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), origi ), 12 Queens ). ( APT the first, sec first, the , for example, of , for example, of ) was Cai’ s first solo solo ) was Cai’ s first for large periodical exhi periodical large for 7 , curated by Hou Hanru, Hanru, Hou by curated , porary art and ideas from art and ideas from porary Flying Dragon in the Heavens Flying Dragon Three Installations by Xu Bing Installations Three curated by Fei Dawei, Pourrières, Pourrières, Dawei, Fei by curated These artists became integrated integrated became artists These de rigueur 11 ( ).

Magiciens de la Terre Yang Jiechang exhibited in Paris and and Jiechang exhibited in Paris Yang 4 and Cai Guo-Qiang Ping and Cai Guo-Qiang Huang Yong 5 Out of the Centre the of Out Fragmented Memory: The Chinese Avant- Chinese The Memory: Fragmented

Dangerous Chessboard Leaves the Ground Leaves the Chessboard Dangerous 9 audience relationship as central to the entire to the entire as central audience relationship ), an exhibition of artists from throughout the / Kröller-Müller Museum, Otterlo, 1994 Otterlo, Museum, Kröller-Müller and and ( 10 ) in 1991. ), ) his first in the United States. United the in first his ) artwork / Chine Demain pour Hier Cultural Melting Bath: Projects for the 20th Century 20th the for Projects Bath: Melting Cultural , a method that had become had that method a curated curated by David Elliott and Lydie Mepham, eight artists, — ( and and 6 Heart of Darkness Art Chinois curated by Julia Andrews and Gao Minglu, four artists, Wexner Center Center and Gao Minglu, four artists, Wexner by Julia Andrews curated ( Elvehjem Museum of Art What set this series of exhibitions apart from all others were the extreme the extreme were all others set this series of exhibitions apart from What 13 Silent Energy

8 tions are nevertheless significant for Chinese art because of the idealism behind tions are ), curated by Marianne Brouwer ( Brouwer Marianne by curated ), ), In general, Australia and Europe proved to be open to experimental Chinese art art open to experimental Chinese be to proved and Europe Australia In general, Three issues colored Western reception of Chinese reception art at the beginning of Western issues the colored Three artists. émigré outstanding of careers overseas the launched exhibitions solo Early exhibi group several for core a as on drawn was artists exceptional of group This Louisiana Museum of Modern Art, Humlebaek, , 1997 Louisiana Museum of Modern Art, Humlebaek, world cultur itself considered had Australia decades for While States. United the than earlier recognized increasingly it 1990s the during States, United the and Europe to linked ally ( Triennial Asia-Pacific the launched mindset This Asia. in neighbors its to ties in Gallery Art Queensland the at held be to exhibitions three of series a as planned nally exhibi The Turner. of Caroline the direction Brisbane in 1993, 1996, and 1999, under century. twenty-first in the triennials’ continuation into the tions’ success has resulted ( to limited not was exhibitions APT the in included art the Although respectively artists, Chinese eleven and six, eight, featured triennials third and ond, exhibi­ and galleries commercial by exerted influence minimal the including organization, their collectors in the selection process. As the triennial’s Rhana Senior Project Officer, Devenport, stated, the APT principles core include: “the to desire enhance cultural long-term engagement with contem­ through understanding and consultation; and the loca a commitment to co-curatorship Asia and the Pacific; tion of the artist and the artist process.” For art. of kinds new to open be to efforts their in went organizers the which to lengths accord exhibition the organize not to made was decision conscious a triennial, first the theme overall an to ing 1990s, and endure to this day: first, vestiges of the colonialist search for exoticism in for exoticism in search of the colonialist vestiges to this day: first, endure 1990s, and “the other” persisted; second, June 4[, 1989] dominated perceptions of Western surface seeing beyond the had difficulty frequently art experts Western China; third, as much perceived they that result the with art, Chinese contemporary of appearance derivative. The first two issues have surfaced in exhibitions, and may have been there where shows group in particularly art, the for accessibility of points as exploited theme. Critics accused is a need for a unifying shamans. as artists Chinese of perception the fostering show, major a installed Gu Wenda 1987, In in University Toronto. the Art Gallery of York and in Paris shows in those same years and Chen Zhen had 1991, London in 1990 and West was solo exhibition in the Rome. Xu Bing’s first Madison ( In the early 1990s Cai later. slightly solo exhibitions in the West began to have major lived in , where he was a resounding success. ( Europe, in exhibition 1997 York, New Art, of Museum including tions, 1990 Museum of Modern Art, Oxford, 1993 in Exile Garde 1993 Ohio, Columbus, Arts, the for 1994 Finland, Pori, Museum, Art Pori artists, five in such impor of Conceptual art, appearing into the fabric of the international realm tant exhibitions as

1 - - - ) — In 2 and and ). 1982 1987 or featuring — at Sarah Lawrence College ( Cold War era.” I would say that the art worldrela art the that say would I era.” War Cold – at the Centre Georges Pompidou, which introduced introduced which Pompidou, Georges Centre the at 3 , that “The relations in the art world are the same as the the in the art world are relations that “The ) New Expressions tions bare as part of the work. work. the of part as bare tions ) to an important center of the contemporary art world. Ten Ten world. art contemporary the of center important an to )

