{PDF} 50 Art Movements You Should Know: from Impressionism To
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Performance Art
(hard cover) PERFORMANCE ART: MOTIVATIONS AND DIRECTIONS by Lee Wen Master of Arts Fine Arts 2006 LASALLE-SIA COLLEGE OF THE ARTS (blank page) PERFORMANCE ART: MOTIVATIONS AND DIRECTIONS by Lee Wen Submitted in Partial Fulfillment of the Degree Master of Arts (Fine Arts) LASALLE-SIA College of the Arts Faculty of Fine Arts Singapore May, 2006 ii Accepted by the Faculty of Fine Arts, LASALLE-SIA College of the Arts, In partial fulfillment of the requirements For the degree Master of Arts (Fine Arts). Vincent Leow Studio Supervisor Adeline Kueh Thesis Supervisor I certify that the thesis being submitted for examination is my own account of my own research, which has been conducted ethically. The data and the results presented are the genuine data and results actually obtained by me during the conduct of the research. Where I have drawn on the work, ideas and results of others this has been appropriately acknowledged in the thesis. The greater portion of the work described in the thesis has been undertaken subsequently to my registration for the degree for which I am submitting this document. Lee Wen In submitting this thesis to LASALLE-SIA College of the Arts, I understand that I am giving permission for it to be made available for use in accordance with the regulations and policies of the college. I also understand that the title and abstract will be published, and that a copy of the work may be made available and supplied to any bona fide library or research worker. This work is also subject to the college policy on intellectual property. -
September/October 2016 Volume 15, Number 5 Inside
SEPTEMBER/OCTOBER 2016 VOLUME 15, NUMBER 5 INSI DE Chengdu Performance Art, 2012–2016 Interview with Raqs Media Collective on the 2016 Shanghai Biennale Artist Features: Cui Xiuwen, Qu Fengguo, Ying Yefu, Zhou Yilun Buried Alive: Chapter 1 US$12.00 NT$350.00 PRINTED IN TAIWAN 6 VOLUME 15, NUMBER 5, SEPTEMBER/OCTOBER 2016 C ONT ENT S 23 2 Editor’s Note 4 Contributors 6 Chengdu Performance Art, 2012–2016 Sophia Kidd 23 Qu Fengguo: Temporal Configurations Julie Chun 36 36 Cui Xiuwen Patricia Eichenbaum Karetzky 48 Propositioning the World: Raqs Media Collective and the Shanghai Biennale Maya Kóvskaya 59 The Good, the Bad, and the Ugly Danielle Shang 48 67 Art Labor and Ying Yefu: Between the Amateur and the Professional Jacob August Dreyer 72 Buried Alive: Chapter 1 (to be continued) Lu Huanzhi 91 Chinese Name Index 59 Cover: Zhang Yu, One Man's Walden Pond with Tire, 2014, 67 performance, one day, Lijiang. Courtesy of the artist. We thank JNBY Art Projects, Chen Ping, David Chau, Kevin Daniels, Qiqi Hong, Sabrina Xu, David Yue, Andy Sylvester, Farid Rohani, Ernest Lang, D3E Art Limited, Stephanie Holmquist, and Mark Allison for their generous contribution to the publication and distribution of Yishu. 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 Performance art has a strong legacy in FOUNDING EDITOR Ken Lum southwest China, particularly in the city EDITOR-IN-CHIEF Keith Wallace MANAGING EDITOR Zheng Shengtian of Chengdu. Sophia Kidd, who previously EDITORS Julie Grundvig contributed two texts on performance art in this Kate Steinmann Chunyee Li region (Yishu 44, Yishu 55), updates us on an EDITORS (CHINESE VERSION) Yu Hsiao Hwei Chen Ping art medium that has shifted emphasis over the Guo Yanlong years but continues to maintain its presence CIRCULATION MANAGER Larisa Broyde WEB SITE EDITOR Chunyee Li and has been welcomed by a new generation ADVERTISING Sen Wong of artists. -
Downloaded from Brill.Com09/28/2021 03:24:39AM Via Free Access ,
