In Sleep Walking, Xing examines the effect of dislocation and how the mind can blur the distinctions between the past and the present, reality and fiction. The video weaves together images from different Western cityscapes accompanied by a soundtrack composed with Chinese traditional instruments and sounds of daily life in Chinese cities. The work implies a sense of loss and displacement, and evokes contending memories. Xing reconstructs reality, creating vigorous images infused with her visions of European Old Master paintings, the realities of these cities, and personal audial and visual memories.
在"梦游"作品中，艺术家通过探索大脑是如何模糊过去与当下、现实与虚构的界限，来检验"错位"的现象。萦绕着由中国传统乐器并杂糅中国城市生活环境音而制作的声响配乐，影像将不同的西方城市景观编织在一起。作品暗示着一种迷失与迁移之感，并唤起暗潮汹涌的记忆。邢丹文重构现实，灌注其对欧洲古典绘画的眼光、城市的现实以及个人化的听觉和视觉记忆，创作出一部强有力的视频装置。
- BOOKs -
- ARTICLEs -
- EXHIBITIONs -
Updated in Feb 2024
BOOKs
2022
Trojan Horse - Chinese Video Art: Concept, Practice and Cultural Agency(1996-2006), author Luis Cantillo, edited by Gao Xindan, published by China Academy of Art Press, 2022, China, P199-204, ISBN 978-7-5503-2818-1, Chinese
2009
十五：与15位女艺术家的谈话，author Zhao Ying, published by Shandong Fine Art Publishing House, China, P162-175，ISBN 9787533029289, Chinese
2007
China Art Book, Edited by Uta Grosenick & Caspar H·Schübbe, publsuhed by Dumont publisher, 2007, Germany, P472-479, ISBN 978-3-8321-7769-0, English
China Onward-The Estella Collection, author Frsnces Bowles, author Frsnces Bowles, published by Louisiana Museum of Modern Art, 2007, Denmark, P310-317, ISBN 87-91607-38-8, English
ARTICLEs
2022
A Round table dialogue "The meaning of Me:SElf-representation in Photography from Cindy Sherman to Xing Danwen", Wallpaper Blog, [EB/OL], March 1, 2022, Beijing, China, https://mp.weixin.qq.com/s/7yH_7F8goFOdPzKXBKkpZg
2019
"邢丹文: 只缘生在此山中", author Carole Ying-hua Lu, SCOPE Magazine, [J], Autumn Issue, Nov 2019, Beijing, China, P78-79, https://mp.weixin.qq.com/s?__biz=Mzg4ODU3NDE2OA==&mid=2247506536&idx=1&sn=40599bc7565143d094363b1eda092ee6&source=41#wechat_redirect
"大艺术家 | 邢丹文: 与相机的一场私奔，我拍摄下了一段中国当代艺术史", author Wenluo, YTNewMedia, [EB/OL], Jul 30, 2019, China, https://mp.weixin.qq.com/s/ZpMbRFf5aRtov82_3EcWRg
"Conversation with Xing Danwen: The Artistic Creation of Complexities and Challenges", ArtWorm magazine, [J], March 2019, China, P164-173, http://mp.weixin.qq.com/s/sqIVjdMgvbMdPnD55CiOOA
"Dissociative Sociability and the Mirror Effect: On Xing Danwen's Socio - Optics", author Mostafa Heddaya, YISHU magazine, [J], Vol.18. No.1, Jan/Feb, 2019, Cannada, ISBN: 1683-3082, P94 - 1022019
2017
"爱之囚: 邢丹文以爱为名的破局之旅", author Jiao Jian, 图虫, [EB/OL], No.11, 2017, China, http://kokofan.tuchong.com/t/15868045/
"凤凰艺术专访｜邢丹文：现实是残酷的，但要敢于正视", author Li Peng, Art-iFeng, https://mp.weixin.qq.com/s/3I862_bH6jNgghMwP5itzw
"Captive of Love: exploring urbanity with Danwen Xing at Red Brick Art Museum", author Brittney Merton, Art Radar, [J/OL], Oct 17, 2017, Beijing, China, https://artradarjournal.com/captive-of-love-exploring-urbanity-with-danwen-xing-at-red-brick-art-museum-beijing/
"邢丹文: 一个藏在喧嚣背后的影像艺术家", Artron, [EB/OL], Oct 18, 2017, China, https://m-news.artron.net/news/20171018/n1079338.html
"谈邢丹文: 如何隐没?", author Wang Che, Red Brick Art Museum, [EB/OL], Oct 20, 2017, China, https://mp.weixin.qq.com/s/feZ8aaiynxRVS_S0G00CEQ