— 2002 Painting the Chinese Dream: Chinese Art Thirty Years after the after the Years Art Thirty Chinese Chinese Dream: the Painting Press Conference Press on ion Magiciens de la Terre , curated by Joan Lebold Cohen at the Smith College Museum of Art ( Art of Museum College Smith the at Cohen Lebold Joan by curated , ons ions t i b Artists from China Artists from The 1990s witnessed both rapid globalization and the artistic results of China’s of China’s globalization and the artistic results 1990s witnessed both rapid The For the sake of clarity and simplicity, this essay consists of separate histories of the of histories separate of consists essay this simplicity, and clarity of sake the For

contemporary Chinese art into the schedule of a museum or public gallery required required gallery public or museum of a schedule the into art Chinese contemporary has Over the become the strategizing years, and determination, strategy. leverage, more sophisticated, and more effective. other The side of the coin is the fact that consumption, overseas suit to art of works design to out set have artists Chinese some machina­ their laying often the young avant-garde artists Gu Dexin, Huang Yong Ping, and Yang Jiechang ( Ping, and Yang artists Gu Dexin, Huang Yong the young avant-garde artists World Third other exhibitions. major for demand in was art Chinese avant-garde later, years interest an implied circumstances of confluence This world.” the to “striding of policy intended art of China in production the and cultures other in West the of part the on a decade for ago, consumption Particularly to overseas. an introduce exhibition of avant-garde Chinese art were held in colleges in the 1980s and were not widely publi widely not were and 1980s the in colleges in held were art Chinese avant-garde cized. include These Revolution and as a minor element in Jean-Hubert Martin’s 1989 Chinese art was featured Europe, exhibition, rich story revolving around different shared interests and different misperceptions, misperceptions, and different interests shared different around rich story revolving essay. this in covered be not will and Exhi In the late 1980s and early 1990s, Chinese contemporary art was in featured a few exhibitions at minor venues, or as a minor ele either small exhibitions in the West, ment of a large exhibition. In North America, for example, the first exhibitions of long-term association. Although there is now a deeper understanding, there are still still are there is now a deeper understanding, long-term association. Although there flirtation. enjoyable for room and idiocy, of moments uncertainty, of areas in exhibitions, publications, of art by mainland Chinese artists as it appeared profile with an additional small section about strategies. in the West, and scholarly research and separate a is Japan, particularly Asia, of parts other in art Chinese of reception The 1997 painting post the in states between relations more developed West, the particularly world, outside the and China between tionship about curious were parties both first, at 1990s: the during relationship romantic a like a connection. what could be gained from and wondered other, the newly discovered By the end of the 1990s, the heady excitement had by gone, a replaced sustainable the number of overseas exhibitions and publications focusing on between Chinese time, the relationship At the same year by year. Chinese art grew one of keen but largely evolved from and consumers art workers artists and overseas By self-conscious. more and informed better both was that one to interest uninformed and circuit, art international the on profile sustainable a achieved had art Chinese 2000, and had begun collectors to it critics, as treat scholars, curators, part of the general his in has famously stated artist Zhou Tiehai than as an exoticism. The rather scenery, THE RECEPTION IN THE WEST OF EXPERIMENTAL MAINLAND CHINESE CHINESE MAINLAND RECEPTIONTHE EXPERIMENTAL OF WEST IN THE ( OF THE 1990S ART By Britta Erickson Introduct as dramatically, increased world art Chinese the of profile overseas the 1990s, the During

| 1 4 | , - - - , at , at five Three Three 26 ) in 1998, ) in 1998, Representing China’s New China’s New six mainland six mainland ), Karen Smith forty-two main forty-two eighteen contem eighteen after Contemporary Chinese Chinese Contemporary Jiangnan: Modern and Jiangnan: Modern and - , curated by Chang Tsong- , curated

30 ten artists; 1998 Im Spiegel der Eigenen Tradition: Tradition: Eigenen der Spiegel Im 25, 1993 (Hong February 14, February – China’s New Art, – . Exhibition orga , organized by Hank Bull, David Chan, Chan, David Bull, Hank by organized , 25 , curated by Eckhard Schneider at the Schneider at the by Eckhard , curated ). , was curated by Gao Minglu in association in Minglu Gao by curated was , Poster produced for the produced Poster exhibition Post-1989 nized by Hanart TZ Gallery, tour opening in Hong Kong, January 31 City Hall), 1993 (Hong Kong 2 February Arts Centre) Kong Power of the Word of the Power

27 ) broke experimental art into several thematic experimental ) art thematic into broke several ); , curated by Patricia Eichenbaum Karetzky, Lehman Karetzky, Eichenbaum Patricia by curated , That same year saw a major exhibition of contem same That Transience: Chinese Experimental Art at the End of the Transience: though its core consisted of the major artists of the consisted of the major artists of the though its core

