Salon, Salon: Fine Art Practices from 1972 to 1982 in Profile – A Beijing Perspective Sensibility and Sense in History Lecture and Forum Series III
Time :10:00 - 17:00, Saturday, 29 Apr, 2017
Address :Conference Room, Beijing Inside-Out Museum
Salon, Salon: Fine Art Practices from 1972 to 1982 in Profile - A Beijing Perspective Sensibility and Sense in History Lecture and Forum
“Salon, Salon: Fine Art Practices from 1972 to 1982 in Profile - A Beijing Perspective Sensibility and Sense in History Lecture and Forum”
Salon, Salon: Fine Art Practices from 1972 to 1982 in Profile - A Beijing Perspective is the third exhibition of From the Issue of Art to the Issue of Position: The Legacy of Socialist Realism in Chinese contemporary art, a research initiated by artist Liu Ding and art critic Carol Yinghua Lu. This research examines the historical narratives and ideological construct of Chinese contemporary art through ongoing exhibitions and writings.
In the reality and narration of history, the emotions and rationality of the individuals, groups and narrators are both part of the historical reality, and the determinants of the ideological foundation, value orientation and actual contents of historical narration. To revisit the historical reality, it is necessary for researchers to recognize the historical legitimacy of the emotion of the participants in specific contexts, and to pay attention to the ruptures, gaps and overlaps between historical narratives and historical realities.
In this exhibition, we organize a series of lectures and conversations around the theme of “Sensibility and Sense in History”. The series III will be the last one.
Salon, Salon: Fine Art Practices from 1972 to 1982 in Profile – A Beijing Perspective
Sensibility and Sense in History Lecture and Forum Series III
Time: April 29, 2017, Saturday
Venue: Conference Room, Beijing Inside-Out Museum
Programs & Events
Please see below for registration information
Memory of the Times and the ‘National Art Exhibition’: On the Art Activities of 1972-1975
Speaker: Yang Zi
The art exhibitions during the Cultural Revolution were unique to that period of times, of which four major national art exhibitions during 1972 - 1975 held at the National Art Museum of China (NAMOC) are most representative. This four national art exhibition completely inherited the spirit of the Talk at Yan'an Forum on Literature and Art and put it to the extreme, culminating into special phenomena of special times. This lecture takes this as the starting point and analyzes the works and events at that time. It also analyzes the exhibitions themselves as socially-created artwork during the Cultural Revolution from the perspective of politics, history and culture. It will further discuss and interpret the art institutions and its exhibition mode derived from the national exhibitions.
Yang Zi, MA in Modern Art History and Art Criticism, graduated from the Chinese National Academy of Arts, is now a staff member at National Art Museum of China (NAMOC). In 2008, she participated in the national key research subject ‘Chinese Modern Art History’, and was responsible for writing Art of Workers, Peasants and Soldiers in the session Art in Mao’s Era. Since 2010, she has been working at the Public Relations Department of NAMOC and involved in hundreds of exhibitions and event planning. She has also published Calm Experimental Madmen - From Malevich to Kandinsky, From Expressionism to Pop Art, From Secession to Expressionism, Pictures Telling and many other academic papers in key journals.
The Market As Imaginary in Post-Mao China
Speaker: Jane DeBevoise
English，Translated by: Qu Chang
In 2007 a UK-based newspaper reported that five of the top selling contemporary artists worldwide were Chinese. Yet less than 10 years before Chinese contemporary art at auction was rare. Where did the market come from? Was its introduction a positive or negative agent of change? This paper considers the period from 1978 to 1989 and examines the impact of the institutional shift, from a centrally planned system to the introduction of economic reform, on the development of contemporary art in China.
The market for art both attracts and repels, and in the 1980s it triggered a vociferous debate. One artist captured the complexity of this paradigm shift. The last section of this paper focuses on Wu Shanzhuan’s 1989 performance Selling Shrimps that not only comments on the enduring entanglements between the state and market, but also reveals art’s new energy source.
Jane DeBevoise is Chair of the Board of Directors of Asia Art Archive in Hong Kong and New York. Prior to moving to Hong Kong in 2002, Ms. DeBevoise was Deputy Director of the Guggenheim Museum, responsible for museum operations and exhibitions globally. She joined the Museum in 1996 as Project Director of China: 5000 Years, a large-scale exhibition of traditional and modern Chinese art that was presented in 1998 at the Guggenheim museums in New York and Bilbao. Ms. DeBevoise has a BA from Tufts University, an MA from the University of California, Berkeley, and a PhD from The University of Hong Kong, all in art history. Ms. DeBevoise was appointed by the Home Affairs Bureau of the Hong Kong Government to the Committee for Museums 2004-2007 and to the Museums Advisory Group for the development of the West Kowloon Cultural District 2006 – 2007. She is a Trustee of Asian Cultural Council.
