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Maternal Ambivalence in Pan Yuliang's Paintings

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Maternal Ambivalence in Pan Yuliang's Paintings : may / june 1 M A Y / J U N E 2 0 1 0 VOLUME 9, NUMBER 3 INSIDE Artist Features: Movana Negotiating Difference: Chen, Cui Xiuwen, Pan Contemporary Chinese Yuliang, Qi Zhilong Art in the Global Context Guggenheim Museum’s Asian Art Council: Permanent (R)evolution: Contemporary Contemporaneity and Reflections on the Historicization of Modernity in Asia Contemporary Chinese Art, Part Two US$12.00 NT$350.00 PRINTED IN TAIWAN 6 VOLUME 9, NUMBER 3, MAY/JUNE 2010 CONTENTS 2 Editor’s Note 18 4 Contributors 6 Knit Together: Movana Chen and the Politics of Identity in a Global Society. Madeline Eschenburg 18 Cui Xiuwen: Walking on Broken Glass Patricia Eichenbaum Karetzky 34 Maternal Ambivalence in 34 Pan Yuliang’s Paintings Phyllis Teo 48 Qi Zhilong and His Chinese Girl Zheng Shengtian 58 Guggenheim Museum’s Asian Art Council: Contemporary Reflections on Modernity in Asia 81 Negotiating Difference: Contemporary 48 Chinese Art in the Global Context Birgit Hopfener and Franziska Koch 96 Permanent (R)evolution: Contemporaneity and the Historicization of Contemporary Chinese Art, Part Two Paul Gladston 103 Chinese Name Index 81 104 Cover: Qi Zhilong, Chinese Girl (detail), 2009, oil on canvas, 162 x 130 cm. Courtesy of the artist and AW Asia, New York. 1 Editor’s Note YISHU: Journal of Contemporary Chinese Art president Katy Hsiu-chih Chien legal counsel Infoshare Tech Law Office, Mann C.C. Liu Yishu 38 opens with three texts featuring women ounding Ken Lum artists who represent different generations, who -in-chie Keith Wallace come from different backgrounds, and whose Zheng Shengtian work differs stylistically. Yet each artist alludes Julie Grundvig Kate Steinmann in her work to issues of gender and the social editorial assistant Chunyee Li restrictions faced by women, both historically circulation anager Larisa Broyde and currently, within Chinese society. In an ad coordinator Ioulia Reynolds web site Chunyee Li interesting complement to these texts, Zheng Shengtian writes on Qi Zhilong, a male artist, and adisory the disconcerting play in his work between the Judy Andrews, Ohio State University Melissa Chiu, Asia Society Museum aesthetic and social representation of women John Clark, University of Sydney during the Cultural Revolution and in today’s Lynne Cooke, Dia Art Foundation popular culture. Okwui Enwezor, Critic & Curator Britta Erickson, Independent Scholar & Curator Fan Di’an, National Art Museum of China We also present the second of two panel Fei Dawei, Guy & Myriam Ullens Foundation discussions (the previous published in Yishu 37) Gao Minglu, University of Pittsburgh Hou Hanru, San Francisco Art Institute from the Guggenheim Museum’s Asian Art Council Hu Fang, Vitamin Creative Space and the shop meetings in June of 2009. This panel focuses on a Katie Hill, University of Westminster discussion about the evolution of modernity in the Claire Hsu, Asia Art Archive Martina Köppel-Yang, Independent Critic & Historian context of Asia. Geeta Kapur from India, Midori Sebastian Lopez, Critic and Curator Matsui from Japan, and Xu Bing from mainland Lu Jie, Independent Curator China propose thoughtful and timely perspectives Charles