24 sixteen artists sixteen All of the focused exhibitions provided their audiences All of the focused exhibitions provided 29 Al­ 32 ). Word and Meaning: Six Contemporary Chinese Artists and Meaning: Six Contemporary Word 33 Another angle was painting genres: in curating curating in genres: painting was angle Another , Zeitgenössische Fotokunst aus der Volksrepublik China aus der Volksrepublik , Zeitgenössische Fotokunst 31 ). technically German territory; thirty-four artists technically German territory; thirty-four and 28 ); groups ten artists; 1999 / , curated by Wu Hung for the Smart Museum of Art at the University University the at Art of Museum Smart the for Hung Wu by curated , Inside Out: New Chinese Art Chinese New Out: Inside ),

twenty-one artists; 1999 twenty-one for the Chinese Arts Centre, Manchester ( Regionalism proved a viable angle for the exhibition art ( second blockbuster exhibition of Chinese avant-garde The Other exhibitions brought out particular themes. particular out brought exhibitions Other with the Asia Society and the San Francisco Museum of Modern Art ( Art Modern of Museum Francisco San the and Society Asia the with land Chinese artists movement, its scope was widened to include younger artists, as ‘85 Art New Wave 1 P.S. and Society Asia the at opening After Taiwan. and Kong Hong from artists as well several and venues American other to traveled exhibition the 1998, in York New in Chinese artists; 2000 ( York New Buffalo, Gallery, Art Buffalo at University the for Kuiyi, Shen by curated 2000 artists; Chinese mainland Century Twentieth of Chicago ( “Transience.” and “Ruins,” “Demystification,” divisions, River Yangzi the of South from Art Contemporary ( venues Vancouver various in exhibited Wei, Xia and Shengtian, Zheng 1998). artists; mainland porary the People paintings. focused on figurative down the notion of China as a breaking with a view of China as a multifaceted culture, art. Chinese of appreciation nuanced more a encouraging and monolith, homogeneous Post-1989 Art, installation and performance art. Chinese photography porary ( Kunstverein Berliner Neuer the Kunst Ausstellung Zeitgenössischer Chinesischer Beijing ( German Embassy, aesthetics. and practices artistic traditional of expressions modern showcased in 1999 and 2000: exhibitions focusing on language appeared of China Culture Art and the Literary College Art Gallery ( ( International, New York by Independent Curators zung and circulated

------20 . Mao went sixteen

opened , curated , curated 14 , organized, ). Des del Pais Des del Pais ) focused on focused ) Zhongguo xian and 16 ); artists seven exhibition ( exhibition China Avant-garde: Counter- China Avant-garde: “Quotation Marks”: Chinese “Quotation Marks”: Chinese , Another Long March: Chinese , Another Long March: New Art from China: Post-Mao China: Post-Mao New Art from , organized by Folke Edwards, Edwards, , organized by Folke China’s New Art, Post-1989 ), appeared at the Museum of China’s New Art, Post-1989 Art, New China’s

21 made a decisive statement. decisive a made China’s New Art, Post-1989 Art, New China’s artists seventeen China! Zeitgenössische Malerei , which had appeared in Bonn two years , which had appeared , curated by Chris Dreissen and Heidi van Heidi and Dreissen Chris by curated , Out of the Middle Kingdom: Chinese Avant- Out of the Middle Kingdom:

This exhibition of female artists’ works was a was works artists’ female of exhibition This ( 23 ). China / Avant-Garde

22 The next year, next year, The 17 with twenty-nine with artists twenty-nine Chinese Contemporary Art Chinese Contemporary ). Die Hälfte des Himmels des Hälfte Die

Die Hälfte des Himmels: Chinesische Künstlerinnen ( — , at the Haus der Kulturen der Welt in Berlin in 1993 ( 1993 in Berlin in Welt der Kulturen der Haus the at , , opened at the Singapore Art Museum in 1997, with twenty- Art Museum in 1997, , opened at the Singapore An almost identical exhibition, 18 ). Change China! Zeitgenössische Malerei Many others followed. others Many ) at the National Art Gallery in Beijing. in Gallery Art National the at )

19 artists thirty-four but rather to allow multiple curators to select art representative of the area of the area art representative to select curators to allow multiple but rather ), curated by Imma Puy, was exhibited at the Centre d’Art Santa Monica in Santa Monica in d’Art at the Centre was exhibited by Imma Puy, ), curated

In 1995, eighteen artists; Fundament Foundation, Breda, the the Breda, Foundation, Fundament artists; eighteen 15 , at the Art Gallery of New South Wales, Sydney, in 1992 ( 1992 in Sydney, Wales, South New of Gallery Art the at , — ). Some exhibitions explored particular media. In 1997 In media. particular explored exhibitions Some Important exhibitions of the later new 1990s angles provided new or introduced Group Group exhibitions from the first half of the 1990s introduced contemporary Probably the most influential of all the early 1990s exhibitions of contemporary contemporary the most influential of all the early 1990s exhibitions of Probably During the mid-1990s, Europe produced a flurry of group exhibitions focusing on focusing exhibitions group of flurry a produced Europe mid-1990s, the During

