The 10^th Open International Performance Art Festival in 798 Art District, Beijing from 7^th August to 27^th September 2009.

About 300 artists invited to the 10^th OPEN International Performance Art Festival Beijing, below is the gallery which only partial works of them:

1． Forward

2． The overview and the significance of the 10^th Open International Performance Art Festival

3． Time specific
1^st Week MARI NOVOTNY JONES USA
5^th Aug Opening Ceremony, 6^th Aug 2 Lecture
7^th Aug Chinese artists performance , 8^th 9^th Aug Foreign artists performance;
2^nd Week JONAS STAMPE FRANCE/SWEDEN
11^th-12^thAug 3 Lecture, 13^thAug Chinese artists performance, 14^th-16^thAug Foreign artists performance;
3^rd Week MILAN KOHOUT USA/CZECH
19^thAug1Lecture,20^thAug Chinese artists performance, 21^st-23^rdAug Foreign artists performance;
4^th Week ARAI SHIN-ICHI JAPAN
26^thAug1Lecture,27^th AugChinese artists performance, 28^th-30^thAug Foreign artists performance;
5^th Week JILL MC DERMID USA
1^st 2^nd Sep 3 Lecture, 3^rd Sep Chinese artists performance, 4^th-6^thSep Foreign artists performance;
6^th Week JANE JIN KAISEN DENMARK
8^th9^thSep5Lecture,10^thSep Chinese artists performance, 11^th-13^th Sep Foreign artists performance;
7^th Week JULIE ANDREE T CANADA
15^th16^thSep6lecture,17^thSepChinese artists performance, 18^th-20^th Sep Foreign artists performance;
8th Week MARTIN RENTERIA MEXICO
22^nd23r^dSep3lecture,24^thSepChinese artists performance,25^th-27^th Sep Foreign artists performance;
28^th Sep (Closing party of the 10^th anniversary of Open performance art festival)
( the detailed schedule will be updated week by week )

Event location:
Open Realization Contemporary Art Center: Opening Ceremony /Closing Ceremony/ the display of the video works and pictures/ artists performance;
Iberia Chinese Independent film archive: the series artist ‘s lectures of the 10^th anniversary Open festival.

4．Event location:

798 art zone DaShanZi
5． Curators statement

•CHENJIN
•MARI NOVOTNY-JONES
•JONAS STAMP
•MILAN KOHOUT
•ARAI SHIN-ICHI
•JILL MCDERMID
•JANE JIN KAISEN
•JULIE ANDREETT
•MARTIN RENTERIA

6． Artists invited to the 10^th aniversary of Open ( namelist attached)

7．The implementation plan( schedule attached)

8．Namelist of media home and abroad.( preparing)

1，Forward
Open International Performance Art Festival is the first in China and is the largest and longest in the history of an unofficial and non-governmental International Performance Art Festival.Founded in the year 2000 when performance art was developing into prosperous , it was designed to establish a "free international performance art platform."In 2000 the first International OPEN Arts Festival was directed by Chen Jin, Shu Yang and Zhu Ming.

