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Cao Fei, RMB Metropolis: A Second Life City Planning past Cathay Tracy (aka: Cao Fei), 2007; color video, with audio, 6 min. Solomon R. Guggenheim Museum, New York; © Cao Fei
SAN FRANCISCO, CA (June 27, 2018) — Bracketed past the student protests in Tiananmen Foursquare in 1989 and the spectacular pageantry of the Beijing Olympics in 2008, Art and China after 1989: Theater of the Earth presents an extensive survey of an historical period of Chinese contemporary art. Information technology looks at the assuming movements that anticipated, chronicled and agitated for the sweeping social transformation that brought Red china to the middle of the global conversation. The exhibition was previously presented at the Solomon R. Guggenheim Museum in New York and the Guggenheim Museum Bilbao. The evidence's West Declension debut examines how Chinese artists have been both critical observers and agents of China'due south emergence as a global presence through a concentration on the conceptual and performative practices and social and political critiques of two generations of artists.
SFMOMA has a long history of presenting exhibitions of important contemporary Chinese artists. The museum organized Inside Out: Chinese Art in 1999 — the get-go exhibition in the United states dedicated to featuring works created since 1986 by artists from mainland People's republic of china, Taiwan and Hong Kong as well as artists who emigrated from China. It has likewise presented Half-Life of a Dream: Contemporary Chinese Art from the Logan Collection (2008) and Photography Now: China, Japan, Korea (2009).
"Art and Cathay after 1989 brings together a dynamic group of two generations of artists who were agile during a transformative menstruation within the history of China and Chinese art. This exhibition updates our audiences from where our watershed exhibition in 1999, Inside Out, left off and highlights the importance of continuing to challenge our assumptions virtually Chinese artistic traditions and the global impact that they and Communist china have made on our earth," said Gary Garrels, Elise S. Haas Senior Curator of Painting and Sculpture.
About the Exhibition
Featuring the piece of work of more than 60 fundamental artists and artist groups living in China and abroad during the onset of globalization, Art and China afterwards 1989: Theater of the World presents over 100 works of photography, film, video, painting, sculpture, ink, operation, installations and participatory social projects. These works from private and public collections effectually the world volition be displayed in vi thematic chapters that fill up SFMOMA's seventh-flooring contemporary galleries.
Visitors will have their first encounter with Art and Communist china later on 1989: Theater of the Globe upon entering the Evelyn and Walter Haas, Jr. Atrium off the museum's 3rd Street entrance. In that location, artist Chen Zhen's dramatic Precipitous Parturition (2000), an 85-human foot long writhing dragon sculpture created from found materials including cycle inner tubes, wheel parts and toy cars will be displayed suspended from the ceiling. The piece of work offers a sly commentary on Prc's dramatic transition from an analog nation of bicycles into a highly industrialized nation whose cars emerge from the abdomen of the dragon.
Organized in six chronological, thematic sections, the exhibition includes:
- 1989: No U-Plough — The commencement section focuses on the exhibition Prc/Avant-garde that opened at the National Art Gallery in Beijing in 1989 and presented functioning art, installation and ink abstractions that defied easy explanations but appear a new direction for modernistic art in China. It also features work addressing the Tiananmen protest movement that arose within months of that prove, and the June quaternary massacre that ended the 1980s decade of liberal reform.
- New Measurement: Analyzing the Situation — In the aftermath of the events of 1989, artists experienced a crisis of confidence towards say-so systems, bureaucracy, language and credo and turned towards conceptualist practices to expose processes that perpetuate structural authoritarianism.
- 5 Hours: Capitalism, Urbanism, Realism — Impacted by the sweeping changes brought about past economic liberalization, urbanization and globalization in the early 1990s equally China turned from socialism towards free-market capitalism and morphed into "the globe'south mill," artists responded with a resurgence of realism creating work that explores the weather of daily life in Prc.
- Uncertain Pleasance: Acts of Sensation — Artists looked beyond China as they began to participate in international biennials and reconnect with contemporary currents through travels and publications. This section focuses on the development of extreme durational performance fine art and video art every bit cardinal tools to explore the tension between individualism and collectivism during the mid to late 1990s.
- Otherwhere: Travels Through the In-Between — This department explores the parallel history of Chinese artists working abroad during the 1990s and early 2000s as they master the "transexperience" of living betwixt multiple cultures and worldviews, and those within China who brainstorm to critique their ain complicity in a newly global art globe.
- Whose Utopia: Activism and Alternatives circa 2008 — When skepticism of the validation generated by the awarding of the Beijing Olympics in 2001 combined with the catastrophic events of the Sichuan earthquake and the global financial collapse of 2008, it yielded concerted social activism in the course of multi-year, utopian-themed projects. Facilitated by the Internet, artists, collectives, activists, critics and curators sought to take art outside museums and galleries and into lodge itself, restoring the revolutionary purpose of art to change society.