thirty-one thirty-one artists

twenty-four artists from mainland China mainland from artists twenty-four women among its thirty-one artists. The under-representation of female artists is a perva a is artists female of under-representation The artists. thirty-one its among women and field, the in problem sive Conceptual and Installation Art in the Nineties ( Mierlo exhibitions in this vein became redundant, except to the local populations. local the to except redundant, became vein this in exhibitions include Examples materials. 1998 in Bonn in Museum Frauen the at Pitzenar Marianne and Ping, Qiu Werner, Chris by ( to reaction direct no including but painting Chinese of view comprehensive a present to purporting earlier, Contemporary Art, Sydney, in 1993. in Sydney, Art, Contemporary texts accompanying the the catalogue Typically art to the West. Chinese avant-garde and political and sociological background, exhibitions located the art in terms of its comments included catalogues Some development. historical its explained sometimes however, introduced, thus been had art Chinese contemporary Once artists. the from Co-curated by Chang Tsong-zung and Li Xianting, Li and Tsong-zung Chang by Co-curated artists, most of and City fifty-four Arts Hall, Centre and featured at the Hong Kong 1989 the at attention drawn had whom yishuzhan dai over the shaping impact, long-lasting a had and years, several for globe the tour to on exhibition, this of spin-off pared-down A artists. Chinese important of roster seas Goes China Pop, Post-1989 by Dieter Ronte, Walter Smerling, and Evelyn Weiss, opened at the Bonn Art Museum Art Bonn the at opened Weiss, Evelyn and Smerling, Walter Ronte, Dieter by ( Paintings Contemporary artists. seven Chinese art avant-garde was the 1993 blockbuster, Currents in Art and Culture Currents artists ( Göteborg, in Konsthallen the at opened xineses artistiques avant-gardes del Centre: Art garde ( Barcelona ing a plurality of vision. While the curatorial process became cumbersome, it encour became cumbersome, process the curatorial vision. While of ing a plurality The recognition. achieved otherwise have not would who artists of emergence the aged exclu devoted exhibition Australian significant the first saw also Australia of coast east powerful but small Roberts’s Claire art: Chinese to sively Product with Chinese art, beginning avant-garde contemporary bitions for which they were responsible. The second triennial sought to avoid relevanta issues Euro- discuss to forums of series a convening by first, perspective, Americentric which of each teams curatorial fifteen forming by second, and process, curatorial the to third the For selecting. was team the art whose country the to native curator a included artists, ensur with seventy-seven worked researchers and curators triennial, fifty-three

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- - - - - 45 At 44 thus thus 41 , China’s New China’s New neered the symbolic piercing piercing symbolic the neered 43 and the Venice Biennale and the Venice 40 cial galleries in China—have played in China—have played ­cial galleries “I Don’t Want to Play Cards with Cézanne” with Cézanne” to Play Cards “I Don’t Want rected its efforts. its rected 46 ng shi i ubl P , and Cai Guo-Qiang’s installation at the 48th Venice Biennale. , and Cai Guo-Qiang’s installation at the 48th Venice but also curated several exhibitions associated with international peri international with associated exhibitions several curated also but p and and p s ie , the first large group exhibition of avant-garde Chinese art in the United States United the in art Chinese avant-garde of exhibition group large first the , g As co-curator of the first Shanghai Biennale to exhibit international artists (2000), artists international exhibit to Biennale Shanghai first the of co-curator As 42 Chang Tsong-zung, Hou Hanru, and Zheng Shengtian have frequently acted as acted as Shengtian have frequently Chang Tsong-zung, Hou Hanru, and Zheng Chinese to Another artists introduce strategy to the world was devised by the A brilliant polyglot, Hou Hanru has been particularly effective in furthering the inte the furthering in effective particularly been has Hanru Hou polyglot, brilliant A of organizer key a was Shengtian Zheng e trat cholarshi the West, as director of Art Beatus, a gallery with branches in Hong Kong Annie and The Foundation. Wong Annie the with involvement his through and Vancouver, Foundation contributed essential Wong funding to important exhibitions, such as Cities on the Move ­ redi since has foundation the Unfortunately, artists which influenced strongly have they such, As curators. overseas for middlemen in a large scale this on accomplished Shengtian to the world. Zheng introduced were curators overseas important of group a took which tour,” “curators’ a organizing 2000, centers. art China’s of tour a on Chinese major collector Uli Sigg, who funds an art competition—the Contemporary flown to China for this is judged by international curators (CCAA)—that Art Award dialog “continuous a further to is enterprise this of goal the stated, has he As purpose. inter the with ultimately and public interested an with peers, their with artists] the [of over a of the art produced a detailed record national art world” as well as to “create artists.” younger by period given S Publishing and scholarship conform to the same general pattern of dramatic and steady growth of interest apparent in exhibitions during the 1990s. Although the ts in Hangzhou. He Academy of Fine Arts in Hangzhou. He the time, he was affiliated with the Zhejiang to art Chinese avant-garde introducing in role important extremely an play to on went S contemporary for vital as perceived is scene art international the in inclusion Because to further strategies art world have developed in the concerned figures Chinese art, Chang Tsong-zung, Hou are Hanru, and strategists Zheng Shengtian. this goal. Key of commer directors the foreign Others—notably of workings the of grasp astute an Possessing profile. lower a with but roles, essential and English both with facility exceptional with combined world, art international the com successful by his increasingly financial means provided Chinese, and with the to position perfect the in was Tsong-zung Chang Gallery, TZ Hanart gallery, art mercial He not only organized Chinese art to the West. avant-garde introduce Post-1989, Art, odical exhibitions, such as Biennial the São Paulo curators. international of attention the to artists Chinese young bringing about con In the early 1990s he wrote of Chinese art into the global art scene. gration the for voice a became and journals, European progressive for art Chinese temporary the on drew he art, international of exhibitions curating into moved he As space.” “third milieu. widened a into them leading naturally familiar, was he whom with artists Chinese engi­ he Ping, Yong Huang artist-strategist the with Working Chinesea by created art of works by Biennale Venice 48th the at pavilion French the of artist. the Art of and “Avant-Garde” “New Wave” the Chinese Selections from and Other Works: Eighties 1991). California, Pasadena, in Museum Asia Pacific Strassberg, Richard by (curated Hou Hanru provided the exhibition with his imprimatur, thus drawing the attention of drawing thus the exhibition with his imprimatur, Hou Hanru provided world. art Chinese the to curators international important

