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The Art of Now - using Chinese contemporary art with students

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The Art of Now - using Chinese contemporary art with students

  1. 1. Contemporary Chinese Art: Tradition & Transformation The Art of Now Designing Case Studies Using Contemporary Chinese Art Luise Guest ARARTE 2013
  2. 2. “We’re not in Kansas any more…..” About me: • 30 years in art education in Sydney, Australia • NSW Premier’s ‘Kingold’ Chinese Creative Arts Scholarship for travel to China – 2011 • Independent research and writing projects Beijing December 2012 • Redgate Gallery Writer’s Residency October – November 2013 • Research for book – 12 contemporary women artists in China
  3. 3. In this most ancient of cultures… Tradition… Transformation… Song Wei, Hamburger, 2008, fibreglass sculpture, www.redgategallery.com
  4. 4. Why study contemporary art? Students need to know about ‘the art of now’ because: • it is engaging, interesting and thought-provoking • it is ‘of their own time’ and relates to our world and all its issues • it connects to the ‘artworld’, a real place with real people, making real artworks • it connects directly with their own artmaking practice • it assists students to make connections in their art writing, and to develop their ‘art literacy’ • students WANT to engage with it, even when they are challenged by its form or its content
  5. 5. Why study Chinese art? • Because it is so exciting, so new, so constantly changing and so important! • Beijing, Shanghai and Hong Kong are recognised as three of the key art centres on the planet right now and their importance in the art market and the field of contemporary art continues to grow. • Taipei continues to develop as a newer art centre and some of the most interesting artists practising in a range of disciplines are working in Taiwan.
  6. 6. Rachel Cronin, Year 12 2012, ‘Babel’, documented form, photomedia, video, artist’s book
  7. 7. My artwork explores communication and miscommunication, through language and across cultures. My intent was to emphasise the importance of language in our contemporary society both in shaping our identity and in building networks globally through interaction with others. Through the representation of language in all of its forms, I hoped to envelop and confront my audience, inviting them to question the ability of language to enhance communication, or paradoxically initiate miscommunication. Using the extended metaphor of the biblical story 'The Tower of Babel’, I worked across the mediums of photography and film, resulting in a documented form. Influencing artists: Zhang Huan, Susan Hiller, Jenny Holzer, Laurens Tan, Wenda Gu, Xu Bing, Yang Zhenzhong
  8. 8. What paradigm am I coming from? • In New South Wales art education curriculum gives equal weight to critical and historical studies of art in the middle and senior years • Students are immersed in ‘practice’ – of the artist, the critic and the historian • They model their own developing practice – as artists and as art writers – on those to whom they are introduced in their studies
  11. 11. Wan Liya, in Two Cities Gallery, M50, Shanghai ,photograph Luise Guest
  12. 12. Yao Lu, Early Spring on Lake Dong Ting, 2008, image Bruce Silverstein Gallery
  13. 13. Yao Lu, Mountain and Straw Houses in the Summer, 2008, Galerie du Monde Hong Kong
  14. 14. Zhou Hongbin, photograph, image courtesy the artist and China Art Projects
  15. 15. Bing Yi Huang, ink on Chinese paper, image courtesy the artist
  16. 16. Huang Xu, Plastic Bag #8 Image courtesy China Art Projects and the artist Huang Xu and Dai Dandan in their studio
  17. 17. Bing Yi Huang, Beijing, October 2013
  18. 18. Bing Yi’s assistants unroll the 30-meter ink painting she showed at Documenta
  19. 19. • What impact do traditions and contemporary tensions have on the work of artists in China now? • How is this seen in their work? • How can this benefit our students?