By the year 2008, 9 Arts Festivals have been held successfully in Beijing, Chengdu, Xi'an, and other places and cities such as Changchun. Hundreds of domestic and international artists who came from more than 30 different countries such as the United States, Britain, Germany, Japan, Canada, Finland, Greece, Ireland, Singapore, Slovakia, Denmark, Sweden, Mexico, Poland, France and as well as mainland China, Hong Kong, Macao, Taiwan participated in the festival. At the same time, there are many important art critics at home and abroad and international curators involved in the planning.It is the first , oldest and most influential international performance art festival in the scope of China.The first OPEN international performance art festival in 2000 was held in the period when the society was not relatively open, meanwhile it was interfered by the government and the police. As a result, many works were completed in private space and with no audiences.Although in such bad background and the environment, OPEN international Performance Art Festival has lasted for 9 years and witnessed the development of Chinese contemporary art.It plays a tremendous role in promoting the cultural development and exchanges to explore the world of art.Festival album is published by the Hong Kong New Century press in overseas.As the most important performance art festival in china, it has caused wide concern in the art world
2，The overview and the significance of the 10th Open International Performance Art Festival
Aug.2009, in the 798 art zone--the largest and the world-famous platform on art communication where the the 10th anniversary of the Open International Performance Art Festival will open, this festival is planned by the Open Realization contemporary center, many overseas artists and curators.besides, the scale of this festival is the largest in the performance art world so far now, there are 300 outstanding performance artists from the world. this festival will last 2 months with 8 artists curators respectively in charge of 8 parts'performances.Open International Performance Art Festival has witnessd and developed the chinese contemporaryperformance for 9 years, it has a great promotion for the development of the chinese contemporary
art culture and communication of the world art. In the year of the 10th Open International Performance Art Festival, Open center will hold the great art festival as expextions of artists around the world.
3,Event date：Aug.03.2009---Sep.27.2009
8 weeks in all
4，Event Location：
Dashanzi 798 In 2001, a group of Chinese artists discovered a splendid factory, a closed down site about to be demolished. It was conceived in the early 50’s by East German architects and was constructed in the Bauhaus style. The artists carried out light restorations and modifications influenced by contemporary design which transformed the space completely. As such it combines the past, the present, and the future of the “new China”, an extraordinary artistic zone dedicated to creation and the diffusion of contemporary art. Seven years later, this district called Dashanzi 798, (which covers a surface of 1,161,900 square meters), has been developed into an astonishing place, certainly the most important in Asia, and the largest space in the world, devoted to the contemporary art. Dashanzi 798 counts currently more than 350 art galleries run by gallerists of different nationalities. Under constant development the district will soon see the start of 150 new galleries. This impressive place have received a lot of attention around the world and has reached a recognition on the international scene. Thus, many personalities visited the Dashanzi 798 zone, like the Prime Ministers of Sweden, of Switzerland, of Germany, and Austria, the princess of Belgium, Mrs. Annan, the French President, and the President of the European Union. Moreover, strengthened by this beautiful expansion, many foreign, public and private institutions of Belgium, of Italy, of Spain, of the United States but also the Chinese government, carry out large investments in order to create new spaces contributing to showcase the contemporary art of their respective countries.Dashanzi 798 is a modern and avant-garde district in Beijing which presents cultural, artistic and commercial activities of a high level. Thanks to the network of art galleries, museums and art centers that has been established between Asia, Europe and America, the large majority of the artists who exhibit at 798, are invited to take part in exhibitions in many countries. Currently 798 is regarded as the most important platform in Asia and one of most significant in the world in what the promotion of artists is concerned.
Open Realization contemporary art center
Our center can provide the exhibition hall at Open Realization Contemporary Art Center with 450 square meters, 6 meters high; 150 meters to the maximum exhibition length, 3 meters to the maximum exhibition height. Installation works, Images & Multimedia can be displayed。
Short description or CV of Organizer
•CHENJIN CV
Personal Details:
1964Born in Sichuan Province
1987 Graduated from the Fine Arts Department of the Northwest Pedagogical College Exhibitions China: 1992 Guangzhou Oil Painting Biennale
1997 Performance works at the Global Long March Plan, Lanzhou
1997 Chenjing Art Exhibition, Museum of Lanzhou, Lanzhou
1999 Digital Visit, Beijing 1999 Beijing Contemporary Art Festival, Goethe Institute, Beijing
