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  • HOME
  • ABOUT
  • PROJECTS
    • Bald Girls Iberia Center 2012
    • Bald Girls A Door 2013
    • Made in China 2013
    • Beuys in China 2013
    • Bald Girls Timelag 2013
    • Femme Totale 2014
    • Bald Girls meet Fluxus 2014
    • Bald Girls Pink Solution 2014
    • Bald Girls Nanjing Forum 2014
    • Fluxus Nanjing 2014
    • Li Xinmo Excluded 2015
    • Performance Day 2015
    • Performance Day 2016
    • Performance Day 2017
    • Art Tour Live Tour 3 / Join us to Kassel 2017
    • Feminist Activism in China: In Conversation with Li Maizi 2017
    • Tianjin Live Art Exhibition 2018
    • Denn ich habe schon alles schon gesehen Frankfurt 2018
    • Performance Day Frankfurt 2018
    • Capital @Art. International Frankfurt 2018
    • Feelings as Facts - Memory as Identity Tianjin China 2018-2019
  • ARTICLES
    • A Very Serious Game
    • Bald Girls
    • Who is Mary Bauermeister?
    • Iberia Art Center
    • Time Travel to Fluxus
    • Feelings as Facts
    • We are the Revolution
  • PRESS
    • New York Times
    • F.A.Z.
    • Global Times
    • ML Art Source
  • PUBLICATIONS
    • Catalogue >
      • Introduction
      • Declaration
      • Preface
      • Li Xinmo
      • Xiao Lu
      • Lan Jiny
      • Female Performance Art
      • History of Feminism
      • Feminist Movement and Feminist Art in East and West
  • CONTACT
  • 关于庸现
  • 展览
    • 秃头戈女- 北京伊比利亚
    • 秃头戈女 - 一个门
    • 中国制造
    • 社会雕塑 - 博伊斯在中国
    • 秃头戈女- 时差
    • 红颜女强 –从杨贵妃到“秃头戈女”
    • 油烟才女 - 秃头戈女 遇见激浪
    • 秃头戈女- 桃色策略
    • 秃头戈女- 南京论坛
    • 激浪时间
    • 排斥
    • 2015威斯巴登行为艺术节
    • 2016威斯巴登行为艺术节
    • 2017威斯巴登行为艺术节
    • 第三届现场艺术巡展參展: 谁要同去卡塞尔?
    • 女权行动在中国:与李麦子的对话
    • 2018 天津现场艺术创作邀请展
    • 2018 我都看过了
    • 2018法兰克福行为艺术节
    • 资本@艺术. 国际 2018
    • 感受即真实 -记忆与身份认同 2018-19
  • 文章
    • 谁是玛丽·包麦斯特 (艺术国际版)
    • 信息资本主义时代的博伊斯
    • 秃头戈女 - 和吴味谈男权视野的局限
    • 访谈包麦斯特
    • 托尼•克拉格
    • 庸现与李勇政、 周斌对话。
    • 关于“西方主义”
    • 从 清洗 谈肖鲁对 颠覆 之 再颠覆_
    • 重要的不是秃头-再次回应吴味
    • 驳徐乔斯
    • 严肃的游戏: 对话李勇政 >
      • 感受即真实
  • 媒体报道
    • 中国来鸿 纽约时报 狄狄
    • 凤凰艺术 : 策展人篇
    • 与画刊谈《博伊斯在中国》
    • 答复新京报记者李健亚
    • 《山花》杂志 2012 10月号访谈
  • 出版
    • 秃头戈女画册 >
      • 作者译者简介
      • 秃头女性艺术宣言
      • 秃头戈女序
      • 李心沫:一个中国批判现实主义艺术的先锋艺术家
      • 重释肖鲁
      • 艺术视觉与真诚 蓝镜
      • 女性身体艺术的承担与实践
      • 女性身体艺术的承担与实践
      • 中国玻璃眼球 中文版
      • 东西方女权运动的思考
      • 中国女权运动与女性艺术发展历程
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Feelings as Facts - Memory as Identity , Tianjin/ China 2018-2019

Picture
Feelings as Facts
- Memory as Identity
感受即真实
-记忆与身份认同

Curator: Juan Xu,Wang Weiyi
策展人:庸现,王伟毅
Artist: Sándor Szász
艺术家:桑多· 萨斯
Organizer: Tianjin Academy of Fine Arts Museum
举办单位: 天津美术学院美术馆,
In co-operation with 合作机构:
I O Cultural Network e.V. 德国艺术联网协会
Michael Michael Schultz Gallery, Germany 德国柏林舒尔茨画廊
Hungarian Academy of Arts 匈牙利艺术科学院

Opening: 15.12.2018 15:00
开幕式 2018年12月15日 下午三点
Date: 15.12.2018-10.01.2019
时间: 2018年12月15号 至2019年1月10日
Location: Tianjin Academy of Fine Arts Museum, Tianjin, China
地点:天津美术学院美术馆

Foreword to  "Feelings as Facts"
 
Juan Xu/ Wang Weiyi
 
“Memory is identity....You are what you have done; what you have done is in your memory; what you remember defines who you are; when you forget your life you cease to be, even before your death.”
 
Julian Barnes
 
 
Joy, bitterness, sunshine, gloom, everything lingers in us as memories. Who am I? How do I define myself? This is an eternal problem, and in Eastern Europe, where history and geopolitics have a major impact on everyday life and reality, such issues are even more complicated.
 
Today, nearly 30 years after the end of the Cold War, social, economic, political and cultural integration continues in Europe. Eastern and Western Europe seem to have merged and the influence of the political aesthetic experience of Eastern Europe on contemporary artmaking seems to be out of place as a result. On the surface the eastward expansion of the EU 'project' has changed the political logic of the West, and European integration has taken shape.However, when we look closely at the current internal divisions within the EU we find that under the surface of ideology, globalization, digitization and artificial intelligenceridiculous anxieties continue to exist aboutidentity cognitionthat are caused by both political and aesthetic memories.
 
The well-known Romanian-born Hungarian artist Sándor Szász focuses on the use of memory, representation, desire and his emotional feelings in artworks to examine how all of these factors influence the role of individuals and minorities in contemporary European society. In particular the artist's memories enable him to challenge the boundaries between reality and fiction by using his art as a subversive strategy for exposing the dangers of utopia and the absurdity and overbearing of totalitarian politics.
 
The artist's works reflect both his own identity and the identity of his own minority group in European society and the world. As a Hungarian/Romanian artist, Szasz’s identity is clearly positioned as an “Eastern Europeanartist”.Szasz’s creations analyze theinner struggles, entanglements and anxieties of his own individual life since World War II, as well as the major historical transformations and uncertain identities of the members of former Eastern Block countries in the EU due to ongoing geopolitical change.
 
Szasz's artworks also reflect the results of collective memory. In Eastern Europe, where historical memory-traces are deep, the value of collective memories of the past has surfaced in the real life of today and become a common spiritual element of collective unconsciousness. In this context Szász, like other Eastern European artists, uses different media to open up a unique experience of the social role of contemporary art and identity in Eastern Europe today.
 
When Szász tries to define his own identity and memories according to his own feelings, we sense the wavering and perplexity of the artist and also recognise ourselves in these artworks. Reviewing and examining history in such artworks allows us all to better negotiate and face an unknown future.


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