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aked friends are not so much reclaiming their bodies as discovering them, along with other ‘girls who just want to have fun’ all over the world. In Giving birth, 2002, Xing Fei, who describes her works as a woman’s self-discovery, included images of the ancient fertility goddess, and a photograph of herself naked and about to give birth.
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e Sexyundressedsingers i Elizabeth a Elizabeth ia Opponent Sexyundressedsingers el Porno e Elizabeth i Elizabeth g searchhsearchtfe Porno a Mcgovern e 0rsearchv Porno te Mcgovern p Mcgovern rsearchs can searche feminist subjects. In a 2005 exhibition she included twenty female nudes who appear to be masturbating, painting them in strong colours and distorting and exaggerating aspects of their bodies. She called them ‘feminist paintings.’ ‘We cannot look at women's private parts merely from the perspective of sex,’ said the artist. ‘These private parts are the medium I chose to express my view of feminism, which is very popular in the United States.’ Xiao Huixiang said her paintings expressed her insight into the lives of sexually frigid women. ‘Masturbation is a sensitive topic Chinese people have avoided talking about in public,’ she said. ‘But it is no longer a taboo subject for a painter of my age [she was born in 1933] to explore.’ Xu Sa has painted questioning works about sex, love, and modern life, such as painful desire, 2002, showing a naked woman masturbating on a leopard skin and surrounded by signs of bars, men, and the internet.
Much of this kind of art relates to Julia Kristeva’s notion of the abject: that which ‘disturbs identity, system order. What does not respect borders, positions, rules.’ Moving from the surface of the patriarchal female body that is looked at and moving into the feminist inner body that is lived in can be very shocking to many people; that it also acts as a kind of Brechtian alienating device, jolting people out of the illusions of art and forcing them to think, is a possibility. Gill Saunders reported on Western feminism in 1989: ‘Feminist art strategies involve breaking taboos surrounding childbirth, menstruation, vaginal imagery, and celebrating what have hitherto been areas of shame for women and thus weapons of subjugation.’ To break the bounds, to be transgressive, is to feel liberated, even though the outcome may be the opening up of these formerly shameful areas to the onslaughts of advertising and commodity marketing.
5. Laughter, mockery, playfulness
In the midst of the patriarchy, it has been argued, a female gaze may be achieved ‘through strategies like mockery, which disrupt the male gaze…the female gaze as mockery of machismo offers spectators the possibility of identifying with the pleasures of activity without the sort of mastery or voyeurism associated with the male gaze position of classic Hollywood cinema.’ Laughter can also indicate and achieve the kind of release known as catharsis.
I see a good deal of mockery in the work of Shen Ling. She has made many oil paintings on canvas and brush drawings on paper of a woman (herself?) and a man (her husband the artist Wang Yuping?) together in domestic and intimate settings. In many of these they are naked, with her often fronting brazenly to the viewer as a person who is not afraid to be herself or to show herself as she really is. There is a humorously cynical view of the man as well, but because it is a female artist who is doing the mocking it seems to me that female viewers are more likely than men to identify with their counterpart in the pictures: the woman is seen to be mocking herself, but the man is seen to be mocked by a woman.
Wang Nanfei has painted a great range of naked women, young and old, fat and thin, several masturbating, a group on bikes in the street, several singing and smoking at the same time, others being approached by men, many crowded around banquet tables with equally naked men, etc. Wang Nanfei in her comments sounds more lonely than happy, but the effect of most of her work on viewers must be to send them into fits of laughter.
Liu Yan is a fan of both Chinese opera and rock music, of Chinese tradition and Western ways, and reads Confucius and Mencius as well as Schopenhauer and Nietzsche. Her paintings are a wild mixture of Chinese opera male and female actors (probably including males dressed as females) and more modern types exuberantly engaging in a range of madcap sexual activities.