- - - - - 34 con In 2000 In 2000 37 39 Smart Museum of Smart Museum of ) first major exhibi major first ) ( , ed. Gao Inside Out: Inside Out: January 3, 1999 Twenty Chinese artists appeared Chinese artists appeared Twenty – 36 Los Angeles: University Los Angeles: University 1998). of California Press, Exhibition organized by Asia Society Galleries and Museum of San Francisco in Modern art, tour opening September City, New York 15, 1998 (Asia Society Galleries and Art 1 Contemporary P.S. Center) Front cover of Front Art New Chinese Minglu. (San Francisco: Museum of San Francisco Modern Art; New York: Asia Society; Berkeley and Washington, D.C.; 2001 D.C.; Washington, , featuring many works during created the Partage d’Exotismes: The Fifth Lyon Biennial of Biennial Lyon Fifth The d’Exotismes: Partage , an innovative evolving exhibition curated by curated exhibition evolving innovative an , ) included fourteen Chinese artists in a section titled section titled ) included fourteen Chinese artists in a Cities on the Move

Canceled: Exhibiting Experimental Art in China Canceled: Exhibiting Experimental Art in ) conjured a canceled Beijing exhibition as an opportunity to In choosing twenty percent Chinese artists, Szeemann shocked Chinese artists, Szeemann shocked In choosing twenty percent 35 . 38 t. supposedly “exotic” works that were created in an “exotic” land. Conflicting in an “exotic” land. Conflicting created supposedly “exotic” works that were — The 1990s saw the increasing inclusion of Chinese artists in group exhibitions of exhibitions of of Chinese artists in group inclusion the increasing 1990s saw The The end of the decade saw two shows that made creative use of the exhibition use of the exhibition the decade saw two shows that made creative end of The

selected several artists who created shocking works from animal or human body parts to be exhibitions: the desire the selection for important overseas feelings surround inclusion. for motivations the concerning insecurity an plus included, two years later in the 48th Venice Biennale, curated by Harald Szeemann. by Harald Biennale, curated later in the 48th Venice two years for sixteen selected Martin Jean-Hubert Contem­porary Ar many people yet of twenty the percent world’s population is Chinese, and we can Chinese. Many accused the of the world’s artists are guess that a similar proportion art Chinese three only chose he when particularly card,” China the “playing of curator ists for same the was following biennial. The thought of Jean-Hubert Martin, who international artists. For the 1993 Venice Biennale, curator Achille Bonito Oliva ( Biennale, curator the 1993 Venice international artists. For dal Lago sulting with Francesca Oriente a Passaggio 1997, in Vienna, Secession, Wiener the at opened Obrist, Hans-Ulrich and Hanru Hou artists. with works by nineteen mainland Chinese address address the special issues surrounding the display and reception of art in China. Art by Xu Bing Contemporary Play: Word ( Gallery’s Sackler M. Arthur the was 1990s, with art Chinese early of juxtaposition the Through art. Chinese contemporary of tion tension that led to establish a provocative Xu Bing’s works, I intended the exhibition appear superficial the on drew pieces contemporary the whether question to viewers connection. deeper a made or art, traditional the of ance debate on the viability of considering artists from mainland China, Taiwan, and Hong and Hong Taiwan, mainland China, from debate on the viability of considering artists temporar of effect side the had York New in presence exhibition’s The unit. a as Kong art. Chinese contemporary for market the up heating ily Hung’s format. Wu Art, Chicago, 2000 countries. This exhibition brought wide attention to Chinese art, and encouraged a a attention to Chinese art, and encouraged wide exhibition brought countries. This

