SCHOLA NOVA, the New School project is to serve the modern reiteration of traditional art form of the Literati Painting, represented by, in particular, those of essential importance to the New Southern, the Contemporary Jinling School.
Literati Painting is deeply embedded into the Art History of Southeastern China. Su Shi, superstar liberal artist of 11th Century, mentioned terms such as “Mo Xi”(Ink Play) and “Shiren Hua”(Gent’s Painting), which are considered as the initial forms of Literati Painting. Dong Qichang, the most prominent Art Historian of the 1600s, promoted Zen Poet Wang Wei from 8th Century, to be the ancestor of this art form. Literati Painting put “spirit cultivation” as priority, emphasizing on the rivalry of empirical and theoretical experience, of soul and skill, of Spirituality and Gentility. In the past millennium, the literati painting has witnessed various distinct art trends dominating the traditional Yangtze Delta (Part of Modern Day Jiangsu, Zhe Jiang and Shanghai): The Four Wangs, Wu School, Yangzhou Eight Eccentrics, Four Monks, Jinling Eight Masters, etc.
Since mid-19th century, Classic China underwent a dim period of culture impact from drastic westernization, during which masters like Fu Baoshi and Qian Songyan all left their spiritual essence in Nanjing. Their influence serves as a beacon in this most critical moment of life and death for the Jinling School of Literati Painting. Since the Rise of China in the recent decade, culture confidence has been rebuilt in the Yangtze Delta, the traditional high ground of art. Nanjing, as the heart of this high ground, has witnessed the revival of Literati Painting, in which many leaders of the New Jinling School has emerged: Yu Jigao, Fan Baowen, Lu Xingtang, Xiao Ping, etc.
Arts Without Borders is well nourished by these master figures, in light of which we proposed to promote these pieces in order to forward the better recognition and preserving of this valuable and timeless art form.
Project X-ATRAMENTVM demonstrates our goal in reviving Chinese Traditional Painting in the new concept of X-ink.
The X-ink we presented, is a tribute to the cultural features of China’s Generation X. In comparison to Western Generation X born in the post-WWII period, China’s Generation is the first generation born in the post-Culture-Revolution period (late 1970s to late 1980s). This generation, in the eyes of their elders, could be a group of lost souls. However, just like their western predecessors, China’s X generation has their very personal ideas and insistences. They are the dissolution of Grand Narrations and the concentration of Public Concerns; they are the reevaluation of All Values and the Resurrection of Classics; they are the adoration of Exoticism and the preservation of Traditionalism; they are against the mainstream and a peculiar mainstream of their own. China’s Generation X is the vanguard in contemporary water-and-ink frontier, by their exploration on “what it is” and “what it could be” through personalized presentations.
The X-ink we recommended is a redefinition of various vague terms such as Experimental Ink and New Ink. These definitions and the group they stood for has their art root back in the tight period after the founding of P.R.C. They tend to face panicking and overdoing in response to the culture impact of re-open in the beginning of the 80s, or fell into extreme unorthodoxy and sensationalism in the waves of commercialization starting in the 90s. They generally lack a certain sense of Culture Security thus failing to achieve a more confident and unhurried art expression. Due to similar social dynamics, the corresponding theoretical analysis are presented too with haste, ignoring the spirit of generational transition as well as lacking power of vision on the level of global art history. Therefore, we propose X-ink as the spiritual resonance of China’s Generation X in traditional painting, to designate its Xperimentalism, “inXplicability“ and Xtraordinariness.
The X-ink, as we understand, does not hold the interaction with western culture as its major creative anxiety any more, nor the traditional language and material of water-and-ink as its creative methods. X-ink’s motivators destruct and reconstitute the forms and rules to establish a more aligning position with universalism, to create a more contemporary value system, as well as to revive the aesthetical motive of water-and-ink in witnessing the reformation of art. When traditional standard no longer serves the role of sole juror of water-and-ink creation, the composers of X-ink can then advance the frontier of this art form: continuing the exploration of the inner connection between ideas, skills and traditions on the basis of implementing new artistic methods such as device, video, cartoon among other popular culture elements.
The X-ink we insist on, is the continuation of AWB’s “Chinese Renaissance”. In its original context, Rinascimiento refers to the discovery and inheritance of lost culture spirit and art forms to the end of Culture Reborn. In light of this definition, the purpose of RENASCENTIA SINICA (Chinese Renaissance) is to explore, in Chinese context, the power of inter-generational connection, the expand of art discussion and the angle of reinventing traditions: roughly among 1400 and 1600, the Magisters of Northern Italy, Southern France and Flanders conducted many importance aesthetical experiments in reviving ancient arts, laying the foundation for the styles of the world in the next 500 years. X-ink, this ancient-yet-lively art form, should be a life-long honor to this great tradition by China’s Generation X “traditional artists”.
International Formation of Art Management (IFAM) is a high-quality training program produced by Arts Without Borders. Lectured by professionals and experts in the art world, International Formation of Art Management will gather the best students in the field. The mission of the program is to help students expand their arts visions and develop management thinking, especially for the entrepreneurs and startups who have intentions to set foot in the art field, and also for those who are interested in art market and art organizations.
The Chelsea International Fine Art Competition (CIFAC) has provided artists with the opportunity to present their art in New York City.
Artists from any place can enter the prestigious Chelsea International Fine Art Competition (CIFAC), which has been celebrating, supporting, and promoting the creative human spirit for over 30 years.
CIFAC awards prizes specifically designed to nurture career growth, gain exposure, and boost artist’s public profiles, which includes cash prizes, promotional videos, magazine profiles, and, of course, an exhibition in New York City.
SINAMERICA is a project committed to demonstrate the diversity of culture interaction between the United Sates and China. As our debut exhibition series, SINAMERICA focuses on promoting Chinese Art and Chinese artists, especially the emerging artists in the United States, so as to defy the stereotypical images of Chinese art and to present the global culture fusion.
Nanjing Biennale is our past and future. Back in 2008, as curating assistant of the late Korean Curator Won-il Rhee, President Xiaoyun Zhang was engaged in a two-year experience preparing for Nanjing Biennale, during which time she was greatly influenced by his knowledge, professionalism and devotion to art. This experience became the founding momentum of Arts Without Borders.
In honor of Won-il’s spirit now in heaven, we aim to host the next Nanjing Biennale as a curating team, being the most impressive Biennale in China 2018. Guest selection will run the world’s most famous critics and artists.