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Art and China's Revolution

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: january / february 9 January/February 2009 | Volume 8, Number 1 Inside Special Feature: The Phenomenon of Asian Biennials and Triennials Artist Features: Yang Shaobin, Li Yifan Art and the Cultural Revolution US$12.00 NT$350.00 6 VOLUME 8, NUMBER 1, JANUARY/FEBRUARY 2009 CONTENTS 2 Editor’s Note 32 4 Contributors Autumn 2008 Asian Biennials 6 Premature Farewell and Recycled Urbanism: Guangzhou Triennial and Shanghai Biennale in 2008 Hilary Tsiu 16 Post-West: Guangzhou Triennial, Taipei Biennial, and Singapore Biennale Jo-Anne Birnie Danzker Contemporary Asian Art and the Phenomenon of the Biennial 30 Introduction 54 Elsa Hsiang-chun Chen 32 Biennials and the Circulation of Contemporary Asian Art John Clark 41 Periodical Exhibitions in China: Diversity of Motivation and Format Britta Erickson 47 Who’s Speaking? Who’s Listening? The Post-colonial and the Transnational in Contestation and the Strategies of the Taipei Biennial and the Beijing International Art Biennale Kao Chien-hui 54 Contradictions, Violence, and Multiplicity in the Globalization of Culture: The Gwangju Biennale 78 Sohl Lee 61 The Imagined Trans-Asian Community and the Fukuoka Asian Art Triennale Elsa Hsiang-chun Chen Artist Features 67 Excerpts fom Yang Shaobin’s Notebook: A Textual Interpretation of X-Blind Spot Long March Writing Group 78 Li Yifan: From Social Archives to Social Project Bao Dong Art During the Cultural Revolution 94 84 Art and China’s Revolution Barbara Pollack 88 Zheng Shengtian and Hank Bull in Conversation about the Exhibition Art and China’s Revolution, Asia Society, New York 94 Red, Smooth, and Ethnically Unified: Ethnic Minorities in Propaganda Posters of the People’s Republic of China Micki McCoy Reviews 101 Chen Jiagang: The Great Third Front Jonathan Goodman 106 AAA Project: Review of A-Z, 26 Locations to Put Everything 101 Melissa Lam 109 Chinese Name Index Yuan Goang-Ming, Floating, 2000, single-channel video, 3 mins. 50 secs. Courtesy of the artist and the Singapore Biennale. 1 Editors Note YISHU: Journal of Contemporary Chinese Art president Katy Hsiu-chih Chien While comments about biennial fatigue continued ndin editr Ken Lum to grow, the autumn of 2008 was a banner year in the Asia Pacific region, with no fewer than editr Keith Wallace nin editr Zheng Shengtian nine biennials/triennials opening within weeks ssite editrs Julie Grundvig of each other. Yishu 30 presents two reviews Kate Steinmann examining four of these events and brings into editril ssistnt Chunyee Li focus the impact of the curatorial propositions that irltin nager Larisa Broyde were intended to make each of them important d ner Joyce Lin web site editr Chunyee Li and distinct within what is becoming a highly competitive arena. disry brd Judy Andrews, Ohio State University Taking the biennial/triennial discussion even Melissa Chiu, Asia Society Museum further, I thank Elsa Hsiang-chun Chen, who has John Clark, University of Sydney Lynne Cooke, Dia Art Foundation guest edited five texts by well-known and emerging Okwui Enwezor, San Francisco Art Institute scholars who explore the specific histories and Britta Erickson, Independent Scholar & Curator Fan Di’an, National Art Museum of China current standing of Asian biennials and triennials. Fei Dawei, Guy & Myriam Ullens Foundation Together, these texts embrace a pan-Asian Gao Minglu, University of Pittsburgh perspective and serve to begin the process Hou Hanru, San Francisco Art Institute Katie Hill, University of Westminster of identifying the role that Asian biennials and Claire Hsu, Asia Art Archive triennials hold within the global context. Martina Köppel-Yang, Independent Critic & Historian Sebastian Lopez, Institute of International Visual Arts Lu Jie, Independent Curator On a different note, Beijing did much