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NOW A DIALOGUE ON FEMALE CHINESE CONTEMPORARY ARTISTS

2017.12.7

NOW is a collaborative programme aimed at reinvigorating discussion around the role of female contemporary artists in the art ecology of present day China. Through a series of exhibitions, commissions and events, NOW explores how the diversity of current female artistic practice transcends notions of gender difference to offer hybrid perspectives on their socio-political environment. The transformative impacts of societal change have opened new, transcultural, possibilities for female artists working today.

Launching in February 2018, the programme includes exhibitions at Centre for Chinese Contemporary Art (Manchester), Middlesbrough Institute of Modern Art (Middlesbrough),Nottingham Contemporary (Nottingham) and Turner Contemporary (Margate) an artist film series at HOME (Manchester) and a symposium hosted by Tate Research Centre: Asia(London).

Featured artists in the exhibitions include Na Buqi, Wu Chao, Ye Funa, Yang Guangnan, Ma Qiusha, Li Shurui, Luo Wei, Hu Xiaoyuan, Shen Xin, Yin Xiuzhen and Geng Xue.

Featured artists in the film series include Hao Jingban, Shiyuan Liu, Wang NewOne, Yao Qingmei, Ma Qiusha, Liu Yi, Chi Jang Yin, Miao Ying, Liang Yue, Peng Yun, Guan Xiao, Hu Xiaoyuan, Wang Xin and Geng Xue.

In the history of modern and contemporary Chinese art, female artists have long been marginalised and left at the fringes of art historical debate. This under-representation was challenged in the 1990s by an emerging artistic trend termed ‘women’s art’ and artistic practices started to deal with concepts such as feminism. Although this provided a platform for female artists, it soon revealed certain constrictions and limitations, marginalising female artistic practice to more conservative representations and ideas, such as femininity.

Here, the variety of artworks reflects the many viewpoints of artists in the wake of feminist movements of the past. The aim of this collaborative programme is to re-open a dialogue on the way female artists are positioning themselves now and to explore the complex and multifaceted influence of gender categorisation upon their creative process. Furthermore it considers how the rapid transformations of contemporary China have provided possibilities for female artists to take advantage of transcultural opportunities.

NOW is co-organised by Plus Tate, the China Central Academy of Fine Arts and the Centre for Chinese Contemporary Art in collaboration with HOME, Manchester; Middlesbrough Institute of Modern Art; Nottingham Contemporary and Turner Contemporary, Margate. The programme is sponsored by the China National Arts Fund and supported by British Council, China.

Your Selfie Stick (and You)-Lian Zhou Foto

2017.12.7

Your Selfie Stick (and You)

DATE:
Dec. 2nd, 2017 ~ Jan. 2nd, 2018

LOCATION:
Lianzhou, Guangdong

Work “PeeP Stream Training Camp” Paticipate in the THEMATIC at in Liang Zhou Foto Festival.

Your Selfie Stick (and You)

Sandra Maunac

We live in a digital culture that has completely transformed our visual habits.  We witness and participate in the mass use of the “me” – previously reserved to but a few – because this staging is the only way to prevail in this world of visual competitiveness. However, when faced with this overexposure of images, we should ask ourselves where the creator of images is positioned.

Previously, the photographer went out to capture reality in his surroundings; nowadays, many decide to dive into the network and, from therein, build their documentary fictions. This fertile and seemingly inexhaustible mesh, as well as being accessible to all, is another instrument that allows us to make visible certain situations. The difference resides in the degree of manipulation of those elements taken from Internet, in a different order than the established one. Small disruptions, slight signs and gaps, allow us to denounce certain positioning and encourage questions, although those same disruptions are warning signs that the lines have been completely erased, that there is no private and public anymore, no true or false; everything is part of the whole.

