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: septemb / octob 9 September/October 2009 | Volume 8, Number 5 Inside The 53rd Venice Biennale Gao Shiming on Unweaving and Rebuilding the Local A Conversation between Michael Zheng and Hou Hanru Artist Features: Huang Yong Ping, Hu Xiaoyuan and Qiu Xiaofei, Chen Hui-chiao Reviews: The China Project, Qiu Zhijie, Ai Weiwei, Shan Shan Sheng US$12.00 NT$350.00 6 VOLUME 8, NUMBER 5, SEPTember/OCTober 2009 CONTENTS 2 Editor’s Note 47 4 Contributors 6 Making Worlds: The 53rd Venice Biennale Jo-Anne Birnie Danzker 29 A Be-Coming Future: The Unweaving and Rebuilding of the Local Gao Shiming 38 The Snake and the Duck: On Huang Yong Ping 69 Ryan Holmberg 47 Objectivity, Absurdity, and Social Critique: A Conversation with Hou Hanru Michael Zheng 62 A Conversation with Hu Xiaoyuan and Qiu Xiaofei Danielle Shang 69 Dreaming through Art: On Chen Hui-chiao 75 Chia Chi Jason Wang 75 The China Project Inga Walton 89 Qiu Zhijie at Chambers Fine Art Jonathan Goodman 95 The Visual Roots of a Public Intellectual’s Social Conscience: Ai Weiwei’s New York Photographs Maya Kóvskaya 89 0 Shan Shan Sheng’s Open Wall Inhee Iris Moon 06 Chinese Name Index 95 Cover: Ai Weiwei, Williamsburg, Brooklyn (detail), 1983, silver gelation print, © Ai Weiwei. Courtesy of Three Shadows Photography Art Center, Beijing. Editor’s Note YISHU: Journal of Contemporary Chinese Art president Katy Hsiu-chih Chien The first four texts inYishu 34 tackle different r Ken Lum topics and concerns, yet it is striking how certain r Keith Wallace issues—the postcolonial, cultural hybridity, the n r Zheng Shengtian Chinese diaspora, and the ongoing negotiation i Julie Grundvig between the local and global—resonate Kate Steinmann among them. These issues are by no means editril ssistnt Chunyee Li unfamiliar, but as regions such as Asia assume ircultin manager Larisa Broyde a more visible and self-sufficient presence, d n Joyce Lin they are becoming increasingly complex and web site Chunyee Li contentious, taking on new as yet unformulated and provocative directions—and Yishu intends to disry b continue to be a means to voice them. Judy Andrews, Ohio State University Melissa Chiu, Asia Society Museum John Clark, University of Sydney In a review of the 53rd Venice Biennale, Lynne Cooke, Dia Art Foundation Jo-Anne Birnie Danzker references the 2008 Okwui Enwezor, San Francisco Art Institute Guangzhou Triennial’s theme of “farewell to Britta Erickson, Independent Scholar & Curator Fan Di’an, National Art Museum of China postcolonialism” as a jumping off point to explore Fei Dawei, Guy & Myriam Ullens Foundation how the representation in Venice of artists of Gao Minglu, University of Pittsburgh Chinese descent, both from mainland China and Hou Hanru, San Francisco Art Institute Hu Fang, Vitamin Creative Space and the shop the diaspora, exhibits more self-determined Katie Hill, University of Westminster identities than it did during the past decade. Gao Claire Hsu, Asia Art Archive Martina Köppel-Yang, Independent Critic & Historian Shiming proposes the necessity of nudging China Sebastian Lopez, Institute of International Visual Arts into “building a new home, a different system” Lu Jie, Independent Curator in order to develop a stronger domestic cultural Charles Merewether, Critic & Curator Ni Tsaichin, Tunghai University identity and critical discourse. Ryan Holmberg Apinan Poshyananda, Ministry of Culture, Thailand brings into question the work of Huang Yong Ping Philip Tinari, Independent Critic & Curator and his employment of cultural hybridity as a Chia Chi Jason Wang, Independent Critic & Curator Wu Hung, University of Chicago tool for critiquing the West, while Hou Hanru and Pauline J. Yao, Independent Scholar Michael Zheng discuss video within mainland China, and how its relationship to modernity and p Art & Collection Group