Source: SCMP (12/13/18)
China’s ‘Banksy’ and associate go on trial for defacing city walls with graffiti
Pair charged with ‘provoking trouble’ after spray painting more than 10 walls in south China city. One defendant said he wanted his work to be seen by more people
By Alice Yan
Two graffiti artists went on trial last week for decorating the walls of a south China city. Photo: Pearvideo.com
Two graffiti artists went on trial in southern China last week charged with “provoking trouble” after an evening of spray painting walls failed to impress the local police.
The male defendants, neither of whom was named, appeared in court in Zhaoqing, Guangdong province on Friday in the first trial of its kind, Beijing Youth News reported on Thursday.
One was identified as a 20-year-old university student who was quoted as saying he had a passion for graffiti and wanted his work to be seen by more people. Continue reading
Source: SCMP (11/29/18)
Young artist finds creative way to pay hospital bills with portraits of ailing father
Woman who is hoping to get into art school in northeast China sells sketches online giving intimate glimpse of her dad’s life in cancer ward
By Alice Yan
Wang Tianyue says her father, Wang Fei, taught at an art studio before he fell ill. Photo: Sina
A 21-year-old woman in northeast China has found a creative way to help pay for, and cope with, her father’s cancer treatment – selling moving portraits of his life in hospital.
Wang Tianyue, who is hoping to get into art school in Shenyang, Liaoning province where she lives, has spent much of her time at the hospital where her father is being treated since he was diagnosed with terminal bile duct cancer in March, news website Sina reported on Wednesday.
The devastating news came not long after her mother underwent surgery for uterus cancer in September last year, according to the report. Continue reading
Visual Arts, Representations and Interventions in Contemporary China: Urbanized Interface
Edited by Minna Valjakka and Meiqin Wang
ToC + Introduction
This edited volume provides a multifaceted investigation of the dynamic interrelations between visual arts and urbanization in contemporary Mainland China with a focus on unseen representations and urban interventions brought about by the transformations of the urban space and the various problems associated with it. Through a wide range of illuminating case studies, the authors demonstrate how innovative artistic and creative practices initiated by various stakeholders not only raise critical awareness on socio-political issues of Chinese urbanization but also actively reshape the urban living spaces. The formation of new collaborations, agencies, aesthetics and cultural production sites facilitate diverse forms of cultural activism as they challenge the dominant ways of interpreting social changes and encourage civic participation in the production of alternative meanings in and of the city. Their significance lies in their potential to question current values and power structures as well as to foster new subjectivities for disparate individuals and social groups. Continue reading
THE 12th CCVA ANNUAL CONFERENCE–Call for Papers
Urban Transformations and Contemporary Art in China
Centre for Chinese Visual Arts, Birmingham City University, in collaboration with Tate Liverpool
Date: 11-12 November 2019
Venue: Auditorium, Tate Liverpool, Liverpool L3 4BB
Abstract Submission deadline: 1 February 2019
The Centre for Chinese Visual Arts (CCVA) at Birmingham City University aims to foster new understandings and perspectives of Chinese contemporary arts, design and visual culture through interdisciplinary practices and theoretical studies.
Marking the 20th anniversary of the Shanghai-Liverpool twinning cities in 2019, we are now convening the 12th CCVA Annual Conference in collaboration with Tate Liverpool. This two-day event invites researchers, curators, artists, designers and architects in the fields of art, design, visual culture and urban studies at all stages of their careers worldwide to reassess the significance of the urban transformations in China, and to reflect upon their impacts on everyday experience and artistic and curatorial practices in the globalised world. Continue reading
Dear List Members,
I would like to inform MCLC list members of my recent publication with MIT Press. Dissidence: The Rise of Chinese Contemporary Art in the West is a study of the Western reception of Chinese contemporary art since 1989. In this book, I propose that Western based art-world institutions recognize and valorize dissident gestures – artistic and political – as a means of distinguishing the singular originality of an artist, work, or genre. This book then explores how this valorization of dissidence has influenced the recognition and rise of Chinese contemporary art.
