PROJECTS
IV PERFORMANCEDAY, 2018
Der vierte Performance Day findet dieses Jahr in Frankfurt am Main statt und ist Teil des Kunstprojektes CAPITAL@ART.INTERNATIONAL.
Durch die neue Offlocation OST>STERN erhält der PERFORMANCEDAY die ehemalige MB-Vorführhalle von 2500qm nahe des Stadtzentrums zur Verfügung gestellt.
Für die Ausführung des IVPERFORMANCEDAY zeichnen sich 2018 zusätzlich die festivalerfahrenen Kuratoren Franziska Eißner (Blauverschiebungen Festival, Leipzig) und Dirk Baumanns (Pixelkitchen und diverse Frankfurter Festivals) aus.
CAPITAL@ART.INTERNATIONAL 2018
with included the 4th Performance Day
at the OST>STERN FRANKFURT
Kuratoren: Juan Xu, Leander Rubrecht
„Kunst=Kapital“ ist das bekannteste Schlagwort von Joseph Beuys. Seine Intention war, Kunst gleichzusetzen mit Kreativität für die Gesellschaft, und damit das Andere und Neue zu betonen. In einer starren Welt der Regeln und Vorgaben muss Kunst und Kultur die Lücken des Spontanen zurückerobern.
III PERFORMANCE DAY 2017
Wiesbaden, 23.April 2017
Die Kuratoren Juan Xu und Leander Rubrecht präsentieren
den IIIPerformanceDay 2017 unter dem Thema Connecting
Sonntag, 23. April 2017. Einlass ab 13:30 Uhr.
Eröffnung um 14 Uhr durch Dorothea Angor – kulturpolitische Sprecherin Bündnis Grüne der Landeshauptstadt Wiesbaden
Connecting = Energie bündeln. Ein Statement von Machern – für ein fortschrittliches Europa
... und darüber hinaus.
ART_Performer 2017
Dirk Baumanns
Brandstifter
Qian Lili (durch Liu Xue)
Silvia Maria Philipp
Silvia Sauer
Christine Straszewski
Richard Williams
Duan Yingmei
Wie letztes Jahr gibts frische, leckere Speisen ... und Getränke von unserem Lieblings-Bartender Andreas von Drinkconcept.
Der Eintritt ist frei.
Impressionen und das stattgefundene Programm zum dritten Wiesbadener PerformanceDay finden SIe hier.
Ort des Geschehens
KAISERandCREAM Art District, Büdingenstraße 4-6, 65183 Wiesbaden
II PerformanceDay Wiesbaden 2016
2016 年威斯巴登行为艺术节
Thema: Higgsteddy
100 Jahre Dada treffen mit Fluxus, Merzkunst usw. zusammen und bilden den idealen Nährboden für "HIGGS" das Teilchen, welches im Namen der parallelen Ausstellung HIGGSTEDDY vorkommt. Eingeladen
sind internationale Künstler aus dem Rhein/Main-Gebiet. Ben Patterson hat für dieses Jahr ebenfalls anwesend. Kuratoren: Juan Xu und Leander Rubrecht
Performer 2016:
1. Christine Straszewski
(mit Gerrit von Velsen, Juan Xu, Silja Yvette , Ben Patterson, Brandstifter)
2. Maria Philipp
3. Dirk Baumanns
4. Richard Williams und Gruppe
5. Qian Lili (Liu Xue)
6. Snežana Golubović & Seweryn Żelazny
7. Brandstifter
8. Ben Patterson
Excluded - Li Xinmo, Wiesbaden 2015
Kuratoren: Juan Xu und Leander Rubrecht
Ferguson, Pegida, Charlie Hebdo – wir leben in einer verwirrenden Welt, in der die Angst vor dem Unbekannten immer mehr an Einfluss gewinnt.Die Künstlerin Li Xinmo (Peking, China) zeigt in der Show „Excluded“ im Kaiser&Cream die globale gegenseitige Diskriminierung in der zeitgenössischen Kunst, in China und in der Welt.
Eröffnet am Freitag, 13. März 2015 durch Stadtrat Helmut Nehrbaß, Juan Xu (I O) und den Kurator der Galerie Leander Rubrecht.
Eingeführt durch Mary Bauermeister (Urmutter des Fluxus)
Fluxus Time Workshop Nanjing, Okt. 2014
2014《激浪时间》工作坊 2014年 10月南京
GOLDEN EAGLE CONTEMPORARY ART SPACE, Nanjing
TIME TRAVEL TO FLUXUS
There is no doubt that nowadays “Fluxus” as a noun referring to an important event in the art history of the 20th century is attached with a label of the past. It represents a kind of old-school vanguard of anti-art.