2000 1st Open Platform - Performance Art Festival (Organisation and Participating Artist), Beijing
2001 2nd Open Platform - Performance Art Festival (Organisation and Participating Artist), Pengshan, Sichuan Province
2002 3rd Open Platform - Performance Art Festival ( Participating Artist), Xi'an,Shanxi Province
2003 Multi Media Languages, Performance and Poetry Arts Festival, Beijing
2003 4th Open Platform - Performance Art Festival (Organisation and Participating Artist), Changchun, Jilin Province
2004 5th Open Platform - Performance Art Festival (Organisation and Participating Artist), Beijing
2005 6th Open Platform - Performance Art Festival (Organisation and Participating Artist), Chengdu, Sichuan Province
2006 7th Open Platform - Performance Art Festival (Organisation and Participating Artist), Beijing
2007 8th Open Platform - Performance Art Festival (Organisation and Participating Artist), Beijing 2008 9th Open Platform - Performance Art Festival (Organisation and Participating Artist), Beijing
Exhibitions Overseas:
2000 International Festival for Unusual Live-Performances Helsinki, Finland
2001 Dialogue Confused Chinese Contemporary Art Exhibition, Mantova Young Museum, Mantova, Italy
2002 Dialogue The Other Chiesa Santa Teresa Dei Maschi, Italy
2002 NIPAF (Nippon International Perfdormance Art Festival), Japan Various Cities
2004 Performance Le grand coupCollective work, 29./30.7.04, Deranger espace 4, Magdalen Islands, Canada.
2006 Viva! Internationale d’art vivant de Montreal, Canada
2007The 3th China-Japen performance art exchange projet
2007 Made in China, Museum of Hong IK University , Korea
2008 Small East Asia Co-prosperity Restaurant 08, Japan
2008 Buchou International performance Festival 08Korea
2008 Bangkok Asiatopia Performance Festival Bangkok
Curators statement
Perhaps only under the circumstance of today's global economic crisis will we realize the importance of art and culture for human beings. This year OPEN festival wishes to fully display works of artists from different countries and regions, within a time space of two months. During this festival we could witness the integration and exchange between different personalities, different ways of thinking, and different cultures. We have invited 8 admirable curators from all over the world (four male and four female) to independently take responsibility of curating for 8 weeks, hoping to embody fully the diversity of contemporary art in this way.
Open International Performance Art Festival maintains the spirit of openness, pluralism, equality, and experimentation so that each artist receives full representation and display.
OPEN 10th is till now the world's the longest and largest international Performance Art Festival, with the most participating artists from most number of countries.
A large number of art institutions, government agencies and media are going to participate in this event. We will completely and fully display to the world this year’s festival by webcasting live works through the internet and reporting via media.
Chen Jin
•MARI NOVOTNY-JONES BIOGRAPHY
Mari Novotny-Jones has been a member of the Mobius Artists Group in Boston since 1980. Her original performance work includes both solo and collaborative pieces. Her most recent international credits include participation in the various Mobius art exchanges in Macedonia, Croatia and Poland. She participated in Festival Forfest, Czech Republic, Kicevo Artist Colony, Macedonia, the Harta Festival in Monza, Italy, The 6th Annual Performance Open in Chengdu, China and Eruptio 4 Festival in Transylvania and Navinki 2007 in Belarus. Her most recent local works include “Shrinekeepers” for 2007 Cyberarts festival as part of a collective of six women performance artists and “Harvest” for the Mobius International Festival in 2006. She has also appeared in Mobilize 2008 and Contaminate, an International Artist’s Festival, Boston. In December 2007 she participated with the Present Tense, in a Boston/Chicago exchange, Rough Trade. In 2008 she traveled to Java to participate in the 4th Perfurbance Festival and to Bangkok for the 10th anniversary of Asiatopia. Novotny-Jones is on the faculty of the School of the Boston Museum of Fine Arts where she teaches Performance and CORE foundations classes. She is a recipient of a 2000 Tanne Foundation Artist Award for excellence in the arts. In 2001, she was awarded an Emerging Artist/Humanitarian Fellowship from the Boston Cultural Council for her performance and teaching work. The Museum School awarded a Faculty Enrichment grant for her work in Macedonia in 2003. Mari also holds a M.A. in independent studies from Lesley University, Cambridge Mass. Her thesis paper is entitled, “The Nature of Transformation in Performance and Ritual.”
JONAS STAMPE
Curator Jonas Stampe, of Swedish origin, lives in France for more than 20 years. He studied the Theory and the History of contemporary art at l’école des Hautes études en Sciences Sociales, Paris and made his Ph.D. studies at the department Contemporary Art History at the University of Lund in Sweden. Moreover, he is an art critic and an independent curator. In 2001 and 2003 he organised the Nordic Bienniale of Contemporary Art in Goteborg, Sweden presenting 27 respectively 59 artists. Since 2001 he has curated more than 200 artists at different events through Europe. Beside being the co-founder and curator of Infr’Action – Festival International d’Art Performance, he is also the co-founder and curator of the performance art festival Live Action in Gothenburg, Sweden. In 2008 he was elected president of the federation of performance art organizers in the Nordic countries ; Nordic Performance Art. He is also the curator of the event Nordic Performance @ PERFORMA which will introduce Scandinavian artists to New York in November 2009, during the biennial of performance art PERFORMA directed by the art historian RoseLee Goldberg. Curators statement
