Sculpture · Space · Public Art

Author: Ma Qinzhong
Publisher:
Publish Date: 2004-07-01
Features: The 21st century is the century of cities, and this is especially true for China. From the perspective of increasing international economic integration, there must be a shift from mere urban construction to a comprehensive development of cities centered on urban management. Its fundamental focus is on the healthy and comprehensive development of people and the market-oriented adaptability and competitiveness of urban economic activities. From a strategic planning perspective, it promotes the optimal allocation of resources across various aspects, maximizing the value of urban social, cultural, and natural resources. In this regard, the highest realm of urban management is managing the ecology and culture of the city. First comes ecology, then culture. Through public art and urban sculptures, visual identity and innovative public spaces can amplify urban value. This is the theme I attempt to explore in this book. The book consists of eight parts. From the first to the fifth part, it discusses the relationship between public art and urban sculptures and urban spaces and architecture, particularly focusing on shaping urban personality, refining urban context, and how urban sculptures should respond to the current state of urban spaces and architecture. The sixth and seventh parts address how to define boundaries in the face of international trends and the "infinite expansion" of the sculptural frontier, and they explore the core and purpose of urban sculpture and public art in China through case studies of Chinese sculptors. The development of urban sculpture and public art in China is centered on innovation in urban spaces based on a value foundation of local culture. I do not believe that the cultural shaping of our urban spaces can be entirely "internationalized," otherwise, the term "regional identity" would be meaningless! Therefore, this part of the discussion aims to explore the value basis of China's unique and internationally visually cultural "Made in China" through specific examples. If the above discussion focuses more on theory and case studies, then the three dialogues in the final part discuss public art and urban sculpture from a dynamic perspective, specifically through the practical processes of artists. The discussion with Zhu Cheng involves the issue of local culture intervening in public spaces. Zhu Cheng's numerous public art works, which have been installed in public spaces of many cities and received widespread acclaim, serve as proof. The discussions with Shi, Zhong, and Hao, on the other hand, more involve the public nature of public spaces and the relationship between power and commissions. This dialogue, along with some of their outstanding works, can be seen as an annotation of the second part of this book. The dialogue with Lü Pinchang extends directly into the creative process of sculptors, and its value for many non-professionals lies in this: creation is not merely "design," not merely "service," not merely "indicators," but it is accompanied by a concrete life process. If this process does not align with the regulations of our urban spaces, we cannot produce works that surprise anyone. Here, although it mentions pottery, the same applies to other plastic arts.