CAFA ART INFO: Hello, Jenny. Can you briefly introduce the background of this exhibition to us?

Jenny Roosevelt: Yes. First of all, welcome to the amazing exhibition. If I can talk about the background, before, Liu Shiming’s work that we can only appreciate in China, so this would be the first time that his work is outside China, the first time in U.S.A and here is the first time in public space in New York. Because his son wants to also provide opportunity to normal people to appreciate Liu’s work, before was always in galleries and art spaces, but now was important because it was the first time for us to have a public space so people can really enjoy about Liu Shiming’s art. And it is also because the Chinese New Year, this event is part of many activities that the Port Authority and the World Center are doing with the Association of Chinese Culture Center. So this is why we have the exhibition here. 

CAFA ART INFO: You mentioned that the first time you learned about Liu Shiming’s art was at the Asian Culture Center. What part of Liu’s work you found is the special for you to make the decision to curate his exhibition here?

Jenny Roosevelt: I had the opportunity to know his work in the first exhibition, as you mentioned, in the Asian Cultural Center. It was fascinated because you can see the real sprit of Chinese people. So that’s why with the 54 exhibits, we decided to do the exhibition.

CAFA ART INFO: “A Chinese Original” is the title of this exhibition. From your perspective of understanding Mr. Liu Shiming’s work, can you please interpret the theme and your curatorial methodology to us?

Jenny Roosevelt: Yes of course. I chose this title because he used ancient techniques to show his works, even he has the influence with the western studies, but he always continued with his root, to the Chinese sprit, to express people’s working, to everyday life. 

CAFA ART INFO: I noticed the four sub-titles. You divided the exhibitions into four sections, I wonder if we can walk around to let you introduce each of them. And maybe you can centrally choose several pieces of your favorite work to introduce?

Jenny Roosevelt: Yes, sure! I would say, we have four different chapters, or sections. For example, this is “Working”. Why I decide to put “working” here? Because Liu Shiming used to travel to countryside to observe people in daily activities. He was fascinated and he wanted to really create about people’s continuous working, farmers etc. So here, one of the section is about “Working”.

And then, we can see “Roots”. Why I separate the period here? Because he was also very interested in cultural traditions. He used to learn the techniques from Han Dynasty, and he learned this from his experience of repairing some artifacts. This is why he began to be influenced by the Chinese culture. So this is why I put this area “Roots”.

And then, my first chapter is called “Innocence”. This is beautiful because the way that he has seen the life at the eyes of the child would be an everlasting love and is simple. His inspiration was his grandson, who is Mengmeng. So I chose to separate this area to be “Innocence”. 

And Finally, I put this area “Individuals” because sometimes, he wanted to observe individual relationships, also activities and animals, that’s why they are different. By the way, this one is my favorite named “Mother Returns”, because you can see the relationship, the love, and the support and how this important and how this affection and how this make you feel like you are carrying. 

CAFA ART INFO: You hold the view that although Liu was trained by the Academy and studied Rodin and his concepts in detail, he works were largely inspired and influenced by (concepts and techniques) in the Han Dynasty rather than Western art. Why do you make such a point of view? In your perspective, what is the relationship between art in Han Dynasty and Liu’s work in terms of concepts and techniques?

Jenny Roosevelt: Well, Han Dynasty in Ancient China is very characteristic. I know the style of represent everyday life of people. This is the characteristic of Han Dynasty. Also, in Liu Shiming’s work, he represented everyday people, relationships, histories, and families. In this case, they are similar. He continues with the ancience of the Chinese tradition; this is very important because even if he studied Western styles, he continues his own style in Chinese way. 

CAFA ART INFO: In addition, as a public space, The Oculus attracts a huge flow of people. However, we should be aware of the fact that the actual situation of pedestrians stopping to watch the exhibition presents some limitations compared to those professional exhibition venues. Can you tell us something about your considerations regarding the difference in showcasing Liu’s work in these two types of space?

Jenny Roosevelt: Well, I think that could be challenging. When we organize this exhibition in a public place, that means people have the opportunity to appreciate Liu Shiming’s work. So because of that, we try to see and understand. Before, Liu’s work only showcased in the galleries, art event spaces, but I think having exhibition here provides more people with an opportunity to be familiar with the great Chinese sculptor. I think it is a good place to show and promote the culture of Chinese.

CAFA ART INFO: What is your anticipation about this exhibition or any ideal outcomes you are trying to achieve? 
Jenny Roosevelt: I would like people to get more familiar about this sculptor. In this amazing place, you find a sculptor from China and you have the opportunity to appreciate his work. For different targets, that’s why I make different chapters using very simple words. With those simple words, people without background of art can have an idea about Liu Shiming’s work.

CAFA ART INFO: From your perspective, in the current cultural and art field in America, what is the significance in terms of introducing Liu’s work into the U.S.?

Jenny Roosevelt: It is special because it is very traditional, that’s why I use “Chinese Original” as the title. I think it has a great impact, especially for Chinese New Year celebration, so we have lead works from China to the heart of New York.

CAFA ART INFO: Since you are based in New York, can you share some of your thoughts or insights about the current situation of art in the U.S.?

Jenny Roosevelt: I choose to move to New York six months ago, and I had the opportunity to work with several South American artists and from Peru. This time is very different. It was the first time for me to have the experience to work with and represent Chinese artist. I feel very glad about this opportunity and excited. I learned a lot. I really want to continue to do this with Chinese Cultural Center.