DOCSLIB.ORG

Herbst / Fall 2021

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Herbst / Fall 2021 HERBST / FALL 2021 HOLZWARTH PUBLICATIONS Celeste Dupuy-Spencer: But the Clouds Never Hung So Low Before Jedes Gemälde von Celeste Dupuy-Spencer ist eine Welt für sich. Die mit glühenden Farben gemalten Bilder beziehen ihr Material aus einer ikono- grafischen Mischung aus Wirklichkeit und Fantasie, Profanem und Heili- gem, Leben und Kunst: Ritter in voller Rüstung, die von einer Klippe reiten; Englisch Bereitschaftspolizei, die während eines Straßenkampfs wie berauscht durch Hardcover, 28 x 28 cm, 60 Seiten, den Tränengasnebel lächelt; Weltenherrscher auf einem Balkon, die von 22 Farbabbildungen einem Tod auf weißem Pferd mit feurigem Blick attackiert werden; ein zwei- English felnder Krieger, der am heimischen Spültisch über den Sinn seines Opfers Hardcover, 28 x 28 cm, 60 pp., nachdenkt. Dazwischen wie Inseln Bilder von der Natur, der Liebe, der Welt- 22 color illustrations flucht. Dabei ist es nicht die komplexe Ikonografie an sich, die das Bild be- Gespräch zwischen / Conversation between herrscht – die Kompositionen entwickeln sich in einem offenen Malprozess Celeste Dupuy-Spencer & Louise Bonnet auf beeindruckende Weise aus der Farbe. Malerei ist für Dupuy-Spencer ein Holzwarth Publications / Galerie Max Hetzler existenzieller Akt, ein Dialog mit der Materie, wie sie in ihrem Gespräch mit ISBN 978-3-947127-29-0 der Künstlerin Louise Bonnet bemerkt: „Ich habe keinerlei Bedürfnis, das 35,00 Euro Juli / July 2021 Medium zu zähmen, es für mich arbeiten zu lassen. Wenn ich male, will ich nicht die ganze Zeit die Kontrolle behalten. Es muss ein Geben und Nehmen sein. Es muss diese Momente geben, in denen ich vom Bild zurücktrete und denke: ‚Ich habe keine Ahnung, wie ich das jetzt gemacht habe. Oder wa- rum ich es gemacht habe.‘ “ Dies ist die erste wichtige Publikation der Künst- lerin mit Werken von 2020 aus Anlass ihrer Ausstellung in der Galerie Max Hetzler Berlin. Each painting by Celeste Dupuy-Spencer offers a world of its own. Painted with blistering colors, they find their materials in an iconographic mix drawn from the real and the imaginary, the profane and the sacred, from life and art: knights in full armor going off a cliff, riot police in street battle drugged- ly smiling through the tear gas, world rulers on a balcony attacked by death on a steed with fiery eyes, a doubting warrior pondering the meaning of his sacrifice by the kitchen sink at home. In between, like islands, images of nature, of love, of escaping the world. Yet it is not iconography that domi- nates the paintings—the compositions develop out of brushstrokes in an open painting process. Painting is an existential act for Dupuy-Spencer, a dialogue with matter, as she notes in her con- versation with artist Louise Bonnet: “I have no need whatsoever to tame the medium, to make it work for me. When I paint, I don’t want to be in control all the time. It has to be a give and take. There have to be those moments when I step back from the painting and think, ‘I have no idea how I did that now. Or why I made it.’” This is the artist’s first major publication of works from 2020 on the occasion of her exhibition at Galerie Max Hetzler Berlin. 2 Celeste Dupuy-Spencer, And the Dawn Don’t Rescue Me No More, 2020. Cover: Glenn Brown, Bring on the Headless Horses, 2020 (Detail) Ausstellungsansicht / Exhibition view, Galerie Max Hetzler, Berlin 2020 3 André Butzer Im Jahr 2003 eröffnet der Maler André Butzer seine erste Ausstellung in der Galerie Max Hetzler Berlin unter dem Titel Chips und Pepsi und Medizin. Es ist die Zeit seines künstlerischen Durchbruchs und in den folgenden 20 Jahren zeigt er seine Werke in verschiedenen Räumlichkeiten der Galerie bei insgesamt 15 Einzel- sowie 10 Gruppenausstellungen, die er teils selbst ins Leben ruft. Das vorliegende Buch dokumentiert