In fact, after a long time, Fluxus has also been included in the history of art and become a classic term in art. This can be seen as a paradox resulting from a prototype alienated through the passing of time.
But after all, the birth of Fluxus stirred up genuine excitement in its time when the revolution of artistic views illuminated various forms of performance art. These performances accumulated to change the essence of meaning and ignite a series of events which were recorded by the emerging video media. As a result, performances, events and media constitute the art of “Fluxus”. Now after the past of half a century, as the magnetic head rubs the old magnetic tracks, the linguistic codes of the past are deciphered, and on the dark screen of history flash those mythological names – George Maciunas, John Cage, Joseph Beuys, Nam June Paik, Yoko Ono, Joe Jonas and Ben Patterson. With rebellious ideas and disobedient behaviors, they ended up modern art in the industrial age and opened a door towards post-modern art. Through the door we know that noises may be sacred, and video is even philosophical.
In the past thirty years which has witnessed the birth, development, downturn, transformation and death of Chinese modern art, “Fluxus” has not been a word mentioned frequently. It did not influence Chinese modern art as a whole combined of language and artistic views. On the contrary, the revolution of ideas and experiments of language in “Fluxus” gradually made their way into China with only fragments and broken pieces. Chinese modern artists got their initial perceptual knowledge about Fluxus from a fat chair by Joseph Beuys, a video image by Nam June Paik, or the explanation of what silence means in 4’33’’ in a chapter of a book about art history. They never had a comprehensive understanding of Fluxus, and seldom talked about it correctly. In Chinese modern art, “Fluxus” is similar to a veiled shadow of history, which is present everywhere at every moment yet still remains somewhat silent.
Fluxus, as a temporal point in the history and a remarkable milestone in the art history, is destined to be repeatedly interpreted by later generations, and interpretations will be different from each other in different historical and cultural contexts. Such differences are sure to induce doubts and questions about the art history of different time and in different regions so that people can make amendments and complements to their art history from new perspectives. The whole process is indeed time travelling with the spirit of scientific fiction – to go backward to a moment in the history from the present.
By Cao Kai
Bald Girls -Forum Nanjing Okt 2014
2014《秃头戈女－ 南京论坛》 2014 年10月南京
Der Titel der Ausstellung "Bald Girls" ist von dem berühmten absurden Theaterstück "Kahle Sängerin" inspiriert worden, das der französische Schriftsteller Eugène Ionesco in den 30er Jahren des 20. Jahrhunderts schrieb. Die Aussprache der Worte von "Kahle Girls" (Bald Girls) hat in der chinesischen Sprache zwei Bedeutungen,"Sängerin" oder „Kämpferin“. Diese Doppeldeutigkeit soll darauf hindeuten, dass „Feministische Kunst“ gerade erst in China Einzug gehalten hat und sich noch einen Platz erkämpfen muss. Künstlerinnen sehen sich in der zeitgenössischen feministischen Kunst als Kämpferinnen und sie fühlen sich verpflichtet, für die Aufklärung und das Bewusstwerden der modernen Frau zu kämpfen.
Austausch mit Huantie Times Museum of Modern Art Peking, 2013
2013 与北京环铁交换驻场艺术家
Für ein zweimonatiges Artist-in-Residence Stipendium inklusive Museumsausstellung hat das Pekinger Huantie Times Museum of Modern Art auf Empfehlung der Kuratorin Juan Xu die deutschen Fotografen Peter Braunholz (Frankfurt) und Thomas Wunsch (Wiesbaden) ausgewählt. Vom 15. April bis 15. Juni 2013 werden die beiden Künstler in den Ateliers des Museums wohnen und in Peking neue Arbeiten erstellen, die dort vom 26. Mai bis 10. Juni in einer großen Ausstellung gezeigt werden. Eine Auswahl der Arbeiten wird in die Sammlung des Museums übernommen.
Bald Girls – Timelag – Frauenmuseum Bonn, April–November 2014
The Women's Museum Bonn opened in 2014 a large interdisciplinary exhibition "Single Moms". In extensive historical part of the exhibition shows how the position of single mothers changed in
history, from the Middle Ages over the 18th century until nowadays.
In addition to the documentary part of the exhibition, contemporary artists accompany this project as
well. At the invitation of the Women's Museum Bonn, the group "Bald Girls" takes part in this exhibition. In contrast to the
objective facts are the "Bald Girls" artists with their works personal experiences or impressions. They draw on feminist aspects
and go to the root causes of discrimination against "Single Moms" in the Chinese cultural traditions. At the same
time, the artists criticize in their art works the current social policy in China. Together with German and international artists, the "Bald Girls"
show their subversive artworks for an improvement of women's rights.
