{"id":3716,"date":"2022-01-12T07:30:00","date_gmt":"2022-01-12T07:30:00","guid":{"rendered":"https:\/\/yanluartsandculture.com\/crossing-the-border-between-tibet-and-sichuan-artists-negotiate-with-ethnic-landscape-in-the-ongoing-chengdu-biennale\/"},"modified":"2025-05-27T09:14:59","modified_gmt":"2025-05-27T09:14:59","slug":"crossing-the-border-between-tibet-and-sichuan-artists-negotiate-with-ethnic-landscape-in-the-ongoing-chengdu-biennale","status":"publish","type":"post","link":"https:\/\/yanluartsandculture.com\/en\/crossing-the-border-between-tibet-and-sichuan-artists-negotiate-with-ethnic-landscape-in-the-ongoing-chengdu-biennale\/","title":{"rendered":"Crossing the Border Between Tibet and Sichuan, Artists Negotiate with Ethnic Landscape in the Ongoing Chengdu Biennale"},"content":{"rendered":"

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How do ethnic minority artists join the mainstream contemporary Chinese art discourse?
These artworks\uff0cfeatured in the exhibition come from diverse cultural background, tend to go unmentioned, disregarded, generally underrepresented in the mainstream discourse of contemporary Chinese art. The Chengdu Biennale aims to bring these artworks into the spotlight.<\/p>\n<\/blockquote>\n

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How do ethnic minority artists join the mainstream contemporary Chinese art discourse?<\/strong><\/h3>\n

Soft-opened on Nov 6th, 2021, scheduled to run through Apr 6th, 2022, the Chengdu Biennale is held at Chengdu Tianfu Art Park, consisting in two newly-established museums, each iconic as urban architecture. Chengdu Tianfu Art Museum and Chengdu Museum of Contemporary Art. As a large-scale art exhibition, the Chengdu Biennale consists of 8 sectional exhibitions with different themes of exhibition, one international museum director conference, and more than ten parallel exhibitions. The 8 exhibition themes are named as follows: \u201cPolymorphic Co-Existence\u201d, \u201cUrban Co-Habitation\u201d, \u201cTechnological Co-Respondence\u201d, \u201cZeitgeist Co-Evolution\u201d, \u201cEcological Co-Development\u201d, \u201cCraft Co-Operation\u201d, \u201cEthnic Co-creation\u201d, and \u201cArtistic Co-Inspiration\u201d. <\/p>\n

Among the 8 themes, one theme stands out \u2014 \u201cEthnic Co-creation\u201d, as Sichuan, the province where Chengdu is located, shares a border with Tibet and thus shares a long history of cultural encounter and communication. As a result, Chengdu has become the hub of multi-ethnic groups and diverse cultural identities. Artists featured in the exhibition come from diverse cultural backgrounds, examining cultural exchange through artistic approach which negotiate with history in developing contexts of modernization and migration. These artworks tend to go unmentioned, disregarded, generally underrepresented in the mainstream discourse of contemporary Chinese art. The Chengdu Biennale aims to bring these artworks into the spotlight. <\/p>\n

How do the artworks in \u201cEthnic Co-creation\u201d represent and negotiate with regional history in Sichuan and Tibet?<\/b><\/strong><\/p>\n

The artists address the changing landscape of Tibet from historical, environmental, and cultural perspectives. The history is encapsulated by Zhang Huan in a conceptual model of a monumental palace (Spirits Temple<\/i><\/em> (2021)), which is inspired by Dunhuang Mogao Caves and the Potala Palace. For Zhang, the conceived architecture harbors both spirituality and mortality. While the palace\u2019s facade consists of images of Chinese and Russian historical figures, the palace is also designed in the shape of a huge coffin. The conceived palace thus represents Zhang\u2019s interpretation of history, which rests in between the status of haunting spirits and historical dust. <\/p>\n

[\/et_pb_text][et_pb_blurb title=”Zhang Huan, Spirits Temple (2021)” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/\u5f20\u6d39\uff0c\u795e\u5e99\uff082021\uff09.jpeg” _builder_version=”4.18.0″ _module_preset=”default” theme_builder_area=”post_content” title_text=”\u5f20\u6d39\uff0c\u795e\u5e99\uff082021\uff09” text_orientation=”center” hover_enabled=”0″ sticky_enabled=”0″][\/et_pb_blurb][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” theme_builder_area=”post_content” hover_enabled=”0″ sticky_enabled=”0″]<\/p>\n

In discussion of environmental and cultural history, some artists intend to imprint their memories of the land into their physical body by performing in the changing landscape. In Liu Shangying\u2019s <\/i><\/em>Wasteland Plan No.21, Liu addresses environmental changes in the Tibetan landscape through the means of performance and painting. Laying the canvas on the wasteland, the artist interacts with the landscape while leaving the trace on the canvas, crystallizing his memories and perception of the barren land into the paint on the canvas surface. <\/p>\n

[\/et_pb_text][et_pb_blurb title=”Liu Shangying, Wasteland Plan No.21 (2019)” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/\u5218\u5c1a\u82f1\uff0c\u8352\u5730\u8ba1\u5212\u7b2c21\u53f7\uff082019\uff09.jpeg” _builder_version=”4.18.0″ _module_preset=”default” theme_builder_area=”post_content” title_text=”\u5218\u5c1a\u82f1\uff0c\u8352\u5730\u8ba1\u5212\u7b2c21\u53f7\uff082019\uff09” text_orientation=”center” hover_enabled=”0″ sticky_enabled=”0″][\/et_pb_blurb][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” theme_builder_area=”post_content” hover_enabled=”0″ sticky_enabled=”0″]<\/p>\n

