Artistic freedom may be a new phenomenon in China, but for contemporary Chinese artists it has opened up a world of possibilities. For the 21 artists whose work appears in the Hood Museum of Art's newest exhibition, titled "Transience: Chinese Experimental Art at the End of the Twentieth Century", the changing social and political climate of the People's Republic of China provides an entirely new forum for artistic exploration.
The experimental art exhibited in "Transience" examines the often harsh realities of modern-day China. The art emphasizes the transformation of China from its isolationist past to its recent commercialization and entrance into the global economy. The artists seem fascinated by China's loss of tradition and its newfound leniency toward expressions of sexuality, personal freedom and the Western world.
In their commentaries concerning the rapid transformation of China, the artists have found an incredible breadth of media in which to work. These include works made of steel and stone, oil paintings, photographs and even performance art. In each piece, the artist strives to push the boundaries of artistic freedom, which until recently had been severely restricted. From giant ink-rubbings of the Great Wall to a video of a honey-covered artist seated on a public toilet, the wide-ranging experimentation of these artists seems boundless.
Still, experimental art is far from the norm in China. Official art commissioned by the Communist party, commercial art designed for Hong Kong and New York, and traditional Chinese art reflecting the styles of the past are more commonly seen by the public.
"This art does not typify art in China. These [experimental] artists are living on the fringe of what is considered art in China today," Hood Museum Exhibitions Manager Juliette Bianco '94 said. Bianco serves as the in-house curator for "Transience" and helped bring the exhibit to the Hood Museum.
Chinese experimental art's lack of exposure to an international audience led to the creation of "Transience." The exhibit, which makes its final stop in Hanover after installations in Chicago and Oregon, is the brainchild of University of Chicago art history professor Wu Hung. A native of the People's Republic of China and a leading scholar of Chinese art, Hung hoped to expose American audiences to the current trends in Chinese art. Hung ran advertisements in Chinese newspapers and artistic journals and received a huge response from interested experimental artists. Hung visited China to handpick the artists he wanted to feature in his exhibition, selecting 21 of the most active experimental artists in China.
Although the artists' styles and messages vary, several of the works were thematically similar enough to be grouped under broad headings. Thus, the exhibit is divided into three sections: "Demystification," "Ruins" and "Transience." "Demystification" deals with common icons of Chinese culture and the artists' attempts to depict the icons in different ways. "Ruins" integrates both the physical and societal destruction in China that came as a result of political and economic changes. Lastly, "Transience" focuses on the artists' personal responses to the rapidly changing and commercializing People's Republic of China.
Each of the artists has carved out a distinct niche in experimental art for himself or herself. A number of the artists were deeply affected by the 1989 confrontation between the Chinese government and student protestors in Tiananmen Square. The incident resulted in more than one thousand civilian deaths. Among the artists producing art in reaction to the event is one who was arrested and is still living undercover.
Other artists focus on the loss of tradition in China. Traditional buildings in cities such as Beijing have been torn down and replaced with skyscrapers. The artists see China changing rapidly and are reacting to the instability such transformations have created.
"What happens to tradition when a country rapidly changes itself?" Bianco asked, posing the question these artists seem to be considering in their work.
For example, one piece in the exhibit consists of a traditional Chinese costume made out of heavy plastic. The artist has selected an icon of traditional China and has "commercialized" it. The artist is making a statement about modernization, represented through the plastic, seeping into all facets of Chinese life.
Pointing out the irony of combining tradition and commercial products, the artist "scratches the surface of tradition to satisfy Western tastes," Hood Museum Public Relations Coordinator Sharon Reed said.
The exhibit also features real-life depictions of the results of commercialization through photographs of ruined buildings. In demolishing the old buildings, the government hoped to literally erase the memory of certain traditions. In many cases, cities are left in ruins not to be replaced with newer buildings.
Hung was particularly interested in ruins during the designing stages for "Transience." Depicting ruins in China was strictly forbidden for years. Such representations were viewed as anti-nationalistic. Now, many experimental artists are taking advantage of their newfound freedom and have created new art forms that deal specifically with ruins.
Such new art forms have grown out of experimentation with traditional art media. These artists are not simply pushing the limits of artistic expression but also with the materials they use. The end product is not the main focus for these artists; instead, they place a great emphasis on their utilization of the materials and the process of making the art.
For instance, "Transience" features some examples of performance art, which are based around the process that goes into their creation. The entire performance, from start to finish, is the artwork.
In Song Dong's "Breathing," Dong's performance piece has been translated into a permanent medium that gives visitors a sense of Dong's actual performance. On New Year's Eve 1996, Dong lay in Tiananmen Square face down, breathing upon the pavement beneath him. After forty minutes, ice had formed where Dong had been breathing. The following morning, the ice had vanished, but Dong had made a statement. One can effect a change, but permanent change is not so easy to accomplish. A color transparency and an audio tape of breathing sounds illustrate Dong's performance for display in the Hood gallery.
In Zhang Hongtu's piece entitled "Studs," the artist mocks a very meaningful object in Chinese culture. A closed studded door has always symbolized the secrecy of the emperor or the government. Only those of authoritative standing were permitted to have studded doors. When these doors were shut, the Chinese people wondered what was being discussed inside and therefore the doors came to stand for fear and curiosity. In "Studs," Hongtu takes the familiar image of the red gates to Beijing's Forbidden City and replaces their golden studs with phallic-like rusted metal. Hongtu desecrates the sacredness of these doors and shows that even such an imposing image can be seen in a new light.
Other works tell stories of Chinese life. A series of photos by Yuan Dongping, entitled "Sisters," demonstrates the happiness a group of patients in a mental institution, amidst betrayal and inhumane conditions. The women in the six photos were abandoned by their families and viewed as "human waste" by the Chinese government. Their rights as human beings are minimal, and many are left to die in these institutions. In his photos, Dongping has captured the strength of these women, who have formed a family--a sisterhood--with each other. Dongping's work serves not only as a glimpse into the power of the human spirit but also as a means of raising social awareness of the individuals who have been relegated to these institutions.
The stories and messages that emerge from the artwork in "Transience" reflect a rapidly transforming Chinese sentiment. Through the artists' eyes, visitors become privy to the disintegration of Chinese tradition and the Westernization of modern-day China. The exhibit itself aims to educate visitors about Chinese art, culture, and current events. In addition to the exhibit, which will remain open through December 19, the Hood Museum has planned numerous lectures and artist talks to complement it.
Experimental Chinese art is rarely seen beyond its domestic audience. The opportunity for an American audience to view such art is rare in itself, but the fact that the exhibit is making its final stop here in Hanover is a huge deal for the Hood Museum.
"This is a departure for us. We don't usually have enough space to display avant-garde or experimental art. But this exhibit is so focused that it would only come to a college museum. That is an upside of being a college museum," said Bianco.
