Sigillografia in Cina: Workshop Pratico e Teorico di Scrittura ed Incisione
May
16
9:00 AM09:00

Sigillografia in Cina: Workshop Pratico e Teorico di Scrittura ed Incisione

16 Maggio 2019 10:00

Aula 4 - Rio Nuovo

Limite massimo partecipanti: 20 persone
Iscrizione tramite mail a gesshincafoscari@gmail.com
allegando breve lettera motivazionale (max 200 parole)
Termine iscrizioni e selezione: 10 Maggio 2019

Organizzatore: Dipartimento di Studi sull'Asia e sull'Africa Mediterranea (Marcella Mariotti), Associazione studentesca dell’ Università Ca’ Foscari GESSHIN

Instagram: gesshin_cafoscari
E-mail: gesshincafoscari@gmail.com

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INK Brussels 2019
May
6
to May 11

INK Brussels 2019

INK BRUSSELS 2019 (Semaine de l’Encre - 布鲁塞尔水墨周), to be held from May 6 to 12, combines conferences and workshops in the field of contemporary ink held in Auditoire Victor Bourgeois and Espace Architecture at the Faculty of Architecture La Cambre-Horta ULB, place Flagey. 

This week of theoretical and practical events investigates the quest for abstraction in the practice of calligraphy and painting with a specific angle  on Chinese writing, offering the opportunity of direct contacts between the public and invited artists and scholars. This travelling event functions as a collaborative enterprise between ink artists, curators and academic or cultural institutions in the host country.

Paysage écrit/Ecriture peinte, a collective exhibition of 50 artists combining contemporary calligraphy and landscape painting, will be held in Espace Architecture from May 6 to 30, 2019. The show gathers artists from all origins who work with ink and paper as main media, (de)construct calligraphic geometries, engage in decoding and writing the landscape or experiment with language and gesture. A progressive itinerary looks at how each contemporary literati or letter artist departed from traditional artistic practices to explore the ways of abstraction. The exhibition unfolds in two parts, one devoted to nature and the other to culture, based on the basics of Chinese landscape painting: that a landscape is not to be seen or painted, but read or written. The versatility of nature, mountains and rivers allows Paysage écrit/Ecriture peinte to encompass a range of experiments dealing with the materiality, tools and gesture of writing, the limits of readability or perception, and geometries of ink and water.

Four satellite locations partner with INK BRUSSELS 2019: the art residency ODRADEK with Contemporary Inks, a collective show curated by Simone Schuiten and Kiran Katara on ink and intercultural dialogue between four practitioners of ink on paper East and West, the art spaces Garage Cosmos and ArtWeCare, as well as the Royal Museums of Art and History with Lithic Impressions, a display focused on epigraphy and rubbings, a technique of replication from stone carvings to ink on paper.

INK BRUSSELS 2019 team
Lia Wei (coordination), Zhang Qiang (academic supervision), Kiran Katara (Faculty of Architecture La Cambre Horta ULB), Simone Schuiten (ESA St-Luc and ODRADEK), Nathalie Vandeperre (Royal Museums of Art and History), Vanessa Frangville (EASt/ULB).

Partners Belgium
Université Libre de Bruxelles (La Cambre Horta ULB Architecture, EASt/ULB, Institut Confucius ULB), Royal Museums of Art and History (RMAH), Ecole Supérieure des Arts St-Luc, Institut Belge des Hautes Etudes Chinoises (IBHEC), ODRADEK, Garage Cosmos, European Lettering Institute (ELI).

Partners China
Ink Art Research Centre 四川美院艺术学与水墨高等研究中心 (Sichuan Fine Arts Institute, Chongqing), Centre for Contemporary Visual History 当代视觉史高等研究中心 (Taishan University, Tai’an), Renmin University of China (中国人民大学考古文博系).

Participating artists
Paysage écrit/Ecriture peinte
Leo, BELGEONNE  Gabriel, BIFACE  GRAPHY, CAO  Ying, CHEN Honghan, CHEN Jinchao, CHEN Muju, CHOU Li Chiang, CONG Peibo, CORNIL Lieve, DE LA FAYE Niko, ESCANDE Yolaine, FERRAGINA Silvio, GARCIA Jacob C. Alfred, HOU Guangfei, IKHLASSI Mouna, JIANG Hanxuan, KATARA Kiran, KE Jipeng, KNEIB André, KOKKINOS Niki, LIU Tanyu, LIU Yi, LIU Yun, LOU Meng, LV Zizhen, MA Kun, MA Yuanyuan, MERTENS Tristan, NEUENSCHWANDER Brody, PENG Meiling, PLISSART Marie-Françoise, SHAO Yan, SIMONET-LIN Rosa, TANG Kaizhi, VALKENBORGH Anne, VAN DE VEL An, VANDENHAUTE Jan, VIGNERON Frank, WANG Ruiqing, WEI Lia, WOUTERS Carry, XU Demin, YU Li, ZHANG Dawo, ZHANG Qiang, ZHANG Wenhai, ZHONG Ruoyi, ZHU Pengfei, ZHU Tianmeng
Lithic Impressions
Students of ESA St-LUC and IBHEC, WEI Lia, ZHANG Qiang
ODRADEK
CASE Charley, PESTIAUX Olivier, ZHAO Qiong, ZHU Tianmeng
ArtWeCare
LIBERSKI Casimir

