|
Selected
Solo Exhibitions:
|
2005
|
BLACK □
GREY, Art Beatus, Hong Kong
|
2005
|
■
WHITE
GREY, GDK I Galerie der Kuenste, Berlin |
2005
|
BLACK
WHITE ■, Duolun Museum
of Modern Art, Shanghai |
2004
|
Qin
Chong Installations, Hai Shang Shan Art
& Exhibition, Shanghai |
2002
|
Shadows,
Kuenstlerhaus S11, Solothurn |
2001
|
Enchanting
Paper, Federal
Foreign Office, Berlin |
1996
|
Qin
Chong, Ammonal Gallery, Beijing |
1990
|
First
Solo Exhibition in Beijing |
Selected Group Exhibitions: |
2006
|
Shu,
Reinventing Books, China Art Institute Gallery, New York |
2005
|
Convergence
at E116°/N40°,
Beijing |
2005
|
The
Other End, Hexiangning Art Museum, Shenzhen |
2004
|
Are
You Eating My Tofu?, Backfabrik, Berlin |
2004
|
Invited
to the 1st
Beijing Dashanzi International Art Festival, Beijing |
2003
|
The
Rest of the World,
Neuffer am Park / Pruess & Ochs Gallery, Pirmasens |
2002
|
Pyrotektura,
Water Reservoirs
Berlin, Foerderband Kulturbuero |
2001
|
Chinese
Artists Living in
MEZ, 2yk-Gallery / Foerderkoje, Berlin |
2001
|
Bursary
Exhibition,
Brunswiker Pavillon, Kiel |
2001
|
Peking
- Dachau, Dachau Castle (Sino-German Artists Workshop) |
2000
|
Bursary
Exhibition, Zitadelle Spandau, Berlin |
1998
|
Young
Art from China, En Passant Gallery,
Hamburg |
1997
|
Poets
in the Sunlight, Kulturbrauerei, Berlin |
1997
|
Chinese
Art in Berlin, in cooperation with
the German Humanistic Association, Berlin |
1995
|
2nd
Joint Exhibition of Chinese
Professional Painter's Works, Ammonal Gallery, Beijing |
1994
|
New
Trends-Art Hong Kong and Avant - Garde Chinese
Art Exhibition, Hong Kong |
1994
|
Chinese
Professional Painter's Works - Winter
Exhibition, Shenzhen |
1993
|
1st
Joint Exhibition of Chinese
Professional Painter's Works, Ammonal Gallery, Beijing |
Burasaries
/ Scholarships: |
|
|
2002
|
Artist in
Residence, Altes Spital Solothurn, Switzerland
|
|
2001
|
Scholarship of
the Ministry for Culture of the Federal State of Schleswig-Holstein
|
Review
TRILOGY OF BLACK
AND WHITE (Qin, Chong)
Lu, Sheng zhong
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 venerable ness.
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.
Lu Shengzhong
Beijing, March 2001
By
Lu Shengzhong, Qin Chong, Qin Feng, 2001Zauberhaftes Papier -
Enchanting Paper Publisher
For further
information, please contact:
Canada: tel: (1) 604.688.2633, fax: (1) 604.688.2685
|