Merewether, Critic & Curator Ni Tsaichin, Tunghai University on how modernity is inflected in their respective Apinan Poshyananda, Ministry of Culture, Thailand nations’ cultural production and how it adopts its Philip Tinari, Independent Critic & Curator own identities within each context. Chia Chi Jason Wang, Independent Critic & Curator Wu Hung, University of Chicago Pauline J. Yao, Independent Scholar Related to this is a growing interest in examining the history of contemporary Chinese art, especially publisher Art & Collection Group Ltd. 6F. No. 85, Section 1, considering a history that represents just over Chungshan N. Road, thirty years of activity. The summary of the Taipei, Taiwan 104 conference Negotiating Difference: Contemporary Phone: (886)2.2560.2220 Fax: (886)2.2542.0631 Chinese Art in the Global Context brings forward E-mail: [email protected] several important issues, among them the kinds of ice general anager Jenny Liu methodologies that are employed in the analysis Alex Kao of contemporary Chinese art from an academic arketing anager Joyce Lin perspective as well as the practical perspective circulation executie Perry Hsu Betty Hsieh of those actively working in the field, and the challenges and benefits of both. We conclude webaster Website ARTCO, Taipei this issue of Yishu with the second part of Paul Chi Wei Colour Printing Ltd., Gladston’s examination of contemporaneity and web site www.yishujournal.com the specifics of its manifestation in the context of issn 1683 - 3082 China. He offers a considered deliberation on the Yishu is published bi-monthly in Taipei, Taiwan, and edited ideas of art historian and curator Gao Minglu’s in Vancouver, Canada. The publishing dates are January, analysis of the different trajectories that exist March, May, July, September, and November. All subscription, between an Eastern conception of modernism advertising, and submission inquiries may be sent to: and a Western one. Yishu Office 200–1311 Howe Street Yishu will be hosting booths at the Hong Kong Vancouver, BC, Canada V6Z 2P3 International Art Fair from May 27 to 30 and at Phone: 1.604.649.8187 Art 41 Basel from June 16 to 20. Please come Fax: 1.604.591.6392 and visit us. E-mail: [email protected] subscription rates Keith Wallace 1 year (six issues): $84 USD (includes $24 for airmail postage); in Asia $78 USD (includes $18 for airmail postage). 2 years (twelve issues): $158 USD (includes $48 for airmail postage); in Asia $146 USD (including $36 for airmail postage). design and Leap Creative Group e Raymond Mah art Director Gavin Chow designer Philip Wong No part of this journal may be reprinted without the written permission from the publisher. The views expressed in Yishu are 2 not necessarily those of the editors or publisher. Yishu: Journal of Contemporary Chinese Art 典藏國際版創刊於 2002年5月1日 典藏國際版‧第9卷第3期‧2010年5–6月 社 長： 簡秀枝 法律顧問： 益思科技法律事務所 劉承慶 創刊編輯： 林蔭庭（Ken Lum） 總 策 劃： 鄭勝天 2 編者手記 主 編： 華睿思 (Keith Wallace) 副 編 輯： 顧珠妮 (Julie Grundvig) 作者小傳 史楷迪 (Kate Steinmann) 4 編輯助理： 黎俊儀 行 政： 藍立杉 (Larisa Broyde) 廣 告： 雷幽雅（Ioulia Reynolds） 6 編織一軆：全球社會中的陳麗雲和 網站編輯： 黎俊儀 (Chunyee Li) 身份政治 顧 問： 王嘉驥 田霏宇 Madeline Eschenburg (Philip Tinari) 安雅蘭 (Judy Andrews) 巫 鴻 18 崔岫聞：踩著碎玻璃行走 林似竹 (Britta Erickson) 范迪安 Patricia Eichenbaum Karetzky 招穎思 (Melissa Chiu) 洛柿田 (Sebastian Lopez) 34 潘玉良繪畫中母性的困惑 胡 昉 侯瀚如 張慧玲 (Phyllis Teo) 徐文玠 (Claire Hsu) 姜苦樂 (John Clark) 