In the 18th and 19th centuries, unmarried women with children in Germany were despised and punished socially. They mainly used to live under state tutelage. Only in the second half of the 20th century,
the situation of those affected has improved by promoting policies. Today "Single Moms" live generally self-determined in Germany like anywhere else in Europe.
Unfortunately, Single Moms in China are still as discriminated as they were in Germany 100 years ago - a cultural and political time lag. "Bald
Girls" have the task to minimize the temporal and spatial
difference.
Text: JUAN XU
Bald Girls – Pink Solution – Bogota, Komlubien, Juli-August 2014
2014《秃头戈女－桃色策略》2014年哥伦比亚波哥大
Nach der erfolgreichen Ausstellung vom 03.03.2012 im Iberia Center for Comteporary Art in Beijing gehen "Bald Girls" auf Tour nach Südamerika. Voraussichtlich werden "Bald Girls" im bogotanischen LIA im Oktober 2013 mit drei südamerikanischen Künstlerinnen zusammen ausstellen. Das ist die erste Ausstellung der "Bald Girls" im Ausland.
"PINK SOLUTION" - AN UNUSUAL TITLE. WHAT IS IT?
Pink, actually magenta, is the brand of a group of Chinese feminist artists called "Bald Girls”, i.e., Xiao Lu, Jiny Lan and Li Xinmo, who presented their art works
at Iberia Art Center in 798 Beijing under the title “Bald Girls”, which has incidentally become the collective name of this art group.
“Bald Girls” was a provocation with the use of various art media. Their artworks are related to the complex female role, both outside and inside the family, as seen from
cultural, social and psychological perspectives, and they depict how women are forced to deal with changing society and its social consequences.
Feminist art is not a phenomenon unique to the West in the 1960/70s－it can be founded in every decade in the past 40 years and in most countries
where an international profile for contemporary art has been developed. 40 years later, it happened also in China in 2012. “Bald Girls” continued their battle in 2013 in Beijing with
international artists and new art language, which was manifest in cross-boarder art at Zajia.
2014 is a special year for the first Chinese feminist art group. It is now the third year and “Bald Girls” has already made some domestic experiences of
exhibitions. Looking for new challenges, it has embarked on a dialogue tour with artists from all around the world. The tour will involve three continents: Europe, South America and
Asia, offering three different cultural discourses. Finishing the "Bald Girls - Timelag”, an independent part of the " Single Mom" exhibition at the Women's Museum in Bonn,
"Bald Girls" is now ready for the exhibition in Bogotá, Colombia - “Pink Solution”.
Why does “Bald Girls” choose such stereotypical “soft”, ”feminine" pink color? “Bald Girls” stands for soft femininity with strong political statement and rebel against
the existing social convention at the same time. Mingling on important social issue, they try to find a different solution to the male method: “pink solution".
Not only “Bald Girls” from China, but also three artists from three different South American countries join in the special transcultural dialogue: the Guatemalans artist,
Regina José Glindo, and the Colombian artist, Sandra Miranda Pattin and the Argentinian artist, Sol Storni.
Belonging to the economically fast developing regions, both China and Latin America have bitter semi-colonial or colonial past but different cultural consensus and
religions: post-communism and post - colonialism vs Confucianism and Catholicism.
“Pink Solution” shows primarily actual art works on these two continents.
Concentrating on the theme, the exhibition will show a wall painting by Li Xinmo, “Pink Solution - Living without violence “, and a performance work with Japanese artist in 2009 called "The
place where ethnicity and politics vanish”. As everyone knows, Japan invaded China during World War II and caused enormous suffering and trauma in China. Both countries have currently a
very strained relationship. In this work, Li Xinmo explores issues of ethnicity and identity and tries to overcome the nationalism against Japan.
The Chinese artist Jiny Lan, who lives for most of the time in Germany, reflects that the discrimination against the female system in China is rooted in the bloodline
that is overstressed in the Confucian tradition. Jiny Lan has created in 2014 a series of works that not only address the misguided traditional thinking, but also provide a constructive
proposal to solve the problem.
As the first exchange between South America and China in such form, “Pink Solution” is going to show some classic art works by two important artists from both cultures. On one side, there
is the Chinese artist Xiao Lu. In 1989, prior to the Tiananmen Square Protests, she shot at her artwork "Dialogue" at the opening of the first contemporary art exhibition at the Chinese
National Art Museum. This was broadcast worldwide, making this act a symbol of the Chinese democracy movement.
