#Wang Xiaogang

[omophagias]

decided to do a thing i saw on letterboxd called “modular film festival” (original post here), putting the list up here b/c i’m very likely to lose the physical copy

self-imposed rule was it had to be something i either haven’t seen or literally can’t remember seeing. there’s no way i watch all of these in 30 days but i want to finish it by the end of the year.

✅ a winner of op’s moviebowl tournament -- metropolis (1927), fritz lang

✅ two movies thematically linked somehow -- theme: napoleonic era -- the duellists (1977), ridley scott

✅ see above -- the ashes (popioły) (1965), andrzej wajda

✅ a movie from eastern europe -- stalker (Сталкер) (1979), andrei tarkovsky

✅ a movie from the middle east -- death of yazdgerd (مرگ یزدگرد) (1982), bahram beyzai

✅ a movie from southeast asia -- a land imagined (幻土) (2018), yeo siew hua

✅ a movie from north africa -- wanderers of the desert (الهائمون) (1984), nacer khemir

✅ a movie from sub-saharan africa -- double-header: kwaku ananse (2013), akosua adoma owusu & touki bouki (1979), djibril diop mambéty

✅ a movie starring nicolas cage -- mandy (2018), panos cosmatos

✅ a kaiju movie -- shin godzilla (シン・ゴジラ) (2016), hideaki anno & shinji higuchi

✅ a movie based on a video game -- werewolves within (2021), josh ruben

✅ three movies by the same director i haven’t seen -- director: alfred hitchcock -- rebecca (1940)

✅ see above -- vertigo (1958)

✅ see above -- north by northwest (1959)

✅ a black and white horror movie -- the witch (häxan) (1922), benjamin christensen

✅ a non-english-language action movie -- samurai assassin (侍) (1965), kihachi okamoto

✅ a movie by an lgbtq+ director -- big eden (2000), thomas bezucha

✅ a movie by an indigenous director -- atanarjuat: the fast runner (ᐊᑕᓈᕐᔪᐊᑦ) (2001), zacharias kunuk

✅ a movie by a director neither white nor a man -- atlantics (atlantique) (2019), mati diop

✅ a movie from op’s list “the hundred” -- the third man (1949), carol reed

✅ a movie from roger ebert’s top 10 of my birth year -- maborosi (幻の光) (1997), hirokazu kore-eda

✅ two movies i have not seen whose directors were nominated at the 2022 cannes festival -- oldboy (올드보이) (2003), park chan-wook

✅ see above -- beau travail (1999), claire denis

✅ a movie from the “hideo kojima canon” -- blade runner (1982), ridley scott

✅ a movie that won best picture in the 1970s -- the french connection (1971), william friedkin

✅ an animated movie not made in the usa or by studio ghibli -- azur et asmar (2006), michel ocelot

✅ a movie 150 minutes or longer -- dwelling in the fuchun mountains (春江水暖) (2019), gu xiaogang

✅ a movie 90 minutes or shorter -- another double-header -- ruddigore (1967), joy batchelor & nezha conquers the dragon king (哪吒闹海) (1979), wang shuchen, yang dingxian, & xu jingda

✅ a niche documentary -- what counts as niche? -- cave of forgotten dreams (2010), werner herzog

✅ a black and white non-english-language movie from before 1970 -- snow trail (銀嶺の果て) (1947), senkichi taniguchi

[heavenboy09]

Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊 To A Very Most Elegant Asian Beauty & Highly Regarded Amazing Actress Of Remarkable & Critically Acclaimed Roles In Both National of Her country & International Roles in the US & etc.

She is A Chinese Born Actress & Singer

She was born in Wuchang, Heilongjiang, China. She initially had no intention of becoming an actress and enrolled specifically in a high school for prospective school teachers. However, upon graduation, she discovered her interest in acting and was eventually persuaded by a friend to join the Shanghai Theatre Academy in 1993.

She rose to fame after starring in Zhang Yuan's Seventeen Years (1999), which won her the Best Actress Award in the 1999 Singapore Film Festival. In 2001, She starred in the television series Young Justice Bao, which propelled her to become one of the most famous actresses in China.

She was subsequently labelled as an "action actress" as she starred in a number of wuxia television series, such as Taiji Prodigy and Eight Heroes.

She achieved breakthrough with her performance in Feng Xiaogang's A World Without Thieves. She then starred in Dayyan Eng's romantic comedy film Waiting Alone, for which she received her first Best Actress nomination at the Golden Rooster Awards.

In 2009, She won Best Actress at the 46th Golden Horse Film Awards for her performance in The Message, about Japanese invaders in China who try to ferret out a spy among their Chinese collaborators.

She then starred in Tsui Hark's 2010 action-mystery film Detective Dee and the Mystery of the Phantom Flame. She played Shangguan Jing'er, a fictional character based on Shangguan Wan'er, a prestigious politician during the Tang Dynasty. She established her studio in the same year, co-starring and co-producing the film 1911 with Jackie Chan, which was released in September 2011 to celebrate the 100th anniversary of the Xinhai Revolution.

Her first-time in an English-language film is Wayne Wang's Snow Flower and the Secret Fan, adapted from Lisa See's 2005 novel of the same title. The film premiered at the 2011 Cannes Film Festival. She started to gain recognition in Hollywood after starring in Resident Evil: Retribution, playing Ada Wong. The same year, she was cast in action fantasy film 400 Boys, directed by British director Alastair Paton.

In 2013, She attended the 4th Annual US-China Film Summit and received the East-West Talent Award. Hollywood magazine Variety also named her Asian Star of the Year. The following year, She was featured in Transformers: Age of Extinction, the fourth installment of the film franchise. This helped solidify her success overseas.

In 2015, she was cast in 3D science fiction thriller Nest (also known as Guardians of the Tomb), a Chinese-Australian co-production that was finally released in January 2018. The same year, it was announced that She would play China's first female superhero in upcoming film Realm, written by Stan Lee.

In 2018, She starred with Jason Statham in The Meg, an American-Chinese shark film based on Steve Alten's 1997 novel Meg: A Novel of Deep Terror.

Her Best Well Know Role Is In the 2008 Martial Arts Film

Starring Jackie Chan & Jet Li

In

THE FORBIDDEN KINGDOM

As She Played The Iconic & Infamous China's Villainous Character in Chinese Martial Arts Films.

THE WHITE HAIRED WITCH 🧙‍♀️

She Is A Very Well Know Established Actress In China 🇨🇳 1 of the Many Great Actresses today

& A Charity Ambassador Of The Shanghai World 🌎 Expo & A Goodwill Ambassador Of UNEP

Even though she may not look it. She has aged Very Gracefully & Amazingly over the many years. As A Bad@$$  Action Actress In Wushia

Please Give A Very Well Round of Applause & A Very Happy Birthday Wishes To

The 1

& The Only

MS. LI BINGBING / BING BING LI

HAPPY 50TH BIRTHDAY 🎂 🥳 🎉 🎈 🎁 🎊 TO YOU MS. BINGBING & Here's To Many More 💖 

[nuncaestarassolo]

2006, A new method of playing with illusion and reality, Chungwoo Lee

A new method of playing with illusion and reality – Gwon O-Sang

 “A new technique of illusions making tiny but visible cracks in the territory of the Korean art scene established by the 1990s”

Chungwoo Lee, Art in Culture, Editor-in-Chief,  http://crazyseoul.com

Leaving behind all that is “so 1990s”

On February 17, 2004, at the opening of the Real Reality show at Kukje Gallery, the artist Gwon O-Sang seemed to have put everything that was of the 90s behind him, and in doing so, marked a small but significant victory. Through Real Reality, Gwon became the first artist to come knocking on the doors of commercial success, and move beyond the obscure fray of the present art scene, largely made up of “second-generation baby boomer” artists and established by the tendencies of the 1990s. (“Second-generation baby boomers” refers to those born in Korea in the early-and mid-1970s. The birth rate statistics chart for post-war Korea resembles a camel with two humps. The first generation of baby boomers was born in the mid-and late-1960s, and the talkative and problematic 386 generation constitutes its core group.[1]  While the population momentarily paused in 1971, the figures exploded again in the mid-1970s. Those born during that time are the second-generation baby boomers, known as the “Seo Taiji” [2]generation, which led the way to a mass consumer culture.) Real Reality represented a very significant event, as the first show within the domestic commercial gallery system that featured young Korean artists in their early 30s as the exhibition headliners. (In form, Real Reality was a four-person show that included Bae Bien-U (b.1950), Gwon O-Sang (b.1974), Lee Yoon-jean (b.1972) and Lee Joong-keun; in actuality, it was more like a three-person show of Gwon, Lee Yoon-jean and Lee Joong-keun.) When editions of the works in the show sold in large numbers following the opening, this served as proof that a domestic market able to handle young Korean artists really did exist. Did this mean that a new “niche market” had been cultivated?  Sure enough, a little later on in February 2005, Gwon captured the public eye when he was chosen by Ci Kim (Kim Chang-il), head of Arario Gallery, to be a represented by Arario, and the artist soon entered a one-year hiatus. (As of 2006, Arario Gallery represents a total of 8 Korean artists: Gwon O-Sang, Koo Dong-hee, Lee Hyungkoo, Chung Sue-jin, Baek Hyun-jin, Park Sejin, Lee Dong-wook, and Jeon Joon-ho; and seven major Chinese artists: Wang Guanyi, Yue Minjun, Zhang Xiaogang, Liu Jianhua, Sui Jianguo, Fang Lijun, and Zeng Hao.)

