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China’s Art World: Seven Female Stand-Outs

Contemporary art in China is a man’s world…yet the art is there, and it is some of the most innovative work around. – New York Times

I started to write a piece off this NYT article in 2008 but the resulting post was not worth keeping. As I try to make What Women Make a more robust resource, I decided to dig back into it and look up all of the female artists mentioned for myself and find pictures to share with you of them and/or their work. Here’s a list of notable female artists from China. I’m sure the list is longer and hopefully will grow as the world changes. Enjoy!

Artists:

Lin Tianmiao

image via ArtSpeakChina
 
 

Yin Xuizhen

image via Frieze
 
 

Lu Qing

(wife of Ai Weiwei)


image via Sodablog
 
 

Xing Danwen

image via Xing Danwen
 

Cui Xiuwen

image via Brooklyn Museum
 

Xiong Wenyun

image via Design Boom

Li Shurui

END

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Friday Diary: 6 Female Curators Take The Helm at South Korean Biennale Gwangju 2012

Gwangju Biennale 2012 Artistic Directors, all women.

Here’s what one of the six chosen, Carol Yinghua Lu, says on her Frieze blog. “My Asian colleagues (and I).. realized how little we actually knew about each other – much less … our Western counterparts. In an attempt to find out about our own relevance in the world, it’s also equally necessary to learn more about our immediate neighbours and our interrelationships. This issue is probably what makes the choice of six Asian curators for the next Gwangju Biennale timely and necessary. ”

The Gwangju Biennale Foundation is delighted to announce the appointment of Sunjung Kim, Mami Kataoka, Carol Yinghua Lu, Nancy Adajania, Wassan Al-Khudhairi, and Alia Swastika as Joint Artistic Directors of the 9th Gwangju Biennale 2012. For the first time, the Biennale has appointed a group of six young Asian women curators to co-direct the exhibition and program. The Gwangju Biennale Foundation has not selected Asian female curators in order to display the political, cultural, or geopolitical hegemony of Asia. Instead, through their appointment, we seek to build a platform that can embrace layers of diverse and engaging discussions in visual culture. As the oldest and most prestigious biennale of Asia, we hope to provide an opportunity to rethink and reexamine the anthropological and aesthetic positioning of Asia. Breaking away from past regional and global conflicts and the constant collision between truth and information, we propose to discover a new grammar of communication unique to the Biennale.

The Artistic Directors of 9th Gwangju Biennale are young and internationally renowned curators in Korea, China, Japan, India, South-East Asia, and the Middle East. Rather than driven by political ideology or systemic concerns, these curators will engage both the autonomous language of art and the active communication networks of civil society to produce the exhibition and audience participation programs. The Gwangju Biennale will maintain a commitment to the democratic values of social consensus and human rights long supported by the Foundation, as well as create a space for aesthetic discourse.

• Sunjung Kim is a Seoul-based independent curator and Professor at the Korea National University of Arts. From 1993 to 2004, Kim was the Chief Curator at Artsonje Center in Seoul. In 2005, she was the commissioner of the Korean Pavilion at the 51st Venice Biennale. The first festival, titled “Somewhere in Time,” was followed by “Tomorrow” (2007), “I have nothing to say and I am saying it” (2008), “Platform in KIMUSA: Void of Memory” (2009) and “Projected Image” (2010). Most recently, Kim was the Artistic Director of the 6th Seoul International Media Art Biennale – Media City Seoul 2010.

• Mami Kataoka is a curator and writer and has been the Chief Curator of the Mori Art Museum, Tokyo, Japan, since 2003. From 2007–2009, Kataoka joined the curatorial team at the Hayward Gallery in London as the first international curator. During her tenure at the Mori Art Museum, Kataoka has curated a number of exhibitions, including “Ozawa Tsuyoshi: Answer with Yes and No!” (2004), “All About Laughter: Humor in Contemporary Art” (2006), “Ai Weiwei: According to What?” (2009) and most recently “Sensing Nature: Perception of Nature in Japan” (2010).

