Yishu: Journal of Contemporary Chinese

Total Page:16

File Type:pdf, Size:1020Kb

Yishu: Journal of Contemporary Chinese M a r c h 2 0 0 7 | Spring Issue Inside A Tribute to Jonathan Napack Taipei Biennial 2006 Documenta 12 Magazines Special Feature on Education Interviews with Cai Guo-Qiang, Shen Yuan, Ed Pien US$12.00 NT$350.00 Contents 4 Editor’s Note 6 Contributors A Tribute to Jonathan Napack 8 Death and Destruction in Bangkok Jonathan Napack 14 Yishu Interview with Jonathan Napack 16 An Art Market with Chinese Characteristics Jonathan Napack Feature Articles 19 Taipei Biennial 2006 Susan Kendzulak 26 Writing on The Wall (and Entry Gate): A Critical Response to Recent Curatorial Meditations on the "Chineseness" of 5 Contemporary Chinese Visual Art Paul Gladston 34 Starting from Zero: Wang Jianwei David Ho Yeung Chan Interviews 39 Shock and Awe: An Interview with Cai Guo-Qiang John K. Grande 45 A Conversation with Shen Yuan 9 Cécile Bourne 50 The Poetics of Engagement: Ed Pien and the Three- Dimensional World Joni Low Documenta 12 Magazines Feature on Education 57 A Response to the Yan’an Forum on Education in China Lisa Norton 62 Interview with Zhu Naizheng 50 Zheng Shengtian 73 Cultures of Assessment: Distinctive Characteristics of Assessment in U.K. Art and Design Higher Education and their Implementation in China Allan Walker and Raz Barfield 85 Some Thoughts on Art Game: An Experience of Agency in Contemporary Art Yü Christina Yü 91 Building a Contemporary Art "Campus Aircraft Carrier"— 88 A Discourse on How to Encourage Contemporary Questions About Art Among Taiwanese Youth Lin Ping 103 Potentially Wise? The Boom in Hong Kong Contemporary Arts Education Jaspar K. W. Lau Reviews 111 VITAL: International Chinese Live Art Festival—Reflecting on Contemporary Practices 98 Andrew Mitchelson 119 China Power Station: Part 1—Serpentine Gallery Offsite Project at the Battersea Power Station Nav Haq 122 Review of 3030: New Photography in China Philip Tinari 128 Cityscapes, Crazy Consumption, and Collective Memory: Chen Shaoxiong’s Mimetic Reality Rosalind Holmes 132 Chinese Name Index Editor’s Note YISHU: Journal of Contemporary Chinese Art Volume 6, Number 1, March 2007 president Katy Hsiu-chih Chien Yishu 20 begins with a tribute to Jonathan r Ken Lum Napack. Jonathan unexpectedly passed r Keith Wallace away this year at the age of thirty-nine and n r Zheng Shengtian will be missed by the many friends he made i Julie Grundvig Kate Steinmann during his years of reporting on art activity website r Joni Low in Asia. We are reprinting two texts that et tr Larisa Broyde span a decade and frame the time he spent d n Joyce Lin intern in Asia, as well as presenting a previously Chunyee Li unpublished Yishu interview between Napack disry b Judy Andrews, Ohio State University and Zheng Shengtian. Melissa Chiu, Asia Society Museum John Clark, University of Sydney Lynne Cooke, Dia Art Foundation In this issue, along with reviews of the Okwui Enwezor, San Francisco Art Institute Taipei Biennial and other exhibitions and Britta Erickson, Independent Scholar & Curator Fan Di'an, Central Academy of Fine Arts publications, as well as five interviews, six Fei Dawei, Guy & Mariam Ullens Foundation Gao Minglu, New York State University