DOCSLIB.ORG

Reenacting History: Collective Actions and Everyday Gestures

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Reenacting History: Collective Actions and Everyday Gestures ALLORA & CALZADILLA Half Mast, Full Mast, 2010 2 Channel HD video projection, color, 21'11" Courtesy of the artists and Lisson Gallery, London Photo by Ken ADLARD © ALLORA & CALZADILLA Reenacting History: Collective Actions and Everyday Gestures 22 September 2017 – 21 January 2018 MMCA Gwacheon The National Museum of Modern and Contemporary Art, Korea (MMCA; Director: Bartomeu Mari) presents the exhibition Reenacting History: Collective Actions and Everyday Gestures from Friday, September 22, 2017, to Sunday, January 21, 2018, in the Circular Gallery 1 at MMCA, Gwacheon. Featuring thirty-eight artists and collectives working in and outside of Korea, Reenacting History is a large-scale international special exhibition that focuses on how the body and gestures have revealed the current social and cultural contexts and interests as an artistic medium since the 1960s until today. The body is a medium through which “I” build a relationship with others and encounter different situations in the world, as well as a social space in which the politics of reality such as power, capital, and knowledge are at work. As such, the body has been a major existence throughout the entire scope of human life, and numerous artists have employed the body as an artistic medium since the 1960s. Based on various ways in which bodily gestures, as an artistic medium, approach and artistically react to our life stories, the exhibition is divided into three parts. Part 1, titled Performing Collective Memory and Culture, illuminates performance works, which have attempted to reenact history by restructuring through gestures the collective memories and cultural heritage of a community. This part will also focus on the collective actions by Korean performance artists and Japanese avant-garde art groups of the 1960s and 1970s to shed light on the ways in which the artists reacted and resisted through gestures towards the specific social and political situations of their contemporary times. Part 2, Everyday Gestures, Social Choreography, takes the perspective of “social choreography” to cast light on performance works after the 1960s, which brought everyday gestures into the context of art to highlight issues of reality and life. Part 3, Performing Community, introduces works that use the body to reenact the social issues of our communities that arose after the late 1990s. This section will present collective performances that explore and experiment with “temporary communities” through collaboration and communication with community members and intimate encounters of bodies. The “reenactment” of history attempted by the participating artists in this exhibition is different from recording history through language, which explicitly aims to recreate or prove a history. The bodily gestures force the history written in language to be reexamined. In Reenacting History, the artists, through their gestures, document the history of trauma and absence, which the history written in language failed to or could not afford to write. This exhibition will be an opportunity to discover the possibility that writing history through the bodily gestures of artists could become an “alternative, resistant way of transcribing history.” A variety of cultural programs including a series of lectures and symposiums will be held to help visitors better understand the exhibition. A lecture-performance titled 1960’s Japanese Avant-garde Art and Performance Screening×Agitation is scheduled for Saturday, September 23, 2017. The performance will feature Kato Yoshihiro, the leader of Zero Jigen, and KuroDalaiJee, an expert on Japanese avant-garde art of the 1960s, from Fukuoka Asian Art Museum. On Saturday, November 4, 2017, a symposium on the exhibition Reenacting History will be held in collaboration with the Korean Society of Aesthetics and Science of Art, illuminating the social meaning of performance from an academic perspective. Details about the events are available on the MMCA website (www.mmca.go.kr). ※ For general enquiries, please call +82-2-3701-9500 (Seoul Branch, MMCA) ※ For more information on the exhibition, please contact Exhibition Department 1 of MMCA at +82-2-2188-6241 ※ Please check the link below for images and further information: http://webhard.mmca.go.kr id : mmcapr1 / pw : 0987 (guest > 2017 > MMCA 2017 Exhibition) Exhibition Introduction & Artworks 1. Performing Collective Memory and Culture As our minds remember the past, so do our bodies. The body remembers differently from the mind. The body’s memory is inscribed with indelible marks, acting as lasting influences on our lives. Not only individual memories, but also the collective memories of history and culture that a specific group has kept for a long time are built up layer by layer in the body and form the inspiration of performance artists. The featured works in this exhibition including Zen for Head by Paik Nam June, Balkan Erotic Epic by Marina Abramović, and Family Tree by Zhang