The titular piece of work of the exhibition, Huang Yong Ping's two-part installation Theater of the Earth (1993) and The Bridge (1995) opens the exhibition on the seventh floor. This 2-office sculptural installation is a metaphor for accelerating globalization and explores the duality betwixt social chaos and coexistence through a presentation of insects and reptiles inhabiting a cage-like version of the panopticon, an 18th-century structure created for omnipresent surveillance. SFMOMA's installation of Theater of the Globe and The Span will replicate the altered presentation at the Guggenheim Museum in New York where, in response to vociferous protests, information technology was displayed without live insects and reptiles and with an accompanying artist argument. Two historic video works in the exhibition, Xu Bing's A Case Study of Transference (1994), and Sun Yuan and Peng Yu's Dogs That Cannot Touch Each Other (2003) also will be presented in deactivated states as in the New York presentation and volition be accompanied by artist statements as gestures memorializing the works. Now part of the history of the exhibition and of the three works, these artist gestures contextualize the way in which the art works were met with criticism and protest prior to their actual display in New York.
Catalogue
Art and China afterward 1989: Theater of the World is accompanied by a 324-page catalogue published by the Guggenheim Museum and features essays from curators Alexandra Munroe, Philip Tinari and Hou Hanru, and annotated descriptions of the works on view with interpretive analysis by the curators and scholars Katherine Grube, Lu Mingjun, Stephanie H. Tung and Xiaorui Zhu-Nowell. Information technology as well includes an exhibition history of the period under consideration prepared by Anthony Yung and Jane DeBevoise of the Asia Art Archive, Hong Kong.
Exhibition Venues and Dates
Solomon R. Guggenheim Museum: October vi, 2017–January 7, 2018
Guggenheim Museum Bilbao: May 11–September 23, 2018
SFMOMA: November 10, 2018–Feb 24, 2019
Back up
Major support for SFMOMA'southward presentation of Art and China after 1989: Theater of the Earth is provided past Susy and Jack Wadsworth. Generous support is provided by Shannon and Dennis Wong, and Akiko Yamazaki and Jerry Yang.
Art and Cathay afterwards 1989: Theater of the World is made possible in office by a major grant from the National Endowment for the Humanities.
Organisation
Art and Communist china after 1989: Theater of the Globe is organized by The Solomon R. Guggenheim Foundation, New York.
This exhibition is organized by Alexandra Munroe, Samsung Senior Curator, Asian Art, and Senior Advisor, Global Arts, Solomon R. Guggenheim Museum, and guest co-curators Philip Tinari, Managing director, UCCA, Beijing; and Hou Hanru, Artistic Managing director, MAXXI, National Museum of 21st Century Arts, Rome. At the Guggenheim, Xiaorui Zhu Nowell and Kyung An provided curatorial inquiry and back up.
The curators worked with an international advisory committee that has met under the auspices of the China Academy of Art, Hangzhou, and the Central Academy of Fine Arts, Beijing.
SFMOMA's presentation is organized by Rudolf Frieling, curator of media arts; Gary Garrels, Elise S. Haas Senior Curator of Painting and Sculpture; and Eungie Joo, curator of gimmicky art.
Art and China after 1989: Theater of the World Artists on View
INDIVIDUAL ARTISTS
Ai Weiwei
Cai Guo-Qiang
Cao Fei
Chen Chieh-jen
Chen Shaoxiong
Chen Zhen
Ding Yi
Geng Jianyi
Gu Dexin
Hong Hao
Huang Young Ping
Hung Liu
Kan Xuan
Kwan Sheung-chi
Li Shan
Liang Juhui
Lin Tianmiao
Lin Yilin
Liu Xiaodong
Liu Zheng
Liu Wei
Lu Jie
Ma Liuming
Ou Ning
Ellen Pau
Qiu Zhijie
Rong Rong
Shen Yuan
Song Dong
Wang Gongxin
Wang Guangyi
Wang Jianwei
Wang Xingwei
Wenda Gu
Wu Shanzhuan
Xiao Lu
Xu Bing
Xu Tan
Xu Zhen
Yan Lei
Yang Fudong
Yang Jiechang
Yin Xiuzhen
Yu Hong
Yu Youhan
Zhang Huan
Zeng Fanzhi
Zheng Guogu
Zhan Wang
Zhang Nian
Zhang Peili
Zhang Xiaogang
Zhao Bandi
Zhou Tiehai
Zhu Ming
Zhu Jia
Creative person GROUPS
- Eastward Village (Cang Xin, Duan Yingmei, Gao Yang, Ma Liuming, Ma Zhongren, Wang Shihua, Zhang Binbin, Zhang Huan, Zhu Ming and Zuoxiao Zuzhuo)
- New Measurement Group (Chen Shaoping, Gu Dexin and Wang Luyan)
- Tactile Awareness Grouping (Gu Dexin and Wang Luyan)
- Xijing Men (Chen Shaoxiong, Gim Hong-sok and Tsuyoshi Ozawa)
- Yangjiang Group
Source: https://www.sfmoma.org/press-release/art-and-china-after-1989/