  20. 20. • How can we design case studies for our students using this most exciting contemporary work? • How can we structure learning to assist them in engaged, authentic understandings of contemporary practice? • How will they move from engaging with contemporary practices to their artmaking? Han Yajuan. ‘Travel Alone’ oil on canvas image courtesy the artist
  21. 21. Image reproduced from http://blog.everythingwallart.com/wall-art-news-worldwide-protest-for-ai-weiwei-release/
  22. 22. Photograph shot in the Tsim Sha Tsui subway on the morning of April 16, before the stencilled images were covered by workmen under the direction of the police
  23. 23. Ai Weiwei, ‘Remembering’ at Haus der Kunst, Munich 2009, source http://commons.wikimedia.org/wiki/File:Ai_Weiwei-So_sorry.JPG
  24. 24. Bang (2013), an Ai Weiwei installation in the German pavilion Source: http://www.guardian.co.uk/artanddesign/2013/may/30/ai-weiweivenice-biennale
  25. 25. For the Venice Biennale, Ai Weiwei has created an installation detailing his 81 days of incarceration by the Chinese government back in 2011. Entitled S.A.C.R.E.D(Supper, Accusers, Cleansing, Ritual, Entropy, and Doubt), the installation at the Sant’Antonin church features six iron boxes that display scenes of his captivity. Source: http://arrestedmotion.com/2013/05/showing-ai-weiwei-s-a-c-r-e-d-the-venicebiennale/
  26. 26. Jonathan Jones in the Guardian: The Venice Biennale needs Ai Weiwei – a man who makes art matter: “Like Beuys in the 70s or Duchamp in 1917, with Ai Weiwei we have the privilege of seeing a modern master in his moment.” “This is the moment of Ai Weiwei, an artist who will be the stuff of legend.”
  27. 27. BUT contemporary Chinese art is about far more than Ai Weiwei! Virgin Garden: Emersion. China Pavilion at 51st Venice Biennale, Venice Arsenale and Vergini Garden, Venice, 2005. Exhibition curated by Cai Guo-Qiang Liu Wei (Born 1972, Beijing, China), Star, 2005, Flash lights and motion detectors, Dimensions variable Photo by Tatsumi Masatoshi, courtesy Cai Studio
  28. 28. Song Dong, Waste Not, at Carriageworks Sydney 2013
  29. 29. Yin Xiuzhen, currently showing at Pace Beijing, in 798
  30. 30. Huang Jing Yuan, oil on canvas, image courtesy the artist
  31. 31. Liu Zhuoquan, image courtesy the artist and China Art Projects
  33. 33. Beijing
  34. 34. “I think I will do something different than the Cynical Realists, although I am not always sure that others will understand, but as China becomes stronger and more confident, real Chinese thoughts will be recognised world-wide, and artists such as myself may be recognised” Focus Artist #1 - Beijing LIANG YUANWEI
  35. 35. From 2004, I used typewriter to type “umustbestrong” 44 times everyday on a roll of toilet paper, it so happened within one section of the toilet paper. Two whole rolls have been completed by the end of 2006. ——Liang Yuanwei
  36. 36. “Art mirrors changes in society, artworks are treated as a flagship and a symbol of the country. Sooner or later, alive or dead, as an artist you will be the flag.” Liang Yuanwei’s work at Venice Biennale 2011
  37. 37. “On the tenth of this month it has been held an important press conference in Beijing. Peng Feng, vice director of the aesthetic department at the Beijing University and curator of Chinese Pavillon at the Venice Biennale, officially presented the artists'works. The winner are: Pan Gongkai, Liang Yuanwei, Yang Maoyuan, Cai Zhisong and Yuan Gong. The title chosen by Mr Peng this year is "Pervasion". Pervasion correspond to the 5 main taste of China that had an influence in the world. The subject is one of the most ordinary one. When a foreigner images China, he probably may thinks about the Chinese Tea, how weird and mysterious is their ancient medicine, the fashonable Lotus flower, the mystic smell of the incense in the temple, and if he is fortunate enough to have traveled once in China, how strong is the taste of their liquor, the Baijiu. All this five element will be presented as a odor that will flood all over the pavilion.” http://yishuyishu.blogspot.com/2011/05/chienese-pavilion-at-venice-biennalei.html This loses something in the translation from Chinese to English – but showing in Venice is an extraordinary achievement for this young artist! Post-Venice she was bitter and disillusioned – why?
  38. 38. “Art practice is like building houses, where different people use many different materials and construction techniques. My paintings are my own little universe of materials, purposes and techniques.”
