JUAN XU 庸现

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    • Bald Girls Iberia Center 2012
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    • Artists and curator
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    • 秃头戈女- 北京伊比利亚
    • 秃头戈女 - 一个门
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    • 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
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    • 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
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    • 感受即真实 -记忆与身份认同 2018-19
    • "景观”国际艺术交流展2019
    • 第7届Up-On 向上国际现场艺术节2019
    • 0界 移位 欧洲篇上
    • 共享的危机 2020
  • 文章
    • 共享的危机
    • 记忆与身份认同
    • 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
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  • 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
    • 艺术家& 策展人简介
    • 《资本 @ 艺术· 国际》 >
      • 数字时代的资本@艺术
      • 从政治批判到精神拥抱
      • 直觉就是现实
      • “托斯”在行动
      • 至少疼痛还是真实的
      • 感受即真实
      • 金钱就是时间
    • 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
  • 联系
  • 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
    • Spectacle International Art Exchange Jiangxi China 2019
    • The 7th UP-ON International Live Art Festival 2019
    • 0 Edge Shift Europe A 2020
    • Sharing Crisis 2020
  • ARTICLES
    • Sharing Crisis
    • A Very Serious Game
    • Bald Girls
    • Who is Mary Bauermeister?
    • Iberia Art Center
    • Time Travel to Fluxus
    • Memory as Iidentity
    • We are the Revolution
    • Capital in the Digital Age @ Art
    • Money Is Time
    • Operation Thanatos in Action
    • Memory as Identity
    • From Political Critique to Spiritual Embrace
    • Perception is Reality
    • At Least the Pain is Real
  • PRESS
    • New York Times
    • F.A.Z.
    • Global Times
    • ML Art Source
  • PUBLICATIONS
  • Catalogue Bald Girls
    • Introduction
    • Declaration
    • Preface
    • Li Xinmo
    • Xiao Lu
    • Lan Jiny
    • Female Performance Art
    • History of Feminism
    • Feminist Movement and Feminist Art in East and West
  • Catalogue Capital@Art. Int.
    • Artists and curator
    • Preface
    • From Political Critique to Spiritual Embrace
    • Perception is Reality
    • Operation Thanatos in Action
    • At Least the Pain is Real
    • Money Is Time
    • Feelings As Facts
  • 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
    • "景观”国际艺术交流展2019
    • 第7届Up-On 向上国际现场艺术节2019
    • 0界 移位 欧洲篇上
    • 共享的危机 2020
  • 文章
    • 共享的危机
    • 记忆与身份认同
    • 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
  • 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
    • 艺术家& 策展人简介
    • 《资本 @ 艺术· 国际》 >
      • 数字时代的资本@艺术
      • 从政治批判到精神拥抱
      • 直觉就是现实
      • “托斯”在行动
      • 至少疼痛还是真实的
      • 感受即真实
      • 金钱就是时间
    • 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
  • 联系

Feelings As Facts - Juan Xu in dialogue with Sàndor Szàsz

Juan Xu: You haven’t personally experienced the flooding in the neighboring village of Bezidu Nou, have you? Anyway, it seems to have influenced you a lot. We can find a lot of scenes about disasters in your art. Have disasters ever triggered any crises in your adult life? 
Sàndor Szàsz:  The Hungarian community was very sensitive to any act from the regime that threatened their lives. I heard a lot about the flooding from my relatives, mostly adults. The village my grandma lived in was veryclose to the flooding, and I remember my friend and I were very afraid, what if we were the next to suffer? Our river and valley were ideal for another dam, you know. We wanted to sabotage this by detonating the dam since it was a symbol of the regime, but we knew we would be executed if we really carried out that plan. We gave up the idea in the end- we were only 11 years old then. Interestingly, 24 years later, I met the writer Dragomán György, who was three years older than me and of the same origin. It turned out that he had got the same idea, that is, to explode the dam. Later on, he wrote the novel Dam and I did Water Demons.
Juan Xu:  Now the European Parliament is criticizing Poland, Hungary, and a few other Eastern European countries for their revision of legal policies. As a citizen of these Eastern European countries, do you think these differences have something to do with the different political and aesthetic experiences? 
Sàndor Szàsz: It’s a sensitive topic. Free elections and sovereignty were passed only 28 years ago. Dictatorship and foreign occupation had been there for 45 years. Even so, Hungarians always believe that they are part of Europe. There are conflicts within Europe, but conflicts are unavoidable in a diversified world. I try to understand the causes of such differences, as well as solutions to these headaches. I believe in change, but it takes time for changes to come and for people to adapt to each other. We have to replace confrontation and hostility with effective communication. Lots of Western countries followed a different path. As the German unification told us, to divide a country is far easier than unify it. 
 
