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: 8 May 2008 | Volume 7, Number 3 Inside Artist Features: Sui Jianguo, Zhan Wang, Ye Yongqing Guggenheim Museum’s Asia Art Council Symposium: Part 1 A Home Conversation at the Beijing Pavilion Some Perspectives on Performance Art Review of Cai Guo-Qiang’s I Want to Believe US$12.00 NT$350.00 0 VOLUME 7, NUMBER 3, MAY 2008 CONTENTS 6 Editor’s Note 9 8 Contributors Artist Features 10 A Secret Anti-modernist: Sui Jianguo and His Retirement Project Chang Tsong-zung 22 World-making and Mirror Reflection: Zhan Wang’s Art in Time and Space, Between Worry and Wandering Kao Chienhui 29 Nonexistent Reality: A Discussion between Li Xianting and Ye Yongqing 6 Guggenheim Museum’s Asian Art Council Symposium 41 Part 1: What is the Mission of Asian Art Curators in the Age of Globalization? Some Perspectives on China Now 56 The Gelatin Age: Contemporary Chinese Art’s New Power Zhang Qing 70 The Return of the Individual: A Home Conversation at the Beijing Pavilion 86 Some Perspectives on Performance Art 78 Male Body Fatigue Lesley Sanderson 86 Majong 2007 at PERFORMA07: Interview with He Yunchang Rachel Lois Clapham 90 Neatly Arranged Freedom, Present Absences, Dislocated Contexts, and Signs of Our Times: Some Readings of Dai Guangyu’s Art Maya Kóvskaya 90 Reviews 99 Cai Guo-Qiang: I Want to Believe Jonathan Goodman 106 Chinese Name Index 98 Cover: Ye Yongqing, Bird, 007, acrylic on canvas, 00 x 0 cm. Courtesy of ChinaSquare Gallery, New York/Beijing. Editor’s Note YISHU: Journal of Contemporary Chinese Art president Katy Hsiu-chih Chien r Ken Lum One third of the content in Yishu 26 is generated from the spoken word rather than the written r Keith Wallace word. Few publications offer readers the n r Zheng Shengtian opportunity to enter the worlds of symposia, i Julie Grundvig communal conversations, or personal interviews, Kate Steinmann an important component of Yishu’s mandate since editril ssistnt Chunyee Li its inception in 2002. Within this context, one is et manager Larisa Broyde reading, but one is also listening. d n Joyce Lin web site Chunyee Li Among the spoken words, we are pleased to disry b publish three of the panel discussions from the Judy Andrews, Ohio State University Guggenheim Museum Asian Art Council’s inaugural Melissa Chiu, Asia Society Museum meeting in New York, which brought together many John Clark, University of Sydney celebrated writers, curators, and theorists. Part 1, Lynne Cooke, Dia Art Foundation “What is the Mission of Asian Art Curators in the Okwui Enwezor, San Francisco Art Institute Britta Erickson, Independent Scholar & Curator Age of Globalization?” appears in this issue. In the Fan Di’an, National Art Museum of China July and September issues we will publish part 2, Fei Dawei, Guy & Myriam Ullens Foundation “Asian Art in Context: A Nation-based, Inter-Asia, Gao Minglu, University of Pittsburgh or International Paradigm?” and part 3, “Exhibiting Hou Hanru, San Francisco Art Institute Katie Hill, University of Westminster Asian Art—Alternative Models and Non-Western Claire Hsu, Asia Art Archive Paradigms.” These discussions represent a move Martina Köppel-Yang, Independent Critic & Historian by the Guggenheim Museum to more aggressively Sebastian Lopez, Institute of International Visual Arts include modern and contemporary Asian art in its Lu Jie, Independent Curator Charles Merewether, Cultural District, Saadiyat Island program and to delve into issues concerning Asian Ni Tsaichin, Tunghai University art that are of prime importance now. Apinan Poshyananda, Ministry of Culture, Thailand Chia Chi Jason Wang, Independent Critic & Curator Other conversations in this issue take place in Wu Hung, University of Chicago Pauline J. Yao, Independent Scholar quite different circumstances. Vitamin Creative Space, based in Guangzhou, is also occupying an p Art & Collection Group Ltd. apartment in