{"id":7501,"date":"2014-03-13T12:09:00","date_gmt":"2014-03-13T12:09:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=7501"},"modified":"2022-12-15T12:18:20","modified_gmt":"2022-12-15T12:18:20","slug":"met-ink-art-show-falls-flat","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/met-ink-art-show-falls-flat\/","title":{"rendered":"Met Ink Art Show Falls Flat"},"content":{"rendered":"\n

 <\/strong>Ink Art: Past as Present in Contemporary China<\/strong><\/a><\/p>\n\n\n\n

The Metropolitan Museum of Art<\/strong><\/a> (1000 5th<\/sup> Ave, New York, NY, US), Dec 11, 2013 \u2013 April 6, 2014<\/strong><\/p>\n\n\n\n

Five years in the making, it\u2019s finally open to the public in last December.\u201cInk Art: Past as Present in Contemporary China\u201d attempts to be a defining show on the subject, charting out new identities for Chinese contemporary art by featuring artworks embodying the \u201cink art aesthetic,\u201d yet it is the \u201cInk Art\u201d aesthetic wherein lies the problem of this show. \u201cInk Art\u201d though full of iconic work, fails by looking at contemporary work merely through the prism of \u201ctradition,\u201d thus largely obfuscating the contemporary meanings and influences which anchor the work.<\/p>\n\n\n\n

As Maxwell K. Hearn, the head of the Asian Art Department at the museum and curator of this show, elucidates in the exhibition catalogue, \u201cInk Art examines the creative output of a selection of Chinese artists from the 1980s to the present who have fundamentally altered inherited Chinese tradition while maintaining an underlying identification with the expressive language of the culture\u2019s past.\u201d Even though the primacy of the \u201cink art\u201d tradition in China has increasingly been challenged by the idiom of Western art as well as that of new media ever since the early twentieth century, some Chinese artists chose to retain traditional Chinese painting medium or a \u201cbrush and ink\u201d aesthetic in their practices.<\/p>\n\n\n\n

\"\"
Qiu Zhijie\u2019s \u201c30 Letters to Qiu Jiawa\u201d and Yang Qiuchang\u2019s \u201cCrying Landscape\u201d are embedded in the Met\u2019s permanent collection of ancient Chinese art.
\u90b1\u5fd7\u6770\u7684\u300a\u7ed9\u90b1\u5bb6\u74e6\u768430\u5c01\u4fe1\u300b\u548c\u6768\u6d01\u82cd\u7684\u300a\u4f1a\u53eb\u7684\u98ce\u666f\u300b\u5728\u5927\u90fd\u4f1a\u535a\u7269\u9986\u53e4\u4ee3\u4e2d\u56fd\u827a\u672f\u9648\u5217\u5c55\u5385\u5c55\u51fa\u3002<\/figcaption><\/figure>\n\n\n\n

Viewing the works of Chinese contemporary art included in this exhibition as \u201cpart of the continuum of China\u2019s traditional culture,\u201d the curator has embedded and contextualized the entire \u201cInk Art\u201d show in a traditional setting. As viewers enter into a gallery near the Great Hall, they are greeted by two sets of large-scale triptychs, \u201c30 Letters to Qiu Jiawa\u201d(2009) by Qiu Zhijie and \u201cCrying landscape\u201d(2002) by Yang Jiechang, installed next to a Dunhuang mural and some ancient Buddhist sculptures from the museum\u2019s permanent collection of traditional Chinese art. Having adopted the styles of traditional scroll ink painting and \u201cblue-and-green\u201d landscape painting, Qiu and Yang\u2019s works seem to merge right into the larger context, camouflaged among the permanent pieces on display that were created more than 1,000 years ago. Qiu\u2019s work depicting the iconic Nanjing Yangtze River Bridge has a contemporary edge to it, however; festooned with hovering symbols of spiral shapes, ladders and an infant figure, it serves as a visual narrative of the suicides facilitated by this glorious national symbol and the collective memory associated with it. Yang Jiechang takes similar aim at architectural icons with overlapping images of mysterious explosions in front of the Houses of Parliament, an oil refinery with smoke rising into the blood-red sky, a missile aimed over the Three Gorges Dam, the Pentagon under terrorist attack and a surreal Las Vegas skyline occupied by famous New York landmarks\u2014all these images testifying to the idea that established power structures could be in imminent danger, and overthrown overnight. The subversive commentary embodied in the two contemporary works serves as a dystopian force, pulling the viewers immediately from the \u201cancient heaven\u201d back the reality.<\/p>\n\n\n\n