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). , , has just ). Northampton, ( ). Yishu ). ). New York: Queens New York: Columbus, Ohio: ( ). ( ). Bonn: Dumont, 1996 Barcelona: Generalitat de Generalitat Barcelona: Berlin: Edition Braus, 1997Berlin: Edition Braus, ( ( Hong Kong: Oxford Hong Kong: ( ). ( Hou Hanru, too, has criti has too, Hanru, Hou 52 Oxford: Museum of Modern Art,Oxford: ). ( Brisbane: Queensland Art Gallery, Brisbane: Queensland Art Gallery, ( Toronto: Art Gallery of York University, 1983. University, Art Gallery of York Toronto: Humlebaek, Denmark: Louisiana Museum of ( ( ). ). Sydney: Art Gallery of New South Wales, 1992 Sydney: Art Gallery of New South Wales, Hong Kong: Hanart TZ Gallery, 1993 Hanart TZ Gallery, Hong Kong: ( ( Göteborg, Sweden: Konsthallen, 1995 Göteborg, Sweden: Konsthallen, China! Zeitgenössische Malerei “Quotation Marks:” Chinese Contemporary Paintings “Quotation Marks:” Chinese Contemporary Sydney: Museum of Contemporary Art, 1993 Sydney: Museum of Contemporary ). Die Hälfte des Himmels: Chinesische Künstlerinnen Modern Asian Art. ( ( ). Paris: Centre Georges Pompidou, 1989 Georges Pompidou, Centre Paris: Paris: Carte Secrete, 1990 Carte Secrete, Paris: ( ( Madison, Wisconsin: Elvehjem Museum of Art, 1991 Madison, Wisconsin: ( Otterlo: Stichtung Kröller-Müller Museum, 1994 Otterlo: Stichtung Kröller-Müller Another Long March: Chinese Conceptual and Installation Art inAnother Long March: Pori, Finland: Porin Tadeimuseo, 1994 Tadeimuseo, Finland: Porin Pori, ). ( ). ( Zeitgenössische Fotokunst aus der VR China Zeitgenössische Fotokunst Silent Energy: New Art from China New Art from Silent Energy: Cultural Melting Bath: Projects for the 20th Century Melting Bath: Projects Cultural Scholars who have just completed or will soon complete soon will or completed just have who Scholars Bronxville, New York: Sarah Lawrence College, 1987 Lawrence Sarah New York: Bronxville, 53 ( Fragmented Memory: The Chinese Avant-Garde in Exile Chinese Avant-Garde The Memory: Fragmented Flying Dragon in the Heavens Flying Dragon ). Des del Pais del Centre: Avantguardes artistiques xineses Avantguardes del Centre: Des del Pais Magiciens de la Terre China’s New Art, Post-1989 Chinese Contemporary Art Chinese Contemporary China Avant-Garde: Counter-Currents in Art and Culture Counter-Currents China Avant-Garde:

Heart of Darkness Out of the Centre — Chine Demain Pour Hier Chine Demain Pour Dangerous Chessboard Leaves the Ground Chessboard Dangerous ). , ). Painting the Chinese Dream: Chinese Art Thirty Years After the Revolution Years Chinese Art Thirty the Chinese Dream: Painting Guangxi People’s Publishing House, 1989 Guangxi People’s ) and Reiko Tomii, ) and Reiko Tomii, Mao Goes Pop, China Post-1989 Mao Goes Pop, ( ). Change Three Installations by Xu Bing Three New Art from China: Post-Mao Product China: Post-Mao New Art from Breda: Fundament Foundation, 1997 Fundament Foundation, Breda: curator ( Art Chinois On the Mid-Ground. The third step in comprehending a new field, following data gathering and the and the data gathering a new field, following step in comprehending third The As we enter the a 21st time century, that may well turn out to be the “Asian ). ), 25. Singapore: Singapore Art Museum, 1997 Singapore Singapore: Museum, 1998 Bonn: Frauen Catalunya, Departament de Cultura, 1995 Catalunya, Departament de Cultura, publish their unedited texts. No other publication has brought such a volume of infor of volume a such brought has publication other No texts. unedited their publish second A West. the of attention the to view of points of range wide a such or mation periodical English-language focusing on Chinese art, contemporary published its first issue A from third Vancouver. may be in the works, based in Honolulu. ability superior his with field the led has Clark John analysis. is narratives, of assembly that approaches various the understand to seeks one If distance. critical a maintain to Chinese art, a good starting point is about contemporary have been used in writing Clark’s John to chapter introductory the cally articulated issues in Chinese contemporary art. Many articles germane to the hed in his collected Chinese art of the 1990s have been publis study of experimental essays, impor making art, and who are dissertations in twentieth-century Chinese doctoral tant contributions to a more critical analysis of experimental Chinese art, include Welland. Su-ling Sasha and Zhijian, Qian Lago, dal Francesca Köppel-Yang, Martina mutual understanding for laying grounds art can serve as a unifying force, Century,” better and represented better becoming is art experimental Chinese appreciation. and beyond look to made be effort more that essential is it but West, the in comprehended onto desiderata irrelevant to project the surface. It is too easy to make assumptions, “Chinese-ness.” of sheen surface a by satisfied be to and art, of works the Notes Massachusetts: Smith College Museum of Art, 1982 Modern Art, 1997 Museum of Art, 1997 1993 1993 Ohio State University, Center for the Arts, The Wexner Art Triennial of Contemporary Asia-Pacific Third The Beyond the Future: 1999 1993 Press, University ( China / Avant-Garde ( the Nineties Dieter Ronte, Walter Smerling, Evelyn Weiss, et al., Smerling, Evelyn Weiss, Dieter Ronte, Walter et al., Smerling, Evelyn Weiss, Dieter Ronte, Walter Joan Lebold Cohen, et al., Imma González Puy, Chang Tsong-zung, et al., Nicholas Jose, ed., Qiu Ping, and Marianne Pitzen, eds., Chris Werner, and Heidi van Mierlo, eds., Chris Dreissen Schmid and Alexander Tolnay, Andreas Jean-Hubert Martin et al., comp., Bruce Parsons, Britta Erickson, Barmé, Anneli Fuch and Geremie ( Jane Farver Dawei, Fei Mepham, eds., David Elliott and Lydie and Gao Minglu, Andrews Julia F. ed., Vanhala, Jari-Pekka ed., Marianne Brouwer, Roberts, Claire Jochen Noth, et al., eds., Edwards, Folke Artists from China-New Expressions Artists from

7. 1. 2. 3. 4. 5. 6. 8. 9. 17. 18. 19.