In this era of democratization of images, social networks and their power to communicate are playing an essential role. The presence of platforms such as Facebook and Instagram has not only transformed our method of communicating, but has also propelled the possibility of modifying the imaginary that we have as regards a whole continent or a whole country. These are tools available to any and everyone, with no distinctions as regards gender, race, social or cultural standing. And that allow us to open doors, give voices and, even more importantly, empower.

 
你的自拍杆

展期:
2017年12月2日至2018年1月2日

地点:
广东连州

你的自拍杆(与你)

桑德拉·冒纳克

数字文化已经完全改变了我们的视觉习惯。过去作为少数特权阶级专属的——对“我”的保存与展示——早已被大众化,我们目击了一切并共同参与其中,在这竞争激烈的视觉世界中,唯有如此才能突围。然而,当面对因此而过度泛滥的图像时,我们应自问作为图像的创造者在现今世界如何定位。

在过去,摄影师们走向外界,捕捉环绕着他们的真实;如今,人们选择潜入互联网,构建虚实相结的世界。作为另一种实现视觉化的工具,互联网提供了丰富且似乎源源不绝的资源,可被所有人轻易寻取,却遵守着与真实世界中元素截然不同的守则,在更大程度上被操纵。我们着眼于两者间所存在的细小干扰、轻微迹象和差别,被允许怀疑与提出疑问,却忽略这些干扰本身也是一种警告,警告我们那界线已被完全抹掉,不再有私人和公众之分,不再有真实或虚假之分;一切成为整体的一部分,合而为一。

在这个图像民主化的时代,社交网络及其传播的力量正在发挥着至关重要的作用。各类社交网络平台的存在不仅改变了我们的沟通方式,同时也推动了我们对整个世界或某个国家的想象的可能性。这些工具被所有人获取,不分性别、种族、社会或文化地位,我们因此更轻易地敞开大门、发出声音,更重要的,被赋予更多的权力。

 

Home, Sweet Home-PSA 2017 Emerging Curators Project

2017.12.7

PSA 2017 Emerging Curators Project PSA青策计划2017

Curators: Housewife Squad (Mo Wanli, Deng Yuanye, Lin Lin)

Artists: Lyla Wu and Ye Funa, Yao Weiwei/Yin Shun and Hu Yinping, Qi Shanshan and Ma Qiusha, Ma Yuanrong and Han Xia, Zhou Jianjia/Li Danfeng and Zeng Burong/Deng Hanbin.

Venue:Power Station of Art Gallery 7 5F

 

Peep Stream stage installation view

About the Exhibition

By presenting the ambiguities related to labor division, intimate relationships, opposition, violence and their modern alternatives of women in domestic space, Home, Sweet Home discusses the historical construction of sweet home and demystifies such sweetness through spectator’s voyeuristic perspective. Capitalizing on the corresponding narrative and spatial structure, the exhibition also attempts to explore the relationship between the act of viewing and space as it is used to suggest and define viewing experience, exhibited objects and displaying methods.

The exhibition includes three parts: architectural and artistic work, document presentation and public participation. Six regularly-arranged Disciplinary Walls exhibit how “sweet home” is historically constructed in terms of labor division, intimate relations, opposition, violence, etc. With 158 pieces of historical materials, social events, spatial cases and models, first-hand research materials, original works and so on, the document exhibition indicates the evolution and solidification of domestic space and its core content, suggesting the dynamics and multiple clues of such process within a complex cultural background.

Five Cocoons wrapped by the Disciplinary walls- The Laboring Cocoon, The Ethical Cocoon, The Intimate Cocoon, The Therapeutic Cocoon, and The Non-Nuclear Family Cocoon – represents the inwardness and privacy of home, and also serves as spaces for artistic intervention. Five pairs of architects and artists are invited to collaborate and to express five spatial themes with their creations. They are: Lyla Wu and Ye Funa, Yao Weiwei/Yin Shun and Hu Yinping, Qi Shanshan and Ma Qiusha, Ma Yuanrong and Han Xia, Zhou Jianjia/Li Danfeng and Zeng Burong/Deng Hanbin. Various materials, structural forms, and presentational forms of artistic creations are engaged to suggest another possibility for the spatial theme. Layering openings through the Disciplinary Walls produce two Voyeuristic Cones, which allow spectator to peep into the Cocoons to participate in the deconstruction of Sweet Home and witness the collapse of such modern myths as public and privacy, production pattern, social discrepancy, claim and discourse, romantic relations, freedom and equality, etc.

