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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Beyond the Ordinary: Exhibition review by Luise Guest
‘Out of the Ordinary’ is the title of Guan Wei’s solo exhibition at Sydney’s Vermilion Art, a description that also fits the man himself. From his early years in Beijing’s post-Cultural Revolution contemporary art scene, to his arrival in Hobart in 1989 and emergence as the most prominent of the so-called ‘post-Tiananmen’ generation of Chinese artists in Australia, Guan Wei developed an art practice that merges two worlds…’
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Sworn Sisters and Secret Letters
She wrote: ‘Here is a display of the history of women…a deeper life language, it is the witness of their past youth. Each piece traces individual women and the traces are a text that tells of their experiences, emotions and misfortunes… This is a vision beyond literal language. It is the fate of women.’
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Lin Jin: Featured in the MFA Boston
Li Jin responded to the Northern Qi scholars collating classic texts (Northern Song dynasty, 11th century) with his playful paintings Reminiscence to Antiquity I–VII, which included two long handscrolls and seven narrow hanging scrolls.
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Lin Jin featured in the East Asian Art Program at Harvard University
Li Jin has chosen to respond to one of the Museum’s finest early figure paintings, the Northern Qi Scholars Collating Classic Texts. The work, which depicts a scene of scholars cavorting shares much with Li’s own work, which often depicts the artist engaging in similar activities in a contemporary context.
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Shen Jiawei: the Art of History
In the mythology of Maoist China, no event is more important than the Long March. It is the foundation story of the People’s Republic even if there is no separating fact from fiction. Shen Jiawei has taken up the story at the end of the Long March, in the years 1936-37.
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