The Poet’s Brush: Chinese Ink Paintings by Lo Ch’ing
February 1 – March 17
Center for Art, Design and Visual Culture, UMBC
The Center for Art, Design and Visual Culture at the University of Maryland Baltimore County (UMBC) presents an exhibition of paintings by Lo Ch’ing (羅青), a Taiwanese poet-painter working in contemporary ink art. The exhibition, curated by University of Maryland professor Jason Kuo, comprises 30 artworks and represents the artist’s first show in the United States in ten years. Critically acclaimed both in Taiwan and China for his painting and his poetry, Lo Ch’ing’s works have been shown internationally at venues such as the Whitney Museum of American Art in New York and the Saatchi Gallery in London. Continue reading
Update on the Swedish publisher Gui Minhai, imprisoned in China since October 2015:
The good news is that his daughter Angela accepted the International Publishing Assn. Voltaire prize, for freedom of publishing, for her father currently imprisoned in China. The prize was issued in Delhi. See:
https://www.svt.se/kultur/gui-minhais-dotter-om-tv-framtradandet-uppenbart-manusfort (Swedish/English w. video) Continue reading
ZHANG HONGTU: VAN GOGH/BODHIDHARMA
February 16 – April 15, 2018
Opening & Artist Talk: 2 – 3:15 PM, Friday, February 16
Reception & Gallery Walk: 3:15 – 4:30 PM, Friday, February 16
Charles Chu Room, Shain Library
Chu-Griffis Asian Art Collection
“Zhang Hongtu: Van Gogh/Bodhidharma” will open at Connecticut College on Friday, February 16, 2-4:30pm, featuring the Van Gogh-Bodhidharma 梵高–达摩 series (2007-2014) of internationally renowned, New York based Chinese artist Zhang Hongtu 张宏图. It consists of 39 ink paintings in total, “remaking” all of Vincent van Gogh’s extant self-portraits in the style of classical Zen portraits of Bodhidharma, the founding patriarch of Zen Buddhism. This will be the first time that this series has been exhibited together. The artist has also created a new video installation specifically for this show. Continue reading
Below is a Call for Papers for our Centre’s coming 11th annual conference, on the the theme of “Everyday Legend: Reinventing Tradition in Contemporary Chinese Art”. We welcome contributions that are interested in exploring the relationship between traditional craft and contemporary art, from different perspectives and disciplinary backgrounds. Please feel free to circulate the below information.
Thank you and with warm regards
Hiu Man Chan
RA & Leverhulme Project Facilitator
Centre for Chinese Visual Arts
Faculty of Arts, Design and Media
Birmingham City University
firstname.lastname@example.org | ccva.org.uk
+44 (0)1213317457 | WeChat: ccvauk
Call for Papers
The 11th Annual Conference, the Centre for Chinese Visual Art, Birmingham City University
Everyday Legend: Reinventing Tradition in Contemporary Chinese art
Monday and Tuesday, 10-11 September 2018
School of Art, Birmingham City University
Margaret Street, Birmingham, B3 3BX, England
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. During its first decade, CCVA has established a unique position in the UK to pioneer research in the field. We are now convening this two-day conference to invite researchers, curators, art historians, critics and artists at all stages of their careers worldwide to contribute to the above topic. Continue reading
Two new pieces by Wang Hui of possible interest to list members were recently published in English online. These translations, which I did with fellow Ph.D. student Benjamin Kindler, cover a wide range of topics in Chinese revolutionary and cultural history.
The first is actually an interview between Wang and the curators of the Guggenheim exhibition “Art and China after 1989: Theater of the World”. It can be downloaded here:
The second piece is a lengthy article printed in the special issue of South Atlantic Quarterly (vol. 116 issue 4), dedicated to the Soviet Centenary. The issue was published last October, but just became available online. Please find the article abstract below: Continue reading
Source: WAGIC (nd)
Podcast 1: What is a ‘Chinese woman artist’?
