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Reflections on Anonymity and Contemporaneity in Chinese Art Beatrice Leanza

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Reflections on Anonymity and Contemporaneity in Chinese Art Beatrice Leanza PLACE UNDER THE LINE PLACE UNDER THE LINE : july / august 1 vol.9 no. 4 J U L Y / A U G U S T 2 0 1 0 VOLUME 9, NUMBER 4 INSIDE New Art in Guangzhou Reviews from London, Beijing, and San Artist Features: Gu Francisco Wenda, Lin Fengmian, Zhang Huan The Contemporary Art Academy of China Identity Politics and Cultural Capital in Contemporary Chinese Art US$12.00 NT$350.00 PRINTED IN TAIWAN 6 VOLUME 9, NUMBER 4, JULY/AUGUST 2010 CONTENTS 2 Editor’s Note 33 4 Contributors 6 The Guangzhou Art Scene: Today and Tomorrow Biljana Ciric 15 On Observation Society Anthony Yung Tsz Kin 20 A Conversation with Hu Xiangqian 46 Biljana Ciric, Li Mu, and Tang Dixin 33 An interview with Gu Wenda Claire Huot 43 China Park Gu Wenda 46 Cubism Revisited: The Late Work of Lin Fengmian Tianyue Jiang 63 63 The Cult of Origin: Identity Politics and Cultural Capital in Contemporary Chinese Art J. P. Park 73 Zhang Huan: Paradise Regained Benjamin Genocchio 84 Contemporary Art Academy of China: An Introduction Christina Yu 87 87 Of Jungle—In Praise of Distance: Reflections on Anonymity and Contemporaneity in Chinese Art Beatrice Leanza 97 Shanghai: Art of the City Micki McCoy 104 Zhang Enli Natasha Degan 97 111 Chinese Name Index Cover: Zhang Huan, Hehe Xiexie (detail), 2010, mirror-finished stainless steel, 600 x 420 x 390 cm. Courtesy of the artist. Vol.9 No.4 1 Editor’s Note YISHU: Journal of Contemporary Chinese Art president Katy Hsiu-chih Chien legal counsel Infoshare Tech Law Office, Mann C.C. Liu Beijing and Shanghai are generally ounding Ken Lum considered the primary centres for -in-chie Keith Wallace contemporary art in mainland China. But Zheng Shengtian there are other cities that have dynamic and Julie Grundvig Kate Steinmann distinctive art scenes. Guangzhou is one of editorial assistant Chunyee Li them. Several of China’s most significant circulation anager Larisa Broyde ad coordinator Ioulia Reynolds contemporary artists have emerged from web site Chunyee Li there, but many of them have moved to Beijing, leaving behind something of a adisory Judy Andrews, Ohio State University cultural void. Yishu 39 includes three texts Melissa Chiu, Asia Society Museum covering a generation of younger artists and John Clark, University of Sydney Lynne Cooke, Dia Art Foundation initiatives that are bringing about a renewed Okwui Enwezor, Critic & Curator interest in this city and region and who are Britta Erickson, Independent Scholar & Curator making art that is different from that found Fan Di’an, National Art Museum of China Fei Dawei, Guy & Myriam Ullens Foundation further north. Gao Minglu, University of Pittsburgh Hou Hanru, San Francisco Art Institute Hu Fang, Vitamin Creative Space and the shop One current that runs through Yishu 39 Katie Hill, University of Westminster is of what represents “Chineseness” Claire Hsu, Asia Art Archive in contemporary art, a question that is Martina Köppel-Yang, Independent Critic & Historian Sebastian Lopez, Critic and Curator unlikely to reach resolution anytime soon. Lu Jie, Independent Curator It