[-empyre-] localized scenes, digital arts & education
stephanie.donald at rmit.edu.au
Sat Nov 13 08:57:22 EST 2010
Thanks for your comment, much appreciated.
I have been working for three years ( and ten years before that on posters) on a project which looks at posters of the cultural revolution period and aesthetic and emotional responses to those posters in Reform.
There is currently an exhibition at the University of Sydney gallery - about to move to RMIT gallery in January, that explores this project. I have worked with. Liu Dahong, Xu, Shen Jiawei and Li Gongming. The posters are drawn from the University of Westminster collection
(directed by Harriet Evans).
Liu has begun to venture into animation ( hence an earlier comment) and those pieces are the centrepiece of the RMIT show.
If you are around in January we could invite you to the opening, and get your critique, this is very much a work in progress.
There is also a film that I made with Leicia Peteson ( a documentary) that talks about Liu's work with his students.
There is a downloadable free catalogue on my website - or just google. - haunt checked if it is discoverable on HK Google though, China and Revolution, history parody and memory in contemporary art.
The question that has arisen for me is how intention and affect, combined with State responses, change the value of a work of art. Or indeed take it from being a work of art to a. Work of something else, and vice versa.
This came into relief whenI visited the Vilnius collection of new media responses to 1989 and onwards. The relevance of some work disappeared along with the State that it critiqued. Well, that was the argument anyway, I am not so sure.
Sent from my iPad
On 12/11/2010, at 11:12 AM, lab <bjartlab at gmail.com> wrote:
> Dear Stephi,
> Xu have done a nice work, I am interested who others you know dealing with the similar issue on the culture revolution topic? and why you are interested in the issue?
> I know many people are working on the culture revolution issue in the 80s till now on painting....it's always interesting to know what the artist's thought behind the work and the tradition or culture connection to it....
> Li zhenhua | 李振华
> bjartlab at gmail.com
> +86 13321191731
> 中国北京市朝阳区王四营乡白鹿司农机仓库3号库 100121
> No.3 Warehouse, Nong Ji Cang Ku, Bai Lu Si, Wang Si Ying Xiang, Chaoyang District, Beijing, China 100121
> Marianne Burki Li / Li Zhenhua
> Lindenbachstrasse 21, CH-8006 Zürich
> Switzerland 瑞士
> 0041 7862 00996 M
> 0041 4334 31348 H
> 在 2010-11-11，下午9:59， Stephanie Donald 写道：
>> hi Li
>> Can you give me a sense of what you think of the remaining hyper realists in the system? I am currently writing about Xu Weixin's wen ge intervention in his historical figures series, and am trying to locate it as a work of personal justice and pedagogy rather than a work of art per se. I have become aware that there is significant disdain for his efforts amongst quite a few in the artistic community and especially in the Stateside diaspora, but nevertheless I find Xu to be genuine in his search for making a worthwhile statement about history and equivalence.
>> You may not know him at all, in which case ignore my request for your thoughts, but it would be helpful to get a more impartial view?
>> Thanks so much
>> Stephi Donald
>> Sent from my iPad
>> On 11/11/2010, at 7:11 PM, lab <bjartlab at gmail.com> wrote:
>>> there's a quite bit of media oriented trend in the art schools since after 2000, and many shows related to the issue of media/technology/design.....
>>> this is something from the eARTS festival 2007-2009
>>> MAAP 2000: http://maap.org.au/festivals/maap-2000-presence-and-place
>>> MAAP 2002: http://maap.org.au/festivals/maap-2000-presence-and-place
>>> 2008: http://www.mediartchina.org/
>>> and many more for your preference...
>>> Li zhenhua | 李振华
>>> bjartlab at gmail.com
>>> +86 13321191731
>>> 中国北京市朝阳区王四营乡白鹿司农机仓库3号库 100121
>>> No.3 Warehouse, Nong Ji Cang Ku, Bai Lu Si, Wang Si Ying Xiang, Chaoyang District, Beijing, China 100121
>>> Marianne Burki Li / Li Zhenhua
>>> Lindenbachstrasse 21, CH-8006 Zürich
>>> Switzerland 瑞士
>>> 0041 7862 00996 M
>>> 0041 4334 31348 H
>>> 在 2010-11-10，下午3:22， Johannes Birringer 写道：
>>>> dear all
>>>> thanks to all for an inspiring discussion,
>>>> there is much to learn, and i am still thinking of the initial question that was raised at the beginning:
>>>> //...looking at look at how (or how not)
>>>> exhibitions, symposia or publications decode across cultural, gender
>>>> and political bounds to both Chinese and Non-Chinese audiences...