• Carol Yinghua Lu is a curator and writer who lives and works in Beijing. She is a contributing editor for Frieze and co-founder and co-editor of Contemporary Art & Investment magazine. She writes frequently for international art journals and magazines including e-flux journal, The Exhibitionist, Yishu, and Tate. Her texts on contemporary art have also appeared in many art catalogues, books, publications, and critical readers. From 2005–2007, she was the China researcher for Asia Art Archive. From 2009–2010, she was the founder and Art Director of SUITCASE ART PROJECTS, a project space of Today Art Museum

• Nancy Adajania is a cultural theorist, art critic and independent curator, based in Bombay. She was educated in Politics, Social Communications Media, and Film. She has written and lectured extensively on extended sculpture, new media, public art and transcultural art practice (including at Documenta 11, Kassel; ZKM, Karlsruhe; Transmediale, Berlin; Lottringer 13, Munich; Neuer Berliner Kunstverein, Berlin; Kuenstlerhaus Wien, Vienna; Kunsthalle Wien, Vienna; Gulbenkian Foundation, Lisbon; Soma Museum, Korea; Wuerttembergische Kunstverein, Stuttgart; The Danish Contemporary Art Foundation, Copenhagen; and BAK, Utrecht). Adajania was Editor-in-Chief of Art India magazine.

• Wassan Al-Khudhairi is the director of Mathaf: Arab Museum of Modern Art, since 2010, responsible for developing the newly established institution and managing the development of its new building. She also oversees policy development, acquisitions and collections registration. As a curator, she specializes in modern and contemporary art from the Arab world, with a particular emphasis on Iraq. She is of Iraqi origin and has lived in Kuwait, Saudi Arabia, Egypt, the U.K. and the U.S., where she worked at the High Museum of Art in Atlanta and the Brooklyn Museum of Art in New York.

• Alia Swasticka is a curator, project manager, and writer based in Jakarta. From 2002–2004, Swasktika worked as Associate Editor for SURAT newsletter, published by the Cemeti Art Foundation, which led to her curatorial debut at the Cemeti Art House, where she worked as an Artistic Manager from 2004–2009. In the meantime, she joined staff exchange programme in UfaFabrik, Berlin, Germany with a grant from Asia Europe Foundation (ASEF), and the same program funded by Kelola Foundation and Asian Cultural Council. Since 2008, she has been working for Ark Galerie in Jakarta and has recently been appointed as a curator of the upcoming Jogja Biennale XI in November.

100% via e-flux

 

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SHUYU_FEATURE

Designer: SHUYU LU


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Born and raised in China, Shuyu Lu is currently a textile artist-in-residence at the Harbourfront Centre Studio in Toronto. She originally came to Canada to pursue an art education at the Ontario College of Art & Design. When she arrived, she started to explore the ways Chinese character, East Asian character, has melded with western sensibilities in Canada as well as in China.

Through screen-printing and embroidery, she expresses these insights along with her nostalgia for the country she left behind. She balances craft with design while making work that is playful, even humorous. What results is something uniquely beautiful and always unexpected.

MORE FROM SHUYU

JOURNALS

Digital printed cotton cover journal book

designed by: Shuyu Lu (China)

Material: Printable cotton

Description of item: Digital printed cotton cover journal book

For Inquiries, contact us.

SALUTE CHINIESE GIRL STUFFED TOY

Salute Chinese Girl stuffed doll

designed by: Shuyu Lu (China)
Based on my self- portrait as a Young Pioneer at my elementary school in China.

Material: Printed on cotton fabric, hand embroidery

Description of item: Sizes: 4”/8.5”/ 11”
All 4” dolls have magnet on the backside
14X4”
13X8.5”
8X11”

For Inquiries, contact us.

NEW TREASURE 1

New Treasure

designed by: Shuyu Lu (China)

Description of item: Screen printed ( traditional Chinese character pattern) on commercial cotton fabric; screen printed & hand embroidery on silk organza; wooden frame.

For Inquiries, contact us.

NEW TREASURE 2

New Treasure

designed by: Shuyu Lu (China)

Description of item: Screen printed ( traditional Chinese character pattern) on commercial cotton fabric; screen printed & hand embroidery on silk organza; wooden frame.

For Inquiries, contact us.

NEW TREASURE 3

New Treasure

designed by: Shuyu Lu (China)

Description of item: Screen printed ( traditional Chinese character pattern) on commercial cotton fabric; screen printed & hand embroidery on silk organza; wooden frame.

