CCC’s XianRui 2011 Featured in Yishu Magazine

We are thrilled to announce that the CCC’s XianRui 2011 show, Zheng Chongbin’s White Ink, is featured in Yishu magazine’s July/August 2011 issue. Yishu is a leading international publication focused on contemporary Chinese arts, and this is the first time that CCC and XianRui have been highlighted in the journal.

Zheng Chongbin is noted as a leader in the contemporary Chinese ink painting movement, and White Ink is a groundbreaking example of his leading the field in moving the tradition forward into a contemporary light.

恭喜舊金山中華文化中心的鮮銳展覽和2011年度鮮銳藝術家鄭重賓。一本雜誌中有三篇專題報導是一個令人振奮的好消息!在《藝術》的7月刊中 ,白墨作為當代水墨的重要展覽被該雜誌報導,標誌著舊金山中華文化中心與在國際上享有盛名的中國當代英文藝術刊物的第一次開創性合作。振奮之餘,中華文化中心採訪了鄭重賓,藉此機會了解他對於此次合作的感想。

 

 

 

Reflecting on this achievement, CCC interviewed Zheng Chongbin to gain insight on the impact of this new partnership.

CCC: What role do you think a program like Xian Rui, which features the work of innovative and under recognized artists of Chinese descent in America, provides in the global discourse on contemporary Chinese art?

ZCB: I think it expands the discourse  beyond the context of Chinese art. Xianrui identifies the artist who is living in a world of placelessness, who is a critical link between the past and present time in their living reality, and with the medium which they chose to provoke.

CCC: It is a first time honor that CCC is featured in Yishu. How do you think grassroots institutions can contribute something unique to larger conversations led by publications like Yishu?

ZCB: I think the platform doesn’t depend on the status. The program really has to raise a critical voice in the contemporary culture and engage with the community locally and globally. Thinking big leads to the best potential.  Xianrui will contribute to defining the area of contemporary art . It provides the opportunity to have dialogue with other institutions in the field, and it has tremendous impact upon the artists who participate in the program.

CCC: All XianRui artists are of Chinese descent, and work produced through collaboration with CCC speaks to a unique experience in America in an effort to address gaps in American understanding of Chinese Art. Does having institutional support change the context of the artwork?

ZCB: I think it institutional support absolutely has an effect. Artists that  collaborate with CCC have the chance to challenge the narrowness of the system culturally and socially.  It gives the artist a springboard for further artistic investigation.

舊金山中華文化中心:你認為“鮮銳” 這樣的展覽能起到哪些作用?那些未被主流社會認可的在美華人藝術家和他們的創作有什麼特色?
鄭重賓:我認為此次舊金山中華文化中心與《藝術》雜誌的合作開拓和擴展了世界對於華人藝術的新思潮。 “鮮銳” 展覽系列肯定了那些處於文化邊緣的藝術家,並支持他們通過對於媒介的顛覆,化身為連接過去與現在重要的紐帶。

舊金山中華文化中心:這是舊金山中華文化中心第一次榮登《藝術》雜誌。通過像《藝術》此類知名英文雜誌的報導,你認為草根機​​構能夠做出什麼更獨特的貢獻?
鄭重賓:我不認為一個平台在於它地位的高低,其關鍵在於能否讓當代藝術發出批判性的聲音,同時滲透本土及全球的社區。一定要敢於想像才能發揮出最大潛能。“鮮銳” 將在定義當代藝術方面做出貢獻,它提供了與這個領域其它機構交流的機會,也對參與此項目的藝術家們產生了極大的影響。

舊金山中華文化中心:所有鮮銳藝術家都有華人背景,通過與舊金山中華中心的合作,創造獨特的在美經歷的作品,努力填補美國主流對華人藝術理解上的鴻溝。機構的支持能改變這些藝術作品的處境嗎?
鄭重賓:我認為機構的支持當然是有影響的。與舊金山中華文化中心的合作,讓藝術家們有機會去挑戰社會文化體系的狹隘,為藝術家們更深度地探究藝術提供了一個跳板。