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november/december 2013 v o l u m e 1 2 , n u m b e r 6 Ie n s I d Artist Features: Cai Jin, Shao Yinong and Muchen Interviews: Ai Weiwei, He Chongyue, Au Hoi Lam Curatorial Inquiries 14: What Do We Aspire To? Reviews: Xu Tan, 5th Auckland Triennial US$12.00 NT$350.00 pINTR e D I N TA IWAN 6 VOLUME 12, NUMBER 6, NOVEMBER/dEcEMBER 2013 CONTENTS 2 Editor’s Note 20 4 Contributors 6 A Conversation with Ai Weiwei Zheng Shengtian 20 A Bridge to the Forgotten: Remembrance in Shao Yinong and Muchen's The Assembly Halls Shan Windscript 36 He Chongyue: Layers of Time and Space 36 Alice Schmatzberger 45 Time and Love: Cai Jin’s New Works Patricia Eichenbaum Karetzky 60 Objects of Experience: A Conversation with Au Hoi Lam Stephanie Bailey 78 Curatorial Inquiries 14: What Do We Aspire To? Carol Yinghua Lu and Nikita Yingqian Cai 45 82 The 5th Auckland Triennial: If You Were to Live Here … Richard Dale 98 The Evolution of Land—The Evolution of Us: Xu Tan’s Search for Questions Evelyn Lok 108 Chinese Name Index 60 Cover: He Chongyue, A Billion to One: Dictated Parenthood and 82 the Feudal Mind No. 7 (detail), 2006, colour photograph, 152 x 190 cm. Courtesy of the artist. We thank JNBY Art Projects, Canadian Foundation of Asian Art, Chen Ping, Mr. and Mrs. Eric Li, and Stephanie Holmquist and Mark Allison for their generous contribution to the publication and distribution of Yishu. Vol. 12 No. 6 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 ounding editor Ken Lum As time and events seem to accelerate, history becomes an ever more slippery editor-in-chie Keith Wallace anaging editor Zheng Shengtian concept. With mainland China’s transformation editors Julie Grundvig since the late 1970s, the previous era of the Kate Steinmann Chunyee Li Cultural Revolution is receding from the consciousness of many Chinese citizens. editors (chinese version) Carol Yinghua Lu Chunyee Li The first three texts in this issue demonstrate Chen Ping the importance of remembering and of not Dongyue Su Debra Zhou letting the past, something that can serve as circulation anager Larisa Broyde a lesson for the present, disappear. Ai Weiwei advertising coordinator Michelle Hsieh recounts his experiences as a child during web site editor Chunyee Li the Cultural Revolution, his entry into making advisory board art, and his years as a young Chinese artist Judy Andrews, Ohio State University Melissa Chiu, Asia Society Museum in New York. Photographers Shao Yinong John Clark, University of Sydney and Muchen examine the shifting uses of Lynne Cooke, Museo Reina Sofia Okwui Enwezor, Critic and Curator traditional assembly halls from their original Britta Erickson, Independent Scholar and Curator functions and their politicization during the Fan Di’an, National Art Museum of China Fei Dawei, Independent Critic and Curator Cultural Revolution to their current state of Gao Minglu, University of Pittsburgh disrepair or repurposing. He Chongyue, also a Hou Hanru, Artistic Director, MAXXI, Rome Hu Fang, Vitamin Creative Space and the shop photographer, determinedly explores the recent Katie Hill, University of Westminster past by researching wall and stone tablet Claire Hsu, Asia Art Archive Martina Köppel-Yang, Independent Critic and Historian messaging as forms of political and cultural Sebastian Lopez, Critic and Curator communication, the One-Child Policy, and the Lu Jie, Long March Space Charles Merewether, Director, ICA Singapore aging population in China and its diminished Ni Tsaichin, Tunghai University role within a modern Chinese society. Apinan Poshyananda, Ministry of Culture, Thailand Philip Tinari, Ullens Center for Contemporary Art