On Shanghai Youth
Conversation with (in alphabetic order)：Gao Zipeng, Zhao Chuan
Moderator: Su Wei
The experimental video group, founded by Zhao Chuan, Wu Meng and Gao Zipeng in Shanghai, aims at exploring the possibility of video and film in the civil society. They started to shoot the documentary film Shanghai Youth in 2009. It took four years to complete this eight-and-a-half-hour documentary. The film tells a story of the ‘Shanghai youth’ who were transfered to Xinjiang during 1963 - 1966 to support the construction of the peripheral area. Since returning to Shanghai, they had been petitioning for proper settlement for more than 30 years. The film presents the constant reflection of them on their identity of this generation, and vividly depicts their relationship with the state. This conversation will focus on the complex relationship between the logic of politics and culture and the fate of individuals and groups in this historical context. It also touches upon the analysis of the subject and the discussion of the methods and aspirations of the artistic creation.
Gao Zipeng, director of Shanghai Youth. Gao used to work in Gansu TV and China Central Television. He started to work as an independent filmmaker in 2008. His debut fiction film Lost in the Mountains was selected to New Current competition in Busan International Film Festival and Rotterdam international film festival in 2012. Shanghai Youth is his third documentary. He is currently living in Guangzhou.
Su Wei, Senior Curator of Inside-Out Museum, art writer and curator 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.
Zhao Chuan is a writer, art critic and theatre director who creates alternative, political theatre in Shanghai. He is the founding member and mastermind of the Chinese theatre collective Grass Stage since 2005. His work devoted to the promotion of new social theatre movement and the creation of non-profit public space. Zhao Chuan's literary awards include, most notably, the Unita Prize for New Novelists (2001). His writings on contemporary Shanghai art have been selected for publication in various media in China and abroad. He has also been an invited participant in numerous international Literary, Art, and Theatre festivals.
The Rhetorics of Exhibition: on the Curatorial Language of Salon, Salon
Conversation with (in alphabetic order)：Liu Ding, Carol Yinghua Lu
Moderator : Qu Chang
‘1972-1982’ is an imaginary historical period constructed by the Salon, Salon. This exhibition examines the mentality of the art creators during the political upheaval and the complex situation between art and official politics, by reflecting upon the specific appearances and multi-layer practices of art in this period. With the help of ‘details and materials’, through the discussion and analysis of specific cases, the abstract experience of contemporary art has been re-contextualized, highlighting the historical sense of presence, which presents the simplified, missing or sheltered scenes. The specific thoughts, feelings and atmosphere and other factors in art are considered as a new starting point for thinking. These are the core issues of the curatorial language. In this conversation, the two curators will discuss the rhetorics of exhibition with the art writer and curator Qu Chang, especially on how to establish self-cognitive context and ideological coordinates.
Liu Ding is a Beijing-based artist and curator. His artistic and curatorial practice focuses on multiple viewpoints and modes of description, exploring a trajectory of discursive thoughts that connect the historical and the contemporary. His work seeks to broaden possibilities for a more manifold understanding in relation to the historical narrative of subjectivity within Chinese art. Liu Ding has participated in a number of major exhibitions, such as the Second Guangzhou Triennial, the Fourth Seoul International Biennale of Media Art, and the Chinese Pavilion at the 53rd Venice Biennale in 2009. His works have also been featured in many museums and galleries in China and abroad.
Qu Chang graduated with a master's degree in Art and Culture Management from IESA, Paris and currently works at Para Site, Hong Kong as the Associate Curator. Her curatorial projects include Photo Booth: Lau Wai and Wong Wing Sang (2017), A Tale: The Land of Fish and Rice (2017), Black Spice (2016), Adrift (2016). As an assistant curator/curatorial assistant, she also worked on exhibitions such as Digging A Hole in China (2016), Geng Jianyi: East to the Bridge (2015), New Measurement and Qian Weikang: Two Case Studies in Early Chinese Conceptual Art (2015), From the Issue of Position to the Issue of Art: Echoes of Socialist Realism (2014). Meanwhile, Qu is also involved in the writing, translation, and editing of multiple publications.
Carol Yinghua Lu is an art critic and curator. She is a PhD candidate in art history at the University of Melbourne and director of Beijing Inside-out Art Museum. She is a contributing editor at Frieze and is on the advisory board of The Exhibitionist. Lu was on the jury for the Golden Lion Award at the 2011 Venice Biennale. She was the co-artistic director of the 2012 Gwangju Biennale and co-curator of the 7th Shenzhen Sculpture Biennale in 2012. From 2012 to 2015, she was the artistic director and chief curator of OCAT Shenzhen. She was the first visiting fellow in the Asia-Pacific Fellowship program at the Tate Research Centre in 2013. She is an ARIAH (Association of Research Institute in Art History) East Asia Fellow at Bard Graduate Center in 2017.
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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