The Korean art scene’s current situation is a rather strange affair. Actually, for the past couple of years, the same tiresome state of affairs continued. However, maybe because a “conversion to good quality” was naturally bound to come around, a period of change that diverged from the “1990s system” finally arrived. For the past couple of years, the art scene was based in a value system forged during the 1990s, with a number of exhibitions and events playing a pivotal role in its formation: the 1993 Whitney Biennale in Seoul; the 1998 Seoul in Media—Food, Clothing, Shelter show; ArtSonje exhibitions, the Ssamzie Residency Program, and the formation of alternative spaces like Pool, Sarubia and Loop. However, the emergence of a “young artist boom” following the 1998 Seoul in Media show did not directly translate into commercial success and resembled more of a bubble effect, with the only fruits of success harvested, without exception, by the generation of artists led by Lee Bul and Choi Jeong-hwa. However, Lee already looks on the verge of being over-consumed and exhausted, while Choi, who for a while seemed to have fallen behind in the competition, gave up the possibility of making the 1990s truly his own. (Choi Jeong-hwa’s first museum solo show had been planned for October 2004 at Rodin Gallery but was cancelled. “Victory” very nearly could have been his.) Yet these already obvious shifts could have just been due to the change in major exhibition spaces. The decline of 1990s values started to become visible following the close of Ho-Am Gallery in February 2004, and was even more acutely felt after Director Kim Sun-jung’s ArtSonje closed its doors in December 2004. And of course, that is not all.

The alternative spaces so vocal in the past about their founding objectives, seem to have become, somewhat differently from their inception, the gateway for “study-abroad students” coming back to have “homecoming” exhibitions, (or maybe that was what they were supposed to be from the beginning?), and they, along with their selected artists, appear to be in the process of aging prematurely. Out of the blue, Alternative Space Loop built a building and turned into an awkward commercial gallery in late 2005, and Alternative Space Pool closed its Insa-dong period and moved to Gugi-dong in 2005, while Insa Art Space, which claimed that “it had never been an alternative space in the first place,” moved to Gwanhun-dong in 2006, saying that it would now “focus on archiving and developing research” (namely, it would no longer concentrate on exhibitions). The Ssamzie art industry, which split up and expanded into Ssamzie Space, Ssamzie Residency, Ssamzie Art Warehouse, Ssamzie Gallery, Ssem-Ssem Clubhouse, etc., seems unable grasp what real planning entails, with Director Kim Hong-hee focusing her attention on organizing the 2006 Gwangju Biennale (Although the artists in the 2005 residency program are much better than those in the previous one). In the case of Art Center Nabi, headed by Director Noh So-young, it is rather negligible in terms of the influence it has on the art world (unlike Ssamzie or ArtSonje), even though quite a lot of money was spent over the years. Of course, while the opening of the new Leeum Samsung Museum of Art in October 2004 brought some fresh air to a Korean art world clouded by the signs of premature aging, it was nothing more than the axis of a new power that brought about the demise of 1990s values. Then, is it possible for the Arario Gallery artists, with Gwon O-Sang at the head, to open up a new territory? This period in February 2006, just before Gwon’s second solo show, is a strangely dimwitted and forward-looking moment.

For a while, Gwon was called the Korean artist who “had talent, but no luck,” having applied to the Ssamzie Residency program three times and getting dropped each time. But after showing at Kukje Gallery and signing on with Arario Gallery, hardly anyone considers him an artist short on luck. So before we see the new works in his upcoming show in March 2006, let’s take a careful look at what he has produced in the past.

The beginnings of his work: Making light sculptures

Gwon’s photo-sculptures, which look as if David Hockney’s panorama photo works had been turned into solid, three-dimensional bodies, give such a strong impression that they are hard to forget after seeing them just once. His first works, “A Demand of Proof” and a series called A Tenacious Report on Power, all made in 1998, had the slightly unfinished feel of amateur work, but were equally as strong. The works from 1998 were large enough to fit on top of a studio work table, and were completely hollow inside. A sculptural mass was constructed by means of a panoramic montage, or to put it differently, a solid object was made by piecing together photographs. The work process used in these first pieces could be considered quite important. After different parts of the model’s body were shot with the same light source, the film was developed and the prints pieced together to form a sculptural body (made without looking at the model). The fact that Gwon used this process to achieve a sculptural end-result is without precedent in the history of contemporary art. In fact, from the get-go, Gwon’s works have contained an infinite amount of possibilities, since they were born between the two families of the photographic arts, which have increasingly declined to the level of a techno-baroque craft, and the sculptural arts, which have already declined so much that it is hard to make out a direct line of descendants.

The artist, who graduated from the Hong-ikUniversity sculpture department, said that “The gist of earlier works was to make ‘light sculptures.’” So while his photo-sculptures look as if they are solely photographic in nature, they are undoubtedly the offspring of the sculpture family. (On artist Kang Young-mean’s homepage, there is a link to Gwon’s own site, and he is surprisingly introduced as a sculptor. In the Korean art world, Gwon has been widely recognized as someone working in photography; not once has he been called a sculptor. So, Kang’s usage of “sculptor” to introduce Gwon struck me as very strange.) However, it seems that the artist did not precisely calculate the relationship between the surface appearance created by the photographs and the sculptural mass. Because the first works that he made in 1998 were paper sculptures made solely with photographic prints, they were incredibly weak; so when he increased the size shortly thereafter, he made an “interior structure” to support the paper-sculptures. Once he created these interior structures, his early rationale of using a sequence of photo prints to construct solid bodies immediately converted into an aesthetic of Potemkin facades (This term refers to fictitious, optical-illusion architecture and derives from the false buildings and facades that Gregory Potemkin made for Catherine the Great in the late 18th century.) Thus, afterwards, it appeared that Gwon was able to create, in a fairly fascinating manner, variations on a world of false sculptures that resembled the props and sets of television shows. (The relaxed rules of his work conditions appear to have secured for the artist a certain amount of semi-autonomy.)

The development of photo-sculptures as photogenic as TV show sets   

Gwon’s first major work, “A Family Photo of 440 Pieces Composed of Tenacity,” was completed in 1999. This piece featured the artist’s parents seated on chairs and appears to have been the first piece where a metal armature was produced. But because of structural problems, the artist has kept the partially damaged work in his studio. Looking at documentary photos of the piece, it was originally displayed along with a photo of the four members of the artist’s family, and judging from the documentation, it looks as if the artist might have initially planned on making photo-sculptures of all four members. However, the piece that really fit the bill for his initial goal to create “light sculptures” came with “Unbearable Heaviness,” made in the same year. This sculpture of a rock made from photos taken of a real one easily captured a sense of irony, while the inside of the sculpture was filled with urethane foam. But it doesn’t look like the artist went to the trouble of turning the rock upside down and shooting the bottom. So in a sense, this work too was a fool-the-eye Potemkin façade. It only makes sense that strict modernist heroes would feel hostile toward Gwon.

On the other hand, “A Crumpled Plan on a Dreamy Journey” (1999), a three-dimensional work made by crumpling up C-prints, was unable to establish a sense of irony because of its rather vague line of thought, and thus slides off the side of the network of meaning. The artist called this “the work that couldn’t capture people’s attention,” and this piece, which was part of a series, tended to try a little too hard to look like a “work of art.” The fact that the piece was firmly “installed” above the bathtub in a public bathhouse was rather contrived, but also in the case of the Spoiled Journey series, it’s hard to understand why these photo-sculptures made from crumpled photographs had to be nailed into warped wooden frames. Is it that the warped frames were metaphors symbolizing a “spoiled reality?” (By all means, I would hope not. The only term that has a lamer status than “metaphor” in the contemporary art world would probably be “expression.”) (But the crumpled sculptures do still seem as if they have lots of potential. In contrast to his earlier works, “Pyeongchang-dong” (2002), a piece where a view of Pyeongchang-dong has been crumpled up and put into a section of a window frame, is very successful. As a rare piece by Gwon that is site-specific, issues of landscape and its photographic shooting, the notion of the frame, and the result of a three-dimensional body being made from a crumpled print can all be read in one, clearly explained effort. Of course, in terms of the work process, there is some disappointment over the fact that he couldn’t take the shot without including the window.)

