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Opponent Sexyundressedsingers R Music Id Ka Karaoke 2012 Q Sexy Undressed Singers Reclaiming their Bodies: Contemporary Chinese Women Artists
Opponent Sexyundressedsingers R Music Id Ka Karaoke 2012 Q Sexy Undressed Singers
d water are full of innuendo. These are an aesthetic expression of the seductive and ominous feelings of human sexuality, beauty, and death.
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Women painting naked women plays havoc with feminist discourses of (male) subject and (female) object, of active (male) and passive (female), and of (male) surveillance and (female) display, and even with the idea that the mere pursuit of visual pleasure (‘scopophilia’) is inherently masculine. Are female artists, then, being sucked into identifying with the male gaze?
As Avis Lewallen asked regarding the new wave of blockbuster sex novels written by women, ‘Do they merely contribute to the further objectification of women within our misogynist society, inculcating male power, or do they offer a form of representation that facilitates the female gaze?’ One feminist, in talking about television programs, argued that ‘the female gaze is not produced simply because women are behind the camera or because the main characters are women…the female gaze can be a mask for a male point of view.’
‘Awareness of this danger,’ wrote Gill Saunders in 1989 of Western female artists, ‘has led most of the women artists working with the nude to use their own bodies as subject and by so doing they escaped the traditional artist/model subject/object relationship, using the body as a locus in which art and artist are interchangeable.’ Certainly, Western feminist art in the 1970s was full of naked self-portraits, but feminist intentions alone could never protect such art from being ogled by heterosexual men (that it is also ogled by lesbians is neither here nor there: we live in a society run by and for men, not by and for lesbians). Nor, according to Mary Kelly, does it overcome the object/subject problem, for the female artist painting herself still sees herself in the feminine position as the object of the look and as an artist in the masculine position as subject of the look. It is altogether too hopeful to say, as Xenia Tetmajer did of an exhibition in Beijing in 2004, ‘The naked bodies on display in She represent either the artist herself or her friends and thus falls [sic] outside the traditional objectifying male gaze,’ objectification not being decidable by reference to the sex of the artist, to the subjects being the artist or friends, or even to the artist’s intentions.
In 1973 Maryse Holder reported on the ‘amazing phenomenon’ of women all over the US ‘describing unprecedentedly explicit sexual content’ as they began ‘redeeming their cunts from male pawn shops, [and] appropriating the entire matter of human sexuality as well.’ Many Chinese female artists now seem to be manifesting a similar eruption of sexuality after decades of prudery. They are celebrating the sexual beauty of young women (never of men), and the idea of beautiful sex with themselves or another woman, and occasionally with a man.
2. Tasteful but saccharine cuties
Whereas those who have painted lubricious nudes are the youngest contingent, with a mean age in 2006 of 34.8 years, the artists we are going to look at now are the oldest, with a mean age of 44.2 years. (The mean age of those in category 3 is 43.7, in category 4, 40.1, and in category 5, 38.6.)
Zhang Shumei paints nothing but dozens of ethereal buxom nudes, singly and in groups of two or three, in pastel colours and in flowery landscapes, all in the stiff life-class poses of Western-derived nudes of pre-Communist times, with some looking non-Han Chinese or non-Chinese Asian, in a kind of internal or reverse Orientalism. Zhou Ling paints voluptuous exoticised young earth mothers of varying ethnicity in natural tropical settings, often with wild animals and birds.
Fu Jiying does paintings of female nudes in styles from the past, one being described by a commentator as, ‘Three naked Court Ladies enjoying themselves in the water as described in the excerpt from a Song Dynasty poet, Li Qing Zhao,’ and others showing a goddess-like nude with flowers in her hair posing with wild animals.
Liu Yousha paints pairs of pastel-coloured stylised female nudes floating in Cubist-derived landscapes with titles like One summer day. Yang Xiaojun paints decorous female nudes with gorgeous hair-styling and makeup against generic Chinese flowers and landscapes. Xu Jie has made oil paintings of standard Western-style posed female nudes, impassive, with eyes averted, closed, or hidden, and in Hong Kong Nancy Chu Woo draws and paints glamorised life-class female nudes, usually from behind.
Cao Weihong paints cute nudes, modelling them and their domestic surroundings on what might have been in old painted scrolls, as though the artist were retrospectively inventing a Chinese counterpart to the Western tradition of the female nude; they are idealised, slim, young, without pubic hair or labia, standing in lotus flowers, simpering behind fans: the epitome of passive, available sex objects, and amusing despite or because of that.
Xu Hualing has painted pale nude female torsos with heads cut off by the frame; of others Xenia Tetmajer wrote:
[T]he viewer is presented with the artist’s almost ephemeral body. She looks at the viewer from behind a veil-like pattern emitting soft sexual innuendo. The artist’s powerfully questioning gaze, however, undermines the docility of her body.
Yang Fan painted a series of idealised cuties bathing, their nakedness against bright pink or blue backgrounds partly covered by blurry water or steam. There is a lot of cuteness in modern Chinese art, although it is still a long way behind the infantilised popular culture of Japan. In psychoanalytic terms it connotes regression. ‘Cuteness fetishizes powerlessness,’ is one opinion; from children and virtuous young women to sweet old ladies, to be cute connotes ‘the need to be saved, and creates the longing to rescue.’