  39. 39. During the Southern Song some emperors and empresses inscribed poetic lines to go with small paintings, especially album leaves. In this work the court painter Ma Lin has painted the blossoming branches to go along with a poem inscribed by an imperial consort. What references can be seen in Liang Yuanwei’s paintings to Chinese traditions such as ink painting, scroll painting and calligraphy? http://depts.washington.edu/chinaciv/painting/t courbf.htm
  40. 40. Postmodern? Or traditional oil painting conventions of representation? What is significant in these paintings is not the marvel of the successful execution of a unique and challenging technique, but Liang’s refusal to engage in shortcuts. She paints every inch of her canvases instead of delegating the timeconsuming work to assistants, as is common in a place like Beijing where works can be fabricated with great ease. Collectively, the paintings raise a series of questions: What is the significance of a medium when works in oil mimic designs in fabric? Is the defining quality of each work its process or its concept, and where do we draw the line between daily manifestations of culture and those that are elevated—or debased—to the realm of art? These works offer no explicit answers, only delicate decorative pleasures and interpretive depth for those who seek it. http://artasiapacific.com/Magazine/60/LiangYuanwei
  41. 41. http://theculturetrip.com/asia/china/articles/be tween-fear-and-trust-the-art-of-liang-yuanwei/
  42. 42. Feminist Sculptor, Eva Hesse Repetition Nineteen 3, 1968 Museum of Modern Art, New York Identify some connections between Hesse and Liang Yuanwei Art that wasn't "art" was her aim. "I wanted to get to nonart, nonconnotive, nonanthropomorphic, nongeometric, non, nothing, everything, but of another kind, vision, sort, from a total other reference point," she wrote in an exhibition statement in 1968 http://newsgrist.typepad.com/underbelly/2006/06/eva_hesse_body_.html
  43. 43. Liang Yuanwei identifies influences including Joseph Beuys, Eva Hesse, Agnes Martin, Sigmar Polke and significantly, Mark Rothko, as well as writers, philosophers, political activists and musicians
  44. 44. Picture of Early Spring------Oil painting/installation------Taikang Space, Beijing------2010 “This series is produced for my solo show at Taikang Space. The work consists of two parts: ‘One Table and Four Stools’ and ‘Nine Tables and Nine Stools’. The form of the works comes from the folded stools and tables that are common furniture for families which are not better-off and cheap street stalls. The colour and form of these tables and stools and the way they are shown in the space presents my feeling about the early spring.” http://www.liangyuanwei.com/en_works_32.html
  45. 45. Making Art Historical Connections Joseph Beuys, Fat Chair Liang Yuanwei, Picture of Early Spring • Es Establish some connections between influential ‘Fluxus’ conceptual artist Joseph Beuys and the conceptual basis of works by Liang Yuanwei
  46. 46. “My work is like a scientific laboratory” Focus Artist #2 - Beijing LIU ZHUOQUAN
  47. 47. Traditional ‘inside painted’ snuff bottles (“Nei Hua”), were painted with a fine curved bamboo brush, and with the details first, backgrounds second
  48. 48. All images of Liu Zhuoquan and his works courtesy the artist and China Art Projects
  49. 49. “On the surface life seems quiet and calm, but underneath danger lurks, represented by the idea of scientific specimens in bottles. Also we use bottles all the time in our daily life, so they are a symbol of the everyday. Traditionally painted snuff bottles emphasised the imaginary world contained inside the bottle, so in my everyday bottles I am also creating an imaginary world.”
  50. 50. “Bottles can be a place to conceal or save memories, the past and our history. Some of my bottles contain memories of the Cultural Revolution times, and other reflections of real events, but in a ‘veiled’ way. In the place where I was born the temple was used for the ashes of the dead, which were contained in bottles. My name is the name of this temple.”
  51. 51. “My time in Tibet was very important, and the influence of Tibetan culture is there in my work. The Tibetan attitude to death and their philosophy is quite different, and this can be seen in their ‘sky burial’ ceremony. It is necessary always to have a dream as life and death are so interconnected.”