Juan Xu: Is the Miracle Child based on your childhood memor?
 
Sàndor Szàsz: Few countries in Eastern Europe had a stronger guided personal cult of Ceausescu[MOU1]  as a national leader than Hungary did. My childhood experience was a strange one.  Born in a Hungarian family, I was considered a secondary citizen, but I was a miracle child as well. Kids who shared the same birthday with the leader were called “Miracle Children,” and got special favors, such as gifts from the government. Now let me give you an example. In my primary school we had a sort of a lucky draw and everyone could take part. We had to fill out a form, like name, date of birth, family members (I believe they were collecting data) and so on. The school leadership submitted the form to a center that would draw only one student from the school and give him or her a special gift. 3 times in a row, I won a radio Solo 100. In the end, I came to believe it was not sheer luck every time. It was all prearranged. With this photo installation, I wish to reflect on the idea that “everyone is equal, but some are more equal than others.” In the photos, I looked no different from other kids, but our experience was totally different.  
Juan Xu: Your sister’s legendary experience has always been on your mind. Why did you decide to include it into your video instead of painting, a form you are very familiar with? Does this work have a relationship with the theme “capital?”
Sàndor Szàsz: My sister, who is 8 years older than me, had been trying to flee from the country[MOU2] . I actually grew up in her shadow. I had always believed that she was attempting the impossible until she finally made it. Year after year, I came to understand how brave she had been when she decided to run away from the hopeless regime. These years, I have tried to find somebody who could make a documentary about her experience, believing that film production differed from painting in its multiple perspectives and sensitivity. Always fascinated about video art, I just took the chance and did my own short documentary. My sister was a person with nothing at all, and the existence of herself was her only form of “capital.” Only action could bring her real potential capital. For her, capital is "hope and imagination.”
 
Juan Xu: Do you know Julian Barnes? How does that memory affect your art?
Sàndor Szàsz: I’ve heard about him but am not very familiar with his theories. The place where I grew up serves as a very special background in my art. Life in this period of history was by no means easy, but it did offer a very special meaning to my art. The very complicated history in Central/Eastern Europe gives me particular room for reflection and analysis. Our human history is full of unfinished stories, and we live with mistakes left over from history. These errors will not disappear by themselves until we can fully clarify them. Many times, I can sense some sort of collective memory, in the form of reflection or fragmented images. They may not be something around us, nor do they point absolutely to the past. For most of the time, they mean something eternal that has gone beyond history. With these fragments lingering around, I feel pressed to do something for them.
 
Juan Xu: Please say something about the connection between reality and fiction, memory and identity, ideasand artworks...
 
Sàndor Szàsz: Growing up in a system of absurdity, I find it hard to tell reality from fiction. That’s why my works build on the border between uncertainty and insanity. I’m curious to interpret decisions that have a strong social impact and transfer it to my own “reality”. After my sister ran away, her story sounded like a movie script, more bizarre than fiction, but it is our reality, absolutely true. In this sense, The Light Sleeper is a recreation of my memories and my feelings. 
In the 70s and 80s, Romania made a dash in the name of modernization in the hope of creating a “New Man” and building a so-called “Golden Age.” Hundreds of thousands of people were relocated to industrial cities by force. I Love My Hometown and New Society are symbolic of the violence of political power and utopia, which leads to human catastrophe. My memories and my experiences are my “reality” and “truth” that give me that sense of belonging.  

​11.06.2019 

 [MOU1]But Ceausescu is Romanian, is he implying that hungary also liked him?

 [MOU2]Romania or Hungary? May be a good thing to insert.