Last week, at a “regular news conference at the Foreign Ministry, Jiang Yu, a spokeswoman, suggested that some reporters were trying to stir up unrest, not report on it. ‘Law-abiding people will be protected by the law,’ she said. ‘But people who are trying to create trouble in China, I can tell them that they have made the wrong plans.’” (via NYT, read full text here)

Veiled threats from the “ministry” hint that harmony threatens the free world. This means that you too, white journalist, will have to abide by the rules. Or at least appear to abide by them. Covering the career-boosting “China in unrest” story has become even more valuable.

Evan Osnos asked recently on the New Yorker blog, “Is China giving up on Western Rule of Law?” (link here) And physical attacks on foreign journalists in China also hint that this ain’t, and never will be, the proverbial “Kansas.” But while “strolling protests” and other news are afforded major coverage outside the Great Firewall, various ministries quietly assert their point of view through other subtle messages. Here, that point of view is literally with the prominent Pacific-centered political map as a background.

The white lines on a blue field contrast starkly with the red and yellow of the Chinese flag, and the stylized rendering of this map, as well as the unfamiliar projection (most common is the Mercator projection) seems to state the Ministry’s position perfectly. The image above seems the quintessential inclusion of the three primary colors, and against the blue, the flag’s prominent color seems distinctly non-conservative. The red logo on the very center of the podium also looks striking, it seems to be in the cusp of the “bending” African and South American continents. China has rendered itself as a supporter of the developing nations since the 1950s, the theme can be found in both “fine” art and poster arts since 1949. The image the Foreign Ministry projects here is not too different from what we might see at a US, or UN press conference, it seems to suggest we are looking at a power equal, but alternative, to the current world order.

I’ve written briefly on the mathematical symmetry and stern aesthetic in news images from the DPRK (link here), and the stark image above bears a certain resemblance. But to be fair, its symmetric composition should be credited to David Gray for Reuters. Thus, this image is not the product of any “propaganda machine,” although its staged element are surely homegrown. This fact also adds a new, more interesting layer to its analysis––how much of this representation is based on the photographer’s preconceptions of authority as stiff and dictated from the center? But, never having consciously seen other images of this “regular new conference,” I can only make limited comments.

If we take these types of background images seriously (and we have every reason to believe that ALL nations do), it is clear who’s projecting a unique world view.

Read more on journalist restrictions in the IHT here.

 

Recently, CCTV aired “footage” of the new Chinese-built J-10 fighter plane. The clip in question, which featured air-to-air missiles destroying a enemy fighter plane, was recognized by some shrewd-eyed movie buffs in China as footage from Top Gun, the 1986 Hollywood blockbuster featuring Tom Cruise. In these final scenes, pictured here in CCTV=Top Gun equivalencies (via the Chosunilbo) Cruise’s F-14 fighter jet destroys a Russian F-5. The footage was quickly pulled from circulation and requests for commentary denied.

This fascinating example of Chinese copyright infringement and corrupted journalistic integrity has been compared in numerous news clips and blogs to the 2007 incident of an illustration of cartoon character Homer Simpson’s x-rayed brain used as an illustration for a scientific article on multiple sclerosis. Both incidents prove that CCTV “borrows” images on a regular basis, both further suspicions about government-backed media’s lack of credibility, and both are quite humorous. The fact that both Homer Simpson and Top Gun are images originating from US popular entertainment brings an end to their similarities.

Without a thorough examination of why the phenomenon of poaching images (and text) occurs, these two extreme examples should be enough to assure us that similar forms of copyright infringement is happening with regularity, but is just not as entertaining for western readers. (The Onion news debacle of 2002 was another hilarious instance.) There must be literally millions of images that been inserted, completely out of context, in countless news reports over hours, months, years of CCTV news. Low operating budgets (unlike those for abalone banquet for officials) preclude the updating of archival footage; on CCTV News last week, the “file” footage aired for a spot on computers was so outdated, I’m impressed they avoided showing floppy discs. This reality of television news is probably another reason why Chinese netizens were so quick to suspect the visually stunning images of this military maneuvering last month––only Hollywood would have a budgets capable of producing such footage. And anyone familiar with Chinese media and toting basic critical thinking skills could deduce that.

Unlike the Top Gun incident, the photo of Homer Simpson could only be earnest humor. There was an image slot in somewhere that needed to be filled, and instead of the trite stock image of a double helix, someone inserted Homer Simpson’s head. You don’t have to be a fan of the Simpson’s to recognize that the x-rayed cartoon of Homer’s brain is not authentic, nor is it scientific. No one “mistook” the image for real, it seems like a good-natured joke from the over-worked, underpaid offices of the Xinhua newsroom. But Top Gun footage is another story.