articles are published as Yishu’s contribution Hou Hanru, San Francisco Art Institute to documenta 12 magazines, a collective Katie Hill, University of Westminster Claire Hsu, Asia Art Archive editorial project linking worldwide ninety print Martina Köppel-Yang, Independent Critic & Historian and online periodicals as well as other media. Sebastian Lopez, Daros-Latinamerica AG Lu Jie, Independent Curator This is our third instalment in this project, and Charles Merewether, Australian National University Ni Tsaichin, Tunghai University these new contributions reflect a variety of Apinan Poshyananda, Ministry of Culture, Thailand perspectives—a response to our September Chia Chi Jason Wang, Independent Critic & Curator Wu Hung, University of Chicago feature on the Yan’an Forum on Education Pauline J. Yao, Independent Scholar in China; an interview with Zhu Naizheng, pb Art & Collection Group Ltd. who speaks to the changes occurring in art n d Leap Creative Group education in China; two Scottish educators retie diretr Raymond Mah who have collaborated with the Central diretr Gavin Chow desiner Karmen Lee Academy of Fine Arts, Beijing, in exploring webster Website ARTCO, Taipei new approaches to art education; two points it nstnt relaITconsulting, Vancouver of view on how exhibitions can function as Chong-yuan Image Ltd., Taipei a form of education; and an analysis of the - current state of institutional art education in Yishu is published quarterly in Taipei, Taiwan and edited in Hong Kong. Vancouver, Canada. The publishing dates of Yishu are 5th of March, June, September and December. Editorial inquiries and manuscripts may be sent to the Yishu continues to be a vital forum for dialogue Editorial Office: around issues concerning contemporary Yishu 410-650 West Georgia Street, Vancouver, BC Chinese art, and we encourage writers who Canada V6B 4N8 are interested in voicing their ideas to contact Phone: 1.604.649.8187; Fax: 1.604.591.6392 E-mail: [email protected] us. In this issue, we are pleased to include [email protected] two responses to texts that appeared in Subscription inquiries may be sent to either the Vancouver address or to Hawai’i: previous issues of Yishu. We appreciate Journals Department such responses, which are important in University of Hawai’i Press 2840 Kolowalu Street, Honolulu, HI 96822, USA creating an exchange of ideas about what is Phone: 1.808.956.8833; Fax: 1.808.988.6052 current, what is topical, what is promising, E-mail: [email protected] and what is problematic. Dialogue can provide The University of Hawai’i Press accepts payment by Visa or Mastercard, cheque or money order (in U.S. dollars). us only with further understanding of what is Advertising inquiries may be sent to either Vancouver or taking place at this moment, a moment that is Taiwan address: moving so quickly that it is a challenge to keep Art & Collection Ltd. 3F. No.85, Section 1, Zhongshan N. Road, Taipei, Taiwan 104 on top of it. Phone: (886) 2.2560.2220; Fax: (886) 2.2542.0631 E-mail: [email protected] www.yishujournal.com In conclusion, we welcome three new No part of this journal may be published without the written members to our Advisory Board: Melissa Chiu, permission from the publisher. Claire Hsu, and Pauline J. Yao. Subscription