姚嘉善 (Pauline J. Yao) 48 祁志龍和他的中國女孩 倪再沁 高名潞 鄭勝天 費大爲 楊天娜 (Martina Köppel-Yang) 58 古根漢美術館亞洲藝委會討論之二： 盧 杰 Lynne Cooke 現代性在亞洲的當代詮釋 Okwui Enwezor Katie Hill Charles Merewether 81 折衝下的差異：全球脈絡裏的中國 Apinan Poshyananda 當代藝術國際研討會紀要 出 版： 典藏雜誌社 Birgit Hopfener and Franziska Koch 副總經理： 劉靜宜 高世光 行銷總監： 林素珍 96 永遠的革新（革命): 現代性和當代 發行專員： 許銘文 謝宜蓉 中國藝術的歷史化 (第二部份） 社 址： 台灣臺北市中山北路一段85號6樓 Paul Gladston 電話: (886) 2.2560.2220 傳真：(886) 2.2542.0631 電子信箱：[email protected] 103 中英人名對照 編 輯 部： Yishu Office 200-1311 Howe Street, Vancouver, BC, V6Z 2P3, Canada 電話: (1) 604.649.8187 傳真：(1) 604.591.6392 電子信箱: [email protected] 訂閱、投稿及廣告均請與編輯部聯系。 設 計： Leap Creative Group, Vancouver 創意總監： 馬偉培 藝術總監： 周繼宏 設 計 師： 黃健斌 印 刷： 臺北崎威彩藝有限公司 本刊在溫哥華編輯設計，臺北印刷出版發行。 一年6期。逢1、3、5、7、9、11月出版。 網 址： www.yishujournal.com 管 理： 典藏雜誌社 國際刊號: 1683-3082 售價每本12美元。 訂閲：一年84美元，兩年158美元（含航空 郵資）。亞洲地區一年78美元，兩年146美元 （含航空郵資）。 封面：祁志龍，中國女孩（局部), 2009, 布面油畫, 162x130 公分, 藝術家及纽约AW Asia提供 訂閱單可從本刊網址下載。 版權所有，本刊內容非經本社同意不得翻譯和轉載。 本刊登載內容並不代表編輯部與出版社立場。 3 Contributors Xu Bing received an M.F.A. from the Central Academy Paul Gladston is Associate Professor of Critical of Fine Arts, Beijing, in 1987. Since the mid 1980s, his Theory and Cultural Studies at the University work has been selected for numerous solo and group of Nottingham. For the last five years he has exhibitions around the world, including at the 45th been seconded to the University of Nottingham, Venice Biennale; Museum of Modern Art, New York; Ningbo, China, where he has been both Head of the Institute of Contemporary Art, London; and Arthur Department of International Communications and M. Sackler Gallery at the Smithsonian Institution in Director of the Institute of Comparative Cultural Washington, D.C. He is the recipient of several awards, Studies. He studied fine art at Edinburgh College including the MacArthur “Genius” Award granted by of Art and Yale University before receiving an M.A. the John D. and Catherine T. MacArthur Foundation and Ph.D. in critical theory from the University of (1999), the Fukuoka Asian Culture Prize (2003), and Nottingham. His recent publications include an the first Wales International Visual Art Prize, Artes edited collection of essays entitled China and Other Mundi (2004). Princeton University Press published Spaces (CCCP, 2009) as well as the essay “Bloody Persistence/Transformation: Text as Image in the Art Animals! Reinterpreting Acts of Violence Against of Xu Bing, a multidisciplinary study of Xu Bing’s Animals as Part of Contemporary Chinese Artistic landmark work Book from the Sky, in 2006. Practice,” which is included in Lili Hernandez and Sabine Krajewski, eds., Crossing Cultural Boundaries: Layla S. Diba is an independent curator living in Taboo, Bodies and Identities (Cambridge Scholars, New York. She began her career as art advisor to 2009). In June 2010, Gladston will return to his post the Private Secretariat of the Shahbanou of Iran. at the University of Nottingham. She served as Director and Chief Curator of the Negarestan Museum of 18th and 19th century Birgit Hopfener is a Ph.D. candidate at the Free Iranian Art from its inception in 1975 until 1978. University of Berlin, where she is working on the She served as Hagop Kevorkian Associate Curator topic of Chinese installation art in the transcultural of Islamic Art (January 1990 to 1998) and as context.
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