Dong Guochang was born in 1934 in Fenghua. At the age of sixty, he builded a huge grave for himself in addition to two pavilions for future generations to rest when they visit him. The township head discouraged him from taking so much land for his grave that even the mother of Chiang Kai-shek did not own such a huge one. Dong, with rulers in his hand, went three times to compare two graves. Finally, he agreed to dissemble the two pavilions. Now, he becomes a famous painter in the village.
Location: The Gallery
Address: 202 E Wisconsin Ave, Lake Forest, IL 60045
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In the museum of Van Gogh in Netherland, I encountered this palette of him with remains of pigments. At that point, I felt I was so close to the artist yet distant. I felt the sense of intimacy meticulously tracing each crack on the pigments even more than the time when I was complimenting his oil paintings on the wall. However, I was also frustrated by the glass between the palette and me. It was the first time the concept of distance came to me.
A couple years later, I became a curator myself for my dad’s photos of people in the Siming Mountain, the mother mountain that cultivates rural culture in Ningbo. The concept of intimacy is always with me.
I named my first two exhibitions “Nostalgia” because they are exhibitions that trace roots for the urban Ningbo people. For the two exhibitions, I not only displayed photos but also their stories below each. I wanted to establish the feeling of intimacy to the photos with the stories. I reflected on the role of photography. Nowadays, people look at photos on social media for no more than five seconds before they scroll down. During my first exhibition, the approach for me was to use stories to bring people closer to pictures. During my second exhibition, I invited a 96-year-old mother and her 76-year-old son to the opening ceremony so that the audience could interact with them.
After two in Ningbo, I decided to reach global audience. I went to the local art gallery and persuaded them to provide a place for these pictures and their stories. Besides thinking about what I can do with all those photos and stories, I thought about what it means for the old residing in the Siming Mountain for their entire life. They have never been outside of the mountain before, and the exhibitions would not even matter to them. I came up with the idea of not only shortening the distance between art and audience but also the subject of art and the audience. I have made my photos for sale, and I am going to bring the money back to them. I have also encouraged the visitors to leave messages to them so that they know there are also a group of people knowing and caring about them from the other side of the earth. They depend their entire life on labor of themselves and they probably do not realize they need help from others. On our notebook for message, I already received some warming messages praising this caring sense and reflect on the rural life between China and U.S. I do want to break the geographical isolation and connect to them and the history they have witnessed. For those foreign visitors, I have printed out posters, and I hope they will keep this glimpse of lives in rural Ningbo with them. I, therefore, named this exhibition “More than Nostalgia.”