rates: one year: US $48; two years: US $86 Subscription form may be downloaded from our Website Keith Wallace We thank Mr. Milton Wong, Mr. Daoping Bao, Paystone Technologies Corp., for their generous support. Cover: Shen Yuan, The Great Wall Growing Together with the Tree, 005, Lego, installation. Courtesy of the artist and Casino Luxembourg. Yishu: Journal of Contemporary Chinese Art 典藏國際版‧第6卷第1期‧2007年3月5日出版 目 錄 典藏國際版創刊於 2002年5月1日 4 編者手記 社 長: 簡秀枝 6 作者小傳 總策劃: 鄭勝天 創刊編輯: 林蔭庭 紀念 Jonathan Napack 8 曼谷之破壞與死亡 主 編: 華睿士 (Keith Wallace) Jonathan Napack 副編輯: 顧珠妮 (Julie Grundvig) 14 Yishu 訪問 Jonathan Napack Kate Steinmann 黎俊儀整理 網站編輯: 劉植紅 行 政: 藍立杉 (Larisa Broyde) 16 富有中國特色的藝術市場 廣 告: 林素珍 Jonathan Napack 實 習: 黎俊儀 藝壇聚焦 19 2006年台北雙年展 編 委: 王嘉驥 Susan Kendzulak 安雅蘭 (Judy Andrews) 巫 鴻 26 從「牆」與「入境」評近來中國當代藝術中關 林似竹 (Britta Erickson) 於「中國性」的策展思考 范迪安 Paul Gladston 招穎思 34 從零開始—汪建偉 洛柿田 (Sebastian Lopez) 陳浩揚 侯瀚如 徐文玠 人物訪談 姜苦樂 (John Clark) 39 震撼與驚嘆:蔡國强訪談 姚嘉善 John K. Grande 倪再沁 高名潞 45 與沈遠的對話 費大爲 Cécile Bourne 楊天娜 (Martina Köppel-Yang) 50 專注的詩意:邊亦中與三维世界 盧 杰 劉植紅 Lynne Cooke 第12屆文件展雜誌專題—藝術教育 Okwui Enwezor Katie Hill 對延安藝術教育研討會的回應 57 Charles Merewether Lisa Norton Apinan Poshyananda 62 朱乃正談中國高等藝術教育 鄭勝天∕黎俊儀記錄翻譯 出 版: 典藏雜誌社 73 評估文化:英國高等藝術和設計教育中評估的 台灣臺北市中山北路一段85號6樓 特色及其在中國的實施 電話:(886) 2.2560.2220 Allan Walker ∕ Raz Barfield 傳真:(886) 2.2542.0631 85 對「藝術遊戲」展的幾點思考—當代藝術功能 電子信箱:[email protected] 的一次實驗 喻瑜 編輯部: Yishu Editorial Office 91 建構一艘當代藝術的「校園航空母艦」—談如 410-650 West Georgia St., 何促進台灣青少年對藝術的當代提問 Vancouver, BC, Canada V6B 4N8 林平 電話:(1) 604.649.8187 103 明智之舉?評香港的當代藝術教育熱 傳真:(1) 604.591.6392 劉建華 電子信箱: [email protected] 書評展評 設 計: Leap Creative Group 111 活力2006:國際華人行為藝術節在英國 印 刷: 中原造像股份有限公司 Andrew Mitchelson 網 址: www.yishujournal.com 119 Serpentine畫廊在Battersea電廠的展覽:中國電 管 理: 典藏雜誌社 站之一 Nav Haq 國際刊號: 1683-3082 122 評「3030:中國新攝影」 Phil Tinari 本刊在溫哥華編輯設計,臺北印刷出版發行。 128 城市景觀、瘋狂消費和集體記憶:陳劭雄的模 一年四期。逢三、六、九、十二月五日出版。 擬現實 Rosalind Holmes 訂價每本12美元。訂閲一年48美元,兩年86美元。 132 中英人名對照 訂閱單可從本刊網址下載。 封面﹕ 沈遠﹕延長的根,玩具,裝置, 2005,藝術家 ∕ Casino Luxembourg 提供 版權所有,本刊內容非經本社同意不得翻譯和轉載。5 Contributors Raz Barfield is the Deputy Project Leader of the First-Year Joint Programme in Design Studies between the Glasgow School of Art (GSA) and the Central Academy of Fine Arts (CAFA) in Beijing. He is responsible for developing larger-scale institutional collaboration in learning, teaching, and research with Allan Walker, whom he collaborates with to conduct action research at CAFA and GSA, examining the experience of Chinese and U.K. students in the transnational institutional collaboration and emergent pedagogical methods. Educated at St. Martin’s and Camberwell, London, he is a practicing fine artist and has developed and led undergraduate and postgraduate courses and pathways in fine art and design. He is also a practice-based researcher in fine art, new media, and integrative and hybrid practice. Cécile Bourne, who worked for six years at the Arc / Musée d’Art Moderne de la Ville de Paris, has been appointed by the Fondation de France to develop participative methodology for public projects in Spain. She is the curator of Rond Point, Nantes and Kinshasa (Democrtic Republic of Congo) (2002) and You Talked / I Listen, Taipei Fine Arts Museum and Ferme du Buisson (1998) and the co-curator of Copresences, with A.