Gwon’s probably best-known work, “A Statement of 280 Pieces on the Absolute Authority and Worship in Art,” was made in 1999, and consisted of a Jesus-like figure nailed to a cross. Thanks to the way this extremely photogenic piece used an illustrative composition that combined religious imagery with Marshall Arisman-like images, it gained much attention. (It’s possible that this was Gwon’s piece de resistance.) But then the brain has a way of tiring immediately of the sugar-coated narrative. A naked man with a dog’s head strung up like Jesus and “ART” written across the top as the name of the crime—-this is, like the title of the piece, a bit long-winded. Thus, even though it has only been five years since its completion, the piece already looks hackneyed, and it seems like the artist considers it a little embarrassing as well.

Seeking diverse work logics

On the other hand, “A Statement of 540 Pieces on Twins” and “A Statement of 420 Pieces on Twins,” two works created in 1999, appear stable even when seen today. Actually, it is no wonder, for this is because these works basically add on classic twists of irony to his original, earlier works.

However, in contrast to the stability of the external appearance, something is a little shaky about the rationale used to construct the works, for, the two circuits making up these twins– their being photo-sculptures, and their Jacques Carelman, “Impossible Object”-like sense of irony—do not quite fit together and form a rather disconnected, short-circuited  relationship. Of course, if the artist states that the work is an examination on the possible differences that arise when making a pair of identical sculptures from repeating identical prints, then the doubts that I raised about the “sculpture of irony” can be dismissed. (If the artist claims that “A Demand of the Reduction Composed of 300 Pieces,” a piece from 2000 where the head has been reduced, is a study of size reduction in photographs, then it is possible to defend the work’s logic.)

Yet you no longer have room to make excuses for the disjointed quality of his works with “A Statement of 360 Pieces on the Field of Multiple Vision” (2000), where three ducks’ heads have been attached to a human body. Accordingly, I prefer strictly figurative works like “On the Languishment of 340 Pieces” (2000), where there are no disparate elements that have been juxtaposed, no changes in the human scale, and the basis of the piece is simply the reproduction of photographs through a three-dimensional sculpture. Works like “A Castrated Entry” (2000) and “’Re-assembled Flower Petals” (2000), which could be read as up-scaled sculptural works made with enlarged prints, can also be considered good works. However, I’m a bit displeased by the rather incoherent titles. The majority of his works seem to have been named after their completion, and these rather heavy-handed titles are hard to take in. (Of course, in the case of the sculptures where the number of prints used in their construction has been established, the amount of prints had to be pre-recorded; in which case, the numbers in the titles have been decided beforehand.) Although the artist said that “Because I didn’t consider the titles to be that important to the work, I initially tried to give them an ‘untitled’ feel,’” but it is hard to get this “untitled” feeling, especially when he names a work of a flower with petals and no stamen “A Castrated Entry.” This is why I prefer rather blunt works that have plain names like “A Traveler’s Suitcase” (2000). (It would have been better if works like “Meaningless Emission,” (2000) a reproduction of a heavy-duty garbage bag filled with trash, was just called “Trash.”) If it’s an “untitled feel” he was after, “A Statement of Meaningless 360 Pieces” (2000), which was part of his installation, “A Comfortable Journey,” would have been about it.

Deodorant Type

Gwon says that beginning with his first solo show in 2001 at Insa Art Space, he started to gain recognition as an artist. At his first solo show, where the allegory of a “Deodorant type” was used in the show’s title, a new thread of logic unseen in previous works could be detected. Deodorant type, which could seemingly suggest some new type of photo printing, was borrowed from Nivea brand deodorant. There’s no reason why a deodorant used to cover up armpit smells would sell very well in Korea, but it was at least successful in awakening the interest of an artist named Gwon O-Sang. Then exactly what kind of social narrative does the deodorant allegory elicit? Does this mean that Gwon’s works demonstrate a cover-up and surface-illusion quality, just as the term “deodorant type” suggests the effect of a superficial cover-up? Then does this mean that this exhibition is about concealed set-like constructions and the illusionism of photographs?

The work that first gained attention was “An Alien—A Statement on the Viewfinder Composed of 350 Pieces” (2001), which was used for the show’s advertisement poster. Religious imagery was again used here. The piece was installed so that its feet were lifted slightly off the ground and features an alien-like naked figure in the Amita pose, which symbolizes the present, transient life. I was at a loss to discover what kind of relationship this piece had to the other works. This is because at about the time of this exhibition, Gwon began to borrow from aesthetic elements found commercial advertisements. A quick glance through Gwon’s work notebook revealed that he had made scraps of several images taken from advertisements and fashion magazines. What was really eye-catching was how he had borrowed model’s poses for his sculptures. The position of the Siamese twins featured fighting with their own images in “A Statement of Entangled 480 Pieces” was taken from the poses struck by models in a Gucci ad, while the woman sitting on the ground with one leg extended out in front of her in “A Statement of Meaningless 360 Pieces” (2000) cites an Ungaro ad campaign. Then where did “ChineseGarden,” a piece that reproduces an oddly shaped ornamental rock, such as those particularly loved by the Chinese, find its source? The artist’s response is extremely fascinating:

I have a lot of interest in advertisements. At around the time I was making this piece, the “zen” look was in. Westerners first took in Chinese, Japanese and other Asian cultures as Orientalism, and that Orientalism became revived as a retro trend in the 90s, and I found it fascinating that the style was in turn imported into a country like Korea, where it was circulated and distributed as a very odd form of fashion.

It was at this point that I was able to figure out the hidden thread of the exhibition, and I became slightly restless, as if I had discovered a fascinating secret.

If you look closely, it appears that the photo-sculptures created after his solo exhibition all contain certain elements found in advertisements. This is the case in “Tender” (2002), a piece where a man in a yoga pose has soap suds covering his hands. In the artist’s work files, ad images have been neatly gathered and among them, Dior’s bubble-and-soap suds ad campaign and the Korean fashion shoots that borrowed from the Dior ads catch the eye. Goodness, the artist was much more thorough and precise than I had previously imagined. I made similar discoveries with the three photo-sculptures that he showed at Kukje Gallery. The works featuring his friends from university all take on rather tense poses, and little wonder—the man standing in the hooded tee in “Action Sampler” is the artist-cum-singer and occasional poet Baek Hyun-jin, who gained a name as the singer in the Uhuhboo Project; the man with his head in the bushes, or in “Hyde Park” (2003), is the artist Lee Hyungkoo, who makes strange optical devices; the woman in “Miss” (2003) who is bent over backwards and showing off her shoes is the artist Koo Donghee, known for making witty videos. Looking through the artist’s files, it appears that in the case of “Miss,” the pose from a doll in a Diesel ad was borrowed. (Even more striking are the other ads that feature the same backwards-bend pose.) In the case of the two other works, it is difficult to pinpoint their specific origins, but it is certain that they too have an element of appropriation.

For young artists, the first solo show is an important rite of passage. Most artists become discouraged by the fact that people do not immediately show an enthusiastic response, and they may even feel frustration toward a harsh reality (there are surprisingly few artists who realize that it is not true that a show has to be good in order for magazines and newspapers to write a review), but in fact, good exhibitions have a way of creating unexpected footholds. Gwon’s solo exhibition caught the eye of ArtSonje Director Kim Sun-jung, and Kim purchased the oddly-positioned twins caught up a bad relationship, or “A Statement of Entangled 480 Pieces.” For Gwon, this was his first sale. The artist said that he gained confidence afterwards. And this was probably not only a confidence booster in terms of his work, but a boost because a piece lacking structural stability had been sold. And just in the knick of time—the artist had just before contemplated selling the prints used to make the sculptures by framing and editioning them, just to sell some work. (The artist said that he had arranged the prints used in photo-sculptures in a flat format in an actual exhibition.) However, after this first purchase, those kinds of works were not realized. This is how a sharp-eyed collector’s small decision became a large boon, and not just in terms of money, to the artist. ( “Fear of 280 Pieces” from 2001, which was featured in his solo show, was sold in Japan when it was exhibited there. This was the first overseas sale for the artist.)

The easy overcoming of a sophomore complex

Young artists are often troubled by a sophomore complex (particularly the more so if they succeed with sparkling ideas). However, Gwon was easily able to push this period aside. Beginning in 2002, Gwon gained much popularity as an artist and was asked to participate in both small and large exhibitions abroad. Once they are consumed by the system, many artists cannot get a hold over themselves and, being unable to produce new works, waste energy trying to match the schedules of any exhibition within sight. Gwon was no different. Over some drinks, the artist quietly mumbled the peculiar words, “I didn’t even have the chance to get depressed over the fact that I had turned 30 because I’ve been so busy.” But in contrast to the other artists his age, he was able to gain some time by creating a new series called The Flat (2003) (and in the process gained a little money too). The Flat series is the safety work that has secured the artist some time for thought, so that he can make further progress. On top of that, this work continues on the theme of the strange contrast found in his photo-sculpture works, and as another “big idea,” makes his previous works look even more striking.