seine künstlerischen Insze- nierungen mit Installationsansichten, großformatigen Abbildungen aller Werke und zusätzlichen Materialien wie Einladungen, Publikationen und Rezensionen. In diesem Kontext werden Entwicklung und Kontraste der Englisch / Deutsch verschiedenen Bildserien besonders deutlich. Butzer beginnt mit einem Hardcover, 24 x 30 cm, ca. 176 Seiten, Kosmos idiosynkratischer Protagonisten, die im Bildraum wie auf einer ca. 150 Farbabbildungen Bühne vor einer Kulisse abstrakter Malerei stehen. Sie reichen in die Lebens- English / German welt der westdeutschen 1980er-Jahre zurück, in denen der Künstler aufwuchs: Hardcover, 24 x 30 cm, ca. 176 pp., Familienbilder, Friedens-Siemense, N-Häuser, Heldenfiguren wie Hölderlin, ca. 150 color illustrations Disney oder der liebe Gott. Später folgen auch rein abstrakte Serien mit Holzwarth Publications / Galerie Max Hetzler komplex bunter Linienführung oder minimalistisch grauen oder schwarzen ISBN 978-3-947127-28-3 Farbflächen, stets lebendig und mit freiem Strich komponiert. In all diesen ca. 60,00 Euro August 2021 Werkgruppen geht es Butzer um die Mittel der Malerei, und so findet er auch im Prinzip der Serie neue Freiheiten: „Wiederholung ist ein Thema, dem ich mich widmen muss, aber innerhalb der Wiederholung wiederhole ich mich nie.“ In 2003, the painter André Butzer opened his first exhibition at Galerie Max Hetzler in Berlin under the title Chips and Pepsi and Medicine. It was the time of his artistic breakthrough, and in the following 20 years he has shown works at the gallery’s different venues in a total of 15 solo and 10 group exhibitions, some of which he initiated himself. This book documents all of these events with in- stallation views, large-format images of all works, and additional materials such as invitations, publications, and reviews. In this context, the development of different work groups becomes especially obvious. Butzer starts out with a cosmos of idiosyncratic pro- tagonists who occupy the picture space like a stage with a backdrop of abstract painting. They refer back to 1980s West Germany, where the artist grew up, with friends and family fig- ures, references to the cultural hegemony of the US, and personal heroes such as Hölderlin, Disney, or God above. Butzer also creates pure- ly abstract series with complex grids of colorful lines or minimalist gray or black color fields, composed with the same loose vibrancy as the figurative pictures. In all these work groups, the artist is concerned with the means of painting, and so he finds new freedom even in restriction: “Repetition is a topic I have to fol- low, but I never repeat in this repetition.” 4 André Butzer, Lieber Gott, 2006 André Butzer, Hemmleben (Teil 2), 2003 5 Chinese Painting from No Name to Abstraction: Collection Ralf Laier Die Geschichte der zeitgenössischen Malerei in China beginnt während der kulturellen Revolution: Junge Menschen treffen sich in den Parks von Peking, um dem Klima der politischen Repression zu entkommen und kleine Land- schaftsbilder zu malen. Die Kunstakademien sind geschlossen, westliche Kunst ist nur unter der Hand bekannt, und so findet die Gruppe um Zhang Wei, Ma Kelu, Li Shan und Zheng Ziyan in ihre Bildern zu einem Ausdruck der persönlichen Freiheit. Ausstellungen finden geheim statt, bis sie sich Englisch Hardcover, 24 x 30 cm, ca. 180 Seiten, 1979 unter dem Namen No Name Group der Öffentlichkeit vorstellen. Nach ca. 90 Farbabbildungen diesem Durchbruch gehen die verschiedenen Persönlichkeiten ihre eigenen Wege, während China in wenigen Jahren eine Parallelgeschichte zur westli- English Hardcover, 24 x 30 cm, ca. 180 pp., chen Kunstmoderne durcheilt. So finden einige Maler in den 1980er Jahren ca. 90 color illustrations zur Abstraktion, unter ihnen wiederum Zhang Wei und Ma Kelu, sowie Feng Guodong, Qin Yufen, Tang Pingang, Zhu Jinshi. Sie entwickeln ihre jeweils Text: Su