The 4th Guangzhou Triennial is a project lasts for three years. The inauguration exhibition entitled “Meta—question: Back to the Museum per se” launched last year, proposing various essential issues to the contemporary art, followed by 5 project exhibitions. The grand finale, a theme exhibition, will be unveiled on September 28th. Titled “the Unseen”, the exhibition will showcase artworks of nearly 80 artists from 30 countries and regions in different venues such as Guangdong Museum of Art, Guangzhou Opera House and Grandview Plaza.

No Tag for Art
The theme exhibition is curated by Jiang Jiehong from China, professor of Birmingham Institute of Art and Design, and Jonathan Watkins from Britain, curator of the 11th Sydney Biennial, director of IKON Gallery. But it is not a partnership of “the East and West”. According to Jiang, the two curators selected artists as well as artworks together. The rationale of this exhibition is practice, but not hollow theories. “I believe ‘the Unseen’ could be the best exhibition in China this year. Although the list of artists has not been all fixed yet, we are sure that audiences would be excited by some of the big names shown up in this exhibition.” Jiang said.
Jiang proposed a vision-led and practice-led theory for this exhibition. He explained: “I am not a professional in curating, but I have been studying the curatorial method recently. What offends me most is a predefined theory for exhibiting. That would turn art into a tag and exhibition into a trap. Artists should always focus on creation and let their artworks demonstrate them.” Therefore, the key words of this exhibition, namely Unseen Object, Unseen Event, Unseen Faith, Unseen Realm, and Unseen Change, are not defined to section the exhibition. The key words aim to provide dimensions for thinking.

Return Art to Life
“The Unseen” is in fact pretty straightforward and every spectator could find his own answer in the exhibition. “No artwork is isolated. Artist could create only a semi-finished work. Viewer’s experience originates from imagination fulfills the other half.” Jiang said. "Taking Jesus as an example, no artist has ever seen Jesus. However the image of Jesus created from imagination plays a key role in the history of western art. We could even say that 'no Jesus, no western art'. Our artistic creation relies a lot on the visual imagination, and it is, exactly, this dependency gives the rich diversity to art. We want to extend the imagination in our lives through a new way, which has not been adopted before. "
Jonathan Watkins repeatedly stressed the importance of visual imagination and interaction between artists and spectators. “The most interesting artists don’t want to be treated as artists. As we discuss art, it does not only refer to a certain circle. The public plays an essential role in art and we want them to be part of this exhibition. It is our goal to return art to life.”

Contemporary is Not only about Time
In the news conference Jiang showed a photo of Guangzhou shot by Photographer Felice Beato in 1860. “This may be the earliest view of Guangzhou in photography and it is 'unseen' even to the aged locales.” The curator indicated that not only the influential and emerging artists but also those who have passed away could be found in this exhibition. Some works date back even in 17th and 19th centuries. “We will further explore ‘contemporaneity’ in this visual feast.” The curator gave a refreshing explanation to contemporary art: “In my opinion contemporary is not linear. It is not a word for time order. Actually contemporary art and contemporary artists have already existed in Qing Dynasty.” Director of Guangdong Museum of Art, chief curator of the 4th Guangzhou Triennial, Luo Yiping, added: “arts in 17th or 19th century could be called contemporary art. When they are connected with the artworks created by contemporary artists, its unseen contemporaneity will be unveiled.”

Source: Style Weekly