In WAGIC’s very first podcast, hosts Tessa Qiu and Yuan Ren are joined by researchers Dr Monica Merlin (Birmingham School of Art), Luise Guest (White Rabbit Collection), Christina Yuen Zi Chung (University of Washington) and artist Yi Dai to respond to the questions: What is a ‘Chinese woman artist’? And is there such a thing as ‘Chinese women’s art’?
Further reading: No name group, Nuxing zhuyi/Nuquan zhuyi, Central Academy Fine Art Beijing (CAFA), Bloomberg new contemporaries, Liao Wen, Birmingham School of Art, White Rabbit Collection, Pan Yuliang: A Journey to Silence exhibition at Guangdong Times Museum, guigehua (chamber painting)
Find out more about the artists: He Chengyao, Chen Lingyang, Lin Tianmiao, Tracey Emin,Judy Chicago, Gao Rong, Tao Amin, Dong Yuan, Xu Bing, Lu Yang
(Image: Courtesy of artist Lin Tianmiao, Badges, installation shot, 2011–2012)
Source: The China Story (1/15/18)
Ai Weiwei on Art, Activism and Human Rights
An Interview with Ai Weiwei by Zeng Jinyan
[Translated by Gloria Davies]
Ai Weiwei 艾未未 is renowned for making strong aesthetic statements that resonate with timely phenomena across today’s geopolitical world. From architecture to installations, social media to documentaries, Ai uses a wide range of mediums as expressions of new ways for his audiences to examine society and its values. Recent exhibitions include: Inoculation at Fundacion Proa in Buenos Aires, Good Fences Make Good Neighbors with the Public Art Fund in New York City, Ai Weiwei on Porcelain at the Sakip Sabanci Museum in Istanbul, Ai Weiwei: Trace at Hirshhorn at the Hirshhorn Museum and Sculpture Garden in Washington D.C., Maybe, Maybe Not at the Israel Museum in Jerusalem, Law of the Journeyat the National Gallery in Prague, and Ai Weiwei. Libero at Palazzo Strozzi in Florence. Continue reading
GENDER IN CHINESE CONTEMPORARY ART
22 FEBRUARY, 14:00-18:30
This international symposium, co-organised by Tate Research Centre: Asia and Central Academy of Fine Arts China, will explore the role that gender has played in the development of Chinese contemporary art.
The symposium is split into two sessions. The first gives a critical overview of the subject, including a paper by Monica Merlin that will provide a history of contemporary art by women in China, a paper by Ros Holmes that will take up the new condition of artistic creation and distribution through digital and mediated spaces, and a panel discussion moderated by Wenny Teo. The second session will focus on individual practices, with artist presentations from Nabuqi, Ma Qiusha and Ye Funa followed by a discussion moderated by Song Xiaoxia. Continue reading
Source: Sup China (1/9/18)
Chinese Artist: Censorship Stems From ‘Bizarre And Ridiculous Sort Of Fear’
By JIANG ZHI
Tr. Eleanor Goodman
Translator’s note: The Shenzhen-Hong Kong Biennale of Urbanism/Architecture — a prominent international exhibition of visual art, sculpture, murals, installations, architectural proposals, urban thought experiments, and events — opened on December 15, 2017, and was struck by controversy the following day, when organizers removed a piece of artwork by the well-known young artist Jiang Zhi 蒋志. The piece reappeared two weeks later in the main exhibition hall, only to be removed again a few days afterward in advance of a tour by local Shenzhen officials.
More than 200 exhibits under the main theme “Cities, Grow in Difference” are still offered around the city, with the primary exhibition site located in Nantou Old Town, a historic “urban village” of the kind that has been systematically demolished over the last two decades. Although an introduction to Jiang’s work can still be found on the website (in both the English and Chinese versions), his physical artwork remains unavailable to viewers. Below is a statement that Jiang wrote in response to the situation. The remaining exhibitions will be on display until March 15. —Eleanor Goodman Continue reading
We just had good news. Marine Brossard, Ph. D. student in our university, had a call with the French embassy and said she was well. We have no further details for the moment.