Wei, Paul Moorhouse Gespräch zwischen / Conversation between eigene Bildsprache zwischen großzügigen Flächen und oft minimaler Geste, Ralf Laier & Feng Xi abstraktem Expressionismus und chinesischer Tuschemalerei. Die beiden his- torisch bedeutsamen Bewegungen von No Name und der Pekinger Abstrak- Holzwarth Publications ISBN 978-3-947127-32-0 tion bilden die Schwerpunkte der hier dokumentierten Sammlung von Ralf ca. 60,00 Euro Laier, der in einem Gespräch mit Feng Xi von seiner Passion und persönlichen August 2021 Begegnungen in China erzählt. Texte von Su Wei und Paul Moorhouse zu den jeweiligen Epochen liefern den Hintergrund für das Verständnis dieser Bilder einer anderen Moderne. The story of contemporary painting in China begins during the Cultural Revolution, when young people met in the parks of Beijing to escape the cli- mate of political repression and to paint small landscape pictures. Art acade- mies were closed, Western art was hardly known, and so the paintings of this group around Zhang Wei, Ma Kelu, Li Shan, or Zheng Ziyan became testimo- nies of personal freedom. Exhibitions were clandestine until 1979, when they introduced themselves to the public as the No Name Group. After this break- through, the various personalities quickly developed their own trajectories, while China went through a sped-up parallel history to Western modernism with- in a few years. Thus, some painters found their way to abstraction in the 1980s, among them again Zhang Wei and Ma Kelu, as well as Feng Guodong, Qin Yufen, Tang Pingang, Zhu Jinshi. They each developed their own vi- sual language between color planes and often minimal gestures, abstract expressionism and Chinese ink paint- ing. The two historically significant movements of No Name and the Beijing abstractionists are at the heart of the collection of Ralf Laier, who talks about his pas- sion and personal encounters in China in a conversa- tion with Feng Xi. Texts by Su Wei and Paul Moorhouse on the respective eras provide the background for understanding these images of a different modernity. 6 Zhang Wei, Impression – From Beijing to Tibet, 1986 Li Shan, Ming Tombs, 1970er Jahre / 1970s 7 Glenn Brown: And Thus We Existed In den Gemälden von Glenn Brown führt die Farbe ein Eigenleben.
Load more

Recommended publications
  • Andreas Schmid Interview Transcript
    www.china1980s.org INTERVIEW TRANSCRIPT ANDREAS SCHMID Interviewer: Jane DeBevoise, Anthony Yung Date: 27 Apr 2008 Duration: about 2 hours Location: Asia Art Archive, Hong Kong Question (Q): Why did you go to China? Where you and what were you doing? Who are some of the artists that you encountered and what do you think about them? What were the artists reading and what are your comments on those materials? Andreas Schmid (AS): I graduated from the Art Academy in Stuttgart in 1981, studying painting. My paintings were, at that time, very different from German painters like Kiefer in that they always have free space, and transparency of layers of space in them. I painted with oil and acrylic, and it was different from my colleagues/contemporaries. I became interested in the idea of space, of Chinese Art, classical Chinese art, like Ni Zan [倪赞] in the fourteenth century. Then I went to Cologne and saw a collection of Japanese Buddhist writings collected by Seiko Kono , abbot of the Daian-ji temple in Nara City , Japan. I would like to know the line from another side, because lines played the most important role graphically in my paintings. So I tried contacting organizations that would support me, and they informed me there was only one woman who went to China as an artist from Germany with the support of the German exchange service. I went to see her, and she had studied in Hangzhou one year ago at that time (1980). She studied birds and flowers painting. She told me, if you want to do this, you should go to China, it is interesting.