Blood, Sweat and Tears. The Martyred Body in Chinese Performance Art Tania Becker When we speak of offending images in the context of contemporary Chinese art, some of us may remember articles that were published in , voices of outrage in reaction to Zhu Yu’s performance Eating People: Is it art when a man eats a dead baby? london — My God, what kind of society do we live in? A Chinese man eats a dead baby on TV and actually claims it’s art! The announcement alone unleashed one of Great Britain’s hottest debates on the freedom of the media, the press, and art: the British tv Channel wanted to broad- cast the documentary Beijing Swings, which includes photographs of Chinese artist Zhu Yu apparently eating a dead baby. According to Zhu, the corpse is from a miscarriage. In one of the photographs, he’s washing the body in a sink. Another photo shows him biting into a dismembered body part. Zhu has said that the pictures were taken during a perfor- mance titled »Eating Humans« in his house in Beijing. Yesterday, Zhu Yu claimed that as an artist, it’s his job to initiate debates over morality and art. His work involves exploring whether boundaries still exist. It does not, however, seem to bother anyone when this »artist« transgress- es these boundaries. Not even the guardians of the law — because de- spite the fact that artists using human body parts for their art can be sentenced to ten years in prison, nothing happened [...]. Tania Becker - 9783846763452 Downloaded from Brill.com09/28/2021 03:24:39AM via free access , After the images made the rounds in the Internet, the shocking act of consum- ing a fetus met with reactions worldwide. -
Exploding-Goat.Pdf
FINE, PROBATION FOR SHOCK ARTIST 2 SHOCK ARTISTS ARRAIGNED IN ROXBURY 3 COLEMAN FACES CHARGES ON EXPLOSIVES 4 WHEN SHOCK ART GOES TOO FAR FEAR AND LOATHING IN THE AUDIENCE 5 OFFICIALS, AUDIENCE, BF/VF REACT AS THE SMOKE CLEARS 7 AUDIENCE FLEES EXPLOSIVE PERFORMANCE 9 FINE, PROBATION FOR SHOCK ARTIST ARTS AND FILM FINE, PROBATION FOR SHOCK ARTIST Jim Sullivan, Globe Staff 266 words 16 February 1990 The Boston Globe THIRD 94 English © 1990 New York Times Company. Provided by ProQuest Information and Learning. All Rights Reserved. Joe Coleman , the controversial New York-based "shock artist" who performed at the Boston Film/Video Foundation Oct. 29, pleaded guilty yesterday in Roxbury District Court to possession of fireworks and cruelty to animals. He paid a total of $662 in fines and was put on probation for one year. The charge of possession of an inferno machine was dismissed by the Commonwealth. A count of burning of a dwelling was dismissed by the judge, according to Asst. District Attorney Robert Benson, because he saw no "willful or malicious intent." Coleman's wife, Nancy, a co-defendent in the case is in the hospital and could not appear, her attorney said. Her case will be heard June 15. Coleman's act, which is captured on the "Mondo New York" videotape, consisted, in part, of detonating explosives attached to his chest and biting the heads off mice. "The judge said he cannot come into Massachusetts and perform anything related to animals," said Benson. "My understanding was he's not going to perform any 'shock art' in Massachusetts anymore." Asked about Coleman's demeanor, Benson said, "He was very subdued and respectable toward the judge, very humble. -
A SMALL MAP PIECE of PERFORMANCE ART in CHINA a Study Room Guide by Adele Tan June 2008
A SMALL MAP PIECE OF PERFORMANCE ART IN CHINA A study room guide by Adele Tan June 2008 Let me begin with a fruit. The fruit in this instance is Grapefruit, Yoko Ono´s visionary 1964 book of art- making instructions for everyone. The Chinese word for fruit is guo (果)and like the English word it too means the result or reward of work or activity such as in the word jie guo ( 结果 ). So how does one begin to look at performance art in China in the selection of material available in the Live Art Development Agency library and make it a productive (fruitful) endeavour without taking the exploratory fun out of it? The history of performance art in China is still in the making and so we might do well not to make it too conclusive. With this in mind, we could perhaps play a version of Yoko Ono’s Map Piece from the summer of 1962… Draw an imaginary map. ●Carla Kirkwood, Chinese Performance Artists - Redrawing the Map of Chinese Culture, 2004, A0119 / P0519 ●Li Wei, Li Wei, 2005, P0191 ●Li Wei, Performance Video Works 2001–2004, D0113 ● Zhu Ming, 1994-2006 Art Works, 2007, P089 ●Zhu Ming, Performance Art Works, 1994-2004, 2004, D0265 ●Zhu Ming, Resume, Articles and Major Works – pictures, D0103 ●Zhu Ming, Unknown Area, July 2003, D0104 Kirkwood’s essay in TheatreForum provides an easy entry point into the performance art scene in China since its initial flourish in the late 1980s. She gives a concise history of its development over the past two decades but makes clear to us that from the get-go, performance art is to be taken in China as socio- politically engaged, critically antagonistic and at the forefront of experimental contemporary Chinese art by virtue of a habitual mode of operating in the margins. -