Compared to web-based media, where one or two individuals can be held responsible (the Homer image also appeared on the English version of Xinhua, much less traffic, different departments than its Chinese-language counterpart), more editors are accountable in the Top Gun footage incident, this was television news, and broadcast to a mainstream Chinese audience.

Whether or not you take stock in the images the news media, Chinese or otherwise, they reflect more than one lazy editor’s decision making, they reflect to some degree the expectations of the audience. And despite the many suspicious viewers who tune into CCTV daily, the simple choice in what news sources chose to pirate belies a shift in viewers’ attitude. Homer Simpson might be that lovable underdog, but Top Gun is awesome military might! They are stealing the master’s guard dog. The message here is rising confidence.

Western commentators on this incident are likely sub-consciously aware of the threat, but do the millions of viewers who saw it really care where the footage came from? For a population accustomed to hidden agendas in the news, all that counts is that Central Television aired it. It could be considered irrelevant whether viewers believe it or not.

The Top Gun incident is brilliant in the sense that it illustrates perfectly how modern China has crafted its image of military might in emulation of the United States. Not the US as its citizens might know it, but the “imagined West,” the one most Chinese know, and that we call Hollywood. Instead of boo-hooing over copyright infringement, or laughing at the silliness of “Chinese ‘journalists’” we should step back, and begin to appreciate ourselves reflected through this crazy lens we helped create.

Closing Ai Weiwei’s “seeds” to the public, for which it was intended, was the depressing sterilization of a great art work. (See report from the Independent here.) I’m torn between being a crabby Beijing resident who breathes similarly noxious air every day and says, “they ruined it,” and being a responsible, compassionate person. But looking through my photos of last week’s opening of “Sunflower Seeds,” I realized there was indeed quite a bit of particulate matter kicked up as guests  happily crunched on the porcelain seeds. The dust was captured reflected in the flash of my Canon G11.

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On September 16, 2010, Professor W.J.T. Mitchell, of the University of Chicago visited the Central Academy of Fine Arts for a lecture which he titled “World Pictures.”

Mitchell could be called a “picture theorist,” but he wasn’t interested in how pictures move around the world, instead, taking off from Heidegger’s “world of pictures,” he examined how we envision the world, and the inherent dangers withinespecially relevant in our globalized age.

He deconstructed five terms, Global (a la Marshal McLuhan’s “global village”), the Planetary (within a system), Cosmos (abstract and mathematical, a dialectic of opposites as in Yin and Yang), World (of flesh, and an underworld) and Earth (or Terra, upon which we stand).

Heidegger, didn’t advocate a picture of the world, but believed that through science and technology, we have turned the concept of the world into a picture.

And Freud argued that science was incapable provide a worldview, only religion can, but he wasn’t an advocate of religion. Mitchell disagrees with the both of them. His mission is to identify the false world picture and struggle against it. World pictures have infiltrated all levels of society and of our imagination, aided through technology.

Google earth has mapped out the world, we can go anywhere on the planet, we can zoom in and see our rooftops, but there is major discrepancy with this image and reality–– when we zoom in, we will never bring the image into reality.

This is the “partial view” of the world that we will always be relegated to. Heidegger again says that the “world picture” corrupts the imagination, and Freud says that we must not create a world picture, even though there are deep dangers in religion. The truth is, says Mitchell, we are a “world at war,” and we should be opposing notions of “global terror.”

Mitchell’s speech ended on a Hong Hao image, the “New Political Map,” part of the artist’s series of silkscreened prints entitled “Selected Scriptures” (see more here). In this map, the artist has brilliantly played on an almost universally familiar map projection, but has scrambled national borders, most significantly replacing the United States of America with “the People’s Republic of China.”

Artist, Xu Bing, now the vice-president of CAFA, and sitting in the front row raised his hand with a question: What is the relation between philosopher and artist? And how is Mitchell reading the map? To gasps of surprise from the 400 plus audience, he pointed out the vague, but distinct figure of a horse just above the “new P.R.C,” which has been cleverly named “Israel” (interpreted by Mitchell as having plenty of territory to expand in), and the profile of a man where Brazil should be, which was replaced with Holland.

Mitchell turns around to look at the image on the screen behind him; it’s unclear from the grin on his face whether or not he had noticed. But nonetheless, the muted sound of two worlds colliding filled the room, and I wondered how many new possibilities for envisioning the world could be unleashed in the Chinese language, especially once we considered the ancient Chinese worldview.

