ZHANG PEILI Uplifting

Transcription

1 ZHANG PEILI Uplifting EN Since the mid-1980s, Zhang Peili (b. 1957, Hangzhou) has made a significant contribution to the field of contemporary art in China and beyond: first as a painter associated with the avant-garde movement 85 New Wave, then as a conceptual artist, widely known as the godfather of Chinese video art. His artistic practice, comprised of painting, text, video and digital media, has played a pioneering role in shaping the histories of Chinese art. Zhang has formed his work conscious of art s commercialisation, institutionalisation and ideological appropriation. He has defied, as he puts it, mechanisms of restraint by avoiding interference from power unrelated to art. Accordingly, Zhang explores the intricate interplay between power and subversion that mediates between art, entertainment and social, political and cultural apparatuses. From his reflection on reality and its mediation, Zhang examines the representational capacity of various media, including painting and video, and their swiftness in transition from artistic to propagandistic objects. Questions circling around the essence and social purpose of art make up the nucleus of Zhang s artistic activity. These mechanisms of power and subversion unfold as leitmotifs in Zhang s oeuvre. Embodied by the use of restraint and repetition, his aesthetics of control, boredom and absurdity function as methods for exposing perceived realities and media conventions obscured by hidden forces. Reacting to specified contexts and concerns, Zhang s work offers a subtle commentary on China s social, political and cultural environment. It often appropriates or subverts the aesthetics of mass media and popular entertainment. Recurring themes include clinical gloves, hygiene, bodily control, personal routine and screen culture. Uplifting, the artist s first monographic exhibition in Europe, plots Zhang s artistic trajectory from his rational paintings and conceptual pieces of the mid-1980s to his early video works in the late 1980s and early 1990s and his recent media installations. Borrowed from the sound installation A Standard, Uplifting, and Distinctive Circle along with Its Sound System (2015), the title refers to the uplifting propaganda of the Reform and Opening-Up Era that dramatically transformed the political and socio-economic structure of China in the post-1978 epoch. Explanation of the works in this exhibition in chronological order: X? 1986 Zhang s painting practice in the mid-1980s is defined by a cold and rational realism that veers towards the uncanny. The photorealistic series X? ( ) depicts used rubber gloves, occasionally illustrated with diagrammatic lines and numbers on monochrome backgrounds. Repeated in various sizes, shades and iterations, Zhang s gloves recall a human presence and denote the absent hand of the artist. Visually ambiguous, these works are drawn from Zhang s personal and subjective childhood experiences of poor health and the children s hospital where his parents worked, as well as symbolic conditions relating to sex, hygiene, sanitation and clinic or scientific institutions. Moreover, Zhang introduced a rational discourse as a response to the emotionally driven artistic zeitgeist and an eagerness to reinstate the sacredness of art. Alluding to the mathematical unknown x, the enigmatic title intensifies this rationalism. The serialised canvases are emotionless and devoid of human trace including any form 1

2 of expression, narrative content or possible affect. By provoking thought about the social purpose of painting and art in general, Zhang s annuls his earlier involvement with 85 New Wave, China s earliest avant-garde movement that rebelled against the official doctrine of Socialist Realism, and distances himself from the movement s commercialisation, institutionalisation and, furthermore, its ideological appropriation by the controlling forces. PROCEDURE OF ASK FIRST, SHOOT LATER : ABOUT X? 1987 Stemming from X? (see above), Procedure of Ask First, Shoot Later : About X? radically challenges the visual language of 85 New Wave and proceeds towards a cognitive imagination. Regarded as the first textual conceptual work in China, Procedure of Ask First, Shoot Later : About X? presents instructions written in an instructional language devoid of any adjectives on how to