The Flat series is the culmination of an eye-fooling Potemkin façade. In this work where photographs of watches have been cut out from magazines and laid out according to different types and then re-photographed, he stimulates people’s worldly desires. But the objects so teeming with life in the works are all fake. Some of the ads stand on paper legs, but others, propped up on wires, can barely hold their ground. If you look closely at the print, little bits of wire are visible. This mischievous piece has so many possibilities and directions that it can go in, it’s fun just thinking about what future spin-offs might look like. (The artist said that for later works, he is thinking about shooting all of the objects featured in the March issue of GQ magazine, or perfumes, cameras, etc. The idea of shooting the magazine issue is undoubtedly a fabulous idea. That’s definitely a sharp one.) When I first saw this work, I thought that Gwon was simply exploiting countless photographers. Probably the most difficult and laborious thing to shoot are those objects deemed “luxury goods.” Each object is shot using the best conditions and photographers. (Especially in the case of products that have a reflection like watches, the shooting must be even more rigorous so that the photographer or camera is not shown in the watch. It is no easy task.) Each of the aesthetic heights of perfection attained within this elaborate system is quite simply appropriated in The Flat. This is an “art of plundering” that cannot be blamed. It’s fantastic. But the episode that started it all is even more so.

One day, the artist Lee Hyungkoo was visiting Gwon’s studio and out of the blue, he said that if you go to Namdaemun Market, you can get “bling-bling watches” that look real, and that it would be a riot if Gwon bought one and was seen wearing it at an art opening. So on the spot, Gwon cut out a “bling-bling watch” and fastened it around Lee’s wrist. It was as good as gold. Afterwards, the paper watch was placed on the wrist of the “twins” piece found at the entrance to Gwon’s studio, and the artist remarked that no one had a clue that it was just a flimsy piece of paper. Once this began, Gwon, who had initially made up his mind to make still life photo works, began to work on “still life works” made from magazine cut-outs. Props to Lee Hyungkoo.

Spielraum[3]–The space that will unfold next 

Just because Gwon is spending his time on “still life photos” does not mean that the questions and themes posed by his earlier works have been resolved. Gwon needs to come up with a more elaborate, historically-bound reasoning to deal with the issue of flat photographs becoming three-dimensional forms. Of the remarks made on his works by critics, the one that bothered him the most was that “well, if you look at the work as sculptures, they don’t amount to much.” The precise quote is the following. “…If you read his works as sculptures, no real issue is posed by them. This is because they are no more than sculptures made by using an easy formula where the obligation to depict something is just put onto the photograph….” (Kim Seung-hyun, Jirokwima,[4] exhibition preface, 2000). This is the vital point that indicates with certainty that the artist thinks of his work as “sculpture.” However, in order for the artist’s photo-sculptures to be recognized as a legitimate child of the rather old-fashioned family of contemporary sculpture, there are a number of processes that must be elaborated upon. If the historical phase that his works carry as sculptures becomes clearer, then through that, the history of sculpture itself will have to take into account those things that exist beyond a traditional history of the sculptural arts—like the previously-excluded Potemkin façade entities that resemble TV-set props; this process would entail going through a grueling trial. But if the rationale behind the artist’s works do not become clearer, then his photo-sculptures, different from the conceptualized, “objectual” sculptures of artist Chung Seo-young, may not succeed in gaining the status of “legitimate children of the sculpture family.” Unfortunately, the responsibility of establishing proof lies with the artist.

And that’s not all. In order to properly conserve and sell his works, he has to solve the difficult problem of structural durability. (For quite some time, in the case that a photo-sculpture is sold, he has promised to repair defects. But after becoming a so-called “successful artist,” it would be a rather embarrassing thing to go about doing repair work.) And there’s still more. The selected facets borrowed from advertisements are still vague. Only afterwards when more works have accumulated, will it be possible to read and evaluate a meta-narrative of those hidden threads, but if those works start to be read according to the artist’s arbitrary choices, then they could become nothing more than forms of “self-expression.” Of course, it’s still too early to worry. He is but a young artist of 33, still at an age where he has just reached the door of success. The spaces that will open up before him appear as if they will grant him quite a lot of semi-autonomy. Already, in his right hand he holds the rights to a diamond mine (photo-sculptures), and in his left hand he possesses the rights to a gold mine (flat works). If he chooses to dig the diamond mine, he will have to continue struggling, but for now, he will gain some time by exploring the gold mine. (As the critic Hal Foster said) This can only be successful if the artist’s semi-autonomy is used as a tactical method. If the artist unduly grants himself an unprincipled semi-autonomy, then the unlimited freedom and time that unfolds may become a fatal poison. Gwon O-sang now stands at the crossroads.

* This essay was originally prepared in April 2004 as a part of the “Korean Contemporary Artist Studies Project and was revised in February 2006.

[enterfilm]

CHUN JIANG SHUI NUAN (Gu Xiaogang, 2019)

[chinesemovieposter]

天下无贼（2004）

[patricktenbrink10]

Paintings at the Long Museum, Shanghai - 1979-1989 The Chinese Contemporary Art Exhibition from Long Museum Collection. Interesting examples of socio-cultural themes include:                                                            

Zhang Xiaogang: Grassland series: Night breeze. 1984

Zhou Chunya: Sheep shearing. 1981

Wang Huaiqing: People who talk to Buddha. 1987

Yu Xiaofu: one chariy permance - to the memory of Guernica. 1987

Li Xinjian: Scripture chanting in Zhebang Temple. 1987

Wang Zigong: Smoking room. 1988

See also portraits in the earlier tumblr post and better even, go to the Long museum in Shanghai. 

[databass3]

MASTERPOST

Categorías:

