Call for participation for “Pursuing a career in Chinese art in the UK”
An event co-organised by BPCS and MEAA October 3rd 2017, 12:30-17:00 in Bath
This event is aimed at postgraduate students and early career academics interested in Chinese art, whether as a career or as a source for their research. As the sectors of Chinese art higher education and art market are evolving fast in the UK, this event invites participants to reflect on and prepare for a career related to the arts of China.
1) Visit of the MEAA (Museum of East Asian Arts, Bath) in small groups: an occasion to network among each other. (Free for selected participants. For general public, included in the talks’ fees if booked in advance, entrance only valid on the same day.) Continue reading →
Zhang Daqian’s “Ancient Temples Amidst Clouds,” painted in 1965, sold for more than $13 million on Tuesday. CreditZHANG DAQIAN, via Christie’s
If asked, “Who is the biggest-selling artist at auction?” few people in the art world would answer “Zhang Daqian.”
But works by this Chinese modernist painter, who died in 1983, generated $354.8 million in auction sales last year — $31 million more than Picasso, who weighed in at No. 2, according to the French database Artprice.
On Tuesday, at a Christie’s sale in Hong Kong, Zhang’s 1965 “splashed ink” scroll painting “Ancient Temples Amidst Clouds” sold to a telephone bidder for 102.5 million Hong Kong dollars with fees, or about $13.2 million. It was the sixth-highest auction price for this prolific, much-traveled and much-faked artist, who himself delighted in faking Chinese masters. This particular work was from the prestigious Mei Yun Tang Collection, compiled from the 1940s onward by the photographer Kao Ling-mei and his wife, Jan Yun-bor. Continue reading →
The award will enable the student to pursue doctoral research in Art History while gaining first-hand experience of work within a museum setting. The successful applicant will receive their degree from The Courtauld Institute of Art, University of London.The supervisors are: Dr Wenny Teo (The Courtauld Institute of Art) and Dr Sook-Kyung Lee (Tate Research Centre: Asia).
Artist Liu Bolin wears a mask and vest with 24 mobile phones as he live broadcasts dirty air in Beijing. It was December 19, 2016—the fourth day after a red alert was issued for dangerous pollution.
BEIJING, CHINA: Dirty air is part of life in China, unavoidable and in your face. It has inspired a tremendous boom in renewable energy, as the Chinese government begins to try to wean the country off coal. It has also inspired a level of citizen action that is unusual in an autocratic country.
At China’s five century old Forbidden City in the heart of Beijing, 16 million visitors a year navigate through its numerous halls and pavilions with red walls and yellow-glazed roof tiles perched on white marble terraces.
Museum officials are hopeful that the visitors take away with them a grasp of the aesthetics of Chinese ancient architecture and the brilliance of the artisans, as well as be persuaded by the “soft power” of a country with 5,000 years of civilization. Continue reading →
The classic way to enjoy the scenes along the Lijiang River is to ride a tourist barge from Guilin to Yangshuo. [Photo provided to China Daily]
The Lijiang’s iconicity in art is a relatively recent invention.
From a source high in the Mao’er Mountain the Lijiang River sweeps south toward Guilin and into the world’s imagination. Millions each year take to its waters, weaving between poetic peaks and submerged islands in search of scenery that arguably epitomizes Chinese landscape beauty. The Lijiang River scenery was even selected as a suitably phantasmagoric location for the Star Wars films. Continue reading →
The Ge Garden in Yangzhou, which will be replicated in the National China Garden at the National Arboretum. (Courtesy of the National China Garden)
This summer, a construction team is expected to begin transforming a 12-acre field at the U.S. National Arboretum into one of the most ambitious Chinese gardens ever built in the West.
By the time Chinese artisans finish their work some 30 months later, visitors will encounter a garden containing all the elements of a classical Chinese landscape: enticing moongate entrances, swooping and soaring roof lines, grand pavilions with carved wooden screens and groves of golden bamboo. The grounds will boast two dozen handcrafted pavilions, temples and other ornate structures around a large central lake. Continue reading →
A work made of cardboard by the artist Ma Yongfeng at the Bernard Controls factory in Beijing. Workers there have long participated with artists in a project called Social Sensibility. Credit Gilles Sabrié for The New York Times
BEIJING — Above rows of assembly line workers, a mix of provocative slogans and abstract paintings adorns the corrugated metal walls of the Bernard Controls factory in southern Beijing.
