The semantic difference between "experiment" and "test" is probably that one is experiment and the other is test. "Lao Mu "and "Meng Chunsheng" are an accidental "experiment" art project that took place seven years ago. Why "accidentally"? It is based on the context and background of traditional Chinese folk culture. So it's the traditional "test" again. The mask is "Meng Chunsheng" behind "Lao Mu". It may also be the weakness of human nature or the side that most needs to be protected.

Why sculpture? Beuys once said: It is my responsibility as well as the responsibility of art to shape society like sculpture. And what "Lao Mu" wants to carve is the soul of "Chun Meng Sheng".

Today's China and the whole world are synchronizing in a way beyond any era, and the relationship between human civilizations is intricate and complex. Just as the Butterfly Effect says that everyone's every move is affecting the changes of the whole world, how can contemporary art better participate in the changes of the whole era? When we learn to use art to continuously raise questions about society, can we use the power of art to heal this society?

For many years, Laomu has borrowed the concept of "social sculpture" to carry out public art experiments with Chinese characteristics in Chinese society

When we openly discuss the concept of "sculpture", it is very "social", because no matter whether you are active or passive, everyone is jointly shaping the human society. It is well known that the inheritance relationship between Laozi and Zhuangzi, the central position of "Tao" in Eastern culture and its strong influence on world culture, Steiner read Kant's works like Goethe, which convinced him that the new biology may be closer to art , not physical mathematics or chemistry! Whether it is "social sculpture" or "sculpture society", this is related to anthroposophy. In 1919, Steiner wrote "To the Geman Nation and the Civilized Peoples" (To the Geman Nation and the Civilized Peoples). "Rational Plan" share the same pursuit, and observe Beuys's "Expanding Concepts of Art" (Expanding Concepts of Art), that is, "Soziale Plastik" theory, which has actually surpassed the general concept of art and has become It is no longer a theory, but a basic principle that changes the entire social structure and all existence. "Social sculpture" also has the function of "sculpture society"...

By viewing life as matter driven by vital forces, Rudolf Steiner developed an intuition that was realized in the practice of biodynamics. Everything is interconnected: plants can only survive in interaction with the universe and the earth. Beuys has a famous slogan: "Everyone is an artist (JEDERMENSCH IST EIN KÜNSTLER)." Is this really the case?

In the autumn of 2005, in order to track down the truth about the destruction of the earth by human beings, I went to the coast of Normandy, France alone like Don Quixote in the east. Local officials discussed using art to save the environment. I broke into a local farm to collect pig manure with farmers to learn about the source of pollution. I broke into a local bar. Local artists collaborated to plan how to stack Himalayan mountains made of pig manure in government buildings. , I broke into the homes of local businessmen to taste the evidence of capital extraction, and in 20 days I planned to occupy Norman Beach with art.

This was an impossible task. After 20 days, I successfully piled five tons of pig manure into a Himalayan mountain filled with French flags, and enshrined it in the local government building for a month. For those who are still working in the building It was indeed a tasteful summer for local officials...

I remember that the opening ceremony was very interesting. The French Liberty Times published an entire article on the "Himalayas" incident. The local radio station had a quiz with prizes "Who Sculpted the Himalayas with Pig Manure". It happened to be the opening of the French Biennale, France. The minister of culture rushed to the opening ceremony of pig manure and gave a speech. The situation was extremely embarrassing and funny. I invited people from three different classes: politicians, businessmen, farmers, I heard that in France these people will never be in the same occasion It appeared, but there was an accident that day. The invited guests began to blame each other around the smelly Himalayas. Politicians blamed businessmen, businessmen blamed farmers, and farmers blamed the government. I have never seen such an interesting opening ceremony. Like a vegetable market, but also like a democratic parliament hall.

Of course, apart from the traditional mutual accusations, there will be no real results. Suddenly they seem to understand what everyone turned their attention to the Himalayas and said in unison, this is contemporary art...

citing local reports

• L'exposition

L'exposition a eu lieu du 3 octobre au 9 octobre dans une salle de l'Estran à Binic. Il y était montré des photos à la fois artistiques et témoins des rencontres; une vidéo; des installations. Lors de l'ouverture, Mu a effectué une performance, à savoir la construction d'un Himalaya de compost à base de lisier de porcs et de végétaux. A l'occasion de l'ouverture de l'exposition de nombreuses personnes que nous avions rencontrées se sont déplacées pour voir le résultat du projet. Pour nous, cela était déjà une réussite que d'avoir pu rendre possible l'accès à l'art contemporain à ces personnes. De plus, tout au long de la semaine, du fait de la bonne communication effectuée autour de l'évènement et du contenu artistique de l'exposition, de nombreuses personnes sont venues voir les oeuvres de l'artiste.