En route to the main displays, three other works are embedded in a gallery which primarily features ancient artifacts and figurines from China. A set of six prints displayed in a glass case attached to the wall resembles the maps directly torn out of antique woodblock-printed books; however, the ubiquitous misnomers, cartoon-like markings and geographic misrepresentations reveal that they are the work of contemporary artist Hong Hao and his alternative interpretations of our contemporary world and it\u2019sglobal trends. In these maps, the international influences, military power, prevalent value systems and associated stereotypes of different geographic regions are visualized and communicated to the audience with irony and playfulness. Overlooking Hong Hao\u2019s maps are two signature Ai Weiwei works\u2014a mosaic-like map of China constructed from the wood salvaged from a destroyed Qing dynasty temple and a Han-dynasty jar painted over with a Coca-Cola logo. Placed in the center of a permanent collection gallery, these three works are meant to show how Chinese contemporary artists confront or comment on China\u2019s self-image or national identity. However, given their respective media and  the context of the stated curatorial aims of \u201cInk Art,\u201d their relevance to the organization of the entire show is questionable.<\/p>\n\n\n\n

\"\"<\/a>
In a gallery showing ancient Chinese artifacts and figurines, a set of six prints from Hong Hao\u2019s \u201cSelected Scriptures\u201d are on display with Ai Weiwei\u2019s \u201cMap of China\u201d. Ai\u2019s Han Dynasty jar overpainted with Coca Cola logo is on view in the same gallery as well.
\u5728\u5c55\u73b0\u53e4\u4ee3\u4e2d\u56fd\u5de5\u827a\u54c1\u548c\u5c0f\u96d5\u50cf\u7684\u5c55\u5385\u5185\uff0c\u6d2a\u6d69\u300a\u85cf\u7ecf\u300b\u7cfb\u5217\u4e2d\u7684\u4e00\u59576\u4ef6\u7248\u753b\u548c\u827e\u672a\u672a\u7684\u300a\u4e2d\u56fd\u5730\u56fe\u300b\u4e0e\u6d82\u6709\u53ef\u53e3\u53ef\u4e50\u6807\u8bc6\u7684\u6c49\u4ee3\u9676\u7f50\u4f5c\u54c1\u4e00\u540c\u5c55\u51fa\u3002<\/figcaption><\/figure>\n\n\n\n

The overarching idea of interpreting Chinese contemporary art through the lens of traditional Chinese aesthetics is also evident in the exhibition\u2019s display and overall structure. Exhibited in the galleries that were originally designed to recreate an authentic, traditional Chinese setting\u2014notably Astor Court\u2014the famed Ming Dynasty-style courtyard\u2014and the Douglas Dillon Galleries\u2014almost all the contemporary works are placed in wood-and-glass vitrines made specifically to show scroll paintings and calligraphy works. Thematically, this exhibition is organized into four main sections\u2014\u201cThe Written Word,\u201d \u201cNew Landscapes,\u201d \u201cAbstraction\u201d and \u201cBeyond the Brush.\u201d These titles immediately associate with quintessential art forms from China\u2019s past. In the wall text for each section, the curatorial statement always starts with, and invariably weighs towards, an explanation of the aesthetic traditions and ethos central to the traditional art form. Taking the \u201cNew Landscapes\u201d section as an example, the statement begins with, \u201cOver the past one thousand years, landscape imagery in China has evolved beyond formal and aesthetic considerations into a complex symbolic program used to convey values and moral standards. In the eleventh century, court-sponsored mountainscapes with a central peak towering over a natural hierarchy of hills, trees, and waterways might be read as a metaphor for the emperor presiding over his well-ordered state\u2026\u201d These statements often end by noting that many Chinese contemporary artists nowadays have drawn inspirations from these \u201cpast models,\u201d seemingly justifying the exhibition\u2019s thematic categorization based on the contemporary works\u2019 connection to their precedents.<\/p>\n\n\n\n

\"\"<\/a>
Zhang Jianjun\u2019s purple scholar rock made from silicone rubber is displayed in the famous Astor Court
\u5728\u8457\u540d\u7684\u963f\u65af\u7279\u5ead\u9662\u5185\u5f20\u5065\u541b\u7528\u7845\u6a61\u80f6\u505a\u7684\u7d2b\u8272\u592a\u6e56\u77f3<\/figcaption><\/figure>\n\n\n\n

