DCAM Artist Interview | Zheng Jing: "Let's Stop Talking About Earthly Matters"
Zheng Jing
Dunhuang Contemporary
First Dunhuang International Residency
Founder of the "Shepherding Light" Project
In the late summer of 2023, the stars in the Dunhuang desert had not yet lost their warmth.
Zheng Jing and the Shepherding Light team had traversed 3,000 kilometers, expanding the nomadic territory of light and shadow from the vast folds of the northwest Gobi to the wave-tossed peaks of the Wanshan Islands in Zhuhai.
One and a half years later, in the snowy expanse of the Ice Peak Monument in Bulgaria, Zheng Jing and the "Shepherding Light" project ushered in a new chapter—the "Human Bird Utopia Series." Under the shining light of the Nike Goddess's wings at the Moslavina Monument, the idealism frozen in time was reignited through the quantum leap of "light."
The "Shepherding Light" project, starting from the Silk Road ruins of Dunhuang, then to Eastern Europe, and on to Latin America, from the Caribbean to the Arctic Circle, uses light as a bond to connect civilizational imprints around the world.
Let us delve into Zheng Jing's creative core and listen to how he writes the "Republic" of this era through light and shadow.
About Artist Zheng Jing
Zheng Jing is an artist and professor at the China Academy of Art. He is dedicated to expanding the expressive language and forms of spatial art through multi-sensory experiences that integrate art and technology. From an interdisciplinary and experimental perspective, he explores methods and means of sculpture and public art. Zheng Jing promotes a socially-oriented art practice model in public art that combines "art engineering and technology." In recent years, his collective practices have been characterized by interventions in various public space forms. Representative public art projects he has curated include the Wuzhen Theatre Festival Public Space Art Performance Plan, Nanjing Qinhuai River International Light and Shadow Art Exhibition, Suzhou Humble Administrator's Garden "Humble Inquiry of Elegance" Multimedia Spatial Performance, Aranya Theatre Festival "Migratory Birds 300", and the Qiandao Lake International Light Art Biennale, among others.
The Starting Point and Inspiration of the "Shepherding Light" Project
Q: Why did you choose Dunhuang as the first stop for the "Shepherding Light" project?
A: There were many factors that led to this decision. On the one hand, the "Shepherding Light" project was initially meant to give myself a chance to travel and step out of my comfort zone. I felt I had entered a routine creative context and needed to break free from it. On the other hand, considering the medium itself, I come from a sculpture background, which primarily deals with solid materials. However, I believe sculpture should not be limited to solid materials and media; it should be an art of space. Therefore, I began to explore other media beyond solids, such as light, water, sound, and scent, all of which can be used for artistic creation in space, with light being one of them.
The "Shepherding Light" project uses light as its medium for several reasons. First, it is convenient to carry, and second, many of the places I visit are natural or historical heritage sites where we cannot make excessive material interventions. Light is the most ecological way to interact with these spaces, leaving no trace. Thus, I applied my previous research on light to the "Shepherding Light" project.
Q: During the first performance of the "Shepherding Light" project at the Yadan National Geological Park, there was a meteorite-shaped object with a rough surface and a trailing flame. Why did you choose this element?
A: That meteorite is very significant. You'll notice that whether it's the Lingding Ocean or the Moslavina Monument, the meteorite always appears when I arrive. It originated from a grain of sand at Mingsha Mountain during the first phase of the Dunhuang "Shepherding Light" project. That grain of sand transformed into the "Shepherding Light" meteorite, which has followed me ever since. The meteorite appears at each stop of the "Shepherding Light" project.
Moreover, the color of the meteorite changes with the space and time. For instance, during this trip to Bulgaria in winter, originally scheduled for May, I decided to move it up three months to catch the winter atmosphere. Hence, the colors this time are icy blue.
Q: Many applicants for the Dunhuang International Artist Residency Program call themselves "digital nomads," advocating environmental protection and sustainability, and preferring to co-create with nature. You mentioned that the Shepherding Light team's creative approach in Dunhuang also has a "nomadic" nature. Could you share any advice or experiences for the new season's resident creators?
A: I believe that advocating environmental protection and sustainability should not merely be a superficial label. It's more important to truly understand and implement these principles in your creative process. This is a matter of consistency in your concepts and ideals. I've noticed some young artists struggle with this.
If I were to offer advice to these resident artists, it would be not to treat environmental protection and sustainability as mere labels. Every step of your creation should align with these values, especially during residencies in Dunhuang. We must approach the local culture, space, and context with reverence. Only then can we find our own topics, language, and context to create the best works.
"Shepherding Light" Project: Creating with Light in Natural and Historical Spaces
He rejects altering the site and instead engages in a dialogue with space through the transient nature of light.
The Boundaries of Public Art and the Practice of "Nomadism"
Q: Why did you choose "light" as the medium for your public art creations?
A: To discuss this, we need to revisit public art itself. Unlike traditional art forms named after specific media, public art is defined by its spatial and public attributes. This represents a liberation from medium-specific constraints. In public art, the choice of medium should be appropriate to the space and cultural context. In contemporary art, materials themselves can be artistic languages, not just carriers. Therefore, public art creation requires a deep understanding of the medium's language to best convey the narrative.
Q: During the Dunhuang residency of the "Shepherding Light" project, you adopted a "nomadic" approach. Does this imply an extended understanding of public art?
A: It's not about redefining public art. The "Shepherding Light" project faces diverse spaces, and the nomadic approach is the most suitable. During this process, we encounter various spaces and places. Space becomes a place with spirit only when people interact with it. This is the essence of artistic creation. Moreover, the site itself is a crucial medium.
"Public art may seem boundary-less, but precisely because of this, it demands a higher sense of boundary mastery."
The Birth of the "Human Utopia Series"
Q: During the third phase of the "Shepherding Light" project in Bulgaria, you used binaural sound effects, including a less commonly heard instrument?
A: Yes, the instrument in the sound effects is the gaida, a traditional Bulgarian bagpipe made from a whole sheep, which is quite interesting.
Q: During the performance of the "Shepherding Light" project at the Moslavina Monument in Croatia, you mentioned the continuity of concepts. This monument once represented an ideal, and now it has become a carrier of emotions for Croatian residents. Is this an expression of the continuity of concepts?
A: Yes. The "Shepherding Light" project at the Moslavina Monument exemplifies the "encounter" I've emphasized since the project's inception. This encounter encompasses not only the physical space and culture but also the changing times. Had I not been on-site, I would never have known that locals use this monument as a wedding venue. This discovery, made during casual conversations with our assistant's landlord, greatly moved me and may inspire future content.
The continuity of concepts is a new series for this season's "Shepherding Light" project—the Human Utopia Series. Previously, I focused on regional themes like Dunhuang and the Lingding Ocean, exploring spatial, cultural, and contextual encounters. This time, I'm embarking on a long-term series—the Human Utopia Series. I chose to start in Bulgaria, at the ice-covered monument, inspired by the many Futurist buildings in Eastern Europe. These structures, significant in art and architectural history, are now abandoned due to political and historical changes. Their tension and Futurist concepts still resonate, and I aim to reignite their vitality through the "Shepherding Light" project, offering new imaginative spaces.
Q: Is cultural difference a factor in the creation of the "Shepherding Light" project during its first international exhibitions in Bulgaria and Croatia?
A: The issue of cultural differences is more about perspective than specific spaces. Since the project's inception, I've considered the relationship between humanity and the planet. There's an underlying theme explored through natural landscapes and historical legacies, examining humanity's connection to the planet and the universe, and whether we are its original inhabitants.