Yang Jinnan & Zeng Wenjin – Preface
In the summer of 2005, by chance, I was introduced to Sebastian Heiner by Ling Jian, a Chinese artist living in Germany. Heiner extended a warm invitation fo my wife and me to visit his studio in Suojiacun. When entering his studio, we were stunned by the sight of a large pile of used paint tubes, tissue paper, fly swatters, mops and comps, things that are onmipresent in a farm produce market. We had visited many studios before, but none was in such a mess. The foremost impression on me was “madness”.