    [Show full text]
  • WHY-NEW-YORK-Artworks-List.Pdf
    “Why New York” 是陈丹青、马可鲁、冯良鸿三人组合的第四次展览。这三位在中国当代艺术的不同阶 段各领风骚的画家在1990年代的纽约聚首，在曼哈顿和布鲁克林既丰饶又严酷的环境中白手起家，互 相温暖呵护，切磋技艺。到了新世纪，三人不约而同地回到中国，他们不忘艺术的初心，以难忘的纽约 岁月为缘由，频频举办联展。他们的组合是出于情谊，是在相互对照和印证中发现和发展各自的面目， 也是对艺术本心的坚守和砥砺。 不同于前几次带有回顾性的展览，这一次三位艺术家呈现了他们阶段性的新作。陈丹青带来了对毕加 索等西方艺术家以及中国山水及书法的研究，他呈现“画册”的绘画颇具观念性，背后有复杂的摹写、转 译、造型信息与图像意义的更替演化等话题。马可鲁的《Ada》系列在“无意识”中蕴含着规律，呈现出 书写性，在超越表面的技巧和情感因素的画面中触及“真实的自然”。冯良鸿呈现了2012年以来不同的 几种方向，在纯色色域的覆盖与黑白意境的推敲中展现视觉空间的质感。 在为展览撰写的文章中，陈丹青讲述了在归国十余年后三人作品中留有的纽约印记。这三位出生于上海 的画家此次回归家乡，又一次的聚首凝聚了岁月的光华，也映照着他们努力前行的年轻姿态。 “Why New York” marks the fourth exhibition of the artists trio, Chen Danqing, Ma Kelu and Feng Lianghong. Being the forerunners at the various stages in the progress of Chinese contemporary art, these artists first met in New York in the 1990s. In that culturally rich yet unrelenting environment of Manhattan and Brooklyn, they single-handedly launched their artistic practice, provided camaraderie to each other and exchanged ideas about art. In the new millennium, they’ve returned to China respectively. Bearing in mind their artistic ideals, their friendship and experiences of New York reunite them to hold frequent exhibitions together. With this collaboration built on friendship, they continue to discover and develop one’s own potential through the mirror of the others, as they persevere and temper in reaching their ideals in art. Unlike the previous retrospective exhibitions, the artists present their most recent works. Chen Danqing’s study on Picasso and other Western artists along with Chinese landscape painting and calligraphy is revealed in his conceptual painting “Catalogue”, a work that addresses the complex notions of drawing, translation, compositional lexicon and pictorial transformation. Ma Kelu’s “Ada” series embodies a principle of the “unconscious”, whose cursive and hyper expressive techniques adroitly integrates with the emotional elements of the painting to render “true nature”.
