This catalogue is the production of Long March Project. Containing materials accumulated from ongoing practice since its inception in 1999, the book also serves to present a partial collection of Long March Objects, made possible by the project “Long March Archive: A Working Redisplay”.
This publication is released as the exhibition brochure for “Building Code Violations III – Special Economic Zone”, covering the artworks and introductions of 15 participating artists and collectives as well as 3 commentary articles.
This volume is a supplemental companion to Long March Project—Ho Chi Minh Trail. It records the heated discussion that occurred during the walking of “Ho Chi Minh Trail” on June 26th, 2010, in Vientiane, Laos. Among the participants were artists, curators, and critics who were gathered and meditated upon the past three weeks of traveling.
This catalogue serves to present a temporal and spatial record of “Long March Project – Ho Chi Minh Trail”. It documents this historical “rehearsal” by means of image, text, and posters, where image and text intermediaries intertwin with each other, which turns out not only a visual image archival record but also a textual discussion on visual culture.
X-Blind Spot is a publication that documents the second phase of a two-part project (2004-2008) exploring the condition of coal mining in Northern China by Chinese contemporary artist Yang Shaobin and the Long March Project.
This volume documents the three main parts of the discussion in the Yan’an Forum on Art Education, including “Situation and Understanding of Contemporary Chinese Art Education”, “What is Contemporary Art Education? Differences, Challenges, and Breakthroughs”, and “How to Implement Contemporary Art Education?” It is supplemented by written statements, scholars’ articles, and a syllabus for fine arts education.
As part of the Long March Project, this catalogue is published on the occasion of the “800 Meters Under – Yang Shaobin Solo Exhibition” (9-10.2006) at the Long March Space, Beijing.
This publication takes Qin Ga’s own explication as the main storyline, and applies a large number of image materials to fit the narrative, mapping the artist’s physical and psychological experiences retracing the Long March on his own.
“The Long March Project – Yanchuan Elementary and Secondary School Paper-cut Art Education” takes paper-cut as an important content in art education in elementary and secondary schools, aiming to cultivate students’ aesthetic appreciation, perception and creativity, and lay a solid foundation for the inheritance and development of paper-cut art.
“Long March Project––The Great Survey of Paper-cutting in Yanchuan County” was at once an art project and an experiment in social engineering. By inviting contemporary artists and government officials in the arts and cultural departments to “go down to the countryside,” the project launched a county-wide survey of the popularity of the art of paper-cutting.
“Long March—A Walking Visual Display” explored the efficacy of a practice founded on marching in generating ideas and conversations. It reflects the thinking and dialogue produced in walking and practice, and creatively reflects the established linguistic paradigm of contemporary art in China and abroad with the collective memory of international and local relations.