Xijing Men, China, Japan, South Korea

xijing-men

The Xijing Men, the internationally renowned, project-based collaborative team of Tsuyoshi Ozawa (Japan), Chen Shaoxiong (China) and Gimhongsok (Korea). The Xijing Men hail, conceptually, from the fictitious city of Xijing, an imaged political entity in East Asia. The term Xijing is the Chinese reading of Chinese characters meaning western capital (the city’s name would be read as saikyō in Japanese and suhkyung in Korean). The word play has roots in the names of real cities: Beijing (northern capital), Nanjing (southern capital) and Tokyo, known in Chinese as Donjing (eastern capital). Since 2006, the Xijing Men have used humor, satire, sarcasm and absurdity to create elaborate performances, drawings, photographs and objects that explore the imagined history, politics, economics and culture of this fictitious place.

With Public Delivery Exhibition Utopian Days, 2014



Welcome to Xijing – Xijing Olympics, 2008
Total Museum of Contemporary Art, Seoul, South Korea

About
Utopian Days – Freedom was an exhibition at one of Korea’s leading art museums

Spaces
Total Museum of Contemporary Art, Seoul, South Korea
Nowon Culture and Arts Center, Seoul, South Korea

Artists
Adel Abdessemed
Lida Abdul
Phil America
Ivan Argote
Chim↑Pom
Minerva Cuevas
Chto Delat?
Cyprien Gaillard
Yang-Ah Ham
Andre Hemer
Tehching Hsieh
Zhang Huan
Jani Leinonen
Klara Liden
Armando Lulaj
Matt McCormick
Filippo Minelli
Wang Qingsong
Andres Serrano
Manit Sriwanichpoom
Clemens von Wedemeyer
Kacey Wong
Xijing Men
He Yunchang

More

 


Welcome to Xijing – Xijing Olympics, 2008

 

Welcome to Xijing – Xijing Olympics, 2008

 

Welcome to Xijing – Xijing Olympics, 2008

Exhibited: Welcome to Xijing – Xijing Olympics, 2008

Staged in August 2008 during the official Beijing Olympic Games, the Welcome to Xijing – Xijing Olympics presented a humorous yet provocative take on the unabashedly spectacular China’s Olympics mania. In the outskirts of Beijing, the artist group carried out their own version, casting themselves as athletes and their family and friends as audience. Drawing from everyday objects and experiences, their version mocked the seriousness and solemnity with which the Chinese government and the Chinese public treated the glitzy theatrics of the real Beijing Games. If the Games themselves constituted the supreme performance of Chinese national pride under the auspices of international diplomacy, then the Xijing Olympics represented a caricature of these attitudes in which humor, playfulness, and aimlessness are injected into the highly scripted and ceremonial tone of the official games. The low-tech theatrics of the Xijing Olympics reflected a form of practice that is refreshingly human-scaled and attuned to the proximity of individuals rather than traditional groupings conditioned by notions of the masses and the people.

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