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Title an Account of Development of Performance Art in China from 1979 Title An Account of Development of Performance Art in China from 1979-2010 Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/8753/ Dat e 2 0 1 2 Citation Tong, Pui Yin (2012) An Account of Development of Performance Art in China from 1979-2010. PhD thesis, University of the Arts London. Cr e a to rs Tong, Pui Yin Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author An Account of Development of Performance Art in China from 1979-2010 Pui Yin Tong University of the Arts London PhD 2012 An Account of Development of Performance Art in China from 1979-2010 Abstract The research study aims to raise questions about and gain new insights into the development of performance art in China. The development of performance art in China is set out in a chronological account of the events and art works that illustrate the development of a permissive, open-ended medium with endless variables. The events and works included in this study are executed by Chinese artists impatient with the limitations of traditional or established forms and determined to take their performance art works directly to the public. Following the rapid socio-economic development that started in the late 1970's, soon after the end of the Cultural Revolution and the start of economic reform. The chronological account of the development of Chinese performance art explains how Chinese artists, in creating their work, draw freely on a number of disciplines and media including literature, poetry, theatre, music, dance, architecture and painting, as well as video, film, slides and narrative. The account also illustrates how Chinese performance art has gradually moved away from the traditions of Chinese performance and how performance art works often promote interpretive individualism. Research shows that Chinese artists choose performance art to break free from the dominant media and the constraints of working within the evolving social and political environment in China. Research further shows that artists use performance art as a provocation to respond to changes. Finally, performance art is gaining acceptance from the public in recent Chinese socio-economic development. Abstract 5 Acknowledgments In this acknowledgment I would like to thank my supervisors Professor Noel Witts and Pete Brooks for their guidance and support provided throughout the entire research journey. I would also like to thank the college research committees especially Janet McDonnell for her assistance to go through the application of my maternity leave as well as Eva Broer and Stephan Barrett for their patience on my administrative questions. Special thanks to my parents, my in laws, my husband and my two precious children Valiant and Valerie for their support. They are the gift from God and I think I could not complete my research without their love and support. I would like to thank all the artists, curators, critics and friends I have interviewed and encountered during my research. Thank for those who have provided materials (e.g., photos, videos and documents etc) for my research: Shu Yang, Wang Chuyu, Xing Xin, Cao Yang, Pan Su, Wen Zhu, Man Yu, Zhou Bin, Cang Xin, Wang Ni, Dai Guangyu, Gao Feng, He Chengyao, He Yunchang, Cai Qing, Chen Jin, Chen Mo, Li Wei, Liu Jin, Ma Liuming, Zhu Luming Song Dong, Zhang Huan, Wang Jin, Wang Peng, Huang Rui, Yang Qing, Yang Zhichao, Zhu Fadong, Zhu Ming, Liu Chengrui, Xiao Lu, Zhang Binbin, Hei Yue, Liu Chengying, Zhu Gang, He Liping, Xu Dian, Jia Qianlan, Chen Jianjun, Chen Guang, He Ling, Wen Peng, Kwok Menghao, Yu Ji, Song Yongping, Luo Zhidan, Wei Guanqing, Zhang Nian, Wang Deren, Yin Xiuzhen, Zeng Xun, Sun Yuan, Peng Yu, Weng Fen, Ding Yi, Wu Gaozhong, Xi Jianjun, Sheng Qi, Zheng Yuke, Zhang Hua, Liu Bolin, Ou Zhihang, Feng Boyi, Su Kewen, Ng Fongchao, Wang Ting, Hu Xing, Yin Xiaofeng, Zheng Yong, Chen Xi, Li Yan, Yang Fan, Huang Xiang, Liu Wei, Xu Yong, Gu Zhengqing, Right-hander Group (Ma Shang & Bi Xiaobo), Fok Siuhar, Arai Shin-ichi, Zhang Yu, Zhu Yu, Wei Ye, Joseph Ramsey, Ng Choman, Eric Letourneau, Jennifer Wong, Jess Cheng, Deng Xiao Hang, Zhang Yehong, Hao Chenying, Huang Yanming, Cheng Yin, Stephanie Hacon. Finally I would like to thank all the brothers and sisters from my church, for their love and prayers. Acknowledgments 7 6 An Account of Development of Performance Art in China from 1979-2010 Table of Contents Catalogue Abstract 5 Acknowledgements 7 Table of Contents (Catalogue) 9 Table of Contents (Video) 11 Introduction 19 A Personal Note on the Research 19 The Research 19 Uniqueness and Exclusivity of Some of the Performance Art Materials Included in the Research 21 