"流动, 考察性思考和人文视角—邢丹文访谈", ARTMONTHLY magazine, [J], Number 10, Nov 7, 2017, China, P35-39, https://mp.weixin.qq.com/s/iuvHmDa9LhEH36MvcgGrHA
2007
"Projecting the Reality of China through the Lens: On the Artistic Practice of Xing Danwen", author Gu Zheng, Chinese Photography, [J], April 2007, China, P64-73
2002
"Playing with Images", author Chen Qin, Photographers' Companion magazine, [J], Vol. 9, 2002, China, P12-13, P48-51
"Women Art Watch: China", author Chaos Y. Chen, magazine MAKE, [J], special edition 92, May 2002, UK, P20-21
"Crosscurrents in Yokohama", author Christopher Phillips, magazine Art in America, [J], No.1, January, 2002, USA, P89-90
2001
"2001 Yokohama Triennale 求它的一种美－杨福东访谈录", author Li Xianting, Next Wave, December 2001, China, P101-103
EXHIBITIONs
Solo
2023, "So Far So True", Ambassador Residence of Deutsch Embassy, Beijing, China
2017, "Captive of Love: Exhibition of Danwen Xing", Red Brick Art Museum, Beijing, China
Group
2023, "Motion is Action", By Art Matters, Hangzhou, China
2022, "Notes: Chinese Artistic and Intellectual Voices from the End of the Twentieth Century", 798 Gallery Weekend / Beijing Inside-Out Art Museum, Beijing, China
2021, "Laminated Time & Space", Kulangsu Contemporary Art Center, Xiamen, China
2018, "INTERLOCAL", RheinPark, Duisburg, Germany
2018, "INTERLOCAL", Art Gallery of Uzbekistan, Uzbekistan
2010, "Memory of Muse", a contribution exhibition for Pink Ribbon, Wall Art Museum, Beijing, China
2007, "MADE in CHINA - the Estella collection",
2007, Louisiana Museum of Modern Art, Humlebæk, Denmark
2007, "MADE in CHINA - the Estella collection", The Israel Museum, Jerusalem, Israel
2007, "Collection of Chinese Contemporary Art from Guangdong Museum of Art", Guangdong Museum of Art, Guangzhou, China
2006, "China Contemporary - New Urban Realities", Museum Boijmans Van Beuningen, Rotterdam, Netherlands
2004, "Strange Planet: the Effects of Cultural Ambiguity", Ernest G. Welch School of Art & Design Gallery, Georgia State University, Atlanta, USA
2004, "guanYIN - tempi di DONNE", Sala 1, Roma, Italy
2003, "Split: Woman in Dislocation", Hessel Museum of Art & Center for Curatorial Studies Galleries at Bard College, Annandale-on-Hudson, USA
2003, "CHINE(S)-Video Art & Experimental Cinema from China & Taiwan", LightCone, Paris, France
2002, "Reinterpretation: A Decade of Experimental Chinese Art", The 1st Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, China
2002, "Queens International", Queens Museum of Art(QMA), New York, USA
2002, "Fourth Annual Video Marathon", Art in General, New York, USA
2001, "Mega Wave-Towards a New Synthesis", The 1st YOKOHAMA TRIENNIAL, Yokohama, Japan
2000, "SVA 10 Years Moving Images", Anthology Cinema, New York, USA
2024年2月更新
书籍出版
2022
木马计——中国录像艺术的观念、实践与文化代理（1996-2006），作者路易斯·康地略，高昕丹主编，中国美术学院出版社出版，2022年，中国，页码199-204，ISBN 978-7-5503-2818-1，中文
2009
十五：与15位女艺术家的谈话，作者赵颖，山东美术出版社出版，2009年，中国，页码162-175，ISBN 9787533029289，中文
2007
China Art Book，主编Uta Grosenick和Caspar H·Schübbe， Dumont publisher出版，2007年，德国，页码472-479，ISBN 978-3-8321-7769-0，英语
China Onward-The Estella Collection，作者Frsnces Bowles, Louisiana Museum of Modern Art出版，2007年，丹麦，页码310-317，ISBN 87-91607-38-8，英语
文章艺评
2022
“圆桌对谈 | 自我的意义：从辛迪·舍曼到邢丹文，谈影像中的自我表征”，卷宗Wallpaper，[EB/OL]，2022年3月1日，中国北京，https://mp.weixin.qq.com/s/7yH_7F8goFOdPzKXBKkpZg
