游⽬ Nomadic Sight
From ink painting to digital photography panorama
From Chinese ink painting, to panoramic digital photography
SPANISH
Nomadic Sight is the result of a photography project that Chinese artist Ren Bo began in 2012, focusing on the relationship between the real and the unreal through the moving landscape. Ren Bo fuses the tradition of landscape painting with ink. China (山水, Shān Shuǐ; (山水, Shān Shuǐ; Mountains and Water) in contemporary photography to create a modern and delicate work, rooted in the deep connection that Chinese artists have had throughout history with nature and landscape. The original name of the project in Chinese , 游⽬ (Yóu Mù), distills the essence of the same. You (遊) means to travel, wander, pass through; while Mu ( ⽬) means eye, sight, order. The photographs in Nomadic Sight were taken with an old mobile phone in panoramic mode.
The first room of the exhibition displays several photographic reproductions of classical Chinese paintings and photographs, which help us understand the transition from traditional Chinese painting to digital panoramic photography. The second room, on the first floor, presents a selection of images from the Nomadic Sight project.
ENGLISH
Nomadic Sight is the outcome of a photographic project that Chinese female artist Ren Bo began in 2012 around the relationship between the real and the unreal through the landscape in movement. Ren Bo merges the tradition of Chinese ink landscape painting (山水, Shān Shuǐ; Mountains and Water) into contemporary photography to create a modern and delicate work rooted in the deep connection that Chinese artists have had throughout history with nature and the landscape. The original name of the project in Chinese,游⽬ (Yóu Mù), distills its essence. You (游) means to travel, to wander, to pass through; while Mù (⽬) means eye, sight, order. Nomadic Sight's photos were taken with an old mobile phone in panoramic mode
The first room of the exhibition displays several photographic reproductions of classical Chinese paintings and photographs, which help us understand the evolution from traditional Chinese painting to digital panoramic photography. The second room, on the first floor, features a selection of images from the Nomadic Sight project.
Room 1 (ground floor) / Room 1 (ground floor)
Wall 1
From top to bottom
Poetic Feeling in the Thatched Roof Pavilion 1347
Wu Zhen (China, 1280-1354)
Smaller-scale reproduction on photographic canvas. The original painting—made with India ink on rolled paper—measures 489.1 x 24.5 cm.
Poetic Feeling in a Thatched Pavilion草亭詩意 1347
Wu Zhen (China, 1280-1354)
Smaller scale reproduction on photographic canvas. The original painting —ink on paper on handscroll— measures 489.1 x 24.5 cm.
___________
Panorama of Beijing October 1860
Felice Beato (1832-1909)
Henry Hering (1814-1893)
In the center, the Da Qing Gate, which led to the Forbidden City. It was demolished in 1954. Smaller scale reproduction. The original photograph measures 175.4 x 22.3 cm.
Panorama of Peking October 1860
Felice Beato (1832-1909)
Henry Hering (1814-1893)
The view is centered on the Da Qing Gate, which leads to the Forbidden City. It was demolished in 1954. Smaller scale reproduction. The original photograph measures 175.4 x 22.3 cm.
___________
Panorama of Hong Kong, with the North China Expedition Fleet March 1860
Felice Beato (1832-1909)
Henry Hering (1814-1893)
Smaller scale reproduction. The original photograph measures 142.6 x 23.7 cm.
Panorama of Hong Kong, showing the Fleet for North China Expedition, March 1860
Felice Beato (1832-1909)
Henry Hering (1814-1893)
Smaller scale reproduction. The original photograph measures 142.6 x 23.7 cm.
Wall 2
Lang Jingshan (1892-1995) is one of the most important artists in the history of Chinese photography, for his innovative role in the transition from painting to photography as a form of artistic expression. He began his career in Shanghai in the 1920s. He worked in newspapers, magazines, the fashion industry, and advertising. Over time, he developed his own style, characterized by misty landscapes and delicate photographs of plants and animals. This work would lead him, years later, to what he called "composite photography," in which he combined fragments of different images in the laboratory to create dreamlike works with the aesthetics of traditional Chinese ink painting. He is considered "The Father of Asian Photography."
Lang Jingshan (1892-1995). He is one of the most important artists in the history of Chinese photography, for his innovative role in the transition from painting to photography as a form of artistic expression. He began his career in Shanghai in the 1920s. He worked in newspapers, magazines, the fashion world and advertising. Over time, he developed his own style, branded by misty landscapes and delicate photographs of plants and animals. This work would lead him, years later, to what he called “composite photography”, in which he combined fragments of different images in the darkroom to create dreamy works with the aesthetics of traditional Chinese ink painting. He is considered “The Father of Asian Photography”.
Wall 3
Continuation of the exhibition
Room 2 (first floor)
Nomadic Sight 2012-2019
Ren Bo (China)
130 x 30 cm approx. / approx.
32 x 7 cm approx. / approx.
Patio / Courtyard
If you want to know more about the Nomadic Sight project