Upcoming exhibition ‘Silent Narratives’

Upcoming Exhibition Silent Narratives at MOCA Yinchuan 2019

 

 

Curator: Mei Huang

Silent Narratives

June 2 – August 8, 2019

Opening: 15:00, June 1, 2019

Address: No.12 Hele Road, Xingqing District, Yinchuan, Ningxia

Contacts:

T: 0086-951-842611

foreign@moca-yinchuan.com

meihuang@blanquerna.edu

http://www.moca-yinchuan.com

https://www.meihuangstudio.com

 

“The title Silent Narratives was taken from Chaim Potok’s novel The Chosen, in which he describes: I’ve begun to realize that you can listen to silence and learn from it. It has a quality and a dimension all its own”, explains Mei Huang in an interview about her curated exhibition Silent Narratives. The exhibition displays the archive of ancient artifacts of the Silk Road in the same space as the contemporary works of 25 artists from various countries along its route, such as China, Iraq, Israel, Iran, Palestine and Lebanon. Silent Narratives makes the cultural and historical exchanges possible between ancient and modern work silently, ignoring the limitations of time and space. As Roberto Mangabeira Unge has stated in The Self Awakened: “Any social theory that would escape the illusions of false necessity without surrendering to the fantasies of an unrestrained utopianism must make sense of this clash between the self-fulfilling prophecies and the recalcitrant facts.” Silent Narratives is not only related to the past, but also takes the present into account, creating narratives among the different struggles faced by the existing societies along its path. Hence, the ancient Silk Road is just an introduction, which invites us to view the world from the perspectives of the history, culture and politics of globalization. 

In Silent Narratives both ancient literature and today’s visual arts are narrated by artists from their own points of view, either micro or macro, which also offers the possibility for visitors to interpret the history from multiple perspectives. Chantal Mouffe, a Belgian political thinker, believes that everything has something to do with politics and always will be. Do the works of art also show the social and political contexts in which they have been made? In relation to this, political scientist Wang Hui talks about the discourse of “De-politicized Politics” that shapes contemporary societies. For Wang Hui, social and political struggles become silent as public space is deprived of its conflictual nature as the political and the social are trying to be constructed as two separated spaces. Silent Narratives also represents those silent social and political narratives present in artifacts and contemporary art works. By the interplay between ancient and contemporary, those issues that have been always present become more obvious to the audience. This exhibition is divided into three chapters: China, The Middle East and Western Europe. Topics as “Past and present”, “Eurocentrism”, “Colonialism and Post-Colonialism” and “the Far-right wing’s rise” have been  discussed in the show .

Artists: 

Adel Abidin, Anca Benera &Arnold Estenfan, Arghavan Khosravi, Azita Moradkhani, Feifei Yu, Gohar Dashti, Guangli Liu, Guanzhen Wu, Jianhua Liu, Larissa Sansour, Linlin Li, Lu Zheng, Mounir Fatmi, Ning Zong, Ran Cheng, Ruijun Shen, Shiwei Ding, Sishun Wang, Song Yang, Tamir Zadok, Wenting Ma, Yingwei Pu, Zeina Barakeh, Zhengming Zhu

 

 

Preparation of upcoming exhibition ‘Silent Narrative’

Based on the art and history of the Ancient silk road, in juxtaposition with artifacts/historical documentaries and contemporary art works, ‘Silent Narrative’ constructs a historical space within time, cultural and geographic limits. The exhibition contains three main themes: East Asia (focus on China), Mid-Asia (Byzantine Empire, Mesopotamia regions and Persian Empire, etc.) and West Europe (Roman Empire and Ancient Greece). Mapping as the pass of the Ancient silk road, the exhibition starts from East Asia and ends in West Europe. Dark red, crystal green and blue represent an specific theme of East Asia, Mid-Asia and West Europe in the exhibition. Each of them illustrates two questions to viewers: what are connections and contractions between ancient art history and contemporary art pieces? And which developments and challenges these countries have under contemporary social political concept?