Huan are gestures encompassing the cultural memories of the artists’ motherlands. Moreover, memory is political in that it can be mutated, forgotten, or recomposed by invisible forces. Asian Artists in this exhibition recompose collective memories, drawn from the modern and contemporary histories of their native countries, into performances, recalling memories that have been eliminated or mutated in the flow of history, and uncovering “social amnesia.” One method of performing history is through collective actions. In the 1960-1970s Korean performance artists, and Japanese avant-garde groups such as Zero Jigen and Hi Red Center, reacted to socio-political conditions through collective actions using their bodies. The photographs and videos in this exhibition present documentaries of their performances. Without joining collective actions, one artist can show artistic resistance against the authorities through minimal gestures. The acts of cutting newspaper (Sung Neungkyung), breathing in Tiananmen Square (Song Dong), and destroying antique pottery (Ai Weiwei) are gestures by artists facing massive institutions and their power through minimal resistance. Beginning with Hommage à John Cage (1959), Paik Nam June presented radical performances throughout the 1960s. Zen for Head premiered in the performance of Originale by Karlheinz Stockhausen on October 26, 1961, and was presented again in 1962 at the Fluxus International Festival of New Music at Museum Wiesbaden. The performance involves drawing lines with hair, a necktie, hands, and other objects that are soaked in ink and tomato juice and tracked across a long piece of paper laid out on the floor which turns into a flat artwork on which the trails of the performance remain. While this performance is an adaptation of a score written by La Monte Young in 1960, which instructs the performer to “draw a straight line PAIK Nam June / Zen for Head Undated / Ink on paper / 196x68cm and follow it,” it also embodies the principle of Nam June Paik Art Center collection “writing with one decisive stroke of the brush” in Photo by Nam June Paik Art Center, Nils CLAUS Eastern calligraphy as a cultural memory. © Nam June Paik Studios A member of the Beijing East Village, an experimental group that appeared after the Tiananmen Incident in 1989, Zhang Huan is a prominent artist who led China’s contemporary avant-garde art movement. Zhang’s well-known work, Family Tree is a documentary photography work in which three calligraphers write on the artist’s face from morning until evening. “The foolish man moves a mountain (愚公移山)” is a Chinese proverb written on his face along with quotes from fiction and the names of the artist’s family and acquaintances. As the performance progresses, writing in black ink gradually covers his entire face. This process is recorded in nine photographs. As more words are written, as the artist’s face is covered in black ink, his identity is gradually erased. The performance reveals that an individual’s identity is constantly reconstructed by his or her relationships with countless others, and ZHANG Huan / Family Tree / 2000 historical and cultural circumstances. / Chromogenic color prints / 127×102cm×(9) M+ Sigg Collection, Hong Kong. By donation © ZHANG Huan Since 1972, Marina Abramović has explored suffering, danger, and the physical and psychological limits of humans, using the body as her medium. Her performances from the 2000s are grounded in Balkan history and culture. Abramović produced the Balkan Erotic Epic in 2005. This colossal “epic” video composed of a total of 13 channels, was about sexuality in the ritualistic and ethnological sense, as it has been commonly discussed in the culture of the Balkan peninsula. In Balkan pagan rites, sexuality is a supernatural matter that originates not from man, but from God. Both the male and female sexual organs are an anthropological medium that not only repel evil, fertilize the earth, and bring loved ones back to health, but also heal the scars of the community. Set in a vast landscape, women expose their genitals and receive rain coming down from the sky and men commune with the earth. This is a ritualistic performance to channel supernatural erotic Marina ABRAMOVIĆ / Balkan Erotic Epic / energy to fertilize the earth, and heal the 2005, Serbia / Multi-channel video installation, color, individuals’ scars and the historical tragedy of the sound / Duration variable / Courtesy of Marina Abramović land. Archives and LIMA, Amsterdam / © Marina ABRAMOVIĆ Japanese-born Ono Yoko immigrated to the United States in the 1950s. Ono has since been challenging the existing framework of the art world as a conceptual and performance artist. Her Cut Piece is one example. Including its premiere in Kyoto in 1964, Cut Piece was performed a total of five times until 1966, in the cities such as Tokyo, New York, and London. In the center of the stage, the artist is sitting quietly with a large pair of scissors laid in front of her. At the instruction “cut,” members of the audience get up on the stage one by one, cut the artist’s clothing with the scissors, and exit the stage with the cut piece.