• Le résultat

Il est aujourd'hui important de rendre accessible l'art contemporain dans de petites villes de province comme Binic où les habitants n'ont que trop rarement l'occasion d'être en contact avec cette forme artistique. C'est un réel challenge que de sensibiliser ces "populations". Cependant, du fait de la proximité de l'artiste et de son oeuvre avec le quotidien des gens, une réelle intéraction s'est produite entre les personnes et l'oeuvre de Mu.

De plus, une très bonne couverture médiatique a été effectuée, le travail de l'artiste a été présenté sur Radio Bonheur, Radio France Armorique et France Culture, des articles ont été publiés dans la presse local, Ouest France, Télégramme, mais également dans le quotidien national Libération (voir ci-joint), et sur de nombreux sites Internet européens, (de nombreux articles en français, allemand et anglais sont disponibles sur des moteurs de recherche comme Yahoo France ou Google).

2023

Last year, the number of displaced children worldwide increased by 2.2 million, according to UNICEF estimates. As of the end of last year, conflicts, violence, and other crises have led to the displacement of a record 36.5 million children. In 2023, more than 5 million children worldwide will become "coronavirus orphans." The war has caused a large number of orphans. Over 67,000 children in Ukraine have lost their parents' custody. This is the highest record since World War II.

An equal opportunity to change their lives through the power of art. 

An emerging experimental art project: "Our Children" Initiative, is an international children's art charity program initiated and executed by conceptual artist Lao Mu. The program aims to identify five hundred creatively gifted orphans worldwide and, following the tradition of ancient master-apprentice relationships, establish a free art education system with the assistance of AI and the internet. Based on the principles of philanthropy, we warmly welcome everyone to join and support this initiative!

An equal opportunity to change their lives through the power of art. 

The goal of the 'Our Children' program is to discover creative orphans and provide them with professional art education. Through artificial intelligence and internet technology, artists can communicate and guide children in real-time, providing them with diverse art learning resources. In this way, regardless of where the child is, they can enjoy high-quality art education.

 The plan also emphasizes the traditional apprenticeship system, allowing children to learn different artistic skills and expressions from artists from around the world. This way of inheritance not only emphasizes individual creativity, but also emphasizes group interaction and communication, providing children with a broader space for artistic development. 

The 'Our Children' program is based on public welfare and strives to provide a fair opportunity for children to realize their dreams through art. Art education can not only cultivate children's creativity and talent, but also enhance their self-confidence and social skills, opening up broader development and employment opportunities for them. 

Through this plan, Lao Mu hopes to raise global attention and importance to art education. He believes that art can change the fate of children and give them a better future. The plan also calls for more artists and caring individuals to join and provide more support and opportunities for children. 

In conclusion, Our Children is an international children's art public welfare project initiated and implemented by the concept artist Lao Mu. Through artificial intelligence and internet technology, this project aims to establish a free art education system for 500 creative orphans and inherit the ancient apprenticeship system. This plan is based on public welfare and aims to provide children with a fair opportunity to change their lives through the power of art. At the same time, the plan also calls for more artists and caring individuals to join and provide more support and opportunities for children.

1. Motivation

2. Artistic practice

3. History

4. Future Visions

5. Conclusion

1. Motivation

There are several reasons why I am personally doing this project which are mainly connected to the role of today’s contemporary artist, and the present view of art. What fascinates me is how the art community interacts (or fails to engage) with society; particularly the lack of communication and incomprehension between population and expression. 

Art is often inspired from everyday life and co-exists within a dynamic of giving and taking. Art should convey more about the relationship of give and take, a re-energizing model of returning to the community that in which it has inspired. The question is whether contemporary artists can actually convey their thoughts and directions successfully to the world around them? Can they bridge the gap and communicate their ideas?

This project examines these problems and questions, however the artist can take an active role to do more than expose these inquiries. He or she can actually put transformation processes into action. I use my vocation as an artist to issue real change, but also it is a vulnerable and dangerous undertaking to tackle alone. Like an art-martyr of sorts, I feel a responsibility to 

create physically, and emotionally challenging situations, where I can move against the grain, swim upstream and command attention through my collaborations. 