2019
“邢丹文：只缘生在此山中”，作者卢迎华，艺术客杂志，[J]，秋季刊，2019年11月，中国北京，页码78-79，https://mp.weixin.qq.com/s?__biz=Mzg4ODU3NDE2OA==&mid=2247506536&idx=1&sn=40599bc7565143d094363b1eda092ee6&source=41#wechat_redirect
“大艺术家 | 邢丹文：与相机的一场私奔，我拍摄下了一段中国当代艺术史”，作者温萝，YT新媒体，[EB/OL]，2019年7月30日，中国，https://mp.weixin.qq.com/s/ZpMbRFf5aRtov82_3EcWRg
“挑战艺术创作的潜力——对话邢丹文”，艺术虫杂志，[J]，2019年3月，中国，页码164-173，http://mp.weixin.qq.com/s/sqIVjdMgvbMdPnD55CiOOA
“Dissociative Sociability and the Mirror Effect: On Xing Danwen’s Socio - Optics”，作者Mostafa Heddaya，YISHU杂志（典藏国际版），[J]，第18卷第一期，2019年1-2月，加拿大，ISBN: 1683-3082，页码94 - 102
2017
“爱之囚：邢丹文以爱为名的破局之旅”，作者焦健，图虫，[EB/OL]，2017年11月30日，中国，http://kokofan.tuchong.com/t/15868045/
“凤凰艺术专访｜邢丹文：现实是残酷的，但要敢于正视”，作者李鹏，凤凰艺术，[EB/OL] ，2017年10月6日，中国，https://mp.weixin.qq.com/s/3I862_bH6jNgghMwP5itzw
“红砖美术馆，爱之囚-邢丹文都市化的探索”，作者Brittney Merton，艺术雷达期刊，[J/OL]，2017年10月17日，中国北京，https://artradarjournal.com/captive-of-love-exploring-urbanity-with-danwen-xing-at-red-brick-art-museum-beijing/
“邢丹文：一个藏在喧嚣背后的影像艺术家”，雅昌专稿，[EB/OL]，2017年10月18日，中国，https://m-news.artron.net/news/20171018/n1079338.html
“谈邢丹文：如何隐没？”，作者王澈，红砖美术馆，[EB/OL]，2017年10月20日，中国 ，https://mp.weixin.qq.com/s/feZ8aaiynxRVS_S0G00CEQ
“流动，考察性思考和人文视角——邢丹文访谈”，画刊杂志，[J]，第10期，2017年11月7日，中国，页码35-39，https://mp.weixin.qq.com/s/iuvHmDa9LhEH36MvcgGrHA
2007
“显影中国的现实—论邢丹文的艺术实践”，作者顾铮，中国摄影家，[J]，2007年4月，中国，页码64-73
2002
“与影像做戏”，作者陈勤，摄影之友杂志，[J]，第9期，2002年，中国，页码12-13、48-51
“Women Art Watch: China”，作者陈泱，MAKE艺术杂志，[J]，special edition 92，2002年5月，英国，页码20-21
“Crosscurrents in Yokohama”，作者 Christopher Phillips，Art in America杂志，[J]，第1期，2002年1月，美国，页码89-90
2001
“2001 横滨国际当代美术三年展（下）——求它的一种美－杨福东访谈录”，作者栗宪庭，新潮杂志，2001年12月，中国，页码101-103
展览历史
个展
2023，中国北京，德国大使馆官邸，“知乎则也”
2017，中国北京，红砖美术馆，“爱之囚 - 邢丹文”
群展
2023，中国杭州，天目里美术馆，“动为行”
2022，中国北京，798画廊周 / 中间美术馆，“笔记——来自二十世纪末的中国声音”
2021，中国厦门，鼓浪屿当代艺术中心，“叠层时空”
2018，德国杜伊斯堡，RheinPark，“INTERLOCAL”
2018，乌兹别克斯坦塔什干，国家美术馆，“INTERLOCAL”
2010，中国北京，墙美术馆，“缪斯的记忆-粉红丝带艺术展”
2007，丹麦胡姆勒拜克，Louisiana Museum of Modern Art 现代美术馆，“MADE in CHINA - Estella收藏”
2007，以色列，耶路撒冷， The Israel Museum博物馆， “MADE in CHINA- Estella收藏”
2007，中国广州，广东美术馆，“馆藏中国当代艺术作品展”
2006，荷兰鹿特丹，Boijmans Van Beuningen博物馆，“New Urban Reality”
2004，美国亚特兰大，Ernest G. Welch School of Art & Design Gallery乔治亚州大学美术馆，“Strange Planet: the Effects of Cultural Ambiguity”
2004，意大利罗马，Salal艺术空间，“guanYIN - tempi di DONNE”
2003，美国纽约，Center for Curatorial Studies Museum, Bard大学美术馆，“Split: Woman in Dislocation”
2003，法国巴黎，LightCone电影中心，“CHINE(S)-VideoArt & Experimental Cinema from China & Taiwan”
2002，中国广州，第一届中国当代艺术广州三年展，“重新解读: 中国实验艺术十年1990-2000”
2002，美国纽约，Queens美术馆，“Queens International”
2002，美国纽约，Art in General艺术空间，“Fourth Annual Video Marathon”
2001，日本横滨，第一届横滨国际当代艺术三年展，“Mega Wave-Towards a New Synthesis”
2000，美国纽约，Anthology Cinema电影资料馆，“SVA 10 Years Moving Images”
Updated in Dec 2022
2004
"Strange Planet: the Effects of Cultural Ambiguity", Ernest G. Welch School of Art & Design Gallery, Georgia State University, Atlanta, USA
Artist Statement, written in 2001, New York
Sleep Walking
2001
Memory exists in the past, and the present will soon become memory. In Sleep Walking, I examine the effect of dislocation and how one's mind can blur the distinctions between memory and present, reality and fiction, permanence and impermanence.
