Tangible Expression

Total Page:16

File Type:pdf, Size:1020Kb

Tangible Expression 20 LIFE Thursday, March 31, 2016 CHINA DAILY NEW YORK EXHIBITION TANGIBLE EXPRESSION After shifting from commissioned to do a work for a group exhibition, The Drop­Urban music to visual art Art Infill,inNewYork.Shepresented recorded sounds with pictures of 10 more than a decade different places in New York, includ­ My art­making is about ing the noise of a construction site, ago, Ai Jing achieves and a peaceful afternoon in Harlem repeated experimentation — the northern section of New York both recognition and City, where people walked in the sun and failure ... I enjoy the and the music of Bob Marley played. satisfaction on two Thesameyear,sheheldhersoloexhi­ process of making the bition, Ai Want to Love, in New York. sides of the globe, In 2008, Ai left New York and imagined real with my hands.” established a studio in Beijing, Chen Nan devoting herself to working as a pro­ reports. Ai Jing, musician­turned artist fessional artist. Marcia Levine, special projects isual art has become Chi­ director of Marlborough Gallery, nese singer­songwriter Ai first met Ai in New York in 2015. She Jing’s passion over the flew to Italy to see Ai’s exhibition, past decade. Dialogues, at the Ambrosian Art VIn November, she will stage her Gallery of the Veneranda Biblioteca solo exhibition, Ai Jing Back to New Ambrosiana Museum in Milan. York, at the Marlborough Gallery in With the themes of industry, New York City, with nearly 30 art­ nature and technology, Ai created a works created over the past decade, “dialogue” through her works with including sculptures, oil paintings selected masterpieces at the muse­ and installations. um, which is known for its collec­ The works on display include My tion of 12 manuscripts by Leonardo Mom and My Hometown, a tapestry da Vinci. of wool patches knitted by Ai’s “I was amazed by the beauty and mother and bedecked with the strength of her works. She showed English word “Love”; The Tree of us that art could connect East and Life, an installation work showing a West in a cultural way and we want lonely raven perched on a leafless to present her works to the people in oak tree made of tens of thousands the US,” says Levine, who is in Bei­ of disposable chopsticks; and oil JIANG DONG / CHINA DAILY jing this week with Ai. paintings under the group name I She also says that the gallery, Love Color. which was founded in 1946 with two “New York is an important city for spaces in New York as well as loca­ my transition from a musician to an tions, such as London, Madrid and artist. I always want to revisit the Monaco, has been working closely origin of my passion for visual art with Chinese artists since the 1990s, with my own works,” says the including the late Chinese­French 46­year­old artist, who announced artist, Zao Wou­ki. the exhibition at the National Muse­ “Ai is very special as a contempo­ um of China in Beijing on Tuesday. rary Chinese artist because her In 1999, she started learning works show a mixture of Eastern painting with renowned Chinese and Western influences,” says Chen contemporary artist Zhang Xiao­ Lyusheng, deputy director of the gang. Years later, Ai had reached a National Museum of China, who level high enough to hold a solo curated Ai’s exhibitions in Beijing, exhibition, I Love Ai Jing, at the Shanghai and Milan. National Museum of China in Bei­ Looking back on her journey as jing in 2012 and again at the China an artist, Ai says that she often asks Art Museum of Shanghai in 2014. herself two questions: What is art? A native of Shenyang, Liaoning Why I am making art? province, Ai learned music with her Ai Jing will hold a solo show in November in New York City, where she had lived for years and started her pursuit of visual art. Works on display will include the “My art­making is about repeated father, who plays the erhu (a two­ installations The Tree of Life (left) and Wave. PHOTOS PROVIDED TO CHINA DAILY experimentation and failure. Usual­ stringed bowed instrument). ly, I go through starvation, sleepless Her debut album, My 1997, sold nights and anxiety to finish one more than 200,000 copies within including in Hong Kong, Taiwan of the songs for the album while liv­ lived in the Lower East Side from a kaleidoscope to me. It was not just piece. But I enjoy the process of one month of its release in 1993. and Japan — a rarity for mainland ing there. 