to promote Charles Merewether, Critic & Curator Ni Tsaichin, Tunghai University an image of a stable and prosperous China during Apinan Poshyananda, Ministry of Culture, Thailand the Olympics. It was thus compelling to see two Chia Chi Jason Wang, Independent Critic & Curator Wu Hung, University of Chicago exhibitions, one with work by Yang Shaobin and Pauline J. Yao, Independent Scholar the other with Li Yifan, that gave homage to the people who have contributed to this prosperity pbliser Art & Collection Group Ltd. but who have endured great sacrifice. These 6F. No.85, Section 1, two exhibitions, one of which had some of its Chungshan N. Road, Taipei, Taiwan 104 videos shut down by the authorities, brought to Phone: (886)2.2560.2220; light the social and medical consequences for Fax: (886)2.2542.0631 the labourers who are at the front line of China’s E-mail: [email protected] progress but who are too often disregarded for desin nd prdtin Leap Creative Group the contributions they make. retie diretr Raymond Mah rt Diretr Gavin Chow Yishu 30 also presents three texts discussing desiner Philip Wong China’s art during the Cultural Revolution. Two focus on the ground-breaking exhibition, Art webster Website ARTCO, Taipei and China’s Revolution, held at Asia Society printin Chong-yuan Image Ltd., Taipei in New York, while the other ventures into the issn - little-explored territory of ethnic diversity as it was presented and promoted in posters from the Cultural Revolution. Yishu is published bi-monthly in Taipei, Taiwan, and edited in Vancouver, Canada. The publishing dates are January, March, May, July, September, and November. Keith Wallace All subscription, advertising, and submission inquiries may be sent to: Yishu Office 200–1311 Howe Street Vancouver, BC, Canada V6Z 2P3 Phone: 1.604.649.8187; Fax: 1.604.591.6392 E-mail: [email protected] Website: www.yishujournal.com YISHU EDITIONS Subscription rates: Now available. Four limited edition prints 1 year (six issues): $84 USD (includes $24 for airmail postage); of artwork by some of the most important in Asia $78 USD (includes $18 for airmail postage). Chinese artists. 2 years (twelve issues): $158 USD (includes $48 for airmail postage); in Asia $146 USD (including $36 for airmail postage). Please see back cover for images and contact information. No part of this journal may be reprinted without the written permission from the publisher. 2 Yishu: Journal of Contemporary Chinese Art 典藏國際版‧第8卷第1期‧2009年1 - 2月 2 編者手記 典藏國際版創刊於 2002年5月1日 4 作者小傳 社 長： 簡秀枝 總策劃： 鄭勝天 亞洲雙年展評述 創刊編輯： 林蔭庭（Ken Lum） 6 再見為時尚早、重返都市話題— 主 編： 華睿思 (Keith Wallace) 廣州三年展與上海雙年展 副編輯： 顧珠妮 (Julie Grundvig) 徐美華 (Hilary Tsui) 史楷迪 (Kate Steinmann) 編輯助理： 黎俊儀 (Chunyee Li) 16 后西方時代— 廣州三年展、臺北雙年展和新加坡雙年展 行 政： 藍立杉 (Larisa Broyde) Jo-Anne Birnie Danzker 網站編輯： 黎俊儀 (Chunyee Li) 廣 告： 林素珍 當代亞洲藝術與雙年展現象 顧 問： 王嘉驥 30 引言 安雅蘭 (Judy Andrews) 陳香君（Elsa Hsiang-chun Chen） 巫 鴻 林似竹 (Britta Erickson) 32 雙年展機制與當代亞洲藝術的流通 范迪安 姜苦樂 ( John Clark) 招穎思 (Melissa Chiu) 洛柿田 動機與形式的多元性： (Sebastian Lopez) 41 侯瀚如 談中國定期性展覽的內涵 徐文玠 (Claire Hsu) 林似竹（Britta Erickson） 姜苦樂 (John Clark) 47 誰在講話？從後殖民到跨國際間的距離 姚嘉善 (Pauline J. Yao) 倪再沁 高千惠 高名潞 54 文化全球化中矛盾、暴力和多樣性： 費大爲 楊天娜 (Martina Köppel-Yang) 光州雙年展 盧 杰 Sohl Lee Lynne Cooke 61 主體意識的游疑與認知： Okwui Enwezor Katie Hill 跨亞藝術社群與福岡亞洲藝術三年展 Charles Merewether 陳香君（Elsa Hsiang-chun Chen） Apinan Poshyananda 藝術家聚焦 出 版： 典藏雜誌社 67 楊少斌筆記本摘錄： 台灣臺北市中山北路一段85號6樓 「X–後視盲區」的文本解讀 電話: (886) 2.2560.2220 傳真：(886) 2.2542.0631 長征寫作組 電子信箱：[email protected] 78 李一凡：從社會檔案到社會計劃 編輯部： Yishu Office 鮑棟 200-1311 Howe Street, Vancouver, BC, Canada V6Z 2P3 文化大革命中的藝術 電話: (1) 604.649.8187 82 藝術與中國革命 傳真：(1) 604.591.6392 電子信箱: [email protected] Barbara Pollack 86 卜漢克（Hank Bull）與鄭勝天 訂閱、投稿及廣告均請與編輯部聯系。 關于紐約亞洲協會美術館 「藝術與中國革命」展覽的對話 設 計： Leap Creative Group 印 刷： 中原造像股份有限公司 94 中華人民共和國政治宣傳畫中的 少數民族：紅光亮和民族統一 網 址： www.yishujournal.com Micki McCoy 管 理： 典藏雜誌社 展評 國際刊號: 1683-3082 101 陳家剛：大三線 本刊在溫哥華編輯設計，臺北印刷出版發行。 一年 期。