 

胡锦涛总书记在中共中央政治局第二十二次集体学习时强调：“要引导广大文化工作者和文化单位自觉践行社会主义核心价值体系，坚持社会主义先进文化前进方向，坚决抵制庸俗、低俗、媚俗之风。” 他认为影响“中国特色社会主义文化发展”的因素主要反映在这三个种的落后文化上——所谓的“三俗”。于是， “反三俗”遍诞生。

胡锦涛同志鼓励党员去推广“社会主义的光辉文化发展”并发起了对庸俗、低俗、媚俗文化的斗争。在英文里，这种微妙的趣味不太好翻译，一般媒体选择 vulgar, cheap, tasteless；不过，作为欣赏各种底俗文化区别的人，我个人建议用philistine（庸俗）、tasteless（低俗）、kitsch（媚俗）为更恰当的英文。

庸俗文化似乎源于拜金主义（money worship），是市场经济的负面效果；电视上的一些认为是繁低俗文化的征婚类节目已经被取消了，广泛收欢迎的新版《红楼梦》电视节目里面出现的半裸体镜头也受到了舆论的批评和激烈的讨论。 虽然曹雪芹的《红楼梦》本身不是清代文人与上流社会的读物，但在今天它却成为是中国文化遗产的神圣一部分。我也同样很期待李少红导演的新版《红楼梦》DVD的上市。

2010年8月6日中国文化部长蔡武谈及文化领域里的“俗”时，他像几个世纪之前的传统学者一样，以“儒家经典”的角度出发，愤怒地说：“我们全国几百个电视频道，数以千万计的文化节目，真正的有丰富文化内涵、高尚文化品位和品格的节目又占多大比例？我们每年生产四百多部影片，上万集电视剧，其中能与我们耳熟能详的经典作品并驾齐驱的传世力作占多大比例？”

蔡武接着说：“一个地方一定要发展有文化内涵的经济，要提升经济发展的质量和品格，必须重视文化、重视创意，否则在产业链条分工上只能处在下游，永远没有主导权和发言权。”

有人说这些文化上的道德讨伐有些文革色彩，虽然这么说是一些耸人听闻，“文化体制改造”的到来好像是必然的，也会在电视、杂志等大众媒体上体现出来。

但这些跟当代艺术有什么关系呢？首先，艺术家梁硕要当心，注意背后的评论者。他近期展览里探索的“媚俗”审美感受到多数内地观众的批判，大部分人认为他的半成品材料和农贸市场作风仅仅向外国观众表现他的中国身份而已。不管怎么样，我相信本人最喜爱的“红色媚俗”不会孕育出任何危险。

The North Korean pavilion at the Shanghai World’s Fair was inspiring, but last week I discovered the Mansudae Art Museum in 798 just across from Pace Beijing. The current signage in 798 can’t be missed, and although a stop in to this spacious museum might cause most visitors to smirk at its “kitschy” socialist realist oils and statues with chiseled, idealized proletariat features, there were some artistic treasures within after all. The museum itself seems to be privately funded by one of the DPRK’s most enterprising cultural firms, the Mansudae Art Studio, whose “overseas projects” division is responsible for other monumental statues across Africa, including the controversial Senegalese “African Renaissance.” Look for the Mansudae Museum underneath the book-bearing youth astride a winged horse and crowning an enormous faux-brick pedestal.

Deferring comment on the works themselves, and not knowing enough about the context in which they arrived in China’s most prominent arts district, I’d rather tell you about my joyous discovery of other art within––DPRK stamps! While “Korean jewel painting” and the realist ink and wash landscapes depicting craggy mountains might not appeal to Western tastes, I don’t know who could resist the wonderfully rendered ratus norvegicous found on the pleasingly designed “Rodents” sheet of stamps.

Amidst political themes fawning on the P.R.C. (a plethora of stamps depict Mao Zedong, Zhou Enlai, and more recent visits by the “dear Leader” to China), there was also a fascinating visual interpretation of the “History of the Earth” in which the planet swells like a bubble, and a equally reality-bending 1997 skyline view of Hong Kong, surely a commemoration of her return to Chinese rule. Mushrooms and alpine life sit high on the list of muses for DPRK philatelic society artists, and in the small books for sale inside the museum (13-31RMB), you can find their issue date in both the Western calendar, and in the Juche year (0 = 1912, the year of Kim Il-sung’s birth).

Barbara Pollack’s book decoding the Chinese art scene “The Wild, Wild East” has caused some controversy with its recent release––I interviewed her for artforum.com.cn, and the following is her responses. A translated version can be found here, and see the Sinopop review of the book here. While she talks below about she located herself in the “scene,” I remain enamored with the Benson & Hedges.  

中文读者请看这里。。。

“I think that if [this book] starts some people [in China] thinking about what kind of impression they’re making on the West, that’s great, and if it opens some minds in the West to what’s going on here, that’s great. I don’t think you can come away from this book without realizing that one part of this art world is to be able to operate globally. So I hope that the book helps push things in that direction. At least letting people on both sides know what the playing field is. But I didn’t write this to reform the Chinese system, I don’t know if it needs to change at all, it’s functioning for you here.