Conference speakers
Zhang Qiang (Sichuan Fine Arts Institute), Lia Wei (Renmin University, EASt/ULB), Yolaine Escande (CNRS), André Kneib (INALCO), Jean-Marie Simonet, Thierry Kandjee (Landscape Chair, Faculty of Architecture, La Cambre Horta, ULB), Katrina Simon (Associate Dean, Associate Professor in Landscape Architecture at RMIT University, Melbourne), Sonia Keravel (Maître de conférences en théorie et pratique du projet de paysage, ENSP de Versailles), Georges Pirson (Faculty of Architecture, La Cambre Horta, ULB), Catherine Mosbach (Landscape Architect, Mosbach Paysagistes), Françoise Lauwaert (LAMC/ULB, EASt/ULB, Raphael Van Daele (EASt/ULB, EHESS), Jacob Alfred Garcia (guqin player, Beijing Conservatory of Music), Silvio Ferragina (calligrapher, Istituto Politecnico di Milano), Simone Schuiten (ESA St-Luc, ODRADEK), Brody Neuenschwander (artist), Zhu Pengfei (artist), Jiang Hanxuan (artist)

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Atelier de Sigillographie
Feb
9
9:00 AM09:00

Atelier de Sigillographie

Ce workshop est consacré à la sigillographie-ou gravure de sceaux-un art souvent considéré mineur, néanmoins central dans l' équilibre des arts du lettré. La fonction contractuelle du sceau, tour-à-tour objet rituel ou de symbole de pouvoir, et son évolution vers l' expression d'une identité personnelle dans le cadre de la tradition lettrée seront évoquées. Pas à pas, les participants seront ensuite invité à suivre les étapes de la création d'un sceau, depuis la recherche étymologique du caractère, sa manipulation esthétique, la traduction formelle du trait de pinceau en trait de ciseau lors de son transfert sur la pierre, enfin son retour vers le papier.

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Pratiques antiquaires et rapport au passé dans la culture lettrée
Feb
2
6:00 PM18:00

Pratiques antiquaires et rapport au passé dans la culture lettrée

« Impressions lithiques : de la pierre à l’encre sur papier » revisite la boîte à outils de l’antiquaire chinois. La calligraphie, la peinture de paysage et la gravure de sceau forment un prisme à travers lequel les réalités visuelles et matérielles peuvent être réexaminées et font partie d’un ensemble d’outils au même titre que le voyage, la collection et l’estampage des stèles.
Le Lettré et l’antiquaire ne sont que les deux visages d’une même personne, l’un tourné vers la création, l’autre vers l’étude du passé. Ce sont les deux cordes d’un même arc qui se renforcent l’une l’autre. L’antiquarisme chinois nous attire en raison de son attitude contrastée par rapport aux choses, de sa forte dépendance à l’égard du texte et de la loupe déformante et créative qu’il applique aux sites et aux artefacts. Cette conférence présentera la collaboration entre Lia Wei et Zhang Qiang dans le domaine de l’art contemporain de l’encre et de la recherche sur l’histoire de l’art. De 2009 à 2017, le duo a fouillé une série de sites datant de la période troublée et culturellement fertile de l’histoire chinoise s’étendant entre les grands empires Han et Tang, souvent appelée « Chine médiévale » : d’une part les tombeaux dans les falaises des Han orientaux (IIe au IIIe siècle de notre ère) situés dans la province du Sichuan et d’autre part, l’épigraphie monumentale du moine Seng’An Daoyi (562-580) dans l’arrière-pays montagneux de la province du Shandong. En étudiant ces vestiges culturels dans leur contexte, Lia Wei et Zhang Qiang ont voulu jeter un nouveau regard sur l’histoire de l’art et sur les moyens traditionnellement utilisés pour enquêter et enregistrer le passé.

This talk revisits the toolkit of the Chinese antiquarian. Calligraphy, landscape painting and seal carving form a prism through which visual and material realities can be revisited and are part of the same toolkit as travelling, collecting and rubbing steles. Literati and antiquarians are but two faces of the same figure, one turned towards creation, the other one towards the study of the past. The double arrow is a mutually enforcing one. Chinese antiquarianism appeals to us because of its contrasting attitude to matter, its strong reliance on text, and the distorting - and creative - lens it applies on sites and artefacts. This talk will present a collaborative experiment in contemporary ink art and art historical research between Lia Wei and Zhang Qiang. Between the years 2009 and 2017, the duo has investigated as series of sites belonging to a troubled and culturally fertile period in Chinese history located between the great Han and Tang Empires, often referred to as ‘medieval China’: the Eastern Han period cliff tombs (2nd to 3rd century CE) in the canyon and plateau landscape of Sichuan province and the monumental epigraphy of the monk and epigrapher Seng’An Daoyi (562-580 CE) in the mountaineous hinterland of Shandong province. The technique of rubbing was used to replicate sculptural or architectural elements as well as calligraphic or pictorial traces. Both examples of stone working are challenging to replicate into rubbings, and stand on the frontier between two-dimensional and three-dimensional representation. By selecting cultural traces of times and areas of ideological, political, religious and artistic experimentation, Lia Wei and Zhang Qiang hoped to both cast a fresh eye on mainstream history and on the tools traditionally used to investigate and record the Past. Mapping frontier landscapes also meant exploring disciplinary boundaries, and producing an output that would remain in-between existing fields of practice and knowledge.

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