Ltd. the West has resulted in a practice with its own 6F. No. 85, Section , distinct characteristics. Chungshan N. Road, Taipei, Taiwan 04 Phone: (886)2.2560.2220; While these issues are clearly important in Fax: (886)2.2542.063 the evolution of contemporary Chinese art, E-mail: [email protected] artists such as Hu Xiaoyuan, Qiu Xiaofei, and Chen Hui-chiao bring other perspectives to the n d Leap Creative Group process and product of making visual art. They retie diretr Raymond Mah are less caught up in identity and global politics, rt Diretr Gavin Chow instead searching for more internal subjectivities desiner Philip Wong and alternative approaches to what art can webster Website ARTCO, Taipei represent. Finally, Yishu 34 offers reviews of important exhibitions that take us to Brisbane, Chong-yuan Image Ltd., Taipei New York, Beijing, and Venice, exemplifying the - vast range of cultural geographies through which contemporary Chinese art travels. Yishu is published bi-monthly in Taipei, Taiwan, and edited in Vancouver, Canada. The publishing dates are January, March, Keith Wallace May, July, September, and November. All subscription, advertising, and submission inquiries may be sent to: ERRATUM Yishu Office 200–3 Howe Street On the cover of Yishu 32 Xi Xiaoze should Vancouver, BC, Canada V6Z 2P3 have been spelled Xie Xiaoze. Yishu Phone: .604.649.887; Fax: .604.59.6392 apologizes for this error. E-mail: [email protected] Web site: www.yishujournal.com YISHU EDITIONS Subscription rates: Now available: Five limited-edition prints by year (six issues): $84 USD (includes $24 for airmail postage); some of the most important Chinese artists. in Asia $78 USD (includes $8 for airmail postage). 2 years (twelve issues): $58 USD (includes $48 for airmail postage); in Asia $46 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5期‧2009年9 - 10月 典藏國際版創刊於 2002年5月日 2 編者手記 社 長： 簡秀枝 總策劃： 鄭勝天 4 作者小傳 創刊編輯： 林蔭庭（Ken Lum） 主 編： 華睿思 (Keith Wallace) 6 製造世界： 第53届威尼斯雙年展 副編輯： 顧珠妮 (Julie Grundvig) 史楷迪 (Kate Steinmann) Jo-Anne Birnie Danzker 編輯助理： 黎俊儀 (Chunyee Li) 29 即將到來的歷史―論「本土」 行 政： 藍立杉 (Larisa Broyde) 網站編輯： 黎俊儀 (Chunyee Li) 的拆解與重建 廣 告： 林素珍 高士明 顧 問： 王嘉驥 田霏宇 (Philip Tinari) 38 蛇與鴨：評黄永砯 安雅蘭 (Judy Andrews) Ryan Holmberg 巫 鴻 林似竹 (Britta Erickson) 范迪安 47 客觀性、荒誕性和社會批判： 招穎思 (Melissa Chiu) 洛柿田 (Sebastian Lopez) 候瀚如訪談 胡 昉 鄭濟忠（Michael Zheng） 侯瀚如 徐文玠 (Claire Hsu) 62 與胡曉媛和仇小飛的對話 姜苦樂 (John Clark) 姚嘉善 (Pauline J. Yao) 尚端（Danielle Shang） 倪再沁 高名潞 69 藝術的織夢者─陳慧嶠 費大爲 楊天娜 (Martina Köppel-Yang) 王嘉驥（Chia Chi Jason Wang） 盧 杰 Lynne Cooke 75 中國計劃 Okwui Enwezor Katie Hill Inga Walton Charles Merewether Apinan Poshyananda 89 邱志杰在前波畫廊 出 版： 典藏雜誌社 Jonathan Goodman 台灣臺北市中山北路一段85號6樓 電話: (886) 2.2560.2220 傳真：(886) 2.2542.063 95 一位公共知識份子社會良知的視覺史： 電子信箱：[email protected] 艾未未的紐約攝影 編輯部： Yishu Office Maya Kóvskaya 200-3 Howe Street, Vancouver, BC, Canada V6Z 2P3 0 盛姗姗的「開放長城」 電話: () 604.649.887 傳真：() 604.59.6392 Inhee Iris Moon 電子信箱: [email protected] 訂閱、投稿及廣告均請與編輯部聯系。 07 中英人名對照 設 計： Leap Creative Group 印 刷： 中原造像股份有限公司 網 址： www.yishujournal.com 管 理： 典藏雜誌社 國際刊號: 1683-3082 本刊在溫哥華編輯設計，臺北印刷出版發行。 一年6期。逢1、3、5、7、9、11月出版。 售價每本2美元。 訂閲：一年84美元，兩年158美元（含航空 郵資）。亞洲地區一年78美元，兩年146美元 （含航空郵資）。 封面：艾未未，布魯克林威廉斯堡（局部），1983， 明膠鹵化銀，北京三影堂攝影藝術中心提供 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。 3 Contributors Jo-Anne Birnie Danzker is Director the Real and Reality (2009), Edges of the of the Frye Art Museum, Seattle, and Earth: Migration of Contemporary Art and the former director of the Museum Geo-politics in Asia (2003), and Visual Villa Stück, Munich, and the Vancouver Thinking: Intangible Dialogue between Art Art Gallery. She has curated numerous and Phenomenology (2002). exhibitions on both contemporary and historical art, with a special emphasis Jonathan Goodman studied literature at on the history of the modern. In Columbia University and the University of 2004–05, she was Curator of Shanghai Pennsylvania