The one thing I didn’t want to come off as was a know-it-all-New Yorker. What I did was I cast myself as somebody who thought she knew it all, and then got to China and realized she was going to have to learn things that are done very differently. Being open-minded about those things, sometimes surprised, sometimes shocked, but my reactions are part of the story.

I didn’t want to trash the Chinese art scene, there’s a lot I like about it, and I’m very conscious that I’m writing this for Western readers, many of whom have a totally negative impression, so I’m trying to open their minds too.

First of all, I’ve had [Western] people say to me point blank: they can’t believe there’s any good contemporary art in China because of government control here. They have a negative view of China politically, so they feel the art here could not possibly be interesting, that’s where a lot of those people are coming from.

There’s the “Zhang Xiaogang factor”––there’s the people who saw it and collected it, and they are the biggest promoters of it. And then there are people who saw it and hated it, and decided that they don’t like any Chinese contemporary art because of it. And then there is the Yue Minjun factor…. (more…)

Round two of the Beijing art fairs opened on April 30th, and the buzz in the art scene confirms, ArtBeijing has surpassed CIGE, providing a better show all around. While the unofficial theme at CIGE was “fear,” ArtBeijing has embraced the spirit of Shanzhai!

These skulls by Fang Shengyi 房圣易 seem to be popping up everywhere lately, a pyramid of at least 50 similar skulls was spotted at the young artists portion of 《Reshaping History 改造历史》 that opened last weekend. Each skull is mounted with 3700 Czech-crystal “diamonds” and took ten workers more than 45 days to complete all these crystal-studded metal alloy skulls.

Here they are again, lower mandibles disjointed and floating in a pile of red and white sand. The title of this installation is “Original Sin” 《原罪》. The artist’s statement reads “a lateral reconsideration towards the frantic pace of economic growth in a socialist motherland… The utilizing, plagiarizing and plundering of intellectual property of advanced civilizations by developing countries equals a bald-faced exploitation of developed culture under the premise of identification…”

Let’s embrace brevity: It’s Shanzhai contemporary art!

This random installation could be a commentary on the art fair, perhaps we could interpret it as the “shanzhai fair within a fair.” (more…)

The 2010 China International Gallery Exposition closed this afternoon. Although the critics were not impressed, I’ve shared a few personal highlights shared below, my interpretation of “fear” being loose.
Classic “horror flick” fear. For only ten RMB, you too can buy the respect you deserve as a collector of “Chinese art” (represented in vast majority at CIGE). Mr. Sigg’s eyeball-less mug could masks will send shivers up any seasoned “Freddy” fan and is sure to fool even the most experienced gallerist. (more…)

  The title alone of Barbara Pollack’s part exposé, part romp through the Chinese art world seems enough to identify the author’s New Yorker status. But she wears her outsider status like a badge, humbly poising herself to profile art world power players and make a broad outline of the yet infantile Chinese art infrastructure. As an American art critic covering contemporary art from China since the late 1990s, but who remains physically and metaphysically rooted in the Western hemisphere, her observations strive to be impartial and critical, as she wields her pen not on Chinese art objects per se, but the people and the institutions that beget them.

Her reporting skills, and relatively guanxi-free status among what can seem like a tiny, and steamy art world in China help her to collect and present enough information to capture the complexity and scratch the surface of this microcosm. She dives into personal impressions of Ai Weiwei with relish and bares her astonishment at dubious museum shows––all in-between Benson & Hedges and ladies’ nights out with one of her gatekeepers to the Chinese art world, the gallerist Meg Maggio.

The Wild, Wild East isn’t quite a Seven Days in the Art World for the Chinese contemporary art scene, but Pollock smartly plays her “foreign journalist” credentials to work her way to the highest echelons of Beijing and Shanghai’s art world power structure. While every “insider” will surely find points to dispute, they are equally sure to take away something new; newcomers or casual readers will find it a highly readable introduction, especially with regard to the art market.

Pollock well knows, the laowai status within China can be a double-edged sword, and many people have obviously worked on maintaining their “face,” never quite withholding information, but surely not “airing their dirty linens” before the foreign journalist. Although she doesn’t address this directly, Pollock’s self-awareness and sensitivity to her dilemma is reflected in divulging portrayals of her translator, Zhang Fang (also the wife of artist Wang Qingsong, whose intermittent commentary was valuable and entertaining).

Approaching this behemoth––the very complex, very foreign rising art world in the East––takes moxie, which this native New Yorker indubitably reflects in her first book. The Wild, Wild East wavers between dish and reportage, and is unquestionably the most ambitious attempt to date at a narrative account of the light-speed developments in Chinese world of contemporary art, in either English or Mandarin.

Barbara will launch her book at the Bookworm on the 22nd, and at Beijing’s UCCA on April 24.

Apologies, friends, for the very sporadic posting on my part. Of late, most of my blogging energies have gone into a new project for me, the Chinese version of artforum.com.cn.