Recommended publications
  • A Conversation with Hou Hanru
    Michael Zheng Objectivity, Absurdity, and Social Critique: A Conversation with Hou Hanru January 12, 2009, on the occasion of the exhibition imPOSSIBLE! Eight Chinese Artists Engage Absurdity, San Francisco Arts Commission Gallery and MISSION 17 Left: Zhang Peili, WATER— I. Chinese Video Art in the 1980s Standard Version from the Dictionary Ci Hai, 1991, single- channel colour video, 9 mins. Michael Zheng: Shall we start with how video art began in China? There are 35 secs. Courtesy of the artist. quite a few video works in the exhibition imPOSSIBLE! In the West, video Middle: Zhang Peili, 30 x 30, 1988, single-channel was first used by artists to record performances and events. In that way, at colour video, 9 mins. 32 secs. Courtesy of the artist. least in the West, video art developed hand in hand with performance art. Is Right: Zhang Peili, Document the same true in China? on “Hygiene No. 3,” 1991, single-channel colour video, 24 mins. 45 secs. Courtesy of the artist. Hou Hanru: Yes, the case in China is really similar. In the 980s, when video was introduced to China as an artistic medium, it began to be used by lots of performance artists. They didn’t really have video—they had documentary, like photography, video documentaries, and very, very brief videotapes, because at that time such technology was not so popular. Only professionals had video cameras—mainly people working in television or with advertising companies. The equipment was very expensive, so few artists had access to it. One of the first artists to really use video both to document his performances and to make independent work was Zhang Peili.
    [Show full text]
  • Booxter Export Page 1
    Cover Title Authors Edition Volume Genre Format ISBN Keywords The Museum of Found Mirjam, LINSCHOOTEN Exhibition Soft cover 9780968546819 Objects: Toronto (ed.), Sameer, FAROOQ Catalogue (Maharaja and - ) (ed.), Haema, SIVANESAN (Da bao)(Takeout) Anik, GLAUDE (ed.), Meg, Exhibition Soft cover 9780973589689 Chinese, TAYLOR (ed.), Ruth, Catalogue Canadian art, GASKILL (ed.), Jing Yuan, multimedia, 21st HUANG (trans.), Xiao, century, Ontario, OUYANG (trans.), Mark, Markham TIMMINGS Piercing Brightness Shezad, DAWOOD. (ill.), Exhibition Hard 9783863351465 film Gerrie, van NOORD. (ed.), Catalogue cover Malenie, POCOCK (ed.), Abake 52nd International Art Ming-Liang, TSAI (ill.), Exhibition Soft cover film, mixed Exhibition - La Biennale Huang-Chen, TANG (ill.), Catalogue media, print, di Venezia - Atopia Kuo Min, LEE (ill.), Shih performance art Chieh, HUANG (ill.), VIVA (ill.), Hongjohn, LIN (ed.) Passage Osvaldo, YERO (ill.), Exhibition Soft cover 9780978241995 Sculpture, mixed Charo, NEVILLE (ed.), Catalogue media, ceramic, Scott, WATSON (ed.) Installaion China International Arata, ISOZAKI (ill.), Exhibition Soft cover architecture, Practical Exhibition of Jiakun, LIU (ill.), Jiang, XU Catalogue design, China Architecture (ill.), Xiaoshan, LI (ill.), Steven, HOLL (ill.), Kai, ZHOU (ill.), Mathias, KLOTZ (ill.), Qingyun, MA (ill.), Hrvoje, NJIRIC (ill.), Kazuyo, SEJIMA (ill.), Ryue, NISHIZAWA (ill.), David, ADJAYE (ill.), Ettore, SOTTSASS (ill.), Lei, ZHANG (ill.), Luis M. MANSILLA (ill.), Sean, GODSELL (ill.), Gabor, BACHMAN (ill.), Yung
    [Show full text]
  • 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.
