{"id":10296,"date":"2015-05-19T06:39:00","date_gmt":"2015-05-19T06:39:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=10296"},"modified":"2023-03-07T06:44:31","modified_gmt":"2023-03-07T06:44:31","slug":"sincerity-a-story-of-a-humble-guangzhou-artist","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hans\/sincerity-a-story-of-a-humble-guangzhou-artist\/","title":{"rendered":"Sincerity a Story of a Humble Guangzhou Artist"},"content":{"rendered":"\n

Zheng Guogu: Visionary Transformation<\/strong><\/p>\n\n\n\n

VW (Veneklasen \/ Werner)<\/strong><\/a> (Rudi-Dutschke-Str. 26, Berlin),  Mar 21\u2013Apr 25, 2015<\/strong><\/p>\n\n\n\n

In the village of Yangjiang, in the province of Guangzhou, in the home of a musical instrument maker and opera singer, lived a youth whom nature had endowed with the most gentle manners. His countenance was a true picture of his soul. He combined a true judgment with simplicity of spirit, which was the reason, I apprehend, of his being called Zheng Guogu (\u90d1\u56fd\u8c37, b.1970). In 1988, a traveling magician turned the village into a town with factories, saying, \u201cAll is for the best in this, the best of all possible worlds.\u201d Guangzhou was full of 18th-century Parisian risk and ripe with 20th-century Californian hope. The town became famous for making scissors and knives.<\/p>\n\n\n\n

Around this time, Zheng moved to Guangzhou to attend the Guangdong Academy of Art. There he met the Big Tail Elephant, a group of artists\u2014Lin Yilin, Chen Shaoxiong, Xu Tan and Liang Juhui\u2014who through their own performance and conceptual magic questioned the world created by the magician. In the years to come, Zheng would emulate his new uncles rather than the magician. He worked and played. He built a house of experimentation called Vitamin Creative Space\u2014now one of the most famous galleries\u2014but he himself renounced his ownership, becoming merely one among its mendicants.<\/p>\n\n\n\n

\"Zheng<\/a>
Zheng Guogu,\u201dVisionary Transformation of an Insight 1\u2033,oil on canvas, 196 x 139 cm (77 1\/4 x 54 3\/4 in), 2013 (courtesy: VW (Veneklasen\/Werner))<\/figcaption><\/figure>\n\n\n\n

In 2002, Zheng founded \u201cYangjiang Group\u201d (\u9633\u6c5f\u7ec4) with his fellow artists, Chen Zaiyan (b. 1971, Yangchun, China) and Sun Qinglin (b. 1974, Yangjiang, China). The group eschews traditional artistic practices, more often using performance and installation, yet still focusing on calligraphy, the cultural crossroads of art and poetry in China, and also philosophy and power.<\/p>\n\n\n\n

I am not going to tell you the truth anymore. It would take too long and maybe it will change anyway. As Dr Yu Tsun comments: \u201cHaving read various interviews and articles on Zheng, I have some idea of some of his projects but no one has really got to grips with why he is an artist.\u201d Hu Fang wrote an opaque poem. It is the most useful text.<\/p>\n\n\n\n

\"\"
Zheng Guogu \u201cOne Manipulates into two, two integrates into one No.2\u2033,oil on canvas , 240 x 206 cm (94 1\/2 x 81 in), 2013, (courtesy: VW (Veneklasen\/Werner)<\/figcaption><\/figure>\n\n\n\n

Rudi<\/strong><\/p>\n\n\n\n

Rudi Dutschke (1940\u20131979) was the most famous student activist in West Germany. On April 11, 1968, he was shot three times on Kochstrasse, Berlin, by a right-wing activist following a strident campaign by popular conservative newspaper Bild and its publisher Axel Springer (1912-1985), whose offices were nearby. Though Dutschke survived, his injuries led to his early death. In 2008 this stretch of Kochstrasse was renamed after him.<\/p>\n\n\n\n

It is appropriate and weird that Zheng has his first solo-show in Germany on Rudi Dutschke Strasse at VeneKlasen\/Werner, the experimental studio of Michael Werner Gallery, famous for its provocative artists including the likes of George Baselitz (b. 1938), J\u00f6rg Immendorf (1945\u20132007), Markus L\u00fcpertz (b. 1941), A. R. Penck (b. 1939) and, most relevantly philosophically, Marcel Broodthaers (1924\u20131976).<\/p>\n\n\n\n