  52. 52. Seven Sparrows (detail)
  53. 53. Chang’An Avenue (installation detail) shown at Sydney Contemporary, September 2013
  54. 54. Art Critical Connections Compare and contrast the practice of Liu Zhuoquan with Australian artist Fiona Hall. In particular, look at her works ‘Mourning Chorus’ and ‘Cell Culture’ and comment on the way that each artist has employed ‘found’ and discarded materials to make a comment about their world. Images of Hall’s works from http://roslynoxley9.com.au/artists/17/Fiona_Hall/481/
  55. 55. “I am a sculptor who uses embroidery, not an embroiderer” Focus Artist #3 GAO RONG
  56. 56. Gao Rong looks out her window at the changing face of Beijing…. All images of Gao Rong and her works courtesy the artist (and White Rabbit Gallery)
  57. 57. Gao Rong, ‘Station’ 2011 Fabric Thread Sponge Metal Image courtesy the artist and White Rabbit Gallery How might students 5 engage with Gao Rong’s works? Themes of Daily Life, Femininity, Family, Journeying…. Links with Pop Art, and with the Feminist works of artists such as Judy Chicago and Miriam Schapiro Gao Rong says she was inspired by Tracey Emin – another rebellious female!
  58. 58. Gao Rong, Level 1/2, Unit 8, Building 5, Hua Jiadi, North Village (2010) fabric, thread, sponge, metal, image reproduced courtesy of the artist and White Rabbit Gallery.
  59. 59. Gao Rong The Static Eternity, 2012 Cloth, Wire, Steel, Cotton, Sponge, Board Image courtesy the artist, White Rabbit Gallery and the Biennale of Sydney See following three slides for details of this work.
  60. 60. http://www.randian-online.com/np_feature/in-grandmothers-house/
  61. 61. Shanghai
  62. 62. “My left hand encloses the past, my right the present” Focus Artist #4 - Shanghai PU JIE
  63. 63. Pu Jie, Tiananmen, 2011, oil and acrylic on canvas, photograph Luise Guest reproduced courtesy the artist
  64. 64. Installation view, Redgate Gallery Beijing, March 2011 All Pu Jie images reproduced with permission of the artist, ShanghArt Gallery and Ausin Tung Gallery
  65. 65. Pu Jie, Head and Her No 12, 2008, acrylic on canvas, Photograph Luise Guest reproduced with permission of the artist
  66. 66. A Pet No 2, 2007, photographed in Pu Jie’s studio, Shanghai, March 2011
  67. 67. “In my work the colour yellow represents the search for good fortune, and it is also an imperial colour. It represents the last 30 years of the ‘opening up’ of China. In contrast the Cultural Revolution is represented by the colour red.”
  68. 68. “I have been searching for a better way to express the combination of the past and the present – this is the conflict of all Chinese people of my generation. My images are politically charged and quite sensitive.”
  69. 69. A work in progress, photographed in Pu Jie’s studio, March 2011 “I want to preserve the past in my work, just like a scientific specimen”
  70. 70. Pu Jie ,’Feeding’, 2010, oil on canvas, 200 x 250cm, image reproduced courtesy of Ausin Tung Gallery.
  71. 71. “What I experienced are two different eras, my life feels like a paradox” (Pu Jie) Explore ways in which Pu Jie represents aspects of his personal and cultural worlds – make connections with works by American Pop Artists such as James Rosenquist, using the MOMA website www.moma.org Watch Robert Hughes ‘Empire of Signs’ from American Visions http://www.youtube.com/watch?v=o1arL-L7_O4
  72. 72. Focus Artist #5 - Shanghai LU YANG
  73. 73. Control is what Lu Yang’s work is about. Machine/animal control, machine/corpse control, machine/human control, human/human control…at the core of this control hierarchy is mind control. What she works with is the fundamental method in cybernetic art. Her works are often sadistic/masochistic biological or bionic control systems. Dajuin Yao Open Media Lab, China Academy of Art
  74. 74. “A world of mad science and manga, all rooted in some kind of incontrovertible truth about what we are made of; DNA and chromosomal chains that sometimes get twisted out of shape and into something completely unexpected.” Martin Kemble, Art Labor Gallery Shanghai
  75. 75. “Showcasing her latest music video work Dictator, Lu Yang takes the audience onto a mind-boggling journey that aesthetically explores the biology of control systems in living frogs and amphibians. Progressing from her previous work Happy Tree, which shows living animals being treated with a centrally controlled pulse of electricity in a small tank, Lu Yang extracts some footage from the work and transforms them into highly aesthetical and technical forms that are presented with the accompaniment of sound composed by Wang Changcun” (Art Radar Asia, June 30 2010)
  76. 76. http://luyang.asia/ http://theculturetrip.com/asia/china/articles/old-meets-new-in-chinese-art-fiveyoung-chinese-artists-to-watch/
  77. 77. https://vimeo.com/29762925 Lu Yang, ‘Wrathful King Kong Core’ – Tibetan Buddhism / Sci Fi / Anime !
