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I wonder why the body has a small role in determining life? Why it has to serve the belief or the ‘ideology’? Why can’t we start to think from the body and from a very special part of the body called ‘the heart’?
The two male Chinese performance artists, Cai Yuan and JJ Xi, explained the use of their own naked bodies in their work as having ‘historical reasons behind it’: ‘Sometimes the body has been used to confront an oppressive regime. In that sense the body can be used as a site for protest against corruption, reflecting the human spirit of freedom.’ They see their role as democratic, as keeping an eye on government and institutions, and criticising and protesting in order to keep society healthy; unlike the anti-war protests by Yin Ling (see above), their performances are not intentionally erotic.
The fact that direct and explicit protest is much more dangerous in mainland China and dictatorial Singapore than in and post-martial law Taiwan is enough to explain the absence of protest art, otherwise we might expect to see attention on the bodies of female factory workers in sweatshops, minority women, tortured Falun Gong members, etc. There is obviously a lot more reclaiming of bodies to be done. Let Joanna Frueh have the last witty word: ‘Possessing the body empowers us with new sight, speech, and hearing. Moreover, self-possession helps us to shoulder responsibility, stomach criticism, stand on our own two feet, head into the fray.’
APPENDIX
Cao Weihong, 1971, possibly Hong Kong
Chang Hsing-Yu, 1971, Taiwan
Chen Lingyang, 1975, Zhejiang, Beijing
Chen Yadan, 1942, Beijing
Chen Yanyin, 1958, Shanghai, Hangzhou, Shanghai, Australia
Cui Xiuwen (Cui Youwen), 1970, Harbin, Beijing
Feng Jiali (Jyali), 1963, Beijing
Feng Qianyu, 1974, Guangdong, Beijing, Guangdong
Fu Jiying, 1962, Beijing
Fu Xi, 1970, Sichuan
Gao Xiaolan, c.1975?, Hong Kong
Guo Qingling, 1973, Hunan, Shanghai
Guo Yan, Shaanxi, Xi’an
He Chengyao, 1964, Sichuan, Chongqing, Beijing
Heng, Amanda, 1951, Singapore, Perth, Singapore
Hu Ming, 1955, Beijing, New Zealand, Australia
Ji Xiaofeng, c.1975?, Qingdao, Beijing
Jiang Congyi, 1963, Henan, Beijing
Jiang Jie, 1963, Beijing
Jin Weihong, 1967, Nanjing
Kan Xuan, 1972, Anhui, Zhejiang, Amsterdam
Lai, Mei-Hua, 1948, Taiwan
Li Hong, 1965, Beijing, England, Beijing, New York, Beijing
Liao Haiying, 1967, Sichuan
Lin Tianmiao, 1961, Shanxi, Beijing, New York, Beijing
Liu Hong, 1956, Sichuan
Liu Manwen, 1962, Heilongjiang
Liu Yan, 1965, Beijing
Liu Yousha, c.late 1950s, Hunan, Hangzhou, Canada, United States
Ma Yanhong, 1977, Shanxi, Beijing
Nie Mu, 1973, Xinjiang, Beijing
Niu An (Ann New), 1970s, Shanghai, Japan, Shanghai
Qin Jin, 1970s, Guangdong
Qin Yufen, 1954, Qingdao, Berlin
Shao Fei, 1954, Beijing
Shen Ling, 1965, Liaoning, Beijing
Shen Na, 1979, Sichuan
Wang Nanfei, 1975, Jilin, Texas, Beijing
Wang Yingchun, 1942, Shanxi, Xi’an, Beijing
Woo, Nancy Chu, 1941, Guangdong, Hong Kong, New York, Hong Kong
Xiang Jing, 1965, Beijing, Shanghai
Xiao Huixiang, 1933, Hunan, Beijing, Los Angeles
Xing Danwen, 1967, Xi’an, Beijing
Xing Fei, 1958, Beijing, New York
Xu Hualing, 1975, Harbin, Beijing
Xu Jie, c.1970?, Shanghai
Xu Sa (Sasa), Beijing
Xu Xiaoyu, 1959
Yan Ming-hui (Ming-Huy), 1956, Taiwan, New York, Taiwan
Yang Fan, 1972, Guangdong
Yang Xiaojun, 1971/77?, Tianjin
Yang Yi, 1964, Sichuan, Guizhou and Beijing
Yin Ling, 1978, Taiwan, Japan
Yu Hong, 1966, Beijing
Yuan Yaomin, 1961, Beijing
Zhang Jie, 1980, Sichuan
Zhang Jihong, China, South Korea
Zhang O (O. Zhang), c.1970?, Guangzhou, Beijing, London
Zhang Ping, 1971, Xinjiang, Beijing, Shanghai
Zhang Shumei, 1954, Shandong?
