Strange tales from a Chinese studio: Geng Xue’s porcelain imaginary
GENG XUE’s exhibition review by Dr Luise Guest is featured in Garland Magazine. “Chinese artist Geng Xue’s (耿雪) solo exhibition at Sydney’s Vermilion Art—her first in the southern hemisphere—transforms the gallery space from the conventional western white cube into something resembling an eighteenth-century cabinet of curiosity or wunderkammer.”
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Mister Sea (Hai gongzi) by Pu Songling (1640-1715)
This brief story is one of nearly five hundred pieces included in Pu Songling’s famous collection Strange Tales from Liaozhai. Falling between tale and anecdote, “Mister Sea” is narrated in a deceptively straightforward manner in the objective stance befitting “The Historian of the Strange,” the sobriquet that Pu adopted for himself.
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The Washboard is a Language: A Study of Nüshu (女书) and Women’s Histories in Tao Aimin’s Her Secret Code
The artist has collected over a thousand washboards from women living in China’s countryside, transforming them into sculptural and two-dimensional works. In Her Secret Code, Tao’s first exhibition in Australia, the arched ridges of the washboard—bearing the unique traces of their former user’s touch—methodically re-appear and haunt the space in imprints and impressions.
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Tao Aimin featured in today’s issue of The Australian
Tao Aimin is featured in today’s issue of The Australian on the occasion of her solo exhibition Her Secret Code: Tao Aimin and Nüshu, opening tonight.
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Her Secret Code: Tao Aimin and Nüshu
In this time of a continuing “#MeToo” reckoning, and a long overdue reappraisal of the work of female artists, Vermilion Art celebrates the work of women with three significant solo shows in March to July 2023.
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Marks Left by Life: an Interview with Tao Aimin
“In the past, Chinese history has been dominated by Confucian and male culture. Nüshu is absolutely comparable to the dominant language used by men” – Tao Aimin
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