- South China Art Museum
What is 'Gan Jue 感觉‘？
- Is 'Gan Jue 感觉' as 'Gan Jue 感觉' rather than 'feeling' an internationally universal being?
- Is there a ethnographicity of 'Gan Jue 感觉' ? What are the ethnographic characteristics of 'Gan Jue 感觉'？
- How does culture influence the public's perception of the material, movement, composition and power of 'Gan Jue 感觉'？
影像 Moving image/films and videos
- How do ethnographicity of ''Gan Jue 感觉' influence film and video artists' perception and their artistic practice?
- In what way does 'Gan Jue 感觉' exist in the moving image?
- Can 'Gan Jue 感觉' be translated by films and video?
- When the 'moving image' is used as a medium for translating ethnographic 'ways to Gan Jue' and the 'experiences of Gan Jue'. how could it transcend language and then more directly and intimately convey ethnographic 'Gan Jue' or the ethnographicity of ‘Gan Jue’ for different skin and bodies?
Open Call：22 Oct 2021 – 31 Dec 2021
Exhibition: Jan 2022
The call is international. Submission is free.
Call for submission 2021:
Currently, a great number of scholars in the field of anthropology have noticed that different cultures have a great influence on the way humans sense and experience the world. Of them, people, such as Sarah Pink, David Howes, Constance Classen, Wu Da and Bao Jiang, have observed that human sensorium is cultural. Different cultures can, to some extent, guide the operation of sensory nerves in different ways, thus enhancing or diminishing the human ability to capture specific sensory information. According to them, culture seems to be able, to a certain extent, to reshape the human 'body' and ‘inform’ the way in which each group perceives the world characteristically in its daily life. As a result, similar but subtly different experiences would be produced. For example, the culture of the Kashnahua Indians has given rise to a particular 'decorative visual experience', the culture of the Suas in the Mato Grosso region of Brazil has shaped the local experience of 'masculinity', and the culture of the Eskimo people has enriched their experience of 'snow'. "The nomadic culture's high level of admiration for 'smell' has nurtured a 'consciousness' and a 'body' that are sensitive to the experience of ‘taste'. Of course, sensory experience is always inseparable from knowing and making meaning of the world, and the different collective experiences thus shape an 'experiential reality' and ‘ethnographic sensory lifeworlds' that are more or less culturally locked. These worlds, these ethnographic sensory experiences, are waiting to be decoded by more people.
When it comes to China, slightly different from the Old English 'feeling', which has its origins in German history and the meaning of‘touch', Gan Jue (translates as feeling), which is derived from Chinese culture and encompasses 'the vibration of the heart and the enlightenment of mind and body’. According to the ideas listed above, Gan Jue could have its own specific material, movement and philosophical connotations.
Then, how does Chinese culture shape and guide the way people ‘sense’, 'feel' and 'experience'? What is the ‘ethnographicity' of Chinese sensory culture? How has the Chinese body been shaped by the millennia of immersion in the three cultures of Buddhism, Taoism and Confucianism? How has this body come into contact with the world in a particular way? And what special experience does this contact produce? From a physical point of view, the writer Yang Jianmin has said that the Chinese Gan Jue are a characteristic combination of sensation, intuition, perception, imagination and moral feelings. If we look at it from the perspective of personal experience, we can probably see that Chinese culture has contributed to forming a kind of ‘body’ that is extremely sensitive to "qi", "wind" and “breath”. It is evident in historical materials (paintings, ancient poems, dances, music, etc.). It seems that all Chinese people’s experiences are wrapped in a thin cloud of smoke. Chinese culture enters the body, consciousness and life with the wind, and gives rise to a series of characteristic experiences in the space of the human body. For example, benevolence, righteousness, propriety, wisdom, faithfulness, courage, compassion and filial piety, as well as the divine emotions of the immortal, the chivalrous and the pure. These wondrous 'vibrations of the heart and the enlightenment of mind and body', sometimes as abstract qi, sometimes as physical wind, sometimes as fluid time, sometimes as fixed space, stretch, evolve and renew across millennia, forming a series of epochal (the 60s, 70s, 80s, 90s...), geographically distinctive and geographically significant experiences that words cannot encompass. This could be the so-called Chinese Gan Jue.