is the primary subject of J. P. Park’s Charles Merewether, Critic & Curator Ni Tsaichin, Tunghai University essay, in which the more obvious and Apinan Poshyananda, Ministry of Culture, Thailand expected manifestations of what constitutes Philip Tinari, Independent Critic & Curator Chineseness are taken to task with the Chia Chi Jason Wang, Independent Critic & Curator Wu Hung, University of Chicago suggestion that the notion’s parameters Pauline J. Yao, Independent Scholar require rethinking. Tianyue Jiang’s text on the publisher Art & Collection Group Ltd. important Chinese modernist, Lin Fengmian, 6F. No. 85, Section 1, takes a more historical perspective by Chungshan N. Road, examining the influence of Cubism and the Taipei, Taiwan 104 Phone: (886)2.2560.2220 inherent Chineseness that remains embedded Fax: (886)2.2542.0631 in his work in spite of his employment of a E-mail: [email protected] Western stylistic genre. Natasha Degan’s ice general anager Jenny Liu review of an exhibition by Zhang Enli Alex Kao discusses his recent paintings of mundane arketing anager Joyce Lin circulation executie Perry Hsu objects and scenes that can be found most Betty Hsieh anywhere in the world and argues that webaster Website ARTCO, Taipei because of their universal iconography, Chi Wei Colour Printing Ltd., there is nothing recognizably Chinese about his work. web site www.yishujournal.com www.yishu-online.com issn 1683 - 3082 Gu Wenda and Zhang Huan are featured with Yishu is published bi-monthly in Taipei, Taiwan, and edited new work that provides us with an update in Vancouver, Canada. The publishing dates are January, on two leading artists who are realizing March, May, July, September, and November. All subscription, increasingly ambitious projects. Beatrice advertising, and submission inquiries may be sent to: Leanza and Micki McCoy, with their reviews Yishu Office of two very different kinds of exhibitions, 200–1311 Howe Street Vancouver, BC, Canada one in Beijing and one in San Francisco, V6Z 2P3 one contemporary and one historical, bring Phone: 1.604.649.8187 into consideration how curatorial strategies Fax: 1.604.591.6392 E-mail: [email protected] affect the conception and reception of group exhibitions. In November of 2009, the subscription rates 1 year (six issues): $84 USD (includes $24 for airmail postage); Contemporary Art Academy of China was in Asia $78 USD (includes $18 for airmail postage). inaugurated, and many are curious to know 2 years (twelve issues): $158 USD (includes $48 for airmail more about it and what it means; Christina postage); in Asia $146 USD (including $36 for airmail postage). Yu offers a text on the debates that have design and Leap Creative Group emerged around it during the past few e Raymond Mah art Director Gavin Chow months and the impact the Academy may designer Philip Wong have on contemporary art in China. No part of this journal may be reprinted without the written permission from the publisher. The views expressed in Yishu are Keith Wallace not necessarily those of the editors or publisher. Yishu: Journal of Contemporary Chinese Art 典藏國際版創刊於 2002年5月1日 典藏國際版‧第9卷第4期‧2010年7–8月 社 長： 簡秀枝 法律顧問： 思科技法律事務所 劉承慶 創刊編輯： 林蔭庭（Ken Lum） 總 策 劃： 鄭勝天 2 編者手記 主 編： 華睿思 (Keith Wallace) 副 編 輯： 顧珠妮 (Julie Grundvig) 4 作者小傳 史楷迪 (Kate Steinmann) 編輯助理： 黎俊儀 行 政： 藍立杉 (Larisa Broyde) 6 廣州藝壇的今日與明天 廣 告： 雷幽雅（Ioulia Reynolds） 網站編輯： 黎俊儀 (Chunyee Li) Biljana Ciric 顧 問： 王嘉驥 田霏宇 談「觀察社」 (Philip Tinari) 15 安雅蘭 (Judy Andrews) 翁子健 (Anthony Tsz Kin Yung) 巫 鴻 林似竹 (Britta Erickson) 范迪安 20 和胡向前的對話 招穎思 (Melissa Chiu) Biljana Ciric, 李牧、唐狄鑫 洛柿田 (Sebastian Lopez) 胡 昉 侯瀚如 33 谷文達訪談 徐文玠 (Claire Hsu) Claire Huot 姜苦樂 (John Clark) 姚嘉善 (Pauline J. Yao) 倪再沁 43 中國公園 高名潞 谷文達 費大爲 楊天娜 (Martina Köppel-Yang) 盧 杰 46 林風眠的晚期作品: 重訪立軆主義 Lynne Cooke Okwui Enwezor 姜天岳 (Tianyue Jiang) Katie Hill Charles Merewether 63 源之迷：中國當代藝術的身份政治和 Apinan Poshyananda 文化資本 出 版： 典藏雜誌社 J.P. Park 副總經理： 劉靜宜 高世光 行銷總監： 林素珍 73 張洹：得樂園 發行專員： 許銘文 Benjamin Genocchio 謝宜蓉 社 址： 台灣臺北市中山北路一段85號6樓 電話: (886) 2.2560.2220 84 介紹中國當代藝術院 傳真：(886) 2.2542.0631 喻瑜 (Christina Yu) 電子信箱：[email protected] 編 輯 部： Yishu Office 87 從「叢林」展談中國藝術的 200-1311 Howe Street, 無名性與當代性 Vancouver, BC, V6Z 2P3, Canada 電話: (1) 604.649.8187 Beatrice Leanza 傳真：(1) 604.591.6392 電子信箱: [email protected] 97 上海：都市的藝術 訂閱、投稿及廣告均請與編輯部聯系。 Micki McCoy 設 計： Leap Creative Group, Vancouver 創意總監： 馬偉培 104 張恩利 藝術總監： 周繼宏 Natasha Degan 設 計 師： 黃健斌 印 刷： 臺北崎威彩藝有限公司 111 中英人名對照 本刊在溫哥華編輯設計，臺北印刷出版發行。 一年6期。逢1、3、5、7、9、11月出版。 網 址： www.yishujournal.com www.yishu-online.com 管 理： 典藏雜誌社 國際刊號: 1683-3082 售價每本12美元。 訂閲：一年84美元，兩年158美元（含航空 郵資）。亞洲地區一年78美元，兩年146美元 封面：張洹，和和諧諧（局部），2010，鏡面不銹鋼， （含航空郵資）。 600 x 429 x 390公分，藝術家提供 訂閱單可從本刊網址下載。 版權所有，本刊內容非經本社同意不得翻譯和轉載。 本刊登載內容並不代表編輯部與出版社立場。 Contributors Biljana Ciric is an independent curator China Academy of Arts five years later. Gu based in Shanghai. She is also Artistic has participated in numerous international Director of Ke Center of Contemporary Arts solo and group exhibitions and biennials, in and the executive curator for the Intrude China, Singapore, Japan, Australia, France, Public Art Project, presented by Zendai Russia and the U.S., among others. Gu has MoMA. She was Director of the Shanghai emerged as one of the most celebrated Duolun Museum of Modern Art Curatorial avant-garde artists. He is known for uniting Department and Net-Working Curator cultures and races worldwide in his artistic (China) for the Singapore Biennale 2006. practice by using human hair to create aesthetic monumental installations. Her ongoing Migration Addicts project was presented at the Venice Biennale 2007 Claire Huot is currently Associate Professor Collateral Events and the Shenzhen/Hong of Chinese Studies at the University Kong Bi-city Biennale of Urbanism and of Calgary, where she teaches Chinese Architecture. She is a regular contributor civilization, Chinese film and literature, and to several Chinese and international art translational poetics. She is co-investigator publications including Yishu, Flash Art, and with Robert Majzels on “85,” a cross- Broadsheet. She has an M.A. from East China cultural, multidisciplinary, multimedia Normal University, Shanghai. project. She is the author of two books on contemporary Chinese cultural phenomena Natasha Degen is a freelance writer and a and of The Prison Tangram, a novel Ph.D. candidate at Cambridge University. featuring a Mandarin-speaking detective. Currently, her own research focuses on Benjamin Genocchio is an art critic for “dogs and China” from a cross-cultural and The New York Times and the author and multidisciplinary perspective.
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