With biting humour Zhang Ping has also caught naked women sitting on the toilet and smoking, or making up in front of the mirror, in her 2004–05 series Making up, Smoking, and Private business, making them pathetically funny with enlarged heads and cartoonish postures, even as they expose their genitals to the viewer; she has also done a number of paintings of a naked girl looking in a mirror, or at a picture of other girls, and some even more lesbian-inclined paintings of two girls naked together. Ji Xiaofeng also paints young modern women going about their life, singly or in pairs, often topless, sometimes naked, always sexy and amusing.
Yu Hong painted a series called Routine, in which she showed herself naked and as though snapped enjoying an everyday activity: her casualness is disarming. The female writer and curator, Jiang Mei, included Yu Hong (along with Hung Liu and Feng Jiali) among feminist artists who painted self-images in which the relationship between imagery and viewer
is one of ‘mutual (reciprocal) gaze’. The ‘viewer’ and ‘the one being viewed’ can exchange positions anytime. ‘They’ (the pictorial imagery) send out a strong hint: that we do exist, and moreover, we are capable of thinking in our own ways; we long for an equal relationship with the world. Because such longings are often frustrated in real life, ‘they’ intentionally or unintentionally show expressions of loneliness, detachment, wonderment or even helplessness.
Liu Manwen sometimes paints naked female figures, perhaps with white paint on their faces like dancers in tribal ceremonies (compare Feng Jiali who gave her women bright pink faces ‘to illustrate,’ according to Sue Dewar, ‘the ambivalent and sometimes duplicitous nature of their roles’ ). Xu Xiaoyu’s photographic work Super image – Guangzhou, sex product, made in China included a street poster advertising sex, and was one of a series of juxtaposed photographs that drew attention to the Westernisation of many aspects of Chinese life, and the Chinese manufacture of many consumer products for the West.
Yuan Yaomin places images of seductive and combative women over pictures of the terracotta soldiers from emperor Qin’s tomb near Xi’an, and paints women in sexy underwear incongruously wearing face-masks of the soldiers. Yuan explained: ‘I remember visiting Xi’an for the first time as a university student…When I saw there was not a single female warrior, it led me to wonder [about] the long history of inequality between the sexes in China.’ ‘The main thing is to attract the viewer’s attention. Then people will see that my paintings are a challenge to a world dominated by male power.’ In 1995 she did a series of a pair muscular women being sexy together. Gao Xiaolan, in bra and G-string, asked viewers to write ‘woman’ or ‘female’ in their language in lipstick on her body. Zhang Jihong has written Chinese characters on cards while naked in a performance piece.
Not all of Fu Xi’s work is sardonic, but her 01, 2005, is a painting of a skinny woman sitting back on her heels and naked except for a pair of red high-heeled shoes and a bra with big red plastic flowerpots for cups. As well as anorexic nudes she does overweight ones with drooping bellies, all marked and scarred as though battered, which takes away any sense of fun.
In 1990 in Berlin Qin Yufen performed Painting happening naked, playfully smearing paint on herself and on paper spread on the floor. In Kan Xuan’s 2001 video, Looking, looking, looking for…, a spider explores all the recesses of a naked man and woman lying side by side.
Yin Ling was born in 1978 in Taiwan, and grew up in Japan. A model and actor at sixteen, she met a Russian photographer named Hiraokanovsky Kuratachenko when she was nineteen, and they began collaborating on performances and photography that are sometimes political and always erotic. In Let lovemaking lead the world towards peace anti-war slogans are written on a dressmaker’s female dummy; in another work a clothed Yin Ling poses in front of a sign reading: ‘People from various sectors in the motherland strongly condemn Japan's Koizumi visiting the Yasukuni shrine.’
Discussion
For Chinese female artists the unclothed woman is a sign of their new liberty, of their freedom to fantasise, to discover what they are like, to experiment with who they are, to be honest about themselves and their desires and needs, to find new identities as individuals in a capitalist economy. In their authoritarian society, where governments do not speak truth to the people, and the people cannot speak truth to governments or to each other, their portrayal of the naked body is a powerful example of candour, and a resounding condemnation of secrecy and hypocrisy.
