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German Magazine Report on the "12 Square Meters"
Huan ZHANG 張洹
This report introduces the situation of contemporary Chinese art in China in the early 1990s. Works like Zhang Huan's "12 Square Meters" are used as examples of Chinese performance art. (Yifan Shang '25)
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Publication Document: "Chen Danqing: Painting after Tiananmen"
Dan-Qing CHEN 陈丹青
This is an English announcement by the Department of Comparative Literature, the University of Hong Kong on the publication of the gallery catalog "Chen Danqing: Painting after Tiananmen", edited by Ackbar Abbas. It provides a brief introduction of this catalog and several works by the artist are printed in back-and-white. (Yifan Shang '25)
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Exhibition Catalog: WU SHAOXIANG in Europe (1988-1993)
Shao-Xiang WU 吴少湘
This exhibition catalog, titled "WU SHAOXIANG in Europe 1988-1993", was published by the Austrian Art Association in Austria in April 1993. It consisted of a foreword, a preface, critiques about the artist's works, an artist's biography, and photos of sculptures and paintings created by the artist while he was in Europe from 1988 to 1993. (Yifan Shang '25)
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Resume: LIU An-Ping
An-Ping LIU 刘安平
This resume consists of the artist's educational background, and his career, including experience of being expelled from school and imprisoned for a year for participating in political activities in 1989. . (Yifan Shang '25)
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Resume
Peng WANG 王蓬
Resume of Wang Peng (王蓬). The artist, born in Shandong in 1964, experimented with painting, installation art, sculpture, performances, photography, and time-based medium throughout his career. The artist moved to the United States in the 1990s and returned to China in 2000 (Asian Art Archive, "Wang Peng"). This resume documents his time at the Central Academy of Fine Arts (Beijing, China) and his solo and group exhibitions from the mid-1980s to 1995. (Nicole Wang '26)
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Resume: Aniwar Mamat
Aniwar MAMAT 艾尼瓦尔
This resume was written in Chinese. It consists of the artist's education, work experience, and the exhibitions he has participated in from 1985 to 1994. (Yifan Shang '25)
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Diagram: the Yellow River Project
Qiang CHEN 陈强
This is a diagram of the installation art "Yellow River", which was created from 1994 to 1996. The installation consists of water, earth, and rock samples from the Yellow River. The earth and rock samples were taken from the Yellow River basin from the origin to the estuary, and the 99 water samples came from 99 different sections of the Yellow River, which "compose a microcosm of the Yellow River" (For more information of this work, see https://digital.kenyon.edu/zhoudocs/27/). (Yifan Shang '25)
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Resume
Da-Wei FEI 费大为
费大为
Resume of Fei Da-Wei, a Paris-based Chinese art critic and curator (in English). (Nicole Wang'26).
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Regarding Chinese Conceptual Art (Essay)
Da-Wei FEI 费大为
This is an essay, titled "On Conceptual Art in China," written by the Paris-based art critic about the origin and state of Chinese Conceptual Art. The corresponding document is an abstract of the essay written by Zhou Yan. (Nicole Wang '26).
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"On Mao Zedong's Model of Popular Art"
Ming-Lu Gao 高名潞
高名潞
In this essay, Gao Ming-lu analyzes the state of avant-garde and modern art during the era of Mao Zedong's regime. Written in traditional Chinese, the essay is broken up into two subsections: "Maoist Pop-Art and Authoritarian Art" and "The Development of Maoist Pop-Art". (Nicole Wang '26)
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A Total Modernity and Alternative Avant-Garde Art in China
Ming-Lu Gao 高名潞
In this paper, Gao discusses "twentieth century Chinese avant-garde in two major periods: the avant-garde of the 1920s and 1930s; and the contemporary avant-garde of Post-Mao era - the 1980s and 1990s." (Nicole Wang '26)
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Essay by Huang Du "Impermanence, Zhu Jinshi: Toward Cultural Relativism"
Jin-Shi ZHU 朱金石
In this essay, Huang Du, s Beijing-based critic and curator, argues that the work "Impermanence" (1996) represents the instability Zhu Jinshi experiences as a Chinese artist working in Berlin in the late 1980s. Huang focuses on the materiality of the work to pull his critical analysis. According to the critic, the use of Chinese traditional rice paper in the work evokes a relationship between "systematic cyclicity, textuality, material installation, and a return to nature". Finally, he draws his argument back to the artist claiming that Zhu Jinshi subverts the expectations of contemporary art, reinvesting in history and spirituality in a way that elevates meaning in his multicultural identity. Both English and Chinese texts are available. Huang published this essay in a catalogue called "Impermanence" that included work by the artist, analytical essays, and the artist's resume. (Nicole Wang '26)
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