produce, exhibit and contemplate paintings of latex gloves. From copying photographed gloves onto canvases measuring either 200 x 180 cm or 200 x 110 cm to arranging the completed paintings into groups within the space and regulating viewer s experiences, Zhang formulates and modulates the complete artistic process. Moving towards conceptualism, Zhang questions art s standard conceptions and seeks out a new definition to include, apart from formal or visual components, the articulation of artistic ideas. By analogy with X?, Zhang endeavours to de-mystify the sacredness of art by presenting a rational and instructional art production in which the visual experience of looking is replaced by the imagination through reading. Whilst largely iconoclastic, the textual performance broke new ground and introduced a new means of artistic expression in China. For the complete English translation of this Chinese text, see p 6-7. BROWN BOOK No For Brown Book No. 1 Zhang anonymously posted intact or chopped up rubber gloves along with a Statement of Explanation to 157 arbitrary students at the Central Academy of Fine Art in Beijing. Zhang felt the students had reached the critical threshold where they had to choose between state-supported art forms or more radical and experimental outlets. Mocking the then established doctrine of art, Zhang s attempt was to engender fresh ideas about the meaning of art and to encourage novel modes of artistic articulation. Brown Book No. 1, thus expands the scope of conceptual art in China and, furthermore, imitates the anonymity of power. For the complete English translation of this Chinese text, see p X x 30 constitutes a radical addition to Zhang s oeuvre seeing that he introduced, appropriated and subverted the video medium for the first time. The video features Zhang wearing medical gloves who smashes a mirror repeatedly before gluing the broken fragments back together for approximately 180 minutes, the total recording length of a video tape. Largely considered to be China s earliest video art work, 30 x 30 was first shown to an audience of peers during the Huangshan Conference in 1988, where, after only a few minutes, Zhang was urged to fast-forward the video to the action. As a monotonous piece, shot from a fixed angle without a soundscape or postproduction editing, 30 x 30 adheres to an aesthetic of boredom in which Zhang, as he expresses it, wanted to produce something that would make people feel bored and perturbed, something that would, in this very concept, lack the ability to incite cheerful emotion, something that could make the viewer become conscious of the existence of time. The temporality of video fulfilled these requirements. By undermining the narrative quality of video art in the traditional sense, Zhang introduces an element of time that challenges television s codes and conventions and mocks its passive and submissive spectatorship. DOCUMENT ON HYGIENE No Document on Hygiene No. 3 is a real-time recording of an absurd and repetitive action shot from a static position, in which Zhang washes a chicken in a soapy water basin until the camera tape runs out. Whilst initially rebellious, the chicken a visual reference to China s geographic outlines gradually submits and subjects itself to Zhang s controlling hand. Performed in the wake of the Tiananmen Square Protests of 1989, the cleansing ritual alludes to an invisible force and cryptically comments on China s numerous patriotic hygiene campaigns and oppression of political dissidents. Moreover, the video makes a reference to the ubiquity of state-run media as a means of disseminating state ideology aimed at pacifying the general public by masking political reality. By adopting cinematic techniques such as close-ups, fixed framing and a temporalisation through the use of repetition, Document on Hygiene No. 3 generates a bodily and affective experience in which we are coerced to enliven the cruel spectacle in direct time. In so doing, Zhang expands the filmic experience from the purely audiovisual to the tactile: his moving imagery gets beneath the skin and vibrates in the body a recurring affect in Zhang s video practice. WATER (STANDARD VERSION FROM THE CIHAI DICTIONARY) 1991 Water (Standard Version from the Cihai Dictionary) is Zhang s first direct appropriation of popular television. The video features former news