About the Curatorial Team

Housewife Squad is a research (and wechat) group with a curiosity on women’s everyday life. The group was initiated by Mo Wanli, Deng Yuanye and Lin Lin, who are doctoral students at College of Architecture and Urban Planning, Tongji University. As a curatorial and research group with multi-disciplinary backgrounds, Housewife Squad is interested in the trivial yet mysterious domestic life as well as agendas concerning female and space.

Mo Wanli received her Master of Architecture degree from Yale University and is interested in contemporary forms of life in relation to material and immaterial production. Deng Yuanye is currently in a joint doctoral program with MIT School of Architecture and Planning and she received her Master of Anthropology degree from The Chinese University of Hong Kong. Her research focuses on urban and rural forms and their structural transformation. Lin Lin is a lecturer at Jiageng College, Xiamen University and she is interested in urban anthropology and historical preservation.

青策计划2017

地点:上海当代艺术博物馆5楼

策展人:家庭妇女讨论群(莫万莉、邓圆也、林琳)

家庭妇女讨论群是一个对女性日常生活具有好奇心的研究(闲聊)团体,由莫万莉、邓圆也、林琳发起,她们同为同济大学建筑学系博士生。作为一个具有跨学科背景的策展与研究团体,讨论群关心琐碎而神秘的家庭生活,以及女性和空间的议题。莫万莉为耶鲁大学建筑学硕士,关注当代生活方式和物质及非物质生产关系。邓圆也为MIT建筑学系联培博士生、香港中文大学人类学硕士,关注城乡形态与结构转型。林琳为厦门大学嘉庚学院建筑学系讲师,研究方向是都市人类学与历史遗产保护。

参展艺术家:吴迪、姚微微&尹舜、戚山山、周渐佳&李丹峰、马圆融、叶甫纳、胡尹萍、马秋莎、曾不容&邓涵彬、韩夏

关于展览

“甜蜜的家”展览关注女性和家庭空间之间的多义关系,探讨了“家之甜蜜”的意象建构,并试图通过观看者的偷窥视角去解构这一历史建构意象。此外,展览试图借助本身的内容结构和空间关系,探讨观看的行为和展示空间之间的关系,以空间化的方式来对展品关系、展出形式、观众行为进行引导和限定。

展览从建筑装置、艺术作品和文献展示三条线索出发,六面规则排列的规训之墙以文献形式,从劳动分工、亲密关系、抵抗与暴力等不同侧面叙述“甜蜜的家”的意象建构。被规训之墙围裹的五个异形空间——“劳动之茧”、“伦理之茧”、“亲密之茧”、“非核心家庭之茧”、“疗愈之茧”,既象征着家庭的内向性和私域感,也是艺术介入的空间。

五个空间由吴迪、姚微微&尹舜、戚山山、周渐佳&李丹峰、马圆融五位/组建筑师设计,通过不同的材料意象和结构形式对主题进行诠释。五位/组艺术家——叶甫纳、胡尹萍、马秋莎、曾不容&邓涵彬、韩夏的作品则在五个茧中被呈现,通过影像、参与式表演、画作等多种形式来探讨涉及上述空间主题的另一种可能性。规训之墙的开口层层递进而形成的窥视之锥,使得观者能够参与并解构“甜蜜的家”的空间想象,见证正在家庭中崩盘的现代设定:公私分界、生产格局、权力话语、浪漫关系、自由平等博爱等神话。