2. Artistic practice: 20 day project series

I have presented myself with the challenge and commitment of choosing 20 different countries, over the course of ten years (averaging two per year), then 20 different situations, and 20 different themes or subjects with relation to each context. By using minimal time for maximum results, the task becomes a ritualistic process of efficiency, although this layered series of events is about more than “efficiency”. The aim is to produce and share energy, ignite groundbreaking ideas, while working spontaneously within different contexts, but essentially just jumping in and creating through the act of doing. The relationship between idea and art becomes simplified and a true manifestation of the phrase “sometimes the shortest distance between point A and B is a straight line.”

As an artist I serve as a medium in the flow of performances, discussions, creation of art objects, role reversal, still and video documentation, text production and presentation. To date the support of these projects is one of immediate expression in exchange for immediate needs (such as food and shelter). My past projects provided the community with a vehicle to express themselves, individually as well as in a mass or group, and in turn I was provided with the basic needs for my survival during the course of the 20 days. Art takes on the same value here, as food, shelter and safety as an additional and equal basic need for personal and global existence. With this initial approach, I was able to maintain a collaborative freedom that remains raw, practical and direct.

Kunming, China, 2003

In 2003, the first event took place in south of China in the city of Kunming. The project involved only individuals who were not artists by approaching them on the street and inviting them to paint or draw, 1000 people contributed to this one work on the first day alone, and in exchange those very participants in the street, supported me. The project was successful without any funds financially. 

At the end of the 20 days, the project results were exhibited at the Upriver Loft in Kunming, one of the well-known galleries exhibiting contemporary art in Kunming. The opening was supported by a local bar, and was attended by several hundred people. This was the first time that non-artists had exhibited in a legitimate gallery, until then sanctioned only by serious artists.

Motivation: Can Western contemporary art improve Chinese society? In response to Beuys' slogan, "Everyone is an artist", the possibility of using art to improve society was a subject of individual action and experimentation.

Address: Chuangku Kunming China

Participants: Kunming street people

Process: For twenty days, everyone is invited to participate in the art and experience it wholeheartedly. Visitors can become "creators" and everyone can produce "artworks" in this game. Each participant was delighted to receive the instantaneous promise that "everyone is an artist".

Each day had a different theme, interacting and collaborating with people from different parts of the city, resulting in twenty pieces of public art. On the opening day, an impromptu 800 RMB was raised on the streets of Kunming to purchase refreshments and drinks, and a band performed live.

Day 1: The artist brought 40 X 60 blank oil frames and oil paints and invited random passersby to paint. During the eight-hour period, a total of 100 people walked from the west side of the city to the central square, starting with the first child and ending with the last old man, to participate in the impromptu painting.

Recording method: text, picture, video recording

Conclusion: When Western artistic concepts are practiced in the East, the artists themselves may become the instruments of Cultural Imperialism. In Orientalism, Said points out that Orientalism is a form of Western discourse about the East that is closely linked to Western colonialism and imperialism. dominant relationship, a complex and ever-changing hegemonic relationship. And he goes even further in Culture and Imperialism, directly linking culture and imperial time. Said makes it clear that culture played a very important, indeed indispensable, role in the process of imperial expansion.

At the same time, cultural and geographical differences sometimes deepen the misunderstanding of public "art" itself. Therefore, Eastern artists should also find their own way while absorbing Western ideas.

Oslo, Norway, 2004

The second project was in Oslo, Norway, in 2004. In this case I chose to work with half young emerging artists and the other half non-artists. Each day I made video documentary photos, installation, and placed art into different contexts within public space. Making art in the moment, in whatever way possible, and making friends at the same time, (again in exchange for support in the form of basic needs), challenged ideas of language, culture, understanding and influence. 

Again, I used and requested no money, however the Norwegian arts community were inspired to be involved and generously provided an exhibition space and staff to install all the objects and organize the performance collaborations between the artists/non artists that were a part of the final showing.

