frieze2009年年度总结展望：中国
frieze2009年年度总结展望：中国
Looking Forward, Looking Back
Carol Yinghua Lu is a writer, curator and a contributing editor of frieze. She lives and works in Beijing, China
最好的群展
‘ 报告祖国 - 中国美术60年’ at The National Art Museum of China in Beijing provided a comprehensive survey of developments in art since the founding of the Republic of China in 1949. It was the first time a show had been organized around the country’s official 60-year-old art history; it included ink, watercolour and oil paintings, engraving, sculpture, folk arts, comics and propaganda posters that showcased ‘the process of nationalization, popularization and modernization of art’. Although many of the 700 works of art included in this informative show were not modern or contemporary, they lent a rare opportunity to gain greater understanding of the origins of contemporary Chinese art.
最好的个展
顾德新’s exhibition 2009–05–02 in Galleria Continua, Beijing was the last public project of the artist’s career. Born in 1962, Gu is widely considered to be one of the most prolific and reflective conceptual artists in China and his consistent refusal to offer any explanation about his work has never diminished his popularity. Unsurprisingly, this unnerving exhibition was a highly metaphorical and austere contemplation on existential issues and refused to provide any comforting answers. For the artist, it marked his departure from the art world, which, typically, he refused to discuss.
2010年展望
‘重塑历史，从2000到2009年’ is scheduled to open simultaneously in major museums in Beijing, Guangzhou and Shanghai in April 2010 and has stirred controversy with the immodest claim of its title. According to art historian Lu Peng, who is the initiator of this ambitious project, its original title was ‘Making History’, which was abandoned as it was considered too close to ‘Making Worlds’ the title of the 53rd Venice Biennale. ‘Chinart’ was coined to refer to both Chinese art and the new group of museums Lu Peng helped initiate and which are still under construction – they’re part of a local tourist and economic promotion for Qingchengshan in Sichuan Province – the show’s main sponsor. The show, which will, no doubt reflect Lu Peng’s fast and loose approach to writing history, will include nearly 1000 works produced from 2000 to 2009 by almost 200 artists working over the past 30 years and will provide a useful, up-to-date and inclusive check-list of contemporary Chinese art since the end of Cultural Revolution in 1979 – as long as one bears in mind it’s just one angle and not the whole history.
新艺术家观察
李景湖’s conceptual practice is rooted in his ability to excavate artistic potential from insignificant objects; he has carved a motorcycle helmet from a watermelon, shaped broken tiles into stars, planted flowers in a pair of boots, turned bamboo blooms into flutes by drilling holes on their handles, dismantled an alarm clock to create a string of wind-bells, and painted random cement fragments found on construction sites to look like Chinese cabbages. He views life with such optimism and lightness that his art is contagiously romantic and moving.
转自卢迎华博客
Looking Forward, Looking Back
Carol Yinghua Lu is a writer, curator and a contributing editor of frieze. She lives and works in Beijing, China
最好的群展
‘ 报告祖国 - 中国美术60年’ at The National Art Museum of China in Beijing provided a comprehensive survey of developments in art since the founding of the Republic of China in 1949. It was the first time a show had been organized around the country’s official 60-year-old art history; it included ink, watercolour and oil paintings, engraving, sculpture, folk arts, comics and propaganda posters that showcased ‘the process of nationalization, popularization and modernization of art’. Although many of the 700 works of art included in this informative show were not modern or contemporary, they lent a rare opportunity to gain greater understanding of the origins of contemporary Chinese art.
最好的个展
顾德新’s exhibition 2009–05–02 in Galleria Continua, Beijing was the last public project of the artist’s career. Born in 1962, Gu is widely considered to be one of the most prolific and reflective conceptual artists in China and his consistent refusal to offer any explanation about his work has never diminished his popularity. Unsurprisingly, this unnerving exhibition was a highly metaphorical and austere contemplation on existential issues and refused to provide any comforting answers. For the artist, it marked his departure from the art world, which, typically, he refused to discuss.
2010年展望
‘重塑历史，从2000到2009年’ is scheduled to open simultaneously in major museums in Beijing, Guangzhou and Shanghai in April 2010 and has stirred controversy with the immodest claim of its title. According to art historian Lu Peng, who is the initiator of this ambitious project, its original title was ‘Making History’, which was abandoned as it was considered too close to ‘Making Worlds’ the title of the 53rd Venice Biennale. ‘Chinart’ was coined to refer to both Chinese art and the new group of museums Lu Peng helped initiate and which are still under construction – they’re part of a local tourist and economic promotion for Qingchengshan in Sichuan Province – the show’s main sponsor. The show, which will, no doubt reflect Lu Peng’s fast and loose approach to writing history, will include nearly 1000 works produced from 2000 to 2009 by almost 200 artists working over the past 30 years and will provide a useful, up-to-date and inclusive check-list of contemporary Chinese art since the end of Cultural Revolution in 1979 – as long as one bears in mind it’s just one angle and not the whole history.
新艺术家观察
李景湖’s conceptual practice is rooted in his ability to excavate artistic potential from insignificant objects; he has carved a motorcycle helmet from a watermelon, shaped broken tiles into stars, planted flowers in a pair of boots, turned bamboo blooms into flutes by drilling holes on their handles, dismantled an alarm clock to create a string of wind-bells, and painted random cement fragments found on construction sites to look like Chinese cabbages. He views life with such optimism and lightness that his art is contagiously romantic and moving.
转自卢迎华博客
发错地方了！忽悠老外在英文版！
