The term "Nibiru" originates from the Sumerian civilization, referring to a hypothetical planet, serving as a "ferry" for interstellar travel or a primordial form of life. The exhibition "Nibiru" includes Tang Nannan's latest creation, a series of manuscripts titled "Ask the Sea - 38 Chapters," and a set of ceramic sculptures named "Agu", combining moving images and ink paintings to present a comprehensive view of Tang Nannan's ideational map of creation myths.
"Ask the Sea - 38 Chapters" represents Tang Nannan's conceptualization of the Chinese maritime mythological system, woven together by "incantations" and "oaths" to form legendary narratives. The "Agu" beings exist as ethereal entities beyond the order of the universe, creatures escaping the cycle of time, ancient memories within the folds of the earth. These works on oceans and landscapes, myths and epics, seclusion and romance, seem to invite each viewer to continue unfinished stories related to the sea, together with imaginations of the ancient past and future.
NIBIRU | LEGEND
In every soul lies a mountain's reign
Where rivers flow amidst earthly strain
Golden sands within its flow
Shores embrace both light and shadow's glow
Gods dwell high atop the peaks
Fairies soar where clouds meet mystique
In the South, demons dance with glee
Up North, men grow arms aplenty
Eastern trees reach celestial height
Western beasts twist day to night
Those on plateaus carry sins
Island dragons feast as day dims
Sea sprites sing their siren song
Rainbows span a palette not too long
When gods flee, a star departs
Creatures shift, thunderstorms start
Moonlight dances, snowflakes fall
All that's earthly, heavenly call
Man steps forth, as heavens yield
As time unfolds, truths are revealed
Note：Here I am, here I remain.
(Poet written by Tang Nannan, 2024.3.19)
Tang Nannan (b. 1969) is curious about the intrinsic flow of history and time. He has long focused on core themes such as oceans and mountains, myths and epics, seclusion and responsibility, continuously contemplating the potential of ancient Chinese culture in contemporary life, especially the alienation of individuals and spiritual reconstruction through virtual reality. In recent years, he has been devoted to the study of maritime culture and has started writing for public publications. His works often employ various techniques spanning across moving images, paintings, photography, installations, sculptures, spatial interventions, showing his reflections and creations in a multidimensional manner...
His works have been exhibited at various domestic and international institutions such as the 57th Venice Biennale, the 3rd Ural Industrial Biennial in Russia, the 9th Shanghai Biennale, the 1st Nanjing Triennial, the National Art Museum of China, the Power Station of Art in Shanghai, the Nanjing Museum, the Minsheng Museum in Shanghai, the Three Shadows Photography Art Center in Beijing, the Guangdong Museum of Art, the Yinchuan Contemporary Art Museum, the National Gallery of Victoria in Melbourne, the Kunsthaus Interlaken in Switzerland, the Belvedere Palace in Kassel, Germany, and the White Rabbit Gallery in Sydney...