Amsterdam, Netherlands, 2005

The third project took place at the Rijksakademie in Amsterdam 2005. In this case all 20 of the participants were artists or staff within a specific hybridized system that seems to exist at the Rijks, between individual residency program and established institution. I worked intensively with a different person each day, collaborating on a performance and/or artwork inspired by both of our perspectives and curiosities. At the end of the 20 days, the resulting exhibition/installation in the Project Room at the akademie consisted of 20 artworks, 20 videos of documentation, and photos depicting the processes.  In this way I explored the inner-workings of the institution by becoming part of it as an accepted resident myself, and by involving interested people within it, each person is presented with a new idea of creative process foreign to them. In this way the institution and the individuals broadened their scope regarding each persons role in the system. I see this as a responsibility for the artist.

It is within this context that collaboration grew with Canadian artist Christine Kirouac. Fueled by her experience as an outsider to the Rijks and her role as a University art professor in Canada, and my role as an insider here but an outsider to her world, a collaborative project ironically yet effortlessly unfolded, where transference of roles and experience would take place over the course of a month long exchange.

Bretagne, France, Sept. 2005

This 20 day project started with pig farmers in ___ Bretagne, France. I arrived in __ with the idea to work with pig shit, because of my experience in China, where pigs, what pigs eat, and what pigs shit are an important energy cycle for farming. The process of understanding pig farming would lead to collaborations and exchange with local farmers, and for me to understand what concerned them. By making a miniature  “Himalaya Mountains” with pig shit, I could draw attention to pig and pig farming and my own preoccupation with shitting as a creative act and my own identification with pigs and the cultural status of pigs in China and France. I also thought as a “contemporary artist” working with such a material on local terms outside of “contemporary art” space, that I could provoke interest in how local, traditional, rural situation could be connected to “contemporary art”, if either of the two can have meaning for each other.

It turns out that pressing issue at the time in Bretagne was ___ environmental problem caused by pig shit. My Himalaya mountain quickly became a symbol of this problem, and I found that within a week I was invited to install a mountain of pig shit in the ____ museum. The media, government, and farmers all entered “contemporary art” to debate, and “contemporary art” became the facilitator.

5. Conclusion: The Buddhist Approach

How does an artist combine an open mind and approach with systems that are selective, exclusive and rigid? How do set systems help artists maintain touch with the world in which they have grown apart from? How can we as artists participate in opening up discourse about the global importance of expression on all levels of existence? The inherent fluidity of the 20 day project infiltrates these systems and breaths life into the meaning of the words exchange and communicate. Whether they be farming communities, 1000 strangers in the streets of 

China or intellectuals at an art institution, my role within my own practice is to provide a gift through collaboration, a gift that I believe to be the responsibility of the artist to give.  

Farmer Mu’s Future Plans:

Many people ask me why I call myself a “farmer”? I don’t see you farming, I see you as an artist.

I think “you are exactly right”! I call myself a “farmer” because I want to become one, a real farmer, working and living in the Chinese countryside. But to become a farmer I have to do a lot of work on my “self”. I’m preparing to be a farmer, by being an artist.

In my eyes, I’m not an artist, I’m just a normal human being, but I dream about is making my own food and making my own shit, and to NOT make art.

So, what is art?

Farmer Mu, 2005

While painting and developing the 20 Days projects, Mu Yuming has at the same time created a residency program in China called Lijiang Studio, devoted to exploring the relevancy between society and contemporary art over the long term, in a structured way. Lijiang Studio is an attempt to address the spectacular way in which contemporary art has marginalized itself in society, using the basic human will to create as a bridge to connect a rural farming community in China to China’s hyperfast development, and connect these to the international world of contemporary art. See www.lijiangstudio.org for more about this program.

Jianghu

Within the frame of Lijiang Studio, Mu Yuming also conceived a guerilla, breakneck, suicide exhibition series called Jianghu, a collaboration between amateurs and artists, Chinese and non-Chinese people, based in Yunnan Province, China. Each Jianghu event was curated by a different person or team of people, and with almost no resources available, has become a major contribution to diversifying the Chinese art scene.

Jianghu's tagline is: Jianghu uses all forms of deception to dissolve what you know about ?art?. From confusion comes clarity?

With small tea leaves, it conveys peace, friendship, beauty, medical significance, and positive energy.

Let people feel the warmth and peace of Tea culture. 

Tea Charity plans to use tea as a medium to achieve the goal of Public art through artistic action. Artist Lao Mu regards tea as a precious resource and cultural heritage, and by conveying the value and characteristics of tea to people around the world, he hopes to promote understanding and integration between people and make the world more harmonious.

