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Chinese Avant-Garde Art: Body and Spirit Struggle for a New Cultural
ARAS Connections Issue 4, 2011 Chinese Avant-Garde Art: Body and Spirit Struggle for a New Cultural Identity Chie Lee The images in this paper are strictly for educational use and are protected by United States copyright laws. 1 Unauthorized use will result in criminal and civil penalties. ARAS Connections Issue 4, 2011 To understand the relationship between avant-garde art and cultural identity in China, a basic understanding of the historical and cultural contexts is essential. The Cultural Revolution in China did not begin after Mao took power in 1949—it began with the May 4th movement of 1919. After suffering a series of deep national humiliations by the West, the revolution to break down the old culture began. The movement, led by students and intellectuals, proclaimed that if China was to survive in the 20th century with any integrity as a country, the Confucian traditional values had to be rejected. China must openly adopt Western political, economic, and social values in order to modernize and bring about a new China. This was the beginning of the quest for a new cultural and political identity. Some forty some years later, Mao’s Cultural Revolution, which began in the 1960s, took the May 4th movement to its extreme. The Red Guards, most of them teenagers, were unleashed onto the populace and carried out the central propaganda edict of “smashing the Four Olds”: old habits, old customs, old culture and old ideas. Mao’s Cultural Revolution was catastrophic in the indiscriminate destruction of lives, property, and all manifestations of art and culture. -
The Political Body in Chinese Art
Marquette University e-Publications@Marquette Philosophy Faculty Research and Publications Philosophy, Department of 1-1-2011 The olitP ical Body in Chinese Art Curtis Carter Marquette University, [email protected] Accepted Version. "The oP litical Body in Chinese Art" in Subversive Strategies in Contemporary Chinese Art. Eds. Mary Bittner Wiseman and Yuedi Liu. Leiden; Boston: Brill, 2011: 109-125. DOI: DOI. © 2011 Brill. Used with permission. NOT THE PUBLISHED VERSION; this is the author’s final, peer-reviewed manuscript. The published version may be accessed by following the link in the citation at the bottom of the page. The Political Body in Chinese Art Curtis L. Carter Department of Philosophy, Marquette University Milwaukee, WI The uses of visual images based on calligraphy and the depiction of the human body in Chinese art have served an important role in the exercise of political power by leaders in Chinese culture. The two media that are most closely linked to the exercise of political power in Chinese culture are written or performed calligraphy and representational art featuring the human figure. The latter is more familiar in western nations where one often finds sculptures of political figures displayed in prominent public spaces. However, in China calligraphy as a form of written art serves as a principal symbolic expression of political power. This is true in both traditional Chinese culture and also the Twentieth Century revolutionary period and beyond. The connection between figurative political images and political power needs little explanation for a western audience. But how is calligraphy connected to the theme of the political body in Chinese art and culture? One answer is offered in Mao Zedong’s early writings, where he linked the practice of calligraphy to physical training of the body. -
China Perspectives, 55 | September - October 2004 the Debate Between Liberalism and Neo-Leftism at the Turn of the Century 2
China Perspectives 55 | september - october 2004 Varia The Debate Between Liberalism and Neo-Leftism at the Turn of the Century Chen Lichuan Electronic version URL: http://journals.openedition.org/chinaperspectives/417 DOI: 10.4000/chinaperspectives.417 ISSN: 1996-4617 Publisher Centre d'étude français sur la Chine contemporaine Printed version Date of publication: 1 October 2004 ISSN: 2070-3449 Electronic reference Chen Lichuan, « The Debate Between Liberalism and Neo-Leftism at the Turn of the Century », China Perspectives [Online], 55 | september - october 2004, Online since 29 December 2008, connection on 28 October 2019. URL : http://journals.openedition.org/chinaperspectives/417 ; DOI : 10.4000/ chinaperspectives.417 This text was automatically generated on 28 October 2019. © All rights reserved The Debate Between Liberalism and Neo-Leftism at the Turn of the Century 1 The Debate Between Liberalism and Neo-Leftism at the Turn of the Century Chen Lichuan EDITOR'S NOTE Translated from the French original by Nick Oates 1 From the beginning of the 1980s to the middle of the 1990s, three movements took centre stage on the Chinese intellectual scene: radicalism, conservatism and liberalism. This article sets out to retrace the debate between liberalism and neo-leftism by relying exclusively on the polemical texts of the Chinese writers1. How can we present an intellectual debate that is a process of questioning and clarification and that does not arrive at a consensual conclusion? How can we render intelligible the concepts debated in extracts from the original texts? How can we evaluate the impact that this debate has had on a society undergoing a profound transformation? These are just some of the difficulties with which we were confronted. -