before becoming an art writer Modern (with Ken Lum and Zheng specializing in contemporary Chinese art. Shengtian), and, in 2005–06, Curator of He teaches at Pratt Institute and the Parsons Art of Tomorrow: Hilla von Rebay and School of Design, focusing on art criticism Solomon R. Guggenheim (with Karole and contemporary culture. Vail and Brigitte Salmen). In 2001–02 she was Exhibition Director of The Short Ryan Holmberg, currently Mellon Century (curated by Okwui Enwezor). Postdoctoral Teaching Fellow at the University of Southern California, is a Gao Shiming is Deputy Director writer and art historian specializing in of the Advanced School of Art and modern and contemporary East Asian Humanities, China Academy of Art. art, with a particular focus on Japan His main research interests include and manga. His writing has appeared in the intellectual history of art, visual numerous publications, including Artforum culture, and curatorial practices. He International, Art in America, Japan has curated many exhibitions, such as Forum, and International Journal of Farewell to Post-colonialism: The 3rd Comic Art. Guangzhou Triennial (2008), Alchemy of Shadow: The 3rd Lianzhou International Maya Kóvskaya, a Beijing-based art Photography Festival (2007), Micrology: critic and curator, has curated numerous Micro-politics in Chinese Contemporary exhibitions, including China Under Art, and The Yellow Box: Contemporary Construction II, for Fotofest Photography Art and Architecture in a Chinese Space Biennial (2008), and China On The Road (2006). His recent publications include (Brussels, 2008). Her writing has appeared Mask and Mirror: Visual Studies on in numerous art catalogues, academic 4 volumes, and magazines, including Art and Perception, Ceramics: Technical, Flash Art, Contemporary, Art Post, Art Etchings, Artichoke, Melbourne Living, iT, Art Map, Eyemazing: International Eyeline, Textile, and regularly in Journal Contemporary Photography Magazine, of Australian Ceramics and Trouble. She and positions: east asia has contributed to Sculpture, Ceramic cultures critique.
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    Memorias del Club de Cine: Más allá de la pantalla 2008-2015 MAURICIO LAURENS UNIVERSIDAD EXTERNADO DE COLOMBIA Decanatura Cultural © 2016, UNIVERSIDAD EXTERNADO DE COLOMBIA Calle 12 n.º 1-17 Este, Bogotá Tel. (57 1) 342 0288 [email protected] www.uexternado.edu.co ISSN 2145 9827 Primera edición: octubre del 2016 Diseño de cubierta: Departamento de Publicaciones Composición: Precolombi EU-David Reyes Impresión y encuadernación: Digiprint Editores S.A.S. Tiraje de 1 a 1.200 ejemplares Impreso en Colombia Printed in Colombia Cuadernos culturales n.º 9 Universidad Externado de Colombia Juan Carlos Henao Rector Miguel Méndez Camacho Decano Cultural 7 CONTENIDO Prólogo (1) Más allá de la pantalla –y de su pedagogía– Hugo Chaparro Valderrama 15 Prólogo (2) El cine, una experiencia estética como mediación pedagógica Luz Marina Pava 19 Metodología y presentación 25 Convenciones 29 CUADERNOS CULTURALES N.º 9 8 CAPÍTULOS SEMESTRALES: 2008 - 2015 I. RELATOS NUEVOS Rupturas narrativas 31 I.1 El espejo - I.2 El diablo probablemente - I.3 Padre Padrone - I.4 Vacas - I.5 Escenas frente al mar - I.6 El almuerzo desnudo - I.7 La ciudad de los niños perdidos - I.8 Autopista perdida - I.9 El gran Lebowski - I.10 Japón - I.11 Elephant - I.12 Café y cigarrillos - I.13 2046: los secretos del amor - I.14 Whisky - I.15 Luces al atardecer. II. DEL LIBRO A LA PANTALLA Adaptaciones escénicas y literarias 55 II.1 La bestia humana - II.2 Hamlet - II.3 Trono de sangre (Macbeth) - II.4 El Decamerón - II.5 Muerte en Venecia - II.6 Atrapado sin salida - II.7 El resplandor - II.8 Cóndores no entierran todos los días - II.9 Habitación con vista - II.10 La casa de los espíritus - II.11 Retrato de una dama - II.12 Letras prohibidas - II.13 Las horas.