逢1、3、5、7、9、11月出版。 Jonathan Goodman 6 106 評亞洲藝術文獻庫項目： 售價每本12美元。 A-Z，26種藝文獻裝置 訂閲：一年84美元，兩年158美元（含航空 林嘉敏（Melissa Lam） 郵資）。亞洲地區一年78美元，兩年146美元 （含航空郵資）。 109 中英人名對照 訂閱單可從本刊網址下載。 版權所有，本刊內容非經本社同意不得翻譯和 轉載。 封面：袁廣鳴，漂浮，2000，單頻道錄影，3分50秒， 新加坡雙年展及藝術家提供 3 Contributors Bao Dong is a Beijing-based curator and John Clark, FAHA, CIHA, Ph.D., is Professor of currently Head of the Curatorial Department Asian Art History at the University of Sydney and of the Iberia Center for Contemporary Art, Founding Director of the Australian Centre for Beijing. In 2000–03 he taught art at Chaohu Asian Art & Archaeology. Among his books are College, Anhui province. After his postgraduate Modern Asian Art (Sydney: Craftsman House and studies in the Art History Department of the Honolulu: University of Hawai’i Press, 1998), Sichuan Fine Arts Institute in 2006, he taught the co-edited Eye of the Beholder (Sydney: Wild at the Institute of Movie & Television Media Peony, 2006), Modernities Compared: Chinese and and Communications, Chongqing Normal Thai Art in the 1980s and 1990s (Sydney: Power University. Meanwhile, with others he created Publications, forthcoming 2009), and Modernities H2 Art Space at the Chongqing 501 Art Base. In of Chinese Art (in submission, 2008). From 2004 2007, he was appointed Academic Director of to 2006 he worked on the new biennales in Asia the Shanghai Duolun Museum of Modern Art. and drafted a book, Biennales and Contemporary His articles have appeared in many Chinese art Asian Art: Histories of the Asian “New,” which is magazines and catalogues. His recent curatorial also in submission. From 2008 to 2012 he will work includes Notes of Conception: A Local be working on a new comparative study of “The Narrative of Contemporary Chinese Painting at Asian Modern” under an Australian Research the Iberia Center for Contemporary Art. Council Professorial Fellowship. Hank Bull is an artist based in Vancouver. Jo-Anne Birnie Danzker is Director Emeritus of He has been a member of the Western Front the Museum Villa Stück in Munich (1992–2007). Society, an artist-run centre, since 1973.
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    Independent cinema in the Chinese film industry Tingting Song A thesis submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Faculty of Creative Industries Queensland University of Technology 2010 Abstract Chinese independent cinema has developed for more than twenty years. Two sorts of independent cinema exist in China. One is underground cinema, which is produced without official approvals and cannot be circulated in China, and the other are the films which are legally produced by small private film companies and circulated in the domestic film market. This sort of ‘within-system’ independent cinema has played a significant role in the development of Chinese cinema in terms of culture, economics and ideology. In contrast to the amount of comment on underground filmmaking in China, the significance of ‘within-system’ independent cinema has been underestimated by most scholars. This thesis is a study of how political management has determined the development of Chinese independent cinema and how Chinese independent cinema has developed during its various historical trajectories. This study takes media economics as the research approach, and its major methods utilise archive analysis and interviews. The thesis begins with a general review of the definition and business of American independent cinema. Then, after a literature review of Chinese independent cinema, it identifies significant gaps in previous studies and reviews issues of traditional definition and suggests a new definition. i After several case studies on the changes in the most famous Chinese directors’ careers, the thesis shows that state studios and private film companies are two essential domestic backers for filmmaking in China.
  • To Care, to Curate. a Relational Ethic of Care

