30.9.10
uit (H) ART - hedendaagse chinese kunst in de jaren 80. Een geschenk uit de (Chinese) hemel
Het Asian Art Archive in Hongkong en het MOMA in New York sloegen de handen in elkaar voor een gigantisch prestigieus project dat momenteel wordt voorgesteld: de lancering van de website www.china1980s.org, met een boekpublicatie ‘Contemporary Chinese Art. Primary Documents' in een redactie van Wu Hung. Dat gaat gepaard met evenementen in Hongkong, Beijing, Shanghai en New York. Met dit project wordt voor het eerst op een gestructureerde manier materiaal ter beschikking gesteld over het ontstaan van de hedendaagse Chinese kunst in de jaren 1980.
further research
B O O K S
The success of this archive will depend on the extent of its usage. Therefore, we urge everyone — students, professional colleagues, enthusiasts and friends — to explore this website, visit our physical library in Hong Kong, and augment this resource with ideas, suggestions, new information and material. We are delighted to assist you in any way we can, and thank you very much in advance for your interest and guidance.
An archive is not static, and neither is this project. Opportunities to collect new material and to pursue new avenues of inquiry will continue to develop. But as we conclude this critical initial phase, we would like to acknowledge the generous support of a long list of valuable contributors without whom this project could not have come this far.
The success of this archive will depend on the extent of its usage. Therefore, we urge everyone — students, professional colleagues, enthusiasts and friends — to explore this website, visit our physical library in Hong Kong, and augment this resource with ideas, suggestions, new information and material. We are delighted to assist you in any way we can, and thank you very much in advance for your interest and guidance.
An archive is not static, and neither is this project. Opportunities to collect new material and to pursue new avenues of inquiry will continue to develop. But as we conclude this critical initial phase, we would like to acknowledge the generous support of a long list of valuable contributors without whom this project could not have come this far.
een geschenk uit de (chinese) hemel
Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990 has four components:
| 1) | The first is an urgent drive to preserve and make accessible valuable material from the 1980s. AAA has been collecting periodicals, newspaper clippings, photographs, video recordings, exhibition catalogues, invitations, correspondence and other materials that relate to the development of contemporary art in China during this decade. It has acquired hundreds of texts published in the 1980s and digitized the personal archives of renowned artists and curators, resulting in a total of over 70,000 digital documents. Much of this material is available on-site at AAA’s library in Hong Kong, where all are welcome to visit. |
| 2) | To complement existing material, AAA has conducted in-depth interviews with over 75 key individuals from the contemporary Chinese art world of the 1980s, including artists, critics and curators. Unedited versions of these interviews are accessible on-site at AAA in Hong Kong and selected excerpts online at the project’s website. |
| 3) | AAA has used footage from 14 interviews to create a 50-minute documentary film about experimental art in South China (Guangdong) in the 1980s entitled From Jean-Paul Sartre to Teresa Teng: Cantonese Contemporary Art in the 1980s. This special documentary captures the unique perspectives of many of those involved during this seminal time. |
| 4) | And finally, the project culminates in a comprehensive bilingual (Chinese/English) website, which presents the most significant material gathered for the project. With its chronologies, bibliographies and links to other resources in the field, the website aims to become the most important publicly accessible resource for this creative period in Chinese art history. |
Hedendaagse Chinese kunst in de jaren 80
Documentation and Website Project, ‘Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990’
The 1980s was a seminal period in the development of Chinese contemporary art. Many of today’s most celebrated Chinese artists attended art academies and had their first exhibitions during that decade. However, documentary material, even images of individual artworks and exhibition installations, existed sporadically. In order to foster research into this important period of recent art history, Asia Art Archive (AAA) conducted a four-year focused archiving project; collecting, indexing and preserving hard-to-find documentary materials for use by future students and scholars. This project culminated in the official launch of AAA’s comprehensive website portal called: 'Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990'.
Background:
Thirty years ago, China embarked on a reform programme that transformed not only the economy but also the arts. Since then, the growth and production of contemporary art have been dramatic, and so has the production of documentary materials bearing evidence to the critical debates that surrounded its development. However, until now, many of the most important art publications and critical writings, especially from the late 1970s and 1980s, have been difficult to locate, due primarily to the lack of a systematic collection and archiving infrastructure.
In 2006, Asia Art Archive began a focused archiving project called 'Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990'. This project built a comprehensive collection of primary research materials that includes books, periodicals, newspapers, exhibition brochures, invitations, video recordings, correspondence, and other relevant documents. As part of this project, AAA also digitised the personal archives of renowned Chinese artists and curators Fei Dawei, Lu Peng, Wu Shanzhuan, Zheng Shengtian, Zhang Xiaogang, and Mao Xuhui. With a total of over 70,000 digital documents, AAA now maintains the world’s largest and most systematically organized archive of documentary material about Chinese art made during the 1980s.
As part of the project, AAA conducted over 70 in-depth videotaped interviews with artists, critics, curators, and scholars on contemporary Chinese art in the 1980s. From a portion of these interviews, AAA created a documentary film about experimental art in South China (Guangzhou) in the 1980s entitled From Jean-Paul Sartre to Teresa Teng: Contemporary Cantonese Art in the 1980s.
