Shen piji


Born of an intellectual family in Zhao’an, home of painting and calligraphy in southern Fujian, in 1997, inheriting the learning of Chinese traditional calligraphy and painting and folk music since childhood. In 1985, began learning guitar; in 1988, entered Xiamen Academy of Arts and Design, Fujian University, as a major in modern lacquer art; in 1993, began to work and live in Shenzhen, where he obtained experience as a space designer for entertainment venues, and he’s also become one of the representative figures in avant-garde music and contemporary art in Shenzhen since the early 1990s. In 1995, joined the Shenzhen band “Black Hole”; in 1997, reformed “The Sunflower”, an underground rock band in Shenzhen, with himself being the lead singer and lead guitarist, and helped make the band an active role in Chinese underground rock world and punk music area, including national tours of important cities in China, which has all been collected into Encyclopedia of China Rock & Roll, a record of rock and roll in China published in 2006.

After 2000, Shenpiji diverted his preference to the site of experimental sound and improvisational music, and began paying attention to pure sound experimentation and the creation and practice of avant-garde visual art, like Life · Pressure Sound Experiment Site Series (Shenzhen; 2003, 2007, 2009), the opening ceremonial site of Shenzhen Biennale of Urbanism \ Architecture and Every Day, a work reflecting the relationship between sound and architecture (Shenzhen, 2007), “Leisure Alone · Free Beat” Solo Experimental Concert (Neo Sound 6 ISSUE: SHEN Piji) (Shenzhen, 2010), Jazz Improvise Meeting Festival (Shenzhen, 2015), CHOP Festival: Polish Experimental Music in China (Shenzhen; 2013, 2014), International Poetry Nights in Hong Kong (Hong Kong, 2015), “Ear Cleaning” Experimental Sound Site (Shenzhen, 2016), and the opening ceremonies of some art exhibitions with experimental sound performances in recent years. After 2010, founded Wutong Guqin Society at Mount Wutong, Shenzhen, became the 13th-generation successor of the Guangling school of Guqin, and conducted performances and made attempts in such two aspects as the continuation of traditional Guqin and the experimentality of contemporary Guqin.

Shenpiji’s creation involves forms such as audio, installation, video, performance, painting and poetry, and has long been presented in the artistic fashion of new media focused on the interaction of audio, visual and performance. For example: The 5th International Ink Art Biennale of Shenzhen (Shenzhen, 2007), “ Shenpiji Is Here” Solo Exhibition (Shenzhen, 2009), “ Shenpiji’s Lines” Solo Exhibition (Hong Kong, 2014), “Where Is Shenpiji” Solo Exhibition (Shenzhen, 2016), “Faced to Hylarana Daunchina” one-year performance (Mount Wutong, Shenzhen, 2015). With his motives for creation closely linked to personal life, his cross-boundary works reflect much of his attention to and feeling of the rapid development and change of modern cities and have to a certain extent made an artistic recreation out of his thinking about and understanding of the universality of everything in nature.

In recent years, Shenpiji has curated a number of art shows for performance art and sound art, such as Xiamen Time Gap: The 1st Xiamen International Live Art Festival (The Art Department of Xiamen University, 2014), Speed Shifting: Misthaus Experiment · Shenzhen Performance Project (Shenzhen, 2014), The 10th “Guyu Action” Performance Art Festival (Shenzhen, 2016), iD TOWN Sound Live Art Festival (Shenzhen, 2016), and participated in the on-site creation of Embodied Action, Enacted Bodies: Hong Kong International Performance Art Festival (Hong Kong; 2014, 2015), Inward Gazes: Documentaries of Chinese Performance Art (Macao, 2014), “Guyu Action” Contemporary Performance Art Festival (Xi’an, 2014).