Ecological sculpture in Wuhan
On October 17, 2021, "100% - 2021 East Lake International Ecological Sculpture Biennale" kicked off in the Jiangcheng Wuhan. This is another grand event on ecological sculpture after the 2017 "27-degree Angle East Lake International Ecological Sculpture Biennale". East Lake International Biennale of Ecological Sculpture is the first sculpture exhibition with the theme of ecology in China. It is a pioneering exhibition that advocates ecological civilization, promotes ecological art, and updates ecological concepts.
The purpose of the East Lake Sculpture Biennale is to display the latest creations of contemporary ecological sculptures by holding a non-profit, academic, cutting-edge and ecologically-themed sculpture art exhibition facing home and abroad; to explore the relationship between man and ecology, the environment, The relationship between nature; promote the academic exchange of ecological art; promote the development and progress of contemporary Chinese sculpture in the direction of ecology; improve the quality of public space in Wuhan, and create a first-class cultural and artistic brand that can reflect the cultural and artistic level of Wuhan.
The theme of the first East Lake Sculpture Biennale held in 2017 is: "27-degree angle". As a technical term for sculpture, the term 27-degree angle comes from the sculptor Michelangelo. In 1544, when remodeling the Capitoline Square in Rome, Michelangelo proposed that the overall visual relationship is the most complete when the angle between human viewing and sculpture works reaches 27 degrees. Since then, the sculpture circle has taken the 27-degree angle as a standard for determining the scale of sculptures.
As the theme of the first East Lake Sculpture Exhibition, "27-degree angle" clearly expresses the values of the biennale, which is: people-oriented, choose artworks from the perspective and sight of people, so as to determine the relationship between sculptures, the environment, and nature. The best scale is to create an artistic landscape that meets people's aesthetic needs, coordinate the relationship between people and art, people and nature, and people and public space, and use art to serve the broadest public.
In 2020, with the spread of the global new crown epidemic, ecological issues have once again been sharply placed in front of the world and in front of everyone; the raging new crown epidemic has once again sounded the ecological alarm and verified it again The foresight, necessity and urgency of the East Lake International Biennale of Ecological Sculpture are highlighted.
Compared with the first Eco-Sculpture Biennale, this Eco-Sculpture Biennale has two exhibition areas. One is the indoor exhibition area located in Zhimei Space, Wuhan Creative World. As a new exhibition area this year, 27 pieces will be presented Different types of sculptures, videos, installations, new media art and other works convey the artist's deep insight into ecology; another outdoor exhibition area located in Shimenfeng Memorial Park in Wuhan brings 23 large-scale outdoor sculptures and interactive installations to the audience. New thinking and understanding from an ecological perspective.
The Biennale of Ecological Sculpture will last from October 17, 2021 to April 16, 2022. The exhibition is co-sponsored by Zhimei Space, Hubei Art Museum, and Wuhan He Art Museum; Wuhan Shimenfeng Memorial Park Co., Ltd. Produced by Yuhengxin Investment Management Co., Ltd.; School of Public Art of Wuhan Institute of Design and Engineering, and Wuhan Creative Development Co., Ltd. provided strong support for the exhibition.
The theme of the 2nd East Lake International Ecological Sculpture Biennale is "100%".
"100%" first expresses the attitude of the Eco-Sculpture Biennale to spare no effort to promote ecological civilization; it also reflects the determination to innovatively lead ecological art in China. Today, how to increase the promotion of ecological culture and ecological art, and how to better and more consciously advocate the concept of ecological civilization in culture, art and daily life is a long-term task; it is not only related to us today, but also to us the common future of mankind. In the face of ecological problems, everyone bears an inescapable responsibility. Only with a "100%" attitude and determination can we attach great importance to ecology, promote a complete transformation of ecological concepts, and realize the ecological civilization we are looking forward to.
"100%" is still a perspective, a vision. It advocates an all-round ecological perspective, emphasizing ecological awareness, ecological care, ecological behavior, and ecological aesthetics, running them through all of our lives, and carrying out "100%" full coverage and "100%" observation. Ecological civilization will be a revolution in the way of thinking and cognition of human beings, and it will promote the transformation of human beings from self-centered to eco-centered.
"100%" is also a medium of ecological art and a means of expressing ecological aesthetics. The exhibition advocates ecological expression in an all-media way. The medium of the exhibited works is 100% open. It can be a traditional medium or a new medium. Any works in any medium that meet the academic direction of the exhibition and meet the requirements of the exhibition site can become the means of presentation and expression of the ecological sculpture exhibition, and become a means of dialogue with the city and citizens; any high-tech and All kinds of ecological means can be used to interpret ecological aesthetics and life aesthetics.