anchor Xing Zhibin, an icon of the Chinese state television, who reads definitions of words starting with the Chinese character shui, meaning water, from the Cihai dictionary. Although her reading complies with the conventions of television news broadcasting, Xing undermines the authority and credibility of the newsreader persona while being unaware of the absurd theatre she performs. By juxtaposing the image of established authority with unconventional content, Zhang s appropriation of iconic television imagery debases the socio-political discourse by emphasising the meaninglessness of news media under state control. Water transcends the confinements of the popular functions of video in similar ways 30 x 30 and Document on Hygiene No. 3 have done (see above), as a continuation of Zhang s critique on visual sign systems in relation to power apparatuses. ASSIGNMENT No Assignment No. 1 documents the collection of blood samples from disinfecting the finger with a sterilised cotton swab to injecting the skin with a needle and preparing the glass slide for analysis. Dispersed over various screens, this process is endlessly repeated but never resolves as the blood samples are never examined. The repetition, rendering the gesture futile and detached from its common medical application, prompts a myriad of connotations ranging from illness and contamination to health and immunity. Assignment No. 1 builds on the health and hygiene motifs first introduced in Zhang s early works X? and Document on Hygiene No. 3 (see above) and addresses the institutionalisation of the body. Moreover, the video installation explores the formal qualities of the medium by introducing technical effects such as slow motion and sound abstraction that indirectly refer to issues of control and constraint. 2 3

3 ONE-THOUSANDTH OF A SECOND TO ONE SECOND 1995 One-Thousandth of a Second to One Second consists of coloured photographs of a deserted and insignificant landscape covered with tracing paper placed before a fan. Swaying back and forth, the device deploys its rotating movement to reveal the images one by one. Zhang photographed the scene using a camera set at the smallest aperture, while adjusting the shutter speed shot by shot from the fastest to the slowest mode. The photographs are presented from their underexposed to their overexposed condition. One-Thousandth of a Second to One Second challenges photography s objectivity and veracity. UNCERTAIN PLEASURE II 1996 In the mid-1990s, Zhang moved away from themes such as hygiene and bodily control to examine personal routine and daily activities such as scratching and shaving. Uncertain Pleasure II depicts a man obsessively scratching different parts of his body until his skin is inflamed. Arousing a sense of eroticism, the quasihysterical performance alludes to voyeurism and surveillance while underpinning China s 1990s transition from a disciplinary society to a society of control. The continuous scratching denotes these subcutaneous mechanisms of power that administer, optimise, regulate and control every aspect of daily life. Simultaneously screened on several monitors arranged in disorder across the floor, the repeated imagery incites a bodily and affective viewing experience. PERSONAL HYGIENE 1998 The video installation Personal Hygiene presents concurrent moving images of a man shaving, shot from three different angles. While the top and bottom monitors display coloured footages from the shaver s chin and a water basin respectively, the middle one shows black and white imagery recorded by a small camera tied to the shaver s hand. Moving between the subject s face and the water which gradually becomes muddled with facial hair and foam, the centre screen delivers a potentially nauseating view. Zhang s use of seriality and technical effects including closeups as well as his operation of a wearable sousveillance device defamiliarises the subject matter. LOWEST RESOLUTION 2005 From 2000 onwards, Zhang has physically engaged viewers through interactive installations that transform passive receivers into active interlocutors. For the video installation Lowest Resolution Zhang has appropriated footage from a sex education video intended for newly married couples. When moving closer to the installation, the image pixelates while the video track and audio instructions remain intact. The visual