>>>> .... explore, amongst other topics, how digital practices operate
>>>> in a regulated exhibition system; and the emergences, frictions and
>>>> dialogues between artists and curators within contemporary Chinese
>>>> distributed and digital practices.//
>>>> what is meant when you mention regulated exhibition systems?
>>>> how does this connect to the presence of international-run galleries
>>>> which, i gathered, have opened up in Beijing and Shanghai (and other cities),
>>>> and the market, and also the festival circuit (China's increasingly strong
>>>> presence at the Venice Biennale, or documenta for example);
>>>> but then again, how do you discuss "new media arts" on
>>>> a very small local level, say, a particular gallery or performance space
>>>> in the 798 factory district.
>>>> can one in fact understand a larger picture by looking at a tiny fragment (Jian Wei Shi Shu)?
>>>> and what happened to small independent/alternative art galleries or performance spaces?
>>>> I remember visiting "Hart Cafe" , located on a small side street inside the 798 Dashanzi district,
>>>> for an evening of french underground films and chinese electronic music, there was also a dance improvisation
>>>> (duet between dancer and musician), we exchanged CDs, drank wine, and there were many languages spoken
>>>> in the cafe, just as if one were in london or new york. this was in 2004. there were some video artists
>>>> exhibiting, in some of the other galleries, there was a multimedia heavy metal performance one night,
>>>> there was body art, but i am not sure one could think yet of a digital art scene
>>>> or come across networks organizing "digital practices" or building production infrastructures and facilities,
>>>> but it had to happen, surely. The Beijing Dance Academy had just built a TV / sound stage to begin to
>>>> look at video dance & choreography for the camera. choreographers in Hong Kong had worked with media
>>>> already in the early years of the new century, but there were probably no interdisciplinary time arts courses
>>>> in the universities yet, and working with software composition in performance was not a tradition; but
>>>> international work of this kind was shown in China, and the Olympic Games probably affected everything.
>>>> it also probably is easy now to get hold of any and all softwares (for interactive design). Li Yifan from
>>>> the School of Art Design (Beijing Institute of Graphic Communication) gave me several DVDs of student
>>>> works that were quite interesting, so I guess we probably would like to know more about how graduate
>>>> schools took on the "digital."
>>>> I tried to look up the Hart Cafe online, now in 2010, and am impressed/surprised to see how it defines its range of practices now;
>>>> ::Hart Production is a full-service production support company for international productions in Beijing.
>>>> We provide our clients with everything needed to shoot successfully in China, including:
>>>> 1. Government Permits
>>>> 2. Location Scouting
>>>> 3. Hiring Talented Local Crews
>>>> 4. Casting
>>>> 5. Renting Camera, Lighting, and Grip Equipment
>>>> 6. Purchasing Film/Tape Stock
>>>> 7. Processing Post Production
>>>> 8. All China Logistics (travel, hotels, catering, etc.)
>>>> 9. Transportation (trucks, vans, cars, picture vehicles, camera veh
>>>> what are the frictions and
>>>> dialogues between artists and curators within contemporary Chinese
>>>> distributed and digital practices (how to localize these?), and how are they owed (or not) to the international
>>>> market interests (collectors interests, Biennial interests) on the one hand,
>>>> and how are younger Chinese artists (working with a range of media and performance)
>>>> perceiving/absorbing the dynamism that Melinda mentions, on the other, with artists from elsewhere flocking to Beijing and
>>>> Shanghai "as they were moving to Berlin a decade or so ago"? The market values of saleable art dropped in 2008, i thought,
>>>> but our subject - new media arts - is not so sale-able, yes? Is the maneuver that Cindy Zeng/ Lao Dan and Hart Cafe undertook a logical one?
>>>> Johannes Birringer
>>>> empyre forum
>>>> empyre at lists.cofa.unsw.edu.au
>>> empyre forum
>>> empyre at lists.cofa.unsw.edu.au
>> empyre forum
>> empyre at lists.cofa.unsw.edu.au
> empyre forum
> empyre at lists.cofa.unsw.edu.au
-------------- next part --------------
An HTML attachment was scrubbed...
More information about the empyre