kong

Jia Zhangke, Beijing

Jiang Yue, Beijing

Choi Jong Bum, Seoul

Philipp Lachenman, Cologne

Ladder to Heaven Group ( Jiang Zhi, Cao Fei, Yang Fudong, Chen Xiaoyun ), Shenzhen, Guangzhou, Shanghai, Hangzhou

Yuri Leiderman, Moscow , Cologne

Mee Ping Leung, Hong Kong

Li Tianbing, Hu-an ( Fujian )

Li Xiao, Beijing

Li Yang, Beijing

Shu-Min Lin, New York

Liu Bingjian, Beijing

Liu Wei, Beijing

Liu Zheng, Beijing

Rafael Lozano-Hemmer, Montreal, Madrid

Lu Chunsheng, Shanghai

Oswaldo Macia, London

Fabian Marcaccio, New York

Sebastian Diaz Morales, Comodoro Rivadavia ( Argentina )

Ni Haifeng, Amsterdam

Nibroll (Represented by Takahashi Keisuke), Tokyo

Jun Nguyen-Hatsushiba, Ho Chi Minh City

Khyentse Norbu, Paro ( Bhutan )

Ellen Pau, Hong Kong

Park Junebum, Seoul

Vong Phaophanit, London

Keith Piper, London

Qiu Shihua, Shenzhen

Qiu Ting, Beijing

Qiu Zhijie, Beijing

Kerim Ragimov, St. Petersburg

Rong Rong Inri, Beijing, Tokyo

Michal Rovner, Tel Aviv, New York

Graciela Sacco, Rosario ( Argentina )

Berni Searle, Johannesburg

Shao Yinong Mu Chen, Beijing

Cindy Sherman, New York

Karla Solano, San Jose (Costa Rica)

SS Creative Group (Represented by Zhu Qingsheng Russell Pensyl), Beijing

Su Xia, Guangzhou

Sun Liang, Shanghai

Vivan Sundaram, New Delhi

Trinh T. Minh-ha, Berkeley (California)

Tsai Wen-yin, New York

Tseng Kwong Chi, New York

Humberto Velez, Manchester

Julia Ventura, Lisbon, Amsterdam

Bill Viola, Los Angeles

Jeff Wall, Vancouver

Wang Bo, Beijing

Wang Hui, Beijing

Wang Jianwei's Group ( Shi Qing Wang Wei ), Beijing

Wang Ningde, Guangzhou

Wang Qiang Suzuki Ryoko, Beijing, Hokkaido

Wang Xiaoshuai, Beijing

Wang Youshen, Beijing

Wei Xing, Kunming

Wu Ershan, Beijing

Wu Quan, Beijing

Xiao Yu, Beijing

Xu Xiaobing, Beijing

Miranba Ngai Tsui, Hong Kong

Xu Zhen, Shanghai

Yang Fudong, Shanghai

Young Hay, Hong Kong

Yoko Ono, New York

Yu Hong, Beijing

The Mapping of Yanchuan Country Paper-cuttings, Beijing, Yanchuan ( Shanxi )

Yue Minjun, Beijing

Zhang Hui, Beijing

Zhang Peili, Hangzhou

Zhang Xiaogang, Beijing, Chengdu

Zhao Gang, Chengdu

Zhou Hao Ji Jianghong, Guangzhou

Zhou Tiehai, Shanghai


shengtian zheng © 2014