The fall 2019 issue of the Trans Asia Photography Review is now available online at tapreview.org. (You may need to refresh your browser to view the new contents.) This issue, titled “Writing Photo Histories,” features the following articles and book reviews:
Writing Photo Histories
Picturing Meishu: Photomechanical Reproductions of Works of Art in Chinese Periodicals before WWII
The Shanghai Amateur Photographic Society: An Early Photographic Organization Established by Westerners in China
Che Liang Continue reading
Source: China Channel, LARB (11/18/19)
Four Young Chinese Artists, 25 Years On
By Richard Kraus
Richard Kraus looks at two documentaries on Chinese art by Lydia Chen
Xia Xiaowan, The Wanderer (1997, cropped detail).
In her spellbinding 1993 documentary Inner Visions, Lydia Chen interviewed three struggling, idealistic young Chinese artists. Twenty-five years later, the same profilees are back in Chen’s latest film, Art in Smog, to discuss their careers again – this time as mature artists who worked hard to find their places in China’s now prosperous arts scene. Chen’s long-term relationship with them is unique, and makes for two very special documentaries which anyone who cares about the evolution of Chinese art over the past quarter century should watch. Continue reading
Source: Art News (10/20/19)
Huang Yong Ping, Provocateur Artist Who Pushed Chinese Art in New Directions, Has Died at 65
BY Alex Greenberger
Huang Yong Ping. BRUNO BEBERT/EPA/SHUTTERSTOCK
Huang Yong Ping, the Chinese artist whose propensity for provocation allowed him to address taboo subjects in China and beyond with audacity and wit, has died at 65. His death on Saturday was confirmed by Gladstone Gallery, which represented him in New York and Brussels. A representative for the gallery did not immediately state a cause of death.
In his sly installations and sculptural work, Huang often melded techniques derived from the history of Chinese art and international avant-garde movements alike. His ability to deftly combine seemingly opposed methods of art-making made him one of the foremost artists in an emergent group of Chinese artists during the late 1980s. Continue reading
Source: SCMP (9/10/19)
Hong Kong protest art headed for the streets of London and Amsterdam
Work by Hong Kong street artist Boms can be seen all across the city, but his protest posters are now headed for Europe. The Young Blood Initiative will be handing out copies of his work to the public in London and Amsterdam
By Snow Xia
Graffiti artist Boms with his protest poster in a street in Mong Kok. Photo: Snow Xia
Boms has been run off his feet lately.
The Hong Kong street artist and dancer – who doesn’t want to be identified – has been plastering walls across the city with his protest posters, voicing his support for the large-scale anti-government movement over the past three months.
Unlike most of the protest art produced locally during this period, his drawings will also be headed for London and Amsterdam, where copies will be distributed to the public and be posted around the streets, over the next two months. Continue reading
Source: SCMP (9/5/19)
Out of time: artists return to darkroom, make coin collages to remind Hong Kong of what has gone
Anita Mui, Queen’s Pier, and former Legco building among icons of Hong Kong artist Giraffe Leung depicts using specially treated 20-cent coins. Multiple exposures of city streets in China, Singapore, Japan and South Korea, printed in a darkroom without digital manipulation, make up Simon Wan’s show
By Snow Xia
Giraffe Leung rubs a panel made of 20-cent coins with chemical solutions to create an image of Hong Kong at La Galerie Paris 1839 in Central. Photo: Snow Xia
Coins and darkroom photography may be falling out of use, but they have been given new life in an exhibition that explores and evokes Hongkongers’ collective memory.
Showing at La Galerie Paris 1839, Hollywood Road, Central, “Coins – Memories of Hong Kong” by Giraffe Leung Lok-hei and “City Glow” by Simon Wan Chi-chung look at how rapid urbanisation has changed the city.