In The Last Spring Ploughing<\/i><\/em>, Artist Penpa<\/i><\/em> from Lhasa discusses the expansion of city and land acquisition (tudi zhengyong \u571f\u5730\u5f81\u7528) through performance and video installation. Leading his family to document plowing the land one last time. They performed a farewell ritual to commemorate the family\u2019s farmland, whose existence and absence serve as a historical testimony to the changes in the family and in the Tibetan landscape. In another performance, Moving to the Mountain (2013), Penpa moved part of his home to a ruin in the mountain, which was said to have been a left from the war with the Dzungar. Inhabiting the roofless ruin, the absurdity of Penpa\u2019s performance puts questions to cultural rupture, urban housing, and site-specific histories. <\/p>\n

[\/et_pb_text][et_pb_blurb title=”Penpa, The Last Spring Ploughing” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/\u5f6d\u5e15\uff0c\u6700\u540e\u7684\u6625\u8015.jpeg” _builder_version=”4.18.0″ _module_preset=”default” theme_builder_area=”post_content” title_text=”\u5f6d\u5e15\uff0c\u6700\u540e\u7684\u6625\u8015” text_orientation=”center” hover_enabled=”0″ sticky_enabled=”0″][\/et_pb_blurb][et_pb_blurb title=”Penpa, Moving to the Mountain” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/\u5f6d\u5df4\uff0c\u642c\u5230\u5c71\u4e0a.jpeg” _builder_version=”4.18.0″ _module_preset=”default” theme_builder_area=”post_content” title_text=”\u5f6d\u5df4\uff0c\u642c\u5230\u5c71\u4e0a” text_orientation=”center” hover_enabled=”0″ sticky_enabled=”0″][\/et_pb_blurb][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” theme_builder_area=”post_content” hover_enabled=”0″ sticky_enabled=”0″]<\/p>\n

Photographer Yang Yue-luan also addresses modernization in his works Tibetan Scenery (Xizang fengjing \u897f\u85cf\u98ce\u666f). No longer separable from modern infrastructure, the landscape appears to be ominous, disrupted, and vulnerable. <\/p>\n

[\/et_pb_text][et_pb_blurb title=”Yang Yueluan, Tibetan Scenery (Xizang fengjing \u897f\u85cf\u98ce\u666f)” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/\u6768\u6708\u9e3e\uff0c\u897f\u85cf\u98ce\u666f\uff08Xizang-fengjing-\u897f\u85cf\u98ce\u666f\uff09.jpeg” _builder_version=”4.18.0″ _module_preset=”default” theme_builder_area=”post_content” text_orientation=”center” title_text=”\u6768\u6708\u9e3e\uff0c\u897f\u85cf\u98ce\u666f\uff08Xizang fengjing \u897f\u85cf\u98ce\u666f\uff09” hover_enabled=”0″ sticky_enabled=”0″][\/et_pb_blurb][et_pb_text _builder_version=”4.18.0″ _module_preset=”default” theme_builder_area=”post_content” hover_enabled=”0″ sticky_enabled=”0″]<\/p>\n

Other artists such as Bma Zhaxi\u5df4\u9a6c\u624e\u897f and De Zhen\u5fb7\u73cd&Ciren Langjie\u6b21\u4ec1\u6717\u6770 have portrayed Tibet\u2019s natural and cultural landscape through distinct visual language and affective interpretation. Experimenting with traditional ink painting, \u5df4\u739b\u624e\u897f\u2019s paintings convey an eerie, disruptive, but intriguing representation of his hometown\u2019s impression. With sentiments towards the disappearing culture, \u5fb7\u73cd&\u6b21\u4ec1\u6717\u6770 delineates a fantastical, surreal landscape in their paintings. The portrayal of a strange and fantastical landscape points towards the changes and urbanization that the Tibetan landscape has undergone throughout the years. <\/p>\n

[\/et_pb_text][et_pb_blurb title=”Bma Zhaxi, Impressions of home” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/\u5df4\u624e\u739b\u897f\uff0c\u5bb6\u4e61\u7684\u5370\u8c61.jpeg” _builder_version=”4.18.0″ _module_preset=”default” theme_builder_area=”post_content” title_text=”\u5df4\u624e\u739b\u897f\uff0c\u5bb6\u4e61\u7684\u5370\u8c61” hover_enabled=”0″ sticky_enabled=”0″ text_orientation=”center”][\/et_pb_blurb][et_pb_blurb title=”De Zhen & Ciren Langjie, Grazing and guarding the frontier” image=”https:\/\/yanluartsandculture.com\/wp-content\/uploads\/2025\/05\/\u5fb7\u73cd\u6b21\u4ec1\u6717\u6770\uff0c\u653e\u7267\u5b88\u8fb9\u7586.jpeg” _builder_version=”4.18.0″ _module_preset=”default” theme_builder_area=”post_content” title_text=”\u5fb7\u73cd&\u6b21\u4ec1\u6717\u6770\uff0c\u653e\u7267\u5b88\u8fb9\u7586” hover_enabled=”0″ sticky_enabled=”0″ text_orientation=”center”][\/et_pb_blurb][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

How do ethnic minority artists join the mainstream contemporary Chinese art discourse?These artworks\uff0cfeatured in the exhibition come from diverse cultural background, tend to go unmentioned, disregarded, generally underrepresented in the mainstream discourse of contemporary Chinese art. The Chengdu Biennale aims to bring these artworks into the spotlight. 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