noise alludes to hidden knowledge and mediated reality, whilst also reflecting on notions of desire and puritanical views on sex in China. Q&A&Q 2012 Q&A&Q presents a seemingly objective recording of a police interrogation between an officer and a criminal via hidden cameras. Although veraciously registered, the scene is framed in order to question the verisimilitude of the filmic medium and act as a witness to the fluidity between constructed and authentic reality in media culture. Contextualised within China s rapidly growing screen culture, the installation raises awareness to the authority of the moving image and circles around questions such as: how do we know what we see is true?. Urging vigilance, Zhang foregrounds the mediation of systems of communication that shape our perception and experiences of reality. PORTRAITS OF Portraits of 2012 is an extension of Zhang s exploration of video installation in which he mediates viewer s interaction. Initiated by a reverberating bang and an intense light, an image of an individual slowly materialises on a vertical screen. Lifting the space out of darkness, Zhang s projection forces us to squint our eyes, an act mimicked by the filmed subjects. Whilst gradually acclimatising to the brightness of the display, we recognise our status as passive performers coerced to join Zhang s play. Within the socio-political conscious sphere, the video projection refers to the politics of display of state leaders, such as the portrait of Mao at Tiananmen Square, and metaphorically implies the pain of seeing reality. A STANDARD, UPLIFTING, AND DISTINCTIVE CIRCLE ALONG WITH ITS SOUND SYSTEM 2015 In recent works, Zhang has explored sonic mass in relation to spatial and temporal vectors by seeking to uncover the politics of sound within the sociocultural orbit. A Standard, Uplifting, and Distinctive Circle along with Its Sound System is a mechanical sound installation formed from eight Chinesemanufactured transistor radios dating from the 1970s and 1980s. The acoustics emit muffled tones while the rotating sound amplifier singles out one radio at a time, allowing its sound to transcend the dampened and suppressed composition. Using sound installations like A Standard, Uplifting, and Distinctive Circle along with Its Sound System, Zhang extends his investigation on communication systems in state-controlled societies. ONE CHARACTER / ONE MINUTE 2015 One Character / One Minute presents 76 Chinese proverbs and sayings on a LED screen. The display unit projects the proliferation of screen culture characterised by a ubiquity of digital and electronic screens in various types and sizes present in private as well as public spheres. Oscillating between vast billboards that cover entire facades of buildings and small information monitors in public space, screens have become omnipresent in China s urban environment. Here, Zhang delves deeper into the rhetoric of compact textual screens that are perhaps less striking than their large counterparts but uphold China s deep-rooted tradition of incorporating written words into the public domain. Zhang Peili was born in 1957 in Hangzhou, where he still lives and works. He studied oil painting at the Zhejiang Academy of Arts (later the China Academy of Art) from 1980 to After graduating, Zhang became one of the pioneering artists of the avant-garde movement 85 New Wave and co-founder of the Hangzhou-based art group Chi She (Pond Society). In 1988, Zhang broke new ground by introducing video art in China. Since 2002 he has run the Embodied Media Studio at the School of Intermedia Art, a division of the China Academy of Art. Zhang has recently held solo exhibitions at the Minsheng Art Museum in Shanghai (2011) and the Art Institute of Chicago (2017). His work has been included in numerous group exhibitions, such as Art and China after 1989: Theatre of the World at Solomon R. Guggenheim Museum, New York (2017), Breaking the Image Methods in the Treatment of Imagery by Contemporary Artists from China at Sishang Art Museum, Beijing (2015), From a Poem to the Sunset at Daimler Contemporary, Berlin (2015), Thingworld International Triennial of New Media Art at the National Art Museum of China, Beijing (2014) and Harmonious Society: Asia Triennial 14 at the Centre for Chinese Contemporary Art, Manchester (2014). His work is collected by institutions all over the world, including Tate London, the Museum of Modern Art in New York, the Centre Georges Pompidou in Paris and M+ in Hong Kong. With the kind support of Boers-Li Gallery, Beijing / New York 4 5