Load more

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]
  • Song Dongs's Exhibition
    Exhibition review Science & Technology Studies 31(4) Song Dongs’s Exhibition ‘Collaborations’, 01.09- 31.10.2017, Kunsthal Aarhus, Denmark Kasper Ostrowski/ [email protected] In the fall of 2017 Kunsthal Aarhus presented the power relations, love relations, aesthetic relations, frst “solo” exhibition in Denmark by the contem- animal, plant and mineral relations. godinuniverse porary Chinese artist Song Dong. The non-mon- is a story about embodied semiotic relations that ographic exhibition was entitled Collaborations are causally signifcant in our thoughts and doings – hence the quotation marks – and focused on in ways both intimate and global. (Grassie, 2011: 9). collaborative forms. The title of the exhibition accentuates Song’s strong interest in artistic col- When best, engaging with Song Dong´s art feels laborations – often involving members of his like entering such a godinuniverse, including com- own family. On display was both some of the art- plex acts of kinship- and relation-makings. In this ist’s best-known works and new creations. Song’s godinuniverse a multitude of relations are becom- work often focuses on family relations and geo- ing. Relations between the artist himself and the politics. They have a powerful way of expressing vast number collaborators who participated in the efects of radical change and social transfor- the realization of the exhibition. A (somewhat mation on members of his own family. He strives dim) attempt of creating a space for ‘inter-visito- to combine the past and the present, the personal rial’ relation-makings, relations between archi- and the universal, the poetic and the political. Col- tecture, consumerism and our digestive system.
    [Show full text]
  • Press Release 2009,12,03
    Press Release 2009,12,03 AICHI TRIENNALE OFFICE Aichi Arts Center 6F, 1-13-2 Higashi-sakura, Higashi-ku, Nagoya, Aichi, 461-8525 JAPAN TEL:81-52-971-6111 FAX:81-52-971-6115 E-mail:[email protected] http://aichitriennale.jp/ New International Art Festival Aichi Triennale is opening in August and will run until October 2010! The “Aichi Triennale”, a new large-scale international art festival, opens its doors in August 2010. Inspired by the idea to transmit new art and culture from the heart of Aichi, the festival’s “Arts and Cities” themed first installment will focus on the latest trends in the international art circus by way of various shows of contemporary art and performing arts. One predominant feature of the “Aichi Triennale 2010”, in addition to a core of contemporary art exhibitions, will be the event’s additional focus on cutting-edge performing arts. An international lineup of artists that keep crossing the boundaries between dance, theater, music and art, present their works at the Aichi Arts Center, a cultural-arts complex that houses a museum and event halls, while making best use of the venue’s characteristics. In order to attract a large number of local citizens and visiting tourists next to dedicated art fans, various places in the city, including a number of symbolic spots representative for the Aichi region will function as backdrops for a fascinating art spectacle that will make this Triennale an absolutely unique experience. Contemporary art exhibitions and performances in Choja-machi, one of the three biggest textile wholesale districts in Japan, and other locations in central Nagoya are sure to charge the atmosphere with a “city festival” kind of mood.
