List of Artists

天人关系与能量Relation Between Heaven and Man & Energy：安尼施·卡普尔(英国）/Anish Kapoor（U.K.）、成瑞娴（美国）/Emily Cheng(U.S.A.)、郭凤怡/Guo Fengyi、黄宇兴/Huang Yuxing、梁硕/Liang Shuo、梁绍基/Liang Shaoji、马修·巴尼(美国）/Matthew Barney（U.S.A.）、任戎(德国）/Ren Rong(Germany)、王光乐/Wang Guangle、王令杰+郝经芳/Wang Lingjie+Hao Jingfang、王欣/Wang Xin、徐小鼎/Xu Xiaoding、闫晓静(加拿大)/Yan Xiaojing(Canada)

自然的生产Production of Nature：毕建业/Bi Jianye、曹雨西/Cao Yuxi、邓洧/Deng Wei、邓悦君/Deng Yuejun、段正渠/Duan Zhengqu、耿旖旎/Geng Yini、黄太熙(美国）/Taehee Whang(U.S.A.)、付佳妮+史昊鹏/ Fu Jiani+Shi Haopeng、康剑飞/Kang Jianfei、李象群/Li Xiangqun、林海钟/Lin Haizhong、刘丹/Liu Dan、欧阳苏龙/Ouyang Sulong、秦琦/Qin Qi、司建伟/Si Jianwei、隋建国/Sui Jianguo、王梵僧/Wang Fanseng、王璜生/Wang Huangsheng、一了/Yi Liao、展望/Zhan Wang、张湘溪/Zhang Xiangxi、周春芽/Zhou Chunya


人的生产Production of Human: 迟世林/Chi Shilin、第八日/The Eighth Day、耿建翌/Geng Jianyi、龚剑/Gong Jian、胡介鸣/Hu Jieming、黄小鹏（黄边站和第五工作室）/Huang Xiaopeng（HB Station and the 5th Studio）、贾蔼力/ Jia Aili、李继开/Li Jikai、廖文峰/Liao Wenfeng、毛晨雨/Mao Chenyu、孟思特/Meng Site、南京社区原生艺术工作室/Studio Art Brut of Nanjing Community、仇晓飞/Qiu Xiaofei、史金淞/Shi Jinsong

技术的生产Production of Technology:  比尔·沃恩(加拿大）/Bill Vorn（Canada）、春华·凯瑟琳·董(加拿大）/Chun Hua Catherine Dong（Canada）、陈晓云/Chen Xiaoyun、陈欣+黄钰文/Chen Xin+Huang Yuwen、费俊/Fei Jun、郭锐文/Raven Kwok、李姝睿/Li Shurui、林舒/Lin Shu、鲁大东/Lu Dadong、能尖日/Nhozagri、时子媛/Shi Ziyuan、王品添/Wang Pintian、杨帆/Yang Fan、杨鑫/Yang Xin、张智峰/Zhang Zhifeng、张周捷/Zhang Zhoujie、郑达/Zheng Da、后人类影像放映单元（蔡宇潇、雷磊、梁文华、彭浩旻、田晓磊、袁中天、张文心、张羽洋）/ Post-human Films(Cai Yuxiao, Lei Lei, Liang Wenhua, Peng Haomin,Tian Xiaolei, Yuan Zhongtian, Zhang Wenxin, Zhang Yuyang)

大地母亲The Earth Mother:郭桢(美国）/Guo Zhen (USA)、黄静远/Huang Jingyuan、胡晓媛/Hu Xiaoyuan、靳卫红/Jin Weihong、乔治·德·契里柯(意大利）/Giorgio de Chirico（Italy）、吕胜中/Lv Shengzhong、申亮/Shen Liang、杨子敏/Yang Zimin、喻红/Yu Hong

Essay

Physis：Production of Nature、Human and Technology

Fu Xiaodong

In the face of disasters, we are survivors from disasters. How to deal with the uncertain disasters and reflect on the tension between the anthropocentric survival and possession way and the technology, system and nature, are urgent issues concerning the continuation of our civilization and species. The ‘Physis’ exhibition held at Wuhan, Hubei Province in 2020 tries to initiate discussions on how nature and technology are created, the function of art, and how to understand the mind of mother nature. The exhibition attempts to regard nature and other subordinate existence as conscious subjects like human beings or take human subject consciousness as a natural data algorithm. In complex systems, all factors and correlations evolve, emerge, and vary in a turbulent manner, which is difficult to predict by manpower. Based on this perspective, the ‘Physis’ exhibition attempts to discuss the traditional Chinese world outlook of cosmological ontology, spontaneous generation, and the harmony of nature and man, and to think about how to rebuild the interactive relationship between natural law and human technology, and nature and culture. From the perspective of bio-politics, this exhibition also plans to discuss the perfect experimental mechanism of human subjects through topics such as labor, education, skills, and life forms. Finally, it will reflect on the myth given by human civilization from the ontological perspective of the ‘things’ created by technology."

