Teacher Notes

Queensland Art Gallery Gallery of Modern Art TEACHER NOTES A list of the didactic and label information on each of the artists Cultural Revolution (1966–76) — from the massive public rallies, featured in ‘The China Project’ slideshow are listed below. These denunciations, humiliations and executions to scenes from provide background reading for teachers who are planning a everyday life; from a beautiful sunrise to domestic settings. Li’s school visit to the exhibition. negatives survived the period hidden under the floorboards of his home, and his photographs form a fascinating and rare chronicle WILLIAM YANG of the time. Photographer and performer William Yang has consistently In Harbin, the effects of the Cultural Revolution were heavily recorded his life since the early 1970s, from his family history in felt, with the destruction of temples and attacks on leading far north Queensland to the overlapping artistic and gay scenes party officials accused of being ‘black gang elements’. Li and in his adopted home of Sydney, to his travels around Australia other documentary photographers were subject to orders from and to China. His works provide a unique chronicle of Australian Mao Zedong to focus on the ‘positive’ aspects of the Cultural cultural life and offer rare insights into the experiences and stories Revolution, and his images of song and dance companies of Australian–Chinese people. performing revolutionary operas, or of peasants gathered together to read Mao’s words, reflect Mao’s commands to the media. Yang’s grandparents emigrated from southern China during the However, Li formed his own ‘Red Guard’ group, which allowed northern Australian gold rush of the 1880s. His parents met in him access to events denied to other photographers, Cairns and moved to Dimbulah on the Atherton Tableland, where and enabled him to record the less acceptable face of the Yang and his siblings grew up. Yang’s family is now scattered Cultural Revolution. around Australia and across the world, and one of his ongoing projects has been to meet and photograph them, wherever they This limited-edition portfolio concludes with a diptych from might be. He has travelled to China five times since 1989, visiting 1976 showing a massive rally of the People’s Liberation Army his ancestral village and photographing his experiences. These in Harbin’s People’s Stadium denouncing the more liberal Deng journeys, while constituting a return to Yang’s roots, also, as he Xiaoping. It is fitting that this image concludes the portfolio — says, ‘tend to reinforce the fact that I’m Australian’. 1976 was the year of Mao’s death, the infamous Gang of Four’s prosecution and the end of the Cultural Revolution. By choosing For ‘The China Project’, Yang has produced two new works this image, the portfolio hints at the future — not only the ongoing that respond to the Gallery’s architecture and reflect his interest psychological effects of the era, but also Deng Xiaoping’s in family and portraiture. The first, presented on the foyer wall, role in China’s economic liberalisation and the 1989 events in is a large collage of portraits of family members, interspersed Tiananmen Square. with pictures of historical Chinese sites in Australia. This work, through images of one extended family, reflects the diversity of the Chinese community and its integration into Australian society LUO BROtherS and landscape. The second, displayed in the foyer cabinet, This collaborative work by the Luo Brothers plays on the features self-portraits that trace Yang’s life from early childhood propagandist imagery of twentieth-century China. Contrasting folk to the present, with a particular focus upon his exploration of art and symbolism with the international language of consumer his Chinese heritage. Accompanying these photographs is capitalism, these highly lacquered ‘Untitled’ works cheekily a collection of personal items that enhance and extend this strike at the heart of China’s contemporary popular culture. narrative of the artist’s life. While Yang’s use of photographs The Luo Brothers seek to subvert and comment on this current and objects to tell stories is individual and specific, he is trend through computer manipulation of a traditional iconography always concerned with broader questions of place, history — the New Year Print or nianhua. and belonging. In pre-communist China, the nianhua was the most popular auspicious poster-form of expressing good luck and happiness, LI ZheNSheNG long life and wealth. In rural China, such posters would be seen From the mid 1960s, for almost 20 years, Li Zhensheng worked on front gates, courtyard doors and on domestic ritualistic as a photographer for the Heilongjiang Daily newspaper in the objects. New Year Prints devoted to children were the most city of Harbin, north-eastern China. During this period, he took popular variety. over 30 000 photographs documenting the daily events of the 1 Queensland Art Gallery Gallery of Modern Art FANG LIJUN Kate BeyNON Fang Lijun was a child during Mao