 The artist will personally produce or select high-quality Chinese tea, and personally deliver it to the epidemic stricken areas to share delicious tea fragrance and Tea culture with local residents and masses. Tea has profound historical and cultural connotations in traditional Chinese culture, symbolizing peace, friendship, beauty, and therapeutic significance. Through the dissemination and sharing of tea, artists hope to awaken people's love for life, allowing them to overcome difficulties together and find inner peace and balance with the company of tea.

 The "Tea Charity" program is groundbreaking and innovative, combining art with public welfare social activities, breaking the constraints of traditional art forms. The active participation and interaction of artists have made art a force that can change society. This project has had a profound impact on society. First, the spread and sharing of Tea culture has promoted friendship and understanding between different countries and regions. Tea, as a common cultural symbol, can overcome language and cultural barriers, connect people together, and enhance mutual understanding and trust. Secondly, through the demonstration and inspiration of artists, this project has inspired more artists and the public to participate in public welfare undertakings. Art is no longer an isolated individual creation, but a way of interacting and influencing society. Artists and the public can improve society through artistic actions, bringing more hope and beauty to people. In summary, the "Tea Charity" program conveys peace, friendship, beauty, and healing significance through artistic actions. Artists use tea as a medium, crossing boundaries and barriers, to convey the value and culture of tea to people around the world. This project has stimulated people's love for life and inner peace, promoting cultural exchange and social understanding. Through the participation and interaction of art, this project has brought broader development space for art, promoted the development of public welfare, and had a positive impact on society.

The new crown virus is not scary. Terrible that we did not act!

"Looking for the Five Hundred Arhats" is a continuously developing public art interactive project. It originated from the three-year period of the global new crown epidemic. Governments around the world have carried out the most stringent and thorough "clearing" control. can be performed within a specific range. Survival, anxiety, depression, unemployment, bankruptcy... these have become the daily life of human beings. Facing the threats and challenges to the common destiny of mankind, the artist initiates and implements a "Global 500 Arhats Online" project, with the help of the Internet, self-media and social resources, to establish communication and interaction between human beings through public art, thereby breaking the and reduce the impact and damage caused by natural disasters on human existence.

Online project: establish communication and dialogue with people all over the world through the Internet platform, create "human portraits" and video records in different ways and media. At present, 35 friends from all over the world have been completed.

The new crown virus is not scary. Terrible that we did not act!

Your story will be told by you...

Dear Lohan! This is a public art interactive project in continuous development. Only with your participation can this work be truly completed! Lao Mu invites you to make a one-minute short video about: Who are you? What are you doing during the epidemic? What do you want to do... You can do whatever you want with the video, and the video you make will be included in a documentary about you in the future. All of us will jointly produce and complete a complete "Arhat" documentary and 500 works of art.

Let us all create "Five Hundred Arhats" together!

Finally: Can you tell me what "Lohan" means?

2022-2023

Media: public media, Internet, comprehensive materials... (The project is under continuous development)

Time: 2022-08-17 11:41 Published in Yunnan

Offline plan: The artist personally travels to countries on the five continents of the world, looking for interesting people for face-to-face chats, and at the same time creating "portraits" on the spot. At present, ten local residents of Yunnan have been completed.

It is planned to complete a total of 500 "Arhats"

In Buddhism... the fruits of Arhats are inferior to Buddhas and Bodhisattvas. Shortly after the Buddha's Nirvana, a great disciple of the Buddha, Venerable Kassapa, led a total of 500 people to gather for a meeting in the Qiye Cave on Mount Pibala outside Rajagha, India. The five hundred arhats come from this beginning.

The ChuangTzu Project is a public experimentalart collective initiated and executed by conceptual artist Mu Yuming. We are based in rural Anning, in Yunnan Province. ChuangTzu is the proud partner of local government organization and of the area's largest Taoist temple. We actively participate in and support China's "rural revitalization program". Our aim is to benefit all members of our community. The ChuangTzu collective brings together artists from different cultural backgrounds to take part in a global exchange platform spanning multiple disciplines. It opens a window for the world to understand traditional Chinese culture, while at the same time nourishing dialogue between Eastern and Western thought and practice, in a joint effort to discover and explore the ideal lifestyle of human beings!