Taking an interdisciplinary approach combining sociology and art history, the book follows the careers of nine Chinese artists – Wang Du, Wang Keping, Huang Yong Ping, Yang Jiechang, Chen Zhen, Yan Pei-Ming, Shen Yuan, Ru Xiaofan, and Du Zhenjun – as they moved from China to France before, during, and after 1989. Through an analysis of the artists’ production, exhibitions, relationships with art-world agents, curatorial essays, and art reviews, I demonstrate how Chinese art and artists after the Tiananmen Square incident were valued not only for their artistic dissidence (their formal innovations), but also for their perceived political dissidence – that is, how their work was and, in many cases continues to be, understood and recognized as a dissident resistance to the regulation of free expression in China. The book concludes by considering how the valorization of Chinese contemporary art highlights the often-unrecognized relationship between contemporary art and liberal democracy, and how this relationship, in turn, makes supporting contemporary art a political dilemma for China.
All the best,
Marie Leduc, Ph.D. <email@example.com>
China’s Leader, Hogging Spotlight, Elbows Communist Titan Aside
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By Steven Lee Meyers
In a painting touring museums across China, President Xi Jinping is front and center while a statue of Deng Xiaoping is a distant image.CreditCreditLam Yik Fei for The New York Times
SHENZHEN, China — Shortly after taking over as China’s leader, Xi Jinping made a pilgrimage to lay a wreath at a large bronze monument to one of his predecessors, the man credited with ushering in the country’s new era of capitalist prosperity 40 years ago, Deng Xiaoping.
Mr. Xi’s gesture here in the southern city of Shenzhen was hardly remarkable. Deng is second only to Mao in the pantheon of Communist China’s founding fathers, and his influence and popularity lingered long after his death in 1997. Every Chinese leader since has sought to position himself as heir to Deng’s legacy.
Mr. Xi, though, now appears to be taking a different approach. Continue reading
Source: China Daily (10/26/18)
National Art Museum commemorates painter Feng Zikai
A painting by Feng Zikai. Photo/namoc.org
The National Art Museum of China recently opened an exhibition of Feng Zikai’s paintings to honor the 120th anniversary of his birth. Having achieved a unique style in painting, writing and translation, Feng is a prestigious literatus of the 20th century China.
Three collections of his works are on display. Feng’s unpretentious tone and strokes indicate his reflection about the social reality and also his friendship with Master Hong Yi, a Chinese Buddhism monk and an artist.
The exhibit runs through Nov 4.
If you go: 9 am to 5 pm (closed on Mondays). National Art Museum, 1 Wusi Avenue, Dongcheng district, Beijing. 010-6400-1476.
The Program in Chinese Literature and Culture at EALAC and CSSAAME Journal presents
Baghdad and Beijing in Book Art
a lecture by Sonja Mejcher-Atassi, American University of Beirut.
Thursday, November 1, 2018 6:10pm-7:30pm
403 Kent Hall
This talk focuses on the work of the Iraqi artist Rafa Nasiri (1940-2014) and his autobiographical account Rihlati ila Sin (My Journey to China, 2012). It explores cross-cultural encounters between Baghdad and Beijing in the context of geopolitical change after the Bandung Conference of 1955 and the Iraq Revolution of 1958.
Sonja Mejcher-Atassi is an associate professor of Arabic and comparative literature at the American University of Beirut. She was a fellow in residence at the Wissenschaftskolleg in Berlin in 2017-18. Her research centers on modern Arabic literature, book culture and art, museum and collecting practices, private libraries, cultural/intellectual history and memory, and aesthetics and politics. Her publications include Rafa Nasiri: Artist Books ed. with May Muzaffar (2016); Reading across Modern Arabic Literature and Art (2012); Museums, Archives and Collecting Practices in the Modern Arab World ed. with John Pedro Schwartz (2012); Writing a ‘Tool for Change’: ‘Abd al-Rahman Munif Remembered (ed.) in MIT EJMES Vol. 7 (2007); in addition to numerous book chapters and journal articles. She is currently working on a biography of the Palestinian writer Jabra Ibrahim Jabra and an edited volume on the Syrian playwright and public intellectual Saadallah Wannous.
Moderated by Professor Lydia H. Liu
Posted by: Harlan Chambers <firstname.lastname@example.org>
Wen C. Fong, Shaper of Met Museum’s Asian Collection, Dies at 88
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By David Barboza
Wen C. Fong at the Metropolitan Museum of Art in 2000. He curated some of the museum’s biggest exhibitions of Asian art. Credit: Nicole Bengiveno/The New York Times
Wen C. Fong, a renowned scholar who helped the Metropolitan Museum of Art in New York build one of the world’s most comprehensive collections of Asian art, died on Oct. 3 in Princeton, N.J. He was 88.
