Zhou Documents

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Interview with Yuan

Shun Yuan 袁顺

Interviewer: Alexander Tolnay

This interview was conducted by Dr. Alexander Tolnay . Here, he questions Yuan Shun about his artistic inspirations and creative choices. Referencing the artist's works such as "Denkmal der Stadt" (City Monument), "Der Verbotene Stadt" (The Forbidden City), 'Thinking about yourself", 'The Trinity" and others, the pair discuss Yuan's use of hair in his artworks, growing up in the transitional period following the Cultural Revolution, Tiananmen Square, immigrating to Europe, and Buddhism. Throughout the interview, Yuan describes how his multicultural identity influences his creative process and recent projects. (Nicole Wang '26).
Behind Masks: Zeng Fanzhi

Fan-Zhi ZENG 曾梵志

This is a catalog published by Hanart T Z Gallery in 1995. It consists of three articles by Chang Tsong-zung, Li Xianting, and Pi Daojian respectively, in both Chinese and English. The artist's works of the early 1990s are published, including the Hospital Triptych, the Mask Series, and others. A biography of the artist is on the last page (Zhuocheng Jiang '26)
A Review of Zhan Wang's New Works

Wang ZHAN 展望

Jian-Tao Jiang

Jiang Jiantao wrote this essay about Zhan Wang in Chinese, published in "Art Research," issue 1, 1995, and an English translation as included in the document. The author discusses Zhan Wang's "Kong Ling· Kong" (literally mean "ethereal: void") exhibition, held from May 19th to May 23rd, 1994, at the Central Academy of Fine Arts Museum. The author begins to illustrate the structure of the show. The artists created eighteen pieces of floating clothes, which appear being worn but the bodies are absent. The author emphasized the exhibition's significance in terms of modern human life. Then it was discussed how the artist is inspired by different artists, from a variety of time periods and cultures, and how the artist injects his own artistic language and aspiration into his works. (Zhuocheng Jiang '26)
L'Asie Disjoncté Enfin! Asia finally unhinged!

Wang ZHAN 展望

This brief report, in French, introduced several Chinese Contemporary Artists in 1995, which includes Gu Wenda, Wu Shanzhuan, Huang Yongping, and Zhan Wang. Specifically, this report covers Zhan Wang's work, "94 Ruins Cleaning Plan". For further details, please refer to https://digital.kenyon.edu/zhou/520/. (Zhuocheng Jiang '26)
A Significant Turn- on "Sculpture 1994" Show 重要的转折- 关于雕塑家1994系列个人作品展

Wang ZHAN 展望

YIN Shuang-Xi

This review by Yin Shuangxi covered the show "Sculpture 1994", which is a group show with five sculptors. Zhan Wang was one of them. The authors discussed Zhan Wang's piece, Kong Ling· Kong" (literally means "ethereal: void") and analyzed the aesthetics and philosophical thinking embodied within. Then, the author went from discussion of specific pieces to general conditions of Chinese sculpture conditions and the problems that sculptors were facing. (Zhuocheng Jiang '26)
As the Text of Artistic Communication- Avant-Garde Artists who Get out of An Embarrassed Situation作为艺术交流的文本-摆脱尴尬境地的前卫艺术家

Wang ZHAN 展望

Huang Du

This review written by Huang Du mainly discussed one innovative a phenomenon in the 90s, Proposal art, as known as "text" in Huang's words review. Because of S social and political force majeure, artists had a hard time implementing performance, action, and or installation art. Therefore, artists divorced found a new approach around, which is , that is p Proposal a Art. The text becomes the medium a for artists to express articulate and exchange their ideas, but merely conceptual, not much actual work has been done. Zhan Wang's "94 Ruin Cleaning Project 94" is an exception. For details, please refer to https://digital.kenyon.edu/zhou/520/. Overall, Proposal Art or text leaves artists a space for conceptual communication and appreciation at a special time. See discussion on "Proposal Art" in Zhou Yan's "A History of Contemporary Chinese Art: 1949 to Present," pp. 307-308. (Zhuocheng Jiang '26)
Calendar: Zhao Bandi & Zhang Qianqian