Chia Chi Jason Wang, Independent Critic and Curator Wu Hung, University of Chicago Yishu 59 also features texts on two women Pauline J. Yao, M+, West Kowloon Cultural District artists, Cai Jin, from Beijing, and Au Hoi Lam, publisher Art & Collection Group Ltd. from Hong Kong; we are given overviews of 6F. No. 85, Section 1, their respective work and how it has evolved Chungshan N. Road, Taipei, Taiwan 104 over the years. These women demonstrate Phone: (886)2.2560.2220 quite different sensibilities; Cai Jin is notable Fax: (886)2.2542.0631 E-mail: [email protected] for her expressive use of paint, and Au Hoi Lam exhibits a contemplative restraint in her vice general anager Jenny Liu Alex Kao drawings, paintings, and sculptures. arketing anager Joyce Lin circulation executive Perry Hsu Betty Hsieh Nikita Yingqian Cai and Carol Yinghua Lu printing Chi Wei Colour Printing Ltd. continue their Curatorial Inquiries discussions with a fourteenth edition, exploring the idea of web site http://yishu-online.com web design Design Format institutional critique as proposed by Andrea 1683 - 3082 Fraser. They too look at the recent past, and Yishu is published bi-monthly in Taipei, Taiwan, and edited how critics and curators remain stuck within in Vancouver, Canada. The publishing dates are January, March, May, July, September, and November. All subscription, accepted terminologies when analyzing advertising, and submission inquiries may be sent to: artwork. In conclusion, we feature two reviews, Yishu Editorial Office one covering the 5th Auckland Triennial 200–1311 Howe Street under the directorship of Hou Hanru, and one Vancouver, BC, Canada V6Z 2P3 considering Xu Tan’s exhibition in Guangzhou Phone: 1.604.649.8187 that combined recent projects with some of his Fax: 1.604.591.6392 E-mail: [email protected] earlier work. subscription rates 1 year (6 issues): $84 USD (includes airmail postage) 2 years (12 issues): $158 USD (includes airmail postage) 1 Year PDF Download (6 issues): $49.95 USD (http://yishu-online.com) Keith Wallace design and production Leap Creative Group creative director Raymond Mah art director Gavin Chow designer Philip Wong No part of this journal may be reprinted without the written permission from the publisher. The views expressed in Yishu are 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 典藏國際版文選創刊於 2012年5月1日 典藏國際版‧第12卷第6期‧2013年11–12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） 2 編者手記 總 策 劃： 鄭勝天 主 編： 華睿思 (Keith Wallace) 4 作者小傳 編 輯： 顧珠妮 (Julie Grundvig) 史楷迪 (Kate Steinmann) 黎俊儀 6 與艾未未的對話 中文版 鄭勝天 執行主編： 盧迎華 編 輯： 陳 萍 黎俊儀 蘇東悅 20 越過遺忘的惡水：邵逸農、 周曉鳴 慕辰《大禮堂》中的記憶表現 行 政： 藍立杉 (Larisa Broyde) 王侍（Shan Windscript） 廣 告： 謝盈盈 網站編輯： 黎俊儀 (Chunyee Li) 36 何崇岳：時空層次 顧 問： 王嘉驥 田霏宇 (Philip Tinari) Alice Schmatzberger 安雅蘭 (Judy Andrews) 巫 鴻 林似竹 (Britta Erickson) 45 時間與情愛：蔡錦的新作 范迪安 招穎思 (Melissa Chiu) Patricia Karetzky 洛柿田 (Sebastian Lopez) 胡 昉 侯瀚如 60 經驗的客體：與區凱琳的對話 徐文玠 (Claire Hsu) 姜苦樂 (John Clark) 白慧怡（Stephanie Bailey） 姚嘉善 (Pauline J. Yao) 倪再沁 高名潞 78 策展問題之十四 ：我們期望什麼？ 費大爲 楊天娜 (Martina Köppel-Yang) 蔡影茜（Nikita Yingqian Cai） 盧 杰 盧迎華（Carol Yinghua Lu） Lynne Cooke Okwui Enwezor Katie Hill Charles Merewether 82 第五届奧克蘭三年展——《如果你生活 Apinan Poshyananda 在這裏……》 出 版： 典藏雜誌社 Richard Dale 副總經理： 劉靜宜 高世光 行銷總監： 林素珍 發行專員： 許銘文 98 我們和土地的演變：徐坦所搜索的問題 謝宜蓉 駱浩妍（Evelyn Lok） 社 址： 台灣臺北市中山北路一段85號6樓 電話: (886) 2.2560.2220 傳真：(886) 2.2542.0631 電子信箱： 108 中英人名對照 [email protected] 編 輯 部： Yishu Office 200-1311 Howe Street, Vancouver, BC, V6Z 2P3, Canada 電話: (1) 604.649.8187 傳真：(1) 604.591.6392 電子信箱: [email protected] 訂閱、投稿及廣告均請與編輯部聯系。 設 計： Leap Creative Group, Vancouver 創意總監： 馬偉培 藝術總監： 周繼宏 設 計 師： 黃健斌 印 刷： 臺北崎威彩藝有限公司 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： http://yishu-online.com 管 理： Design Format 國際刊號: 1683-3082 售價每本12美元。 