  78. 78. “My painting is like meditation; a slow and peaceful process that takes a long time to develop. Buddhist scripture suggests eliminating all that is inessential to distill the essence. Simplicity is reality” Focus Artist #6 - Shanghai SHI ZHIYING
  79. 79. SHI ZHIYING 石至莹 Reliquary 金筐宝钿珍珠装碔 玞石宝函, 2013 Oil on canvas 20 1/8 x 16 3/16 in. (52 x 42 cm) Image courtesy the artist and James Cohan Gallery New York
  80. 80. Shi Zhiying, Blue and White Porcelain Bowl with Arabic Inscription, oil on canvas, 42 x 52 cm – image courtesy the artist and James Cohan Gallery
  81. 81. Shi Zhiying, Egg White Porcelain Bowl, oil on canvas, 40 x 50 cm – image courtesy the artist and James Cohan Gallery
  82. 82. Hong Kong
  83. 83. “Western painting is like opening a window and looking out, Chinese art is more like opening a space to escape to within the self” Focus Artist #7: Hong Kong TUNG-PANG LAM
  84. 84. I plan to produce a series of works called ‘1 square foot’ about how to escape the noise and pressure of life in Hong Kong All images reproduced with the artist’s permission from www.tungpanglam.com
  85. 85. Lam Tung-pang Currently lives and works in Hong Kong Lam Tung-pang uses both traditional (oil, acrylic, charcoal, pencil) and non-traditional (nails, sand, plywood, found objects) materials to produce thoughtprovoking pieces engaging with the ideas of memory, history or reflecting the specific situation of individuals or groups. He is often making comment on his ‘hybrid’ Hong Kong Chinese identity as well as about issues in the world such as environmental destruction. Travel and Leisure 2010
  86. 86. “My work is in a Chinese idiom converted to contemporary life”
  87. 87. Influences include: • The broad, loose monochromatic brush-strokes of traditional ink painting • Hong Kong born New Ink Movement Master Lou Shoukun • The deeply embedded history of line drawing and ink painting in Chinese art • The tiny landscapes in the backgrounds of early Renaissance painters such as Giotto, Masaccio and Piero della Francesca • The 20th c inheritance of found objects and the use of ‘non-art’ materials • The ‘literati’ painters • Sigmar Polke, Michael Borremans and Sanyu
  88. 88. http://dailyserving.com/2013/03/things-happened-on-the-island-lam-tungpangs-floating-world/
  89. 89. Revenge of Nature
  90. 90. Remembrance 2005
  91. 91. Look left, look right 2005
  92. 92. Art Historical Connections Sanyu, a Chinese artist who went to Paris in the 1920s, is a significant influence on Lam Tung-Pang’s work, as is Sigmar Polke “I don’t really think about anything too much”, Sigmar Polke 2002 http://www.tate.org.uk/modern/exhibitions/p olke/global.htm
  93. 93. Folding 2005
  94. 94. Making critical connections Lam Tung-pang, ‘Fishing’ Compare how each artist uses materials, techniques and visual codes to communicate ideas about their personal world and identity Jenny Watson, 2006 Cool World Part 1: acrylic on rabbit skin glue pinned Chinese organza over daisy printed cotton, 219 x 83 cm; Part 2: industrial paint and velvet ribbon on prepared oval stretcher 79 × 30cm Roslyn Oxley9
  95. 95. My work invites a contemplative response in a throw-away society Focus Artist #8: Hong Kong HANISON (HOK-SHING) LAU
  96. 96. Hanison (Hok-Shing) Lau
  97. 97. Tabletop Garden series All images courtesy of the artist
  98. 98. Table top Garden http://theculturetrip.com/asia/china/articles/old-meets-new-inchinese-art-five-young-chinese-artists-to-watch/
  99. 99. Tabletop Garden, with documentation
  100. 100. Milky Way from the Ninth Heaven, 2008
  101. 101. References to tradition and cultural identity • He references traditional Chinese culture and poetry from the Song Dynasty, as he believes that young Chinese need to reconnect with these traditions. He also wants people to take the time to really look at the world around them and the objects they are using - in a busy, busy city where people buy a new cell phone then throw it away and buy a new one in order to have 'the newest, the latest' consumer goods, Lau wants his audience to think more carefully about tradition and the meanings inherent in objects Three Wishes
  102. 102. A Century-old shop 2010 Mixed Media Installation old cardboard. abandoned materials
  103. 103. Making art historical connections: • The performative artist • The ephemeral artwork • The artist as social critic • The continuing influence of dada Review the Fluxus movement and its dada inheritance. Explore works by Nam June Paik and Joseph Beuys. What connections can you make with performance works by Hanison Hok Shing Lau?