Maintaining this already wonderful site is now one of my responsibilities, and finally getting off the AWW manuscript to MIT Press, and the new year hibernation, etc…. The 2010 spring thaw will bring wonderful things, and happily, with most of my editorial energies pouring into the artforum.com.cn site, sinopop can become become more personalized, more suibian, and a place for stories and ideas that don’t fit the scope of the other site.

Please look for us in the future, as we hope to start adding some new Chinese language columns to the artforum site, attempting to add some thoughtful content and commentary to a crowded cybersphere of art news from China, of various qualities.

朋友们、亲爱的读者， 非常抱歉！最近忙一堆事没有更新博客。今年要开始投入美国artforum杂志网站的中文版，担任一些编辑的工作。 如果你还不熟悉，应该过来看，网站上有大量的杂志译文，也有亚洲地区的展评。

随着我的在官方网站的参与，之后sinopop的内容就更加自由， 更随便和主观一些， 我会尽量把“严肃艺术编辑”的精神集中在artforum.com.cn了。（如果您，读者还没有看到此精神，请不要急––之后有人赞助我就好说！哈！）

What more is there to say? If we should learn from history, and images are the most powerful medium of our age, then the following should need no introduction. For all the love of spectacle we endured, 2009, thank you most of all for introducing me to the perils of the Caonima, watch your back, river crabs are everywhere.

Click on photos for news links.

The death of celebrated translator, scholar and poet Yang Xianyi was mourned this morning in western Beijing at Baobaoshan cemetery.  Hundreds of well-wishers and media were there to pay respects to Yang Xianyi, he was 95 years old.

Yang Xianyi’s life was ripe with celebrated achievements, he and his wife Gladys Taylor produced definitive translations of Chinese classics and Yang was full of intellectual vibrancy, an “upright scholar” if modern China ever produced one.  In China’s pivotal century, his life might well be the quintessential definition of inter-cultural exchange.

Yang Xianyi and his wife Gladys Taylor met at Oxford in the 1930s, and returned together to a war torn China, where they roamed in the southwest before they began translating, eventually moving to Beijing in 1951 in support of the Communists, they engaged in decades of translation, political persecution, and loving companionship.

The funeral hall was filled with flowers, and well wishes from leaders as high as Jiang Zemin, Wen Jiabao and Wu Bangguo, nearly the entire staff of the Foreign Languages Press came to pay respects, but the passing was only made easier to know that Yang Xianyi’s tremendous contributions will outlive him for many decades to come.

Never afraid to speak his mind, always standing on the side of righteousness and humanistic and sympathetic to the people, the passing of an intellectual such as Yang Xianyi brings an era of heroism nearer to a close.

R.I.P. Yang Xianyi 杨宪益 (1915-2009)
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The Guardian has an excellent obituary by old friend John Gittings
看卫报的中文版的讣告： 大翻译家杨宪益
DANWEI has translated some of his more political vignettes in an obituary here
看新浪的杨宪益告别仪式报道
Yang Xianyi NYT obituary
more from the Independent

Wang Wei manipulates spaces, most often building spaces in spaces. In “Historic Residence” he recreates the lavish bathrooms of cottage that was built for the Chairman and his wife Jiang Qing in the south of China. They are built into the gallery, tile floors and all; while the toilet, bathtub etc, are built to proper proportion, the space itself has been blown up to exaggerated proportions.
The cavernous spaces say something about the cult of personality, the fact that Mao himself only stayed there for a total of 10 days, while it was always kept pristine lends it a sacred air.
Highly recommended, in the new Space Station, now occupying the former space of the China Contemporary gallery in 798.

Until Nov 14

from my ARTiT blog, visit for more exhibition images

read curator’s statement on art-ba-ba

Today is the third day of the “Negotiating Differences” conference in Beijing, and the atmosphere is sparkling. Overall more productive than the May conference “China Contemporary Art Forum” that called together scholars such as Hans Belting and Hal Foster, the conference is progressing with productive debate. This second day of presentations looks promising, Sinopop will post more later, including selected papers.Negotiating Difference. Contemporary Chinese Art in the Global ContextVenue: Haus der Kulturen der Welt, TheatersaalAddress: John-Foster-Dulles-Allee 10, 10557 Berlin, GermanyDate: 22 to 24 October 2009Organiser: East Asian Art History, Freie Universität Berlin“Negotiating Difference. Chinese Contemporary Art in the Global Context” is hosted by:Freie Universität BerlinDepartment of History and Cultural StudiesInstitute of Art HistoryEast Asian Art History (more…)

The “Green” art fair recently ended in China’s World Trade Center. Young artists sent their works directly to the fair, applying through an online form, and buyers, gallerists came to root through the weeds, in hopes of finding young sprouts to cultivate. Each artist was only allowed to display one work, and there were some rather established artists present, such as Yang Fan, who sent a portion of the massive carpet she installed last spring, and even some artists under pseudonyms (one included in the photos below).  In its first year, the fair’s website is as ‘green’ as the artists it promotes: only a portion of works are shown online, and the site often malfunctions. Despite that, some editor’s picks are below, click on image for detailed information.