Zhang Tiemei, Jilin
Zhang Yaxi, 1968, Chongqing, Beijing, Zhejiang, Paris, Sichuan
Zhang Yongping, 1979, Heilongjiang, Beijing
Zhao Mengge, c.1978, Henan
Zhou Ling, 1941, Tianjin, Beijing, Yunnan, Beijing
Zhou Nan, c.late 1970s?, Chongqing
Zhu Bing, 1964, Hubei, Beijing
(please check the word docu for proper display of footnotes)
Victoria Lu, ‘The Rise of Feminist Awareness and the Feminist Art Movement in Taiwan,’ N. Paradoxa, no.16, July 2002, on the internet.
> See Gill Saunders, The Nude: A New Perspective, London: Herbert Press, 1989, where there are chapters called ‘Active versus Passive,’ ‘The Fetishized Female,’ and ‘Nature versus Culture.’
Lisa Tickner, ‘The Body Politic: Female Sexuality and Women Artists since 1970,’ Art History, 1: 2, June 1978, p.239.
See John Clark, Modern Asian Art, Sydney: Craftsman House, 1998, p.286 and note 9 on p.298; Jennifer Cody Epstein, Iron Orchid, New York: Norton; London: Viking, 2006; and the film ‘A Soul Haunted by Painting,’ in which Gong Li plays Pan Yuliang.
William Willetts, Chinese Art, 2 vols, Harmondsworth: Penguin, 1958, vol. 1, pp.384–86; William Watson, Style in the Arts of China, Harmondsworth: Penguin, 1974, p.82, plate 71.
Michael Sullivan, The Arts of China, 4th edition, Berkeley: University of California Press, 1999, p.8.
See section on Xing Fei in Patricia Eichenbaum Karetzky, Who Am I: Chinese Contemporary Art by Chinese and Chinese-American Women Artists, exhibition catalogue, New York: Chinese-American Arts Council, 2004; www.karetzky.com/whoami-text.htm
Zhang O, in Karetzky, Who Am I, 2004.
Dru C. Gladney, ‘Constructing a Contemporary Uighur National Identity: Transnationalism, Islamicization, and State Representation,’ Cahiers d’études sur la Méditerranée orientale et la monde turco-iranien, no. 13, January–June 1992.
See Clark, 1998, p.286.
Hsingyuan Tsao, ‘Fun, Pleasure-Seeking, but Thoughtful: On Urban Popular Culture in China,’ Yishu: Journal of Contemporary Chinese Art, 3: 2, June 2004, pp.89–102: see pp.100–01.
Xu Hong, ‘Dialogue: The Awakening of Women’s Consciousness,’ translated by Claire Roberts, in Dinah Dysart & Hannah Fink, eds, Asian Women Artists, Sydney: Craftsman House, 1996, pp.16–23: see p.23.
Shen Na, artist’s statement on Art Scene Warehouse website.
Xenia Tetmajer, ‘She at Art Seasons China,’ Asia Art News, 14: 3, May/June 2004, p.77.
Fa Fa Gallery website.
All quotes from > Anchee Min, Red Azalea, London: Victor Gollancz, 1993; New York: Pantheon Books, 1994.
Susan Kendzulak, ‘Bombs Away! Cai Guoqiang’s Bunker Museum of Contemporary Art,’ Yishu: Journal of Contemporary Chinese Art, 3: 4, December 2004, pp.44–51: this quote from p.48.
Zhang O, in Karetzky, Who Am I, 2004.
Zhang O, in Karetzky, Who Am I, 2004; see also Patricia Eichenbaum Karetzky, ‘Zhang O: In Transit,’ Yishu: Journal of Contemporary Chinese Art, 3: 2, September 2004, pp.28–31.
‘It is too easy and self-restricting to identify the gaze as unilaterally male’: Jennifer M. Green, ‘Subject, Object, Camera: Photographing Women in The Unbearable Lightness of Being,’ in Ronald Dotterer & Susan Bowers, eds, Sexuality, the Female Gaze, and the Arts, Selinsgrove, Pa.: Susquehanna University Press, 1992, pp.53–63: this quote from p.59; see also Ann Kaplan, ‘Is the Gaze Male?,’ in Women and Film, New York: Methuen, 1983.
