With this transmedia-art painting-work THE GREATER YIJING Nikunja proposes a *cosmical reframe* of the traditional original 2500 year old Chinese classical Yijing which roots in the even older bone oracles. This is not a crtitical work towards this practice but the proposition for an emergence orientated expansion allowing new possibilities of understanding and research of realities of history, time, individual and collective perception. It allows a transmedia art experience exploring further Nikunja's Interactive Matter art-concept.
This is an in-finite art-work in progress starting 2025.
nikunja drafting the greater yijing, 2024
drafting the greater yijing 2024
THE PAINTING INSTALLATION
THE GREATER YIJING expands the 3 to 6 long or broken black lines of Yijings original diagram to 9 painted small square stainless steal plates (27cm x 27cm) arranged in a square of 87cm side length forming the new diagram.
9 diagrams are assembled into one sentence, 9 senteces are installed into a circle panorama leaving entrances in between the sentence-panels. Thus 729 individual painted plates form the entire installation. Partial Panorama-Installations of 3 or 6 sentences are possible.
The paintings are created in Nikunja's Rain-Studio in collaboration with the rain, athmospheric and cosmic interactions during the creation process. The paintings are created with oil and acrylic paint.
Some of the plates show in the center a coloured finger-print either oil or acrylic paint. These finger-prints are apllied some by the artist, some by user-performers during special events during exhibitions.
To each plate a specific sound is composed constantly emanating in low volume. The closer the user-performer approaches a singular plate, the louder the specific sound can be heard in concert to all other near-by sounds, The movements of the user-perforner define the sounds and sound-compositions perceived. Audio is transmitted by wireless headphones.
THE INTERACTION
The user-performer of the GREATER YIJING can exchange the individual plates at free will inside of the whole panorama. On each sentence-panel a section is prepared to hang maximum 6 plates outside of diagrams. From one exhibition to the next, the last constellation will be installed as the first constellation of the new show. A continuity is being created.
During exhibitions histories are being written, linking to individual and collective constitutions, time-frame, geography, local culture, political and economic situation, and more. These histories are being recorded by video.
THE INTERPLAY
Each user-performer enters at a particular time into the Greater Yijing Panorama meeting a very specific constellation, determined by a network of individual and collective interactions, somewhat hazardous but not quite. One can interrogate one's own life-evolution - past,present,future - read the multilayered presence and content of the Yijing, as a game, as an introspection, meditation on oneself and ones loved-ones or the world-situation. In a way similar to the original 2500 year old original Yijing.
Then the personal intervention into the art-work can be planned, executed, reflected. The individual free will and perception comes into the collective and cosmical interplay and unfolds its presence and reality.
The user-performer may document *her-his* constellation by photo or video. Outside the panorama a virtual guestbook online and visible on a flatscreen allows to continously share experience and thoughts in word and image.
Coming back into the exhibition a few days later, the user-performer perceives evolutions, from the art-work and from her-his own individual evolution of perception since the last visit.
BACKGROUND
A page from a Song Dynasty (960-1279) printed book of the I Ching (Yi Jing, Classic of Changes or Book of Changes)
