QIN CHONG SOLO EXHIBITION  May 9 - 23, 2004 Shanghai 

exhibited art works

QIN CHONG SOLO EXHIBITION

Qin Chong solo exhibition

Hai Shang Shan Art & Exhibition

Opening Preview: Sun 9 May 2004  3:00 p.m.

Hai Shang Shan Art Centre

618 Wu Zhong Lu, Shanghai

THE REST OF THE WORLD   April 5 - June 22, 2003 Pirmasens

^{http://www.pruess-ochs-gallery.de}

THE REST OF THE WORLD  

art and artists from Asia, Africa, Latin America and Europe

concave convex

"people demand too much of our world

and the hand of man brought it somewhat out of plumb

the horizon, everything beyond it and beneath it is built up rationally

with day and night, concave convex - they are undisputed" (Qin Chong)

If by then it has been right that the energy water does exclude from fire, the artist sets us right. The sculpture "concave convex" made of paper and treated with flames initiates the association with burnt water. The created wavy structure of the broken surface develops a very complex tension. As the artist cannot completely control the fire that he chose as working material, as John Cage speaks about the soul of the material paper and thus paper itself becomes the producer, for the artist it is the hand of man, cognitively controlled that creates confusion. The horizon however, a line that man cannot influence is designed rationally.  (Alexander Ochs)

Wolfgang Clement, the German federal minister for economy and labour is going to open the exhibition on April 4th 2003. The exhibition is curated by the Berlin based gallerist Alexander Ochs showing artworks from 40 different artists.

The title of the exhibition is taken from a speech by Mao Zedong, in which he is dealing with the European-Northamerican modernity and underlines, that this modernity still has the point of view to see itself as the “center” and the cultures of the Orient, Asia and Africa as well as Oceania and Latin America as the “rest of the world”. This perception was appropriated by a lot of countries of the so called “3rd world” and also determined the international art discussions during the last years.

The exhibition undertakes the attempt to show in their heterogenity a world full of fractions and contradictions, full of different interests, but also full of longing for love and a peaceful side by side of the cultures.

The exhibition is developed in cooperation of Bernd D. Hummel, Pirmasens and the PRÜSS & OCHS GALLERY BERLIN | SHANGHAI. The show is supported by loans of: Künstlerhaus Bethanien, Galerie Arndt & Partner, Abel – Raum für Neue Kunst, Galerie Peter Herrmann, müllerdechihara, Galerie Markus Richter, all Berlin; L.A. Galerie Lothar Albrecht, Galerie Ernst Hübner, Collection Hübner, all Frankfurt/M., DKM – Stiftung Duisburg .

NEUFFER AM PARK

66953 Pirmasens  

  RESERVOIR VI: PYROTEKTURA   June 15 - August 4, 2002  Berlin

exhibited art works

RESERVOIR VI: PYROTEKTURA

For seven weeks this summer the underground water stores of Prenzlauer Berg, Berlin will be open to the public again. A unique opportunity to enter these vaults normally closed. This year's motto of the traditional art event RESERVOIR is: fire
Fire as the most conflicting one of the four elements, standing for comfortable warmth as well as for destruction and devastation, for purification and new beginning.

PYROTEKTURA

Twelve fire installations are on show at the big water tower. The artists approach the topic from different angles, especially interested in the effect of fire. Qin Chong arranges innumerable white paper-rolls on ashes, passing out of sight in the semicircle vault. The burnt edges suggesting the swelling and dying of a spatial landscape. 

exhibited art works

QIN CHONG - SHADOWS

catalogue "Shadows"

TRILOGY OF BLACK AND WHITE

A First Look at Qin Chong's Paintings is Like Taking a Walk Through The Course of One's Life.

The saying in Laotse's Tao Teking - ten thousand things hold the yin and embrace the yang - suggest continual changes and the development of precise scenarios, which bring me to the beginning of my journey. It is there that I peacefully collect myself and choose the path to follow to life's end.  But it is neither necessary nor feasible to repeat the path already crossed. It is experience and warning that are the keys to wisdom and strength. These keys grant the beholder limitless plans for the future, plans brimming with spirit and energy.

The tadpoles and quiet black squares in Qin Chong's paintings seem to present the phenomenon of life and death. Labyrinthine coincidences and necessities can be seen in the paintings. The great work with arranged white porcelain bowls symbolizing the waning and waxing of the moon illustrate the coincidences and necessities of the circle of life.

The alternation of yin and yang is the basic principle of the universe. It speaks for the present as well as eternity. Perhaps Qin Chong's exhibition does not surpass the ideas of the traditional Chinese saints and wise men, instead with his special style he translates those ancient sayings into his own words.

A Second Look at Qin Chong's Paintings is Like Entering a Clear World.

Black can be separated into five shades, a principle of traditional Chinese painting which is compressed by Qin Chong into a sharp contrast of black and white. This simplicity turns me away from the mass of colours of the modern world allowing me to examine the depth of humanity, nature and honesty. A frank and sincere word may not always be profound but it is the only key to civilization. Let the beholder adhere to the saying - one yin and one yang together is the way - and only then can one understand the secret that honesty can reveal.

In Qin Chong's paintings, black is the venerable king of colours. All other colours would blend in and disappear. This reminds me of a passage in Sima Qian's composition The Biography of the First Emperor Qin Shi Huang where it is written: today the Emperor conquered the entire world, he separated black and white and created the only venerableness.

Thus, the contradiction of yin and yang in all things exists not only at the root of Chinese culture, but also in the modern theory of colour, which claims that black and white are neutral. They depend on each other and yet, are opposites at the same time, arousing feelings in the viewer and giving themselves special significance.

A Third Look at Qin Chong's Paintings  Brings One Back to the Starting Point.

The Buddhist principle - put your body in order and nurse your heart - is accentuated in Qin Chong's  paintings as a pure world. That idea calls upon me to remove, layer by layer, the clothes of civilization and to consciously cleanse myself of the dust of the trivial world, leaving behind nothing but a pure heart. After washing one must dress oneself again and put on a hat, but the foundation of every existent personality remains, the pure heart.  Only then can one recognize oneself and decide what is truly a pleasing appearance.

Qin Chong's paintings are extremely pure, they are immaculate. Even if there were no - Do Not Touch - signs, the viewer would not dare to soil them. The Chinese have always regarded black, the symbol of a personality's golden mean, as a true colour. Bao Wenzheng, a incorruptible judge in Chinese legends and classic opera has a black face. The face is like a mirror highly suspended that can reflect the dirt hidden in the depth of the heart.

Qin Chong has renounced all colours and chosen black and white.  He has carefully arranged them as if he stood between the earth and the sky casting the shadow of his body upon the white plains...  

Lü Shengzhong

Beijing, March 2001

ENCHANTING PAPER

catalogue "Qin Chong Qin Feng - Enchanting Paper"

Juergen Chrobog, State Secretary, Federal Foreign Office                                           

                                                                                     Berlin, September 2001

 KUENSTLERHAUS CISMAR  June 18 - July 15, 2001  Kiel/Germany

exhibited art works

KUENSTLERHAUS CISMAR