add to calendaradd to calendarHow does the original differ from the copy in the era of mechanical reproducibility? Does it still have value? Hundreds of artists in the Chinese village of Dafen are producing more than half a thousand impeccable copies of real masterpieces of world painting every month and are successfully making money from it. Whether ironically or as a nod to the trend, one of the hits was a self-portrait of the Impressionist, a voice of the uniqueness of every moment, Vincent van Gogh. Artist Xiaoyun Zhao and his family have created more than 100,000 copies of his world-renowned paintings. Eventually, the artist from China travels to Amsterdam to meet the original works of the artist, whom he copied perfectly. And also to visit one of his best clients, the Amsterdam art dealer.
Director and producer of the film China's Van Goghs Yu Kiki Tianqi and founder of the East Publishing House Safran, researcher of Chinese painting Svitlana Pryzynchuk will discuss whether the original still has something unique and inimitable, and talk about art in the age of reproducibility, accessibility and reproduction.
moderator of the event, founder of the East Publishing House Safran
She graduated from Kyiv International University and then studied in China for six years, where she was learning Chinese at Nankai University. She later received a scholarship from the Chinese government to pursue a master's degree in art history at Beijing Pedagogical University. She researched Chinese painting of the XX century.
filmmaker, scholar, curator
Kiki's main interests include global film and moving image theory and research-led practice, particularly on non-western cinema, film and eastern philosophies, documentary, personal cinema and essay film. She is Lecturer in Film at Queen Mary University of London (permanent faculty member). Her curatorial projects include ‘Polyphonic China: Chinese independent documentary’ (London 2009) and ‘Memory Talks: Personal CinemaМ’ (Shanghai 2017).
Kiki’s award-winning films include Photographing Shenzhen (2006), Memory of Home (2009), China’s van Goghs (2016), and The Two Lives of Li Ermao (2019). Her films have been shown at IDFA, Vision Du Reel, Helsinki DocPoint, Thessaloniki Film Festival, Beijing International Film Festival, New Zealand International Film Festival, the Royal Anthropological Institute Film Festival, Festival de Cinema i Fotografia, British Film Institute, London V&A Museum, etc. and have been collected by Harvard University, Yale University, DSLCollection, etc.