ChuangTzu (庄子) An ancient Chinese text from the 4th century B.C. that exemplifies the carefree nature of the Taoist sage. It was written by Zhuang Zhou, who was a follower of LaoTzu. The teachings of the ChuangTzu have endured and are with us still, as if an ancient farmer has come to our presenttime bearing a seed. This seed is an energy, a spirit, that we have all but forgotten. This seed helps us realize how incredible it is to be alive, and how important it is to empower ourselves from within. It is a seed that we plant together, that we water and nurture, dreaming that one day it will grow into a heaven on earth. We are cultivating art. When our art blossoms, we will brew these blossoms into good, strong medicine.

Art is good medicine. We can use it to seek better paths, better ways of life for human society. Art has the power to challenge our beliefs, to open our minds and spirits, and to heal us.

If given pause to think about it, most people would agree that art makes a positive contribution to our daily lives. We consume artistic expression on a daily basis -- be it in the form of written or spoken words, video content, visual art, or music. Yet, we often take a passive position toward art: we see it as something ubiquitous that we can take in at will, with little regard for where it comes from or how we might give back to it.

We take artists for granted. We tend to believe that artistic production will continue regardless of whether artists receive consistent support and resources. The notion of the starving artist has become a cliché.

Except it isn’t a cliché. What we see on the surface of the “art world” -- broadly defined -- is not at all reflective of the struggles of artists in the real world. Young artists bursting with ideas and energy too often face insurmountable obstacles to their creative production. They might not always be starving for food, but they are starving for material resources, information, and opportunity.

When you walk around a temple grounds, what do you observe? Usually, one sees monks and nuns devoting their days to spiritual practice and reflection. The temple might not have an excess of resources, but usually there is enough to go around: enough space for living and contemplation, enough food and drink, enough teachers with knowledge and students eager to receive knowledge, a healthy exchange of ideas, and a measure of beauty and inspiration. Our communities support our temples, and our temples, in turn, nourish the wellbeing of our communities.

The Chuang Tzu Project aims to create a temple for young artists. We will provide the resources that are most difficult for them to obtain on their own: room and board, work materials and equipment, studio space to create work, and a network of creative peers and mentors across multiple disciplines.

We are based in rural Anning, in Yunnan Province, where we have ample space, beautiful nature, and local people eager to take part in our project. Creating a program for artists to thrive means engaging with and benefiting the entire community. We offer our educational and art-making resources to all comers. Chuang Tzu is the proud partner of local government organizations and of the area's largest Taoist temple. We actively participate in and support China’s “rural revitalization program." Our collective brings together artists from different cultural backgrounds to take part in a global exchange platform spanning multiple disciplines. It opens a window for the world to understand traditional Chinese culture, while at the same time nourishing dialogue between Eastern and Western thought and practice, in a joint effort to discover and explore the ideal lifestyle of human beings.

We aim to build an open, consensual community with a diverse group of people from all over the world. In creating a healthy lifestyle for our community, we draw inspiration from Taoist philosophy. Each day, meditation and tai chi practice are our spiritual breakfast, rock climbing and jogs through the countryside our afternoon tea. Our most important work, through each day, is learning from one another's varied perspectives. Together artists, monks, scientists, politicians, entrepreneurs, artisans, and farmers, will work to help themselves and others seek the true potential of human life. We will be a group of adventurers, eager to share our time, our experiences, our resources, and our love. What matters is not the mark we make as individuals, but rather that we never cease to create and discover.

This is no complacent hippie community or utopia. We will always be on the road, working to explore and discover the truth of life!  

ChuangTzu Academic Institute

There is no distinction between students and teachers in the college. They live together in a community, develop together and maintain their small world. Students don't have to follow compulsory subjects, so-called grading system, or fixed length of learning period. They can decide any time for graduation by themselves.

This liberal and democratic educational system has attracted people from different parts of the world to study and teach here. Everyone in the college is equal regardless of race, class or origin.

There are no definite boundaries between courses, all the subjects are interdisciplinary. Teachers and students work together to create a variety of arts, including painting, sculpture, ceramics, textiles, furniture, photography, architecture, music and so on.

Traditional education will inevitably be replaced by a contempoary concept of studying. By highlighting art education as its core, the Zhuangzi Academic Institute emphasizes art, education and labour work as a combination in a domestic atmosphere for life education. 