The VW exhibition introduces a recent range of objects Zheng has produced since 2000. \u201cImpacted Chairs\u201d are traditional Chinese chairs made of African ebony, their surface carved to resemble pitting by golf-ball sized hailstones. A similarly carved traditional wall panel comprises a piebald jigsaw of wooden pieces. \u201cThe Aesthetic Resonance of Chakra No.4\u201d (oil on canvas, 2014) presents the Buddhist Chakra, important in tantric and yogic traditions, as a \u201cchemical\u201d formula. \u201cComputer Controlled by a Pig\u2019s Brain\u201d (oil on canvas, 2014) is from a series dating from 2006, which extracts the \u201chormone\u201d of logos and branding from popular magazines, presenting them as a distillation of thrilling, neon commercialism for mainlining consumption\u2014endorphin-packed pleasure. Our brain is the pig\u2019s brain\u2014a delicacy\u2014and thus consumerism is equated with autophagy. In a variation\u2014\u201cFrieze\u201d (2014)\u2014the data floats as hypertext over a packed bureaucratic (and Western) waiting room.<\/p>\n\n\n\n

\"\"
Zheng Guogu \u201cComputer Controlled by Pig \u0301s Brain\u201d, Oil on canvas, 100 x 100 cm (39 1\/3 x 39 1\/3 in), 2014, (courtesy: VW (Veneklasen\/Werner))<\/figcaption><\/figure>\n\n\n\n

The literal heart of the exhibition is a room\u2014a kind of temple\u2014dedicated to a constellation of Buddhist-derived works. The real religion of both America and China is not Christianity or Communism, rather Capitalism. It is not possible to be atheist in a Communist country\u2014always you have to believe in a god, whether Mao, Buddha, Confucius, Athena, Hobbes or Levitation. It is not important that the god exists: belief suffices. Capitalism merely describes a value-exchange system but belief makes it karma. At the center is the Buddhism-inspired \u201cVisionary Transformation of an Insight No.1\u201d (2012), an oil painting that mimics a photographic negative. Either side hang mandalas\u2014\u201cMantra Wheel (for Career II)\u201d (2012) and \u201cMantra Wheel (Liberation, III)\u201d (2013)\u2014and on the adjoining walls, opposite one another, classical Buddhist scenes, \u201cOne Manipulates into Two, Two Integrates into One\u201d (Nos. 1 and 2, 2013).<\/p>\n\n\n\n

Zheng designed these oil paintings. He then commissioned a specialist painter to manufacture\u2014to make by hand\u2014the product\/commodity. Originality is unimportant; yet Zheng has employed traditional methods to produce traditional objects, elaborate souvenirs, of his artistic modus operandi. The negative mandala involves the child-like fun of optical tricks, super superficiality\u2014nothing hidden\u2014reading depth, formal or philosophical, where this is none. And yet it does bewitch. An \u201coriginal\u201d painting of a photographic manipulation, the dedicated quality of the copy matters. Here the copying counts more than the copy itself.<\/p>\n\n\n\n

\"Zheng<\/a>
Zheng Guogu \u201cThe Aesthetic Resonance of Chakra No.4\u2033, Oil on canvas 173 x 134 cm (68 x 52 3\/4 in), 2014, (courtesy: VW (Veneklasen\/Werner))<\/figcaption><\/figure>\n\n\n\n

Retreat into history and tea ceremony<\/strong><\/p>\n\n\n\n

Defining a critical position in China is like lashing oneself to a ship\u2019s mast in a storm. If the mast is not Communism, then at least cultural nationalism allows a nominal license to be critical. Part of Zheng\u2019s practice is to host a tea ceremony, as he would partake at home. It is not simple but opulent, including rare and expensive teas of great age. Elegant or hubris\u2014you decide. I am skeptical but that doesn\u2019t matter. Take it all in context\u2014the Buddhism, the calligraphy, the hermit-like retreat to rural Guangdong, the making of furniture, the production of painting\u2014and all this is about defining a space for people, historical and cultural, that sits apart and in judgment against the superficiality of consumption, whether Communist or otherwise. In a monotheistic universe, Buddhism or aesthetic detachment \u00e0 la China\u2019s literati artists, or just sex and comedy, become critical systems simply by being employed as alternative systems. The Other, which they represent\u2014because they themselves are not, and even cannot, be dominant\u2014is a provocation to supreme egotism. Consumerism is only a symptom.<\/p>\n\n\n\n