Zedong’s Cultural Revolution, In this series of drawings, Kate Beynon draws on the two and was regularly criticised because of his class background. disparate cultures (from Hong Kong and Australia) that constitute He witnessed the 1989 Tiananmen Square incidents as an art her background to explore aspects of pregnancy and student in Beijing, and became involved with the Avant-garde motherhood in a highly charged and graphically powerful manner. at that time. Fang’s painting of the yawning — or screaming — The drawings display her interest in cartoons, comic books, man appearing behind an inexplicably laughing crowd is typical graffiti art and calligraphic text, as well as ancient legends. of the cynical realist style, which reflected a concern with ‘the As Beynon comments: absurd, the mundane and the meaningless events of everyday life’. Scattered across the picture surface are brightly coloured The female figure is not directly a self-portrait but based on roses, chrysanthemums and oleander blossoms that sail out the image of ‘Li Ji’, the warrior girl of an old Chinese fable, of the sky — these blossoms are rootless, ungrounded in this whose image I developed to embody a strong, female world but full of symbolism from China’s past. Mao Zedong once Asian–Australian representation. Her depicted pregnancy was said ‘Let a hundred flowers bloom. Let a hundred schools of naturally based on my own feelings of anticipation for the birth thought contend’. Fang is disparaging of China’s idealism, which [of my son] and hope for a healthy baby. he considers full of political, social and cultural contradictions. His characters are self-portraits conveying parody and humour Beynon first began to use the character of Li Ji in 1996, and and reflecting the language of anonymous rebelliousness, where allowed the reincarnated heroine to move between ancient differences in age, status or gender are eliminated. The title, times and contemporary culture. While the fabled Li Ji battled a 980810, provides the completion date of this painting, a vague deadly python, the contemporary Li Ji confronts issues of identity, and inconsequential reference that deliberately suggests a racism, politics and class. In these works, the young woman’s mundane and repetitive world. intense expression challenges conventional romantic depictions of pregnancy as a passive state. The muted presence of the fully formed foetus, placid and contained, contrasts with the outward XU BING demeanour of the woman, whose wildly flying hair denotes her A book from the sky 1987–91 (also known as Tian shu in inner strength. Chinese) is composed of bound books covering the floor and reams of paper draped overhead, recalling the daily papers in China, which are pasted on boards for all to read. These Sara TSE reams display around 4000 printed characters that were Sara Tse’s fragile, visually haunting objects are made from meticulously carved by Xu Bing. Paradoxically, although they porcelain, a medium which historically indicates stature and look readable, all of the characters were invented by the wealth in China, Japan, Korea and Europe. Tse carefully dips artist. Capturing the ambition and courage that characterised pieces of everyday clothing in liquid porcelain. The fluid then contemporary Chinese art of the period, this work toys with the forms around and penetrates the fibres of the garments, venerated position held by the high art of calligraphy, suggesting creating a delicate shell or imprint before the object disintegrates that the aim of writing, which is to spread knowledge, has been during firing. subverted. Interpreted by authorities as an audacious statement, the work critically questions the notion of power and the collapse Tse’s work challenges the reverence for objects made from of political dialogue through the written word. A book from the porcelain, contrasting it with the throwaway culture of fashion sky, which took Xu Bing some five years to create, also exhibits and trends in her native Hong Kong. Her objects are powerful in a reverence for the discipline and reward of mastering text and their summoning of a ghostly presence; these sculptures closely the fundamental role that the process of writing words and texts resemble, and yet are fundamentally transformed from, the items can play in the way that we engage with the world. Thus, Xu of clothing from which they are made. Bing’s epic work has been seen to return to the promise of text. This magnificent installation symbolises aspects of both old and emerging China. While its medium and technique are traditional, NI HAIfeNG Ni Haifeng makes art that manipulates cultural stereotypes and A book from the sky’s scale and daring intellectual energy capture symbols, encouraging contemplative inquiry. Working across the spirit of contemporary artistic practice. 2 Queensland Art Gallery Gallery of Modern Art a range of media including video, installation and photography, his recent works explore ideas of geography and trade.

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