British Journal of Chinese Studies, Vol. 9 (2), July 2019 ISSN 2048-0601 © British Association for Chinese Studies
British Journal of Chinese Studies, Vol. 9 (2), July 2019 ISSN 2048-0601 © British Association for Chinese Studies Bad Citizens and Symbolic Subjects: Wang Jin, Zhou Tiehai, and the Art of (In)Civility Ros Holmes The University of Manchester Abstract This article illuminates the relationship between contemporary art and visual representations of civility in postsocialist China. Focusing on a close visual analysis of two works of art: Wang Jin’s Ice-96 Central Plain (1996) and Zhou Tiehai’s Fake Cover (1996), it examines how artists sought to reject the binary terms with which civility is commonly constructed: between model and shameful forms of deportment, good and bad, spiritual and material, civil and uncivil. Directly challenging the social and political role of civility as it is shaped, imagined and “imaged” in China, it explores how civility plays a pivotal role in making and unmaking citizens and argues that these artists offer a redefinition of civility not as a “discourse of lack” but as a surplus quality, an embodied excess, something which could be performed, parodied or publicly cast off. It therefore stands as an argument for considering the vexed and contested parameters of civility as artists sought to navigate the fraught terrain between ideology and market reforms, consumer citizenship and the exigencies of globalisation. Keywords: China, contemporary art, civility, citizenship, globalisation, public conduct, visibility. On January 28, 1996, a crowd began to gather at the heart of Erqi Square in downtown Zhengzhou. Braving sub-zero temperatures, they arrived cocooned in hats and scarves, down jackets and padded coats. The mood was one of jubilant expectation, heightened by the promise of a commercial spectacle whose much anticipated unveiling had been insistently announced in a flurry of flyers and promotional banners, monopolising the city’s billboards and airwaves, its television screens and newspaper columns in the preceding weeks. -
THE AESTHETICS of CARE? the Artistic, Social and Scientific Implications of the Use of Biological/Medical Technologies for Artistic Purposes
THE AESTHETICS OF CARE? The artistic, social and scientific implications of the use of biological/medical technologies for artistic purposes. Presented by SymbioticA: The Art and Science Collaborative Research Laboratory & The Institute of Advanced Studies, University of Western Australia Perth Institute of Contemporary Arts 5 August 2002. The Aesthetics of Care? Symposium is part of the Biennale of Electronic Arts Perth (BEAP) 2002. Supported by ISBN: 1 74052 080 7 All copyright remains with the authors. Cover Design Edited by Oron Catts The Aesthetics of Care? is published by SymbioticA, School of Anatomy and Human Biology, University of Western Australia, 35 Crawley Avenue, Nedlands 6009. Western Australia. August 2002. www.symbiotica.uwa.edu.au 1 9 –9.15 Oron Catts – Welcome 9.15 – 10 Professor Lori Andrews Morning Session 10 – 10.20 KDThornton: The Aesthetics of Cruelty vs. the Aesthetics of Empathy 10.20 – 10.40 Stuart Bunt: A complicated balancing act? How can we assess the use of animals in art and science? 10.40 – 11.00 Laura Fantone: Cute Robots/Ugly Human Parts (A post-human aesthetics of care) 11.00 – 11.10 Questions 11.10 –11.25 Morning Tea 11.25 – 11.45 George Gessert: Breeding for Wildness (presented by Adam Zaretsky) 11.45 – 12.05 André Brodyk: Recombinant Aesthetics (adventures in paradise) 12.05 – 12.25 Peta Clancy: Gene Packs 12.25 – 12.35 Questions 12.35-1.30 Lunch Feeding Session of the semi-living objects 1.30-1.50 Julia Reodica: Test Tube Gods and Microscopic Monsters 1.50- 2.10 Redmond Bridgeman: The Ethics of -
The Global Performance Art Network: How the Net Works