Dibujo

Pintura

Escultura

Cine

Arquitectura

Animación

Concept art

Ilustración

A

Tomma Abts

Lawrence Abu Hamdan

Franz Ackermann

Richard Aldrich

Brian Alfred

Francis Alys

Kai Althoff

Yoshitaka Amano

Ghada Amer

Even Amundsen

Hurvin Anderson

Richard Anderson

Wes Anderson

Tadao Ando

Ida Applebroog

Juan Araujo

Tauba Auerbach

Laurel Austin

Michael J. Austin

B

Andrew Baker

John Baldessari

Antonio Ballester Moreno

Matthew Barney

Darren Bartley

Georg Baselitz

James Baxter

Carole Benzaken

Cesar Biojo

Benjamin Björklund

Aaron Blaise

Rob Bliss

Michael Borremans

Lisa Brice

Cecily Brown

Glenn Brown

Borja Buces Renard

Bernard Buffet

Rafal Bujnowski

C

Ricardo Cabral

Varda Caivano

Francisco Calvelo

Brian Calvin

Helen Cammock

Gonzalo Cárcamo

Gillian Carnegie

Merlin Carpenter

Maurizio Cattelan

Gigi Cavenago

Vija Celmins

Zeen Chin

Chuck Close

James Coleman

Philipp Comarella

Iris Compiet

Sarah Crowner

Ángela de la Cruz

John Currin

Amy Cutler

D

Henry Darger

Ian Davenport

Noah Davis

Philippe Decrauzat

Benjamin Degen

Dominik Derow

Rineke Dijkstra

John Dilworth

Markus Döbeli

Peter Doig

Kaye Donachie

Pierre Dorion

Vladimir Dubossarsky

Marlene Dumas

Geirrod Van Dyke

E

Cecilia Edefalk

Thomas Eggerer

Tim Eitel

Franz Erhard Walther

Marco Espinosa

F

Helmut Federle

Roberto Ferri

Eric Fischl

Tom Fox

Moby Francke

Lucian Freud

Bernard Frize

Michael Fullerton

G

Julio Galan

Jorge Galindo

Ellen Gallagher

Fran Garcés

Mario García Torres

Tim Gardner

Jennifer Gennari

Nikolay Georgiev

Kim Jung Gi

Geng Gianyi

Ari Gibson

Wanjin Gim

Wayne Gonzales

Katharina Grosse

Mark Grothan

James Gurney

Wade Guyton

H

Peter Halley

Josephine Halvorson

James B. Ham

Peter Han

N. S. Harsha

Eberhard Havekost

Mary Heilmann

Sophie von Hellerman

Lubaina Himid

Mah Hirano

Damien Hirst

Howard Hodgkin

Gary Hume

Jackqueline Humphries

Steve Huston

I

Callum Innes

Toyo Ito

Eliza Ivanova

J

James Jean

Ruan Jia

Chantal Joffe

Chris Johanson

Jama Jurabaev

Yishai Jusidman

K

Johannes Kahrs

Alex Kaneuski

Jacob Kassay

Alex Katz

Kurt Kauper

Anselm Kiefer

Karen Kilimnik

Martin Kippenberger

R. B. Kitaj

Martin Kobe

Jutta Koether

Ayami Kojima

Satoshi Kon

Peter Konig

Alex Konstad

Karl Kopinski

Kekai Kotaki

Elke Krystufek

Kengo Kuma

Stefan Kürten

L

Studio Laika

Jim Lambie

Maria Lassnig

Sol LeWitt

Songsong Li

Wanjie Li

Fang Lijun

Michael Lin

Dela Longfish

Rael Lyra

M

Jorge Macchi

Marcin Maciejowski

Elizabeth Magill

Michael Majerus

Victor Man

Finnian MacManus

Margherita Manzelli

Marta Marcé

Louis de Masi

I Nyoman Masriadi

Gbariele di Matteo

Leonard McComb

Crash McCreery

Ian McKeever

Lucy McKenzie

Jonathan Meese

Julie Mehretu

Beatriz Milhazes

Yue Minjun

Steve Mitchell

Moebius

Dianna Molzan

Baran Mong

Guillermo Mora

Sarah Morris

Justin Mortimer

Olivier Mosset

Hamoudi Moussa

Craig Mullins

Muntean/Rosenblum

Haruki Murakami

Oscar Murillo

Catherine Murphy

Ishbel Myerscough

N

Yutaka Nakamura

Yusuke Nakano

Yoshitomo Nara

Shirin Neshat

Ernesto Neto

Yasushi Nirasawa

Guillaume Normand

Kazuya Nuri

O

Albert Oelhen

Kazuo Oga

Julien Opie

Silke Otto-Knapp

Karla Ortiz

P

Blinky Palermo

Philip Pearlstein

Stuart Pearson Wright

Enoc Perez

Burno Perramant

Raymond Pettibon

Elizabeth Peyton

Richard Philipps

Lari Pitman

Sigmar Polke

Richard Powell

Richard Prince

Charlotte Prodger

Vitaly Pushnitsky

Q

R. H. Quaytman

Joe Quesada

R

Neo Rauch

Blake Rayne

Paula Rego

Carol Rhodes

Daniel Richter

Gerhard Richter

Matthew Ritchie

Paul Robertson

Scott Robertson

Clare Rojas

Georges Rousse

Royal Art Lodge

Nick Runge

Robert Ryman

S

Vyacheslav Safronov

Andrew Salgado

David Salle

Dennis Sarazhin

Juliao Sarmento

Wilhelm Sasnal

Jenny Saville

Adrian Schiess

David Schnell

Maaike Schoorel

Max Schulz

Sean Sevestre

Tai Shani

George Shaw

Kate Shepherd

Mª José Sicilia

Shazia Sikander

Amy Sillman

Dirk Skreber

Sylvia Sleigh

Matt Smith

Glenn Sorensen

SPA Studios

Hito Steyerl

Sturtevant

Ken Sugimori

T

Tatsuyuki Tanaka

Furio Tedeschi

Mark Tennant

Francisco Toledo

Robbie Trevino

James Turrell

Luc Tuymans

U

Nicolás Uribe

V

Adriana Varejao

Max Verehin

Ángel Vergara

Pieter Vermeersch

Jack Vettriano

Glenn Vilppu

Bill Viola

W

Takumi Wada

Kara Walker

Corinne Wasmuht

Steve Wang

Jonathan Wateridge

Alison Watt

Jeff Watts

Robert Watts

Matthias Weischer

Morgan Weistling

Wendy White

Terryl Whitlatch

Richard Williams

Sue Williams

Christopher Wool

X

Zhang Xiaogang

Y

Santiago Ydañez

Lynette Yiadom-Boakye

Yoh Yoshinari

Donglu Yu

Liang Yuanwei

Lisa Yuskavage

Z

Luiz Zerbini

Su Zhang

Feng Zhu

[dreamingsushi]

Douluo Continent - Episode 6

So tonight is just going to be a full me focused night. I'm sitting on my couch, I just gave myself a good night time face care, going extra for it. Because I deserve the love. I'm super ready for that next episode. I'm actually enjoying right now the ending credits of episode 5. Because I really like it. I believe Chinese drama OSTs are so underrated. Like, they are good. Sometimes the intro is a little too long, but... they good. I mean, they are good as music I would listen to while driving or cleaning. Or just to work out. Or just for fun. Plus they are perfect for KTV. And KTV is just my everything, I even bought one since we can't go KTV anymore ): And there we start!

Tang San manages to make an opening for Xiao Wu and the Great Master, but he used lots of his Spirit power and he can't summon it anymore. Xiao Wu wants to give a beating to that ugly. Tang San also wants to fight back, but the Great Master uses his second Spirit Technique to make everyone unconscious and make them leave. But then Xiao Chenyu still tries to threaten them so it angers Yu Xiaogang so he gives him a beating then they leave. And Wang Sheng hits ugly Xiao Chenyu with a sword. I hope it leaves a scar.

Tang San takes Xiao Wu and Yu Xiao Gang to his hometown.

Oh. Wang Sheng killed Xiao Chen. Then someone comes to ask who killed him. And Liu Long says it's Tang San and Xiao Wu. That person is under the city master and he orders to follow Tang San and Xiao Wu because everyone who was on site when Xiao Chenyu died would pay the price. Wang Sheng, I kind of dislike you now... Like I get it. But I still really dislike you.

Tang San and the others arrive at Tang San's place but his father hasn't been living there for a while already. The Great Master asks Tang San to show him his spirit. It's not dead, but it has been deeply injured by the lightning. It might never heal again. But there's still a way and that would be to get the second Spirit Ring. But he has just got his first one, so the chances he would succeed are really low. Moreover, it would be difficult in such a short time to find a Spirit Ring suitable to his condition.

Suddenly his father's back? He tells them to leave as fast as possible and informs them that Xiao Chenyu is dead. So they need to leave. Tang San wants to make Xiao Wu and Yu Xiao Gang leave first. And take all the responsability on his shoulder. And... like... I enjoy good characters. But Tang San is a little bit too... into the hero syndrome for me. His logic just doesn't make sense to me, it's too... pushy. Obviously, he can't pesuade her to leave without him so they decide to join forces and give them a lesson so they won't bother them again.

Yu Xiao Gang doesn't leave first and stays behind to talk with Tang San's dad. He feels his face is familiar. Then he recognizes him and asks him wasn't he dead a long time ago? I mean, Tang San's dad is rather the mysterious guy, and he definitely has a heavy past. The guy's Spirit is a hammer like Tang San's second Spirit. Then he got a perfectly suitable second Spirit Ring for Tang San. It was a gift left to him from his mother. She even had chosen the first one for him, but Tang San's dad says the one Yu Xiao Gang found for him was even better. He will help him once again, but Yu Xiao Gang can't reveal anything from Tang San dad's past.

Tang San tries to convince the chief of the village to tie them and hand them over so they will cut ties with the village. And he does. The bad people come in, ready to get them and kill them. Meanwhile Tang San's dad entrust his son to Yu Xiao Gang. Who happens to be from a quite a pretigious family. But he doesn't want to die, so he's going to leave. And then he changes his mind and comes back for them. He awakens the creature for Tang San.

The plant grows and gets rid of all the bad people, it doesn't seem to be affected by the lightning. Well not much. Tang San needs to go back out to distract the lightning master because his Spirit makes him look like a vegetal so the big one won't bother him. They manage to neutralize him! Yeah! Then Tang San can try to absorb his second Spirit. He cuts the plant and grabs it, which brings him much pain. He almost died too, he Yu Xiao Gang didn't come to rescue, the plant would have killed him. Xiao Wu comes in and uses her Spirit trying to help him. Tang San finally wakes up. Which makes him the fastest Spirit Master in acquiring a second Spirit Ring. Now they are all curious to see what his second Spirit Technique is and fight to be the guinea pigs. To save the Great Master, they will try on him, but...

END OF EPISODE! Yep. It's always like... they always cut AFTER cliffhangers, so it's just... Actually it's like they make a cut for an ad break. But it's the end of the episode. Anyways. I was rather impressed with Xiao Zhan's acting while he was unconscious and trying to wake up. It was pretty convincing to me and I usually am not a fan of his pain/scared acting, so this was rather great. He's growing as an actor, that's for sure and it makes me really happy. And also, I knew I knew Yu Xiao Gang from somewhere. I mean the actor, Calvin Chen. And that would be because I was really into Aaron Yan at some point in my life. And they are from the same boy band, Farenheit. Like, I would never has thought I'd meet one of them in such a drama. Don't get me wrong, it's a pleasure. But a surprise. Anyways. That's going to be it for me tonight, your humble me is getting tired and needs to go get some sleepy time.

See you Sunday for episode 7, tomorrow is K-drama night with my friends and we have some basketball anime to watch so I won't have time for that after work! Good night!

[elchicodenim]

Kris Wu is described as “workaholic” in MY LEGACY.

The series, MY LEGACY, documents the challenges and achievements of seven public figures-respectively, composer Chen Qigang; actress Shu Qi; actor Wang Jingchun; pop idol Kris Wu; artist Zhang Xiaogang; four-time Olympic table tennis champion Deng Yaping; and Chinese UFC champion Zhang Weili. It explores various facets of our era through examining the lives of icons from different fields, the producers say.