We are particularly proud to have been chosen by the Open festival in Beijing as to present 40 artists of different origin. Our different activities in France and Europe is certainly related to this choice. The director of this gigantic festival, the artist Chen Jin, holds a very good position in the area of contemporary art of his country. It makes his invitation even more significant. Thus, this new opportunity to present European artists in China reinforce the recognition of Infr’Action on the international scene and allow us to pass a new level in our activities. Our selection of European artists was in priority made with a concern of high artistic standards. It will introduce artists of different generations and origins, coming from various countries and regions, with the idea as to present all the force of contemporary creation in the field of performance art in Europe. The invitation of Mr. Chen Jin to curate a part of the Open festival has already produced a considerable impact in our international relations. Infr' Action is a young festival in full expansion, it is also a structure which works actively to stimulate the circulation and the promotion of art performance all over Europe and elsewhere in the world. We have created collaborations and initiated exchanges with other European festivals and are as such engaged in a positive dynamics. European performance art will certainly draw a benefit from it, in the discovery and the broader diffusion of emerging artists on the international scene. The invitation to the OPEN international festival of performance art is one concrete example. These various partnerships confirm the accomplishment of one of the missions of Infr'Action as regards the promotion the Europen artists outside of our borders. We are pleased with this success which puts in prospect new artistic adventures”. • MILAN KOHOUT
Milan Kohout (now a US citizen) is originally from The Czech Republic.
Here he got his M.S. in Electrical Engineering. He was an independen artist in so-called “Second Culture”. Later he becomes a signatory member and art activist of the dissident human rights organization CHARTER 77 (group of mostly artists from “Second Culture” was nominated for the Nobel Prize in 1985 and initiated non violent Velvet Revolution which toppled totalitarian regime in 1989).
Following many interrogations he was forced by CZ security police to leave his country in 1986 due to his political art activism. After several years in a refugee camp he was granted asylum in the United States.
In 1993 Milan received his Diploma from the School of the Museum of Fine Arts in Boston. Since 1994 Milan has been a member of the Mobius Artists Group (www.Mobius.org). Here he has created many full-scale Performance Art pieces (both collaborative and solo) His work concentrates mostly on the subject of human rights (recently rights of Roma/ Gypsies) and politics (critique of totalitarian capitalism and fundamentalist religions) As Mobius Artists Group member he has participated on numerous international art exchange programs and festivals around the world (China, Thailand, Croatia, Taiwan, Czech Rep, Poland, Cuba, USA etc). and has been the recipient of number of awards, grants, residencies (Grant from The Fund for US Artists at International Festivals, Tanne Foundation Annual Award, First Prize at International Theater Festival in Pula, Best National Czech Independent Film Award, Arizona State University residency, PSi conference in London 2006 etc.)
In his work for Xantypa Magazine, he has performed many exclusive interviews with world-reknown personalities including Kurt Vonnegut and Noam Chomsky, among others.He has been teaching classes of Performance Art & Politics at TUFTS University and Massachusetts College of Art and video classes at The New England Institute of Art.His classes at TUFTS have featured guest lectures by the Czech Ambassador to United States, United Nations Ambassador Martin Palous, and American Ambassador to the Czech Republic, and CEO of John F. Kennedy Presidential Library Foundation, John Shattuck.
Curator Statement
The Czechoslovakian art underground, “Second Culture”, was a rare,successful instance of popular, non-violent confrontation with oppressive political power, in which people specifically identifying themselves as artists played a central role. This movement, led by
