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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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Passionate Animists: Xin Cang and Yi Lan 激情返魅的泛灵论者：苍鑫和兰一
Xin CANG 苍鑫
Xi-Yun HU 杜曦云
This art critique examines and analyzes the artists Xin CANG and Yi LAN from the perspective of animism. It indicates an era in which “rationality” has become the prevailing call, and humans are no longer seen as part of the world or as creations of the divine. It explores how these artists use their art to “re-enchant” and rebuild the world of their own. (Angela Tan '28)
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“Fear Not the Infinity of Truth — Every Inch Gained Brings an Inch of Joy”: On Cang Xin’s Solo Exhibition Constant & Mutation “怕什么真理无穷，进一寸有一寸的欢喜”：记苍鑫个展《恒常与异变》
Xin CANG 苍鑫
Yi-Shi REN 任艺时
The article introduces the artist's solo exhibition Constant & Mutation, and the his performances on the opening day. The exhibition has three parts: The first presents his classic performance works from the 1990s onward. The second shows his research into occult symbols and his re-encoding. The third features the "conscious creatures" paintings he made with carbon and gold powder during his residency at the museum amid the pandemic. Additionally, the article includes links to the descriptions of some works. (Angela Tan '28)
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