The project Doctrine includes two series of works that Xu Qu is planning to create for Position/Art Basel Miami 2017. The first series includes 6 ceramic chamber pot sculptures, while the other includes 6 large typographic printings of re-produced I-Ching covers, which were initially produced in China and brought back to Europe in the early 20th century by European priests. This project by Xu attempts to investigate how religious and political activities have influenced Chinese society and visual aesthetics in early capitalism, and addresses how these two distinctive ideologies have manifested themselves as a culture phenomenon. Xu transcendentally reflects this phenomena onto contemporary artistic dialogues in which pre-assumed standards determine the respective images. As images of the two ideologies are exchanged and reshuffled, Xu acclaims the significance of both the possibility and impossibility of ideologues taking place between the east and the west.
(Context for Parkes Chamber Pots: In 1856, British diplomat Sir Harry Smith Parkes came to China and Japan to negotiate affairs, and the negotiation team led by Parkes had refused to perform the kowtow gesture to the Chinese emperor. Consequently, the Qing government detained them. This later became known as “The Parkes Incident”, which many scholars perceived to have decisively instigated the burning of the imperial palace. After Parkes passed away, the Duke of Connaught installed a memorial on the Bund in Shanghai, which was later removed by Japanese troops during WWII. Later, the Chinese government commissioned a sculptor named Chen Weiyan from Canton to customize the chamber pots, which were subsequently named Parkes Chamber Pots. During the post-opium war, China evolved the semi-colonial and semi-feudal country, and the incorporation of Parkes into buffoonery chamber pots by local artists became an explicit mockery of the European conquerors.)