Cui Xiuwen Born 1967 in Heilongjiang, China
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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. -
Kan Xuan 6 July – 11 September 2016
Ikon Gallery, 1 Oozells Square, Brindleyplace, Birmingham B1 2HS 0121 248 0708 / www.ikon-gallery.org Open Tuesday-Sunday, 11am-5pm / free entry Kan Xuan 6 July – 11 September 2016 Kan Xuan, Kanxuan! Ai! (1999). Video, sound, 1'22”, single channel. Film still courtesy the artist. Ikon presents the first UK exhibition by renowned Chinese artist Kan Xuan (born 1972, Anhui province). It will comprise a wide selection of single screen video pieces made since the late 1990s. Refreshingly unpretentious and economical in style, with familiar subject matter, they exemplify a profoundly philosophical approach to human existence. Kan’s work is often based on personal experience, and she herself sometimes features, as in the early video Kanxuan! Ai! (1999) in which she is seen dashing through subway tunnels shouting her own name, as if searching for herself, and then answering in the affirmative, “Ai!”. She is moving against a tide of heaving humanity, at once anxious, funny, romantic, whilst making a clear political statement, exemplifying the plight of an individual in the face of a totalitarian mass. Kan Xuan left her hometown, Xuancheng in southern Anhui province, in 1993 to study at the China Academy of Arts, Hangzhou, with influential teachers Geng Jianyi and Zhang Peili. She began working with video after arriving in Beijing in 1998, subsequently enrolling at the RijksAkademie Amsterdam where she “learned to communicate with people, not just as a person in a community, but as an artist. I learned to be more interested in other people …through [my] work.” She returned to live in Beijing in 2009. -
Arts & Culture
ARTS & CULTURE ART P42 ART P48 IN PRINT P52 CINEMA P56 STAGE that’smags www.thebeijinger.com Novemberwww. 200 thatsbj.com8 / the Beijinger Sept. 200541 Hovering Child by American artist Fran Forman. See Preview, p46; photo courtesy of Common Ground All event listings are accurate at time of press and subject to change For venue details, see directories, p43 Send events to [email protected] by Nov 10 Nov 8-30 its over 150 art pieces of contem- porary art around the world from Wang Jie the 1960s to the present day. The By eliminating human figures in curatorial approach of the show is rt his paintings, Wang Jie’s emphasis basically chronological, showing is on clothes – our “second skin.” the historical development of the New Age Gallery (5978 9282) world of contemporary art that A Nov 8-Dec 21 parallels the trajectory of the Swiss Chinese Contemporary Art Awards bank’s tastes throughout the dec- ades. Expect big names including ART 2008 Founded in 1997 by Uli Siggs, CCAA Damien Hirst, Andy Warhol, Lucien has awarded Liu Wei this year as Freud, Jasper Johns, as well as its pick for “Best Artist” and Tseng emerging Chinese artists including Yu-chin as “Best Young Artist” (see Cao Fei, Qiu Anxiong and Xu Zhen. Feature, p44). Ai Weiwei has also National Art Museum of China been given a lifetime achievement (6401 2252/7076) award. The works of these three Until Nov 12 artists will be exhibited at the larg- Coats! est art space in 798. Ullens Center Until Jan 10: Edward Burtynsky’s China Beijing is the third stop – after for Contemporary Art (6438 6576) Berlin and Tokyo – for this exhibi- A fresh take on manufacturing art. -
The Knife's Edge: Video Recently Seen in Beijing
Fremantle Arts Centre: The Knife’s Edge: video recently seen in Beijing cover: Zhao Yao, 2009 I Love Beijing 999 (series of video stills) far left: Li Ming, 2010 Pond (production still) left: Jin Shan, 2010 Not a Dream 3 from the series One Man’s Island (video still) The Knife’s Edge: video recently seen in Beijing distinctly non-narrative and non-documentary. They do not try background. For Face 11 we see Li’s face gradually appear over to illustrate aspects of reality, but rather modify and expand an hour period, as drips of water accumulate on a dark surface Their form of paradise is a heterotopic imaginary zone, our possible understandings of it. In doing so, these videos to form his reflected image. And in Face 17 the black-on-black composed of obsessions, hallucinations and quotidian manipulate the time-based qualities of the medium and present silhouette of Li’s head is occasionally made visible by him situations that need to be survived. HOU HANRU1 us with a different awareness of temporality. exhaling smoke from a cigarette. As the wisps of smoke escape Commenting on certain drives within recent Chinese art, Suturing thousands of singular moments together into a we see the brief, dissipating image of a skull hover to the left, curator Hou Hanru writes that today’s generation of artists no frenetic vision of Beijing, Zhao Yao’s I Love Beijing 999, creates and to the right the image of Li’s face. Surrounded by a black longer create consistent projections of an ideal reality. -