封面：何崇岳：計劃性生育－07，2006，彩色攝影， 訂 閲：一年84美元，兩年158美元（含航空郵資）。 152 x 190 公分，藝術家提供 網上下載： 一年49.95美元 感謝JNBY、加拿大亞洲藝術基金會、陳萍、 網上訂閱： http://yishu-online.com 李世默夫婦、賀芳霓（Stephanie Holmquist） 和Mark Allison 對本刊出版與發行的慷慨支持 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 Stephanie Bailey has an M.A. in of Fudan University and was a participant contemporary art theory from Goldsmiths in the de Appel Curatorial Programme, College, University of London, and a B.A. in Amsterdam, 2009–10. classical civilization with English literature from King’s College, London. Between 2006 Richard Dale is an independent curator and and 2012, she lived in Athens, Greece, where art writer living in Auckland, New Zealand. she played a formative role in designing and He played a formative role in introducing managing the BTEC-accredited Foundation new Chinese art to New Zealand and curated Diploma in Art and Design at Doukas the first solo exhibition of Zhang Huan Education while writing on contemporary performances on video to tour Australasia. art production and its discourses from He is former art critic for the New Zealand around the world as Art and Culture Herald, the country’s largest newspaper, for Editor of Insider Publications and as a which he still occasionally writes, and has freelance critic and essayist. She is currently also written for Art+Text, Art Asia Pacific, Managing Editor of Ibraaz. Her writing has and Art New Zealand. He lectures regularly appeared in publications including ART on contemporary East Asian art, with a PAPERS, Aesthetica, ARTnews, Artforum, focus on its recent history, and has a special Frieze, LEAP, Modern Painters, Notes on interest in performance and conceptual art. Metamodernism, and Yishu: Journal of The last exhibition he curated was Article 27, Contemporary Chinese Art. 2009, commissioned to recognize the 60th anniversary of the Universal Declaration of Nikita Yingqian Cai currently lives Human Rights. His latest writing includes in Guangzhou and is Curator at the a review of Art Basel Hong Kong Art Fair, Guangdong Times Museum.
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  • James Cox Interview Transcript

    James Cox Interview Transcript

    www.china1980s.org INTERVIEW TRANSCRIPT JAMES COX Interviewer: Jane DeBevoise Date:10 Nov 2009 Duration: about 1 hr 27 mins Location: New York Jane DeBevoise (JD): I would love for you to talk a little bit about Grand Central Gallery, what it represented, whom it represented, your impressions about the exhibition, and how relationships were developed. You can tell any stories you want to tell. To begin, can you talk a little bit about Grand Central Gallery, how it was positioned and how you came upon these artists? James Cox (JC): I came to New York in 1976, and the reason my wife and I came was that I got a job, which is always a wonderful opportunity. I was 30 years old. I met my wife in Oklahoma City when we were in college together. Her father was an artist who showed in Chicago, New York, and Santa Fe. The New York gallery that represented him was the Grand Central Gallery. He was very familiar with the staff but more importantly he was familiar with the first Director of Grand Central Galley, who founded the gallery in 1922. He had been director for 56 years and was ready to retire. My father-in-law kept saying, ‘You really ought to go to New York and get in touch with the board; let them know that you are available…’, and so on. So I did that. I was very lucky to be hired. In brief, the gallery was set up to showcase American art, and was backed up by prominent American businessman including very major names in business, banking, and law.