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Hopefully these pictures can let you experience China’s national day parade as it was enjoyed by hundreds of millions on the morning of October 1st (only the very loyal, and high ranking cadres and military folk actually made it to the bandstand that morning). The painting of Mao looking over the square has been replaced with a smiling, benevolent and satisfied looking comrade, “Old Hu” inspected the troops poking out of the sunroof in the same Hongqi from 1949, and after a very proud and spine-tingling display of “model” soldiers and firepower, the parade began. Perhaps the most elaborate display of socialist pagentry possible today, the parade cost billions of RMB, and (of course) made the DPRK’s birthday celebration look like a mere joke.

Below are some shots of thrilled, smiling crowds and saluting policemen and soldiers. Judging from the blue skies, and the nicely balanced crowds of citizens, we’re pretty sure these were “filler shots” filmed at the rehearsal that happened the previous week.

Aerial shots provided uplifting views of the poignant messages that were delivered via cards flipped by the masses seated in the square they read as following:

“loyalty to the party”/ “socialism is good” / “protect world peace”

The final image is an amazing recreation of the Fu Baoshi painting that hung in the Great Hall of the People. It was commissioned for the hall in 1959 and for decades it provided a most dramatic background for diplomatic missions.

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On the eve of the 60th anniversary of the People’s Republic, things are beginning to look red here in Beijing, deep red, like a profuse wound. On the Beijing streets, some of the visual celebratory feast residents drank in last year during the Olympics is being recreated in billboards, television galas, parades, mass performances and wide-ranging worship for spectacle, but the festivities this year are tinted with more eulogizing, more solemnity, more red. In a commemorative fine art exhibition at the National Art Museum of China (closed on Sept 14) red not only prevailed in the literal sense, its ideological presence was overpowering. In this exhibition that sprawled out over the entirety of the NAMOC’s exhibition halls, co-sponsors Cultural Ministry of China and NAMOC pulled sixty years of revolutionary masterpieces out of storage from all of Beijing’s major collections, including the Military Museum and the former Revolutionary Museum (soon to reopen as the Museum of Chinese History). It was a mind-blowing show, by scale and quality alone. Also, by their omissions, curators highlighted what isn’t included in the sanctioned visual lexicon that is “fine art” in China today. This became especially apparent when viewers started to wonder on what floor the “contemporary” were being hidden.

Divided into three main sections, oil painting, traditional painting, and propaganda posters with comics and animation, “masterpieces” of recent art history, were in every room.

Heading directly to oil paintings, I was intercepted by the captivating magnificence of Chen Yifei’s Seizing the Presidential Palace, (1977), a work that could inspire anyone to make revolution. More familiar as Chen’s work was his Looking at History From My Space (1979), also by Chen Yifei. Perhaps the most iconic painting in contemporary art history was Father (1981) by Luo Zhongli, displayed adjacent to My Space. This work was much more three-dimensional than ever imagined, through a painting technique the “dirt” on the ‘father’s’ eyebrows and on his turban look as if they might literally crumble off the canvas onto the floor.
Next door, two of Chen Danqing’s Tibetan Series paintings dating to 1982 were exhibited, which seemed to fit into a long and ongoing tradition of representing minorities as dark-skinned and almost monstrous. Another work brought out from the coffers and representing the ’85 New Wave was Meng Luding and Zhang Qun’s New Era––The Enlightenment of Adam and Eve. Painted in a surrealist style, this work is often interpreted as a metaphor for the “enlightenment” of their generation in the 80s. (more…)

一凡新作展的名称《看不完》与展览本身十分契合：大量的录像、装置作品让观众目不暇接，同时，每一件作品都包含着过多的文本，恐怕没有哪个观众可以真正地将某一件作品“看完”。王一凡在创作中始终关注着时间维度，并对其进行挑战。《监视时间：王一凡的钟表》是他的代表作之一。在这件装置作品中，王一凡利用中国家庭中常见的石英钟作为道具，采取机械的方式记录下石英钟24小时的状态，通过对24小时的钟表的纪录，王一凡在石英钟上以隐晦的方式将自己的名字演变为产品logo，试图在其中建立一种崭新的秩序，以期实现对时间的掌控。纵观王一凡的作品，他似乎总是在关注生活中稀松平常、微不足道，但却真实存在的细小变化。不管是记录空间状态的录像作品，还是密密麻麻誊写下来的小说，经过王一凡的聚焦与放大，这些不引人注意的细微末节突然从默默无闻的角落被抛向聚光灯的中心。随着微小平常的生活点滴成为作品的主体，看与被看的角色也随之错位。时间由隐形的控制者转变为被窥视的角色，话语权转移到观众手中。观看与否，观看的完整与否，都取决于观众自己。同时，观众与艺术家二元对立的角色设置也产生了微妙的变化；王一凡的作品提供了一条纽带，让观众和艺术家联手，正视并解构时间。Author: 景晓萌 2009.08.08-2009.09.07 星空间艺术中心|Star Gallery谢谢artforum.cn, 访问原文

