In the tradition of collecting ink rubbings of stone carved calligraphy on paper, Qiu collects and preserves various texts that were intended for public transmission. However, for each text he carves his own layer of concrete with revolutionary slogans and with script styles ranging from ancient oracle script to Mao Zedong-styled calligraphy. Once each layer is dry and rubbings are made, a new layer of concrete is poured, thus permanently erasing the previously etched text and making way for another layer. The resulting objects are a concrete block of buried texts and a set of ink rubbings on paper. Similar to the artist's other performance/installation works, the Monument series is meant to be a record of an act of subversion and not merely a static object created for aesthetic purposes. By challenging the convention of ink rubbing and modifying the methods of propaganda, Qiu’s defines a relationship between technique and its ideology. It provides a powerful commentary on China's political history and actively questions the role of monuments in the collective memory.
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