Located in Sanhe Buddhist Temple of Anning city, the institute is surrounded by plain and unsophisticated landscape with ancient style of decoration, and elegant tranquility. Committed to promote the diversity and professionalism of the local culture and education, the institute offers Chinese cultural courses in terms of Sinology, Lao-zhuang philosophy, Chinese painting, calligraphy, traditional Chinese shadow boxing, tea ceremony, incense ceremony, guqin, chime bells, meditation courses taught by monastery. In addition, the method and process of making enzyme and flower cakes has been introduced. 

The Zhuangzi Academic Institute also offers art courses and practices including traditional Chinese aesthetics, western aesthetics, basic theory of painting, sketching, materials, handwork, assisting and participating in the creation of tutors, etc.

ChuangTzu International Arts & Communications Center

Focusing on public welfare, professionalism and independence, the center actively participates in and supports the local government's cultural development strategy, as well as cooperates with the government to implement key cultural development project. By promoting the interaction between Chinese folk art and international contemporary art, through exhibitions, academic researches, cultural exchanges, education, media publishing and international art projects, we strive to establish an operational mechanism for future art projects that based in China.

Zhuangzi Contemporary Art Museum

The gallery locates at the center of the Bajie township, covering 1,400-square-meter, established on the basis of the redevelopment of an old government courthouse. It is a modern art museum that integrates comtempoary art, design, photography, achitecture, music, therater, cultural and academical activities from different cultural, religious, national background. By regularly planning high-level art exhibitions, festivals, artistic and cultural innovation and other activities, our art gallery is sure to stimulate arts and cultural activities from local artists. While bringing modern aesthetics into Bajie’s rural revitalization, the gallery merges Bajie’s traditional culture into the urban life, and actively explores and practices the multiple possibilities of urban-rural interaction.

Platform

The Project not only includes an Academic Institute, and a creative art center, but also independent projects such as artistic-musical theater, design studio, publishing house, artisans' market ... or anthing that contributes to the environmental sustainability with an artistic approach.

ChuangTzu is a dynamic, open platform. We offer a warm and beautiful home, with food and lodging. In return, we will exchange skills and inspire each other. Your most important contribution is an openness to share and receive ideas.

We provide a communication platform

 where not only provides opportunities for youth

but also for scholars and artists 

from all over the world to create, connect, 

and explore an ideal lifestyle of human beings. 

ChuangTzu Academic Institute

There is no distinction between students and teachers in the college. They live together in a community, develop together and maintain their small world. Students don't have to follow compulsory subjects, so-called grading system, or fixed length of learning period. They can decide any time for graduation by themselves.

This liberal and democratic educational system has attracted people from different parts of the world to study and teach here. Everyone in the college is equal regardless of race, class or origin.

There are no definite boundaries between courses, all the subjects are interdisciplinary. Teachers and students work together to create a variety of arts, including painting, sculpture, ceramics, textiles, furniture, photography, architecture, music and so on.

Traditional education will inevitably be replaced by a contempoary concept of studying. By highlighting art education as its core, the Zhuangzi Academic Institute emphasizes art, education and labour work as a combination in a domestic atmosphere for life education. 

Located in Sanhe Buddhist Temple of Anning city, the institute is surrounded by plain and unsophisticated landscape with ancient style of decoration, and elegant tranquility. Committed to promote the diversity and professionalism of the local culture and education, the institute offers Chinese cultural courses in terms of Sinology, Lao-zhuang philosophy, Chinese painting, calligraphy, traditional Chinese shadow boxing, tea ceremony, incense ceremony, guqin, chime bells, meditation courses taught by monastery. In addition, the method and process of making enzyme and flower cakes has been introduced. 

The Zhuangzi Academic Institute also offers art courses and practices including traditional Chinese aesthetics, western aesthetics, basic theory of painting, sketching, materials, handwork, assisting and participating in the creation of tutors, etc.

I’m here on the ground, I’m a farmer, I’m the element of Farmer Station. Farmers are the most important part of human being. With this number we start to ask if we have the right to understand life, to enjoy life, to feel life, which is the big part of my dreams, to be here, with the nature, animals, trees, the sky, clouds, the sun the fire and shit. And if I can call all this feelings art, I will call it Farmer Station, because this station is made by farmers and farmers have dreamed to come one day hunting your dreams. At the moment we are here to build this new constitution, new manifesto, a way tried before. But this time we take an artistic way with Farmer Station, in the farmer’s land, with the farmers, with myself and with my life. I hope it’s a light in the darkness, a window in the room, the air the fishes need in the ocean. I hope that the dreams of all of us will come true by farmers’ hands, by our hands.