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Salon, Salon: Fine Art Practices from 1972 to 1982 in Profile - A Beijing Perspective “Sensibility and Sense in History” Lecture and Forum Series II

Beijing Inside-Out Art Museum


Salon, Salon: Fine Art Practices from 1972 to 1982 in Profile - A Beijing Perspective
“Sensibility and Sense in History” Lecture and Forum Series II
Time: March 18, 2017, Saturday
Venue: Conference Room, Beijing Inside-Out Museum

Programs & Events

From Temple to Forum: New Museum Movement and New Museum History
Speaker: Xu Jian

Is the museum a temple or a forum? The question raised by Cameron in 1971 is still fermenting in the museum circle. This question actually expresses the core idea of the new museology, so transformation from the old museums to the new is far from completed. The new museum movement regards the museum as a forum, emphasizing its interpretativeness and interactiveness. Therefore, the history of museum has become a manifestation of museology in the perception of the heritage of the discipline. Great Foundations: An Intellectual History of Early Chinese Museums, a new historical writing of museums, appears under this concept. The museum, as a forum, has a unique narrative style and skill. Great Foundations reveals that, although expressed in a variety of ways, early Chinese museums establish their publicness, knowledge and perception through a structural triad of collection, architecture and exhibition with a unique vocabulary of material and space. 

Xu Jian, Professor at the Department of History, Sun Yat-sen University. He received his Ph.D. in archeology and museology in 2000. His main research interests cover archeology, art history and material culture in South China and mainland Southeast Asia. He was Visiting Assistant Professor at Bard College, NY from 2005 to 2006, Hermes Fellow at Foundation Maison des Sciences de l'Homme in 2008, Residency Fellow at the Institute of Advanced Studies in Humanities, Sun Yat-sen University in 2010, and Visiting Professor at Sōka University in Japan in 2014. His major research projects since 2004 include the Oral History of Chinese Anthropology and Archaeology Project, supported by the Wenner-Gren Foundation in the United States, various endangered cultural studies projects supported by the British Library and the National Geographic Society, researches on Torii Ryūzō and Hamada Kōsaku supported by the Sumitomo Foundation in Japan. His recent publications include Alternative Traditions in the Pre-1949 Chinese Archaeology (Science Press, 2012), Bronze Weapons before the Eastern Zhou: a Material Cultural Study (Shanghai Classics Publishing House, 2014), Great Foundations: An Intellectual History of Early Chinese Museums (Science Press, 2016), and papers on Chinese Studies, New History, Journal of Anthropological History, Studies of Art History, Academic Monthly and other peer-reviewed journals. He also translates A History of Archaeological Thoughts by Bruce Trigger, Reading the Past by Ian Hodder, The Arts of China by Michael Sullivan and Understanding Early Civilizations by Bruce Trigger. 

On Stars Art Exhibition
Speaker: Huang Rui

On September 27, 1979, the “Stars Group” held the first exhibition on the fence of the small garden in the east of the National Art Museum of China, but was banned by the police two days later, triggering the demonstration with the slogan “asking for political democracy, asking for art freedom”. In November the same year, the exhibition moved to Painted Boat Pavilion of Beihai Park, for which People's Daily published an advertisement. In 1980, the second Stars Art Exhibition was held at the National Art Museum of China. As an independent art group composed of independent artists at that time, the historical significance of the “Stars Group” is highlighted in the context of “de-politicization” today. As one of the initiators of the “Stars Group”, the artist Huang Rui will revisit the historical scene with us, and review the modernist artworks by the group members, such as Ma Desheng, Wang Keping, Huang Rui himself and other artists. 

Huang Rui, artist, born in Beijing in 1952, one of the initiators of the Stars Art Exhibition. 

"Salon, Salon" Spring Forum
Moderated by Liu Ding and Carol Yinghua Lu
Participants (in alphabetic order): Gao Minglu, Huang Rui, Lv Peng, Shao Yiyang, Su Wei, Wang Hui, Xu Jian, Yan Zhenduo, Yin Shuangxi, Yuan Jia

The discussion of the forum will focus on the theme of the current exhibition Salon, Salon: Fine Art Practices from 1972 to 1982 in Profile - A Beijing Perspective. Participants include artists, art critics, historians and young scholars, who will revisit this historical period from 1972 to 1982 to reopen the discussion of the historical context, literary practice, artistic activities and historical narratives of this period. 

The specific issues involved in the forum include: 

In the wave of seeking for change in the 1970s, the self-organization and self-practice of the artists formed important artistic events of that period. Different artistic experience, different backgrounds and different demands of individuals formed a fleeting convergence, all of which gradually disappeared after 1981. How do we assess this fleeting convergence today? What is the significance of this brief confluence at the time? 

In the narrative of the historical origin of Chinese contemporary art, the Stars Group, a part of the “fleeting convergence”, is generally selected as the origin because of its more explicit political gestures. But the narrative lacks a sufficient description of the historical context at that time, including that of the seeking for change and relatively relaxed political atmosphere from top to bottom. Is this a partial narrative in tracing the origin of contemporary art? If we do not discuss the relationship between contemporary art and the social and political background of China in a simplistic structure of antagonistic dualism, how, then, should we understand the contemporary art in the complex political context of China? 