While we’ll never keep up with AWW’s news appearances, here’s a few recent articles on his activities, his activism, and an interview with ARTiT from Japan following his first major museum show at the Mori Museum in Tokyo.  The photo is him photographing in an elevator from a cell phone while detained by the police, the blog it was found on titled this image “Ai the God” or 《艾神》. 

From ArtAsiaPacific, a magazine on “Contemporary Visual Culture” from Asia:

Ai Weiwei Continues Activism Against China; Government Responds
By Katherine Grube

On New Year’s Eve 2008, during a conversation with curator Hans Ulrich-Obrist at Vitamin Creative Space’s Beijing branch, artist-provocateur Ai Weiwei predicted: “2008 was the first year that China safeguarded legal rights; it’s when people started to wake up. But in 2009, I think China will confront greater problems.”

These words now seem unnervingly prescient, given that the first six months of 2009 in China were marked by politically sensitive anniversaries and often-violent protests including riots by members of the Uighur minority in Xinjiang province. From his Beijing studio, Ai continued his calls for a more responsible government even as China stepped up its response to the artist’s efforts.    [read the rest of this article on the AAP site]

From ARTiT, the Japanese webjournal on contemporary art:

Ai Weiwei Interview: “I’m fighting for freedom of speech. I never settle for less. I don’t engage in negotiation.”

Read the interview in English here, on the ARTiT site

王一凡个展“看不完”的确贯彻了“看不完”的根本要义——展出作品包含五件时长24小时的录像作品和抄写在十一幅画布上面的两万多字的小说（小说作者为王一凡），完整地看完这个展览，至少需要不合眼地“看”上120个小时以上，所以对观众而言，“看完”的可能性简直微乎其微。通过超乎寻常的长度，平凡的画面被王一凡改变，常识遭到质疑──“观看”的过程与方式遇到了一个难题──在作品面前，是不是去思考它的意义比用眼睛观看更为重要呢？

那些透过树叶撒在楼梯上的“阳光”，是王一凡于2008年拍摄的作品《安静》。水泥地面上斑驳的树影唤起了艺术家在烈日下等待的日常记忆，只有你心怀沉静、默默观察，才能够在树影中察觉树叶的微微晃动。

王一凡创作观念的成熟从“黑板”系列开始，2005年，他开始在黑色画布上书写他的“故事”。本次展出的题为《马利》的11幅作品是他这一系列的最新代表，画面上的文字讲述了主人公马利从高中到大学毕业的恋爱经历；文字由王一凡撰写，他邀请了11位朋友共同把两万字的小说抄写在画布上，于是形成了面前这番风格迥异的画面形态。 (more…)

Wang Yifan films Xie Molin from lee ambrozy on Vimeo.

王一凡为了个展《看不完》在弄新的作品拍艺术家谢墨凛的一张画。我偷偷地拍下来这里的小记录片。此作品系列的名称是《王一凡拍摄谁谁谁》，用固定的拍摄方法艺术家王一凡按照他“自然的时间单位” 24小时录像拍摄对象艺术家工作室里的画。除了阳光的变化，没有声音或其他变化。

看不完
Kàn Bù Wán
王一凡个展
Wang Yifan solo exhibition
策展人：安静
Curator: Lee Ambrozy

开幕酒会：2009年8月8日下午4点
Opening: Aug 8, 2009, 4:00 pm

2009.8.8 – 2009.9.7 / Aug 8, 2009 – Sep 7, 2009

地点：星空间、北京市朝阳区酒仙桥路2号、798艺术区D09
Star Gallery，D09, 798 Art Zone, No.2 Jiuxianqiao Road，Chaoyang District, Beijing
Tel: +86 10 5978 9224

The feelings of the Chinese have been hurt once again, but this time, they demand an apology.

Five days ago three Chinese filmmakers withdrew their entries into the Melbourne International Film Festival, most prominently was Jia Zhangke (the World, Platform), Tang Xiaobai (aka Emily Tang), and Zhao Liang (a rising documentarian). The film behind the hurt feelings and the withdraws is “Ten Conditions of Love,” by Melbourne film-maker Jeff Daniels, it is a documentary, filmed over seven years, that tells of Rebiya Kadeer’s relationship with her activist husband Sidik Rouzi and the impact her campaigning had on her 11 children. Rebiya Kadeer is a Uigyher activist and advocate who has been demonized by Chinese media as the driving force behind the recent riots in Xinjiang. For readers who can’t make out the Chinese animosity towards her, we could compare her role in China to that of Osama bin Laden in the US.