4 full translation of Chinese original Zhang Peili Procedure of Ask First, Shoot Later : About X? (1987) I attempt to convey a creative conception via text, using the *Paint 5 canvases of (3, A); 5 canvases of (3, B). Room 9: (2, A ) and (2, B ); considers these possible defects before beginning the methodology of ask first, shoot later according to public *Materials and colors same as Step 1. Room 10: (2, A ) and (4, B); process and strives to avoid common or predictable standard. Room 11: (3, A) and (4, B); mistakes, because the project may or may not be Step 4: Room 12: (4, A ) and (2, B); completed at some time and in some place, it is possible Work Title: X? *Photograph a dentist chair (two different models) from the Room 13: (4, A ) and (3, B); that this striving is nothing but pure fantasy even if this front with black and white film. Enlarge them to 12 cun [1 cun Room 14: No works. fantasy is not necessarily pleasurable or able to produce Following are the steps of the work: = 3 cm]. *According to the above order, each group is titled as follows: pleasure. *Copy the photographed dentist chair onto canvases measuring 1. X? [(1, A) + (1, B)] 2. This strategy of telling the fantasy of the artist to the Step 1: either 200 x 180 cm or 180 x 110 cm: 2. X? [(1, A) + (4, B )] audience will allow the potential viewer of the potential *Photograph latex gloves (the type generally used in industry, 200 x 180 cm: paint two dentist chairs, centered on a 3. X? [(1, A) + (4, B)] future exhibition to make emotional preparation ahead of medicine, public hygiene, and daily life) from the front in a canvas oriented horizontally. On an isomorphic graph, the 4. X? [(1,A ) + (1,B )] time. variety of positions (no need to differ greatly) with black and light color is (4, A) and the dark color is (4, A ). 5. X? [(1, A ) + (4, B)] 3. It makes absolutely no sense whatsoever to assert a white film. Enlarge them to 12 cun [1 cun = 3 cm]. 180 x 110 cm: paint a single dentist chair, composed 6. X? [(1, A ) + (4, B )] particular method of composition before its realization or *Copy the photographed latex gloves onto canvases vertically. The light color is (4, B) and the dark color is (4, B ). 7. X? [(2, A) + (2, B)] contact with an audience. measuring either 200 x 180 cm or 200 x 110 cm: *Paint 6 canvases of (4, A); 12 canvases of (4, A ); X? [(2, A) + (4, B )] 4. To assert that only through physical realization can the 200 x 180 cm: Paint a pair of latex gloves, centered with the canvases of (4, B); 15 canvases (4, B ). 9. X? [(2, A ) + (2, B )] project provide an audience with imagery would also be canvas oriented horizontally. On an isomorphic graph, the *Materials: violet, raw brown, black and white, industrial 10. X? [(2, A ) + (4, B)] imprudent. light color is (1, A) and the dark color is (1, A ). turpentine, oil canvas. Colors mixed to grey and purple. 11. X? [(3,A) + (4, B)] 5. This or similar methods are not suited to projects that tend 200 x 100 cm: Paint a single latex glove, composed 12. X? [(4,A ) + (2,B)] towards happenings or accidental art, or styles that vertically. On an isomorphic graph, the light color is (1, B) Step 5: (5) 13. X? [(4, A ) + (3, B)] emphasize emotional methods. and the dark color is (1, B ). *Use hollow-core wall panels to split up an exhibition hall 14. X? [...] 6. Although human behavior (under normal circumstances) Paint 18 canvases of (1, A); 18 canvases of (1, A ); 5 approximately 64 m long by 21 m wide (with an area of 2000 The above oil paintings number 144. At this point the X? is usually premeditated, this type of ask first, shoot canvases of (1, B); 5 canvases (1, B ). square m) (warehouse is best) into 148 m x 8 m rooms with no series is complete. later method should also become a commonly identified *Materials: oil pigment: ochre, black, raw brown, white, closed ceiling. Wall panels should be 3.5 meters from floor to *Rules for audience: behavior. industrial turpentine, oil canvas. Colors mixed to: taupe, range top. The entrance to each room should be positioned to one 1. Visitors must carry national I.D. card. between ochre and grey. side of the halfway point of the width of a single room (either 2. To maintain the number of visitors in the hall below 10, August 1987 side is fine), with the entrance width 1.1 m. visitors entering the hall are given a numbered card and Step 2: The rooms should be arranged in two equal and straight lines. required to return it in when exiting. *According to the above methods, dimensions, and numbers, The entrance to each room should be connected by a hallway 3. Visitors must view the rooms according to the numbered copy everything again. 