Avis Lewallen, ‘Lace: Pornography for Women?’ in Lorraine Gamman & Margaret Marshment, eds, The Female Gaze: Women as Viewers of Popular Culture, London: The Women’s Press, 1988, pp.86–101: this quote from p.86.
Lorraine Gamman, ‘Watching the Detectives: The Enigma of the Female Gaze,’ in Gamman & Marshment, 1988, pp.8–26: this quotes from p.18.
Saunders, 1989, p.118.
Cassandra L. Langer, ‘Transgressing Le Droit du Seigneur: The Lesbian Feminist Defining Herself in Art History,’ in Joanna Frueh, Cassandra L. Langer & Arlene Raven, eds, New Feminist Criticism: Art, Identity, Action, New York: HarperCollins, 1994, pp.306–26.
Mary Kelly, ‘Desiring Images/Imaging Desire,’ in her Imaging Desire, Cambridge, Mass.: MIT Press, 1996, pp.122–29.
Tetmajer, 2004, p.77.
Maryse Holder, ‘Another Cuntree: At Last, A Mainstream Female Art Movement,’ in Off Our Backs, 1973, reprinted in Arlene Raven, Cassandra L. Langer & Joanna Frueh, eds, Feminist Art Criticism: An Anthology, Ann Arbor: UMI Research Press, 1988, pp.1–20: this quote from p.1.
Tetmajer, 2004, p.77.
Laurie Essig, on the internet.
Jin Weihong, quoted in Anna Zhong Tong Yue, ‘Jin Wei Hong,’ 2004, Shanghart Gallery website.
Yve-Alain Bois & Rosalind E. Krauss, Formless A User’s Guide, New York: Zone Books, 1997; Rosalind Krauss, ‘Claude Cahun and Dora Maar: By Way of Introduction,’ in Bachelors, Cambridge, Mass.: MIT Press, 1999.
Krauss, 1999, p.50.
Sasha Su-Ling Welland, ‘On Curating Cruel/Loving Bodies,’ Yishu: Journal of Contemporary Chinese Art, 4: 1, March 2005, pp.17–36: this quote from p.18.
Wang Yun, ‘Brave Spirit – Chinese Female Artist Chen Lingyang,’ in Karetzky, Who Am I, 2004; Huangfu Binghui, ed., Moving On: Contemporary Chinese Art at NUS [National University of Singapore] Museums, exhibition catalogue, Singapore: NUS Museums, 2004, pp.56–75; Bernhard Fibicher & Matthias Frehner, eds, Mahjong: Contemporary Chinese Art from the Sigg Collection, exhibition catalogue, Germany: Hatje Cantz, 2005, pp.310–11.
Karin Bergquist, www.culturebase.net
See Karetzky, Who Am I, 2004.
Li Hong, quoted in Karetzky, Who Am I, 2004.
Daozi, ‘Feng Jiali: Her Handiworks and Conception of Medium,’ translated by Zha Changping, in Karetzky, Who Am I, 2004. See also Sue Dewar, ‘In the Eye of the Beholder: The Art of Wang Jin and Feng Jiali,’ Art AsiaPacific, no. 15, 1997, pp.66–73.
Alonzo Emery, ‘Angst and Erotica,’ South China Morning Post, 23 May 2004, on the internet; see also Jonathan Thomson, ‘The Tragedy of the Figure,’ Asian Art News, 15: 6, November/December 2005, pp.74–77.
Jiang Mei, ‘Private Space and Public Space – Dissecting Chinese Feminist Art of the Late 1990s,’ in Text & Subtext: International Contemporary Art and Asian Woman, Earl Lu Gallery, Singapore, 2000, pp.68–73: this quote from p.69.
Han Hanru, ‘Somewhere Between Utopia and Chaos: Contemporary Art in China,’ in Chris Driessen & Heidi van Mierlo, eds, Another Long March: Chinese Conceptual and Installation Art in the Nineties, exhibition catalogue, Breda: Fundament Foundation, 1997. pp.54–91: see p.83.
See Whitney Chadwick, Women, Art, and Society, 3rd edition, London: Thames & Hudson, 2002, pp.462–63.
Elsa Chen, ‘Reading Feminist Dimensions of Contemporary Art in Taiwan,’ in Text & Subtext, 2000, pp.75–87: this quote from p.80.
Yan Ming-hui, in ‘Art Works by Yan Ming-hui 1988–90,’ Taipei Glorious Era Art Publishing, 1990, cited in Elsa Chen, 2000, p
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