But  the question remains: is this new curatorial perspective used in the Met\u2019s Ink Art show really valid? As we ponder  the approach of using  \u201cpast models\u201d of Chinese art as a vantage point from which to interpret the recent development of Chinese contemporary art, several problems arise.<\/p>\n\n\n\n

First of all, the entire exhibition is conceived and curated based on an underlying assumption made by the curator\u2014that the same set of criteria that were developed to appreciate ancient and traditional Chinese art could be readily adopted to similarly judge contemporary Chinese art. This assumption is a fundamental fallacy of this show. If we carefully consider all the social upheavals and artistic transitions that China has gone through in the past several decades, it is clear that the development of Chinese artistic traditions cannot be viewed as a linear narrative. Since the categorization of contemporary works under each theme is primarily determined by their relevance and resemblance to different traditional art forms in material, style, technique and visual trait, the exhibition only reveals the most superficial connections between the traditional and contemporary. The real complexities behind the recent development of Chinese contemporary art, such as important social, political, economic and cultural changes, remain veiled. By highlighting and framing contemporary Chinese art in this manner, this exhibit draws viewers to focus more on techniques and less on the real message behind the individual works.<\/p>\n\n\n\n

In addition, since it is specifically dedicated to the examination of \u201cink art aesthetics\u201d in Chinese contemporary art, \u201cInk Art\u201d almost provides a panoramic view on how traditional formats and mediums are continuously adopted or re-appropriated in Chinese contemporary art to further a variety of artistic agenda.<\/p>\n\n\n\n

Credit must be given to the Met, as the exhibition\u2019s wide selection of works allows many unfamiliar Chinese names exposure on an institutional level in the West. Nonetheless, this raises a side issue as well\u2014some of the works exhibited have little relevance to the themes they serve and thus the exhibition sometimes wanders off topic. The section \u201cBeyond the Brush,\u201d features works which, in the words of the curator during a press preview speech, he \u201ccould not resist acquiring, but have nothing to do with ink.\u201d To be more specific, these works do not use ink itself as a medium but embody the ink aesthetic, as their forms are inspired by traditional artworks that derive from Chinese literati pastimes or patronage. As general and vague as the statement sounds, the exhibition\u2019s expansion of focus in the last section raises an issue of cohesiveness. For example: \u201cRuyi\u201d (2006), a ceramic mutation of the most iconic talisman in traditional Chinese culture made by Ai Weiwei, is on view here. This fungus-shaped scepter being transformed into a lump of human organs by the artist looks both odd and disturbing. By doing this, Ai dramatically subverts the traditional talisman that symbolizes power and longevity into a vulnerable, monster-like creature. Coming from a lesser-known series made by Ai, \u201cRuyi\u201d itself is an interesting selection. However, since the work\u2019s traditional prototype itself is so remotely related to the \u201cink art aesthetic,\u201d its inclusion in the exhibition seems farfetched. For the same reason, the inclusion of Hong Hao\u2019s map, Ai Weiwei\u2019s Coca-Cola jar and mosaic map is doubtful as well. In the \u201cNew Landscapes\u201d section, an image of isolated concrete jungle rendered from a real-estate architectural model by Xing Danwei, \u201cUrban Fiction No. 13\u201d(2005), is on display next to a ghostly photograph of Shanghai by Shi Guorui. As these works bear no noticeable elements of Chinese ink tradition, their inclusion in the show should be questioned.<\/p>\n\n\n\n

\"\"<\/a>
Ai Weiwei, \u201cRuyi\u201d(2006), glazed ceramic.
\u827e\u672a\u672a\uff0c\u300a\u5982\u610f\u300b\uff082006\uff09\uff0c\u4e0a\u91c9\u9676\u74f7\u3002<\/figcaption><\/figure>\n\n\n\n
\"\"
Xing Danwen, \u201cUrban Fiction No.13\u2033 (2005), digitally manipulated chromogenic print.
\u90a2\u4e39\u6587\uff0c\u300a\u90fd\u5e02\u6f14\u7eceNo.13\u300b\uff082015\uff09\uff0cC print\u3002<\/figcaption><\/figure>\n\n\n\n