On another side, there is the Guatemalan artist Regina José Galindo. Her performance "Who can deny these Traces? " in 1999 was a protest against the participation
of the former dictator in the presidential elections. It became one of the most sensational art events, providing South American female artists with a unique opportunity to air their views and
even to influence social and political causes. At the same time she is going to show her classic works and recent video work “Alud” where her body is covered with mud and people driven by an
empathy start cleaning it and “Suelo común” regarding the unidentified bodies on what is called the common tombs and that are a found in her country and many others in Latin America
The Argentinian artist Sol Storni considers in her works “Corazón a la deriva” and ” Trapitos” the relationship between gender and genre as well as women artists as
producers of images in contrast to the image of woman in the works on the walls. They are about images of women, specially their faces or bodies works or woman’s creative production.
"Corazon a la deriva" is an itinerary action done where for 7 days the artist walk through the city and asks people to listen to their heart beats with the stethoscope, a
dialogue is created by stoping people and forced them to be conscious of their being alive, the artist then responses to the dialogue by drawing something on the floor as a "shadow" of the
person, like a prove of that person's life and projection on the space.
Trapitos al Sol is a work where many people participated, it speaks about abuse to women in it's various ways, the physical and the physiological one and how by making it
public through art it can be healed and transformed.
Interventions of each person are done on white women underwear.
As Colombia-born artist Sandra‘s installation ”Credere” has experienced violence by own place and reflects the vulnerability of the country suffering violence. She builds a 488
floor made of beeswax tiles, being back from abroad involved looking at a country that was being rebuilt after an era of violence that had forced many people to lose their faith and to leave the
country. Violence has left an indelible mark that is still very visible in people but it has been slowly replaced by progress and hope.
Finally, there is a joint performance by the artists from both continents who will try to present their unique “pink solution”, actually an epiphany of this exhibition.
" Bald Girls - Pink Solution " is truly a cultural dialogue that aims to build with three local artists a new peaceful “ Pink World”, a world without suppression and
violence.
Austausch mit dem Künstlerdorf / Shang Yuan Art Museum
Seit 2013 kooperiert I O Cultural Network e. V. mit dem Shang Yuan Art Museum.
I O Cultural Network e. V. wird jedes Jahr an ca. 2-6 deutsche Künstler Stipendien vergeben und ihnen ein 2-monatiges "Artist in Residence" im Shang Yuan Art Museum anbieten.
Interessente Künstler und Künstlerinnen der Aktuellen Kunst ab Jahrgang 1970 können sich unter info@iocultural.de melden.
Beuys in China - CAFA ART MUSEUM, Beijing, September 2013
(Abstract)
Beuys’ theory of „social sculpture“ deeply influenced art and social life. The author generally discusses about the origin and thinking behind the „social theory“, analyzes its relationship with the past time, especially the modern capitalistic data and information ear, and relates „social sculpture“ to „rational self-interest“ developed from American mathematician – John Nash’s theory. Through the competition and contraction between “social sculpture“ to „rational self-interest“, the author rethink on the principle of „rational self-interest“ in the globalized, capitalistic information ear, so as to highlight the realistic value of Beuys’ „social sculpture“ to modern society, in the expectation that people would explore the ideas humanistic significance nowadays.
Bald Girls – A Door Performance Beijing
Zajia, 2013
BALD GIRLS
“Bald Girls: Exhibition of Xiao Lu, Li Xinmo, Lan Jiny” opened at Iberia Center for Contemporary Art in Beijing on March 3, 2012. Different from some feminism-themed exhibitions in China,
this one, curated by the Chinese-German curator Xu Juan, openly put forward “feminism”, sparked off a lot of debates and discussions. “Bald Girls”, aiming at bringing change to the gender
discrimination in China and promoting sustainable feminism, will set up a platform for the transmission of feminism with the medium of art. While devoting itself to the introduction and studies
in feminism, it will collaborate with the Italian Zajia Lab in Beijing in promoting avant-garde Chinese feminist art, as well as introducing important overseas feminist artists to
China.
"A DOOR" AS THEME
Feminism, one of the most important human contribution to the 21st century, helps us to reevaluate the world that we used to take for granted. It symbolizes that half the dormant human
beings have awakened, and they are playing their role in the progress of human civilization. Feminism is like a hall in the sense because one cannot embrace a new life unless he/she enters by the
door. The door in this case is nothing but women’s self-awakening. “A door” here stands for women themselves. If they open themselves they are opening feminism, a philosophy that teaches them to
be independent and free. Feminism starts nowhere than from women themselves. The past forty year has witnessed all its ups and downs. The feminism-conscious “Bald Girls” will cooperate with Zajia
Lib to open a door, inviting artist from both China and abroad to set up a platform for feminist art, who, from their unique perspective, will share with us how they went beyond “their self” to
embrace and entered the world by a larger door: “we”.
