MoMA PS1 Associate Curator Jenny Schlenzka on the Taiwanese artist’s innovative posters documenting some of his extreme performances in New York City in the 1980s. The four posters in the collection of MoMA’s Library are part of One Year Performance 1981–1982 by Tehching Hsieh (Taiwanese, born 1950). To complete this work, which is often referred to as Outdoor…
“A Conversation with Yang Jiechang” is available in Chinese and English. Yang talks about his “art education” during the Cultural Revolution, when he served as a Red Guard in a small village, and describes how the study of calligraphy extinguished his enthusiasm for revolution and political propaganda. Read the English translation here. 巴黎楊詰蒼工作室 24 June 2014…
For the artist Yang Jiechang (b. 1956, Foshan), there is a certain similarity betweencontemporary artists and China’s Red Guards of the 1970s: namely, their performance of arbitrary tasks. In this conversation, Yang talks about his “art education” during the Cultural Revolution, when he served as a Red Guard in a small village, and describes how…
On June 22, Dr. Sonal Khullar visited with C-MAP and viewed Bhupen Khakhar’s painting Kali (1965). This painting, which MoMA purchased in 1967, is one of the artist’s early works. Less researched, it was made when he was still developing his vernacular language for what would later be considered Indian Pop art. In this video,…
Since around 1977 when Gilbert and Lila Silverman began to develop their Fluxus Collection, Jon Hendricks has played a central role in fostering the formation of that renowned collection that bears their names.
Yu Youhan (b. Shanghai, 1943) is widely considered the father of abstract painting and Political Pop in China. A longtime teacher of art in Shanghai, Yu has no wish to pursue an interdisciplinary or international practice, as many artists of his generation do. In this conversation, he talks about his life during the Cultural Revolution…
Read the english translation here.
We live in a world filled with images that are captured, edited, and published at hyper speeds, images referring to images. Our political, ethical, and intimate lives are constructed around images, through images, and in images. In situations of war and mass violations of human rights, it is our hyper-mediatized world that creates the typical…
Since the 1950s, there has been an active production of experimental film, animation, and video art in Asia. Yet, much of this work has not been consistently conserved or shared with the public due to the lack of accessible archives or organized collections dedicated to its preservation and dissemination. The conference “The Archival Impulse: Collecting…
Read the english translation here.
The name Ding Yi is associated with the cross, a symbol the artist, designer, and educator has used since the late 1980s in his investigation of abstraction. Ding’s allover painting fields are built from the manual, systematic repetition of horizontal and vertical strokes across a flat, canvas surface. Ding grew up during the Cultural Revolution,…
Did 1993 mark a watershed for “contemporary Chinese art” in the then increasingly globalized art world? In this essay Peggy Wang discusses exhibitions of contemporary Chinese art held overseas in the year 1993, notably China Avant-Garde in Berlin, China’s New Art, Post-1989 in Hong Kong, and the Venice Biennale. Analyzing various readings of works by artists such as Wang…