    [Show full text]
  • Song Dong Song Dong Doing Nothing
    PRESS CONTACT: Sarah Goulet [email protected] / +1 212 421 8987 PRESS RELEASE Song Dong Song Dong Doing Nothing 510 & 534 West 25th Street, New York January 18 – February 16 & 23, 2013 Opening reception: Thursday, January 17, 6 to 8 PM Pace is pleased to present Song Dong Doing Nothing, a two- venue exhibition surveying twenty years of work by the Chinese artist Song Dong. The gallery at 510 West 25th Street will focus on Song's recent work, including a new installation related to his projects for Documenta 13 and the Kiev Biennial. The gallery at 534 West 25th Street will feature eighteen of Song's performances, photographs, videos, and installations made between 1994 and 2012. Song Dong Doing Nothing is on view at 510 West 25th Street, New York from January 18 through February 16, 2013, and at 534 West 25th Street from January 18 through February 23, with an opening reception for the public on Thursday, January 17, 6 to 8 pm, at both galleries. For over two decades, Song Dong has been at the forefront of Chinese contemporary art, embracing performance, installation, video, sculpture, painting, and calligraphy, and often combining mediums within a single work. Using modest, quotidian materials, Song confronts notions of impermanence, the reality of living in contemporary China, ideas of waste and consumption, the transformation of China's urban environment, and the value of self-expression, even when it leaves no trace. Simultaneously poetic and political, personal and global, his work often explores larger social and cultural issues by drawing on deeply intimate, biographical experiences.
    [Show full text]
  • Contemporary Asian Art and Exhibitions Connectivities and World-Making
    Contemporary Asian Art and Exhibitions Connectivities and World-making Contemporary Asian Art and Exhibitions Connectivities and World-making Michelle Antoinette and Caroline Turner ASIAN STUDIES SERIES MONOGRAPH 6 Published by ANU Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Antoinette, Michelle, author. Title: Contemporary Asian art and exhibitions : connectivities and world-making / Michelle Antoinette and Caroline Turner. ISBN: 9781925021998 (paperback) 9781925022001 (ebook) Subjects: Art, Asian. Art, Modern--21st century. Intercultural communication in art. Exhibitions. Other Authors/Contributors: Turner, Caroline, 1947- author. Dewey Number: 709.5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover illustration: N.S. Harsha, Ambitions and Dreams 2005; cloth pasted on rock, size of each shadow 6 m. Community project designed for TVS School, Tumkur, India. © N.S. Harsha; image courtesy of the artist; photograph: Sachidananda K.J. Cover design and layout by ANU Press Printed by Griffin Press This edition © 2014 ANU Press Contents Acknowledgements . vii Introduction Part 1 — Critical Themes, Geopolitical Change and Global Contexts in Contemporary Asian Art . 1 Caroline Turner Introduction Part 2 — Asia Present and Resonant: Themes of Connectivity and World-making in Contemporary Asian Art . 23 Michelle Antoinette 1 . Polytropic Philippine: Intimating the World in Pieces . 47 Patrick D. Flores 2 . The Worlding of the Asian Modern .
    [Show full text]
  • Huber, Jörg / Zhao Chuan (Eds.): The Body at Stake
    DOI 10.1515/asia-2014-0011 ASIA 2014; 68(1): 407 – 412 Huber, Jörg / Zhao Chuan (eds.): The Body at Stake. Experiments in Chinese Contemporary Art and Theatre. Bielefeld: Transcript Verlag, 2013, 278 pp., ISBN 978-3-8376-2309-3. In the manifesto which was included in the opening issue of the short-lived un- official poetry journal, “The Lower Body”, poet and editor Shen Haobo made the following statement: [. .] the time of language has come to an end, and the time of the awakened body has begun.1 This declaration, combined with the controversial naming of Shen’s poetic enter- prise, offers but two glimpses into a broad variety of literary and artistic phenom- ena that have emerged on the horizon of Chinese culture in course of the political and economic transition that has taken place since the late 1970s. The second collection of essays by the editorial duo, Jörg Huber and Zhao Chuan2, aims at shedding light on the corporeal turn in the artistic production of contemporary China and Taiwan. Nineteen contemporary artists, theatre practi- tioners and theorists contributed to this volume. They delivered fresh and riveting insights into the vigorous art scene in the so-called region of “Greater China”. The two editors, besides the meticulous translation, the accuracy of which is highly praiseworthy, made an effort to offer a platform for the unmediated voices of protagonists whose artistic personalities were shaped mainly in Chinese educa- tional institutions and by their own regional life experience. This aspect, which has resulted in the introduction of broadly unknown names and discussions to a Western audience, may be regarded as the primary contribution of this publi- cation.
    [Show full text]
  • Yin Xiuzhen: Mapping the Fabric of Life
    Yin Xiuzhen: Mapping the Fabric of Life 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 Cynthia A. Strickland June 2009 © 2009 Cynthia A. Strickland. All Rights Reserved. 2 This thesis titled Yin Xiuzhen: Mapping the Fabric of Life by CYNTHIA A. STRICKLAND has been approved for the School of Art and the College of Fine Arts by Marion Lee Assistant Professor of the Arts Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT STRICKLAND, CYNTHIA A., M.A., June 2009, Art History Yin Xiuzhen: Mapping the Fabric of Life (90 pp.) Director ofThesis: Marion Lee This thesis examines the circumstances of production and layers of meaning in the installation works of Beijing-based contemporary artist Yin Xiuzhen (b. 1963, Beijing). The approach is to analyze several groups of Yin Xiuzhen’s installations to read how the artist has chosen to map the transformations of the economy, culture, built environment, and power structures, first of her native Beijing and then concentrically outward into the global arena. The result will chronicle the journey of the artist’s successful negotiation of place, space, materials, and message: what I call mapping the fabric of life. As an academically trained oil painter, the 1989 graduate of Capitol Normal University in Beijing initially had limited opportunities to explore a new creative path in art production. During the 1990s, she emerged along with other experimental artists in China who worked to create conceptual art. This thesis focuses on the choices both taken and resisted by Yin Xiuzhen as she developed her artistic voice and located her message within homegrown installations, using as materials fragments and remnants of lives and places.
    [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]
  • The Next Gen Art Collectors 2021
    COLLECTORS 1 THE NEXT COLLECTORS REPORT 2021 3 LARRY’S LIST is pleased to present The Next Gen that have not yet been acknowledged or made visible For us, size wasn’t a main consideration. Indeed, not a blue-chip artist will most likely generate more “likes” FOREWORDArt Collectors Report. Here, we continue our mission on a global scale. We want to share their stories and everyone listed has a large collection; charmingly, the than an unknown artist in an equally brilliant interior of monitoring global happenings, developments and thoughts. Next Gen often have collections in the making. The setting. But we still try to balance it and set aside any trends in the art world—particularly in the contemporary We also consider LARRY’S LIST as a guide and tool process is a development that happens over years care about the algorithm. art collector field—by looking extensively at the next for practitioners. We share and name collectors, those and so a mid-20-year-old collector may not yet be at generation of young art collectors on the scene. Over people who are buying art and contributing to the the same stage in their collection as someone in their Final words the past few months, we have investigated and profiled art scene. The Next Gen Art Collectors Report is a late 30s. I would like to express my gratitude to all the collectors these collectors, answering the questions central to this resource for artists, galleries, dealers, a general art- The end result of our efforts is this report listing over we exchanged with in the preparation of this report topic: Who are these collectors founding the next art interested audience and, of course, peer collectors.
    [Show full text]
  • Zhang Huan Spring Poppy Fields
    PRESS RELEASE ZhangPRESS RELEASE Huan SpringRobert IrwinPoppy Fields 6 Burlington Gardens, London, W1S 3ET 256 Burlington April – 31 Gardens, May 2014 London, W1S 3ET 21 June - 24 August 2013 Opening: Thursday 24 April 2014, 6.30 – 8.30 p.m. Pace London is pleased to present an exhibition of new work by the American artist Robert Irwin at 6 Burlington Gardens from 21 June to 17 August 2013. This is the first exhibition by the artist at Pace London. In the early 1960s, while much of America and Eu- rope was fascinated with the new wave of Pop Art- ists, Southern California quietly gave rise to a very different aesthetic revolution known as the Light and Space movement. Spearheading this movement, Robert Irwin began to take ideas from philosoph- ical inquiries into the nature of human experience and radical advances in perceptual psychology and combine them with the immersive abstraction that had been pioneered by artists such as Jackson Pollock, Mark Rothko, and Barnett Newman. The result was an original approach to art that replaced the object with a phenomenon. Finding traditional painting and sculpture too restrictive and self-con- tained, Irwin was the first to make objects and installations that were purely designed to manipulate the light in front of or around the viewer. The exhibition features two new site-specific installations displayed on the gallery’s ground and first floors. Who’s Afraid of Red, Yellow & Blue³ III, occupies the entire space of the ground floor of the gal- lery and features three aluminium black and coloured panels suspended from the ceiling that mirror three identical panels hovering over the floor, suspending the viewer in a real time-space experience.