Many Jia Zhangke fans overseas were shocked and dissapointed that he would make such a polical decision, but according to this writer’s gossip channels, the film-making community in Beijing seems overwhelmingly convinced that the decision was made from coercion. Considering Jia Zhangke is filming his first attempt at a blockbuster hit, a kung fu film, can we really doubt the motivation behind his withdraw from the MIFF? The nationalist fervor surrounding the issue seems to guarantee his investors would demand his withdraw.

Demonstrating the harmonious feelings of all Chinese, the first paragraph of the China Daily report reads as follows: “Chinese directors Jia Zhangke and Tang Xiaobai say they have quit the biggest film festival in Australia because of personal beliefs - - not because of any pressure from the Chinese government.” (Source China Daily) Tang Xiaobai was quoted elsewhere saying that she was practicing “self-restraint” by pulling out from MIFF; Zhao Liang, whose entry was a documentary film on petitioners who come to Beijing to voice their grievances to the deaf ears of central government, has stayed relatively silent on the issue. His film Petition, already touches on sensitive issue in Beijing, perhaps its easy to understand why he remains silent.

Everyone is feeling the pressure these days: according to news sources, director of MIFF Richard Moore received a phone call from the Melbourne-based Chinese consulate last week.

“She told me that she was ringing to urge me to withdraw the particular film (more…)

We all remember “Running Teacher Fan,” the poor sap who, after abandoning his students in the classroom during the Sichuan earthquake, proceeded to be butchered by Chinese media as the anti-hero. “My sense of self-preservation is too strong,” he was quoted as saying.

Later, Ai Weiwei defended him in his legendary blog, commending his honesty and bravery in admitting his un-noble actions in a time of hero fetishizing, especially in comparison to the Sichuan Ministry of Education, which still won’t face up to the sub-standard construction on schools that caused their collapse.

As if taking Ai’s lead, Zhu Qi, artistic director for the upcoming “798 Biennale” will include Fan Meizhong, the notorious “Running Teacher Fan” in the biennale as an artist. Publicity stunts, or significant attempt to bring art in 798 to a new social dimension? We will have to wait until August 15th to find out.

In a post on the artnow.com.cn site , Zhu Qi writes: “I’m not saying that I agree with Running Teacher Fan’s sense of values, however, the fact that he can honestly voice his opinion is worthy of appreciation.”

“我并不认同范跑跑的价值观，但范跑跑能真实地表达自己的态度和看法是值得欣赏的。”

And he’s not the only “vocal” participant, in an exhibition titled “The Soulful Society VS The Net Spirit” (社会魂vs网络魄）infamous Chongqing “rustynail” dweller（钉子户） Wu Ping, the woman who refused to vacate her home (pictured at left) will also be participating, as well as some disabled, and there’s even a program that trains unemployed workers to be artists, the “Laid off Art Rehabilitation Program.” Hm. How does one qualify?

The whole thing will be going off in the 706 space within the 798 complex, one of the main venues of the Biennale. Dates are August 15 to September 12, 2009. Although a little unclear on the details, or what, exactly, they will be making “art” of, Zhu Qi seems unhindered by the fact that these folks have probably never considered themselves artists before they received a call from his assistant.

Zhu Qi gives two reasons for his decision in his post: the first, Chinese contemporary art should take its lead from reality; the second, a biennale shouldn’t necessarily be a collection of highlights, but also a platform for which to discuss issues.

Read Zhu Qi’s post here (Chinese only)

Preview the Biennale at the official website

The Gao Brothers were recently in Moscow for the second annual awards ceremony of the Kandinsky Prize, their well received performance was part of the “Art and Power” themed event.

For their performance, a golden “Miss Mao,” their giant fiberglass bust of Mao’s head with naked breasts, sat in the middle of the stage. The brothers came on stage in similar masks and imitating politicians, waving, etc., before they embraced in a hug, and then taking a hammer to Miss Mao’s head. Inside was a red bust of Lenin, which was bust open to reveal a black skull.

The Gaos were in good company, Dinos Chapman presented the award, and screened a recent video work on the death of famous artists, and Marina Abramovic also gave a performance. The awards ceremony itself was a bit of a scandal, with the award going to Moscow artist Alexey Belyaev-Gintovt, who has been called “ultra-nationalistic” and “neo-Stalinist.” Leftist internationalists protested outside …

Read about the awards ceremony at Frieze.com /  on ArtInfo

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