This group of artists also celebrates youthful women’s sexual beauty (and again, never men’s), but unlike the first group they present the female nude as passive.
3. Subordinated to the art
Jin Weihong has done an enormous number of ink and colour paintings of one or two people in domestic or garden settings, with the people and their surroundings being but lightly sketched, giving no more indication of narrative than their minimal titles, such as Looking at flowers, or People and bird. Although the figures usually seem to be unclothed, the genitals are never depicted, so that the frequent suggestion of breasts seems to indicate that most or all of them are women. Either way, the depiction in ink and colour of people singly or in pairs engaged in leisurely pursuits, in which they are so absorbed that mere material considerations such as dress can be forgotten, carries the viewer back to the classic literati paintings of the Southern Song dynasty. By grafting quite notional nudes on to the indigenous tradition of ink and colour brush painting she is the artist whose work is least able to be seen as (even though it may be in fact) diaristic or the working through of her own personal experiences.
Jin Weihong: ‘Nude figures, unbound by social conventions, seem to be an ideal way to express my feelings freely.’ ‘I prefer the kind of emptiness there in my paintings, which leaves spaces for viewers’ imagination.’ ‘I have to be in a very relaxed and merry mood to paint and I want my paintings to be as natural as possible.’ ‘Line drawing is very important in Chinese paintings and one brief line can save unnecessary brushwork, while telling much.’
The depiction of ungendered human bodies brings to mind Georges Bataille’s concept of ‘formless’ (revived in more recent times by Yve-Alain Bois and Rosalind Krauss among others ), with its slippage and blurring of categories, its impossibility of definition, and its fluidity of identity. Krauss envisaged a ‘field of the Imaginary that allows for its positions to be occupied by more than one gender at once,’ on which Sasha Si-Ling Welland commented, ‘This way of seeing disrupts any fixed notion of the male gaze, in which the eyes of a default male viewer fall upon a represented female body with the simple effect of fantasy fulfillment, manipulation, and control.’ It also caters to trans-gendered and trans-sexual people who disprove the binary masculine-feminine stereotype, and speaks to the feminine in all men and the masculine in all women. The racial indistinctness of the figures similarly blurs the Chinese-foreigner distinction.
When nakedness, lesbianism etc are reworked so that the artistic work involved is of greater interest the psychoanalytic term is sublimation. In her 25:00 [or 25th hour] series, Chen Lingyang shows a greatly enlarged female nude crouched on a rooftop at night, or lying front down on top of a Beijing building with her hair hanging down the wall, which may convey to some a discrepancy between human and particularly female sensibilities and the modern city of highrise apartments.
Cui Xiuwen in her video Lady's room secretly filmed prostitutes at work.
The choice to film in the unique location of the 'Lady's room' is very significant, as the lavatory serves as the only 'rational' place to go on a break from work. Here, the prostitutes uninhibitedly exhibit the abnormal state of the shameful 'work' for which they must sacrifice self-respect, youth, beauty and health, here they can also evade their clients for a while. Through this is revealed the real background of consumer sex in China, taboo on the surface but thriving beneath…
In the video Twice, 2001, Cui Xiuwen is shown alone in her apartment having phone sex while she rubs herself. In another video, Toot, 2001, a naked standing Cui is wrapped in toilet paper, which then disintegrates as water is applied. The musical accompaniment played on the pipa is associated with the occasion when the Han were about to defeat the Chu and the Chu leader’s favourite concubine killed herself, whereupon the Chu leader sang this song of mourning before he too killed himself.
Wang Yingchun in 2003 showed her ‘Comfort Women’ looking pained, desperate, and humiliated. ‘Comfort Women’ was Japan’s term for women forced to have sex with Japanese troops during Japan’s invasion of China and many other countries between 1931 and 1945. The painter said that she hoped to record history by painting these miserable Chinese women, many of whom had already died. It was the first time that Chinese paintings of ‘Comfort Women’ had been displayed in public.
Li Hong, a long-time feminist, has used female figures in a number of settings, sometimes disturbing as in her Conspiracy series from 1996, in which naked women are mangled in car engines, a reference to the fate of women in today’s society. She has also made pencil drawings of pairs of young women naked on city streets, clinging to each other for protection, or looking out at the viewer: the possibility that they could be prostitutes is not ruled out, but would seem unlikely in view of Li Hong’s statement:
To me portraits are the most direct way of depicting the human spirit…they reveal the problems of women in society. I really want to explore and expose the sexual identity and the status of women living in a male-dominated world…These are contemporary women, confused and depressed…they have lost their sexual and cultural identity.
Feng Jiali used paint and embroidery to decorate farmers’ worn-out shirts and jeans with images of cheerful naked women unconcernedly doing things at home or getting ready for a night on the town, a combination of closeness to nature (her studio is a restored farmhouse courtyard near Beijing), Western easel art, use of traditional women’s sewing crafts, and feminist feeling for the female body. T
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