2002 to 2008. She had her studio visual enjoyment, but also awaken­ making the imagined real with my Her second album, Once Upon a singers then. Her apartment was near Central and honed her skills as an artist ed my desire to use visual art as a hands,”she says. Time on Yanfen Street, was another She first went to New York in 1997 Park, where the tall buildings and there. new expression, which music could success, which brought her recogni­ to seek inspiration for the album, graffiti gave her imagery of a vibrant “I often went to museums and gal­ not deliver anymore,”she says. Contact the writer at tion outside the Chinese mainland, Made in China, and she wrote most and experimental art scene. She leries in New York. The city was like In the summer of 2009, Ai was [email protected] CASH CUTS LIVE SHOW US schools Horses prepare for stardom in Beijing approach By CHEN NAN Hollywood Normand Latourelle, co­founder of the Montreal­based Cirque du Soleil, has dreamed of coming to for assistance China since childhood. “I once asked my mother: ‘How By ASSOCIATED PRESS can I get to China.’ She said: ‘Dig a in Los Angeles hole in the kitchen, and you will be there at the end of it’,” Latourelle Miles from the Hollywood Walk recalls. of Fame and the red carpet, Steve Decades later, he has not just Shin belts out tunes on a piano arrived in China but also brought scarred with nicks and love notes Steve Shin (left) instructs a group of students singing during a music class his 30 horses, who are the stars of written in scratches, teaching chil­ at Stevenson Middle School in East Los Angeles. AP Latourelle’s brainchild — the multi­ dren how to sing. media spectacular, Cavalia. In scores of other middle Cooperating with the Chinese schools, his students might have In 2014, the district hired former Warner Bros has provided funding investment company Sinocap, Lat­ already learned how to read the TV writer and producer Rory Pul­ to improve auditoriums at Bur­ ourelle and his team, including his notes on a scale. But years of cuts lens as its executive director for bank schools. Sony Entertainment son and tour manager, Mathieu Lat­ have stripped arts classes from arts education. He has since hired Pictures has run career workshops ourelle, will stage the show in Bei­ much of the Los Angeles district, an arts teacher at every school. at Culver City schools. jing from April 28 to May 8. leaving many children in the Pullens is convinced his work in To date, the Los Angeles district Cavalia is a mix of acrobatics and world’s entertainment capital with a district that has 90 percent has confirmed partnerships with equestrian arts, and Chinese audi­ no instruction in music, visual arts, minority students will one day help Nickelodeon, Sunset Bronson Stu­ ences will enjoy it in a white tent, dance or theater. diversify Hollywood — a widely dios and Sunset Gower Studios. called the “big top”,that covers more The multimedia show Cavalia will be staged in Beijing in April. When Shin arrived for the first discussed goal after the criticism of Most of the donations have not than 2,000 square meters and is PROVIDED TO CHINA DAILY day of class, he quickly realized this year’s all­white list of Academy reached students yet. pitched at a height of 35 meters in many of his students were starting Award acting nominees. He has In Shin’s class, students get by Beijing’s Chaoyang Park. from zero. already met with Paramount, Uni­ with the bare minimum: an over­ During a recent visit to a farm philosophy of understanding the me,”hesays.“Eachhorsehasadiffer­ “A lot of them didn’t even know versal and dozens of other industry head projector displaying lyrics more than 40 kilometers from needs, the preferences and the ent personality. Some are curious, they were going to be in a music leaders to solicit help. across the screen, two micro­ downtown Beijing where the horses emotions of the four­legged stars,” and some are aggressive.” class,”he says. “It is well within all of our pow­ phones and two standing lights are kept, Latourelle says that he says Latourelle, who has 46 years of Latourelle says: “Keith communi­ Now the second­largest school ers, if we work together, to remedy placed in front of the class to make found the animals were resting and experience in creating and staging cates with the horses with soft voice district in the United States is try­ that by really addressing the deep­ a stage­like performance space. grazing peacefully there. live spectacles. commands and body movements. ing to enlist Hollywood studios to rooted symptoms and not just try­ Shin calls on students as if Most of the equestrian team of Cavalia was born as an idea He is on the ground, and the horses “adopt” schools and provide stu­ ing to put in a couple remedies on they’re performing in a real concert about 20, including a veterinarian, around 15 years ago to pay tribute to have no saddle, no rope, no bridle, dents with equipment, mentorship the surface,”Pullens says.