If the experiential of “Gan Jue" is beyond the text, can the ethnographicity of Gan Jue facilitate direct communication between body and body, skin to skin, through videos and films? The work of a number of filmmakers and video artists, such as Dutch documentarian Evans' The Story of the Wind, Chinese filmmaker Fei Mu's Spring in a Small Town, video artist Qiu Anxiong's The New Shanhaijing, Yang Fudong's A Year in the Making, Wei Mengqi's Zhuang Zhou Dreams of Butterflies, and Wang Coi Mo's Rhapsody on Earth, seems to offer a positive answer. At present, China is gradually becoming the focus of attention in the international community, but the loss of experiential information generated by the direct translation of texts and the misinterpretation of sensory information has not diminished with this attention. Through a gathering of film and video artworks, this exhibition hopes to provide a small expansion of international cultural communication based on language. In lieu of words, the exhibition hopes first and foremost that the video artists will delve into the world of 'experience', exploring, discovering and demonstrating the form, materiality, characteristics, structure, movement and effects of the Chinese Gan Jue experienced by their individual bodies. Through their video works, the artists are expected to add new, pioneering and creative responses to the questions raised in the opening words of the exhibition about the nature of Chinese Gan Jue, its relationship to creation and the related issue of the video translation. We aim to explore the more neglected national characteristics of ‘Gan Jue'. The exhibition will be divided into three sections including 'What I experience as Gan Jue', 'The presence of Gan Jue in my video practice process and works' and 'My video translation practice of ‘Gan Jue'. Through the collection of works in these three sections, this exhibition seeks to present the public with a history of contemporary experience of Chinese“Gan Jue", the history of video presence of “Gan Jue” and the history of video translation of it, which is hidden in everyday life. It will allow Chinese sensory culture to linger not only in the viewer’s eyes but also in the body, leading to a more direct and intimate understanding.
How to apply：
l We are looking for all artworks that include 'moving images'. This includes, but is not limited to, short films (documentary/drama/experimental/digital), video art, video installation art, video performance art, video lecture-performance, expanded cinema, creative "film" (spiritual/sound/spatial), etc.
l The exhibition is divided into three sections: 1) "What is the Gan Jue that I have been experiencing", "The presence of Gan Jue in my video practice and works" and "My practice of video translation of Gan Jue". Submissions can respond to one of these themes or cross the boundaries between them, providing your own creative visual reflections on the issues raised in the exhibition's calls.
2. Submission materials
l A short bio. Please provide both a word document and a pdf file. It should contain the following information.
5) A photo of you
6) Mobile phone number
7) Email address
8) Personal statement
9) The practices you have done before
l Information on the work submitted. It is preferable to present this in a single document with the artist's bio. It should contain the following information.
1) An image/poster of the work: please label the image of the work in the style of "image of the work + name of the work + name of the artist + medium + size + date". The number of works submitted should be 1-5.
2) Description of the work
3) Artistic commentary (if any)
4) Online presentation requirements (if any): This exhibition is one of the units in the South China Art Museum's [hyperlink] online exhibition. This exhibition is an experimental online exhibition of moving images. It is dedicated to developing the possibilities and potential of the online space for the presentation of video exhibitions. The exhibition is planned to be conducted in the mode of "live streaming night + online exhibition week + online platform (social media) exhibition". Therefore, if artists have some ideas of their own for online presentation, they can attach them to the document and we will actively consider your ideas.
The exhibition is free to enter and there is no submission fee. Submissions must not involve pornography, violence and racist content. Selected artists will have the opportunity to be promoted and publicised on the South China Art Museum's major online platforms. We look forward to seeing your work.
Organizer: South China Art Museum
Contractor: Country Garden Guangdong 33 Town
Curator： Boyi Sun
Special Thanks to Brad Butler，Corinne Silva, Yi Chen，