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Opponent Sexyundressedsingers Id Corazonsiegrist Search Label Actor Jesse%20Metcalfe Sexy Undressed Singers Reclaiming their Bodies: Contemporary Chinese Women Artists
Opponent Sexyundressedsingers Id Corazonsiegrist Search Label Actor Jesse%20Metcalfe Sexy Undressed Singers
actice of abortion, especially of female embryos: ‘I felt it was something that touched my heart.’ In Magic flower she placed a plaster female figure on the floor and linked it with threads to the acupuncture points of a male figure, the cycle of sending and receiving reminiscent of Yin and Yang in Chinese philosophy. Jiang Jie:
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n I was young, I would feel very nervous at the sight of a hospital. When I saw a bandage I imagined the blood and the wound. But that kind of excitement and nervousness were needed in my work…If I fear something then I will make works out of those fears. That ranges from acupuncture to a baby.
In Men in parallel with women, 1996, she posed an armless plaster model of a naked woman next to a similar one of a man, as though to counter the usual assumption that nakedness asserts one’s individuality, by showing that it can emphasise sameness, even between the sexes.
Yang Yi named a 2005 series of her paintings Dantian, after supposed primal health and nerve hubs in the human body (hence Chinese stomach protectors, as worn by ‘Alice Mannegan’ on the dust-jacket of Nicole Mones’s novel Lost in Translation ).
A Taoist medical essay says there are three such ‘crimson fields (Dantian)’ in our body. They are located three inches under the belly button (Lower Dantian), just underneath the heart (Middle Dantian) and in the space between the eyes (Upper Dantian). The Lower Dantian is the location of the source of life (for men, it is the sperm centre and for women, the womb). The Middle Dantian supplies the heart and the Upper Dantian stores our spirit of life.
In Yang Yi's delicate works on silk, she covers the Lower Dantian and the Middle Dantian of a nude female body with some meticulous depictions of Tibetan religious icons, thus forcing viewers to search into their souls for sentiments that are either innate, inert or confined. She leaves the Upper Dantian for the viewers' imagination. She states her points and leaves without passing judgements.
Xiang Jing makes sculptures in fibreglass, plastic and bronze of modern women including adolescent girls, life-size or smaller, naturalistic or distorted, including one of a naked young woman on the toilet, and in Your body, 2005, one of an older naked woman, hairless as though undergoing chemotherapy, and slumped in a chair with legs apart. In each case the woman appears caught up in a novel realisation that this is what she is like, or that this is what life, in its various stages, is really about.
Yu Hong’s Nude, 1988, a realistic painting of a middle-aged naked woman in a full-frontal ungainly stance contrasted with the idealised academic nudes by male artists in that year’s China Nude Art exhibition. In 2002 she did a pastel on paper series called A woman’s life: The art of Yu Hong, showing her at the ages of 2, 4, 6, 9, 10, 13, 21, 26, 27, 28, and 34. The one of her at age 28 shows her standing naked examining her pregnant body.
He Chengyao, as a way (she says) of dealing with childhood memories of her mother stripping off in public, has often done the same, beginning with her taking off her shirt during another artist’s performance at the Great Wall. Her 99 needles performance was a replication of her mother’s ordeal of an amateurish village attempt at a cure with acupuncture. In Fish-woman she stood in the ocean holding a split fish resembling female genitalia, and in Public broadcast exercises she performed naked the calisthenics done collectively in schools and work units, but having wound tape around her body sticky side out, her movements were irregular and caused tearing sounds. Sasha Su-Ling Welland described He Chengyao’s Figure series, 2004, as:
coloured-line sketches of nude female bodies contorted to fit into the rectangular frame. One consisted mainly of a yellow pair of legs, forming a triangle composition on the canvas, seen from behind as a woman bends forward. Her genitalia would be completely exposed except that the figure’s hands reach back to barely cover up this area.
Zhang Jie paints introspective portraits of a very young woman half-undressed, hugging herself, with big sad worried eyes. Qin Jin has done a series of photographs of a young naked woman, face hidden, as though to document her ample breasts and bulbous nipples. Of Ma Yanhong it has been said, ‘She has developed a fresh and original pictorial vision which is centered on the growing self-awareness of her circle of female friends in the frenetic and free environment of modern China’; she and her naked 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.
Xiao Huixiang in the early 1980s made a big mural at Beijing airport called The Spring of science, using female nudes to symbolise an open, dynamic and scientific future for China. Now she paints, among other things, bright red female genitalia, believing that female private parts can be 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 d
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