Recommended publications
  • The Saxophone in China: Historical Performance and Development
    THE SAXOPHONE IN CHINA: HISTORICAL PERFORMANCE AND DEVELOPMENT Jason Pockrus Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Eric M. Nestler, Major Professor Catherine Ragland, Committee Member John C. Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Pockrus, Jason. The Saxophone in China: Historical Performance and Development. Doctor of Musical Arts (Performance), August 2018, 222 pp., 12 figures, 1 appendix, bibliography, 419 titles. The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai’s nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China’s musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.
    [Show full text]
  • A History of Reading in Late Imperial China, 1000-1800
    A HISTORY OF READING IN LATE IMPERIAL CHINA, 1000-1800 DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Li Yu, M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Professor Galal Walker, advisor Professor Mark Bender Professor Cynthia J. Brokaw ______________________________ Professor Patricia A. Sieber Advisor East Asian Languages and Literatures ABSTRACT This dissertation is a historical ethnographic study on the act of reading in late imperial China. Focusing on the practice and representation of reading, I present a mosaic of how reading was conceptualized, perceived, conducted, and transmitted from the tenth to the eighteenth centuries. My central argument is that reading, or dushu, was an indispensable component in the tapestry of cultural life and occupied a unique position in the landscape of social history in late imperial China. Reading is not merely a psychological act of individuals, but also a set of complicated social practices determined and conditioned by social conventions. The dissertation consists of six chapters. Chapter 1 discusses motivation, scope, methodology, and sources of the study. I introduce a dozen different Chinese terms related to the act of reading. Chapter 2 examines theories and practices of how children were taught to read. Focusing on four main pedagogical procedures, namely memorization, vocalization, punctuation, and explication, I argue that the loud chanting of texts and the constant anxiety of reciting were two of the most prominent themes that ran through both the descriptive and prescriptive discourses on the history of reading in late imperial ii China.
    [Show full text]
  • Discovery Awaits You at the 81ST Scientific Sessions
    VIRTUAL | JUNE 25–29, 2021 Discovery awaits you at the ST 81 Scientific Sessions Final Program scientificsessions.diabetes.org #ADA2021 THE RIGHT SOLUTION AT THE RIGHT TIME View The Scientific Sessions Closed-Loop Increases Time-in-Range Glycemic outcomes of new InPen™ Durable insulin pumps vs. multiple daily in Older Adults with Type 1 Diabetes smart insulin pen users who injections for type 1 diabetes: Healthcare Compared with Sensor-Augmented received virtual onboarding utilization and A1C Pump Therapy: A Randomized Smith | ePoster Shah | ePoster Crossover Trial Patient Reported Satisfaction During Infusion Set Survival and Performance McAuley | Oral | Sun. 6/27 @ 4:30 pm the Medtronic Extended-Wear During the Medtronic Extended-Wear Infusion Set (EWIS) Pivotal Trial Infusion Set (EWIS) Pivotal Trial Impact of InPen™ smart insulin pen use Brazg | ePoster Buckingham | ePoster on real-world glycemic and insulin Preclinical study of a combined Robust glycemic outcomes after MiniMed™ dosing outcomes in individuals with insulin infusion and glucose sensing Advanced Hybrid Closed-Loop (AHCL) poorly controlled diabetes device (DUO) System use regardless of previous therapy Vigersky | Oral | Sun. 6/27 @ 6:15 pm Zhang | ePoster Shin | ePoster Visit Our Virtual Exhibit https://www.medtronic.com/diabetes-exhibit to find more information on: Smart MDI Therapy Insulin Pump Therapy Personalized Service Stay on Track with the First Automated Insulin Delivery & Support Smart MDI System* for Improved Glucose Control Always By Your Side View Our Presentations Product Theater: Shared Decision With Diabetes Technology Friday, June 25, 2021 | 10:00 – 11:00 am ET The introduction of smart insulin pens is bringing the vast majority of people on insulin injection therapy into the digital age.