  104. 104. www.teachingchineseart.blogspot.com
  105. 105. Art Education INSIDE THE BOX, OUTSIDE THE BOX
  106. 106. How does Chinese art education produce artists of such technical virtuosity and capacity to innovate?
  107. 107. One aspect to consider in current discourses relating to art curricula “You cannot think outside the box unless you HAVE a box!” (Howard Gardner, speaking in Sydney, May 2011) How do we retain our commitment to engaging students in authentic, exciting and contemporary modes of making and studying art, whilst ensuring they are part of a ‘community of practice’?
  108. 108. And beyond artmaking – what about art literacy and authentic, exciting, fully engaged student writing?
  109. 109. Finding the “hook”! Huang Yong Ping, ‘Leviathanation’ at Tang Galleries Beijing 2011 (photo L. Guest)
  110. 110. Art Critical Interpretation Ways to ensure that student writing is authentic and rich • Strategies for eliciting genuine responses • Collaborative tasks • ‘Learning conversations’ • Avoiding plagiarism • Applying art language • Developing research skills • Using ICT and social media Huang Yong Ping, ‘Two Baits’, 2001, iron, fibreglass, metal sheets, 160 x 300 x 800 cm. Image reproduced courtesy of the artist and Rockbund Museum, Shanghai.
  111. 111. Rupture, Subvert, Transform! Traditional papercut Chen Hangfeng, Logomania series
  112. 112. And one extra artist (just because!) Chen Hangfeng in his Shanghai studio, photograph Luise Guest 2011
  113. 113. Transforming Traditions Chen Hangfeng Tianli Zu How have Chen, Zu and other artists employed the traditional form of the paper- cut to express ideas about their world?
  114. 114. https://vimeo.com/5713339
  115. 115. Some successful strategies • • • • Student websites / blogs Student video productions Using multi-media Collaborations between schools – crossing borders and breaking down those classroom walls • Innovative uses of social media • The ‘Flipped Classroom’
  116. 116. Year 11 student web sites from Loreto Kirribilli, Sydney • http://laralovesart.weebly.com/ • http://artwritingbylauren.blogspot.com.au/20 13/08/liu-zhuoquan-critique.html • http://pastelsandpaint.weebly.com/liuzhouquan.html • How does this work?
  117. 117. Links to student artmaking – so many possibilities! Child exploring ‘Source’ by by Ed Pien withTanya Tagaq at 18th Biennale of Sydney Cockatoo Island, photograph Luise Guest
  118. 118. Planning a learning experience for your students • Select a contemporary artist from the Asia Pacific region • Select a few works which you know will intrigue/confuse/surprise your students • Ai Weiwei? Song Dong? Liu Zhuoquan? Cao Fei? Cai Guo-Qiang? • Start to develop the introductory lesson: “the hook!”
  119. 119. Using ‘the art of now’ for authentic art learning • Step 1: invite students to observe, think, speculate and wonder • Step 2: require students to use rich language and their developing art vocabulary to describe, analyse and interpret a work without plagiarism or 2nd-hand ideas • Step 3: Invite students to ask “What if” • Step 4: Invite students to consider the relationship to their own artmaking
  120. 120. Wang Ningde Case Studies provided today were produced by Luise Guest for the NSW Premier’s Kingold Creative Arts Scholarship in 2011……. The www.teachingchineseart.blogspot.com site has more case studies and more articles suitable for adaptation to IB and other curriculum structures
  121. 121. Thank you / Xie Xie! / 谢谢 The End Luise Guest October2013