The Great Treatise II, Book of Changes (pinyin: Zhou Yi Xi Ci) said, "The 'Physis' means changes." Shuo Wen Jie Zi mentioned, "The 'Physis' means evolution, meaning of buds bore through the soil." The 'Physis' means both "production" and "products." As a unique framework of cosmological ontology and the harmony of man and nature, the 'Physis' is the theoretical basis of new systems and also the cornerstone for building the epistemology with isomorphic relations of "me and others - matter and me", "universe - man", and "nature-culture". The 'Physis' contains the qibased generation theory showing the combination of yin and yang in everything. The universe is an abiogenetic, self-generating, and dynamically balanced system. Qian (heaven) stands for creation and Kun (earth) means final accomplishment. It is an objective process that heaven and earth interact with each other, naturally grow, and continuously move. Taoism believes that various attributes of the universe are like humans' inner organs, part of a greater body. Human life and the universe are alike, with the internal and the external interacting with each other. Ancient people saw the integrity and connection beyond materiality. Tiny individuals and macro universe create a topological structural isomorphism that is mutually inspired, reversed, and correlated due to yinyang and five elements that reinforce and neutralize each other. The Chinese outlook of the unity of man and nature objects to the opposition of man and nature. The animist ontology popular among American Indians usually refers to the soul, spirit, or something alike flowing freely in the body of humans or everything. The theories of totem and analogy have unveiled the alternative cognitive mode between human and non-human existence. Both the West and the East have the world outlook on the correspondence of holism: the universe is considered a magnificent and harmonious organic integrity, and all parts are mutually correlated, without intermediaries or the cause-effect chain. The concept, "correspondence" in Chinese culture can be seen as an introducer of the pluralistic epistemology in the context of cultural interaction, which is a reflection on modernity, and also a pathfinder and regenerator of knowledge about diverse fields by virtue of artistic creation.

In the meantime, "physis" involves the germination and growth of human subjectivity, which is associated with the production of human and the creation of life forms. Bio-politics cannot be circumvented. As labor is tortured into a kind of imperative work resulted from capital oppression, human beings are just incarnate tools for profits. Against this backdrop, human beings are likely to realize self-emancipation and regain their self-awareness only through the initiative and unparalleled labor, or the creative practice, that is artistic practice. Only when human beings see the true self, and the spirit, nature, value, and function within can they break the tether and pressure they put on themselves, and overturn the state in which they are alienated by the capital system and authority structure. By that moment, they will be autonomous individuals, who are capable of making labor creative and initiative to liberate themselves. This document exhibition will showcase artistic programs through education and take it as the medium to grope for the purposes, forms, process, and evaluation system of education through diversified attempts. By borrowing the connotation of "Social Sculpture" ("Soziale Plastik" in German by Joseph Beuys), the document exhibition will ruminate over the college education with ranked authority as the helm. Moreover, the document exhibition will act as an educator to enable more people to enlighten, contact, and exchange with one another, whereby they will be bundled together as they share a common knowledge system and interests. In addition, the document exhibition advocates the "Theory of Self-cultivation", by which human beings fulfill selfcultivation through their own choices, and obtain identification from society with creative practices to unleash their autonomy and potential.

Aristotle held that techniques are born to supplement and imitate nature. Similarly, the logic of nature can be verified by proficient techniques and the growth of natural objects can be interpreted by the mode of production. In Greek, "nature" (φύσις) is the verb form of "growth" (φύω), which implies the growth of nature. Meanwhile, we start from ourselves to seek creativity as we apply techniques, which are an upgraded version of the production. We invent ourselves just like heaven and earth create all things. In the "Chthulucene" of the post-Anthropocene, human and non-human co-exist. As guidelines on the production and creation, objects with technological content became the essential factor of all future possibilities. The non-anthropocentrism believes in the transpositional consideration among different species, which requires human beings to group other nonhuman species like AI and nature as a subject with its inherent laws and visions. The interpretation of classifying nature and other non-human existence as a whole complies with the "Gaia hypothesis" (Gaia: Earth Mother) related in Bruno Latour's book—Facing Gaia: Eight Lectures on the New Climatic Regime (Face à Gaïa: Huit conférences sur le Nouveau Régime Climatique), and the "Chthulucene" (the intra-action among transhuman, extraterrestrial, non-human, and humic human) presented by Donna Haraway in her work titled Staying with the Trouble: Making Kin in the Chthulucene. Human beings become the secondary subject following and relying on the "Earth Mother". The contemporary era witnesses the mix of disciplines, in which human beings are more like tools standardized by technologies. Our preferences, emotions, habits, etc., are seen as commodities that can be predicted and controlled with big data. Unexpectedly, contingencies come and break in this closed cycle, ending up the programmed algorithm. It is undeniable that bioscience based on gene modification, computer programming rules, and technologies of AI and deep learning (DL) also show the possibility of losing control, contingencies, and abrupt changes, which are creative accidents. Uncertainty is the art of creativity. "Physis" conveys the idea to regard artificiality as a subject with creativity. Imitating the setting mode of technical subjects, it ponders over the relationship between human beings and the world: whether human beings create the world or the contrary? Technology and natural law, and neo-materialism and non-human also form a relationship of isomorphism.
Life will continue to thrive as we treat all species other than human beings with an open mind and without the pursuit for anthropocentrism, which speaks to the eagerness for instant success and quick profits. Amid this environment in which births and deaths happen simultaneously and continuously, and all creatures co-exist while multiplying, we keep corresponding with others and interact from time to time.