QIU DESHU Selected Solo Exhibitions
QIU DESHU (b. 1948) 1948 Born in Shanghai, China 1979 Founded the Grass Painting Society (Cao Cao She), a group of twelve artists dedicated to the promotion of artistic originality 1985–86 Invited to be artist-in-residence at Tufts University, Medford, USA Present Lives and works in Shanghai, China Selected Solo Exhibitions 2017 Qiu Deshu, Pearl Lam Galleries, Shanghai, China 2015 Art of Fissuring, Pearl Lam Galleries, Singapore Night and Day: The Art of Qiu Deshu—1979 and After, Pearl Lam Galleries, Hong Kong, China Qiu Deshu, NanHai Art, Millbrae, USA Liebian/Fissure: The Art of Qiu Deshu, NanHai Art, Singapore 2013 The Fissuring World of Qiu Deshu, Pudong Airport Terminal 2, Shanghai, China 2012 Qiu Deshu, Ink Painting from 1980 to 2012, Michael Goedhuis Gallery, London, UK B-Cities: Solo Exhibition of Chinese New Painting by Qiu Deshu and Lin Jiabing, Tian Ren He Yi Art Center, Hangzhou, China 2011 New Works by Fissuring, Shanghai Grand Theater Gallery, Shanghai, China 2010 Fissuring—Buildings & Courtyard, Latest works from Qiu Deshu, Wu Chang Shuo Museum, Shanghai, China 2008 Fissuring—Qiu Deshu Contemporary Water-Ink Exhibition, Shanghai Art Museum, Shanghai, China Crack of Dawn—Qiu Deshu Exhibition, Zee Stone Gallery, Hong Kong, China Fissuring—Qiu Deshu, SMYH Gallery, Beijing, China 2007 Fissuring—Landscape, New Works from Qiu Deshu, Leda Fletcher Gallery, Geneva, Switzerland; Shanghai, China Qiu Deshu—Ten Years after the Grass Painting Society, Shanghai Duolun Contemporary Art Museum, Shanghai, China 2006 Chinese Contemporary -
Zhang Fangbai ______
ZHANG FANGBAI ____________________ 1991 Bachelor of Fine Arts of the No.4 Studio, Department of Oil Printing, China Central Academy of Fine Arts 1991—1995 Teaching in Hengyang Normal University 1995—2001 Teaching in Oil Department of Tianjin Academic of Fine Arts 2000—present Living in Beijing and teaching in the Department of Artistic and Design, Beijing Youth Politics College Solo Exhibitions 2015 “Square white ink”, Astor art, The Swedish Double 2014 “Square white and charlotte library silks”, H gallery, Munich, Germany 2014 “Square white 19 edition of exhibition Library silks”, Gallery Beijing, China 2014 “Square white solo Library silks”, H Gallery Stuttgart, Stuttgart, Germany 2014 “Square white solo exhibition”, Gallery Philine Cremer, Dusseldorf, Germany 2013 “Standpoint” - Zhang Fangbai’s Work Exhibition, Meilun Art Gallery, Changsha, China 2013 Zhang Fangbai Oil Painting Exhibition, Galerie Philine Cremer, Dusseldorf, Germany 2011 “Standing Alone” - Zhang Fangbai’s Solo Exhibition, Asia Art Center, Beijing, China 2010 Zhang Fangbai Ink Painting and Printmaking Exhibition, East West Gallery, Beijing, China 2008 Zhang Fangbai Art Exhibition, J. Bastien Art Gallery, Brussels, Belgium 2007 “China – The World of Zhang Fangbai”, Sara Hildén Art Museum, Tampere, Finland 2005 “Image of the Eagle” – Zhang Fangbai Oil Painting Exhibition, Gallery Astley, Uttersberg, Sweden 2004 “Horizon” – Zhang Fangbai’s Oil Painting Exhibition, Pickled Art Center, Beijing, China 1991 Zhang Fangbai Oil Painting Exhibition, CAFA Art Museum, Beijing, China -
Liebian/Fissure: the Art of Qiu Deshu 裂變:仇德樹的藝術 Contents
Liebian/Fissure: The Art of Qiu Deshu 裂變:仇德樹的藝術 Contents Director’s Preface 5 Liebian/Fissure: The Art of Qiu Deshu 7 Kuiyi Shen Statement 13 Qiu Deshu Plates 15 Biography 40 3 Director’s Preface Viewing Qiu Deshu’s work is a visual pleasure. In those seemly quiet images, there is stunning power, like the lightning ripping through the sky. Or vice- versa, beneath the vibrant colors, lies the heavenly serenity. Qiu is greatly influenced by Buddhism – he signs his work elegantly with his Dharma name Yun Yi (cloud, unity). It may first surprise us that Qiu regarded the heroic spirit of the gladiator Spartacus as the other spiritual influence, but this helps to explain the beautiful co-existence of the quite strength in his work. But it doesn’t just stop there. One of the few Chinese artists that were introduced to the West in the early 1980s and since then remains influential, Qiu Deshu, over the years, has been steadfastly pursuing his own ideal and freedom, keeping himself independent of the Chinese art world, whether mainstream or avant-garde. He has explored and developed a convincing system of philosophical thinking and a new art language, uniquely to his own. Therefore it is with great pleasure that we present a solo show of Qiu Deshu and celebrate his art on the occasion of the inaugural Asia Week San Francisco Bay Area. I am most grateful to Prof. Kuiyi Shen for his comprehensive and thoughtful introduction of the evolution of Qiu Deshu’s art. His expertise and support has been invaluable to us. -