His wife, Constance Tang Fong, said the cause was leukemia.
A leading figure in the history of Chinese art, Professor Fong taught for 40 years at Princeton University, where in the 1950s he established the nation’s first doctoral degree program in Chinese art and archaeology.
Beginning in the early 1970s he was a driving force behind the Met’s ambitious effort to expand its collection of Asian art, including masterworks from China, Japan, Korea, Southeast Asia and India, and add space in which to display it. Continue reading
A HOME FOR PHOTOGRAPHY LEARNING: THE FRIDAY SALON, 1977-1980
2018.9.13 – 2018.11.17
Curator: CHEN Shuxia / Artistic Director: TANG Xin
Artists: DI Yuancang, CHI Xiaoning, ZHONG Xingzuo, LI Tian, YU Genquan, ZHANG Lan, LV Xiaozhong, XING Senlin, YUAN Wenyuan, SUN Qingqing, FAN Shengping, QIAO Zhonglin, XIN Yingyi, XUE Anping, REN Shulin, WEI Kun, XU Yang, WANG Song, WANG Ruoshi, DI Yihong
Taikang Space’s latest exhibition “A Home for Photography Learning: The Friday Salon, 1977–1980” will open to the public from September 13 to November 17. Continue reading
Source: Bloomberg (8/30/18)
Rare Chinese ‘Da Vinci’ Scroll May Set Asian Art Auction Record
By Frederik Balfour
Wood & Rock by Su Shi Source: Christie’s Images Ltd.
An extremely rare, 11th-century Chinese scroll could set an auction price record for an Asian artwork, when it goes on the block at Christie’s November Hong Kong sale.
Estimated in excess of HK$400 million ($51 million), the work is only one of two known scrolls produced by Song dynasty artist Su Shi, and the first to ever appear at auction, Christie’s said. The other resides in the National Palace Museum in Taiwan. Continue reading
Here’s a Youtube video of an interview with Xu Bing about his new film Dragonfly Eyes (蜻蜓之眼)–Kirk
This Monday, August 27, MEMORY will be hosting a rare screening of Xu Bing’s Dragonfly Eyes at the Downtown Independent in Los Angeles, CA. More information can be found at this web site and this Facebook event page I have attached a square image and a press release for your convenience.
Source: GQ (8/15/18)
The Great Chinese Art Heist
BY ALEX W. PALMER; PHOTOGRAPHS BY BARTHOLOMEW COOKE
Security guards stand beside a vase after being sold for $14.8 million at a Sotheby’s auction in Hong Kong Bobby Yip/Reuters
Strange how it keeps happening, how the greatest works of Chinese art keep getting brazenly stolen from museums around the world. Is it a conspiracy? Vengeance for treasures plundered years ago? We sent Alex W. Palmer to investigate the trail of theft and the stunning rumor: Is the Chinese government behind one of the boldest art-crime waves in history?
The patterns of the heists were evident only later, but their audacity was clear from the start. The spree began in Stockholm in 2010, with cars burning in the streets on a foggy summer evening. The fires had been lit as a distraction, a ploy to lure the attention of the police. As the vehicles blazed, a band of thieves raced toward the Swedish royal residence and smashed their way into the Chinese Pavilion on the grounds of Drottningholm Palace. There they grabbed what they wanted from the permanent state collection of art and antiquities. Police told the press the thieves had fled by moped to a nearby lake, ditched their bikes into the water, and escaped by speedboat. The heist took less than six minutes. Continue reading
Source: Artnet News (8/6/18)
‘Farewell’: Ai Weiwei’s Beijing Studio Is Demolished by Chinese Authorities Without Warning
The rental contract on the studio expired last fall.
By Naomi Rea
A jackhammer is seen beside rubble at artist Ai Weiwei’s “Left and Right Art Studio” in Beijing on August 3, 2018. Photo by Pak Yiu/AFP/Getty Images.
Chinese artist Ai Weiwei’s Beijing studio was razed to the ground by authorities on Friday afternoon.
The 61-year-old artist revealed the news on Instagram, writing, “Today, they started to demolish my studio ‘zuo you’ in Beijing with no precaution.” The expansive space in the ZuoYou (Left Right) Art District, a former car part factory that the artist describes as an “East German style socialist factory building,” has served as the artist’s main studio since 2006. “Farewell,” Ai wrote on Instagram. Continue reading