Ban-di ZHAO 赵半狄

This is the front page from the 1996 wall calendar, published by China Today, Beijing. The photograph in the center shows a frontal image of the artist holding a panda in his arms, while Zhang Qianqian, a singer, actress, model, painter and writer, stands in profile and looks at them. Zhang is wearing a white pajama. She has short hair and some makeup on. The artist is in a blue woman pajamas, exposing his upper-torso, with shoulder-length hair. An ambiguity in gender is suggested through this image. These figures are framed by an oval wreath, made of pink roses and leaves. The work may reveal a mock attitude on kitsch in the 1990s. (Yifan Shang ’25)
Essay: A Studio Visit With Zhang Peili

Pei-Li ZHANG 张培力

Joan Lebold Cohen

By evaluating eight of Zhang's works, the New York-based art historian and photographer, Joan Lebold Cohen, discusses the meaning behind the artist's installations and their relations to contemporary issues. This essay points out the important value of Zhang's works and their high status in the international artistic network. (Yifan Shang '25)
Proposals: ZHANG Ke-Duan

Ke-Duan ZHANG 张克端

A photograph of "Windows with Paper" is shown with its labels written in both Chinese and English. There are sketches of this work and another one, both as proposals of "45 Degrees as Reason", a project of proposal art, proposed by a group of artists. Note 45 degrees shown on both proposals: the diagonal scotch paper on windows in the former, and ground and underground buildings forming a 45-degree angle in the latter. (Yifan Shang '25)
Exhibition Document: Congregation of Century 世纪的集会

Jian-Jun ZHANG 张建军

Information of dimensions, materials and the idea of installation work is provided by the artist in English. (Yifan Shang '25)
French Magazine Report on the "12 Square Meters"

Huan ZHANG 張洹

This report introduces various works by contemporary Chinese artists in the 1990s and how performance arts like Zhang Huan’s “12 Square Meters” attempt to resist “ideological pressure” from the current political and economic environment. As stated by the reporter, performance art is considered as an effective way to show the artists’ fight for intellectual and artistic freedom. Artists use their own bodies to awaken the public’s awareness of human dignity. It was published in the French magazine “TECHNIKART N.18” in the issue May to June of 1995. (Yifan Shang ‘25)
Exhibition Catalog: "CHEN DANQING: PAINTING AFTER TIANANMEN"

Dan-Qing CHEN 陈丹青

Ackbar Abbas

This exhibition catalog, written by Ackbar Abbas, was published by Chow Hoi Tong Cultural Enterprise in Hong Kong in 1995. It consisted of a foreword written by Acheng, a preface "Once More, Painting From Photos" by WU Hung, "An Informal Retrospective" by Chen Danqing, "Chen Danqing: Painting after Tiananmen" by Ackbar Abbas, and the artists' works in the exhibition "CHEN DANQING: PAINTING AFTER TIANANMEN". (Yifan Shang '25)
Exhibition Catalog: "WEI DONG: Ancient Stage Modern Players"

Dong WEI 魏东

This exhibition catalog is designed and printed in Hong Kong by Pressroom Printer and Designer. It is published by Plum Blossoms (International) in Hong Kong in 1995. It consisted of a foreword by Priscilla Liang Norton, "WEI DONG: The Invasion of the Past" by Don Cohn, "WEI DONG'S ILLUSORY VISION: A Metaphorical Declaration" by Huang Du, a preface by Wei Dong, a biography of the artist, and the works exhibited in "WEI DONG: Ancient Stage Modern Players". (Yifan Shang '25)
Artist Statement: East Wind No.1

An-Ping LIU 刘安平

This is a certification written by the artist about the action art "East Wind No.1", which took place in Beijing in 1995. The artist provides a Chinese statement and an English one. This work belongs to the series of "East Wind", which were all created by the artist in 1995. (Yifan Shang '25)
"File No. 1 -- Conceptual Documents for Impossible Arts"

Peng WANG 王蓬

This article is contains a quote from the artist that accompanied his artwork "Three Days" at the "File No. 1 -- Conceptual Documents for Impossible Arts" (1995) collective exhibition in Soho, New York. For more information on "Three Days": https://digital.kenyon.edu/zhou/583 (Nicole Wang '26).
Proposal: Feasibility Report on the Art Fair "King of Paintings---'Peonies'" in Commemoration of the XX Anniversary of the "Speech at the Forum of Art and Literature in Yan'an"