    [Show full text]
  • Invisible Body and the Predicaments of Existence in an Urbanizing China, In: Journal of Current Chinese Affairs, 44, 1, 163–197
    Journal of Current Chinese Affairs China aktuell Wang, Meiqin (2015) Invisible Body and the Predicaments of Existence in an Urbanizing China, in: Journal of Current Chinese Affairs, 44, 1, 163–197. URN: http://nbn-resolving.org/urn/resolver.pl?urn:nbn:de:gbv:18-4-8198 ISSN: 1868-4874 (online), ISSN: 1868-1026 (print) The online version of this article and the other articles can be found at: <www.CurrentChineseAffairs.org> Published by GIGA German Institute of Global and Area Studies, Institute of Asian Studies and Hamburg University Press. The Journal of Current Chinese Affairs is an Open Access publication. It may be read, copied and distributed free of charge according to the conditions of the Creative Commons Attribution-No Derivative Works 3.0 License. To subscribe to the print edition: <[email protected]> For an e-mail alert please register at: <www.CurrentChineseAffairs.org> The Journal of Current Chinese Affairs is part of the GIGA Journal Family, which also includes Africa Spectrum, Journal of Current Southeast Asian Affairs and Journal of Politics in Latin America: <www.giga-journal-family.org>. Journal of Current Chinese Affairs 1/2015: 163–197 Invisible Body and the Predicaments of Existence in an Urbanizing China Meiqin WANG Abstract: This article contextualises the art practice of Beijing-based artist Liu Bolin and examines ways in which his artworks illuminate the sociopolitical conditions that regulate the everyday reality of under- privileged social groups amid China’s spectacular urban transfor- mation in the 2000s. The tension between individual existence and the force of urbanization underlays Liu’s most important work, entitl- ed Hiding in the City.
    [Show full text]
  • A Performing Archive 17.02.17, 1014
    re.act.feminism - a performing archive 17.02.17, 1014 Search A Ebtisam Abdulaziz Marina Abramović Helena Almeida Eleanor Antin Arahmaiani Malin Arnell Oreet Ashery Augusta Atla Margarita Azurdia B Back to selection Antonia Baehr Complete Archive Maja Bajević Manon, La dame au crâne rasé, 1970s Anne Bean Anat Ben-David Renate Bertlmann Manon Document media Pauline Boudry & Das lachsfarbene Boudoir / La dame au crâne video, colour, sound, 12:10 min Renate Lorenz rasé Issue date Nisrine Boukhari 1974, 1978 / 2006 After studying commercial art and acting in Zurich, in 1974 Marijs Boulogne Tags Manon (*1946, Switzerland) began creating environments in Tania Bruguera beauty, fashion/glamour, which she plays different roles together with sometimes as femininity, in/visibility, Nancy Buchanan many as 60 extras and uses virtually all forms of modern private/public Maris Bustamante media. She was one of Switzerland’s first performance artists About the project C Archive Signature Partners and is most likely the country’s most famous. She lived in Paris MAN 1 Cabello / Carceller Imprint from 1977 to 1980 before moving back to Zurich, where she lives Shirley Cameron/ Contact and works today. Since 1998, she has been concentrating Monica Ross/ Find us on facebook mainly on installations which explore eroticism and transience, Evelyn Silver most recently in 2011 in her project "Hotel Dolores" concerned Graciela Carnevale with deserted spa hotels in the spa district of Baden, Aargau Theresa Hak Kyung (Switzerland). Cha Helen Chadwick This is a collection of TV features about, among other works, Manon’s Das lachsfarbene Boudoir (The Salmon-Coloured Chicks on Speed Boudoir), her first environment which she reconstructed for the Lygia Clark Migros Museum Zurich in 2006, and La dame au crâne rasé (The Mary Coble Woman with the Shaved Head), a series of staged photographs Colette in Paris.
    [Show full text]