Performance Art and Chinese Socio-economic Development 28 The Three Major Eras of Development of Performance Art in China 31 Guide on Navigating the Performance Art Development Catalogue 33 Main Body 1979 to 1989 – The Emerging Stage of Performance Art in the Post Cultural 37 Revolution China Introduction for 1979-1989 38 1990 to 1999 – The Developmental Stage of Performance Art in Time of Rigorous Socio-economic Reform 85 Introduction for 1990-1999 86 2000 to 2010 – The Rapid Growth Stage of Performance Art as China Gains Global Influences 165 Introduction for 2000-2010 166 Conclusion 355 Bibliography 359 Index 379 Table of Contents 9 8 An Account of Development Catalogue of Performance Art in China from 1979-2010 Table of Contents Video Individual Artist Folder 1 Xiao Lu <Dialogue> Folder 1.1 Xiao Lu <Sperm> Zhang Binbin <Boundary Line> Folder 1.2 Zhang Binbin Wang Peng<Three Days> Folder 1.3 Wang Peng <Passing Through> Yang Zhichao <Planting Grass> Folder 1.4 Yang Zhichao <Ba> Yin Xiaofeng <Touch Art> Folder 1.5 Yin Xiaofeng He Chengyao <Open Great Wall> Folder 1.6 He Chengyao <99 Needls> <Auction Hair> Wang Chuyu <My Dream> Folder 1.7 Wang Chuyu <Chemical Experiment> <Reading> Zhu Gang <Rose Boat> Folder 1.8 Zhu Gang <Red Hood> <Reading. Hitting> <Shooting> <Poem’s Paradise> <Learning Words> Liu Jin <Blur In The Red Scarf> Folder 1.9 Liu Jin <How much Love do we have> He Liping <@41> Folder 1.10 He Liping Liu Chengrui <Walking Barefoot> Folder 1.11 Liu Chengrui <Guazi Move Earth-3> Table of Contents 11 Video Xing Xin< Kids of Workers> Folder 1.12 Xing Xin DaDao Live Art Festival Folder 3 <My Hand Caressed My Head in Cage for Three Days and Three Nights> 2nd DaDao Live Art Festival 2004 Folder 3 2004 <Send Xing xin under Escort> Yang Qing <I love you> <Free and Easy Wandering> Xiang Xishi <Wine> <The Black Box> Yang Zhichao <Earth> <Meditation on Floating Ice> Wang Chuyu <Scent of The World> Liu Xiangjie <It dose not count as waste> Open International Performance Art Festival Folder 2 Zhang Yuecun <Untitled> Open International Performance Art Festival 2000 Folder 2 2000 Li Mengyuan <Feeding> Open International Performance Art Festival 2005 Folder 2 2005 Huang Yan <Wheeler> Voila Lee <Door> Zhou Bin <Sort of Sound - Balance> 3rd DaDao Live Art Festival 2005 Folder 3 2005 Yuenjie <Beat, Center> Wang Ting <Joy is Fleeting> Liu Xiangjie <Mortgage of One Square Meter> Fu Yu <Big Family - Fire> Dong Xun, Po Shui, Song Yi <One Game, One Dream> Xu Dian <Bind> Hu Xing <Birth from The Fish> Yang Jiayong <Beautiful Coat> Wang Ting <Not Forbidden> Tang Limi <Ritual> Wang Ting <Different Ways Lead to the Same Ending> Yang Qiuhong <Endless Climbing> Yuenjie <Slightly Heating> Hu Geping <Water Writing> Jia Qianlan <Returning> Li Yan <Deer> Chen Qiulin <Untitled> Dai Na <Perspective> Xing Xin <Do not Touch My Hair, You Can Break My Leg> Du Qiuye <1+1+1> Yuenjie <Recycle> Zhou Yuechao <Edible Human Nature> Voila <Doors> Chen Xi <Communication Barrier> Liu Chengying <Replace> Hao Lei <Taoist Priest and Leaves "Supplement Each Other> Zhou Bin <Untitled> Jia Qianlan <Complement and Eliminate Each Other> Shao Yanxin <Obitrary Notice of Performance Art> Hu Xing <Hourglass> Chen Jin <Untitled> Cang Ying <Red/Blue/56> Liang Tao <Abortion Politics> Open International Performance Art Festival 2010 Folder 2 2010 Gao ya + Gao Na <You Are My Shadow> Huang Yan <Untitled> Chen Si <Untitled> Chen Jin <Pointed at the World> Qi Ying <The East is Red> Xiao Maizi <Don't Talk with Me about Art> Xiang Xishi <Untitled> Wu Qiuyan <Untitled> Wei Wei <Dialogue Beijing> Table of Contents 13 12 An Account of Development Video of Performance Art in China from 1979-2010 4th DaDao Live Art Festival 2006 Folder 3 2006 Xue Liming <L.E.P.P> Feng Weidong+Tongue Band <Blood Drops Killing> Yang Fang <Diary> Hei Yue`Ji Shengli <Buns-123> Zhou Bin <Reaction> Xiang Xishi <Xifeng> Zhou Yongyang <Double Pression> Li Mengyuan <Goldfish> Bai Chongmin + Wu Weihe <Black Clouds> Wang Chuyu <Write from Memory> June Alliance 2007 Folder 4 2007 Qing Shengming <Counter-Clockwise of Anti-SHI Series> Liu Yinsheng<Etheric Body> (Egg-Red Art Commune) Wu Shaoying <Stroll-2> Miao Peng <Hui Living> Ye Yili <KUSO-Pink Fairy> Man Yu <Untitled> Zhu Yanguang <Funerary> Zhou Bin <RMB 1 Yuan> Cui Tao + Wen Zi <What are you thinking> Ma Shang + Bi Xiaobo <Re-examine> He Li <Birdman> Zhou Yuechao <Blood Architecture> Xue Liming <Everybody is? Increasing Value> Xing Xin <I'm Same with You> Zhang Yiwang <National Concept - Mozi's Grief> Ma Yanling+Wang Ningmi <Female Writing> Liu Di <Wreath> Huang Rui <100 Tea-pots> Du Liang <Dang Dang> Mai Zi <Chinese Faith> 5th DaDao Live Art Festival 2007 Folder 3 2007 Zhang
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