    [Show full text]
  • FOR IMMEDIATE RELEASE Asia Society Hong Kong Center Presents
    FOR IMMEDIATE RELEASE Asia Society Hong Kong Center presents Light Before Dawn: Unofficial Chinese Art 1974-1985 On view at Asia Society Gallery (Former Magazine A) May 15 - September 1, 2013 (Hong Kong, May 13, 2013) Asia Society Hong Kong Center today announced that Light Before Dawn: Unofficial Chinese Art 1974 – 1985, will be unveiled to audiences at Asia Society Hong Kong Center from May 15-September 1. The exhibition offers a revealing look into the spectrum of work created by three of China’s most influential contemporary art groups: Wuming (No Name), Xingxing (Stars), and Caocao (Grass Society). Light Before Dawn presents the works of twenty-two artists from the three art groups of Wuming, Xingxing and Caocao, emerged from the Cultural Revolution, who sought artistic truth in the authenticity of human desire, pain and dreams, explored the personal meaning of creativity, and asserted the value of the individuals. Crossing the boundaries of subject matter and style, they questioned, re-evaluated and redefined the forms, the nature of beauty and the art of China. Distinctive in their art approaches, the Wuming group retained an interest in representations of nature, the Xingxing group explored historically Western modes of modernism, absorbing anew, progressive styles developed in Europe and America during the early twentieth century, including surrealism, cubism, and abstract expressionism while the Caocao group, trained in the native medium of ink and color on paper, attempted to shed both the legacy of socialist realism and the burdens of tradition by turning to new forms of abstract ink painting. Although each movement took a distinctly different artistic approach, they were united in their commitment to pushing Chinese art beyond the borders of Socialist Realism.
    [Show full text]
  • Nameless Art in the Mao Era
    W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2017 Nameless Art in the Mao Era Tianchu Gao College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Asian Art and Architecture Commons, and the Modern Art and Architecture Commons Recommended Citation Gao, Tianchu, "Nameless Art in the Mao Era" (2017). Undergraduate Honors Theses. Paper 1091. https://scholarworks.wm.edu/honorstheses/1091 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Nameless Art in the Mao Era A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in Department of Art and Art History from The College of William and Mary by Tianchu (Jane) Gao 高天楚 Accepted for ___________________________________ (Honors, Non-Honors) ________________________________________ Xin Wu, Director ________________________________________ Sibel Zandi-Sayek ________________________________________ Charles Palermo ________________________________________ Michael Gibbs Hill Williamsburg, VA May 2, 2017 ABSTRACT This research project focuses on the first generation of No Name (wuming 無名), an underground art group in the Cultural Revolution which secretly practiced art countering the official Socialist Realism because of its non-realist visual language and art-for-art’s-sake philosophy. These artists took advantage of their worker status to learn and practice art legitimately in the Mass Art System of the time. They developed their particular style and vision of art from their amateur art training, forbidden visual and textual sources in the underground cultural sphere, and official theoretical debates on art.
    [Show full text]
  • “China” on Display for European Audiences? the Making of an Early Travelling Exhibition of Contemporary Chinese Art–China Avantgarde (Berlin/1993)
    66 “China” on Display for European Audiences? “China” on Display for European Audiences? The Making of an Early Travelling Exhibition of Contemporary Chinese Art–China Avantgarde (Berlin/1993) Franziska Koch, Ruprecht-Karls-Universität Heidelberg Contemporary Chinese Art–Phenomenon and Discursive Category Mediated by Exhibitions Exhibitions have always been at the heart of the modern art world and its latest developments. They are contested sites where the joint forces of art objects, their social agents, and institutional spaces intersect temporarily and provide a visual arrangement for specific audiences, whose interpretations themselves feed back into the discourse on art. Viewed from this perspective, contemporary Chinese art–as a phenomenon and as a discursive category that refer to specific dimensions of artistic production in post-1979 China– was mediated through various exhibitions that took place in the People’s Republic of China (hereafter, People’s Republic). In 1989, art from the People’s Republic also began to appear in European and North American exhibitions significantly expanding Western knowledge of this artistic production. Since then, national and international exhibitions have multiplied, while simultaneously becoming increasingly entangled: the sheer number of artworks that circulate between Chinese urban art scenes and Western art metropolises has risen steeply, as have the often overlapping circles of contemporary artists, art critics, art historians, gallery owners, and collectors who successfully engage across both sides of the field. To a certain degree these agents govern exhibition-making and act as important mediators or “cultural brokers”1 globalizing the discursive category of contemporary 1 For a recent study that explores the notion of the “cultural broker” from a transcultural perspective see Rudolf G.