In this unlikely setting, local artists and employees of the factory have spent the last six years producing artworks and performance pieces as part of a project managed by an Italian artist, Alessandro Rolandi. Called Social Sensibility, it is dedicated to injecting spontaneity and random exploration into the workplace.
“I have no artistic aspirations. I just like fresh things and to gain more knowledge,” Wu Shuqing, 37, a worker on the assembly line, said about her participation. Despite having no previous film experience, she shot a 24-hour, black-and-white film called “Sensual Love of the Fingertips,” depicting her hands performing dexterous, repetitive tasks. Continue reading →
Wang Liming, better known under the pseudonym Rebel Pepper, is one of China’s most famous political cartoonists. He is best-known for his work satirising China’s president Xi Jinping, for which he has faced repeated persecution.
“Most of my political cartoon works expose the CCP’s crimes against the law, and the social problems and environmental crises that they have created,” Wang says. ”Comics are a simple and direct visual language, often more than the performance of an article, so the Communist authorities naturally hate my works very much.” Continue reading →
Animators’ Roundtable Forum: Chinese Animation and (Post)Socialism
Hong Kong University of Science and Technology
April 27-28, 2017
Films produced in socialist China (1949-1976) have often been regarded as political propaganda without much artistic creativity. Contrary to this stereotype, however, it was during these decades of “suppression of literature and arts” that Chinese animation reached a zenith of artistic splendor. The state-owned Shanghai Animation Film Studio was the only animation studio that existed during the socialist era. Dynamic and creative, it produced hundreds of high quality animated films and marked a brilliant page in the history of animation not only in China but worldwide. Although the majority of these masterpieces were made by the Shanghai Animation Film Studio during the socialist years, the studio continued its productions in the post-socialist 1980s and witnessed another artistic peak, which we can argue was actually an extension of the socialist era. The Shanghai Animation Film Studio continued to keep its socialist collective mode of production, and its accomplished animators were mainly those who matured and thrived during the socialist era.
This roundtable forum will discuss animated filmmaking in (post)socialist China from the insider perspectives of these animators. Their narratives revisit their gorgeous animation classics, reveal hidden histories and names behind the scenes, and bring us back to that unique era in a collective and nostalgic search for a glorious and irreproducible time that was once lost to history, but will now be recovered through their animated stories. Continue reading →
A rendering of one piece in Ai Weiwei’s multipart Public Art Fund project “Good Fences Make Good Neighbors.” Credit: Ai Weiwei Studio
Ai Weiwei, the provocative Chinese artist, will build more than 100 fences and installations around New York City this fall for “Good Fences Make Good Neighbors,” one of his most large-scale public art projects to date.
The exhibition, which opens on Oct. 12, was commissioned by the Public Art Fund to celebrate the organization’s 40th anniversary and will comprise about 10 major fence-themed installations and scores of smaller works spread across multiple boroughs, including Manhattan, Queens and Brooklyn.Continue reading →
“Defense and Resistance,” on display at the Asia Society in Hong Kong, shows photographs of the artist, South Ho, walling and then unwalling himself in with bricks marked “Made in Xianggang,” the word for Hong Kong in Mandarin, spoken on the mainland. Credit: Lam Yik Fei for The New York Times
HONG KONG — As 1,194 electors were casting ballots on Sunday for Hong Kong’s next leader, Sampson Wong was tagging Facebook videos that showed city residents making breakfast, riding trains and playing with cats.
The scenes were unremarkable, and that was the point: Mr. Wong and other members of the Add Oil Team, an artists’ collective, were broadcasting the videos of people engaged in activities that did not include voting as a critique of an unrepresentative political process. “No Election in Hong Kong Now,” the title of their Facebook Live stream said.Continue reading →
A browser at last year’s Art Basel Hong Kong. Credit Courtesy of Art Basel
It’s hard to imagine a place more hard-wired for commerce than Hong Kong. The territory has a history steeped in trade, from its ceding to the British at the end of the First Opium War to its return to Chinese control in 1997 with a special economic and political status engineered to further economic development.
Beginning in 1966, China’s Great Proletariat Cultural Revolution was a mass movement that shook the foundations of Modern China to its core. The movement’s ubiquitous presence disrupted all aspects of Chinese society, and has had a lasting impact on Chinese culture that continues until today. Continue reading →