AAA’s 1980s archiving project culminated with the launch of a comprehensive website portal called www.china1980s.org in September 2010.
'Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990' is made possible by the generous support of:
The Robert H.N. Ho Family Foundation
The W.L.S. Spencer Foundation
Ilyas and Mara Khan
Foundation for the Arts Initiatives
The 1980s was a seminal period in the development of Chinese contemporary art. Many of today’s most celebrated Chinese artists attended art academies and had their first exhibitions during that decade. However, documentary material, even images of individual artworks and exhibition installations, existed sporadically. In order to foster research into this important period of recent art history, Asia Art Archive (AAA) conducted a four-year focused archiving project; collecting, indexing and preserving hard-to-find documentary materials for use by future students and scholars. This project culminated in the official launch of AAA’s comprehensive website portal called: 'Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990'.
Background:
Thirty years ago, China embarked on a reform programme that transformed not only the economy but also the arts. Since then, the growth and production of contemporary art have been dramatic, and so has the production of documentary materials bearing evidence to the critical debates that surrounded its development. However, until now, many of the most important art publications and critical writings, especially from the late 1970s and 1980s, have been difficult to locate, due primarily to the lack of a systematic collection and archiving infrastructure.
In 2006, Asia Art Archive began a focused archiving project called 'Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990'. This project built a comprehensive collection of primary research materials that includes books, periodicals, newspapers, exhibition brochures, invitations, video recordings, correspondence, and other relevant documents. As part of this project, AAA also digitised the personal archives of renowned Chinese artists and curators Fei Dawei, Lu Peng, Wu Shanzhuan, Zheng Shengtian, Zhang Xiaogang, and Mao Xuhui. With a total of over 70,000 digital documents, AAA now maintains the world’s largest and most systematically organized archive of documentary material about Chinese art made during the 1980s.
As part of the project, AAA conducted over 70 in-depth videotaped interviews with artists, critics, curators, and scholars on contemporary Chinese art in the 1980s. From a portion of these interviews, AAA created a documentary film about experimental art in South China (Guangzhou) in the 1980s entitled From Jean-Paul Sartre to Teresa Teng: Contemporary Cantonese Art in the 1980s.
AAA’s 1980s archiving project culminated with the launch of a comprehensive website portal called www.china1980s.org in September 2010.
'Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990' is made possible by the generous support of:
The Robert H.N. Ho Family Foundation
The W.L.S. Spencer Foundation
Ilyas and Mara Khan
Foundation for the Arts Initiatives
28.9.10
A Certain Lack of Coherence
Artists Must Begin Helping Themselves
Interview with a 10,000 Year Old Artist
"A Certain Lack of Coherence
Writings on Art and Cultural Politics
Jimmie Durham, writer, sculptor, performance artist and poet, is one of the most controversial figures in contemporary culture. This anthology of writings ranges from his appeals to the American Indian nations for strength and unity of purpose in combating the corrosive effects of colonialism, to his acerbic critics of Western culture and its redemptive myths of the “Other”. For Durham, art and its institutions are not separable from political realities; the West’s representations of ethnic and cultural authenticity, its constructions of primitivism and aesthetic value are intimately bound to discourses of colonialism and racism. The author’s keen understanding of historical process and witty subversions of Western thought challenge any complacent attitudes we may harbour on multiculturalism and offer a model of how we might think and act differently about the world.
27.9.10
'Icteric' can be seen as an avant-garde group who knew 'how to use' earlier avant-gardes, and then, in true avant-garde fashion, actively participate in its own dissolution.
1. Icteric, No 1, 1966 2. Icteric collective : Why not indeed toys incense and death. Newcastle 1967 3. Icteric no 2, 1967. 4. Catalogue cover. 5. Exhibition view, Moderna Museet, Stockhom, 1969. 6. Stuart Wise, Photomontage after suggestion by Maurice Henry for replacing the Sacre Coeur, 1968.
Icteric and Poetry must be made by all / Transform the World: A note on a lost and suppressed avant-garde and exhibition.
Ron Hunt
'Icteric' was the name adopted by a radical arts group and magazine operating in Newcastle around 1967. 'Icteric' can be seen as an avant-garde group who knew 'how to use' earlier avant-gardes, and then, in true avant-garde fashion, actively participate in its own dissolution. We are dealing with a confluence of - abandonment, suicide and suppression. One outgrowth of ‘Icteric’ (meaning both jaundiced and a cure for jaundice) was the exhibition ‘Poetry must be made by all / Transform the World ‘ which I curated for the Moderna Museet in Stockholm in 1969.
Importance of the Visual
Angela Di Fronzo, Light Installation in Confessional, St Patrick's Cathedral, Melbourne, 2008
Taking Art Seriously: Understanding Studio Research
lezing Jan Van Woensel @ Kask / di 05.10.10
Jan Van Woensel
Jan Van Woensel is freelance curator, kunstcriticus, docent en muzikant. Hij was eerder verbonden aan de Curatorial Practice and Fine Arts Departments van California College of the Arts in San Francisco. In 2008 was hij International Curator in Residence aan Otis College of Art and Design in Los Angeles. Van 2007 tot 2009 was Van Woensel verbonden aan New York University, department Art and Art Professions. Momenteel werkt hij aan een audiovisuele tentoonstelling met Lee Ranaldo (Sonic Youth). In april 2010 vond in Oslo de vijfde editie plaats van zijn reizende tentoonstelling Bad Moon Rising. Recentelijk organiseerde hij ook de groepstentoonstelling ‘Past in Present’ voor het kunstenfestival Watou 2010.