The exhibition title Silent Narrative is inspired by Chaim Potok’s novel The Chosen (1987) in which he states “I’ve begun to realize that you can listen to silence and learn from it. It has a quality and a dimension all its own” (Potok, 1987:233). As a consequence, the methodology of this exhibition follows neither a traditional timeline nor a displayed order, but “remediate[s]” (Rabinow, 2008:122) and interrupts the original historical and aesthetical context of the collection, while contextualizing “silenced” art objects and creating a new narrative into a space for an ongoing art and culture debate. It aims to offer audiences an opportunity to find their own path and to rethink contemporary discourses relating to art and culture in the ancient silk road history.

Curated by Mei Huang, 35 international and national artists will join this exhibition, it will be launched on the 1st of June, 2019 at Yinchuan MOCA, China.

 

 

Exhibition Hall A, Yinchuan MOCA

Exhibition Hall 2, Yinchuan MOCA

Exhibition Hall 3, Yinchuan MOCA

Central Space, Yinchuan MOCA

The artworks and curating progress will be continually uploaded!!

The 19th China Annual Conference for International Education

The third year I represented Blanquerna to attend the China Conference for International Education, this year traveled to Beijing and Shanghai, from October 20 till 28, 2018. Our booth Number is Beijing E07, Shanghai P15.

 

Talking with new Spanish ambassador in China 😉

Blanquerna stand in Beijing

Q&A time with students and parents in Shanghai

Exhibition Interview, “The Frandon Album: photographies of Juan Mencarini in Fuzhou, 1890s”

On the 5th of October, the Foundation of Confucius Institute Barcelona together with the ALTER (a research group from Open university of Catalunya) presented a photograph exhibition “The Frandon Album: photographies of Juan Mencarini in Fuzhou, 1890s”.

The exhibition showed series of digital printed photographies which have been originally taken by Juan Mencarini – a Spanish descent Italian businessman, collector, funder and cross-cultural interpreter in Fuzhou, south of China during 1890s. Through Mencarini’s camera, the living condition, economical situation as well as artistic and cultural references of the 19th century in Fuzhou, China can be interestedly found. Shortly after the opening of the exhibition, Dr. Xavier Ortells-Nicolau, the exhibition curator and Dr. Carles Prado-Fonts, Dr. David Martinez-Robles, Dr. Rocío Ortuño Casanova had a half day seminar and academic discussion about research topics relevant with the exhibition.

The curator Dr.Xavier Ortells-Nicolau has been delightedly invited to have an interview in this post.  (Dr.Xavier Ortells-Nicolau- XO, Mei Huang – MH)

 

Exhibition view 1, **Please note: the reproduction rights belong to the Natural History Museum of Lille and UOC

MH: What brings you to do research of this topic? and where your inspiration comes from?

XO: About four years ago, research group ALTER at University Oberta de Catalunya (UOC) decided to examine a period in Sino-Spanish relationships previously overlooked in academic literature. The minor role of Spain in 19th century imperialist adventures in China seemed to inform the idea that diplomatic and cultural exchanges were minimal during 19th and early 20th century. i.e., a book like Zhang Kai’s «中国与西班牙关系史» (2003) jumps from coolie trade between Xiamen and Cuba to the 1930s, when civil war in Spain and Japanese aggression in China triggered the feeling of a common fight against fascism.

ALTER’s research has proved otherwise. Not only there were many books published about China in Spain, translations (or indirect translations) of Chinese books, presence of China in the news, etc., but there was also a significant presence of Spanish interests in China at the time.  Juan Mencarini is an example.

For my dissertation on contemporary photography in China, I explored the history of photography in China. As a joined the project of the group, I dedicided to look for Spanish photographers in the treaty ports. I knew that Mencarini, a Customs Service employee, had dallied with photography but the findings overpassed our expectations.