20. 21. 22. 23. 24. 25. 10. 11. 12. 13. 14. 15. 16. , - - - - - , deals It is afforded significant afforded is It 49 , an assemblage of essays and essays of assemblage an , Chinese Type” Contemporary Art Contemporary Chinese Type” Art and Artists of Twentieth Century Century Art and Artists of Twentieth in late 1997, having devised a format a devised having 1997, late in , and “ and , 51 Chinese Art and Culture. tal Chinese art has an appearance in such texts as in such texts as tal Chinese art has an appearance Asian Art News , China Avant-Garde: Counter-Currents in Art and Culture Counter-Currents China Avant-Garde: Until a decade or so ago, general surveys of Chinese, Asian, or surveys of Chinese, Asian, or Until a decade or so ago, general 48 (a.k.a. Chinese-art.com) are in this vein, although they may include in this vein, although they may include (a.k.a. Chinese-art.com) are ART Asia Pacific Asia ART Gebrochene Bilder-Junge Kunst aus China aus Kunst Bilder-Junge Gebrochene Another kind of narrative study is that which focuses on a single artist. The Art of Xu Bing: Words without Meaning, Meaning without Words without Meaning, Meaning Art of Xu Bing: Words The 50 The majority of articles published on the subject of avant-garde Chinese art in Chinese art in of articles published on the subject of avant-garde majority The ears publisher publisher A special mention should be made of Chinese-art.com, for many years A A second step in approaching a new area of study is to create narrative and In a field that is new, it is extremely important to assemble data while it is fresh. it is fresh. important to assemble data while it is extremely In a field that is new, 47

of the only Western-language periodical devoted to contemporary avant-garde expe as field the in information disseminate to mission its in unique and art, Chinese ditiously as possible, via the Publisher Web. Worldwide Robert Bernell launched Art Online Magazine Contemporary “Chinese Type” would be given the opportunity to writers both Chinese and overseas that ensured Robert Thorp and Richard Vinograd’s Vinograd’s Richard and Thorp Robert history in Michael Sullivan’s narrative coverage China. been published. My exhibition cata only one such book-length text has Surprisingly, logue 1990s. the of works artist’s the with largely f a wider narrative. An An a section of a wider narrative. either being collections of essays, or constituting was effort early Schneckmann, Peter and artists’ biographies organized by Martina Köppel-Yang, Schneider. Eckhard situa This 1900. or 1850 circa out faded art Chinese that impression the gave art world and experimen­ tion has improved, published in conjunction with the Haus der Kulturen der Welt exhibition of the same the of exhibition Welt der Kulturen der Haus the with conjunction in published title. as journals such Online Magazine facility in this great with writers most prolific some art analysis or criticism, too. The others. and Smith, Karen Xianting, Li Minglu, Gao Tsong-zung, Chang include manner almost invariably fragmented, and are much rarer, texts in book form are Narrative 2000, Asia Art Archive was founded in Hong Kong, with a mission to gather materials was founded in Hong Kong, 2000, Asia Art Archive China. on resources of focus year-long a with beginning art, contemporary Asian on data into meaningful form. Such is a way of sorting the raw descriptive histories. This of art displayed commonly appear in texts designed to explicate the works narratives in exhibitions, for example in create a database indexing research materials on artists. A readily available bibliogra readily materials on artists. A a database indexing research create lable online at http:// up to 1999, that I compiled, is avai phy of materials published Several www.stanford.edu/dept/art/china. academic libraries, including the Art of Museum and the of the Nelson-Atkins Art, University library at Stanford Library exper Chinese twentieth-century late of field the in holdings substantial up built have In institutions. their at field this in research of viability future the ensuring art, imental by those with a long-term interest in the field, particularly those who have spent long spent have who those particularly field, the in interest long-term a with those by China. in time of periods professor associate an Clark, John include data raw gathering to dedicated most Those and of the China Art director and Hans van Dijk, the late of Sydney, at the University of John Clark has been compiling archives years, For in Beijing. Warehouse Archives to tirelessly material, and Hans van Dijk worked artist interviews and other recorded scholar scholar Michael Sullivan has followed Chinese contemporary art for decades, ever this investigate to slow were scholars Western other 1940s, the in China in living since research to to want me I was crazy told professors ago, one of my years field. Fifteen contemporary Chinese art—because there was no such thing as contemporary it, into jumping are scholars profile, higher a gaining is field the that Now art! Chinese done being is research valuable most the surprisingly, Not “experts.” instant becoming