underground artists, was the essential element in the 'Velvet Revolution' of 1989, which toppled the Communist government of Czechoslovakia, and established democratic rule. In so doing, the movement also established a unique historical precedent, in which underground artists successfully assumed a role of national political leadership. I was an active participant of this movement and for that I was interrogated many times by the security forces, jailed and ultimately expelled by the government forces from Czechoslovakia. After spending two years in a refugee camp in Austria, I was offered in 1988 political asylum in the USA and later gained my citizenship.Living here in the USA I have continued to use art as a tool for a social change. I deeply believe that art should be a part of the “Polis” (citizenhood ) and such as must be inherently involved in politics of the citizenhood and the society as the whole. I also believe that there is now (and maybe more that ever) need for the artists to raise their voices and to address in their work the deeply troubling self-destructive trends in nowadays world. Artists as being the most sensitive detectors of the social, religious, political fanaticism must use their art as much as possible to shake the social consciousness and warn and help to divert humanity from the blind march toward the disaster.
In the Czech underground I learned that Performance Art was the most accessible and effective art tactics to address the common social and political issues of that time. We the underground artists almost instinctively developed this art tactics. This was due to the fact that we did nor have any access to present our artwork in the “official” medias (like theaters, movie theaters, libraries, galleries, publishing houses etc.) Therefore we turned to the Performance Art as a mean to address and spread our art messages. Performance Art as we found was the most flexible art tactics. Since by a definition and its philosophy it does nor want to be put into any” box” “style” or “language” and for that it can not be controlled by the official censorship. State believes that where there is no definition there is no art. We benefited from the fact that Performance Art is not limited by the use of the specific media, time frame or defined artistic language. For our presentation we were using mostly artist’s body and very accessible materials of everyday life and for the location we used any public spaces.
It was so effective due to its authenticity, not pretentious honesty, the real time experience and the shortness of the communication channels between artists and the people that it sparked at the end a movement for the real social change.
But the wheels of the history are repeating itself and we are now living here again in the very similar situation. The artists have again very limited access to the “official” medias. At this time they are owned directly by the government but by the commercial interests groups (after all dictating the government anyway) which mostly admit only “safe and profit serving” commercial art into its means of distibution and by that decision effectively censor their messages. And since I have ones in my life already experienced the totalitarian social order all my senses are nowadays again on the highest alert.
So let me finish by saying: “Long Live Performance Art!”
ARAI SHIN-ICHI C.V
DATE OF BIRTH : 07 May 1959
.1982 "sound"&"voice"&"language"
1983 "Heavenly injection afternoon"Akagi Electric(+SAEGUSA Yukio etc)
1984 "Flirting gristle 2"+TANAKA Toshi
1986 "for Basement of Keio Univ." Kroitzfeld Jakob (+KUWAHARA Masahiko +TANIKAWA Mari)
1987 "for Basement of A-Mike, NYC "The Force of job sites= FJ (+SAEGUSA)
1988 "Sun flower, Hiroshima, Not for Deadly Emperor" +SONODA Satoshi
1989 "The shit for Emperor funeral"+SONODA
1990 "Infant minds" (+KUWAHARA, TANAKA,SAEGUSA, YANAKA Masanori)
1991 "for The wanderer with his shadow" FJ(+SAEGUSA+TANIKAWA)
1995 "50years after losing the war", "A imagination from end of life" FJ(+SAEGUSA)
1996 "The labor of dream, The dream of labor" Happy-Lucky Stories (+SAEGUSA +TANIKAWA+SUZUKI Takeo)
1997-98 "Tribe conflict--Majority vs. Minority "
1999 "Happy Japan! Happy family!"
•JILL MCDERMID Bio
I began performing on the day that I was born (May 12, 1966). I grew-up in a world of performance –from hippies, flower children, Woodstock and Human Rights demonstrations, through disco, punk, the ‘80’s New Wave music, fashion and the East Village art scene in New York City.
I was always aware of the excitement and visual beauty that existed beyond the safe world my parents provided, and the call of the wild was too strong for me.
Throughout those years of yearning, from childhood ballet, theater arts camps, years of film-making, an MFA in Performance Art to nine years of curating and performing in NYC and abroad – I know that performance is my lifeline. My obsession, my passion, and my calling
I am very happy with the challenge of curating for the Open Art Festival in Beijing. The biggest challenge not in finding the artists, but in getting them to Beijing.
Since 2006, in Brooklyn (NYC) I have been running the Grace Exhibition Space and the Eleanor Chilton Gallery, devoted to weekly exhibitions of live Performance Art by local, national and international Performance Artists; and the Eleanor Chilton Gallery, devoted to the marketing of documentation and artifacts of live Performance Art.
Please call on us when you are in town!
Best, Jill
Curators Statement
I have invited an international group of artists, most from North America, also from Europe and South Asia.
Some of the pieces will be performed only by the artists, and many are interactive – welcoming the audience into the fun of creating together.
My vision is of an event that has the excitement of a celebration, and the thrill of experiencing something new.
China has a strong influence in all of our countries, and we wish to greet China and her people with a gift of thanks for the opportunity to visit – our performances