    [Show full text]
  • Chronicle of Events
    Chronicle of Events 1949 July January Congress of Chinese Writers and Artists (renamed to The China Federation of Literary 31 The name Beiping (北平) was reverted to and Art Circles) held the First National Exhibi- Peking (北京 adopted to Beijing in 1958) tion of Fine Arts at National Peking Art College. after the People’s Liberation Army (PLA) conquered the city. 2–19 The First National Congress of Litera- ture and Art Workers met in Beijing. A total of six-hundred-fifty delegates February participated the congress, including eighty-eight art workers. The China Fed- 15 The government took over the National eration of Literary and Art Circles Peking Art College. (CFLAC) was founded. 21 China Artists Association (CAA) was founded in Zhongshan Park, Peking. April The Exhibition of New Guohua, featured more October than eighty artists, was held in Zhongshan Park, Beijing. 1 The People’s Republic of China was founded. May November 25 Shanghai was taken over by the PLA. 23 National Peking Art College combined with the art department of North China Univer- sity, establishing the Central Academy of June Fine Arts (CAFA) in 1950. 6 Shanghai prepared to establish the Shanghai Artists Association. # Springer Nature Singapore Pte Ltd. 2020 459 Y. Zhou, A History of Contemporary Chinese Art, Chinese Contemporary Art Series, https://doi.org/10.1007/978-981-15-1141-7 460 Chronicle of Events 1950 November CAA published four issues of the art journal 7 National Hangzhou Arts College was Renmin Meishu (People’s Fine Arts). renamed to CAFA East China Campus (renamed to the Zhejiang Fine Arts Academy in 1958, and then to the China Academy of January Art in 1993).
    [Show full text]
  • It Is Intended These Materials Be Downloadabkle from a Free Website]
    1 Contemporary Asian Art at Biennials © John Clark, 2013 Word count 37,315 words without endnotes 39,813 words including endnotes 129 pages [It is intended these materials be downloadabkle from a free website]. Asian Biennial Materials Appendix One: Some biennial reviews, including complete list of those by John Clark. 1 Appendix Two: Key Indicators for some Asian biennials. 44 Appendix Three: Funding of APT and Queensland Art Gallery. 54 Appendix Four: Report on the Database by Thomas Berghuis. 58 Appendix Five: Critics and curators active in introducing contemporary Chinese art outside China. 66 Appendix Six: Chinese artists exhibiting internationally at some larger collected exhibitions and at biennials and triennials. 68 Appendix Seven: Singapore National Education. 80 Appendix Eight: Asian Art at biennials and triennials: An Initial Bibliography. 84 Endnotes 124 2 Contemporary Asian Art at Biennials © John Clark, 2013 Appendix One: REVIEWS Contemporary Asian art at Biennales Reviews the 2005 Venice Biennale and Fukuoka Asian Triennale, the 2005 exhibition of the Sigg Collection, and the 2005 Yokohama and Guangzhou Triennales 1 Preamble If examination of Asian Biennials is to go beyond defining modernity in Asian art, we need to look at the circuits for the recognition and distribution of contemporary art in Asia. These involved two simultaneous phenomena.2 The first was the arrival of contemporary Asian artists on the international stage, chiefly at major cross-national exhibitions including the Venice and São Paolo Biennales. This may be conveniently dated to Japanese participation at Venice in the 1950s to be followed by the inclusion of three contemporary Chinese artists in the Magiciens de la terre exhibition in Paris in 1989.3 The new tendency was followed by the arrival of Chinese contemporary art at the Venice Biennale in 1993.