Producer Lin Jingjing depicts Kris Wu, who has nearly 51 million followers on the Twitter-like Sina Weibo, as a "workaholic".

Lin Jingjing also cites an instance in which Wu sent a barrage of WeChat messages at 2 am to his audio engineer to make tiny revisions to his recording.

Lin Jingjing says the star clearly understands the rapid changes in showbiz circles, and has been working hard to achieve breakthroughs amid great stress.

"ALL THE CELEBRITIES HAVE A UNIQUE INFLUENCE IN THEIR OWN FIELDS, BUT THEY'RE ALSO AFFECTED AND RESHAPED BY THE ERA." says Jin Hui, director of the production company, Haoyu Zhishi Studio of Tencent News.

source: chinadaily.com

[leftgoateetale-blog1]

REGARDER]] Séjour dans les monts Fuchun ~ Film Complet Streaming Vf

1 janvier 2020 / 2h 30min / Romance, Drame De Gu Xiaogang Avec Qian Youfa, Wang Fengjuan, Sun Zhangjian

Cliquez ici ➡➡ http://bit.ly/2ElG98W21

SYNOPSIS ET DÉTAILS : Le destin d’une famille s’écoule au rythme de la nature, du cycle des saisons et de la vie d’un fleuve.

Étiquette :

Séjour dans les monts Fuchun Film En Entier Streaming entièrement en Français,

Séjour dans les monts Fuchun Film Complet Streaming VF Entier Français,

Séjour dans les monts Fuchun Regarder Film en Streaming en Français,

Séjour dans les monts Fuchun Stream Film Complet Entier VF en Français,

Séjour dans les monts Fuchun streaming VF film en entier gratuit,

Séjour dans les monts Fuchun film complet streaming Vk gratuit,

Séjour dans les monts Fuchun Regarder Film en Streaming,

Séjour dans les monts Fuchun Film télécharger Torrent,

Séjour dans les monts Fuchun film complet en Français,

Séjour dans les monts Fuchun regarder en streaming,

Séjour dans les monts Fuchun youtube film entier,

Séjour dans les monts Fuchun streaming vf youwacth,

Séjour dans les monts Fuchun streaming en entier,

Séjour dans les monts Fuchun Regarder Gratuitment,

Séjour dans les monts Fuchun regarder film streaming,

Séjour dans les monts Fuchun regarder film en ligne,

Regarder Séjour dans les monts Fuchun 2020 Streaming VF Film En Entier Gratuit | Film complet HD streaming VF~Complet

Il y a 12 minutes - VOSTFR-HD: Regarder Séjour dans les monts Fuchun Streaming Vf en Francais. Séjour dans les monts Fuchun Streaming online. Voir Séjour dans les monts Fuchun Film 2020 streaming VF film en Français, Séjour dans les monts Fuchun Film 2020 streaming VF film complet, Séjour dans les monts Fuchun Film 2020 Streaming VF Gratuit, Regarder Séjour dans les monts Fuchun Film 2020 streaming vf, Séjour dans les monts Fuchun 2020 Streaming Francais film.

▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ REGARDER>>>>>>http://21.4km.online/fr/movie/596881 TÉLÉCHARGER>> http://21.4km.online/fr/movie/596881 ▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓

Titre : Séjour dans les monts Fuchun Date de sortie : 1 janvier 2020 Durée : 2h 30min                                           , Genre : Romance Drame Le Directeur : Gu Xiaogang Acteurs : Qian Youfa Wang Fengjuan Sun Zhangjian

Synopsis et détails : Le destin d’une famille s’écoule au rythme de la nature, du cycle des saisons et de la vie d’un fleuve.

Regarder Séjour dans les monts Fuchun Film Complet Streaming VF En Français - HD 2020 Voir Séjour dans les monts Fuchun 2020 Film Complet En Français, Voir Séjour dans les monts Fuchun 2020 Film Entier En Français, Voir Séjour dans les monts Fuchun 2020 Film En Français, Voir Séjour dans les monts Fuchun 2020 Film Complet, Voir Séjour dans les monts Fuchun 2020 Film Complet VF, Voir Séjour dans les monts Fuchun 2020 Film Complet Streaming, Voir Séjour dans les monts Fuchun 2020 Film Entier, Séjour dans les monts Fuchun 2020 Film Entier VF, Voir Séjour dans les monts Fuchun 2020 Film Entier Streaming, Voir Séjour dans les monts Fuchun 2020 Film Streaming VF, Voir Séjour dans les monts Fuchun 2020 voir en streaming gratuit.

Regarder Séjour dans les monts Fuchun Film Complet Streaming VF En Français - HD 2020

Regarder Séjour dans les monts Fuchun 2020 Film Complet En Français, Regarder Séjour dans les monts Fuchun 2020 Film Entier En Français, Regarder Séjour dans les monts Fuchun 2020 Film En Français, Regarder Séjour dans les monts Fuchun 2020 Film Complet, Regarder Séjour dans les monts Fuchun 2020 Film Complet VF, Regarder Séjour dans les monts Fuchun 2020 Film Complet Streaming, Regarder Séjour dans les monts Fuchun 2020 Film Entier, Voir Séjour dans les monts Fuchun 2020 Film Entier VF, Regarder Séjour dans les monts Fuchun 2020 Film Entier Streaming, Regarder Séjour dans les monts Fuchun 2020 Film Streaming VF, Regarder Séjour dans les monts Fuchun 2020 voir en streaming gratuit.

Regarder~ Séjour dans les monts Fuchun Streaming VF - •2020• ғɪʟᴍ ᴄᴏᴍᴘʟᴇᴛ HD

Télécharger Séjour dans les monts Fuchun streaming fr hd gratuit français complet Download free English Séjour dans les monts Fuchun Movie

Séjour dans les monts Fuchun streaming fr hd gratuit français complet

Séjour dans les monts Fuchun « Film Complet en Streaming VF - Stream Complet

VER~ HD~ Séjour dans les monts Fuchun Streaming VF - 2020 Film Complet HD 2020

==HD~ Séjour dans les monts Fuchun Streaming VF - 2020 Film Complet HD 2020

{^Film-complet^} Séjour dans les monts Fuchun Streaming VF - 2020 Film Complet

Séjour dans les monts Fuchun streaming VF film complet (HD) - streamcomplet - film streaming

Séjour dans les monts Fuchun (2020) #film Complet En Français

Séjour dans les monts Fuchun Streaming VF 2020 Regarder Film-Complet HD

Télécharger Séjour dans les monts Fuchun Streaming VF 2020 Regarder Film-Complet HD

REGARDER VOIR Séjour dans les monts Fuchun streaming fr hd gratuit français

Séjour dans les monts Fuchun « Film Complet en Streaming VF - Stream Complet Gratis

[[Voir]] Séjour dans les monts Fuchun Film complet en streaming VFOnline HD| MP4| HDrip| DVDrip| DVDscr| Bluray 720p| 1080p as your required formats

(Regarder!) Séjour dans les monts Fuchun Streaming VF (2020!Film) Gratuit En ligne

(Télécharger!) Séjour dans les monts Fuchun Streaming VF (2020!Film) Gratuit En ligne

Voirfilm Séjour dans les monts Fuchun streaming vf

Séjour dans les monts Fuchun en streaming - Film streaming vf

Télécharger! Séjour dans les monts Fuchun en streaming - Film streaming vf

Stream Complet Séjour dans les monts Fuchun – Films gratuits en version française

voir Séjour dans les monts Fuchun film en streaming vk | film en streaming vf | film streaming

voir film Séjour dans les monts Fuchun streaming vf gratuit movie HD

[Voir-Film] Séjour dans les monts Fuchun Streaming VF | Film complet

Voir Film Séjour dans les monts Fuchun En Streaming Complet

Regarder Le Film - Séjour dans les monts Fuchun En Streaming HD Film Complet

Séjour dans les monts Fuchun voir Streaming VF 2020 Film-Complet HD-Pinterest

Film Séjour dans les monts Fuchun Streaming VF Gratuit (2020)

~[Complet Film]~ Voir Séjour dans les monts Fuchun Streaming Film en Entier VF

[Vostfr.] Séjour dans les monts Fuchun Streaming VF Gratuit Film HD

Séjour dans les monts Fuchun Streaming VF en Français Gratuit Complet

Regarder|| Séjour dans les monts Fuchun 2020 Streaming ~ le Film Complet

Regarder (Séjour dans les monts Fuchun) Streaming VF Complet

Séjour dans les monts Fuchun Film complet Streaming VF en francais

™[REGARDER] Séjour dans les monts Fuchun (2020)|HD Film VF~Complet

[@YouWatch!!!] Séjour dans les monts Fuchun 2020 Regarder Streaming Complet VF en Français

[REGARDER]™ Séjour dans les monts Fuchun STREAMING VF GRATUIT | FILM COMPLET En Français~[2020]