“As e-payments and virtual money have replaced traditional money globally, I want to use money to remind us of the role … people and things play in our lives [and their value],” explains Leung, whose show re-examines unremarkable objects that became or are becoming obsolete. Continue reading
Liu Wei: Invisible Cities
Museum of Contemporary Art, Cleveland
Mueller Family Gallery, Cohen Family Gallery, and Cahoon Lounge
September 13, 2019-January 5, 2020
Liu Wei’s first solo museum exhibition in the United States, Invisible Cities, takes its title from Italian writer Italo Calvino’s novella of the same name. Presented across two institutions (moCa and the Cleveland Museum of Art) and developed in direct response to both spaces’ architecture, Invisible Cities presents a constellation of works that employs abstraction and fragmentation to create new narratives. Like Calvino’s book—an imagined set of conversations between traveler Marco Polo and the emperor of the thirteenth-century Mongol Empire, Kublai Khan—Liu’s work examines how objects can function as physical traces and intangible links between the visible and invisible. From sculptures carved out of books, a series of cut-up and repurposed household appliances (a refrigerator, a washing machine, and a waffle maker), to architectural monuments made from rawhide dog chews, Liu asks us to examine the relationship between material and power. The installation of works in Invisible Cities echoes the cities Polo describes—fantastical, beguiling places where things are never as they seem—and emphasizes that the world we live in is infinitely larger than what we can see. Liu’s work is an evocative reminder that how we perceive and negotiate our relationship to place allows us to see the conditions of its very construction. Continue reading
Source: NY Review of Books (7/13/19)
A Radical Realist View of Tibetan Buddhism at the Rubin
By Ian Johnson
Photo by Thierry Ollivier/RMN-Grand Palais/Art Resource, NY. Kingdom of Shambhala and the Final Battle, Mongolia, nineteenth century
One of the hallmarks of the past few decades has been the rise of religious-based nationalism in, for example, India, the United States, and the Middle East. And it has become routine in discussing these areas to make a link between politics and religion—be it Hinduism, Christianity, or Islam.
Buddhism, though, continues to flummox us. People are often shocked that it could be central to the violence of Sri Lanka or Myanmar, or the more than a hundred self-immolations that took place in Tibet in the early 2010s—self-inflicted acts of political violence that confounded both the Chinese government and many onlookers in the West. For many, Buddhism is “a religion of peace” and its adaptation for political purposes, even to inspire violence, feels flat-out wrong. Continue reading
Source: China Daily (6/13/19)
Exhibition sheds light on painter of Lu Xun portrait
By LIN QI | China Daily
Never to Cease Fighting, a portrait of Lu Xun by painter Tang Xiaoming, is on display at the National Art Museum of China. [Photo provided to China Daily]
Never to Cease Fighting [永不休战], a portrait of Lu Xun, a leading figure of 20th-century Chinese literature, is familiar to many Chinese people because the painting of him produced in 1971 has frequently been published in school textbooks over the years. But few people know much about its painter Tang Xiaoming [汤小铭], a devoted educator who has long been based in Guangzhou, Guangdong province.
With a career spanning six decades, Tang, 80, is honorary chairman of the Guangdong Artists Association and has created dozens of portraits both of luminaries like Lu Xun and ordinary people from different walks of life. He exemplifies a realistic approach to painting that used to dominate the Chinese art scene for decades, and the figures he has depicted show the archetypal faces of a country in the throes of progress. Continue reading
Source: New Haven Independent (6/7/19)
Art Of Darkness
By BRIAN SLATTERY
Fiona Sze-Lorrain and Fritz Horstman
The words are surrounded by billows of shade that could be smoke, or clouds, or particles moving through water. The color seems both kinetic and serene at the same time, capturing light and shadow. The words are written by hand: “Scooping up handfuls of fresh / silence from a mirror of oblivion, / I gather from the well / that night disguises his guests. / It pleases him that wind / must wait. Even rain. Misled / the tempered dark takes a false / step. So many shadows. / So few ghosts — I was lonely / but curious / in this imperfect end.”The above poem-painting is one of several pieces in “A Blue Dark,” a collaboration between Paris-based poet, translator, and Zheng harpist Fiona Sze-Lorrain and Connecticut-based artist Fritz Horstman running now at the Institute Library on Chapel Street through Sept. 7, with a guided walk-through by Horstman on June 9. Continue reading
Source: NeoCha (5/17/19)
By Tomás Pinheiro
A Bizarre World: Tea Shop Sensation (2018) 30 x 40 in / Acrylic on canvas
Horror, despair—and facekinis. Welcome to the mind of Du Qiurui, a painter and illustrator who has been offering an unusual perspective on the fast-changing landscape of China. Du uses bright colors and thick lines to portray ordinary people in overcrowded scenes, together with disturbing objects and terrifying demons. His paintings represent the underlying tensions of modern Chinese society in a convoluted way, with aspects of dark humor.