    [Show full text]
  • Europe-China Cultural Compass
    Orientation for Cultural Cooperation Between China and Europe Europe-China Cultural Compass EUNIC (European Union National Institutes for Culture) En Orientation for Cultural Cooperation Between China and Europe Europe-China Cultural Compass EUNIC (European Union National Institutes for Culture) En PREFACE ................................................................................................... 8 Foreword by the Project Partners of EUNIC in China ................................................... 7 Foreword on behalf of the Publisher by Dr Hans-Georg Knopp, Secretary-General of the Goethe-Institut, former President of EUNIC ........................... 8 Acknowledgements by Editor-in-Chief Katja Hellkötter .......................................... 10 Foreword by Chinese Compass Advisor Dr Shen Qilan ................................................ 11 PART I – GLOSSARY ............................................................................ 12 Introduction – Roman Wilhelm/Katja Hellkötter ...................................................... 14 Do we always mean the same when we say the same? A glossary Selected Key Vocabulary – An Overview of Common Terms in the Context of Cultural Cooperation between Europe and China ......................................................... 16 PART II – BACKGROUND KNOWLEDGE – CHINA ................. 42 APPROACHING CHINA – CROSSING CULTURES China in Seven Parts – Dr Marcus Hernig and Ye Fang in conversation ......................
    [Show full text]
  • Contemporary Chinese Art in Vancouver Introduction to Yellow Signal: New Media in China
    Zheng Shengtian Contemporary Chinese Art in Vancouver Introduction to Yellow Signal: New Media in China Jiangnan In 1996, Vancouver-based artist Hank Bull came back from his first trip to Top: Jiangnan exhibition opening, 1998. Left to right: China and was extremely excited about what he saw there. At that time I was Hu Jieming, Zhang Peili, Gu Wenda, Liang Shaoji, Hank working for the newly established Annie Wong Art Foundation that had a Bull, Scott Watson, Cate Rimmer, Greg Bellerby, Xia mandate to promote contemporary Chinese art internationally. Joined by Wei, and Zheng Shengtian. Xia Wei, a graduate student at the University of British Columbia, and an Photo: Yishu archive. Middle: Gu Wenda, Confucius advocate of Chinese art, the three of us had several discussions and came Diary, 1998, performance at Jiangnan exhibition up with an idea to launch a citywide project that would bring emerging (with Daina Augaitis at the Vancouver Art Gallery). Photo: contemporary Chinese art to North America. Yishu archive. Bottom: Xu Bing, Introduction to New English Calligraphy, Our initiative received an overwhelming response from the local art 1998, installation view as part of Jiangnan exhibition, Art community. In the spring of 1998, Jiangnan: Modern and Contemporary Art Beatus, Vancouver. from South of Yangzi River took place in Vancouver with the participation of twelve major public and commercial galleries, artist-run centres, universities, and cultural organizations. In the catalogue essay, Hank wrote that the purpose of the Jiangnan project was “to draw the shifting parameters of an ‘organic space’ wherein the meaning of place no longer holds any fixed truth.
    [Show full text]
  • Yishu 50.Pdf
    M A Y / J U N E 2 0 1 2 VOLU M E 1 1 , N U M B E R 3 1 0 T H A N N I V ERSARY YEAR INS I DE Special Issue: Yellow Signal: New Media in China US$12.00 NT$350.00 PRI nt E D I N TA I WA N 6 VOLUME 11, NUMBER 3, MAY/J une 2 0 1 2 CONTENTS 2 Editor’s Note 48 4 Contributors 6 Contemporary Chinese Art in Vancouver Introduction to Yellow Signal: New Media in China Zheng Shengtian 13 China: Then and Now Barbara London 58 30 Interview with Wang Jianwei on Yellow Signal Zheng Shengtian 42 Kan Xuan: Performing the Imagination Joni Low 48 Wind, Life Stilled, and Wild, Lissome Things: The Work of Zhang Peili, Geng Jianyi, and Huang Ran Karen Smith 58 Fifth Night: Interview with Yang Fudong 66 Daina Augaitis 66 Liu Xiaodong vs. Hou Hsiao-hsien: An Interview Kao Tzu-chin 75 RongRong & inri: More Photographs in the River of Time Britta Erickson 82 The Different Worlds of Cao Fei 75 Alice Ming Wai Jim 91 The Formative Years: Social Media and Art in China Diana Freundl 102 Question and Answer with An Xiao Mina Diana Freundl 105 List of Galleries and Acknowledments 91 106 Chinese Name Index Cover: Wang Jianwei, Position, 2012, 4-channel video installation. Vancouver International Centre for Contemporary Asian Art. Courtesy of the artist. We thank JNBY Art Projects, Canadian Foundation of Asian Art, Mr. and Mrs. Eric Li, and Stephanie Holmquist and Mark Allison for their generous contribution to the publication and distribution of Yishu.