Starting from 2013, Zajia Lab and “Bald Girls” will carry out a new project over a period of four or five years. As a project about feminism in China and the history and status quo of
feminism in the West, it will invite an internationally renowned feminist artist to interact with “Bald Girls”(avant-garde feminist artist in China) on a yearly basis. There will be exhibitions,
live art, forums and other forms of dialogues between Chinese feminists artists and their western counterparts with art as medium for this in-depth communication. Artists will also be a medium
for the discussion of both common features and difference between Chinese feminism and Western feminism, the implication and significance of feminism, and the possibility for its growth in
China.
TRANSGRESSION IN ART AND SELF-CONSCIOUSNESS AS WOMEN
Bauermeister will be the visiting feminist artist this year. As a forerunner of the Fluxus Movement, she witnessed how feminism developed prior to its second wave. With her
Independent spirit and rebellious personality, she initiated an era in art. From music to installation, she tried a series of transgression activities. The Chinese artists to hold dialogues with
Bauermeister come from different domains, including Fanny, a experimental musician of human voice who shows her feminist awareness by singing for aging and cellulite, and Maizi, a member of the
Feminist Action, who spreads feminism by practicing what she preaches. Emi Shimizu, a Japanese women artist with strong global consciousness who has lived in China for many years,
will also be present. Her unique art language will offer a different view of feminist art in Asia. Andrea Thal, a Swiss artist and curator with rich experience in
feminist art will also join in by introducing the reflection and dialogues on feminism in current Europe.
Lan Jiny and Li Xinmo, who have started “Bald Girls”, will participate in an unconventional way with their transgression in art. Inspired by the “anti-art” pursuit in Fluxus Movement, this
art event aims to break away with conventional exhibition patterns. It will combine the historical and international elements brought by Bauermeister, Emi Shimizu
and Andrea Thal with the protests made by Feminist Action, while integrating music, poetry, painting and photography for the discussion of transgression in
art. “Bald Girls: A Door” is an intersection of feminism in the global perspective and in the Chines context, across time and culture. It will be an avant-garde and
contemporary platform for the exploration of feminist art. For the participation of Chinese feminism, the event will highlight in-situ, sense of space, diversity of form, departure from the norm,
non-textual and experimental factors and continuity.
Transgression in art is the major thematic concern of this event that will be centered on self-consciousness as women. Therefore these works become the embodiment of women’s self-awakening.
As a topic for discussion, women’s self-consciousness will add a more profound dimension. Genuine art production comes from self-consciousness. Following the awakening of self-consciousness
as women, feminist art starts. Independence and autonomy are the key to women’s liberation. Therefore, women’s liberation is first the liberation of the self, the affirmation and pursuit of the
self-being and its value. More importantly, the independent spirit has to be brought into artistic creation to reveal the existence of art and its significance.
From an exhibition to a concept, “Bald Girls” has become a hotbed for avant-garde feminism in China, and its website, a medium as well, has helped the feminist artists to voice their minds
. It marks the debut of the independent and free avant-garde feminist art in China
“Bald Girls” values independence, believes in the power of art to intervene society and culture, advocates that feminist art should stick to its quality of being avant-guard, present,
intellectual and independent. For “Bald Girls”, “the mind” is their weapon, and society, politics and culture their battlefield.
Artists: Mary Bauermeister (Germany), Fanny, Emi Shimizu (Japan), Li Xinmo, Lan Jiny,
Li Maizi, Andrea Thal (Switzerland) | Feminist action
Duration: May 25 - June 16, 2013
Curator: Xu Juan
Sponsor: Zajia Lab, Bald Girls, I O Cultural Network e. V. , Co-Sponsor: Taiwan Foundation for Democracy
Mary Bauermeister geht nach Peking
Taikang Art Space, Peking 2013
Auf Einladung von I O Cultural Network geht Mary Bauermeister im März nach Peking.
Sie wird zusammen mit den "Bald Girls" im Art Space Taikang eine Peformance veranstalten. Die Vernissage : 03.03.2013 (Anlässlich des 1. Jubliläum der "Bald Girls"-Ausstellung)
Shanghai Biennale 2012
Die Künstlerin Jiny Lan nahm im Namen des I O Cultural Network e.V. an der Shanghai Biennale 2012 teil.