    [Show full text]
  • Figurative Diaspora
    ДИАСПОРА ФИГУРАТИВНОГО ИСКУССТВА 具象散居 ERIK BULATOV XIE DONGMING ALEXANDER KOSOLAPOV YU HONG FIGURATIVE DIASPORA KOMAR AND MELAMID NI JUN JANUARY 16 – MARCH 4, 2018 NEW YORK ACADEMY OF ART IRINA NAKHOVA LU LIANG CURATED BY PETER DRAKE & MARK TANSEY 111 FRANKLIN STREET OLEG VASSILIEV LIU XIAODONG FIGURATIVE DIASPORA Press Coverage ArtNews Artnet News Gagosian Quarterly Hyperallergic The Tribeca Trib FIGURATIVE DIASPORA 9 Art Events to Attend in New York City is Week By e Editors of ARTnews 01/15/18 Opening: “Figurative Diaspora” at New York Academy of Art For the New York Academy of Art’s annual show of gurative work, the artist Mark Tansey and Academy dean Peter Drake have put together an exhibition of art that wasn’t state-sanctioned in China and the Soviet Union. Work by ve Soviet artists will be shown alongside more recent art from the People’s Republic of China. e show focuses on a continuum of artists who used their academic training to subversive ends, in the process enlisting stylistic touches borrowed from social realism as a language to express dissent. Pieces by Alexander Kosolapov, You Hong, Erik Bulatov, and others will feature. New York Academy of Art, 111 Franklin Street, 6-8 p.m. FIGURATIVE DIASPORA Editors’ Picks: 11 Things to See in New York This Week Sarah Cascone, January 15, 2018 “Figurative Diaspora” at the New York Academy of Art For this year’s winter show of fi gurative painting, artist Mark Tansey and NYAA dean Peter Drake have brought together a selection of works of unoffi cial, non-sanctioned state art from artists working under the Soviet and Chinese regimes.
    [Show full text]
  • The Round Table 02 圆桌 a Conversation with the No Name Painting Group
    Vol 4, No 1 (2015) | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2015.155 http://contemporaneity.pitt.edu The Round Table 02 圆桌 A Conversation with the No Name Painting Group Gao Minglu, Madeline Eschenburg, Ellen Larson, and Dong Li Hui Abstract The following is a transcript of a conversation between three members of the No Name Painting Group, as well as Gao Minglu, Madeline Eschenburg, Ellen Larson, and Dong Li Hui. This interview was originally conducted in Chinese and has been edited for clarity. About the Artists Li Shan, Ma Kelu, and Zhang Wei were all members of the No Name Group. The No Name Group was a Beijing-based group of largely self-taught artists active from the early 1960s through the early 1980s. They were noteworthy for their active rejection of Soviet Socialist Realism promoted throughout the Cultural Revolution by the government. Rather, they upheld the notion of art for art’s sake. Their work, however, must also be considered as a purposeful negation of official ideology and is important because of its unique position as the only underground, self-organized, avant-garde art group during the Cultural Revolution. It took some time for this group to be recognized as an important aspect of contemporary Chinese art partially because, while they did not conform to governmental standards, their work also did not contain overtly political themes, like some of the works by another early avant-garde art group in China, the Stars. Rather, their works tended to be landscapes or street scenes executed in a traditional Chinese, impressionistic or post-impressionistic styles.