That said, the exhibition does feature many historically important classic pieces including Zhang Huan\u2019s \u201cFamily Tree\u201d (2001), the photographs of Song Dong\u2019s most famous performance \u201cPrinting on Water\u201d (1996), Sun Xun\u2019s video \u201cSome Actions Which Haven\u2019t Been Defined Yet in the Revolution\u201d (2011), Cai Guoqiang\u2019s 1993 performance \u201cProject to Extend the Great Wall of China by 10,000 Meters,\u201d and Xu Bing\u2019s installation \u201cBook from the Sky\u201d\u2014the zen-like atmosphere created by Xu Bing\u2019s installation leaving a deep impression on many viewers. Along with these iconic works, one of the highlights in the show is Huang Yongping\u2019s \u201cLong Scroll\u201d (2001). Adopting the format of a traditional paper scroll, Huang gently depicts several of his installation projects created between 1985 and 2001 and rendered in simple palette of orange and blue watercolor. These casually illustrated images could be viewed as  informal archival documentation or even a \u201cmini-retrospective\u201d of Huang\u2019s past projects. Here, the feeling of the grandiose installations is replaced by a sense of intimacy between the images and the viewers.<\/p>\n\n\n\n

\"\"<\/a>
Part of Huang Yongping\u2019s \u201cLong Scroll\u201d (2001).
\u9ec4\u6c38\u782f\u7684\u300a\u957f\u5377\u300b\u5c40\u90e8\uff082001\uff09\u3002<\/figcaption><\/figure>\n\n\n\n
\"\"
Zhang Huan\u2019s \u201cFamily Tree\u201d on view with Song Dong\u2019s \u201cPrinting on Water (Performance in the Lhasa River, Tibet, 1996)\u201d
\u5f20\u6d39\u7684\u300a\u5bb6\u65cf\u6811\u300b\uff082001\uff09\u4e0e\u5b8b\u51ac\u7684\u300a\u5370\u6c34\u300b\uff08\u897f\u85cf\u62c9\u8428\u6cb3\u4e0a\u7684\u884c\u4e3a\u8868\u6f14\uff0c1996\uff09<\/figcaption><\/figure>\n\n\n\n

Right before the beginning of 2014, two well-respected art institutions in the U.S.\u2014the Rubell Family Foundation and the Metropolitan Museum of Art\u2014both opened their first landmark exhibitions featuring Chinese contemporary art. While the \u201c28 Chinese\u201d exhibition<\/a> at the Rubell Collection clearly places more emphasis on the young generation of Chinese contemporary artists and their individual practices, \u201cInk Art\u201d has taken on the ambition to examine new collective identities for Chinese contemporary art, viewing this art from the standpoint of its own cultural heritage instead of the Western-avant-garde artistic language the artists have adopted. While both exhibitions have attracted much attention within the art world both locally and globally, their respective differing ways of framing and interpreting Chinese contemporary art brings up the important point of cultural representation of Chinese contemporary art.<\/p>\n\n\n\n

\u201cAs the debates of recent years have shown, \u2018identity\u2019 is not an \u2018essence\u2019 than can be translated into a particular set of conceptual or visual traits. It is, rather, a negotiated construct that results from the multiple positions of the subject vis-\u00e0-vis the social, cultural, and political conditions which contain it,\u201d[i]<\/a> as Mari Carmen Ramirez, the renowned Latin American art curator, argues in her essay \u201cBrokering Identities.\u201d Unequivocally, the Met\u2019s strong collection of traditional Chinese art, the curator\u2019s particular expertise in traditional Asian art, good intentions and academic ambitions are all evident in the curatorial decisions, making this show a strong showcase of iconic pieces. However, the idea of using the \u201cink art aesthetic\u201d to characterize and examine the pieces being shown is problematic. Overly emphasizing  the visual traits shared between traditional and contemporary Chinese art \u2013 such as materials, techniques and artistic forms \u2013 \u201cInk Art\u201d has unintentionally fallen into the Orientalist trap.<\/p>\n\n\n\n

\n\n\n\n

[i]<\/a> Mari C. Ramirez, \u201cBrokering Identities: Art Curators and the Politics of Cultural Representation, \u201d in Thinking about Exhibitions<\/em>, ed. Reesa Greenberg et al. (New York: Routledge, 1996), 23.<\/p>\n","protected":false},"excerpt":{"rendered":"

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