“The New Spirit in Painting: Moving Beyond - Painting In China, 2013”.

　　[1] FACE UP: Contemporary Art from Australia,
Nationalgalerie im Hamburger Bahnhof,
Museum for the Present, Berlin.
2 October - 4 January 2004: www.studio-international.co.uk

　　[2] Janet McKenzie, Contemporary Australian Drawing, Metasenta/Macmillan, Melbourne, 2012.

　　[3] Claire Roberts, Other Histories: Guan Wei’s Fable for a Contemporary World, Documentation of an Exhibition, Wild Peony, Powerhouse Museum, Sydney, 2008.

　　[4] Yang Lian, “A Wild Goose Speaks to me”, 2006: www.yanglian.net

　　[5] Yang Lian, “Stepping Outside Post-Cultural Revolution”, for Moving Beyond, (2012-3)

　　[6] On Top of Two Empires -Xu Longsen, Museum of Roman Civilization, Rome, 22 June – 24 July 2011.

　　[7] Jan Stuart, “An Exhibition to See: Landscape/Landscript: Nature as Language in the Art of Xu Bing”, Ashmolean Museum, University of Oxford
28 February–19 May 2013,

　　www.studio-international.co.uk

　　8 Simon Leys, “One More Art: Chinese Calligraphy”, in The Hall of Uselessness, Black Inc Publishing, Melbourne, 2011, p.263

　　9 Ibid, p.259

　　10 Britta Erickson, On the Edge, Contemporary Chinese Artists Encounter the West,Cantor Arts Center for Visual Arts (Stanford, California - USA) 2005.

　　11 Yang Lian: “The Poetics of Space, and More Aesthetic Pressures on Classical Chinese Poetry and a Contemporary Solution” London, 2008.

　　12 Ibid.

　　13 Leys, “The Chinese Attitude Towards the Past”, op.cit., p.239.

　　14 Claire Roberts, Friendship in Art: Fou Lei and Huang Binhong Hong Kong University Press, 2008, p.44

　　15 Ibid, p.6

　　16 Leys, op.cit., p. 241

　　17 F.W. Mote, “A Millennium of Chinese Urban History: Form, Time and Space Concepts in Soochow”, Rice University Studies, 59.4 (1973), quoted by Leys, ibid, p.241

　　18 In relation to the poetry of Yang Lian, Jacob Edmond, argues, “the flâneur in exile addresses and offers an alternative to the endless oscillation between sameness and difference that bedevils contemporary approaches to comparative literature. I use the phrase flâneur in exile to refer to the encounter between a paradigmatic figure of European modernity, the flâneur, and contemporary Chinese poetry”, in particular the poetic prose cycle “Guihua” (“Ghost Speech/Lies”) written by Chinese poet Yang Lian during his exile in Auckland, New Zealand, after June Fourth 1989”.

　　“Yang Lian: The Flâneur in Exile”, Comparative Literature, Duke University Press, (University of Oregon) Vol. 62, No. 4: 376:398, 2010.

　　19 Drawing on Two Worlds, University of Dundee a collaborative drawing project between Scotland and Australia (2012-2016). First exhibition: “Janet McKenzie: Embarkation: Drawing on Two Worlds” March-April 2013. Langford 120, Melbourne.

　　20 Shang Yang in interview with Janet McKenzie, Beijing, translated by Yang Lian and Yo Yo, April 2011.

　　21 Xu Bing, quoted by Jerome Silbergeld, “Book from the Sky: A Work by Xu Bing”, 15 February- 18 May 2003, Princeton University Art Museum, 2003.

　　In Book from the Sky, the artist created 4,000 characters and carved them by hand into wood blocks, a movable type to print volumes and scrolls, which were displayed, laid out on the floor and hung from the ceiling. The vast planes of text appear to convey ancient wisdom, but are in fact unintelligible.

　　22 Shelagh Vainker, Landscape/Landscript: Nature as Language in the Art of Xu Bing”, Ashmolean Museum, University of Oxford
28 February–19 May 2013, p.124.

　　23 Ibid, p.117

　　24 Xu Bing, ibid, pp. 125-6

　　25 Angelo Capassi, Xu Longsen: On Top of Two Worlds, Museum of Roman Civilisation, Rome, 2011, p.16

　　26 Liu Guofu interview with Janet McKenzie, Nanjing, April 2011.

　　27 Guan Jingjing, Email interview with Janet McKenzie, May 2013.

　　28 Yang Lian, “The Pursuit of Canonism: Xu Longsen’s Deep Landscape Paintings”, 2012.

　　29 Gao Shiming, “No Mountain Too High: The Crisis of Landscape and Xu Longsen’s Outsized Shanshui Experiments”: www.xulongsen.com

　　30 Fan Di’an, “Inheriting Tradition and Embracing Modernity”, (catalogue, op.cit.), p.30

　　31 Yang Lian,“The Pursuit of Canonism.”

　　32 Capassi, op.cit. p.17.

　　33 Gao, op.cit.

　　34 Ibid.

　　35 Bertrand Russell, The Problem with China, George Allen, 1922, p.9.

　　36 Ibid. “Witnessing a China in turmoil—warlords, demonstrations, strikes, the ever-present imperialist threats—Russell was both sympathetic and empathetic. For their part, Chinese looked to Russell partly for ideas about what they should be doing and partly as a mirror”.

　　37 Peter Zarrow on Rereading Russell's The Problem of China, The China Beat, 2008.