1 m wide, and the hallway should be split lengthwise in two by order, and may not return to previously visited rooms. Explanation (2): *On every location of the latex gloves, write these numbers in an iron fence. 4. Visitors must spend not less than 23 minutes or more than 1. By following the specific instructions of the steps of Arabic numerals: *Exhibition hall, hallway, rooms construction diagram: see (Fig. 33 minutes in each room. Violators will be punished by the project, the pure fantasy indulged in by the writer Horizontal image, light color is (2, A); dark color is (2, A ); 1) spending an additional 33 minutes in the first room. becomes fact, whether or not the large- scale work of art Vertical image, light color is (2, B); dark color is (2, B ). *Path of audience within exhibition hall: see (Fig. 2) 5. The number of visitors in any given room may not exceed itself is realized at some time and in some place. Even if *Paint 12 canvases of (2, A); 12 canvases of (2, A ); *According to the path of audience within exhibition hall, two. the artist encounters unexpected problems, he has reason 5 canvases of (2, B); 5 canvases of (2, B ). number the rooms from Visitors may not engage in communication in groups of to be pleased by this. *Materials and colors same as Step 1. three or more in any area of the exhibition hall. The volume 2. For the writer, this pure fantasy may, to some degree, Step 6: of speech may not exceed 8.3 decibels. become more important than or replace visual experience. Step 3: *Arrange the completed painting units (1, A) - (4, B ) into 7. Visitors wearing red, yellow, or green may not enter the 3. It makes absolutely no sense whatsoever to assert a *Dimensions same as above. groups, and according to the order hang them on four walls exhibition hall. particular method of composition before its realization or 200 x 180 cm: paint one latex glove (horizontally) on the within the rooms. Separating distance is.8 m. 8. Couples may not enter the exhibition hall together. contact with an audience. bottom half of the canvas. At the position ¾ from the Room 1:(1, A) and (1, B); (1, A) 6 pieces, (1, B) 5 9. Visitors shorter than 1.3 m or taller than 1.73 m may not 4. To assert that only through physical realization can a top, use typographic characters to write the meaning of pieces. For rooms below, maintain this ratio. enter the exhibition hall. project be visually realized would also be imprudent. Step 2 in Chinese characters and Arabic numerals. This Room 2: (1, A) and (4, B); 10. Visitors lighter than 33 kg or heavier than 63 kg may not 5. This or similar methods are not suited to projects that tend composition is (3, A). Room 3: (1, A ) and (1, B ); enter the exhibition hall. towards happenings or accidental art, or styles that 200 x 100 cm: vertically paint one latex glove on the bottom Room 4: (1, A ) and (4, B); emphasize emotional methods. half of the canvas. At the position halfway from the top, use Room 5: (1, A) and (4, B); Explanation (1): 6. Although human behavior (under normal circumstances) typographic characters to write the meaning of Step 2 in Room 6: (1, A ) and (4, B ); 1. This method of showing the process of production before is usually premeditated, this type of ask first, shoot Chinese characters and Arabic numerals. This composition Room 7: (2, A) and (2, B); the result, essentially telling images to the audience, later method should also become a commonly identified is (3, B). Room 8: (2, A) and (4, B ); will always be defective in some way. Although the artist behavior. 6 7

