From an existential perspective, the aesthetic tastes and artistic lifestyles of ordinary people are not mere "ornaments" attached to material reproduction.
Curator's Statement for Plants and Insects Thrive
By Zhang Chuxiang
From an existential perspective, the aesthetic tastes and artistic lifestyles of ordinary people are not mere "ornaments" attached to material reproduction. Instead, they represent a grid-like living pattern of "certain meanings" constructed by "individuals and groups" through reality, images and narratives within the time-space continuum. This reflects the tendency and orientation of certain life values. Herein, we have no intention of "pointing out a direction"; on the contrary, what is presented is the inherent destiny and limitations revealed through experiments along multiple paths. As an old saying goes: every nation has its own fortune; every clan has its own genealogical destiny...
This year’s Qingdao International Art Biennale is themed Tathāgata Has Come. From the perspective of Eastern Buddhist philosophy, "Tathāgata", signifying enlightenment and arrival, indicates the mutual infiltration of transcendent religious experience and the wisdom of present-day life. In other words, "spiritual awakening" is not a detachment from the mundane world, but a state of enlightenment manifested in daily life. The curator draws a metaphorical parallel between this awakening of wisdom and "plants of the common folk", emphasizing the latent radiance of ordinary lives. Though plants are ubiquitous and minute, under specific cultural conditions and favorable living environments for the people, they can blossom with a unique "beauty of wisdom", presenting a complex genealogy interwoven with daily practices, social structures and cultural meanings.
Its significance is not always self-evident; more often than not, it lies hidden in repeated cultural surveys, trivial shooting interactions and subtle emotional exchanges. From phenomenological and sociological perspectives, the significance of the exhibition can be broken down as follows: Zhang Xinmin’s works reveal the visibility of existence—this visible interest in existence is not mere entertainment, but a presentation of intentional structures. The works of Sun Junmei and Luo Jinqian raise, re-practice and re-create questions concerning the construction of social relations and the cornerstones of art; they shift people’s attention from monotonous reality to details with symbolic significance. Tian Ye’s works explore how individuals are perceived by themselves and others in daily behaviors; the choices of lifestyle, the playful use of images and language, all serve as the breeding ground for worldly delights. Chen Peiqiu casts doubts on the re-cognition of historical time and space; He Xiaohua’s works emphasize the humanistic issues arising from the relationships between people, neighbors and public spaces; Dai Fei’s works express the demand for creativity in daily life, highlighting the cultural and psychological essence behind "ritualized" daily behaviors... Here, the photographers continuously endow contemporary life with new delights and fresh thresholds of experience.
At the level of values, the significance of public life involves debates over the concept of "a good life". The utilitarian perspective emphasizes material well-being and efficient distribution, while the existential perspective focuses on self-actualization and daily happiness. These viewpoints are not diametrically opposed. The significance of exhibitions, cultural consumption and public art are all crucial mechanisms for achieving this balance: through the role of artistic aesthetics and critical thinking, they enable the public to understand and choose lifestyles that are more in line with the long-term interests of individuals and groups. This returns us to the aforementioned proposition concerning destiny and the well-being of the nation and its people. I have no intention of making further judgments; what I care about is the presentation of diverse values and the comparative study between different cultures.
The Qingdao International Art Biennale advocates respecting the complexity of daily life and avoiding as much as possible the overshadowing of the diversity of small-scale human experiences by grand narratives; it aims to enhance the public’s pursuit of multiple paths to happiness in an intrinsic sense. The significance of the public’s aesthetic and delightful life lies in connecting the micro-experiences of individuals with the macro-values of society. The metaphor of plants reminds us that beauty waiting to be awakened lies hidden in the ordinary; the phrase "Tathāgata Has Come" indicates the possibility of awareness and immediate action. In an era where AI has become an "amplifier of delightful functions", how can we strike a balance between technological innovation and visual regulation?
Overall, the realization of public delight relies on four pillars: the development of artistic practice, the ethicalization of work design, the sustainability of exhibition systems, and the initiative of individual daily life. Only through the synergy of these four elements can plants thrive, and daily life become a dynamic field where meaning and delight mutually nourish each other—a field where all living things "thrive".
As the curator would fondly say: While my leisure self is still young, let me fully indulge in a little bit of unruly freedom...