[VOSTFR] Séjour dans les monts Fuchun Film Complet Streaming VF En Français,

Voir Séjour dans les monts Fuchun Film Complet En Français Gratuit

Séjour dans les monts Fuchun vf film en entier gratuit,

Séjour dans les monts Fuchun film complet streaming gratuit

Regarder Séjour dans les monts Fuchun en Streaming VF Complet,

Regarder Séjour dans les monts Fuchun vf film complet Entier Vk,

télécharger Séjour dans les monts Fuchun gratuitement,

Séjour dans les monts Fuchun film entier streaming complet,

Télécharger Séjour dans les monts Fuchun Film Complet Streaming VF Entier Français 1080px,720px, BrRip, DvdRip, CamRip

Séjour dans les monts Fuchun VF film en entier gratuit

Séjour dans les monts Fuchun film complet streaming Vk gratuit

Séjour dans les monts Fuchun Film télécharger Torrent,

Voir Séjour dans les monts Fuchun Film Complet,

Regarder Film Séjour dans les monts Fuchun en Streaming,

Regarder Film Séjour dans les monts Fuchun en Streaming en Français,

Stream Séjour dans les monts Fuchun Film Complet Entier VF en Français,

Séjour dans les monts Fuchun film complet en Français

Séjour dans les monts Fuchun film en entier,

Séjour dans les monts Fuchun film complet en Français,

Séjour dans les monts Fuchun film complet,

Séjour dans les monts Fuchun complet,

Séjour dans les monts Fuchun en entier,

Séjour dans les monts Fuchun film entier,

Mãe!, Séjour dans les monts Fuchun télécharger,

regarder Séjour dans les monts Fuchun en streaming,

Séjour dans les monts Fuchun youtube film entier,

Séjour dans les monts Fuchun vf youwacth,

Séjour dans les monts Fuchun en entier

Séjour dans les monts Fuchun film en entier streaming VF

Séjour dans les monts Fuchun en entier gratuit

Séjour dans les monts Fuchun gratuit,

Séjour dans les monts Fuchun Regarder,

Séjour dans les monts Fuchun Regarder Gratuitment,

Séjour dans les monts Fuchun regarder film,

Séjour dans les monts Fuchun regarder film Online,

Séjour dans les monts Fuchun regarder film en ligne,

Séjour dans les monts Fuchun regarder film streaming Gratuitment,

Séjour dans les monts Fuchun film entier streaming complet,

Séjour dans les monts Fuchun Film En Entier Streaming entièrement en Français,

Séjour dans les monts Fuchun Film Complet Streaming VF Entier Français,

Séjour dans les monts Fuchun En Entier Streaming VF,

Séjour dans les monts Fuchun Streaming,

Séjour dans les monts Fuchun Streaming vf,

Séjour dans les monts Fuchun Streaming Vostfr,

Séjour dans les monts Fuchun Streaming vf gratuit,

Séjour dans les monts Fuchun Streaming Youwatch,

Séjour dans les monts Fuchun Telecharger,

Séjour dans les monts Fuchun Film Complet en streaming,

Séjour dans les monts Fuchun Uptobox,

Séjour dans les monts Fuchun Film complet en français,

Séjour dans les monts Fuchun Streaming vf gratuit complet,

Séjour dans les monts Fuchun Séjour dans les monts Fuchun vf

Séjour dans les monts Fuchun grand rex

Séjour dans les monts Fuchun sortie france

Séjour dans les monts Fuchun youtube

Séjour dans les monts Fuchun telecharger

Séjour dans les monts Fuchun age

Séjour dans les monts Fuchun durée

Séjour dans les monts Fuchun bande annonce

Séjour dans les monts Fuchun casting

Séjour dans les monts Fuchun sortie

Séjour dans les monts Fuchun au grand rex

Séjour dans les monts Fuchun affiche

Séjour dans les monts Fuchun à partir de quel age

Séjour dans les monts Fuchun avis

Séjour dans les monts Fuchun avant premiere

Séjour dans les monts Fuchun au cinema

Séjour dans les monts Fuchun age minimum

Séjour dans les monts Fuchun a telecharger

Séjour dans les monts Fuchun age conseillé

Séjour dans les monts Fuchun âge

Séjour dans les monts Fuchun bande annonce youtube

Séjour dans les monts Fuchun Online

Séjour dans les monts Fuchun Film complet de Séjour dans les monts Fuchun

Regardez Séjour dans les monts Fuchun

Séjour dans les monts Fuchun Film complet en ligne gratuit en streaming

Séjour dans les monts Fuchun_Full_Movie

Séjour dans les monts Fuchun_Pelicula_Completa

Séjour dans les monts Fuchun_bộ phim_đầy_đủ

Cadeaux Séjour dans les monts Fuchun เต็ม

Séjour dans les monts Fuchun_Koko_elokuva

Séjour dans les monts Fuchun_volledige_film

Séjour dans les monts Fuchun_film_complet

Séjour dans les monts Fuchun_hel_film

Cadeaux Séjour dans les monts Fuchun_cały_film

Séjour dans les monts Fuchun_ फिल्म

Séjour dans les monts Fuchun_ فيلم_كامل

Séjour dans les monts Fuchun_plena_filmo

Visionnez Séjour dans les monts Fuchun Film complet de Séjour dans les monts Fuchun en ligne

Séjour dans les monts Fuchun Séjour dans les monts Fuchun Film complet en streaming en ligne avec la qualité vidéo HD-720p

Séjour dans les monts Fuchun film complet de Séjour dans les monts Fuchun

Où télécharger Séjour dans les monts Fuchun Film complet de Séjour dans les monts Fuchun?

Visionnez Séjour dans les monts Fuchun Séjour dans les monts Fuchun — Film complet

Visionnez Séjour dans les monts Fuchun Film complet de Séjour dans les monts Fuchun en ligne

Regardez Séjour dans les monts Fuchun Film complet HD 1080p de Séjour dans les monts Fuchun

Séjour dans les monts Fuchun film complet de Séjour dans les monts Fuchun

[detournementsmineurs]

"Séjour dans les Monts Fuchun" de Gu Xiaogang - dont le nom est inspiré du titre donné à un rouleau peint par Huang Gongwang (1348-50) - avec Qian Youfa, Wang Fengjuan, Sun Zhangjian, Sun Zhangwei, Zhang Renliang, Zhang Guoying, Du Hongjun, Peng Luqi, Zhuang Yi, Dong Zhenyang, Zhang Lulu, Mu Wei et Sun Zikang, janvier 2020.

[miscellaneouscelebheights]

Wei Tang

Cate Blanchett

Chris Hemsworth & Michael Mann

Gwyneth Paltrow

Joan Chen, Leehom Wang & Tony Leung

Joe Alwyn

Kristin Davis

Linda Cardellini

Naomi Watts & Kate Winslet

Nicholas Cage

Takeshi Kaneshiro & Donnie Yen

Becky Lee (Listed 170cm)

Christopher Bailey (5'9" max)

Also Christopher w/ Eddie Redmayne

Also Christopher Bailey w/ Cara Delevingne

Feng Xiaogang (Listed 177cm)

Hu Jun (Listed 184cm)

Hyun Bin (Listed 6'0")

Liao Fan (5'10" tops)

Also Liao Fan w/ Jackie Chan (back in 2012)

Liu Yiwei (5’4” tops) (1st left)

Ni Ni (Listed 170cm)

Qin Hailu (Listed 5'5")

Sean Lau (Listed 175cm)

Wang Zhiwen (2nd Right, 5’10” max) & Feng Zu (1st Right, Listed 176cm)

Wu Xiubo (5'9" range)

Ziyi Zhang & Chow Yun Fat

Kara Hui (5'2-3" tops)

[fyhuangxiaoming]

Film star Huang Xiaoming funds fresh film talent

Starring alongside Sylvester Stallone in the upcoming movie Escape Plan 2: Hades and recently appearing on the Cannes Film Festival's glamorous red carpet appears to have whetted the appetite of Chinese A-lister Huang Xiaoming for even greater international recognition.

Four years after his first visit to Cannes, where he attended a promotional event for John Woo's epic movie, The Crossing, the star was in the spotlight again on the French Riviera at this year's festival.

However, this time around he was not strutting on the red carpets as just an actor, but also showing off his talents as the producer of two acclaimed films, Forever Young and Long Day's Journey into Night, as well as in his role as an ambassador of China Film New Power - a program launched by the China Film Bureau to support emerging domestic talent.

"I feel proud of Chinese filmmakers," Huang says in an email interview with China Daily. "When Long Day's Journey into Night concluded its premiere screening, audiences (in Cannes) kept applauding for a long time."

[...]

Huang reveals that he decided to finance the movie after hearing rave reviews of Kaili Blues, which won Bi the best new director award at the 2015 Taipei Golden Horse Film Festival.