That so much of their work is similar to the Western tradition of the nude is not surprising, for they live in a patriarchal society, and have inevitably absorbed prevailing attitudes about appropriate behaviour for women and approved notions of what constitutes art. Even when they rebel against that conditioning they may still choose to exercise their new freedom by making art that offers the female body as a passive and available sex object for the gaze of heterosexual men. They may do so because that is the art that sells, or because it is in line with their own fantasies, or because they think it is the most challenging gesture they can make against their parents, teachers, government etc.
Lynda Nead wrote that Western feminists of the 1970s fought ‘for representations of the female body that express women’s identities, desires and needs.’ We can conclude that so do many Chinese female artists now; but the dominating patriarchal culture of China is somewhat different:
(a) China maintains, officially and with many tokenistic gestures, that there is already equality between the sexes
(b) China’s official art history does not boast a long tradition of the nude, male or female
(c) It is only in the past fifteen or twenty years that sex, the body, contraception and prophylaxis, and bodily functions in general have been re-allowed into public discourse, including their representation in art
(d) Extreme overcrowding in most places makes heterosexual sexual relations extremely difficult and often impossible, even between married people, but encourages and facilitates (because of the widespread sharing of beds) same-sex sexual relations
(e) China has a One Child Policy
(f) There is a long history of female infanticide, now changing into the termination of a high percentage of pregnancies when ultrasound scans reveal a female foetus; with the resulting surplus of 41 million men (on the way to 120 million), Chinese women can afford to luxuriate in their privileged position, to primp and plump themselves, to shop around and to take their time until the very best father for their single child comes along; the shortage of women may also explain the Communist authorities’ tolerance of prostitution, with hundreds of thousands of brothels masquerading as beauty salons, barber shops, truck stops, and karaoke bars throughout the country, one estimate being that in Shanghai there are more than 100,000 female prostitutes, equal to the number before 1949
(g) There is an expectation that all women should participate in the (under-)paid workforce
(h) Female artists, feminists and non-feminists alike are able to draw inspiration from Western feminist or feminist-inspired works of art produced over the past forty years
(i) Traditional erotica in China shows ‘people indulging in every single aspect of sexuality to a mutual satisfaction. This is quite different from the erotic imagery in many other cultures where there is often an element of violence, particularly violence against women. In Chinese erotic art one does not see that…It is a culture that traditionally adored sex, with all kinds of rationales and philosophicals as to why one should have sex. There was the belief that sex existed for both genders, not just for the gratification of the male’
Nead saw two historical periods in feminist art in the West. The objective of feminist art in the first period ‘was to transform woman from the passive object of representation to the speaking subject. Feminist art articulated the right of women to represent their own bodies and sexual identities through vaginal imagery, performance work and the body, the representation of previously taboo subjects such as menstruation and so on.’ Much of it implied a ‘universal category of “woman”.’
The theory is that women have a womb, menstruate, become pregnant, lactate, have pre-menstrual tension, go through menopause etc, and that therefore they live inside their bodies, identify with their bodies, and take a greater interest in their own bodies than in men’s bodies, and a greater interest in their own bodies than men do in theirs; and this all makes them closer to nature than men.
Maryse Holder wrote, ‘Women are more interested in sex and sexual relationships. And women are discovering themselves. It is therefore not surprising to find that their work is often biomorphic, sexual, narcissistic, and mythic.’ And Gill Saunders wrote, ‘In many ways the female nude is a natural and inevitable subject for the woman artist; women have a stronger awareness of their bodies than men: their physical cycles are more insistent…’ Pam Meecham and Julie Sheldon: ‘…women have historically been seen as in thrall to their bodies to the detriment of their mental development.’
In the West some 1970s feminists had warned that ‘in celebrating what is essentially female we may simply be reinforcing oppressive definitions of women, e.g., women as always in their separate sphere, or women as defining their identities exclusively, and narcissistically, through their bodies.’ Others had cheerfully embraced biological determinism, with Adrienne Rich declaring that women must ‘think through the body.’ From that experience we might conclude that an in
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