After the mid-1980s, the young artists, in the name of "New Wave Art", started to separate their practice from traditional art and official art. After this break, contemporary art and artists formed their new system, drifting away from the art and artist in the official system and mechanism. The genetic relationship between these two sides, now seemingly without any intersections in creative practice and discursive system, might be traced back to the 1970s, if not earlier. How should we consider the rupture and the intertextual relationship between them today? 

In the late 1970s, what do such terms as art, fine arts and contemporary art allude or refer to? In the late 1970s, the art world saw the reemergence of discussions on Impressionism and “formal beauty”. What does it imply and what heritage does it leave us? What is the relationship between the new art after the Cultural Revolution and the art from the beginning of the new China to the end of the Cultural Revolution? What is the applicability of the term “resistance” derived from the liberal social context under the harsh political conditions in China? How to evaluate the significance of the left-wing artists within the party in the past and their limitations in today’s perspective after the Cultural Revolution? 

About Forum Participants: 

Gao Minglu, born in Tianjin in October 1949. He received his Master of Arts degree at the Chinese National Academy of Arts in 1984. In 1991, he was invited to the Ohio State University to do postdoctoral research as a visiting scholar. He later received his PhD at the University of Harvard. He was a professor at Savannah College of Art and Design in America. He is currently a professor in the Department of History of Art and Architecture at the University of Pittsburgh and a professor at the Sichuan Fine Arts Institute. 

Huang Rui, artist, born in Beijing in 1952, one of the initiators of the Stars Art Exhibition. 

Lv Peng, curator, art critic. He was editor of Drama and Film, and executive editor of Art Market. He was the artistic director for Guangzhou Biennale in 1992. Now he is an associate professor at the School of Art and Humanities at China Academy of Art, and director of Chengdu Contemporary Art Museum. 

Shao Yiyang, associate professor of Central Academy of Fine Arts, director of Foreign Art History Teaching and Research, Master Student Supervisor. She teaches Western art history and Western modern and contemporary art. 

Su Wei, curator and art writer based in Beijing and Hong Kong. His recent work focuses on the re-depicting and deepening of the history of Chinese contemporary art, exploring the roots of its legitimacy and rupture. 

Wang Hui, professor and doctoral supervisor in the Department of Chinese Language and Literature at Tsinghua University. He is a member of the academic committee of the School of Culture and Humanities at Tsinghua University. 

Xu Jian, born in Changsha, Hunan. As a Professor of History at Sun Yat-sen University, his research covers archeology, art history and material culture. 

Yan Zhenduo, born in Tianjin in 1940, a well-known painter in China. In 1963, he graduated from the Beijing Academy of Fine Arts, and later graduated from the Central Academy of Fine Arts in 1967 with a major of oil painting. Now he is the first-class oil painter at Beijing Fine Art Academy, director of Oil Painting and Sculpture Workshop, deputy secretary-general of China Oil Painting Association. He has been awarded “Outstand Artwork” at the Sixth and Eighth National Art Exhibition. At the end of the 1970s, he initiated the Beijing Society of Oil Painting and held exhibitions such as Spring Art Exhibition and so on. 

Yin Shuangxi, graduated from the Department of Art History and Theory at the Beijing Central Academy of Fine Arts, and received his PhD in 2002. He is now a associate research fellow at the editorial department of the Beijing Central Academy of Fine Arts, member of the Art Committee of the National Guiding Committee for Urban Sculpture Construction, member of the Environmental Art Committee of the Chinese Architectural Society, member of the Beijing Urban Sculpture and Environment Art Committee, Deputy Secretary-General of Wu Zuoren International Art Foundation, Secretary-General of Beijing Oil Painting Art Committee, editorial board member of Sculpture magazine. 

Yuan Jia, born in Beijing. In 1983, he graduated from the High School Affiliated to the Central Academy of Fine Arts, and graduated from the Department of Decorative Art at the Central Academy of Arts and Crafts Art in 1987. From 1987 to 1989, he was a designer in the Environmental Art Research and Design Institute at the Central Academy of Arts and Crafts. In 1989, he went to the University of Lexington, Sweden, for a year-long study. He is currently the secretary-general of the Institute of Mural Art in the School of Public Art at China National Academy of Painting. 

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Please send your information to before March 16, 2017, including your name, number of participants, and contact details. 

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010 - 6273 0230

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Special Note

Due to the limit of space, please make sure to book in advance if interested, thank you for your cooperation! 

Current Exhibition
Salon, Salon: Fine Art Practices from 1972 to 1982 in Profile - A Beijing Perspective
Curators: Liu Ding, Carol Yinghua Lu
Exhibition Dates: 2017.1.7 – 2017.5.7
Venue: Beijing Inside-Out Museum, No.50 Xingshikou Road, Haidian District, Beijing


开放时间:周三—— 周日 
10:00 — 18:00 , 
票价 :免费 
公交路线: 489路 505路 992路 347路运通101路西平庄站路南侧 
驾车路线: 1、西四环四季青桥上杏石口路,向西4公里左右, 路南侧抵达中间美术馆 


电话: 8610 6273 0230