| 7 | 9 35. 34. 33. 32. 31. 30. 29. 28. 26. 53. 52. 51. 50. 49. 48. 46. 45. 44. 43. 42. 41. 40. 39. 38. 36. 47. 27. 37. Wu Hung, Gao Minglu,ed., Karen Smith, Hank Bull,ed., Wu Hung, Shen Kuiyi, Chang Tsong-zung, Patricia EichenbaumKaretzky, Eckhard R.Schneider, etal., Hou Hanru, John Clark, Britta Erickson, Michael Sullivan, Robert Thorp andRichard Vinograd, Martina Köppel-Yang, Peter Schneckmann,andEckard R.Schneider, Noth, op.cit.[Jochenetal.,eds., “Harald SzeemannTalks toChineseArtistsaboutVenice, CCAA, and Curatorial Strategies,” Chinese-art. Cai Guo-Qiang, Richard E.Strassberg, ed.,“ Chen Tong, etal.,eds., Denys Zacharopoulos andHouHanru, Melanie Pong, JosetteBalsa,StephenT. N.Cheung, UnaShannon,andLouisaTeo, eds., Valerie Doran, MelaniePong, StephenCheung,Ying Yee Ho,andUnaShannon,eds., For more informationabouttheinclusionofChineseartistsinmajorinternationalperiodicalexhibitions, Thierry Prat, Thierry Raspail,Jean-HubertMartin,etal., Harald SzeemannandCeciliaLiveriero Lavelli,eds., Hou HanruandHans-UlrichObrist,eds., of Art,University of Chicago,1999 Gallery, 2000 Lehman CollegeArtGallery, 1999 ( 1990 International, 1998). Arthur M.SacklerGallery;Seattle:University ofWashington Press, 2001). California Press, 1996). China Kong: Oxford University Press, 1993).] Future, BetweenEastandWest com, vol.3,issue1(2000);reprinted inWu Hung,ed., 1991). Chinese “NewWave” and“Avant-Garde” ArtoftheEighties 1999). d’Art Pavilion Francais 1999 Tre ArtistiCinesiaVenezia Contemporary ArtatSãoPaulo unpublished paper. see Francesca dalLago,“From Crafts toArt:ChineseArtistsattheVenice Biennale,1980 de Lyon d’Arte 1997 La BiennalediVenezia, XLV EsposizioneInternationaled‘Arte Wong ArtFoundation andWestern Front Society, 1998 — Beijing: BotschaftderBundesrepublik Deutschland,1998 Excerpted from atextoriginallypublishedin ). – (Hamburg:Drachenbriicke, HorlemannVerlag, Unkel/RheinandBadHonnef, 1991). ( 2000 Venice: Marsilio Editori,1999 ( Reunion desMuséesNationaux,2000 Exhibiting ExperimentalArtinChina Transience: ChineseExperimentalArtattheEndofTwentieth Century , ed.Wu Hung( Word andMeaning:SixContemporary ChineseArtists Modern AsianArt On theMid-Ground, ). Representing the People Jiangnan: ModernandContemporary Artfrom South of theYangzi River Words Without Meaning,MeaningWithout Words: The ArtofXuBing Venice’s RentCollectionCourtyard Inside Out: NewChineseArt Art andArtistsofTwentieth-Century China Power oftheWord Shanghai Biennale2000 (Milan:Zanzibar, 1995). (AssociationFrancais d’ActionArtistique—Ministère desAffaires Etrangères, Guangzhou: GuangdongMuseumofArt,2002 I Don’tWant toPlayCards withCézanne”and Im SpiegelderEigenenTradition: AusstellungZeitgenössischerChinesischerKunst (NorthRyde,Sydney, NewSouthWales: Craftsman HouseandG+B Contemporary ChineseArtandtheLiterary Culture ofChina (HongKong: HanartTZGallery, 1994). (HongKong: NewArtMedia,2001),148–61. ed.Yu Hsiao-Wei (HongKong: Timezone 8,2002). ). ). ). ( Chinese ArtandCulture Manchester: ChineseArtsCentre, 1999 ( New York: IndependentCurators International,1999 Huang Yong Ping: Cities ontheMove China Avant-Garde: Counter-Currents inArtandCulture ( ( Berkeley: University ofCaliforniaPress, 1998 ). Chicago: SmartMuseumofArt,University ofChicago,2000 (Shanghai:Shanghaishuhuachubanshe,2000). Reinterpretation: ADecadeofExperimentalChineseArt, (Vancouver: AnnieWong ArtFoundation, 1999). La BiennalediVenezia, 48thEsposizioneIntemationale ). Partage d‘Exotismes:5eBiennaled’Art Contemporain Chinese ArtattheCrossroads: BetweenPast and ).

La BiennaledeVenise 48eExpostionInternationale , vol.2( (Pasadena, California:Pacific ArtMuseum, ( (BerkeleyandLosAngeles:University of Ostfildern-Ruit, : Verlag Gerd Hatje, (NewYork: HarryN.Abrams, 2001). ( Buffalo, NewYork: University atBuffaloArt Venice: Marsilio Editori,1993 Gebrochene Bilder-Junge Kunst aus

Other Works: Selectionsfrom the ), 105 ). ( – Chicago: Smart Museum Chicago: SmartMuseum 12. ( Vancouver: Annie (Washington, D.C.: ( – Chinese Bronx, NewYork: 2001,” ). L’altra Faccia: ). ).

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