An-Ping LIU 刘安平

This proposal is written in both Chinese and English. The artist names himself as the manager of the preparatory group of the Jetset (Beijing) Art Development Company and the director of the "Extraordinarily Beautiful Woman (国色天香)" creative office in this conceptual art work. He provides details on the feasibility of the art fair “The King of Painting—-Extraordinarily Beautiful Woman” to XX art museum. This art fair is planned to be held on the occasion of the XX anniversary of the “Speech at the Forum of Art and Literature in Yan'an” by Mao Zedong, which was taken place in Shaanxi province, China in May, 1942. (Yifan Shang ‘25)
Proposal: King of Paintings---"Peonies" 方案：画王---《国色天香》

An-Ping LIU 刘安平

This proposal consists of three documents: the artist's sketch of the art fair "King of Paintings---'Peonies'", an advertisement of this art fair, and an edited photograph of how the advertisement looks on the street. A black-and-white photograph of Mao Zedong and the artists and the literary workers at Yan'an is positioned as the background of this advertisement. This photograph was taken during the "Speech at the Forum of Art and Literature in Yan'an" in May, 1942. The artist edits the words "The Jetset Company Releases the Art Fair 'King of Paintings ----'Peonies' in Commemoration of the XX Anniversary of the 'Speech' (1942-19xx)" on the photograph. It is noted by the artist that the color of the words on the advertisement should be red, and the Chinese words "King of Paintings (画王)" at the art fair will use the calligraphy by Mao Zedong. For more information on this work, see https://digital.kenyon.edu/zhoudocs/490/. (Yifan Shang '25)
Review: YANG JIECHANG, ART OF THE REAL

Jie-Chang YANG 杨诘苍

Hou Hanru

This is an abstract from an exhibition catalogue. The author, Hou Hanru, a celebrated Chinese critic and curator who lives and works in Europe and the US, discusses how Jie-Chang Yang used his calligraphy and ink paintings to deconstruct the exoticized image of Chinese art. Some manufacturing details of Yang's work are introduced later in the essay. Jie-Chang Yang's idea of the relationship between man and nature as well as man and culture is embodied via these arts, according to the author. (Zhuocheng Jiang '26)
Review: Governmental Sensitivity toward Large Scale Action Art 入世大型行为艺术官方反应敏感

Jin WANG 王晋

Dai Ping

This newspaper is scripted in Chinese. It was published in Hong Kong Newspaper "明报” in 1995. (Jerry Wu'23).
Project Proposal - SoapHand

Qiang LI 李强

LI Qiang

This proposal is scripted in both Chinese and English. (Jerry Wu'23).
Project Plan - Gravity Alley 重力走廊

Wei-Kang QIAN 钱喂康

Qian Weikang

This project plan features a note on work's 1) dimensions, 2) components, and 3) working mechanics (in Chinese), and two illustrative sketches with side-notes (in Chinese). (Jerry Wu'23).
Artist Note: Stir Fry RMB (Chinese Currency) 爆炒人民币

Jin WANG 王晋

Wang Jin

This description of the work is scripted in Chinese. (Jerry Wu'23).
Lin Tianmiao

Tian-miao LIN 林天苗

Smith, Karen

This editorial presents two of Lin TIanmiao works, "The Proliferation of Thread Winding" and "The Temptation of St. Theresa." Both works were presented at the exhibition, New Works, in Beijing, 1995. In the article, Karen Smith explores the male-female contrast present in both works. In doing so, she invokes the question of whether or not the nature of male and female in Lin's work is intended to explore innate or socially constructed characteristics of these genders. (Russ, Hannah '18)
Review: LIN TianMiao's "New Works" Exhibition

Tian-miao LIN 林天苗

Karen Smith

This review is scripted in English. It was published in "Asia-Pacific Sculpture News" in Spring issue, 1995. (Jerry Wu'23).
Artwork Introduction: Two works of WANG Jin

Jin WANG 王晋

This file (page on the right) features introductions of WANG Jin's two works. The review was published in Hong Kong magazine "开放" in 1995. The document is scripted in Chinese. (Jerry Wu'23).