Yu Zhenli
[Yu Zhenli Art Museum provides the article]

DOI: 10.64212/ZHUW9458

Editor’s Notes:

This issue marks the second installment of artist Yu Zhenli’s research-oriented essays. The first piece features a critique by the critic Shui Tianzhong, using “social sculpture” as the starting point, retrospectively narrating the social and artistic values of Yu Zhenli’s studio construction after his retreat to the mountains. Yu Zhenli began hand-writing his first Handwritten Diary on the eve of New Year’s Day in 1995, after going up the mountain, documenting his daily reflections, reading notes, social interactions, philosophical musings, artistic considerations, as well as his conceptualizations and sketches for the transformation of the studio at different stages. This issue includes several of Yu Zhenli’s studio-related Handwritten Diary entries from different stages, accompanied by photographs of the studio taken at various times. Recently, the editorial team of this publication went to Yu Zhenli’s studio on Dahei Mountain to collect materials. A series of on-site photos were taken based on the sketches from the Handwritten Diary and will be published alongside the featured articles in this issue.