De lezing duurt ongeveer één uur. Nadien krijgt het publiek uitgebreid de mogelijkheid om vragen te stellen.
Wanneer: 05.10.2010, 20:00
Waar:
Hogeschool Gent KASK - campus Bijloke
Anatomisch Auditorium
Louis Pasteurlaan 2
9000 Gent
Opgelet: nieuwe locatie van de KASKlezingen! Het Anatomisch Auditorium bereik je best via de ingang aan de Louis Pasteurlaan 2, maar is eveneens toegankelijk via de ingang aan de Jozef Kluyskensstraat.
26.9.10
23.9.10
inconsistencies
Hirschhorn seems to thrive on inconsistencies. Before the show he announced he was not going to exhibit in Switzerland any longer, but he was happy to do so at the Centre Culturel Suisse.
More importantly, he doesn’t want to call his art political, but says it is a ‘tool’ that ‘attacks’. It is here that the relevance of the work lies: Hirschhorn shows how fine the line between art and life is, and how, despite that, art can’t help trying to cross it.
More importantly, he doesn’t want to call his art political, but says it is a ‘tool’ that ‘attacks’. It is here that the relevance of the work lies: Hirschhorn shows how fine the line between art and life is, and how, despite that, art can’t help trying to cross it.
THOMAS HIRSCHHORN
Philosophical Battery
Listening to Thomas Hirschhorn talk about art, it's hard to resist the sensation that all the other artists have got it wrong. Not that he's critical of their work -- in fact, I've never heard him mention another living artist by name. It's more a matter of getting caught up in his enthusiasm. Thomas Hirschhorn is a fanatic. His ardor for the thinkers after whom he names many of his works -- Ingeborg Bachmann Kiosk, Deleuze Monument, Bataille Monument, and most recently, 24h Foucault -- is evident not only in these works' devotion to their subjects' writings, but also in the sheer volume of material deployed toward this end.
"I'm interested in the 'too much,' doing too much, giving too much, putting too much of an effort into something. Wastefulness as a tool or weapon."
Thomas Hirschhorn
Urban Interventionism
In the 1980s he worked in Paris as a graphic artist. He was part of the group of Communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. These installations are often site specific and outside the gallery, and/or interactive. Unlike much total installation work, the viewer is an observer not an actor in the spaces he creates because of the way he continues to offer messages in his work as he did with Grapus. Austrian author and Nobel laureate Elfriede Jelinek takes issue with the artist's views on Marxism. In a 2008 interview the artist said that he was not aware of her concerns.
For his piece Cavemanman, he transformed a gallery space into a cave using wood, cardboard, and tape and put various philosophical and pop culture symbols throughout it.
He received the (2000/2001) Marcel Duchamp Prize and the Joseph Beuys Prize in 2004. His works are held in the collections of the Museum of Modern Art, the Walker Art Center, and the Tate.
He presented a lecture as part of the "Image & Text: Writing Off The Page" lecture series through the Visiting Artists Program at the School of the Art Institute of Chicago in Spring, 2006.
In summer 2009 his work Cavemanman was recreated for the exhibition Walking in my Mind at London's Hayward Gallery.
Urban Interventionism
In the 1980s he worked in Paris as a graphic artist. He was part of the group of Communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. These installations are often site specific and outside the gallery, and/or interactive. Unlike much total installation work, the viewer is an observer not an actor in the spaces he creates because of the way he continues to offer messages in his work as he did with Grapus. Austrian author and Nobel laureate Elfriede Jelinek takes issue with the artist's views on Marxism. In a 2008 interview the artist said that he was not aware of her concerns.
For his piece Cavemanman, he transformed a gallery space into a cave using wood, cardboard, and tape and put various philosophical and pop culture symbols throughout it.
He received the (2000/2001) Marcel Duchamp Prize and the Joseph Beuys Prize in 2004. His works are held in the collections of the Museum of Modern Art, the Walker Art Center, and the Tate.
He presented a lecture as part of the "Image & Text: Writing Off The Page" lecture series through the Visiting Artists Program at the School of the Art Institute of Chicago in Spring, 2006.
In summer 2009 his work Cavemanman was recreated for the exhibition Walking in my Mind at London's Hayward Gallery.
20.9.10
La Chinoise de Godard (nouvelle vague)
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| Bijschrift toevoegen |
18.9.10
Beuys
 POLITICAL ACTIVISM "CAPITAL is at present the work sustaining ability. Money is not an economic value though. The two genuine economic values involve the connection between ability (creativity) and product. That explains the formula presenting the expanded concept of art: ART=CAPITAL." -Joseph Beuys, 1985 |
17.9.10
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