The Global Performance Art Network: How the Net Works Author Clunn, Rebecca Published 2014 Thesis Type Thesis (PhD Doctorate) School Griffith Business School DOI https://doi.org/10.25904/1912/2414 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366836 Griffith Research Online https://research-repository.griffith.edu.au The Global Performance Art Network: How the Net Works Business School Department of Employment Relations & Human Resources Rebecca Clunn B. Music Performance – Queensland Conservatorium, Griffith University B. Creative Industries (2A Hons) – Queensland University of Technology Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy August 2013 Abstract ABSTRACT As a performance artist, I have experienced a strong synergy connecting performance artists, the work they make, the network they create and inhabit, and the trust that binds them together. I wanted to discover how that network operated. Therefore, this doctoral research project focuses on the question, “What is the operation of the global performance art network? ” Network theory forms the overarching theoretical framework, with the additional concepts of trust, community, social capital, and performance art playing a key part in the analysis. With no known research into the global performance art network to date, the research will contribute to theory development and practical perspectives in relation to performance art. In addressing the research question, I acknowledge my personal ontology and self-interest in the subject matter. This duality of researcher / participant has allowed for a conscious ethnographic approach to this research. I have adopted a pragmatist paradigm in approaching this research question, which encourages a mixed methods strategy, combining quantitative and qualitative research methods, allowing for triangulation of data. -
March/April 2015 Volume 14, Number 2 Inside
MARCH/A P R I L 2 0 1 5 VOLUM E 14, NUM BER 2 INSI DE Panel Discussion: Going to the Country Why Do We Still Need Museums? 10th Shanghai Biennale Artist Features: FX Harnoso, Tintin Wulia, Wanxin Zhang Exhibitions: San Francisco, Ithica, Manchester US$12.00 NT$350.00 P R INTED IN TAIWAN 6 VOLUME 14, NUMBER 2, MARCH/APRIL 2015 CONTENTS 2 Editor’s Note 37 4 Contributors 6 Going to the Country: Reconsidering Chinese Art Practices and Participation in the Rural Context Orianna Cacchione and Mia Yu 28 The Paradoxes of Autonomy: A Site of Critique Nikita Yingqian Cai 66 37 Why Do We Still Need Museums? An Interview with Hou Hanru, Artistic Director of MAXXI, National Museum of the 21st Century Arts, Rome Yu Hsiao Hwei 51 Pursuing Subjectivity: The 10th Shanghai Biennale—Social Factory Julie Chun 66 Expressions of Chinese Ethnicity and Cultural Heritage in Contemporary Indonesian 82 Art: FX Harsono and Tintin Wulia Lisa Catt 82 New Boundaries of Contemporary Art from Taiwan Yu-chieh Li 95 Against Rigour in Art: Landscape: the virtual, the actual, the possible? Brian Karl 106 106 Wanxin Zhang: Totem Erica Mohar 112 Relics, Memory, and Nostalgia in Harmonious Society Alexandra Lily Mitchell 121 Chinese Name Index 112 Cover: Huang Yongping, Bâton de Serpent, 2014, aluminum. Photo: Musacchio and Lanniello. Courtesy of the artist, Red Brick Art Museum, Beijing, and Fondazione MAXXI, Rome. We thank JNBY Art Projects, D3E Art Limited, Chen Ping, Mr. and Mrs. Eric Li, and Stephanie Holmquist and Mark Allison for their generous contribution to the publication and distribution of Yishu. -
Economist Calls National Computer Network 'Vital' a High-Speed Computer Network Linking to Collaborate Over Long Distances