"The newcomers should never be underestimated," says Huang, a veteran of more than 80 films and TV dramas over the past 20 years. "I was surprised to see that (Long Day's Journey into Night) skillfully combines 2D and 3D photography. The director's crafted manipulation of light and shadow stands out.

"I'm privileged to be part of the movie as a producer. I also hope that I can participate in such (arthouse) films as an actor in the future," he adds.

Now turning 40 and ranked among China's top stars, Huang, who is followed by 56 million fans on the microblogging platform, Sina Weibo, says he wishes to use his influence to help emerging young talent.

"Young filmmakers striving in pursuit of their dreams will shape the future of the Chinese movie industry," he says. "All the prestigious directors were once young and hungry, even the likes of Feng Xiaogang."

With a string of blockbusters from The Dream Factory (1997) to Youth (2017), Feng was a pioneer in directing commercial films, but has, in recent years, shifted his focus to more personal works. He ranks among the iconic figures who have reshaped the Chinese movie industry.

Speaking about his other film, Forever Young - which he both produced and starred in - he explains that it consists of four stories set in the 1920s, '30s, '60s and 2000s, respectively, and explores the complexity of humanity against different backdrops. With an all-star cast that includes Zhang Ziyi, Chang Chen, Wang Leehom and Chen Chusheng, the movie was an immediate hit when it was released across China in January.

"When I first read the script, I was attracted by the role of Chen Peng (a college student in the 1960s story). The character - who is a bit silly and stubborn but has a passion for love, his career and his dream - reminds me a lot of myself when I was around 20 years old," Huang notes.

When asked about the risk of investing in arthouse films, most of which have struggled for box-office success, Huang believes a movie is worth financing if it arouses thought, surprises audiences and demonstrates artistic value.

"A movie's value cannot be only judged by profits," he says. "If I can help young directors to realize their dreams, I won't care too much about the gains or the losses."

[elchicodenim]

"TIME ME" INTERVIEWED 8 GUESTS WHO ARE REPRESENTATIVE OF THE TIMES OF CHINA AND KRIS WU IS CHOSEN AS ONE OF THEM!

“Who is the face of the times in your heart? A character documentary shooted by Tencent will be released on July 6th. Witness the times and see yourself!”

Here's a brief introduction of other guests: ▪ Yuan Longping: One of the most important scientists in China. Known as the "Father of Hybrid Rice the World". Recipient of the Medal of the Republic. ▪ Deng Yaping: Former Chinese women's table tennis player. She was won 10 world championships in her life. ▪ Zhang Xiaogang: A famous Chinese artits. He documented 30 years of change in China with his paintings. ▪ Shu Qi: Famous actress, the winner of "Best Actress" at the 42nd Golden Horse Film Awards. She was a jury memner of the 58th Berlin IFF and the 62nd Cannes IFF. ▪ Chen Qigang: Talentd Chinese composer who created the 2018 Olympic them song "You and Me". His work has won several major French art awards. ▪ Zhang Weili "Magnum": Chinese MMA athlete. She's the first UFC Champion in China. ▪ Wang Jingchun: Excellent Chinese actor, he has won many filn awards, including the "Best Actor" award at the 69th Berlin Film Festival.

src: kriswubar

[mingqiwu]

Reflection 11: Light & Shadow (developed project)

Light and shadow this project is one of the two projects I decide to develop. Based on last feedbacks from group and Alex, I decide to make some change about the first version of the narrative.

Firstly, the way of colouring character - I showed my first version film to my friends, and I got some interesting viewpoints about racism. Some of them consider the black and white colours may convey the information of skin colour, which is white camp represents white evil people and black camp represents good people. Interestingly, my classmates do not receive such information. However, I concern about such use of colour will convey any racist message.

Therefore, I decide to colour all characters but distinguish two camps by character design in costume. Such as mask (white camp) and hat (black camp). Moreover, another reason I use mask is, I would like to use it as a symbol. achieve the protagonist’s identity crisis. The idea inspired from the film Ye Yan (2006).

Secondly, the story ending is not really fitting to the idea of Yin-Yang symbol, the black camp looks like an absolute victim, and white camp is too evil. Therefore, I wrote a new story but based on the concept and frame work of the first version film. Due to the change of the story, two new characters are added.

-       Master – White camp – but evil heart

-       Father – white & black camp, traitor of white camp

These two characters are designed for achieving the discourse of dualism and enhancing the paradoxical notion of ‘justice’.

Thirdly, for constructing the notion of social influence (group influence) in the narrative, I present this notion from three aspects.

1.      The scene that people want to join the white camp

2.      Dialogue of protagonist’s mom

3.      Board game ‘Go’, to use black and white pieces to convey the message of ‘group’

Fourthly, since I plan to create an ancient Chinese ‘Wuxia’ world, the visual style of first version is not obvious. Therefore, I reference the ancient Chinese painting style to create the ‘ancient’ atmosphere. Specifically inspired by Wang Ximeng’s painting – A Thousand Li of Rivers and Mountains (Subject Wiki for A Thousand Li of Rivers and Mountains , n.d.).  

https://en.wikipedia.org/wiki/Wang_Ximeng 

Specifically, I considered the style of mise-en-scene including the texture of the paper, brushes, colour palette, space, architecture.  

 ---------------------------------------------------------------

Reference:

Subject Wiki for A Thousand Li of Rivers and Mountains (n.d.). [Online] Available at: https://en.wikipedia.org/wiki/Wang_Ximeng. [Accessed: 19th January 2021]

Ye Yan. (2006). Film. Directed by Xiaogang Feng. [DVD] China: Huayi Brothers & Media Asia Films.

[projectsideaz]

Learn about the Chinese “Cynical Art”.

Chinese Cynical Art:

Far from the usual clichés, contemporary Chinese art is a reflection of modern China, its ambitions and its contradictions. The artists express in their works the many paradoxes which characterize the current Chinese society: phenomenal growth of the economy made possible by a cheap labor force coming from the countryside, urban explosion, dehumanization and emptiness of the spiritual world, dazzling wealth, growing inequalities, the effects of censorship...

A bubbling which does not leave indifferent the artists, with this often half-amused, half-cynic look on the development of their country.

Paradoxically, this criticism is of great benefit to the artists themselves. The growth of the prices of the works of the young Chinese generation is dazzling and the number of investors is constantly increasing. It often takes only a few years for a Chinese artist to see his prices increase tenfold, and reach records such as for Xiaogang ZHANG or Guoqiang CAI to name but a few. Chinese artists, not devoid of "black" humour, communicate their despair about the evolution of their society. Their visions often play on the ambiguity that lies between the emergence of socialism and the critical appeal of capitalism with the new freedoms but also the constraints it creates. And several artists confirm with a healthy grin that the pill is not working. The architect-designer of Beijing's famous Olympic stadium (the "Bird's Nest"), Ai Weiwei sometimes walks around shirtless in Tian Anmen, the word ... " written on his chest.

Another Chinese artist followed an ant all day on the asphalt, tracking its movements with absurd zeal. It has become fashionable these days among local performers to taunt Mao under his huge portrait.

The performers are thus rampant in Beijing. Without banners or leaflets. Just happenings and metaphors. Black humor against arbitrary power. It's a festival, in the true sense of the word. The Open Performance Art Festival welcomes hundreds of artists and spectators. A trendy fauna, coming from all over the world and gathered in this mythical wasteland, in the north-east of Beijing: the 798. A place difficult to describe, as much by its size (640 hectares) as by its contradictions (at the same time underground squat and big commercial fair). But how to exist in this China where the watchword is "get rich" ! There is little choice but to show your success with ostentation, or else; for the most numerous, to avoid losing face, to keep quiet and hide, to disappear in the crowd. Photo by artist Li Wei.

In 1985, Peng Wang Ts was invited to Beijing, Shanghai, Chengdu (in Sichuan), or Chongqing (southwest). The Maoist conception of the arts, which confuses them with propaganda, is then breaking down and Western references begin to penetrate China. Peng gave numerous lectures in the fine arts schools of these cities. To students trained in the Soviet tradition of socialist realism, his works suggest that another figurative painting is possible. Coincidence? The following decade saw the emergence of the first generation of Chinese painters who have since become market stars, such as Yue Minjun and Zhang Xiaogang. Their works are classified under the labels of "cynical realism" and "political pop art" - concepts that could suit many of Peng's paintings.

Chinese success story:

These are the new aspirations of Chinese youth, a contemporary mythology of devotion to commerce, glamour and American-style comfort. Work of Wang Niandong.

Whether you own a Chinese painting or drawing, our experts are at your disposal to take care of the authentication, appraisal and sale of your work. Expertise is an important element, as many Chinese paintings are not necessarily listed.

Extremely well positioned on the international market, we can make you realize a strong added value by selling your painting on the international market. This is illustrated by this painting of Zao Wou KI sold for 440.000 euros acquired by a rich Chinese collector in Miami, a major place on the art market, where we have recently opened an office. No need to travel to Miami, our Parisian office is the link between the two continents.