    [Show full text]
  • PLA DELEGATES to the 18TH PARTY CONGRESS: a BRIEF ANALYSIS Jayadeva Ranade Distinguished Fellow, Centre for Air Power Studies, New Delhi
    74\12 13 September 2012 PLA DELEGATES TO THE 18TH PARTY CONGRESS: A BRIEF ANALYSIS Jayadeva Ranade Distinguished Fellow, Centre for Air Power Studies, New Delhi The release on August 9, 2012, of the list of People’s Liberation and, the 14th Group Army and Chengdu Military Region were Army (PLA) Delegates to the 18th Party Congress indicates that particularly investigated till July by at least four or five teams preparations are firmly on track. Reports emanating from Beijing of the Central Party Discipline Inspection Committee. The PLA suggest that the 18th Party Congress would be held around has additionally been subjected to at least three successive October 18. These appear to be substantiated by a Reuters year-long political and ideological education campaigns. The report, which quoted organizers of the ‘11th China International release of the list of 251 PLA delegates to the 18th Party Exhibition on Public Safety and Security’ from October 22-25 to Congress confirms that these investigations have largely been December 3-6, as saying “we have received notice from the Big completed. The list includes 1 person from the 14th Group Army Events Management Office of the Beijing Public Security Bureau and 6 from Chengdu MR. There are also some notable inclusions that the Communist Party’s 18th Congress will be held in the of prominent PLA officers associated with Bo Xilai namely, middle of October 2012.” The Beijing authorities additionally Gen Zhang Haiyang, Gen Liu Yuan and Gen Zhang Youxia. “requested that all big public events in Beijing scheduled for Some promotions were effected just before the 17th Party October be rescheduled in order to fully safeguard security in Congress in which three officers, namely Wang Guosheng, Fang the capital before, during and after the 18th Party Congress.” Fenghui and Zhao Keshi were beneficiaries of double promotions.
    [Show full text]
  • PLA's 253 DELEGATES for the 19TH PARTY CONGRESS
    14 September 2017 PLA’s 253 DELEGATES FOR THE 19TH PARTY CONGRESS by JAYADEVA RANADE On September 6, 2017, the People's Liberation Army (PLA) and People's Armed Police Force (PAPF) announced that they had elected a total of 303 Delegates to the 19th National Congress of the Chinese Communist Party (CCP). The PLA elected 253 Delegates to represent it at the 19th Party Congress, which will open in Beijing on October 18, 2017. A list identifying the 253 individuals together with almost all their designations is appended. There are three Tibetans in the list of the PLA's Delegates unlike at the 18th Party Congress in November 2012 when there was one. Members of the Central Military Commission (CMC) included in the list of Delegates are: Wei Fenghe, Chang Wanquan, Wu Shengli, Ma Xiaotian, Fan Changlong, Zhao Keshi and Xu Qiliang. Retired PLA Navy Commander Wu Shengli is among the Delegates as is former PLA Air Force (PLAAF) Commander Ma Xiaotian. Missing are Fang Fenghui and Zhang Yang (Director of the General Political Dept now merged into the CMC), both believed to be under 'investigation' on charges of corruption. Among the new Delegates is Zhong Shaojun, who was born in 1968 and is a long-time personal secretary of Xi Jinping. In 2013, he was seen wearing a PLA uniform with a Colonel’s badges of rank. He is presently Deputy Director of the General Office for the Central Military Commission and Director of the Office for Xi Jinping, Chairman of the Central Military Commission. Zhong Shaojun is now a Major General in the PLA.