"100%" also expresses an ideal and aspiration. It expresses the ideal of social mobilization, the desire for broad public participation. The purpose of the East Lake Ecological Sculpture Biennale is ultimately to carry out overall social mobilization. Through the exhibition, it will arouse the whole society to pay attention to ecology, actively protect the ecological environment, actively participate in the construction of ecological civilization, and actively practice a green, environmentally friendly and sustainable way of life. Realizing such ideals and aspirations will be the long-term task of the East Lake Ecological Sculpture Biennale.
"100%" is finally a portrayal of the city of Wuhan. Wuhan is a heroic city on the shore of the East Lake. It was once the hardest-hit area of the epidemic; only after experiencing wind and rain will we cherish the sunshine more; only after experiencing disasters will we love life more; 100%” reason to hold up the banner of ecology and turn Wuhan into an ecological city, a city of harmony between man and nature, and a city of sustainable development in the future.
From the perspective of exhibition planning, how do we view the concept of "ecological sculpture"?
The so-called "ecology" is the state of life. In our view, ecology is not just natural ecology. "Nature is the inorganic body of human beings." Nature has always been closely related to humanities and art. At the same time, human survival and human society, as living organisms, also have their own ecology. question. Therefore, what we call "ecology" is a comprehensive concept, including natural ecology, humanistic ecology and social ecology.
Here, "sculpture" as an ecological sculpture is no longer a narrow concept of art taxonomy, but an expanded artistic concept. , Using ecological aesthetics as a method, ecological art as a means, and ecological materials as materials, a new behavior and process of re-understanding life, creating art, and shaping society.
From the current point of view, "ecological sculpture" is still in development, and is still being explored and defined; it has no established schema, no fixed form, and no constant scope; it is more of a standpoint and Attitude, a vision and method, a gesture of exploration.
For the artist, "ecological sculpture" means to regard all things as an organic whole, hold an attitude of respect and reverence for all life; listen to the voice of the earth, and perceive the nature of all things. Improve people's understanding and perception of the life state of all things in the world through my own works; resist and criticize those behaviors and phenomena that violate and harm life; always maintain the sensitivity and conscience of an artist, and maintain my own sensibility, imagination and compassion.
For the audience, "Eco-Sculpture" is a call to participate. From now on, try to look at art from a different perspective, observe the world with a different mood, and experience life in a different way. The sky, air, water surface, grass, trees, and flowers can all be the carriers of art; of course, waste, waste, and garbage can also be regenerated in the name of art, and can rejoin the cycle of life. In this exhibition, some of the virtual images and digital landscapes created with the help of new media technology are undoubtedly ecological. They replace the existence of traditional art with the virtual reality of immaterial entities, heralding the most vigorous and imaginative future era The possibility of artistic existence.
This year's Biennale adopts two methods: focused invitation and extensive collection. The artists invited to participate in the exhibition all took the method of visiting the exhibition site in person, conducted on-the-spot investigations, and tailored new works according to the environment and natural conditions.
For example, there is a part of the water surface in the exhibition hall. According to this feature, Professor Fei Jun of the Central Academy of Fine Arts created "Water Sun", which is an interactive installation work combined with AI artificial intelligence technology. Participants can use private voice input. Dialogue with water, water will respond to human voice in its native language. This wonderful communication between man and water embodies the concept of "animism" in natural ecology.
Professor Zheng Jing of the China Academy of Art used the water surface to create the work "Water Book - Life", which is also an underwater program-controlled device. The handwriting of "Water Book" seems to have an invisible magic pen continuously writing the word "life" on the water surface, which makes the ordinary water surface have magical power.
The work of Professor Yuan Xiaofa of Hubei Academy of Fine Arts is also a water installation. It has a poetic name "Whose Name is Written in the Water", which is the epitaph of Keats, a famous British romantic poet. It is these words that float on the water, and they bring the audience thoughts and associations about life.
Among the exhibited works, some of the works follow the characteristics of the previous exhibition, making full use of ecological materials, recycled materials and waste materials for creation, such as Ge Pingwei's "Homeland", a huge acrylic transparent sphere filled with plastic waste, It draws people's attention to environmental protection issues; Gao Wenqian's "Flare" is a typical ecological work. He used bamboo poles and orchard bird-repelling ribbons as materials, and placed them on a wasteland. They danced with the wind, producing a good visual effect; Wenhao's "Five Worlds" was created using the abandoned concrete piers on site; Nut Brothers used turf to create; Niels used plants to create...