2 Campus Cornell recycling 4 Freshman CHRONICLE orientation 7 Memory in infancy Volume 20 Number 1 August 25, 1988 Priority rules instituted by Arts College The College of Arts and Sciences has granted admission priority, for about 5 per- cent of its courses, to students enrolled in the college and others for whom those courses are required, Dean Geoffrey V. Ch- ester has explained in a letter distributed this week in student registration packages. The move responds to the sustained de- mand for Arts and Sciences courses by un- dergraduates enrolled in other Cornell col- leges, Chester said. It is intended to mini- mize the impact of that demand on enrolled Arts and Sciences students, he explained. Waiting lists will be kept for the courses for nonpriority students and — when neces- sary — for priority students closed out of the courses, he said. As of Monday, there were 40 specific courses for which the college had set up waiting lists and two more — Introduction to Art History (Art History 260) and May- hem, Myth and Modernism (English 458) — that were listed as closed. The college offers a total of about 900 courses, according to Lynne Abel, associate Jill Peltzman Continued on page 4 Benjamin Lee, left, and Jeff Welnfeld direct freshman and transfer students registering for Arts College courses Tuesday. Economist calls national computer network 'vital' A high-speed computer network linking to collaborate over long distances. tion and Research Network — testified on cies and institutions," he said. researchers and research projects at col- McAdams cautioned, however, that the economic and management factors in a na- In his testimony, McAdams distin- leges and universities throughout the coun- network would be only as useful as the fa- tional research and education network. -
Major Trends in the Development of Contemporary Chinese Art
MAJOR TRENDS IN THE DEVELOPMENT OF CONTEMPORARY CHINESE ART Li Xianting The art concepts utilised in this discussion are largely derived from the aesthetic and conceptual language of 20th century Western Modernism. This is an acknowledgement of the fact that the language of Modernism has become the international language of art. To a large degree, this reality has dictated the development of modern Chinese art. Yet there is another vitally important phenomenon that has shaped the development of Chinese art in the 20th century, and which explains the qualities of Chinese contemporary art which are different from Western art. Since the end of the Qing dynasty (1644-1911), when China's doors were "blown" wide open by the West, China has undergone three major cultural and aesthetic transitions marked by a rejection of an established cultural and aesthetic system and the adoption of a new one, always based on a modern Western system. In the course of this process of adoption and adaptation, the Western system underwent various levels of transformation, so that in the end there has been, enacted on Chinese soil, a cultural dialectic between China and the West marked by a pattern of mutual influence and change. It is the phenomenon of these transitions and the cultural dialectic that they have engendered which sets the evolution of China's contemporary art apart from that of the West. The first of these transitional periods began in the early part of this century, when the May Fourth movement [launched in 1919] raised the flag of anti-feudalist revolt and advocated the use of modern Western cultural ideas as a means of building a new culture for China. -
Thesisid 60 Zhuang 2009.Pdf (2.46
UNIVERSTIY OF CALIFORNIA Los Angeles Not Yet Farewell: Postsocialist Performance and Visual Art in Urban China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Jiayun Zhuang 2009 UMI Number: 3401649 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3401649 Copyright 2010 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. uest ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The dissertation of Jiayun Zhuang is approved. Michael HaoJ&tt <^ys^—x^^^ ^ Shelley Salamensky £• ?- R. Bin Wong lu-mei Shjh; Committee Co-Chair ilping Yan, Committed Co-Chair University of California, Los Angeles 2009 11 Dedicated to, my dearest and most fascinating parents, who have always been supportive, encouraging, and inspirational, unconditionally, even when they were puzzled by what I was doing, and even though they once painted a rather different picture of my life. iii TABLE OF CONTENTS Acknowledgments vi Vita vii Abstract of Dissertation ix Chapter 1: An Introduction about "the Post" 1 Notes 36 Chapter 2: Resignifying the Ideologized Bodies through Zhiti Xiju 41 Notes 92 Chapter 3: Factory 798: the Site of Nostalgia and its Dwellers 99 Notes 125 Chapter 4: The New Long March—Walking along the Thin Line 130 Notes 187 Bibliography 197 IV LIST OF FIGURES Figure 2-1.