    [Show full text]
  • The Political Pop Art of Wang Guangyi: Metonymic for an Alternative Modernity
    The Political Pop Art of Wang Guangyi: Metonymic for an Alternative Modernity by James D. Poborsa A thesis submitted in conformity with the requirements for the degree of Master of Arts Department of East Asian Studies University of Toronto © Copyright by James D. Poborsa, 2009 The Political Pop Art of Wang Guangyi: Metonymic for an Alternative Modernity James Poborsa Masters of Arts Department of East Asian Studies University of Toronto 2009 Abstract This thesis examines the political pop art of contemporary Chinese artist Wang Guangyi in light contemporaneous shifts within the political, economic, and artistic space of China from 1978 until the present. Through an analysis of the work of art as an historically determined antagonistic aesthetic praxis, this thesis attempts to reveal the sedimented traces of the alternative modernity which the Chinese government is actively attempting to construct. With its evocative juxtaposition of contrasting ideological forms, the artwork of Wang Guangyi seeks to deconstruct the normative and teleological narratives encountered within the dialectic interplay between state sponsored transnational capitalism and Marxist-Leninist communism. An understanding of the discursive structure upon which these dual modernising narratives has been based, and of the fragmented artistic space they have engendered, should serve to enliven the debate concerning the role of cultural production in questioning and revealing narratives of the nation, of the Self, and of modernity. ! ""! Acknowledgements I would first of all like to thank Alana Livesey for her support, encouragement, and love. This thesis is dedicated to her. I would also like to thank Abraham Rotstein for his encouragement and for providing the inspiration to return to graduate school.
    [Show full text]
  • Special Issue: Women Artists Cruel/Loving Bodies Yu Hong's Witness to Growth
    SEPTEMBER 2003 FALL ISSUE Special Issue: Women Artists Cruel/Loving Bodies Yu Hong’s Witness to Growth:Historic Determination and Individual Contingency Looking Forward from Venice: The Prospects of Contemporary Chinese Art Hans Ulrich Obrist Interviews with Chang Yung Ho, Wang Jianwei, and Yang Fudong US$10.00 NT$350.00 YISHU: Journal of Contemporary Chinese Art Volume 2, Number 3, September 2003 Katy Hsiu-chih Chien Ken Lum Zheng Shengtian Julie Grundvig Paloma Campbell Sasha Su-Ling Welland Larisa Broyde Joyce Lin Judy Andrews, Ohio State University John Clark, University of Sydney Lynne Cooke, Dia Art Foundation Okwui Enwezor, Curator, Art Institute of Chicago Britta Erickson, Independent Scholar & Curator Fan Di’an, Central Academy of Fine Arts Fei Dawei, Art Director, Guy & Myriam Ullens Foundation Gao Minglu, New York State University Hou Hanru, Independent Curator & Critic Katie Hill, Research Fellow, University of Westminster Martina Köppel-Yang, Independent Critic & Historian Sebastian Lopez, Gate Foundation and Leiden University Lu Jie, Independent Curator Charles Merewether, Getty Research Institute Ni Tsai Chin, Tunghai University Apinan Poshyananda, Office of Contemporary Art & Culture, Ministry of Culture, Thailand Chia Chi Jason Wang, Art Critic & Curator Wu Hung, University of Chicago Art & Collection Group Ltd. Leap Creative Group Raymond Mah Gavin Chow Jeremy Lee Chong-yuan Image Ltd., Taipei - Yishu is published quarterly in Taipei, Taiwan, and edited in Vancouver, Canada. From 2003, the publishing
    [Show full text]