What is more true, the present or a memory, reality or imagination?
It is a question I have often considered after my first visit to Paris in the early 1990s. I had studied European painting since my teenage years. I had known European masters and their art in numerous art books, with particular attention to the impressionists and the post–impressionists who I studied devoutly at the beginning of my painting practices. Through their works, I had my first impression of Paris.
In autumn of 1993, my friend took me from Hamburg to Paris. Arriving in Paris in the early morning, I saw a city in pale twilight. The houses and building seemed ordinary and the winding alleys were dotted with waste and dirt. I wasn’t excited about my final arrival in this romantic, and romanticized city that I had been longing for. Instead, I was skeptical. Was this Paris?
Was I disappointed by this fact? I still cannot answer this question, but I did feel lost. It was not the Paris I had known in my art books. Later, while visiting museums, I found my “Paris”. This experience made me think a lot. This unforgettable feeling of dislocation caused me to analyze relationships between reality and illusion, the present and memory. Sleep Walking was inspired by this sense of Parisian dislocation, and also by my experiences living in New York at the time.
In Sleep Walking, videos show images from cities in the United States and Europe where I have lived and traveled. But, they are accompanied by a soundtrack composed with Chinese traditional instruments and the ambient sounds of life in China, which were completely a different location from the videos.
Sleep Walking may be read as a comment on how globalization has led to a standardized, uniform urban life and how image and sound from the East and West can resemble each other, but also reveals cultural differences between homeland and identity. Simultaneously, the work depicts how the mind weaves together images from different places into a seamless tale of continuous memory. Despite its formal lyricism, Sleep Walking implies a sense of loss, of displacement, of contending values and memories. It is a meditation on a self-caught between a past absent of meaning and a transitory present/future in which cultures, values, and subjectivities collide, yielding unpredictable realities.
The single channel video is a 10-minute independent film, projected onto a floor-to-ceiling screen and presented with a soundtrack. The soundtrack records the quotidian sounds of contemporary China accompanied by traditional music instruments, and composed with electronic sound mix. These sounds contrast with the seamless stream of images of New York City, where I lived at the time. Together, the sound and images create a disorienting relationship between time and space. This disorientation is somewhat incongruous with the poetic allure of the work.
As an installation, Sleep Walking consists of two 10-minute streaming video projections, a soundtrack and a traditional Ming dynasty trunk made of transparent Plexiglas and copper fitting. Traditionally, Ming-style trunks served as depositories for family treasures and heirlooms. Usually made of solid hardwood material, they were meant to resist safeguard the owner’s possessions for future generations. Because it is made of Plexiglas, this trunk is not only dislocated from an ancestral past, but also, by virtue of the images of Western cities projected on trunk’s bottom, is only connected to a fictitious and incoherent present. The trunk’s video projects images from cities and places all over the world where I have traveled and lived, while the wall projection again shows images of New York City.
Sleep Walking brings together images of anonymous places from Western cityscapes, the sounds of China and an object that refers to the past and memory. In this, the work is as much about dislocation as about the inevitable convergence and divergence of East and West. In the video’s non-narrative sequencing and incongruous soundtrack, auditory and visual realities are often disjointed, echoing my personal feelings of transience.
This work is presented in two versions: a two-channel video installation with a trunk; and a single channel video as an independent short film.
2022年12月更新
美国亚特兰大，Ernest G. Welch School of Art & Design Gallery乔治亚州大学美术馆，“Strange Planet: the Effects of Cultural Ambiguity”