5th Documentary Exhibition of Fine Arts Physis：Production of Nature，Human and Technology

Preface I

The 1st Documentary Exhibition of Fine Arts was held in 2004. In 2007, the Hubei Museum of Art (here in after referred to as "the Museum") worked together with the Fine Arts Literature Art Center (here in after referred to as "the Center") to hold the 2nd Documentary Exhibition of Fine Arts, the first exhibition held in the Museum after it was established. Since then, the Museum has been holding the Documentary Exhibition of Fine Arts for 14 years under its long-term strategic cooperation with the Center. The duration of 14 years is a long time for the past and a short time for the future. As a public cultural institution, the Museum has continuously made efforts to meet the diversified cultural requirements of citizens and comprehensively sorted out the development venation of the local fine arts while collaborating with local art institutions to leave contemporary cultural imprints in Wuhan. In the future, the Museum will be dedicated to building the Documentary Exhibition of Fine Arts into a foresighted, research-oriented and international triennial brand, making it an academic exchange platform that will be held constantly. Meanwhile, the Museum will continue to join hands with the Center to participate in, record, and witness the development and prospect of China's contemporary art.

The holding of the 5th Documentary Exhibition of Fine Arts has gone through various difficulties. In early 2020, the outbreak of the COVID-19 pandemic led to many difficulties in the exhibition preparation. Fortunately, personnel from the cultural and art circle paid close attention to Wuhan and Hubei and managed to hold this normal brand exhibition as scheduled. It may owe to the Museum's effective measure for spreading the light of hope. Ms. Fu Xiaodong, who was invited to be the curator of the 5th Documentary Exhibition of Fine Arts, has determined "Physis" as the theme of the exhibition this year. It not only expresses an infinite desire for the vitality of art but also creates a current reflection situation of "living community" through the artistic expression and the exploration of relations between nature, humans, and technology. The earliest Chinese character of "Physis" is among inscriptions on tortoise shells. It is also explained in the Shuowen Jiezi (an ancient Chinese dictionary) as "meaning of buds bore through the soil". The ancient Chinese people used this image to indicate upward growth. In the Book of Changes, "Physis" is the basic element of changes and also the greatest kindness from heaven and earth to human beings and living creatures in the universe. Holding the "5th Documentary Exhibition of Fine Arts: Physis: Production of Nature, Human and Technology" in Wuhan in 2020 has significance far beyond the exhibition itself.

This year, over 100 artists will be invited to participate in the exhibition composed of five units including "Relation between Heaven and Man & Energy", "Production of Nature", "Production of Human", "Production of Technology", and "Earth Mother". Larger than any previously held Exhibitions of Fine Arts in terms of scale, this exhibition will be held respectively in the Museum and the Center to fully embody the openness and inclusiveness of the Documentary Exhibition of Fine Arts. So, we appreciate the wisdom and efforts of the curator team, participating artists, and every staff of sponsors. The exhibition will never be held as scheduled without their hard work.

Although the path is long and full of obstacles, we will forge ahead firmly to arrive at the destination. Inspired by "Physis", the Documentary Exhibition of Fine Arts will keep moving forward.

Ji Shaofeng, Curator of Hubei Museum of Art

November 19, 2020

Preface II

The year of 2020 was eventful. We were so close to the "unknown." In such a context, the 5th Documentary Exhibition of Fine Arts co-sponsored by Hubei Museum of Art and Fine Arts Literature Art Center this year in Wuhan as scheduled seems of profound importance. Wuhan has been hailed as a heroic city given what it had been through in 2020, and we dedicate to it the art exhibition "Physis: Production of Nature, Human and Technology." With the joint efforts of artists, curators and the said co-sponsors, the 5th Documentary Exhibition of Fine Arts will be held in Wuhan on November 20, 2020.

Contemporary art is often closely related to the present life, based on which we dwell on the future. This exhibition is also based on the reflection on the environment we live in to explore for what we should work hard considering the increasing tension between man, nature, and technology. We look forward to the future but how should we greet it based on the present?

The first Documentary Exhibition of Fine Arts (triennial) was held in 2004. The curatorleading system was adopted in 2007 for the "2nd Documentary Exhibition of Fine Arts: Forms of Concepts" (chief curator: Pi Li, 2007). In 2014, Fine Arts Literature Art Center and Hubei Museum of Art launched strategic cooperation, and jointly held the "3rd Documentary Exhibition of Fine Arts: Remodernization" (chief curator: Ji Shaofeng, 2014), the "4th Documentary Exhibition of Fine Arts: Stress Field" (chief curator: Feng Boyi, 2017), and the 5th this time. We hope that with concerted efforts of all parties, more triennials will be presented from different perspectives and with different themes.

I wish the 5th Documentary Exhibition of Fine Arts a complete success!

Liu Ming Fine Arts Literature Art Center in Wuhan

November 19, 2020