: septemb / octob 9 September/October 2009 | Volume 8, Number 5 Inside The 53rd Venice Biennale Gao Shiming on Unweaving and Rebuilding the Local A Conversation between Michael Zheng and Hou Hanru Artist Features: Huang Yong Ping, Hu Xiaoyuan and Qiu Xiaofei, Chen Hui-chiao Reviews: The China Project, Qiu Zhijie, Ai Weiwei, Shan Shan Sheng US$12.00 NT$350.00 6 VOLUME 8, NUMBER 5, SEPTember/OCTober 2009 CONTENTS 2 Editor’s Note 47 4 Contributors 6 Making Worlds: The 53rd Venice Biennale Jo-Anne Birnie Danzker 29 A Be-Coming Future: The Unweaving and Rebuilding of the Local Gao Shiming 38 The Snake and the Duck: On Huang Yong Ping 69 Ryan Holmberg 47 Objectivity, Absurdity, and Social Critique: A Conversation with Hou Hanru Michael Zheng 62 A Conversation with Hu Xiaoyuan and Qiu Xiaofei Danielle Shang 69 Dreaming through Art: On Chen Hui-chiao 75 Chia Chi Jason Wang 75 The China Project Inga Walton 89 Qiu Zhijie at Chambers Fine Art Jonathan Goodman 95 The Visual Roots of a Public Intellectual’s Social Conscience: Ai Weiwei’s New York Photographs Maya Kóvskaya 89 0 Shan Shan Sheng’s Open Wall Inhee Iris Moon 06 Chinese Name Index 95 Cover: Ai Weiwei, Williamsburg, Brooklyn (detail), 1983, silver gelation print, © Ai Weiwei. Courtesy of Three Shadows Photography Art Center, Beijing. Editor’s Note YISHU: Journal of Contemporary Chinese Art president Katy Hsiu-chih Chien The first four texts inYishu 34 tackle different r Ken Lum topics and concerns, yet it is striking how certain r Keith Wallace issues—the postcolonial, cultural hybridity, the n r Zheng Shengtian Chinese diaspora, and the ongoing negotiation i Julie Grundvig between the local and global—resonate Kate Steinmann among them. These issues are by no means editril ssistnt Chunyee Li unfamiliar, but as regions such as Asia assume ircultin manager Larisa Broyde a more visible and self-sufficient presence, d n Joyce Lin they are becoming increasingly complex and web site Chunyee Li contentious, taking on new as yet unformulated and provocative directions—and Yishu intends to disry b continue to be a means to voice them. Judy Andrews, Ohio State University Melissa Chiu, Asia Society Museum John Clark, University of Sydney In a review of the 53rd Venice Biennale, Lynne Cooke, Dia Art Foundation Jo-Anne Birnie Danzker references the 2008 Okwui Enwezor, San Francisco Art Institute Guangzhou Triennial’s theme of “farewell to Britta Erickson, Independent Scholar & Curator Fan Di’an, National Art Museum of China postcolonialism” as a jumping off point to explore Fei Dawei, Guy & Myriam Ullens Foundation how the representation in Venice of artists of Gao Minglu, University of Pittsburgh Chinese descent, both from mainland China and Hou Hanru, San Francisco Art Institute Hu Fang, Vitamin Creative Space and the shop the diaspora, exhibits more self-determined Katie Hill, University of Westminster identities than it did during the past decade. Gao Claire Hsu, Asia Art Archive Martina Köppel-Yang, Independent Critic & Historian Shiming proposes the necessity of nudging China Sebastian Lopez, Institute of International Visual Arts into “building a new home, a different system” Lu Jie, Independent Curator in order to develop a stronger domestic cultural Charles Merewether, Critic & Curator Ni Tsaichin, Tunghai University identity and critical