    [Show full text]
  • Views and Historiography Papers and How to Cite Sources
    WAR HEROES: CONSTRUCTING THE SOLDIER AND THE STATE IN MODERN CHINA, 1924-1945 DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Yan Xu, M.A. Graduate Program in History The Ohio State University 2012 Dissertation Committee: Professor Christopher A. Reed, Adviser Professor Ying Zhang Professor Patricia Sieber Copyright by Yan Xu 2012 Abstract The frequency of wars in modern China between 1924 and 1945 was accompanied by the phenomenon that the soldier figure played an important ideological role in state rhetoric and social discussions. Different political, social and cultural forces, such as Jiang Jieshi (1887-1975)’s Nationalist government (1927-1949), the Whampoa Military Academy, urban intellectuals, activists, professionals, writers, students, and the Chinese Communists in the revolutionary base of Yan’an constructed the soldier figure to argue for their agendas and assert their political influence. The multiple meanings assigned to the soldier figure by diverse forces as well as the intentions behind the meanings are the main theme uniting this dissertation. This theme serves as a useful window to explore the state-building processes in the GMD and CCP areas and the complex state-society relations that were engendered by these processes in modern China. By examining how different political, social and cultural forces resisted, collaborated with, complicated, questioned and confronted the heroic ideal of the soldier promoted by Jiang and the Nationalist government, this dissertation demonstrates that the cultural negotiations over how to create and support a strong army were central to the state-building processes in modern China, and a significant factor in determining different trajectories in state-society relations in the regions controlled by the GMD and the CCP.
    [Show full text]
  • Yellow Music: a Transcultural Musical Genre's Role In
    Yellow Music: A Transcultural Musical Genre’s Role in Heterogeneous Community Unification Anita Li Music 225-Global Pop, Professor Tamar Barzel Wellesley College May, 2013 Note: The author would like to thank Professor Barzel for helping her throughout the semester through office hour meetings and detailed assignment comments. Yellow Music Anita Li As the earliest form of contemporary Chinese popular music, yellow music was a hybrid musical genre of American jazz, Hollywood film music, and Chinese folk music. Originated in Shanghai, China in the late 1920s, it instigated the golden Chinese Jazz age during the pre- communism interwar period. Yellow music was one of the most evocative music genre in the country’s history, but was rarely studied by music scholars. At the time, the genre was criticized by the republic government and nationalists as “decadent sounds” that were associated with pornography and were “capable of seducing citizens away from the pressing tasks of nation- building and anti-imperialist resistance” (Jones 2001, p.8). How did the specific cultural, social, and political conditions in Shanghai during 1920s- 1940s enable the emergence and widespread popularity of yellow music despite republic governmental opposing pressure? Was its role entirely negative as criticized by the government and nationalists? A close analysis of “Drizzles” and “Nightlife at Shanghai” will be employed to explore the formation and social role of yellow music in China during the early 20 th century. Yellow music was evolved in China’s first modern industrial, commercial, financial center: Shanghai. In 1982, Shanghai was established as the first Chinese city to be opened to trading with the West (Stone 2002, p.353).