 

MH: Could you please do a brief introduction of the your research and this exhibition?

XO: In addition to his professional career (first as Customs Service employee, later as import-export impresario), Juan Mencarini was an accomplished amateur photographer and promoter of amateur photography in China. He was instrumental in organizing the first associations of amateur photography in Shanghai and Fuzhou at the end of the 19th century.

The French honorary consul in Fuzhou, Ernest Frandon, who was gathering information about the local economy, commissioned commissioned Mencarini to obtain photographs. The result were two albums, titled Commerce, Industrie, Outils, Ustensiles, Meubles, Vetements, Costumes, Types des Habitants du Fokien, with over 120 photographs illustrating Fuzhou’s agriculture, local industries and crafts, population and scenery.

The story of how I found this albums is a wonderful case of academic exchange. Claire Roberts, who briefly mentions Mencarini in her book Photography in China, directed me to art historian Régine Thiriez, who had looked into Mencarini’s photographs in the early 2000s. In turn, Dr. Thiriez directed me to the Musée Guimet in Paris and the Musée d’Histoire Naturelle in Lille. For her part, historian Nicole Tixier assisted me about the chambers of commerce commission. I have also had the opportunity to meet Juan Mencarini’s granddaughter, Rosario Ruiz, who lives in Madrid and who keeps an amazing memory and friendly disposition at her advanced age.

The two collections we located in France, which are almost identical, are truly amazing. It is surprising that they have not been more amply studied and incorporated in the burgeoning body of works on early photography in China. In the wake of John Thomson’s photographs in the region, Mencarini (always an amateur) deployed compositional and technical solutions that separate him from other amateurs. For example, he created an ad hoc studio to maximize light exposure and homogenize the subjects, in order to convey the idea of catalogue or series. In this sense, his photographs have a very ‘contemporary’ flavor, and echo the work of many contemporary photographers.

Exhibition view 2, **Please note: the reproduction rights belong to the Natural History Museum of Lille and UOC

MH: Could you introduce yourself and how you build your relationship with China related topics?

XO: I visited China for the first time in 2001 and was impressed by the energy of its changes and the resilience of the local culture. My studies of Chinese and East Asian Studies eventually took me to Columbia University, where I worked under scholars like Weihong Bao and Guobin Yang. For my dissertation I tried to systematize the large body of works by experimental Chinese photographers who had addressed urban demolition in their photographic series, from the site-specific works of Zhan Wang and Zhang Dali in the 90s to Yang Yongliang’s digital collages. In addition, I use their case to argue for a Chinese contribution in the contemporary redefinition of the ruin-object, and the importance of epistemology and process (see “Raised into Ruins: Transforming Debris in Contemporary Photography from China”).

In addition to China’s visual culture and art, then, I am also interested in contributing to redefine China’s position in a globalized cultural scenario. Chinese art and culture still has to confront strong drives that tend towards its ‘provincialization’, when not outright orientalization, and that affects the knowledge and understanding of Chinese culture outside China.

I like to think that my current research on early 20th century foreign photography in China is a way to trace the origins of these dynamics of cultural contact and exchange, specially at a visual level.

Exhibition view 3, **Please note: the reproduction rights belong to the Natural History Museum of Lille and UOC

MH: What difficulties you have met when you were organizing this project and how you overcome that?

XO: Exhibition of the original prints posed a series of problems so we finally opted for the reproduction of digital copies. Also, given the space we had, we had to select 54 images out of over 120. As curator, I tried to respect both the visual itinerary of the albums as well as the different topics and their respective importance.

 

MH: Which progress or position you think Chinese art and culture in Catalunya and Spain has and how can we improve it?

XO: This is a difficult one. Let’s say that in general, and with the exception of a growing but still limited number of people, interest about China is often predicated upon either political (dissidence, etc) or ‘orientalist’ issues. As Laia Manonelles, a scholar of Chinese contemporary art at Universitat de Barcelona, noted at the time, Ai Wei Wei’s retrospective in Barcelona, amply covered by the media and massively attended, occurred simultaneously to a very interesting show by Chen Zhen that passed almost unnoticed.