Beijing where its carries out various n d Leap Creative Group activities including informal conversations among artists, curators, writers, and publishers. retie diretr Raymond Mah Art Diretr Jeremy Lee In addition to the one published here, we will be following up on their future conversations. From webster Website ARTCO, Taipei another segment of the Chinese art community, Chong-yuan Image Ltd., Taipei artists Li Xianting and Ye Yongqing talk about the - evolution of Ye’s painting from the early 1980s to Yishu is published bi-monthly in Taipei, Taiwan, and edited in the present. In our feature on performance art Vancouver, Canada. The publishing dates are first day of January, in China, Rachel Lois Clapham and He Yunchang March, May, July, September, and November. discuss his recent performance in New York City. To subscribe please go to www.yishujournal.com or call And on the subject of performance, we also have 1.604.649.8187. a text by Lesley Sanderson exploring the issue of Subscription rates: one year: US $60; two years: US $110. men, the body, and endurance, as well as one by For airmail delivery please add US $18 per year for Asia; Maya Kovskaya on Dai Guangyu. US $24 for all other regions. Yishu 26 also has extensive texts on well-known All subscription, advertising, and submission inquiries may be sent to: artists Sui Jianguo and Zhan Wang, as well as Yishu Office essays about two important exhibitions—one 410-650 West Georgia Street, Vancouver, BC featuring artists born in the 1980s and one Canada V6B 4N8 reviewing the survey of Cai Guo-Qiang’s work at Phone: 1.604.649.8187; Fax: 1.604.591.6392 E-mail: [email protected] the Guggenheim Museum in New York. Distributors: Yishu will again have a booth at Art Basel, so if U.S.A. you are attending, please stop by and say hello. Journals Department, University of Hawai’i Press [email protected] Canada Keith Wallace Disticor Magazine Distribution Services www.disticor.com Australia Selectair Distribution Services www.selectair.com.au YISHU EDITIONS Advertising inquiries may be also sent to: Now available. A limited edition print of Art & Collection Ltd. a project by Xu Bing from his MoMA/NYC 6F. No.85, Section 1, Chungshan N. Road, Taipei, Taiwan 104 exhibition Automatic Update, June 27- Phone: (886)2.2560.2220; Fax: (886)2.2542.0631 September 10, 2007. E-mail: [email protected] Book from the Ground, 2007, digital print, www.yishujournal.com 29.7 X 35.6 cm, produced by Xu Bing Studio, New York. Edition Size: 199. No part of this journal may be reprinted without the written permission from the publisher. For more information please see www.yishujournal.com We thank Mr. Milton Wong, and Mr. Daoping Bao, Paystone Technologies Corp., for their generous support. 6 Yishu: Journal of Contemporary Chinese Art 典藏國際版‧第7卷第3期‧2008年5月1日出版 6 編者手記 典藏國際版創刊於 2002年5月1日 8 作者小傳 社 長： 簡秀枝 總策劃： 鄭勝天 創刊編輯： 林蔭庭（Ken Lum） 人物聚焦 主 編： 華睿思 (Keith Wallace) 10 一位秘密的反現代主義者： 隋建國和 副編輯： 顧珠妮 (Julie Grundvig) 他的「退休計劃」 史楷迪 (Kate Steinmann) 張頌仁 編輯助理： 黎俊儀 (Chunyee Li) 22 造境與鏡照：在時空憂與游的展望 行 政： 藍立杉 (Larisa Broyde) 網站編輯： 黎俊儀 (Chunyee Li) 高千惠 廣 告： 林素珍 29 明鏡亦非臺 — 葉帥與老栗對話錄 顧 問： 王嘉驥 栗憲庭、葉永青 安雅蘭 (Judy Andrews) 巫 鴻 林似竹 (Britta Erickson) 學術研究 范迪安 招穎思 (Melissa Chiu) 41 纽约古根漢美術館亞洲藝術委員會 洛柿田 (Sebastian Lopez) 研討會第一部分：全球化時代亞洲 侯瀚如 藝術策展人的任務 徐文玠 (Claire Hsu) 姜苦樂 (John Clark) 姚嘉善 (Pauline J. Yao) 今日話题 倪再沁 高名潞 56 果凍時代：當代藝術的新生力量 費大爲 張晴 楊天娜 (Martina Köppel-Yang) 盧 杰 70 返身個人性∕北京亭‧家裏談 Lynne Cooke Okwui Enwezor 曹斐、储雲、Doryun Chong、胡昉、劉鼎、 Katie Hill 劉韡、阚萱、 華睿士（Keith Wallace）， Charles Merewether 姚嘉善（Pauline J. Yao）、張巍 Apinan Poshyananda 出 版： 典藏雜誌社 行為藝術 台灣臺北市中山北路一段85號6樓 電話: (886) 2.2560.2220 78 男體疲憊 傳真：(886) 2.2542.0631 Lesley Sanderson 電子信箱：[email protected] 86 何雲昌訪談 編輯部： Yishu Office Rachel Lois Clapham 410-650 West Georgia St., Vancouver, BC, Canada V6B 4N8 電話: (1) 604.649.8187 90 巧設的自由、現時的缺位、語境的錯置及 傳真：(1) 604.591.6392 當代的符號：對戴光郁藝術的一點解讀 電子信箱: [email protected] Maya Kovskaya 訂閱、投稿及廣告均請與編輯部聯系。 