邱志杰

Washroom

source: longmarchspace

Qiu Zhijie (b.1969, Fujian Province) graduated from the printmaking department of the Zhejiang Academy of Fine Arts (now China Academy of Art), Hangzhou in 1992. Since the 1990s he has become one of the most active conceptual artists in China, as well as being one of the most diverse: his many identities include artist, curator, writer, professor, and scholar.

Considered an intellectual force in the contemporary Chinese art world, his artistic activities are heavily informed by historical, social and academic issues that are often contentious or possessing significant cultural import. An artistic scholar whose practice challenges traditional philosophies in direct relation to the social condition of contemporary China, Qiu Zhijie’s multifarious practice embraces a diverse range of media, from printmaking, video, photography, performance, sculpture and painting.
From the investigation of the written word in Chinese traditional culture through calligraphy.
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source: philagrafika2010org

Zhangzhou, China, 1969. Lives and works in Beijing and Hangzhou. Qiu Zhijie studied at the Zhejiang Academy of Fine Arts, now the China Academy of Art, and currently is Associate Professor in Mixed Media there. He has recently had a solo exhibition at the Shanghai Zendai Museum of Modern Art and has also been included in exhibitions at Tate Liverpool, the 3rd Ghangzhou Triennial, and the International Photography Center, New York. Qiu Zhijie’s most recent solo museum shows are ·Breaking Through The Ice” at the Ullens center of Contemporary Art in Beijing and “Twilight of the Idols” at the house of World cultures, Berlin. Qiu is part of the current Venice Biennale, in the China pavillion.

Besides his work as an artist, Qiu Zhijie is a curator and organizer of exhibitions. In 2002 he started with Lu Jie The Long March, a project whose aim is to reach out to the community: “Mao’s March symbolized the deliverance of the Communist ideal to the Chinese proletariat, it is with this symbolism in mind that we now choose to march contemporary art out to China’s peripheral population.” Qiu Zhijie studied the art of traditional ink rubbings, and did a series of works based on steles or carved stones he discovered or visited in various archaeological sites. This led to Monuments (2007), a project that reflects on the tradition of the printed image in China, and on how personal and collective memory are intertwined. In 2002 Qiu did the performative work Left/Right: Long March, which involved marking various sites on Mao Zedong’s historical Long March with the Chinese characters for “left” and “right” etched on the soles of his shoes. The inscriptions were left at various historical sites, among them the Luding Bridge, at dadu River in Sichuan province, and the former site of The Flying Tigers airport in Lijang, Yunnan province. In a moment where China was debating about maintaining a political line while opening itself to the ways of Capitalism, Qiu Zhijie’s gesture is a poignant one.

For Monuments (2007), Qiu Zhijie collected and classified many different forms of writing, both public and personal. For each form of scripture, he carved a layer of concrete. After the plate is dry the inscriptions were printed on paper by rubbing with ink, and a new layer of concrete was poured, upon which a new set of characters was then inscribed. Each new layer obliterated the previous one, burying the marks forever and replacing them with a new form of scripture; the only witness that remains is the single print, done with the traditional rubbing process that entails placing a sheet of paper on top of the stele. Monuments is a powerful overview of China’s political history as well as a reflection on the capacity of monuments of retaining collective memory.
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source: baikebaidu

邱志杰，1969年生于福建省漳州市，1992年毕业于中国美术学院版画系，现任中国美术学院综合艺术系副教授。中国美术学院展示文化研究中心副主任，中国当代艺术院专家，北京二万五千里文化传播中心艺术总监。生活居住在北京和杭州。