    [Show full text]
  • Popular Memories of the Mao Era
    Popular Memories of the Mao Era From Critical Debate to Reassessing History Edited by Sebastian Veg Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.hku.hk © 2019 Hong Kong University Press ISBN 978-988-8390-76-2 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Paramount Printing Co. Ltd., Hong Kong, China Contents Acknowledgments vii 1. Introduction: Trauma, Nostalgia, Public Debate 1 Sebastian Veg Part I. Unofficial Memories in the Public Sphere: Journals, Internet, Museums 2. Writing about the Past, an Act of Resistance: An Overview of Independent Journals and Publications about the Mao Era 21 Jean-Philippe Béja 3. Annals of the Yellow Emperor: Reconstructing Public Memory of the Mao Era 43 Wu Si 4. Contested Past: Social Media and the Production of Historical Knowledge of the Mao Era 61 Jun Liu 5. Can Private Museums Offer Space for Alternative History? The Red Era Series at the Jianchuan Museum Cluster 80 Kirk A. Denton Part II. Critical Memory and Cultural Practices: Reconfiguring Elite and Popular Discourse 6. Literary and Documentary Accounts of the Great Famine: Challenging the Political System and the Social Hierarchies of Memory 115 Sebastian Veg 7.
    [Show full text]
  • Chronicle of Events
    Chronicle of Events 1949 July January Congress of Chinese Writers and Artists (renamed to The China Federation of Literary 31 The name Beiping (北平) was reverted to and Art Circles) held the First National Exhibi- Peking (北京 adopted to Beijing in 1958) tion of Fine Arts at National Peking Art College. after the People’s Liberation Army (PLA) conquered the city. 2–19 The First National Congress of Litera- ture and Art Workers met in Beijing. A total of six-hundred-fifty delegates February participated the congress, including eighty-eight art workers. The China Fed- 15 The government took over the National eration of Literary and Art Circles Peking Art College. (CFLAC) was founded. 21 China Artists Association (CAA) was founded in Zhongshan Park, Peking. April The Exhibition of New Guohua, featured more October than eighty artists, was held in Zhongshan Park, Beijing. 1 The People’s Republic of China was founded. May November 25 Shanghai was taken over by the PLA. 23 National Peking Art College combined with the art department of North China Univer- sity, establishing the Central Academy of June Fine Arts (CAFA) in 1950. 6 Shanghai prepared to establish the Shanghai Artists Association. # Springer Nature Singapore Pte Ltd. 2020 459 Y. Zhou, A History of Contemporary Chinese Art, Chinese Contemporary Art Series, https://doi.org/10.1007/978-981-15-1141-7 460 Chronicle of Events 1950 November CAA published four issues of the art journal 7 National Hangzhou Arts College was Renmin Meishu (People’s Fine Arts). renamed to CAFA East China Campus (renamed to the Zhejiang Fine Arts Academy in 1958, and then to the China Academy of January Art in 1993).
    [Show full text]
  • The Art and Artists of Hong Kong
    JANUARY/FEBRUARY 2012 VOLUME 11, N UMBER 1 10TH ANNIV ERSARY YEAR INSI DE Art Intervenes in Society: A Conversation With Wang Chunchen The Pursuit of Space: The Art and Artists of Hong Kong Artist Features: Xu Bing, Duan Jianghua, Lam Tung-pang Exhibition Reviews: Unofficial Chinese Art 1974–1985, Moving Image in China 1988–2011, Zhang Peili Retrospective Book Reviews: Total Modernity and the Avant-Garde in Twentieth-Century Chinese Art, Ai Weiwei’s Blog: Writings, Interviews and Digital Rants 2006–09 US$12.00 NT$350.00 PRINTED IN TAIWAN 16 VOLUME 11, NUMBER 1, JANUA R Y/FEBRUA R Y 2012 CONTENTS Editor’s Note 30 Contributors 6 Wu Street: Tracing Lineages of the Internationalization of the Art World Orianna Cacchione 16 Revolution and Power: The Paintings of Duan Jianghua Robert C. Morgan 37 30 The Best of Times: Lam Tung-pang’s Long View Under Scrutiny Abby Chen 37 A Conversation With Lam Tung-pang Abby Chen 52 The Pursuit of Space: The Art and Artists of Hong Kong Celine Y. Lai 66 66 Art Intervenes in Society: A Conversation with Wang Chunchen Marie Leduc 82 Blooming in the Shadows: Unofficial Chinese Art, 1974–1985 Jonathan Goodman 96 Moving Image in China: 1988–2011 and Certain Pleasures: Zhang Peili Retrospective Xhingyu Chen 82 102 Fictions of Nationhood Robert Linsley 109 Chinese Name Index 96 Cover: Lam Tung-pang working on Past Continuous Tense, 2011, charcoal and image transfer on wood. Photo: Gordon Lo. Courtesy of the artist and Hong Kong Art Centre. We thank JNBY Art Projects, Canadian Foundation of Asian Art, Mr.