5 full translation of Chinese original Zhang Peili Announcement about Brown Book No. 1 (1988) Brown Book No. 1 was completed between 20 April and 21 June As such, I hereby announce the following relevant facts: 1. The contents of Brown Book No. 1 include, in full: a. Latex gloves (industrial product), or dismembered latex gloves b. Statement of explanation (mimeograph), or clause eight of the statement of explanation 2. Brown Book No. 1 is exhibited through postal mailing. 3. Scope of mailing targets: undergraduate and graduate students of all national fine arts academies (excluding first year undergraduates) 4. Specific recipients are chosen from within the scope of mailing targets according to the method of a random draw. 5. The random draw is executed by assistants (A and B). 6. Mailing is repeated four times in succession. 7. In each mailing each recipient is mailed one letter, the content of which is identical each time. 8. First mailing: Time: 20 April 1988; Contents: one latex glove, one copy of the statement of explanation (mimeograph); Site of mailing: Hangzhou City Post Office, Chaohui Branch, postal code: Second mailing: Time: 28 May 1988; Contents: fragment of one latex glove dismembered into 20 pieces (one-twentieth of a latex glove), one copy of the statement of explanation (mimeograph); Site of mailing: Hangzhou City Post Office, Zhongshan Central Road Branch, postal code: Third mailing: Time: 4 June 1988; Contents: fragment of one latex glove dismembered into 30 pieces (one-thirtieth of a latex glove), one copy of the statement of explanation (mimeograph); Site of mailing: Hangzhou City Post Office, Chaohui Branch, postal code: Fourth mailing: Time: 21 June 1988; Contents: one copy of the eighth clause of the statement of explanation (mimeograph); Site of mailing: Hangzhou City Post Office, Yan an Road Branch, postal code: The first batch of recipients consists of 18 people; the second batch of recipients consists of 20 people; the third batch of recipients consists of 30 people; the fourth batch of recipients consists of 89 people. 10. Envelopes containing mailed letters are hazel or light brown. I hereby determine to take measures to engage in postal mailing actions of varying content at unspecified dates from today onward. Appendix 1: Statement of explanation I have received instructions to mail you this article, and to give explanation as follows: 1. According to the relevant regulations, it is confirmed that you are the recipient of this article (hereafter the recipient ). 2. The remainder of recipients are in your environs. 3. This article bears no relation to your past good deeds or faults. 4. Do not transfer this article to any other person. 5. Do not seek out any other recipients. 6. Do not seek out the mailer of this article. 7. Do not seek out the commissioner of the mailer of this article. 8. Please carry on as before in all respects. Appendix 2: List of recipients Zhao Yumin, Cheng Kelin, Sun Zhenjie, Zhang Lu, Leng Lin, Gao Weichuan, Hu Pei, Jiang Jiantao, Zhao Shaoruo, Wei Hong, Zhang Jian, Kong Chang an, Cen Ganglin, Fan Di an, Qin Pengxiao, Bao Dongli, Li Guijun, Liu Wei, Ding Yiling, Hu Haifeng, Cai Dong, Zhang Hong, Zhang Yuemei, Wang Yanping, Tong Weihong, Lin Tongyan, Fan Xinguo, Zhang Xiaolei, Wang Miao, Cai Wei, Zhong Jie, Ma Xinmin, Shi Linzhi, Sun Wei, Wang Huaxiang, Cheng Qiming, Zhang Wanghui, Ye Chen, Li Yanrong, Hu Hanping, Jiang Yu, Zhang Yongheng, Lu Yang, Zhang Wanghui, Ye Chen, Chen Tao, Liu Ju, Li Jun, Li Jiangtao, An Yuanyuan, Qu Guang, Li Shi, Wang Zhong, Zhang Yu, Sun Qi, Zhou Qing, Guo Tong, Xiao Li, Yin Ganghe, Feng Jie, Tian Jianping, Gao Bin, Fang Lijun, Jin Rong, Liu Qinghe, Chen Daolin, Ai An, Zhao Hui, Duan Jianghua, Gao Yi, Xu Hui, Wang Jin, Zheng Wei, Gao Wei, Lin Bin, Liu Ye, Ye Feng, Tang Yingshan, Mao Huaiqing, Dong Tianye, Geng Zhihong, Jiang Jie, Chen Ke, Wang Zhubao, Hu Mingzhe, Dai Shunzhi, Hu Wei, Su Xinping, Jiao Yingqi, Mao Baoquan, Miao Xiaochun, Zhao Li, Hua Tianxue, Yu Ding, Guo Jia, Zhu Di, Liu Jiangzong, Weng Ling, Tong Yan, Zhou Wei, Xu Souling, Yang Jihong, Wei Bing, Wang Kechun, Sun Qin, Liu Changchun, Shang Tun, Zheng Yuke, Xiao Xing, Qi Yanqing, Yao Shunxi, Zhang Shuang, He Danchen, Wu Yi, Ma Qiang, Yang Maoyuan, Zhao Ying, Lin Xudong, Zhou Zhiyu, Wang Weiming, Cao Xingyuan, Chen Jianghong, Huang Huasan, Zhao Hai, Gang Chu, Li Ming, Tan Ning, Yang Jinhuan, Wu Jinghan, Wang Youshen, Wei Wei, Ning Fangqian, Li Dapeng, Gu Yunrui, Wang Peng, Gao Ping, Zhang Lujiang, Liu Xiaodong, Xia Xing, Chen Ming, Ye Zhou, Zhu Jia, Shi Liang, Yang Jun, Lv Hong, Wang Yuping, Zhang Yibo, Shen Ling, Xiao Hu, Zeng Hao, Wang Guangqun, Lu Qing 8