    To Care, to Curate. a Relational Ethic of Care

    Curare: to care, to curate. A relational ethic of care in curatorial practice Sibyl Annice Fisher Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Fine Art, History of Art and Cultural Studies November, 2013 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgment. © 2013 The University of Leeds and Sibyl Annice Fisher The right of Sibyl Annice Fisher to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. Readers are respectfully advised that this document contains the names and images of Indigenous persons who are now deceased. Acknowledgements I would like to thank the School of Fine Art, History of Art and Cultural Studies for the international scholarship that enabled me to undertake this research project, and David Jackson for the initial conversation. For archival assistance, many thanks to Gary Haines at Whitechapel Art Gallery, Jennifer Page at the Research Center, National Museum of Women in the Arts, Janet Moore at the Institute of Contemporary Art, Boston, and Gary Dufour at the Art Gallery of Western Australia. Thanks also to Aunty Stephanie Gollan at Tandanya National Aboriginal Cultural Institute. Thank you to Rayma Johnson for kind permission to use the image of Russell Page, and to Glen Menzies and Hetti Perkins for advice on reproducing work by Emily Kame Kngwarreye.

  • Cambridge University Press 978-1-107-02450-2 — Art and Artists in China Since 1949 Ying Yi , in Collaboration with Xiaobing Tang Index More Information

    Cambridge University Press 978-1-107-02450-2 — Art and Artists in China since 1949 Ying Yi , In collaboration with Xiaobing Tang Index More Information Index Note: The artworks illustrated in this book are oil paintings unless otherwise stated. Figures 1–33 will be found in Plate section 1 (between pp. 49 and 72); Figures 34–62 in section 2 (between pp. 113 and 136); Figures 63–103 in section 3 (between pp. 199 and 238); Figures 104–161 in section 4 (between pp. 295 and 350). abstract art (Chinese) 163, 269–274, art market see commercialization of art 279 art publications (new) 86, 165–172 early 1980s 269–271 Artillery of the October Revolution 42 ’85 Movement –“China/Avant-Garde” Arts and Craft Movement 268 269–271 Attacking the Headquarters (Fig. 27) 1989 – present (post-modern) stage 273 avant-garde art (Chinese) 141, 146, 169, conceptual abstraction 273–274, 277–278 176, 181, 239, 245, 258, 264–265 expressive abstraction 273–274, 276 see also “China/Avant-Garde” material abstraction 277 exhibition schematic abstraction 245, 274 avant-garde art (Russian) 3–4 abstract art (Western) 147–148, 195–196, avant-garde art (Western) 100, 101, 267–268 see also Abstract 255–256, 257, 264 see also Modernism Expressionism; Hard-Edge / Structural Abstraction Bacon, Francis 243 Abstract Expressionism 256, 269, 274 Bao Jianfei 172 academic realism 245, 270 New Space No.1 167 academies see art academies Barbizon School 87 Ai Xinzhong 14 Bauhaus School 269 Ai Zhongxin 5 Beckmann, Max 246 amateur art/artists 35, 74–75, 106–108, Bei Dao 140 137–138, 141,
  • Chinese Contemporary Art-7 Things You Should Know

    Chinese Contemporary Art-7 Things You Should Know

    Chinese Contemporary Art things you should know By Melissa Chiu Contents Introduction / 4 1 . Contemporary art in China began decades ago. / 14 2 . Chinese contemporary art is more diverse than you might think. / 34 3 . Museums and galleries have promoted Chinese contemporary art since the 1990s. / 44 4 . Government censorship has been an influence on Chinese artists, and sometimes still is. / 52 5 . The Chinese artists’ diaspora is returning to China. / 64 6 . Contemporary art museums in China are on the rise. / 74 7 . The world is collecting Chinese contemporary art. / 82 Conclusion / 90 Artist Biographies / 98 Further Reading / 110 Introduction 4 Sometimes it seems that scarcely a week goes by without a newspaper or magazine article on the Chinese contemporary art scene. Record-breaking auction prices make good headlines, but they also confer a value on the artworks that few of their makers would have dreamed possible when those works were originally created— sometimes only a few years ago, in other cases a few decades. It is easy to understand the artists’ surprise at their flourishing market and media success: the secondary auction market for Chinese contemporary art emerged only recently, in 2005, when for the first time Christie’s held a designated Asian Contemporary Art sale in its annual Asian art auctions in Hong Kong. The auctions were a success, including the modern and contemporary sales, which brought in $18 million of the $90 million total; auction benchmarks were set for contemporary artists Zhang Huan, Yan Pei-Ming, Yue Minjun, and many others. The following year, Sotheby’s held its first dedicated Asian Contemporary sale in New York.