</I> an Interview with Huang Yong Ping
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Chinese Contemporary Art and the Value of Dissidence by Marie
Transition and Transformation: Chinese Contemporary Art and the Value of Dissidence by Marie Dorothée Leduc A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Visual Art and Globalization Department of Sociology and Art and Design University of Alberta © Marie Leduc, 2016 Abstract Transition and Transformation: Chinese Contemporary Art and the Value of Dissidence Marie Leduc Taking an interdisciplinary approach combining sociology and art history, this dissertation considers the phenomenal rise of Chinese contemporary art in the global art market since 1989. The dissertation explores how Western perceptions of difference and dissidence have contributed to the recognition and validation of Chinese contemporary art. Guided by Nathalie Heinich’s sociology of values and Pierre Bourdieu’s work on the field of cultural production, the dissertation proposes that dissidence may be understood as an artistic value, one that distinguishes artists and artwork as singular and original. Following the careers of nine Chinese artists who moved to France in and around 1989, the dissertation demonstrates how perceptions of dissidence – artistic, cultural, and political – have distinguished Chinese artists as they have transitioned into an artistic field dominated by Western liberal-democratic values and artistic taste. The transition and transformation of Chinese contemporary art and artists then highlights how the valorization of dissidence in the West is both artistic and political, and significant to the production of contemporary art. ii Preface This thesis is an original work by Marie Leduc. The research project, of which this thesis is a part, received research ethics approval from the University of Alberta Research Ethics Board, Project Name “Transition and Transformation: Contemporary Chinese Art in the Global Marketplace,” No. -
Iconic Artwork Huang Yong Ping Unveiled in the Hague
The Hague, The Netherlands, 20 August 2020 . Iconic artwork Huang Yong Ping unveiled in The Hague photographer Wineke van Muiswinkel, courtesy Stroom Den Haag . On Sunday 4 October 2020, alderman Robert van Asten of The Hague will unveil the artwork Ling Zhi Helicopters. This will give The Netherlands a unique work of art by the internationally renowned artist Huang Yong Ping, who died unexpectedly late last year. With this work of art the city of The Hague realizes an ambitious project and adds an iconic work of art to its impressive collection of art in public space, which also includes the Celestial Vault by James Turrell. The new monumental work of art is located on the site of the former Ypenburg airport and marks the creation of the city district Leidschenveen-Ypenburg. The unveiling is also a tribute to Huang Yong Ping and will take place in the presence of his widow and daughter. A historic location In 2016 the city of The Hague commissioned a work of art in public space in order to celebrate the completion of the newly developed city district Leidschenveen- Ypenburg. During the selection procedure, the city was advised by a committee of local inhabitants and art experts, under the guidance of art center Stroom Den Haag. They chose the design of Huang Yong Ping, because Ling Zhi Helicopters connects the history of the location and the creation of the new city district in a highly poetic way. The artist chose the location of the top of the Rijswijkse Landingslaan (the former landing strip of the local airport), for an intriguing and gigantic group of three 'mushroom helicopters'. -
Fluidity and Transformation: Positioning the Art of Cai Guo-Qiang a Thesis Presented to the Faculty of the College of Fine Arts
Fluidity and Transformation: Positioning the Art of Cai Guo-Qiang A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Meredith L. Skaggs June 2012 © 2012 Meredith L. Skaggs. All Rights Reserved. 2 This thesis titled Fluidity and Transformation: Positioning the Art of Cai Guo-Qiang by MEREDITH L. SKAGGS has been approved for the School of Art and the College of Fine Arts by Marion S. Lee Associate Professor of Art Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT SKAGGS, MEREDITH L., M.A., June 2012, Art History Fluidity and Transformation: Positioning the Art of Cai Guo-Qiang Director of Thesis: Marion S. Lee Cai Guo-Qiang works within many contradictions, one of which is the making of art while challenging commoditization of objects. As a Chinese person abroad since 1986, Cai navigates his own cultural heritage while taking into account the global spaces where he exhibits. Such precarious positioning allows him to comment on and challenge the art-system of object production. Cai’s artworks subvert their own materiality whether by being evocative of process, seeking non-productivity, allowing re-contextualization, being submissive to place and time, and/or through expressing intangible phenomena. These tendencies prevail with consideration of Plato’s notion of the real and Jacques Derrida’s concept of trait. It is evident that Cai’s mediums (gunpowder drawings, explosion projects, installations) and methodology reflect the elusiveness of his art and ambiguous categorization as a contemporary artist, imbuing process with more significance than any commoditized object. -
Huang Yong Ping, a Conceptual Artist and Pioneering Figure of China's Post
Holland Cotter, “Huang Yong Ping, 65, Dies; His Art Saw a World of Power Struggles,” The New York Times, October 29, 2019 Huang Yong Ping with his sculpture “Wu Zei” at the Oceanographic Museum in Monaco in 2010. He borrowed images from the natural world to comment on human affairs. Bruno Bebert/EPA, via Shutterstock Huang Yong Ping, a Conceptual artist and pioneering figure of China’s post- Cultural Revolution avant-garde, whose controversial work often depicted the world as a Darwinian power struggle, died on Oct. 19 at his home in Paris. He was 65. Alexandra Munroe, the senior curator of Asian art at the Guggenheim Museum in New York, said the cause was a brain hemorrhage. Mr. Huang was a conceptualist with a powerful visual imagination; in some sense he was also a contemporary version of the scholar-artist of Chinese tradition. A wide reader in philosophy, European and non-European, he infused his art with his learning and wisdom. He kept a sharp eye on the political world around him and held it to moral account, often using images gleaned from nature — snakes, insects, turtles — to comment on human behavior. Ms. Munroe included such images — bringing the artist’s notoriety to New York — in the 2017 Guggenheim group exhibition “Art and China After 1989: Theater of the World,” which was named for a widely traveled piece by Mr. Huang. Mr. Huang’s “The Theater of the World” (1993) on display last year at the Guggenheim Museum in Bilbao, Spain. In the piece, “Theater of living insects, amphibians and reptiles were originally thrown the World” together with the expectation that they would kill one another — was a large an allegory for the human condition. -
Transexperience and Chinese Experimental Art, 1990–2000 By
Transexperience and Chinese Experimental Art, 1990–2000 by Melissa Chiu A Thesis Submitted in Full Completion of the Requirements for the Degree of Doctor of Philosophy Department of Cultural Histories and Futures University of Western Sydney September 2003 2 SUMMARY This dissertation focuses on Chinese artists who migrated to the West (Australia, the United States, and France) during the late eighties and early nineties. Their work bears a number of similarities despite settlement in different cultures, most notable amongst these is a reinterpretation of Chineseness. The introduction sets out and examines the theoretical explanations for this interest in China in spite of an absence of nearly a decade. Ideas such as diaspora, exile, and travel are the main focus, with particular attention to the way that a duality tends to emerge in this discourse between the past and present or homeland and site of settlement. In place of such ideas, this dissertation introduces the concept of transexperience developed by the late Chinese artist Chen Zhen for his own practice, but it is one, I would argue, that can be applied to the artistic expression of all of the overseas artists discussed in this dissertation. The main body of the thesis is devoted to developing this idea of transexperience in relation to Chinese artists who settled in Sydney, New York, and Paris. Throughout this dissertation, I argue that transexperience encourages a more fluid perception of the relationship to the homeland, not only positing it in the past but also the present. This allows us to interpret the work of Chinese artists as an evolving identity that parallels their changing perception of China from the distance of living in the West.