展評 設 計： Leap Creative Group 印 刷： 中原造像股份有限公司 99 蔡國强：我想要相信 Jonathan Goodman 網 址： www.yishujournal.com 管 理： 典藏雜誌社 106 中英人名對照 國際刊號: 1683-3082 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月一日出版。 售價每本12美元。 自2008年起訂閲一年60美元，兩年110美元。 航空郵資亞洲一年加18美元。其他地區一年加 24美元。 訂閱單可從本刊網址下載。 封面：葉永青，鳥，2007，布面壓克力，200 x 150 公分，中國廣場 版權所有，本刊內容非經本社同意不得翻譯 （纽约、北京）提供 和轉載。 7 Contributors Arjun Appadurai serves as Senior Advisor for Global Initiatives at The New School in New York City, where he also holds a Distinguished Professorship as the John Dewey Professor in the Social Sciences. He was formerly William K. Lanman Jr. Professor of International Studies, Professor of Anthropology, and Director of the Center for Cities and Globalization at Yale University. He is also the founder and now President of PUKAR (Partners for Urban Knowledge, Action and Research), a non-profit organization based in and oriented to the city of Mumbai, India. Homi Bhabha, Anne F. Rothenberg Professor of English and American Literature, Harvard University, is a leading intellectual of postcolonial studies whose influential publications on the subject have helped shape postcolonial discourse. Bhabha received his B.A. from Bombay University and his M.A., M.Phil., and D.Phil. from Christ Church, Oxford University. He is the editor Nation and Narration (Routledge, 1990) and The Location of Culture (Routledge, 1994). Forthcoming publications include A Measure of Dwelling, a theory of vernacular cosmopolitanism from Harvard University Press, and The Right to Narrate, from Columbia University Press. He is also Visiting Professor in the Humanities at University College, London. Chang Tsong-zung has played an important role in promoting contemporary Chinese art since the late 1980s. He has curated numerous exhibitions including China New Art, Post-89 (1993), and Magic at Street Level for the Hong Kong Pavilion at the Venice Biennale (2001).
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  • Sui Jianguo the Sleep of Reason

    Sui Jianguo the Sleep of Reason

    Sui Jianguo The Sleep of Reason Jeff Kelley Oakland, California, December 2004 Sui Jianguo is one of China’s most significant artists. A sculptor, he has become internationally recognized for works that challenge the ideological assumptions and historical origins of Chinese Socialist Realism, the style in which he was trained. His challenge has not been unique: an entire generation of Chinese artists, beginning in the mid-1980s, defined itself in opposition to the idea of an “official” art, an opposition resulting in one of the most urgent and compelling art scenes of the past twenty years – the Chinese avant-garde. Unlike many of his contemporaries, however, Sui did not adopt an attitude of feigned, ironic detachment (often referred to in the 1990s as “cynical pop”) from all things official. Rather, he has chosen to remain inside the academy, as it were, producing sculptures that are like ghosts (and demons) in the abandoned temples of Socialist Realism. Working in bronze, steel, fiberglass, and plastic, and on a scale that ranges from key chains to monuments, Sui has created a suite of iconic forms – such as free-standing, but hollow (and headless), “Mao jackets,” a chorus line of ancient Greco-Roman statues outfitted in Communist Party attire (“Mao suits”), and a swarm of “made-in-China” dinosaurs, some tiny, other mammoth – that bear witness to the once-revolutionary fervor that animated the otherwise rigid academic formulae of official Chinese art. Sui’s sculptures also bear witness to China’s current revolution: its unparalleled transition from a closed society driven by political ideology to a society newly awakening to a potent combination of nationalism and capital.
  • Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)

    Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)

    UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff.