As museums move to put more geographically inclusive displays on view, a tension in emphasis–between cross-geographic correspondences and local particularities–is necessarily at stake. We convened a conversation between art historian, Alexander Alberro; curator, Doryun Chong; and museum director, Edit Sasvári, each with their own regional focus, to discuss the possibility of “the global museum,” what…
Zero Jigen (Zero Dimension), a performance collective active in the 1960s in Tokyo and Nagoya, Japan, has only recently become better known in the international art world through the following exhibitions and content: Tokyo 1955–1970: A New Avant-Garde (The Museum of Modern Art, New York, 2012–13) with screenings of the group’s performance documents; Great Crescent: Art and Agitation…
One of the most respected Czech artists in recent times, Jiří Kovanda created actions and installations in Prague’s public spaces in the mid-1970s and early ’80s. Self-taught, he was one of the few Czech action artists to work outdoors in the urban environment following the 1968 invasion of Czechoslovakia by Warsaw Pact troops. Most of…
Rachel Weiss, curator, writer, and professor at the School of the Art Institute of Chicago, was invited to MoMA to speak about the exhibition Global Conceptualism: Points of Origin, 1950s–1980s, which she co-organized in 1999 with Jane Farver (who also came to talk on the subject), Luis Camnitzer, and an international team of curators: Okwei Enwezor,…
Jane Farver, curator and former Director of Exhibitions at the Queens Museum, was invited to MoMA to speak about the exhibition Global Conceptualism: Points of Origin, 1950s–1980s, which she co-organized in 1999 with Rachel Weiss (who also came to present on the subject), Luis Camnitzer, and an international team of curators: Okwei Enwezor, Reiko Tomii &…
In the introduction to the 1992 Guangzhou Biennial Art Fair catalogue, the organizers of the event predicted that art in China would turn toward the market, that commercial investment would replace state sponsorship, that commercial enterprises would replace state-sponsored cultural organizations, and that a new system of legitimization and value based on academic criteria, legal…
John Cage and David Tudor visited Japan in October 1962 at the invitation of the Sogetsu Art Center (SAC). Over the course of the month they gave seven concerts in Tokyo, Kyoto, Osaka, and Sapporo, causing a sensation that would become known as “the John Cage shock.”
上海，2014年6月30日 與談人，編輯: 李雨潔 文稿整理: 陳聆 Read the English version here. 1993年的海外展覽—把給藝術的材料費放到銀行裡 李雨潔: 1988年的時候你就曾經有作品在漢堡展覽，這個是怎麼發生的？ 吳山專: 我是1986年從浙江美院畢業的，畢業我就回到我的小島——舟山群島普陀山那裡。我們學校1984年以後一直有一個對外的交流項目，主要的還是跟美國明尼蘇達的，那偶然地也跟歐洲合作。1987年的時候，他們請到了一個德國的資本主義現實主義的人物K.P. Brehmer，他來學校給我們學生講西方藝術史。當時范小梅老師做接待，他打電話來舟山，說，這裡有個漢堡美術學院的，他對你東西感興趣，然後我就帶了一疊幻燈片，從舟山到杭州，見到K.P. Brehmer，他說他可以做一個展覽，這個後來實踐了。 李雨潔: 所以你本人沒去佈展？ 吳山專: 沒有。展覽在漢堡紅燈區的Galerie Vorsetzen，這個時候K.P. Brehmer已經是這個畫廊的持股人，所以他才有一定的決定權，做一些中國當時的藝術。另外那時候中德也常有一些交流，在一個政治的平台上， 畫廊也會做一些關於中國的展覽，那麼我就變成了《 3 x China…》的其中一個參展藝術家。 李雨潔: 你參展的作品是什麼呢？ 吳山專: 我不知道作品是怎樣呈現的，他看了一疊幻燈片，然後抽出五六張帶回德國去了。如果做一個展覽的話，我想，我的作品應該是以印出來的方式呈現。 李雨潔: 你93年參加了好多展覽，那包括了那些最大的在香港的《後89中國新藝術》，柏林的《中國前衛》，還有在俄亥俄大學Wexner Center的展覽，這些是比較大的群展。 吳山專: 對，這個時候中國當代藝術好像很熱門，每個人都做一點，丹麥做了一點嘛那麼英國也要做一點，德國也要做一點，整個歐洲的一些國家都要做一點，然後Wexner Center也要做一點嘛。但是都不是主流的博物館做的，蠻有意思的。 李雨潔: 你參加了這麼多在那一年的展覽， 都在不同的地方，作為一個當時所謂中國前衛藝術家的代表，你覺得每個機構說故事的方法有什麼不一樣？ 吳山專: 他們最主要的一個態度：A Package。那麼其實藝術家也知道我們只是一整組其中的一個，是一個集合。他們說故事的方式其實完全一樣。造成參展人數不同的原因有很多，一個可能是資金問題，一個可能當時簽證也很難拿到。 李雨潔: 你本人去了哪裡佈展？ 吳山專: 去了威尼斯，丹麥，荷蘭，美國。 李雨潔: 你第一次去威尼斯雙年展的感覺是什麼？ 吳山專: 在第一屆的威尼斯可能作為組合中的一份子的感覺還少一點，我參加的是開放展 Aperto。93年威尼斯雙年展有兩個項目展出了中國藝術家的作品，一個Oliva (Achille Bonito Oliva) 組織的《東方之路》( Passaggio ad Oriente)，另一個是《開放展》 (Aperto) 。開放展的那個策展團隊當中有孔長安，已經開始由他者來呈現，其實很了不起了，開放展大概有十個小的策展人， Oliva跟大家一起選。孔長安可以推薦三個，之後Oliva定，華人選了我，王友身，還有台灣來的李銘盛。 李雨潔: 你們三個是孔長安提進去的? 吳山專: 對，所以說跟東方之路是兩回事。Oliva還是有一點NGO的這種態度，這種包容力蠻不錯的。我的作品是《把給藝術的材料費放到銀行裡面》。當時運輸單位來拿作品，他說，我們到漢堡來取一件作品，名字叫做《把藝術的材料費放到銀行》，他以為是一個實體作品。其實那個作品是把威尼斯雙年展給我的錢放到銀行裡。 李雨潔: 他們真的去取了？ 吳山專: 運輸公司是跟主委會是沒關係的嘛，運輸公司只是收到通知，漢堡有一件作品是《把給藝術的錢放到銀行》，但其實它是呈現藝術家跟社會的關係。就是說我在一個地方收到邀請，說是給我作藝術，給我材料費，結果我把材料費放到銀行裡，然後砸爛這個銀行的收據。那當然在93年來說的話，這個作品是非常傑出的，作者本人完全脫離了責任，同時這個行為又非常徹底。好比杜象也一直在逃離一種責任。我後來聽說，大概前前一屆的Documenta吧，有一個人做了一模一樣的作品：《把給藝術的錢放在銀行》，好幾個人告訴我這件事。我當年做的其實是三個方案中最後實行的一件，第一個是把展覽的空間租掉，第二件是把給藝術的材料費放到銀行裡， 第三件是就地打工以生存。所以說，從這三個方案，你就看到一個藝術家的生存問題多重要，這個藉口多麼地強大，以至於可以成為藝術品。 今天看來我還是很高興的，在93年的時候做成了這個三個方案。 李雨潔: 你怎麼呈現它們？ 吳山專: 《把給藝術的材料費放到銀行》就是object…
The philosophy of Karl Popper, Dadaism, and the visual codes of China’s Cultural Revolution converge in Wu Shanzhuan’s abstruse conceptual work, a poetic anomaly that well represents the spirit of the experimental art circle in China in the 1980s. Wu developed his set of theories about readymades based on his reading in the 1980s of…
Armin Linke (Italian, born 1966) is a traveler in search of strange, yet familiar frontiers; his photographs spring from a peripatetic practice that has taken him from the slopes of the massive infrastructural transformations rent by the Three Gorges Dam in China, to the technologically crafted snow-globe winters of Ski Dubai’s interiors. Each photograph forms…
Beijing was home to high-energy experimental art practices, including Beijing East Village performances and apartment art, in the 1990s. The practices that were critical of their socio-political context are often referred to today as underground art. How did underground networks function, and how did censorship affect their operation and production? In this conversation, the artists Lin…
At what moment did artists in Korea show work that was considered experimental, underground, and contemporary? How are the first Korean Happenings, from the late 1960s, seen from today’s perspective? These questions were addressed by Kim Mikyung at a C-MAP presentation at The Museum of Modern Art in April 2014. Her talk, published below, surveys…