In a related tone. I believe, and everybody finds it so when they see Mencarini’s photographs, that they are interesting and valuable beyond the fact that they are about China. But for the moment, only a Confucius Institute has has enough interest to show them.

I imagine interest about China will grow as local knowledge about China increases, but it would still be difficult to abandon the dependence from trends coming from abroad and create a local approach.

Exhibition view 4, **Please note: the reproduction rights belong to the Natural History Museum of Lille and UOC

The Exhibition will be in Confucius Institute Barcelona until the 9th of November, it will travel to Antwerpen University (Belgium) on the 3ed of December, in the context of an international symposium on Filipino Literature in Spanish in the Context of Hispanic-Asian studies

ALTER China-Spain Archive: http://ace.uoc.edu/
If you want to read “Raised into Ruins: Transforming Debris in Contemporary Photography from China” from Xavier Ortells-Nicolau, find it here https://brill.com/view/journals/flsc/11/2/flsc.11.issue-2.xml
If you want to know more about the seminar, find images here https://www.flickr.com/photos/confuciobarcelona/sets/72157702194263715.
Find the audio of the curator and other scholars’ presentations here  https://www.flickr.com/photos/confuciobarcelona/sets/72157702194263715

Barcelona Gallery Weekend view 26.09-30.09 2018

Talking about ‘gallery life’, my memory always brings me back to London. I remember the time when I was a student and an ‘art world’ fresh bird intern, my friends and me spent nights and nights to those openings and gallery weekends, I was mad for art and dream, of course, also for free drinks and meeting artist celebrates you could only read in the book of art history in the class.

Past has past, especially after many years working in the field and when your hobbies turns to the work. But I always remembered how passionate I was and how much fun we had through these activities (was like a party of teenage girls).

This is the third year I live and work in the city of Barcelona,  and second time to join the Gallery weekend here. Obviously there are a lot of difference between Galleries in Barcelona and other cities like London, Manchester, Beijing and Hong Kong (I mean, really, a lot – type of art, price and the way to do promotion), but I have to say in some way I still enjoyed.

I would like to share some photos I have taken in the event, and hope you have fun too!

 

Inigo Navarro, Un intento serio, 160 x 180cm, Oil in canvas, ‘Vida de Santo’, Galeria Contrast, 2018

Inigo Navarro, Hofmannsthal jogando al escondite and Oraciones escuchdas, ‘Vida de Santo’, Galeria Contrast, 2018

Pedro Cabrita Reis, The Redux Suite #5, Galeria Joan Prats, 2018

Pedro Cabrita Reis, Galeria Joan Prats, 2018 Exhibition View 1

Pedro Cabrita Reis, Galeria Joan Prats, 2018 Exhibition View 2

Dora Garcia, ‘The Plague’, Projectesd. 2018. Exhibition view 1

Dora Garcia, ‘The Plague’, Projectesd. 2018. Exhibition view 2

Dora Garcia, ‘The Plague’, Projectesd. 2018. Exhibition view 3

Blanquerna Summer School Program 2018

27 Chinese students from Chongqing University and Communication University of China did their summeracademic study certification successfully at the Blanquerna, University Ramon Llull at the end of July, 2018.

The program, curated by Mei Huang and taught by Josep Maria Carbonell, Albert Saez, Judith Colell, Marçal Sintes, Pere Franch, Miriam Diez, Jaume Suau, Sandra Balsells, Joan Bosch, Andrea Daza, Maddalena Fedele, Emmanuel Cohen and Mei Huang, has received very positive feedback from the students and universities.

The cooperation will continue next year, and both sides are interested in developing more projects together in the future.

Visit the official Blanquerna summer school website here.

Check the details here