For Inquiries, contact us

THE INTERVIEW

wwm: How do you imagine your work displayed in a room?
SL: I think they might be displayed on a shelf or on a wall that already has other art – in the sort of “gallery section” of a home. That’s how I display work in my own home. My work is all about the combination of nostalgia, pop art, East meets West, even the mess of the cultural moment, the multi-cultural world we live in. Since my work is not an abstract painting or a bronze sculpture, it doesn’t need “breathing space” between it and other work.

wwm: What are some other items that seem to fit with your motif?
SL: Vintage toys! Also Chinese, Eastern and Western old posters, and propaganda. I get a lot of inspiration from these kinds of posters, so it would make more sense shown together.

wwm: What are some of your favorite things displayed at your house?
SL: I purchase a first edition print from 1967 of Chairman Mao propaganda from a souvenir store in Toronto’s Chinatown. Now it hangs on my living room’s wall and it is one of my favorite things in my collection. It’s not about the politics – I just fell in love with the graphic design, the color (red, cream, and black) and a sense of reminiscence. It’s kind of funny that I found it in Toronto; it would be hard to find in China now.

wwm: Walk us through the steps you take in creating a new collection.
SL: I finished school last year, so I’ve had two series of work so far. They are all made from a narrative perspective expressing my feelings about cultural impact. In my new work, I will continue to develop this concept. I like to bring the old and the traditional into contemporary pieces, meanwhile showing where the Western & Eastern elements melt together – their melting point.

wwm: What do you imagine a person who buys your work to be like?
SL: A person who has a little child inside of him or her. A happy person but a bit sentimental.

wwm: Do you have a favorite artist or writer? A designer who works in a different material? Who are they?
SL: I have a long list of my favorite artists and designers! The most inspired one is Zhang Xiaogang – the Chinese contemporary artist. He was born in 1958 and was influenced by a period of cultural revolution during his youth. His surrealist paintings are a perfect reflection of the period. It conjures the depressive atmosphere of the time. Dorie Millerson’s needlepoint is also a favorite. Most of her work is tiny and deals with memory, nostalgia, defining home and identity. The lace work brings her memories and moments of attachment to life with their delicate shapes. A person who has a little child inside of him or her. A happy person but a bit sentimental.

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Artists of the Decade – Women Just in Front of Our Eyes

I was happy to see that the New York Times Emerging Artists of the Decade list started with two women, Rineke Dijkstra (Netherlands) and Jessica Jackson Hutchins (US), both of whom I am unfamiliar with, so I decided to look at more of their work.  One of the articles that featured Hutchin’s work had the slug, “patience is the new ambition.”  I love that. It most certainly has been for me.

And then as I kept clicking I saw they listed Dana Schutz (US) and video artists, Tamy Ben-Tor (Israel) and Nathalie Djurberg (Sweden). Also Klara Liden (Sweden), Ellen Altfest (NY), Huma Bhabha (Pakistan), Cao Fei (China) , Misaki Kawai (Japan), Mary Reid Kelly (US), and Josephine Halvorson (US). How many female artists is that?

Then I decided to google ‘artists of the decade’. I looked at the Village Voice’s which were said to be the results of an informal art crowd survey. In that list arose Tacita Dean (UK) who then popped up everywhere else, Isa Genzken (Germany), also oft-mentioned, and Rachel Harrison (NY), Julie Mehretu (Ethiopia), Mary Heilmann (San Francisco), and the most famous of the lot, Cindy Sherman.

Heavy.com’s list, coming from a more street art oriented site, names Faiza Butt (Pakistan), Jean Shin (South Korea), and Swoon. The Guardian adds Maria Lassnig (Austria) and Janet Cardiff (Canada) in their 6 image slide show of art of the decade.

In 2010, the Whitney Biennial will, for the first time, be comprised by a majority of women artists.  When New York magazine writer, Jerry Saltz, asked curator Gary Carrion-Murayari why he said, “I didn’t look for women artists. They were just in front of our eyes.”

Happy New Year.

Chauncey

Get Out of My Dreams. Faiza Butt.

Get Out of My Dreams. Faiza Butt.

Amoy Botanical Garden, Xiamen, April 23, 2006

Amoy Botanical Garden, Xiamen, April 23, 2006. Rineke Dijkstra.