•JANE JIN KAISEN
Jane Jin Kaisen (1980) is a conceptual artist working in an interdisciplinary and project-based manner within the mediums of video, performance, photography, installation, and writing.
Adopted from South Korea, Jane Jin Kaisen grew up in Denmark and received her BFA and did MA studies in Theory and Communication and MFA studies in Media Art at The Royal Danish Academy of Fine Arts (2002-2009). In 2007-2008 she was based in New York as a Fulbright scholar while participating in the Whitney Museum of American Art Independent Study Program and she is currently based in Los Angeles while pursuing her MFA at UCLA’s Interdisciplinary Studio program.
Jane Jin Kaisen’s work explores how history, knowledge, and discourse are constructed. Attempting to challenge these concepts, she often works research-based and draws from multiple different disciplines, such as psychoanalysis, performance studies, anthropology and linguistics as well as from sources of personal experiences and encounters.
A significant part of her artistic development has been formed through traveling and living in different cultures and societies and she has spent considerable time practicing her art in East Asia, South East Asia, and the United States. Concerned with the construction of memory, subjectivity and identity and in seeking to understand formations of culture and misrecognition, processes of mental decolonization, and notions of nomadism, travel, and cultural privilege, Jane Jin often works with juxtaposing official and subjective narratives, broken or multiple languages, performative gestures, and humor in her work.
Believing that contemporary art isn’t solely practiced within the art institution or limited to concern a familiarized art audience, but also serves as an important contributor to cross-disciplinary theoretical analysis as well as collective practical reimagining of our complex culture and society. Collaboration is thus a considerable part of her practice and she has been engaged in a number of initiatives, such as Chamber of Public Secrets, UFOlab (Unidentified Foreign Laboratory), Orientity Exhibition, and 24 Hours Exchange Project.
Jane Jin has been involved in different curatorial and editorial projects, such as Made in Video-an International Festival for Video Journalism and Shifter Magazine and has participated in seminars such as Connection Barents, Kirkenes and Global Institute, the 7th Gwangju Biennial in South Korea. She has also presented her work and research at conferences such as Association for Asian American Studies, Conference in Hawaii, Act Out – Performative Video by Nordic Women Artists, Portugal Interregnum - Performance Studies International #14, What Time is It? –Cultural Production and the L.A. Riots at New York University and The 7th Nordic Japanese and Korean Studies Conference in Copenhagen.
Jane Jin Kaisen’s work has been shown at exhibitions in Asia, Europe, and the United States, such as the Whitney Museum of American Art Independent Study Program Exhibition, Gana Art, and Amelie A. Wallace Gallery in New York, Gallerie La Centrale in Montreal, The National Museum of Photography and Roskilde Museum for Contemporary Art, in Denmark, The 6th Gwangju Biennale and Ssamzie Space in South Korea, Kyoto Museum of Art and Kyoto Art Center in Japan, and Hong Kong Fringe Club. Her videos have been screened at FIKE International Film Festival in Portugal, Malmø International Film Festival, Sweden, Hong Kong International Short Film & video Festival, Echo Park Film Center, USA and Bandits-Mages Art Video and Multi Media Festival in France. Jane Jin has also performed at international Biennials and festivals, among others at The National Gallery in Indonesia, 798 Factory in Beijing, The 2nd Deformes Biennale at Gallery Metropolitana in Chile, and the 25th International Asia Pacific Film Festival in Los Angeles.
Curators statement
Open International Performance Art Festival represents to me an experimental and non-conventional platform for artists from different countries to meet and engage in each other’s works across language barriers, geographical - and cultural backgrounds. Thus, when asking artists to participate in the 10th OPEN International Performance Art Festival, I wished to invite artists whose work reflect the experimental and diverse nature of Open.
I regard the meeting and dialogue between artists as one of the most important and valuable aspects of Open International Performance Art Festival. Being an artist myself I did not which I create a strict curatorial concept, but instead I decided to focus on the potentials of meeting.
I have invited primarily younger and midcareer performance artists who in their work challenge social conventions, notions of normativity and / or address social, economic, or cultural issues in their performance practice. These artists work in a broad variety of performance art traditions from body art and dance to theatrical and staged performances, from street performance to interactive and multimedia performances, from performances that challenge conceptions of presence / absence to performances in which interaction with the viewers around social situations is central.
It is my hope by including artists from various performance traditions, cultures, generations, and geographical locations, to create meetings between the artists and between the artists and the viewers, which will further the dialogue around the diverse history, status and re-envisioning of performance art.
•JULIE ANDRÉE T.
Biography
Julie Andrée T.’s installations and performance works have been shown in Canada, U.S., South America, Asia and Europe. She was part of PME, and experimental theater company directed by Jacob Wren. She has collaborated with various people like choreographers Benoit Lachambre, Xavier Le Roy and Dominique Porte, Martin Bélanger and the film maker Dominic Gagnon. Since 2003 she has been part of the performance group Black Market International. She worked with the collective PONI from Brussel as co-artitic-director of there new work.
For Julie Andrée T. ,practicing art should be a reflection of daily life and the dark ages we are presently in. BODY AND space are the center of her research. She use the body as a space and as vehicul for metaphore, poetry.
She tries to reach a place where personal identity is lost. Although this is a utopia, it might be the only way to find a common abstract language to understand what we do and who we are.
In 2007 she created « Études d’un phénomène ou l’invention d’un souvenir”at Chambre Blanche (Quebec) where she was artist-in-residence for 3 months. This exhibition was an exploration for the human fascination for the weather and natural catastrophiea in the age of spectacle and medias.
Julie Andrée T, is curantely guest artist Faculty at the School of muséum of Fine Arts in Boston (usa) where she ‘s teaching performance art.
Curators Statement
The idea of “meeting” is the first reason to do performance. Performance art can be a place where we exchange, communicate, shared. Finding a comment language is not easy. How do can we create an inter-zone where all human being can BE and MEET? As curator, I see my-self as the person who invite people to have a “conversation” in the most large sense of the word. A conversation between the artist and the viewer, a conversation between artists, a conversation between viewers. The artists that I invited are coming from all around the world. There is a chance to prove that people from different languages and cultures can meet and exchange in peace and creativity. In the abstraction and the poetic of art, I believe there is a comment universal language where we can meet.
•MARTIN RENTERIA Bio
With many years of professional career in contemporary art, the quality of his work has lead him to represent Mexico in international festivals in Spain, USA, Italy, Slovakia, Canada, Argentina,Hungary, Finland, and China.This multidisciplinary artist has found in sculpture,painting, installation, performance art, such as spectacular wearable art and machines of his own design, a proper language which express his vision of the world.
The prodigious of his art, take roots in the profundity of an in force lecture, that talk about the reality we run through nowadays as a society and as persons.
Starting from the body, Martin Renteria creates rituals, where actions, objects and atmospheres provoke all kind of interpretations of the same reality. He plays with universal concepts such as space, power, balance, time, uncertainty, human being
essence and the urgency for establish genuine relationships, by means of symbols that causes reactions and reflections in every spectator.
Concerned with evolution, Renteria′s work, invites us to analyze present time from which emanates questions about the soul and planet′s destination, and to undertake ways towards higher conscience levels.
Curators Statement
It´s very important to mention that the 10th OPEN International Performance Art Festival will be the biggest performance art festival in the world! It´s a great honor to be curator of this festival, it will be a wonderful platform to show experimental and new ideas from different countries and artists generations.
The proposal as a curator is to make the most versatile, diverse and contrasted festival, where the differences of idiom, race, idiosyncrasy, politics and religion pass to second term. The expression of ideas, sensations and feelings in coexistence, would be the primary factor to generate closer links and relations between cultures and diverse ways of thinking.Beside, I want to focus in show Mexican and latin american performance art, OPEN Festival will be an extraordinary platform for latin american artists. This will be the first time that around 40 latin american artists will perform together in China.
The intent is to show that the artists priority is to make a statement, expressing the vision about their own time and space in their very personal way.

8, Artists invited to the 10th aniversary of Open ( namelist attached)

9, The implementation plan( schedule attached)

10, Namelist of media home and abroad.( preparing)