Art and Visual Culture in Contemporary Beijing (1978-2012)
Infrastructures of Critique: Art and Visual Culture in Contemporary Beijing (1978-2012) by Elizabeth Chamberlin Parke A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of East Asian Studies University of Toronto © Copyright by Elizabeth Chamberlin Parke 2016 Infrastructures of Critique: Art and Visual Culture in Contemporary Beijing (1978-2012) Elizabeth Chamberlin Parke Doctor of Philosophy Department of East Asian Studies University of Toronto 2016 Abstract This dissertation is a story about relationships between artists, their work, and the physical infrastructure of Beijing. I argue that infrastructure’s utilitarianism has relegated it to a category of nothing to see, and that this tautology effectively shrouds other possible interpretations. My findings establish counter-narratives and critiques of Beijing, a city at once an immerging global capital city, and an urban space fraught with competing ways of seeing, those crafted by the state and those of artists. Statecraft in this dissertation is conceptualized as both the art of managing building projects that function to control Beijing’s public spaces, harnessing the thing-power of infrastructure, and the enforcement of everyday rituals that surround Beijinger’s interactions with the city’s infrastructure. From the spectacular architecture built to signify China’s neoliberal approaches to globalized urban spaces, to micro-modifications in how citizens sort their recycling depicted on neighborhood bulletin boards, the visuals of Chinese statecraft saturate the urban landscape of Beijing. I advocate for heterogeneous ways of seeing of infrastructure that releases its from being solely a function of statecraft, to a constitutive part of the artistic practices of: Song Dong (宋冬 b. -
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1 Contemporary Asian Art at Biennials © John Clark, 2013 Word count 37,315 words without endnotes 39,813 words including endnotes 129 pages [It is intended these materials be downloadabkle from a free website]. Asian Biennial Materials Appendix One: Some biennial reviews, including complete list of those by John Clark. 1 Appendix Two: Key Indicators for some Asian biennials. 44 Appendix Three: Funding of APT and Queensland Art Gallery. 54 Appendix Four: Report on the Database by Thomas Berghuis. 58 Appendix Five: Critics and curators active in introducing contemporary Chinese art outside China. 66 Appendix Six: Chinese artists exhibiting internationally at some larger collected exhibitions and at biennials and triennials. 68 Appendix Seven: Singapore National Education. 80 Appendix Eight: Asian Art at biennials and triennials: An Initial Bibliography. 84 Endnotes 124 2 Contemporary Asian Art at Biennials © John Clark, 2013 Appendix One: REVIEWS Contemporary Asian art at Biennales Reviews the 2005 Venice Biennale and Fukuoka Asian Triennale, the 2005 exhibition of the Sigg Collection, and the 2005 Yokohama and Guangzhou Triennales 1 Preamble If examination of Asian Biennials is to go beyond defining modernity in Asian art, we need to look at the circuits for the recognition and distribution of contemporary art in Asia. These involved two simultaneous phenomena.2 The first was the arrival of contemporary Asian artists on the international stage, chiefly at major cross-national exhibitions including the Venice and São Paolo Biennales. This may be conveniently dated to Japanese participation at Venice in the 1950s to be followed by the inclusion of three contemporary Chinese artists in the Magiciens de la terre exhibition in Paris in 1989.3 The new tendency was followed by the arrival of Chinese contemporary art at the Venice Biennale in 1993. -
Signature Redacted Signature of Author: Z/1" Department of Architecture Signature Redact Ed May.25,207 Certified By: Caroline A
CAPITALIST REALISM Making Art for Sale in Shanghai, 1999 by Xiaorui Zhu-Nowell Bachelor of Fine Arts School of the Art Institute of Chicago, 2014 Submitted to the Department of Architecture In Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY June 2017 2017 Xiaorui Zhu-Nowell. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature redacted Signature of Author: Z/1" Department of Architecture Signature redact ed May.25,207 Certified by: Caroline A. Jones Professor of the History of Art Department of Architecture d Thesis Supervisor Accepted by: ignature redac ted MASSACHUSETTS INSTITUTE t/ / Sheila Kennedy OF TECHNOLOGY Professor of Architecture Chair of the Department Committee on Graduate Students JUN 2 2 2017 LIBRARIES ARCHIVES COMMITTEE Caroline A. Jones Professor of the History of Art Department of Architecture Thesis Supervisor Lauren Jacobi Assistant Professor of the History of Art Department of Architecture Reader Rende Green Professor of Art, Culture and Technology Department of Architecture Reader CAPITALIST REALISM MakingArtfor Sale in Shanghai, 1999 by Xiaorui Zhu-Nowell Submitted to the Department of Architecture on May 25, 2017 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies ABSTRACT The artist-instigated exhibition Artfor Sale (1999), which partially operated as a fully functioning 'art supermarket' inside a large shopping mall, was one of the most important exhibitions that took place during the development of Shanghai's experimental art-scene in the 1990s, a time when the influx of consumer capitalism was becoming a key mechanism of life in the city. -
JAARVERSLAG 2013 Inhoudsopgave
Prins Hendrikkade 142 1011 at Amsterdam +31 20 625 56 51 www.deappel.nl 2013ARTISTIEK JAARVERSLAG ARTISTIEK JAARVERSLAG 2013 Inhoudsopgave 2 INLEIDING 4 TENTOONSTELLINGEN Overige presentaties en tentoonstellingen 11 NEVENACTIVITEITEN Performances Educatie Rondleidingen Zondagsschool Lezingen & debatten Boekpresentaties & events Fundraising events Curatorial Programme Research Programme Gallerist Programme Bibliotheek Archief de Appel arts centre Prins Hendrikkade 142 Bruiklenen 1011 AT Amsterdam 27 OVERZICHT MEDEWERKERS EN BESTUUR www.deappel.nl 29 SUMMARY DE APPEL ARTS CENTRE ARTISTIEK JAARVERSLAG 2013 2 Inleiding Braeckman en Zarina Bhimji en de Het jaar 2013 was het eerste volledige jaar groepstentoonstellingen Bourgeois Leftovers dat de Appel arts centre gehuisvest was (eindproject Curatorial Programme), Artificial op de nieuwe locatie, centraal gelegen in Amsterdam en de Prix de Rome. Amsterdam. Nadat 2012 een roller coaster was en met de opening van een nieuw In de solo’s van Bhimji en Braeckman Inleiding gebouw aan de Prins Hendrikkade een werden de foto’s en films van deze twee hoogtepunt markeerde in de geschiedenis internationaal gewaardeerde kunstenaars van de Appel arts centre, was 2013 een voor het eerst aan het Nederlandse publiek jaar van consolidatie en stabilisatie. De gepresenteerd. De Appel arts centre Appel arts centre heeft zich genesteld in heeft hierbij ondersteuning verleend aan haar nieuwe omgeving, kennis gemaakt de productie van nieuw werk dat bij de met de buren en de deuren opengesteld tentoonstelling een -
CURRICULUM VITAE Qianshen Bai [email protected]
CURRICULUM VITAE Qianshen Bai [email protected] EDUCATION 1996 Ph.D. in History of Art, Yale University 1993 M.Phil. in History of Art, Yale University 1992 M.A. in History of Art, Yale University 1990 M.A. in Political Science, Rutgers University, New Brunswick, New Jersey 1985-86 Graduate Program in Political Science, Peking University, Beijing, China 1982 Bachelor of Law, Peking University TEACHING AND WORKING EXPERIENCES 2019- Director of Zhejiang University Museum of Art and Archaeology 2019- Dean of School of Art and Archaeology, Zhejiang University 2019- Professor of art history at School of Art and Archaeology, Zhejiang University 2015- Professor of art history at The Art and Archaeology Research Center, Research Institute of Cultural Heritage, Zhejiang University 2004-15 Associate professor of Asian art history, Department of Art History, Boston University 2002 Visiting assistant professor, Department of History of Art and Architecture, Harvard University (Spring semester) 1997-04 Assistant professor of Asian art history, Department of Art History, Boston University 1996-97 Assistant professor of Asian art history, Department of Art, Western Michigan University 1995 Instructor of Asian art history, Department of Art, Western Michigan University 1994 Co-instructor for the graduate seminar “Methods and Resources for the Study of Premodern China,” Yale University 1994 Instructor for the Yale College Seminar “The History and Techniques of Chinese and Japanese Calligraphy,” Yale University 1992 Teaching assistant for “Introduction to the History of Art,” Yale University 1987-90 Visiting instructor of calligraphy, Department of East Asian Language and Literature, Rutgers University 1982-85 Instructor of the history of Chinese political institutions, Peking University AWARDS AND HONORS 2011-12 Fellowship offered by the National Endowment for the Humanities.