A Quote by Ma Jian

In my 20s, when I was a photojournalist in Beijing. I joined an underground art group and put on clandestine exhibitions of my paintings. — © Ma Jian
In my 20s, when I was a photojournalist in Beijing. I joined an underground art group and put on clandestine exhibitions of my paintings.
I believe in originality, primarily. However, it's important to know what there has been before to aim in that direction. Art history informs us. It informs our mind. I like to look at books, exhibitions, paintings, as a computer, subconsciously taking on information.
I joined the CIA in 1985 as an operations officer in the Clandestine Service.
Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.
Everyone in the group sang when I joined them. That was one of the problems with L.T.D.: there was no focal point. It took until 1976, or about six or seven years, before I was put into the spotlight as a vocalist. That's when I recorded 'Love Ballad,' and it became a hit for the group.
Art historians agree that Da Vinci's paintings contain hidden levels of meaning that go well beneath the surface of the paint. Many scholars believe his work intentionally provides clues to a powerful secret... a secret that remains protected to this day by a clandestine brotherhood of which Da Vinci was a member.
I joined the swim team when I was 12, and I was the worst kid in the pool - I was put with a group of 7-year-olds.
When I was four I joined a group of girls who were talking about their party dresses. I thought they were imagining, so I imagined a fantastic pink velvet dress with lots of jewels. But they were simply describing what they actually wore, and they had utter contempt for my obvious fiction. After that, I never joined a group again.
What, exactly, did Sjahrir do for the Republic? ... His entire underground effort can be summed up by saying that he sat quietly and safely away somewhere listening to a clandestine radio.
In my 20s, as I began to travel in Europe, I found comfort in religious paintings. Even though my own belief in Catholic dogma had been shaken and weakened, I found that the beauty and the richness of the art still held me.
The idea was to take fine art and put it into the location of the movie scripts. The script itself is collage - some of the lines come from actual movies and I've written others to make the text work with the found image. In this way, the details of old dead guys' paintings (from the collection of the Städel Museum in Frankfurt, where this work will be exhibited in relation to the historical paintings) become illustrations of the movie scripts. I found this mélange of high art and Hollywood amusing.
I was a geek and had long hair. Life changed when I joined engineering in Manipal. I joined a group of 7 friends. From then, my journey was simply beautiful, and I cherish it to this date.
Art collectors are pretty insignificant in the scheme of things. What matters and survives is the art. I buy art that I like. I buy it to show it off in exhibitions. Then, if I feel like it, I sell it and buy more art.
The Iraq Survey Group has already found massive evidence of a huge system of clandestine laboratories.
After intensive body building for eight years, I went to the U.S. for training. There, I learnt the art of wrestling. Later, I went to Japan and joined a wrestling group.
You know, Glen Campbell sang with the group right before I joined the group.
The last time I put out 'Raw,' that boosted me up in the underground to one of the top underground artists who was making moves and touring around the world.
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