The Garden of Forking Paths<\/strong><\/p>\n\n\n\n

Zheng has been building a paradise in Guangzhou. It is called \u201cThe Age of Empire\u201d. It is illegal. He has occupied the land like squatters in London do the empty mansions of rich foreign investors. It is a type of revolt against a type of colonialism. Amidst a government crackdown, ostensibly and actually on corruption, what if this is investigated? What if someone complains? Value has to be provided to the party and the community, albeit largely a self-selecting community who takes the time to travel to the outskirts of Guangzhou. Negotiation is a word much abused by curators as a synonym for \u201cdiscussing\u201d but here the artist must really negotiate, with the peasant \u201cowners\u201d, with local government officials, even the police. Instigation is the idea and negotiation the practice\u2014the artistic expression splicing freedom and responsibility, social and political, environmental and communal, albeit in a self-assumed role.<\/p>\n\n\n\n

\"\"
Zheng Guogu \u201cMantra Wheel (Liberation, III)\u201d, 2013 Oil on canvas 200 x 200 cm (78 3\/4 x 78 3\/4 in), 2013, (courtesy: VW (Veneklasen\/Werner))<\/figcaption><\/figure>\n\n\n\n

One pre-2000 work is included in the show, an image from \u201cMe and My Teacher\u201d (1993), a project in which Zheng befriended a local beggar and followed him for a month. Under other circumstances it would be termed stalking and yet as documentation it is also a record of existence. The two are shown squatting in a public area as people walk by. They are laughing.<\/p>\n\n\n\n

We could pontificate endlessly over the multiple possible meanings of each of the works mentioned so far, and others besides, not least his series of \u201chomages\u201d to Modernist apostles\u2014Duchamp, Beuys, Warhol, etc.: \u201cThe Brain Nerves\u201d (2014). Equally they can be taken on face value\u2014the series includes \u201cMy Teacher\u201d.<\/p>\n\n\n\n

Zheng could have just stayed in Yangjiang, but he went to Guangzhou and one thing led to another. As much as he saw a world being made anew, he worked to recreate a version of the old world, idealized certainly, but also through a negotiation with cadres and collectors, between images and reality, originals and copies, hierarchies and you.<\/p>\n\n\n\n

\u201cAll that is very well,\u201d said Zheng, \u201cbut let us cultivate our garden.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Zheng Guogu: Visionary Transformation VW … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":10306,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[673,6396,80,68,6395,6397,6398,6399,6400,6401,703,6402,6403,6404,6405],"yoast_head":"\nSincerity a Story of a Humble Guangzhou Artist - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/sincerity-a-story-of-a-humble-guangzhou-artist\/\" \/>\n<meta property=\"og:locale\" content=\"zh_CN\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sincerity a Story of a Humble Guangzhou Artist - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"Zheng Guogu: Visionary Transformation VW … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/sincerity-a-story-of-a-humble-guangzhou-artist\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2015-05-19T06:39:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-03-07T06:44:31+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/03\/Zheng-Guogu-Visionary-Transformation-of-Achievement-II.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1397\" \/>\n\t<meta property=\"og:image:height\" content=\"2000\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Lien\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"\u4f5c\u8005\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lien\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9884\u8ba1\u9605\u8bfb\u65f6\u95f4\" \/>\n\t<meta name=\"twitter:data2\" content=\"8\u5206\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/sincerity-a-story-of-a-humble-guangzhou-artist\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/sincerity-a-story-of-a-humble-guangzhou-artist\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Sincerity a Story of a Humble Guangzhou Artist\",\"datePublished\":\"2015-05-19T06:39:00+00:00\",\"dateModified\":\"2023-03-07T06:44:31+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/sincerity-a-story-of-a-humble-guangzhou-artist\/\"},\"wordCount\":1468,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"2015\",\"A Story of A humble Guangzhou Artist\",\"Berlin\",\"gallery\",\"Michael Werner Gallery\",\"Sincerity\",\"Veneklasen \/ Werner\",\"Vitamin Creative Space\",\"Yangjiang Group\",\"Zheng Guogu\",\"\u67cf\u6797\",\"\u756b\u5eca\",\"\u7ef4\u4ed6\u547d\u827a\u672f\u7a7a\u95f4\",\"\u90d1\u56fd\u8c37\",\"\u9633\u6c5f\u7ec4\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-CN\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/sincerity-a-story-of-a-humble-guangzhou-artist\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/sincerity-a-story-of-a-humble-guangzhou-artist\/\",\"url\":\"http:\/\/www.randian.art\/sincerity-a-story-of-a-humble-guangzhou-artist\/\",\"name\":\"Sincerity a Story of a Humble Guangzhou Artist - 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