discourse. Ryan Holmberg Apinan Poshyananda, Ministry of Culture, Thailand brings into question the work of Huang Yong Ping Philip Tinari, Independent Critic & Curator and his employment of cultural hybridity as a Chia Chi Jason Wang, Independent Critic & Curator Wu Hung, University of Chicago tool for critiquing the West, while Hou Hanru and Pauline J. Yao, Independent Scholar Michael Zheng discuss video within mainland China, and how its relationship to modernity and p Art & Collection Group Ltd. the West has resulted in a practice with its own 6F. No. 85, Section , distinct characteristics. Chungshan N. Road, Taipei, Taiwan 04 Phone: (886)2.2560.2220; While these issues are clearly important in Fax: (886)2.2542.063 the evolution of contemporary Chinese art, E-mail: [email protected] artists such as Hu Xiaoyuan, Qiu Xiaofei, and Chen Hui-chiao bring other perspectives to the n d Leap Creative Group process and product of making visual art. They retie diretr Raymond Mah are less caught up in identity and global politics, rt Diretr Gavin Chow instead searching for more internal subjectivities desiner Philip Wong and alternative approaches to what art can webster Website ARTCO, Taipei represent. Finally, Yishu 34 offers reviews of important exhibitions that take us to Brisbane, Chong-yuan Image Ltd., Taipei New York, Beijing, and Venice, exemplifying the - vast range of cultural geographies through which contemporary Chinese art travels. Yishu is published bi-monthly in Taipei, Taiwan, and edited in Vancouver, Canada. The publishing dates are January, March, Keith Wallace May, July, September, and November. All subscription, advertising, and submission inquiries may be sent to: ERRATUM Yishu Office 200–3 Howe Street On the cover of Yishu 32 Xi Xiaoze should Vancouver, BC, Canada V6Z 2P3 have been spelled Xie Xiaoze. Yishu Phone: .604.649.887; Fax: .604.59.6392 apologizes for this error. E-mail: [email protected] Web site: www.yishujournal.com YISHU EDITIONS Subscription rates: Now available: Five limited-edition prints by year (six issues): $84 USD (includes $24 for airmail postage); some of the most important Chinese artists. in Asia $78 USD (includes $8 for airmail postage). 2 years (twelve issues): $58 USD (includes $48 for airmail postage); in Asia $46 USD (including $36 for airmail postage). Please see back cover for images and contact information. No part of this journal may be reprinted without the written permission from the publisher. 2 Yishu: Journal of Contemporary Chinese Art 典藏國際版‧第8卷第5期‧2009年9 - 10月 典藏國際版創刊於 2002年5月日 2 編者手記 社 長： 簡秀枝 總策劃： 鄭勝天 4 作者小傳 創刊編輯： 林蔭庭（Ken Lum） 主 編： 華睿思 (Keith Wallace) 6 製造世界： 第53届威尼斯雙年展 副編輯： 顧珠妮 (Julie Grundvig) 史楷迪 (Kate Steinmann) Jo-Anne Birnie Danzker 編輯助理： 黎俊儀 (Chunyee Li) 29 即將到來的歷史―論「本土」 行 政： 藍立杉 (Larisa Broyde) 網站編輯： 黎俊儀 (Chunyee Li) 的拆解與重建 廣 告： 林素珍 高士明 顧 問： 王嘉驥 田霏宇 (Philip Tinari) 38 蛇與鴨：評黄永砯 安雅蘭 (Judy Andrews) Ryan Holmberg 巫 鴻 林似竹 (Britta Erickson) 范迪安 47 客觀性、荒誕性和社會批判： 招穎思 (Melissa Chiu) 洛柿田 (Sebastian Lopez) 候瀚如訪談 胡 昉 鄭濟忠（Michael Zheng） 侯瀚如 徐文玠 (Claire Hsu) 62 與胡曉媛和仇小飛的對話 姜苦樂 (John Clark) 姚嘉善 (Pauline J. Yao) 尚端（Danielle Shang） 倪再沁 高名潞 69 藝術的織夢者─陳慧嶠 費大爲 楊天娜 (Martina Köppel-Yang) 王嘉驥（Chia Chi Jason Wang） 盧 杰 Lynne Cooke 75 中國計劃 Okwui Enwezor Katie Hill Inga Walton Charles Merewether Apinan Poshyananda 89 邱志杰在前波畫廊 出 版： 典藏雜誌社 Jonathan Goodman 台灣臺北市中山北路一段85號6樓 電話: (886) 2.2560.2220 傳真：(886) 2.2542.063 95 一位公共知識份子社會良知的視覺史： 電子信箱：[email protected] 艾未未的紐約攝影 編輯部： Yishu Office Maya Kóvskaya 200-3 Howe Street, Vancouver, BC, Canada V6Z 2P3 0 盛姗姗的「開放長城」 電話: () 604.649.887 傳真：() 604.59.6392 Inhee Iris Moon 電子信箱: [email protected] 訂閱、投稿及廣告均請與編輯部聯系。 