    [Show full text]
  • China Perspectives, 53 | May- June 2004 Nimrod Baranovitch, China’S New Voices
    China Perspectives 53 | May- June 2004 Varia Nimrod Baranovitch, China’s New Voices. Popular Music, Ethnicity, Gender and Politics, 1978-1997 University of California Press, Berkeley & Los Angeles, 2003, 332 p. Catherine Capdeville-Zeng Édition électronique URL : http://journals.openedition.org/chinaperspectives/822 DOI : 10.4000/chinaperspectives.822 ISSN : 1996-4617 Éditeur Centre d'étude français sur la Chine contemporaine Édition imprimée Date de publication : 1 mai 2004 ISSN : 2070-3449 Référence électronique Catherine Capdeville-Zeng, « Nimrod Baranovitch, China’s New Voices. Popular Music, Ethnicity, Gender and Politics, 1978-1997 », China Perspectives [En ligne], 53 | May- June 2004, mis en ligne le 24 avril 2007, consulté le 24 septembre 2020. URL : http://journals.openedition.org/chinaperspectives/ 822 ; DOI : https://doi.org/10.4000/chinaperspectives.822 Ce document a été généré automatiquement le 24 septembre 2020. © All rights reserved Nimrod Baranovitch, China’s New Voices. Popular Music, Ethnicity, Gender and ... 1 Nimrod Baranovitch, China’s New Voices. Popular Music, Ethnicity, Gender and Politics, 1978-1997 University of California Press, Berkeley & Los Angeles, 2003, 332 p. Catherine Capdeville-Zeng 1 This book, focusing on Peking since the reforms, provides an ethnography of Chinese urban contemporary popular music. It uses an interdisciplinary approach— anthropology, musicology, literary criticism and cultural studies. After having presented the historical framework of Chinese popular music, in which the author has included rock music, it analyses three major issues related to it: ethnicity, gender and politics. 2 New popular music started in the early 1980s with the return to mainland China of the Gangtai style (Hong Kong and Taiwan music), a kind of “Western-influenced popular music that emerged in Shanghai… during the 1920s…” (p.
    [Show full text]
  • Chapter 2: Genre and Classification
    The performance of identity in Chinese popular music Groenewegen, J.W.P. Citation Groenewegen, J. W. P. (2011, June 15). The performance of identity in Chinese popular music. Retrieved from https://hdl.handle.net/1887/17706 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/17706 Note: To cite this publication please use the final published version (if applicable). Chapter 2: Genre and Classification §1 Chinese Popular Music My working definition of popular music hinges on its relation to the mass media, and on considering its emergence and transformations in tandem with the masses (urbanization, adolescence, yuppies) and the media (phonograph, radio, MTV, MP3, MySpace). This working definition will remain undeveloped, because I have chosen not to focus on dis- tinguishing popular music from other musics, but on subdivisions within popular music. However, this still involves addressing popular music’s appellation of the mass, the popu- lar and the People.1 I will discuss music and artists that I tentatively group under the labels sinified rock, fringe pop, and new folk. However, I hypothesize that rather than around genres Chinese popular is structured around the four organizational principles language-geogra- phy-ethnicity, generation, gender, and marketability. Is rock subversive, pop hegemonic, and folk conservative, and are these the right questions? Territories in Hyperspace
    [Show full text]
  • The Musicality of C-Pop a Study of Chinese Popular Music from 1985-2010
    The Musicality of C-Pop A Study of Chinese Popular Music from 1985-2010 This thesis is submitted to the University of Sheffield in fulfilment of the requirements for the degree of Doctor of Philosophy By Zhao Yue Department of Music The University of Sheffield December 2010 IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, LS23 7BQ www.bl.uk THIS THESIS CONTAINS A MUSIC CD -UNABLE TO COPY- PLEASE CONTACT THE UNIVERSITY IF YOU WISH TO SEE THIS MATERIAL Abstract This study examines C-pop (Chinese pop). It contains three parts, Part One describes the changes in C-pop from the 1985 to the present, Part Two deals with how C-pop changed in tenns of its musical texts and Part Three elucidates why it changed culturally. As a whole, it also provides a case study that allows us to approach the 'popular'I'pop' dichotomy from perspective of a change in musicality (way of being musical) from a music-maker-centric (MMC) system to a music-receiver-centric (MRC) system. I have drawn on the dual experience base of being a native Chinese and an overseas-based researcher, generating a critical-ethnomusicological perspective throughout. Part One of the thesis considers a selection of soundscapes that delineate changing trends in Chinese popular music from 1985 on. In the first chapter, the emergence of C-pop in the 1980s and early 1990s is identified and assessed. Chapter 2 looks at the reshaping of the industry from 1996 on, analysing also the rise of new media for popular music during this period, most obviously television and the internet.
    [Show full text]