El Parque Del Retiro, Madrid, July 2, 2006. Rineke Dijkstra.

a skinny Polish girl in a lime-green bathing suit confronts the camera with a heartbreaking blend of awkwardness and studied nonchalance. Standing at the oceans edge, she tilts her head and slips unconsciously into a classical contrapposto pose. -Metropolitan Museum website

"a skinny Polish girl in a lime-green bathing suit confronts the camera with a heartbreaking blend of awkwardness and studied nonchalance. Standing at the ocean's edge, she tilts her head and slips unconsciously into a classical contrapposto pose. -Metropolitan Museum website" Kolobrzeg, Poland, 1992 by Rineke Dijkstra.

Maria Lassnig, a personal favorite. You or Me. 2008.

Maria Lassnig. You or Me. 2008.

I find this funny, but somehow ridculing of men, a bit humiliating, which makes it uncomfortable, which makes it funny. The Butt by Ellen Altfest. Oil on canvas.

I find this funny, but somehow ridiculing of men, a bit humiliating, which makes it uncomfortable, which makes it funny. The Butt by Ellen Altfest. Oil on canvas.

I thought of Wyeth and then read someone else said Wyeth. Tumbleweed by Ellen Altfest.

I thought of Wyeth then discovered I'm not alone in the comparison. Tumbleweed by Ellen Altfest.

Cao Fei explores perception and reality in places as diverse as a Chinese factory and the virtual world of Second Life. - PBS

Cao Fei explores "perception and reality in places as diverse as a Chinese factory and the virtual world of Second Life. - PBS"

The artist Misaki Kawai pictured with her friend  artist Kei Morita

The artist Misaki Kawai pictured with her friend artist Kei Morita

Mary Heilmann, quoted on the Whitney website as saying “I just think that in the midst of all the digital stuff, people sort of crave seeing something that’s still and quiet and on the wall.” Mary Heilmann. Surfing on Acid. 2005.

Mary Heilmann, quoted on the Whitney website as saying “I just think that in the midst of all the digital stuff, people sort of crave seeing something that’s still and quiet and on the wall.” Mary Heilmann. Surfing on Acid. 2005.

the Momenta Art site says: “Huma Bhabha culls her sculptures from the archives of science fiction. Like a shadow of Rodin that has fallen into the gutter and reassembled itself with discarded material, Bhabha morphs mineral to vegetable to animal.&quot

JosephineHalvorson3redbooks

Josephine Halvorson. Three Red Books.

caption

Mary Reid Kelly. Still from Sadie, the Saddest Sadist.

Armed. Jean Shin.

Armed. Jean Shin. 2005-9.

P.S. The London Times heralds a future belonging to female entrepreneurs in their article Meet the Lipstick Entrepreneurs, a terribly anachronistic name for women but nonetheless worth a read.

2 Comments


Talk about an Inspiration – Two to start the week

picture of Ma ke from Victoria & Albert collection

1

Eva Zeisel

Eva Zeisel turns 103.  Thank you to Haute*Nature for bringing this working woman’s birthday to our attention and for posting her TED Talk which I hadn’t seen.

Eva is a fully decorated *design revolutionary and **lifetime achiever (*New York Magazine, **Cooper Hewitt) and then some.

2

I had my students read this article about socially useless companies, a descriptor I like even better than ‘socially responsible’ which is already a buzz word that has been bandied into meaninglessness.  Instead of thinking about how you might,as a company ‘do your part’, the idea of social uselessness makes you consider whether you should be in business in the first place. I personally have a fantasy of wiping the corporate slate clean with all new business models instead of watching the old geezers limp along like the wounded brittle giants they are so the word ‘useless’ struck me as did Ma ke’s work, found on Design Boom:

Ma ke

This fashion designer from China, who spoke at the ICOGRADA Beijing World Design Congress 09, writes Design Boom, “confronted by the local clothing industry with its cheap, homogenizing mass-production and poorly paid workers… and by a fashion scene lacking local aesthetic influence and dominated by foreign labels… dedicated herself to developing her ‘useless’ (‘wu yong’ translates to ‘useless’) ideas.” (ideas of uselessness). The results are breathtaking. She’s doing what nobody I know of in China is doing, communicating the roots of Chinese design and tradition. I want more.

Here is a link to a review of a documentary, also called Useless about her work and Chinese factory conditions made by Jia Zhangke.

Photos by Zhou Mi.

-C Zalkin

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