Another part of the works expands the boundaries of ecological sculpture in the application of new media, new technology and new materials. In this exhibition, creations using sound elements are: Wang Huangsheng's "Sound of Meng", which is an interactive sound installation, and the audience can hear the sound of seeds sprouting on the spot; Tang Xiao's "Sound Capture" In the sculpture, a device that can stay and listen to the sound of nature is cut out; Zhu Shangxi's "Form of Life" and "Fragment Art Museum" combine physical space and virtual space, and use indoor and outdoor linkages to create Exhibition; Tang Yong and Zhang Xiang's "Nest Building 3" uses PVC pipes as the main material and combines LED lights for creation; Cai Yaling puts narrow LED screens on the grass on the ground, following the ups and downs of the grass , like a flowing river...
In the past, based on the understanding of ecological art, people mostly used natural materials and recycled materials for creation. This biennale encourages new media art works, in this way, it is an attempt to allow high-tech to be more involved in ecological art and expand the innovative field of ecological sculpture. In fact, new media art has great potential in terms of ecology and environmental protection. It does not consume or occupy more natural resources, and it expresses in a virtual way, which itself is a green and ecological way.
Some famous artists with influence in China, whose works are also closely related to the theme of ecology, participated in this exhibition, such as Li Xiuqin, Deng Le, Shao Yinong, Sun Shaoqun, Xiang Jinguo, Gao Meng, Luo Xiaoping, Shi Jinsong, Huang Xingguo, Li Zhanyang, Zhang Wei, Zhi Min, Guo Hang, Hu Quanchun, Lu Zhengyuan, Jing Xiaolei, etc.
In addition to these well-known artists, vigorously supporting young artists is a highlight of this exhibition. In the exhibition, a group of young artists who are very active in new media art and have achieved considerable achievements appeared; there are also a group of young cutting-edge young people who have also joined the ranks of ecological sculpture creation: Zheng Da, Zhang Shenghua, Wan Lichi , Yu Kang, Yi Chao, He Liping, Xu Yibo, Huang Yali, Wang Tian, Fu Yao, Zhang Zhen, Ke Jiamin, Wang Yi, Zhang Jun, Yi Zhongtian, Chen Qi, Shen Linghao, Wang Ran, Lu Yang, Yi Changwu, Fang Yang , Zhang Zhen, etc., all brought out their latest creations to participate in this exhibition.
Ecological sculpture is in Wuhan, and Wuhan is also doing its best to promote the development of ecological sculpture and the construction of ecological civilization. Through the two biennials of ecological sculpture, you can see that ecological sculpture itself is like a living body, and it itself is a concept that is constantly growing and expanding. The East Lake International Ecological Sculpture Biennale is constantly exploring and advancing in the process of constantly raising new questions and responding to these questions.
Before the birth of military radar in the 1930s, Britain built a giant echoing wall with concrete on the side close to the European continent. These initial technological equipment appeared in World War I to prevent and detect fighters flying from the European continent. Now It seems that the shape of these devices is very weird.
Although due to technical limitations, the detection range of these devices is not far, but since missiles capable of over-the-horizon attacks have not yet been born at that time, aircraft air strikes must approach the sky above the target, and they still play a certain role in actual use.
At the end of the 19th century and the beginning of the 20th century, radar soldiers during World War I relied on ears and sound amplification devices to monitor distant movements. It is unimaginable that a soldier stares at the distance of the sea for a long time, and hears the amplified sound of sea waves and wind in his ears. He tries to find the noise of the aircraft engine in the repeated sound waves, hoping to give more to the homeland behind. Give a 10 to 15 minute warning time. The fighter struggled to discern, but perhaps he wished the sound of the enemy plane's engine never came.
Here, the listening device becomes the amplification and extension of our auditory organs, making it possible for us to focus on finding the tone we need in the complex sounds. The indistinct sound among the mountains, rivers, trees, and grass in Shimenfeng Memorial Park made me feel that there should be a place where people can rely on the mountains and rivers, cut out a device to stop and listen to the sound in the void, and pick up the sound in the quiet, and the sound can shape its shape. The Memorial Park has the Anti-Japanese War Air Force Memorial Area, and the sound interactive sculpture should be an organic supplement to the traditional memorial sculpture. This is the origin of the concept of sculpture expressing sound, the sound of sculpture.