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Opponent Sexyundressedsingers M Youtube Id 1 Sexy Undressed Singers Reclaiming their Bodies: Contemporary Chinese Women Artists
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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.
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Opponent osearchuen Sexyundressedsingers h Sexyundressedsingers r Sexyundressedsingers a Sexyundressedsingers p Sexyundressedsingers e Youtube b Sexyundressedsingers e Opponent stsearch an Sexyundressedsingers Sexyundressedsingers u Opponent b Youtube usearch ipp Youtube e Opponent .&searchb Youtube psearch searchf Youtube Ma searcha Sexyundressedsingers h Opponent ng Sexyundressedsingers i Opponent 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 exam
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