Du was born in Beijing in the early 1990s to a single mother, the CEO of a design firm who worked around the clock. She’d occasionally travel abroad for work, bringing him along to see new places. Mostly, though, Du was raised by his grandmother, listening to her extraordinary stories. As an introverted child, he relied on these stories, as well as comic books and movies, to keep him company. “My childhood was a combination of reality and fantasy,” he recalls, “I built an imaginary world for myself.” Continue reading
The spring 2019 issue of the Trans Asia Photography Review is now available online at tapreview.org. (You may need to refresh your browser to view the new contents.) This issue, titled “Circulation,” features the following articles, book reviews, and interviews:
Clare Harris, “Creating a Space for Performing Tibetan Identities: A Curatorial Commentary”
Kevin Michael Smith, “Images Under Construction: Photomontage in Interwar Europe and Japan”
Yiwen Liu, “Witnessing Death: The Circulation of Lu Xun’s Postmortem Image”
Russet Lederman, “Photobooks by Women from Asia: A Conversation with Amanda Ling-Ning Lo, Miwa Susuda, and Iona Ferguson”
Chen Shuxia, Zhou Dengyan, and Shi Zhimin, “Photographic Praxis in China, 1930s-1980: A Conversation with Chen Shuxia, Shi Zhimin, and Zhou Dengyan about Shi Shaohua and the Friday Salon”
Erin Hyde Nolan, “The Gift of the Abdulhamid II Albums: The Consequences of Photographic Circulation” Continue reading
Arts of Asia May/ June
This year’s May/ June edition of Arts of Asia is dedicated to the East Asian art collection at the Museum of Cultural History in Oslo, Norway. East Asian Art has never had much of a priority in Norway, but the way that the Cultural History’s collection is now being treated is fairly grim. The collection has been packed away for storage for an undisclosed amount of time, and no one knows when or even if it will be exhibited again. Several of the items written about in Arts of Asia have never been exhibited or written about prior to this publication.
Linn A. Christiansen <firstname.lastname@example.org>
PhD candidate at Leiden University
Source: The New Yorker (4/30/19)
Liu Xia Rebuilds Her Career as an Artist
By Nick Frisch
Photograph above: Marzena Skubatz for The New Yorker; Photographs below: Liu Xia
After nearly a decade under house arrest in Beijing, Liu Xia, the widow of the Chinese dissident Liu Xiaobo, has started over in exile in Berlin.
The Chinese dissident Liu Xiaobo won the Nobel Peace Prize in October of 2010, while imprisoned in Liaoning, a province in China’s northeastern rust belt, for co-authoring an open letter calling for liberal democracy in China. A literary critic, professor, and poet, Liu Xiaobo had been an unwavering voice against the authoritarianism of the Chinese Communist Party for more than two decades. He had served several long prison terms—the first one for being a leader of the Tiananmen Square demonstrations, in 1989—and had been harassed and surveilled continually by the state. Though the Communist Party suppressed his voice, he was widely known within China’s intellectual community and among human-rights activists around the world. When he was awarded the Nobel, for “his long and nonviolent struggle for fundamental human rights,” he became a global celebrity. Unable to reach him in prison, foreign journalists descended on the apartment complex in Beijing where his wife, the artist and poet Liu Xia, lived alone in their home. Continue reading
Professor Richard Vinograd to give the 2019 Sir Percival David Lecture at the British Museum, on 16 May.
Work of art: artistic labour in 19th century China
Thursday 16 May 2019, 18.00–19.00
BP Lecture Theatre, The British Museum
Free, booking essential
Representations of the work of Chinese art, that is artistic labour, had many sources and dimensions both within and outside of nineteenth century China. Some of those arenas of interest were in artistic process and technologies, in imperial works of ideological or political import, and in customs and occupations from ethnographic perspectives. This lecture will focus on two further views, involving the foreign photographer’s lens and the sociality of urban Chinese painters.
Richard Vinograd is the Christensen Fund Professor in Asian Art in the Department of Art & Art History at Stanford University. He is the author of Boundaries of the Self: Chinese Portraits, 1600-1900; (1992); co-editor of New Understandings of Ming and Qing Painting(1994); co-author of Chinese Art; Culture (2001) and author of Ink Worlds: Contemporary Chinese Paintings from the Collection of Akiko Yamazaki and Jerry Yang (2018). Professor Vinograd’s research interests and publications include studies of Chinese portraiture, landscape painting, literati painting of late imperial China, urban print culture, painting aesthetics and theory, art historiography, modern and contemporary Chinese painting, and aspects of intercultural artistic exchange in the early modern era.
Sponsored by the Sir Percival David Foundation Trust.
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