Artist: Period/Style: Patron: Material/Technique: Form
TITLE:Vietnam Veterans Memorial LOCATION: Washington, D.C., U.S. DATE: . 1982 C.E. ARTIST: Maya Lin PERIOD/STYLE: Minimalism PATRON: The Commision of Fine Arts MATERIAL/TECHNIQUE: Granite FORM: Highly reflective black granite with incised names of 58,000 names ofVietnam Veterans who sacrificed their lives during the conflict. The name is an abstraction that means more to the family and friends than a pictorial representation. The two walls start very short and get progressively taller until they meet at an oblique angle at the monument’s center. One wall points towards the Washington Monument; the other points to the Lincoln Memorial. FUNCTION: It functions as a memorial to the soldiers that died during the Vietnam War. It is an ideal place for people to come and spend quiet time reflecting on the names and perhaps leaving mementos to the deceased. CONTENT: The walls are made of a dark igneous rock called gabbro, a type of granite, which is highly reflective when polished.The surface of the monument is etched with the 58,195 names of the Americans who died or remained missing in action in the Vietnam War. The names are listed in the order in which they were reported killed or missing in action. This makes the names harder to find, and re- quires a listing and numeric system of organization for visitors. CONTEXT: There were 1400 anonymous entries for this commission. There was a real backlash once her identity was known because of latent racism in the post Vietnam era. She defended her design in front of the United States Congress, who eventually reached a compro- mise: A group of more “traditional” sculptures, called “The Three Soldiers,” was erected near the monument. -
Inter-Asia Cultural Studies the Politics
This article was downloaded by: [University of Chicago Library] On: 03 February 2014, At: 15:22 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Inter-Asia Cultural Studies Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/riac20 The politics of imagining Asia: a genealogical analysis Wang Hui & Translated by Matthew A. Hale Published online: 01 Mar 2007. To cite this article: Wang Hui & Translated by Matthew A. Hale (2007) The politics of imagining Asia: a genealogical analysis, Inter-Asia Cultural Studies, 8:1, 1-33, DOI: 10.1080/14649370601118925 To link to this article: http://dx.doi.org/10.1080/14649370601118925 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. -
Introduction: Put Politics in Command Christopher Connery
Introduction: Put Politics in Command Christopher Connery In a converted warehouse in the Putuo District of Shanghai, Liu Debao, former Red Guard and active in the “Sent Down Youth” alumni orga- nizations in Shanghai,1 maintains a warehouse of pre- 1978 memorabilia, mostly from the fifties and sixties, comprising everyday-life objects, com- plete issues of newspapers and unofficial publications, and, most impor- tantly, over three thousand reels of film, largely uncatalogued. A photog- rapher by profession and an insatiable collector by nature, he had noticed 1. This refers to movements that sent millions of young people who volunteered or were, more often, assigned by the authorities to terms in the countryside during the sixties and into the seventies, some to nearby communes and some to the edges of the country, in Xinjiang, Heilongjiang, and Yunnan. The groups coalesce around a variety of affective relationships to this time of their youth: some organize around social assistance to their former villages; some petition, protest, and pursue legal remedies for the services and benefits denied to them by the Shanghai municipal government; some gather in parks and other public places to talk, sing, and dance. For a history of the movement, see Bonnin 2013. A recent nine-hour documentary by Gao Zipeng and Wu Meng, Shanghai- ren (Shanghainese [2014]), documents the protest movement of Shanghainese returnees from Xinjiang over the course of the last few years. boundary 2 46:2 (2019) DOI 10.1215/01903659-7496960 © 2019 by Duke University Press Downloaded from http://read.dukeupress.edu/boundary-2/article-pdf/46/2/1/569078/0460001.pdf by guest on 03 October 2021 2 boundary 2 / May 2019 that as the economic reforms were gathering strength, the culture depart- ments of various municipalities and counties were throwing out archived film footage of documentaries, instructional films, feature films, and news- reels from the pre- 1976 era and began to collect them, traveling great dis- tances to buy reels of film, even when he did not know their contents. -
Living in an Intellectual Village