    [Show full text]
  • ZHANG WEI Global Roots: Chinese Artists Working in New York Curated by Greg Thomas Stewart Center Gallery, Purdue University 1998
    ZHANG WEI Global Roots: Chinese Artists Working in New York Curated by Greg Thomas Stewart Center Gallery, Purdue University 1998 Born in Beijing in 1952 and raised there, Zhang Wei learned art on his own and by painting with the Wu Ming (Nameless) circle of oil painters in the 1970s, along with Ma Kelu. In 1986, he visited New York to exhibit some of his work; he ended up staying and has not returned since. He says for many years in New York he felt disoriented and unsure about artistic goals. He has traveled throughout the United States but found it uninspiring--people driving around in cars, completely detached from their environment. New York attracts him primarily for the art market, which provides a living; otherwise he finds the city too full of anger and violence, and the mayor's recent restrictions on artists reminiscent of oppression suffered in China. He currently lives and works on Staten Island. Since settling in New York, Zhang has painted primarily large abstract oil pictures with stylistic and ideological affinities to various kinds of Western abstraction and Chinese ink painting. The four modest pictures exhibited here are part of a new and quite different series that is overtly nostalgic. Each painting is two feet square and depicts a site in China where Zhang painted with the Nameless some twenty years ago. A few compositions are related to earlier paintings, but most are mere impressions of memories of the various forests, mountains, seacoasts, and villages that the group frequented. Why all of a sudden, I asked, did he begin such retrospective imagery in 1998 in New York City? Because, he replied straight- forwardly, that period was the best time of his life, a time when a group of impoverished outcasts from a severely oppressed society all painted together with freedom and camaraderie.
    [Show full text]
  • Blooming in the Shadows: Unofficial Chinese Art, 1974 –1985
    Jonathan Goodman Blooming in the Shadows: Unofficial Chinese Art, 1974 –1985 China Institute, New York September 15–December 11, 2011 s a small but very good show, installed salon-style in the two small gallery spaces of the China Institute, Blooming in the A Shadows, 1974–1985 covers a short, mostly unrecognized period in the history of contemporary Chinese art. It begins towards the end of the Cultural Revolution and finishes in the mid 1980s, around the time new art became much bolder, due in large part to Western influences.The exhibition tells of the courage and determination of three underground groups of artists: the Wuming or No Name group, active from 1972 to 1982; the Xingxing or Star-Star association, mostly active from 1979 through 1983; and the Caocao She, the Grass Society, best known for its activities from 1975 through the mid 1980s. They can be considered culturally revolutionary simply because they wanted to paint with freedom at a time when doing so carried the risk of repression by overly zealous party officials. As a result, each of these groups was often shrouded in secrecy, painting at night or at the outskirts of cities, away from these constrictions. Each of these associations concentrated on visual themes that challenged the political correctness in art that was part of both local and country- wide government mores. At that time, the need for secret association was genuine: nudity and abstraction, being bourgeois, were taboo; even small paintings of domestic scenes were suspect because they were apolitical. The standard of the time was the socialist realism many artists learned from Soviet art, but these three unofficial groups, whose participants were often stifled psychologically and creatively by dull industrial jobs, maintained an openness to art despite the burden of secrecy.
    [Show full text]