07 中英人名對照 設 計： Leap Creative Group 印 刷： 中原造像股份有限公司 網 址： www.yishujournal.com 管 理： 典藏雜誌社 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月出版。 售價每本2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：艾未未，布魯克林威廉斯堡（局部），1983， 明膠鹵化銀，北京三影堂攝影藝術中心提供 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。 3 Contributors Jo-Anne Birnie Danzker is Director the Real and Reality (2009), Edges of the of the Frye Art Museum, Seattle, and Earth: Migration of Contemporary Art and the former director of the Museum Geo-politics in Asia (2003), and Visual Villa Stück, Munich, and the Vancouver Thinking: Intangible Dialogue between Art Art Gallery. She has curated numerous and Phenomenology (2002). exhibitions on both contemporary and historical art, with a special emphasis Jonathan Goodman studied literature at on the history of the modern. In Columbia University and the University of 2004–05, she was Curator of Shanghai Pennsylvania before becoming an art writer Modern (with Ken Lum and Zheng specializing in contemporary Chinese art. Shengtian), and, in 2005–06, Curator of He teaches at Pratt Institute and the Parsons Art of Tomorrow: Hilla von Rebay and School of Design, focusing on art criticism Solomon R. Guggenheim (with Karole and contemporary culture. Vail and Brigitte Salmen). In 2001–02 she was Exhibition Director of The Short Ryan Holmberg, currently Mellon Century (curated by Okwui Enwezor). Postdoctoral Teaching Fellow at the University of Southern California, is a Gao Shiming is Deputy Director writer and art historian specializing in of the Advanced School of Art and modern and contemporary East Asian Humanities, China Academy of Art. art, with a particular focus on Japan His main research interests include and manga. His writing has appeared in the intellectual history of art, visual numerous publications, including Artforum culture, and curatorial practices. He International, Art in America, Japan has curated many exhibitions, such as Forum, and International Journal of Farewell to Post-colonialism: The 3rd Comic Art. Guangzhou Triennial (2008), Alchemy of Shadow: The 3rd Lianzhou International Maya Kóvskaya, a Beijing-based art Photography Festival (2007), Micrology: critic and curator, has curated numerous Micro-politics in Chinese Contemporary exhibitions, including China Under Art, and The Yellow Box: Contemporary Construction II, for Fotofest Photography Art and Architecture in a Chinese Space Biennial (2008), and China On The Road (2006). His recent publications include (Brussels, 2008). Her writing has appeared Mask and Mirror: Visual Studies on in numerous art catalogues, academic 4 volumes, and magazines, including Art and Perception, Ceramics: Technical, Flash Art, Contemporary, Art Post, Art Etchings, Artichoke, Melbourne Living, iT, Art Map, Eyemazing: International Eyeline, Textile, and regularly in Journal Contemporary Photography Magazine, of Australian Ceramics and Trouble. She and positions: east asia has contributed to Sculpture, Ceramic cultures critique.