Arbeitsberichte 199 Hui Wang Living in an Intellectual Village Wang Hui, Research Fellow of the Chinese Academy of Social Sciences in Beijing, Editor in Chief of Dushu magazine (Readings), Guest Pro- fessor of Tsinghua University, was born in 1959 in the city of Yangzhou, where he graduated from the Teachers’ College before moving to the Chi- nese Academy of Social Sciences in Beijing in 1985. There, after completing his doctoral work, he became a research fellow in its Institute of Lit- erature. Since then, he has published numerous papers and books in the fields of Chinese intellec- tual history, modern Chinese literature and social theory. His main books are (in Chinese): Revolt- ing Against Despair: Lu Xun and His Literary World (1991); No Room for Hesitation: the May Fourth and its Echoes in Chinese History (1994); A Self-Selection by Wang Hui (1996); Warming up the Dead Fire (2000); The Rise of Modern Chi- nese Thought, vol. 1 and 2 (forthcoming 2002). Some of his papers and books have been trans- lated into English, Japanese, Korean, and French. − Address: 17-906 Xibahe Beili, Chaoyang Qu, Beijing, 100028, P. R. China. On the evening of my last day in Berlin, I went to the Wissenschafts- kolleg to check my mail. Everybody had gone. In the emptiness, it suddenly came to me that, before I came to Berlin, a former Fellow described to me the life at Wiko as living in an international intellec- tual village. After my one-year stay, I found that I like the image of Wiko as a village: lake, forest, villagers, kids, intimate relationships, the regular ritual practice (Colloquium on the morning of every Tuesday), cooking, singing, playing ping-pong, etc. -
It Begins with Metamorphosis XU BING 徐冰變 形 記
It Begins with Metamorphosis XU BING 徐冰 變 形 記 Teacher Resource Guide Asia Society Hong Kong Center It Begins with Metamorphosis: Xu Bing Art is of vital importance to whole person development. It nurtures creativity, develops critical thinking and fosters language and motor skills. Research has shown that engagement in the arts benefits students not just in the classroom, but also in life. Students who are involved in the arts have higher school motivation, engagement in class, self-esteem, and life satisfaction.1 More importantly, art allows students to learn about different cultural values and ideologies, and cultivate cultural awareness, which is essential in the increasingly diverse society of today. By gaining a broader and deeper understanding of the world we live in, we are able to explore our own cultural heritage and identity, and nurture a sense of who we are, and where we are in the world. Asia Society Hong Kong Center (ASHK) is dedicated to helping teachers bring art into the classroom, and to their students. Our gallery regularly hosts exhibitions of renowned artists of Asia and our range of educational programs will help teachers integrate visual arts into their teaching, and provide a convenient starting point for discussion about history, geography and cultures of Asia. It Begins with Metamorphosis: Xu Bing is Xu’s first major solo exhibition in Hong Kong featuring some of his latest works. This multi-disciplinary exhibition examines how metamorphosis is at the heart of what art strives to express, and the process and communication of that expression. This resource is also available on the Asia Society Hong Kong Center website at http://asiasociety.org/hong-kong/exhibitions/current. -
(212) 843-9381 / [email protected]
17 January 2014 PRESS RELEASE For further information please call Mike Stouber, Rubenstein Communications (212) 843-9381 / [email protected] Isadora Wilkenfeld, Cathedral of St. John the Divine (212) 316-7468 / [email protected] PHOENIX: Xu Bing at the Cathedral New York, NY, January, 2013 — The Cathedral of St. John the Divine announced today that Phoenix, two monumental sculptures by celebrated Chinese artist Xu Bing, will be installed in its Nave. The opening, which will include a festival for New Yorkers and visitors, will take place on Saturday, March 1, 2014. Xu Bing, described by the New York Times as “one of China’s most original artists,” spent two years working on Phoenix. Constructed of workers’ tools and debris gathered from demolition sites across the ever-changing landscape of Beijing, the two majestic birds, Feng and Huang, which together weigh over 12 tons and measure 90 and 100 feet, respectively, will be suspended from the Cathedral’s ceiling. “Xu Bing’s art is animated by his life-long pursuit of a transnational language with which we can communicate more deeply with each other, across cultures and time,” said the Very Reverend Dr. James A. Kowalski, Dean of the Cathedral. “We’re proud to place the work of this global citizen under the roof of this Cathedral as we continue our tradition of conversations between our diverse communities.” The sculptures, at once fierce and antic, combine the wildness of pre-historic beasts with the unfettered imagination of a child’s creation; together they address the radical economic changes that have transformed contemporary China. -
Xu Bing Press Release
Travelling to the Wonderland A new installation by Xu Bing at the V&A 2 November 2013 – 2 March 2014 Supported by Jing & Kai From 2 November, celebrated Chinese artist Xu Bing will transform the V&A’s John Madejski Garden into an ethereal Arcadia inspired by the classic Chinese fable Tao Hua Yuan (The Peach Blossom Spring). The V&A invited Xu Bing to create a major new work to coincide with the Museum’s forthcoming exhibition, Masterpieces of Chinese Painting 700 – 1900 which brings together the finest examples of Chinese painting to present an overview of one of the world’s greatest artistic traditions. Based on the Chinese fable written by the scholar Tao Qian (or Tao Yuanming, 365-427) in 421AD, about people who lead an ideal existence in harmony with nature and each other, unaware of the outside world, Xu Bing’s installation is deliberately ‘non-real’. ‘Tao Hua Yuan is a long lost dream and we don’t know if its existence is real or pure fiction .’ (Xu Bing) This dream-like landscape will be created around the central water feature of the John Madejski Garden, built up from layers of thinly-cut stones collected from five different places in China to represent mountains. Clusters of ceramic houses, each one handmade and coloured to reflect the diverse traditional styles of houses from the different provinces, will be placed among the stones. For example, rocks taken from the Tai Hu Lake in the lower Yangtze River region are accompanied by houses in Suzhou garden style. The same meticulous detailing also applies to the positioning of particular ceramic animals in relation to the type of stone. -
CLASS and SOCIETY
CLASS and SOCIETY: GLOBAL ART since 1960: FOCUS (Xu Bing, Julie Mehretu, and Ai Weiwei ) ONLINE ASSIGNMENT: http://www.learner.org/courses/global art/work/47/index.html TITLE or DESIGNATION: Chairman Mao en Route to Anyuan ARTIST: unknown, based on an oil painting by Liu Chunhua CULTURE or ART HISTORICAL PERIOD: Communist Chinese DATE: c. 1969 C.E. MEDIUM: color lithograph ONLINE ASSIGNMENT: http://etcweb.princet on.edu/asianart/asse ts/archivedmaterials /Xu%20Bing%20han dout.pdf TITLE or DESIGNATION: A Book from the Sky ARTIST: Xu Bing CULTURE or ART HISTORICAL PERIOD: Global Contemporary DATE: 1987-1991 C.E. MEDIUM: mixed- media installation ONLINE ASSIGNMENT: http://blog.art21.org/20 09/10/01/meet-the- season-5-artist-julie- mehretu/#.VJ9MdBtA TITLE or DESIGNATION: Stadia II ARTIST: Julie Mehretu CULTURE or ART HISTORICAL PERIOD: Global Contemporary DATE: 2004 C.E. MEDIUM: ink and acrylic on canvas ONLINE ASSIGNMENT: http://www.tate.org.uk/wha ts-on/tate- modern/exhibition/unilever -series-ai- weiwei/interpretation-text TITLE or DESIGNATION: Sunflower Seeds ARTIST: Ai Weiwei CULTURE or ART HISTORICAL PERIOD: Global Contemporary DATE: 2010-2011 C.E. MEDIUM: sculpted and painted porcelain CLASS and SOCIETY: GLOBAL ART since 1960: SELECTED TEXT (Xu Bing, Julie Mehretu, and Ai Weiwei ) Chairman Mao en Route to Anyuan, based on an oil painting by Liu Chunhua, c. 1969, color lithograph When Mao Zhedong first came to power in 1949, he encouraged artists to create “art for the people” that would convey Communist ideas in ways accessible to the masses. Realistic oil paintings of workers, soldiers, and peasants began to replace traditionally popular ink paintings featuring such natural subjects as landscapes, birds, and flowers. -
Robert E. Harrist, Jr. Department of Art History and Archaeology 826 Schermerhorn Hall Columbia University New York, New York 10027 Tel
Robert E. Harrist, Jr. Department of Art History and Archaeology 826 Schermerhorn Hall Columbia University New York, New York 10027 Tel. (212) 854-4505 (office) (212) 854-8080 (home) email: [email protected] Education Princeton University, Ph.D. in Chinese Art and Archaeology, 1989 Inter-University Program for Chinese Language Studies, Taipei, 1981-82 Columbia University, M.A. in East Asian Studies, 1980 Indiana University, M.A. in Art History, 1978; B. S. in Music and Art History, 1975 Teaching Experience Jane and Leopold Swergold Professor of Chinese Art, Department of Art History and Archaeology, Columbia University, 2001-; Associate Professor 1997-2001. Department chairman, 2007-2011 Visiting Professor, Lingnan Univeristy, Hong Kong, March 2012 Professeur invité, Université de Paris 1/Sorbonne, November 2011 Slade Professor of Fine Art, University of Cambridge, 2006-07 Visiting Associate Professor, Department of Art History and Archaeology, Princeton University, Spring 2001 Associate Professor of Art and East Asian Studies, Oberlin College, 1987-1997; Director of the Program in East Asian Studies, 1996-1997 Visiting Associate Professor of the History of Art, The University of Michigan, Winter Term, 1993 Publications 2 Books and Exhibition Catalogues: The Landscape of Words: Stone Inscription in Early and Medieval China. Seattle: University of Washington Press, 2008. (Winner of the Joseph Levenson Prize, Association of Asian Studies, 2010.) With Wen C. Fong et al., The Embodied Image: Chinese Calligraphy from the John B. Elliott Collection. Princeton: The Art Museum, 1999. Japanese adaptation, Umi o watatta Chūgoku no sho (Chinese calligraphy overseas). Osaka: Osaka Municipal Museum, 2003. Painting and Private Life in Eleventh-Century China: Mountain Villa by Li Gonglin.