Lunch at ZENG FANZHI in his Bejing home together with his grandparents, his daughter HAO'ER, his wife HE LIJUN and LORENZ HELBLING, director of Shanghart Galleries.
Works from the MEAT and MASK series.
ZENG FANZHI:"My family encouraged me to take up painting to keep me off the street."
LORENZ HELBLING:"Zeng Fanzhi is one of the major artists shaping Chinese Culture of today. He is reinventing himself all the time."
ZENG FANZHI:"I've never been interested in my art becoming a symbol of political ideas. I just want to portray my inner feelings and the people around me."
ZENG FANZHI:"I grew up during the Cultural Revolution. These ideologies take a lot of space in my mind...but my work remains personal. It is of introspective nature. My work reflects my personal life and my emotions in Communist China today.
Zeng Fanzhi was born 1964 in Wuhan, Hubei Province, China.
BUDAPEST DIARY – Der Vorwärtsgänger
A series of on the spot interviews at various places in the City of Budapest for MTV Hungary.
Interview: András Péterffy - Jürg Da Vaz, June - July 1998.
camera 1: Juri Burak
camera 2: Lászlo Dörflinger
camera 3: Ernö Nagy
camera 4: Tibor Varadi
editing: Sándor Gréczi
editing: Jürg Da Vaz
directed by Jürg Da Vaz.
filmed on site in Budapest
The OTHER EYE – a passage through India
1998 Prix de Bâle, Prix de la SSR, 36ème Séminaire de l´UER pour la Télévision éducative.
In cooperation with B. R. Studio at the movie city Bollywood in Mumbai, India. creative documentary
Da Vaz in Mumbai, 1997 shooting his first film THE OTHER EYE at Philomenas House. Da Vaz pursues archeology in the sense that he reconstructs places in his memory by drawing without any intention (Marie-Theres Stauffer). Life moves in a subtle corkscrew pattern with a kind of axis of orientation running through space (Jürg Da Vaz).
The works of Da Vaz, as mentioned many times in previous texts, are not representations of appearance, but of inner structural phenomena, of an inner reality. They are representations of what takes place on the stage of life. India is the world's largest stage of sensual experience. Its vision of colour and gorgeous splendour, the complexity of its multi-faceted human individuality, the inconceivable wealth of diversity in the makeup of its people forming a colossal entity, all this diversity as well as the intensity of its fragrances in everything: all these impressions set in motion an overwhelming emotional experience. The garbage heaps of Mumbai suddenly turn into a surface shot of a Da Vaz drawing. What seems to the observer to be waiting for its final disposal suddenly turns out to be a well of structured tonality, a wonderful piece of poetry drifting by in a smell. It is as if the excess of waste is providing the necessary gamut from which unforgettable epics, songs and stories are created. All of a sudden no interior or exterior exists any more. Before us matter dissolves and destructs itself. A glance at Philomena's House reveals: the transformation of matter cannot be arrested. Phenomenological truth is fugitive. It comes and fades away, constantly emerging in different shape and form. The transitions are blurred, the contours indistinct. Viewed in conceptual terms, this is indeed a visually portray of fuzzy logic, which we can call emotional logic. Precisely this induces the feeling of weightlessness, of motionlessness, about which Da Vaz says: My feelings are in the highest state of velocity when they are without emotion, like the sail in the wind.