Thanks for your mobilization, and a happy Christmas to all of you,
Jacqueline Estran <email@example.com>
Université de Lyon – Jean Moulin Lyon 3
A French-Chinese artist couple has just been disappeared in Shenzhen, apparently by Chinese plainclothes police/thugs. See story below for full report and pictures of the artwork, a mural painting of an empty chair, which apparently aroused the paranoid censors:–fwd by Magnus Fiskesjö <firstname.lastname@example.org>
Source: BBC News (12/22/17)
France couple in China unreachable after Liu Xiaobo tribute
Hu Jiamin and Marine Brossard beside their mural
Two artists from France have been unreachable in China after they painted a tribute to the late Nobel laureate Liu Xiaobo, sparking concern over their whereabouts.
Hu Jiamin and Marine Brossard painted a mural showing an empty blue chair at an art exhibition in Shenzhen last week.
The mural was quickly covered up and plainclothes policeman took the couple away, Hong Kong media report. Journalists and friends say they have since been unable to contact the duo. Continue reading
Source: The World of Chinese (12/18/17)
The Writing on the Walls
Shenzhen’s Dafen village, once the world’s painting factory, faces redevelopment as an “art park.” But what will happen to its artists?
By Phoebe Zhang
From a distance, one could take Yang Ming for a teenager. About five-foot two, his skinny arms and legs in a white T-shirt and jeans, Yang’s left shoulder is permanently hunched because of a childhood injury, making it hard to distinguish his head from behind.
With his right hand, Yang raises a paintbrush, glancing from time to time at a picture on his phone, before resuming his reproduction of a Van Gogh masterpiece, “The Harvest.” The process is sometimes interrupted by tourists who wander into the alleyway to appraise his work. At his feet lies his border collie, Didu, while above them both hangs a portrait of the dog—lying on a grassy hill, rather than a ramshackle alley. It’s one of several original works he’s trying to sell nowadays. Continue reading
MCLC Resource Center is pleased to announce publication of “Can We Talk About Dialogue? A Prescript to Art and China after 1989,” David Borgonjon’s take on the current contemporary Chinese art exhibition at the Guggenheim in New York. The essay appears below, but is best read online at: http://u.osu.edu/mclc/online-series/borgonjon/
Can We Talk about Dialogue?
A Pre-script to Art and China after 1989
By David Borgonjon
MCLC Resource Center Publication (Copyright December 2017)
Xiao Lu, Dialogue, 1989, performance and installation.
The Guggenheim Museum in New York currently has on view an expansive survey of Chinese contemporary art; as many of the reviews on the subject show, it focuses on the long shadow of Tiananmen. Yet, this survey is also an opportunity to rewrite the art-historical period that Theater of the World: Art and China, 1989-2008 covers. Such a rewritten narrative could do worse than to zone in from the scale of the state to the scale of the family; love, the origin story, retells the institution of the family as a voluntary association in the age of the market. If this is a story about 1989, it is different than the one we were told. Continue reading
Source: Sup China (12/12/17)
Tango Gao Finds Art And Humor In The Mundane
Beloved Shanghai illustrator and visual artist releases his first English book in the U.S.
By Jiayun Feng
I meet the comic illustrator known as Tango — real name Gao Youjun 高幼军 — in a studio in the West Village on a chilly day in early December. He is dressed casually and neatly, in a dark green plaid shirt and black-framed glasses, giving off an air of ease and simplicity — two features that also define his work: penguins standing in formation; various animals looking at their shadows; cats playing Go. Fresh off a signing event for his first English book, Backside of the Moon, Gao looks relaxed and satisfied, as if he’s exactly where he belongs. Continue reading