  • Tour Code : Cdg (Gv2)

    Tour Code : Cdg (Gv2)

    TOUR CODE : CDG (GV2) Special Meal ~ Muslim Dumplings, Xingjiang Dance Dinner Show, Tianjin Mutton in Hot Pot Day 1 Kuala Lumpur / Beijing (L/D) Tian An Men Square ~ largest city square in the world, bordered by the Great Hall of the People and Chairman Mao’s Mausoleum Forbidden City ~ the complex of imperial palace, which was home to the Emperors for over 500 years. Grand halls and courts gradually give way to more intimate domestic quarters, giving an insight into the pampered isolation of the emperors Niujie Mosque ~ is the oldest Mosque with over one thousand year’s history Muslim Super Market ~ is the biggest Muslim Super market in Beijing and has varies Islamic food Acrobatics Show ~ World Famous Chinese Acrobatics, give you newer, harder and more magic experiences, Masculine Springboard, Rings and Balance Skills; Graceful Silk hangs, Jujustu; Smart diabolo, Water Meteor; Incredible Chinese Traditional Face Changing and etc Day 2 Beijing (B/L/D) Juyongguan Great Wall of China ~ First built in the Warring States period (475-221BC) as a series of earthworks erected by individual kingdoms as a defense against each other as well as from invasions from the north, the wall we see in the present day was left from the Ming Dynasty Wang Fu Jing Shopping Street &Night Food Market ~ where you will see a collection of Halal snacks Outside Olympic Stadiums ~ the prestigious Bird’s Nest & Water Cube Day 3 Beijing (B/L/D) Summer Palace ~ being the largest imperial garden in China, the Summer Palace was first built in the Qing emperor Qianlong’s time in 1751 and burned down in1860 by the French and British army and restored by the Dowager empress Cixi for her own enjoyment.
  • Four Asian Filmmakers Visualize the Transnational Imaginary Stephen Edward Spence University of New Mexico

    Four Asian Filmmakers Visualize the Transnational Imaginary Stephen Edward Spence University of New Mexico

    University of New Mexico UNM Digital Repository American Studies ETDs Electronic Theses and Dissertations Spring 4-17-2017 "Revealing Reality": Four Asian Filmmakers Visualize the Transnational Imaginary Stephen Edward Spence University of New Mexico Follow this and additional works at: https://digitalrepository.unm.edu/amst_etds Part of the American Studies Commons, Film and Media Studies Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Spence, Stephen Edward. ""Revealing Reality": Four Asian Filmmakers Visualize the Transnational Imaginary." (2017). https://digitalrepository.unm.edu/amst_etds/54 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in American Studies ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i Stephen Edward Spence Candidate American Studies Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Rebecca Schreiber, Chairperson Alyosha Goldstein Susan Dever Luisela Alvaray ii "REVEALING REALITY": FOUR ASIAN FILMMAKERS VISUALIZE THE TRANSNATIONAL IMAGINARY by STEPHEN EDWARD SPENCE B.A., English, University of New Mexico, 1995 M.A., Comparative Literature & Cultural Studies, University of New Mexico, 2002 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy American Studies The University of New Mexico Albuquerque, New Mexico May, 2017 iii ACKNOWLEDGEMENTS This project has been long in the making, and therefore requires substantial acknowledgments of gratitude and recognition. First, I would like to thank my fellow students in the American Studies Graduate cohort of 2003 (and several years following) who always offered support and friendship in the earliest years of this project.
  • Negotiating Transnational Collaborations with the Chinese Film Industry

    Negotiating Transnational Collaborations with the Chinese Film Industry

    University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2019 Negotiating Transnational Collaborations with the Chinese Film Industry Kai Ruo Soh University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Soh, Kai Ruo, Negotiating Transnational Collaborations with the Chinese Film Industry, Doctor of Philosophy thesis, School of the Arts, English and Media, University of Wollongong, 2019.