{"id":9715,"date":"2014-04-16T05:42:00","date_gmt":"2014-04-16T05:42:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=9715"},"modified":"2023-02-23T05:51:03","modified_gmt":"2023-02-23T05:51:03","slug":"inspired-by-the-opera-interview-with-art-historian-wu-hung-on-performativity-in-art","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/inspired-by-the-opera-interview-with-art-historian-wu-hung-on-performativity-in-art\/","title":{"rendered":"Inspired by the Opera\u2014interview with art historian Wu Hung on Performativity in Art"},"content":{"rendered":"\n<p>by \u4f5c\u8005\uff1aDasha Filipova<br>translated by \u8bd1\uff1a Lu Wanwan \u8def\u5f2f\u5f2f<\/p>\n\n\n\n<p><a href=\"http:\/\/smartmuseum.uchicago.edu\/exhibitions\/inspired-by-the-opera-contemporary-chinese-photography-and-video\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Inspired by the Opera: Contemporary Chinese Photography and Video<\/strong><\/a><\/p>\n\n\n\n<p><a href=\"http:\/\/smartmuseum.uchicago.edu\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Smart Museum of Art<\/strong>,&nbsp;<strong>The University of Chicago<\/strong><\/a>&nbsp;(5550 S Greenwood Ave, Chicago)<strong>&nbsp;February 13\u2013June 15, 2014<\/strong><\/p>\n\n\n\n<p>For the occasion of University of Chicago\u2019s \u201cEnvisioning China\u201d\u2014a five month festival of forty China-inspired events and exhibitions, Wu Hung, who is a professor in the Art History department at the university, has curated \u201cInspired by the Opera: Contemporary Chinese Photography and Video.\u201d The show presents the work of four contemporary Chinese artists, and is held in conjunction with the larger exhibition&nbsp;<a href=\"http:\/\/smartmuseum.uchicago.edu\/exhibitions\/performing-images-opera-in-chinese-visual-culture\/\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cPerforming Images: Opera in Chinese Visual Culture\u201d<\/a>&nbsp;at the Smart Museum, co-curated by Judith Zeitlin, faculty at the East Asian department and Wu Hung\u2019s spouse.<\/p>\n\n\n\n<p>The scholar, critic, and curator Wu Hung has furthered the conversation on medium-based division at the center of Chinese modern and contemporary art, a division that culturally demarcates work by being either a Western-style oil painting (<em>xihua<\/em>) or done in the traditional Chinese style (<em>guohua<\/em>)\u2014predominantly in ink. Pivotal to Wu Hung\u2019s interest in experimental and new media work, of which this show is a clear extension, is the idea that video and photography are not culturally specific, and thus offer a way out of the quibble over medium-specificity..<\/p>\n\n\n\n<p>The four artists selected by Wu Hung\u2014Liu Wei, Chen Qiulin, Liu Zheng and Cui Xiuwen\u2014appropriate the visual and gestural language of traditional Chinese opera in very different ways. It becomes apparent that the engagement with the imagery is not at all a commentary on the opera tradition itself (unlike the didactic works in the larger show, which shares the exhibition space with \u201cInspired by the Opera\u201d), and in some cases, the work is not even fully conscious of this visual inheritance. Instead, the artists engage with subjects intimate and personal, for instance sexuality and identity, power and annihilation, performance and anxiety. What is most striking about the exhibition is the interaction between and layering of diverse cultural references and the fact that the artists are not consumed by the implicit \u201cChinese-ness\u201d of an exhibition dedicated to traditional Chinese opera. By not engaging explicitly with Chinese opera in the work\u2014i.e. the work is not about the opera\u2014the artists overcome the exclusive belonging to this tradition; they then fold smoothly into another, more subtle and very contemporary layer: the conversation on identity and performativity which is central to contemporary queer aesthetics today. Concepts of \u201cthe stage,\u201d being in the spotlight, \u201cinvisibility\u201d and a prolific sense of sexual anxiety all play out in the works on view. Wu Hung discusses his thinking behind the selection of artists for the show and comments on these new, complex dichotomies in conversation with randian.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"662\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-234.png\" alt=\"\" class=\"wp-image-9738\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-234-299x300.png 299w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-234.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Chinese, Qing Dynasty (1644\u20131911), Mask Designs for Court Opera Characters, ca. 1746\u201395, Album leaves, ink and color on paper. \u00a9 The Field Museum, Photographer John Weinstein.(1644\u20131911) \n\u4e2d\u56fd\u6e05\u4ee3\uff081644-1911\uff09\u300a\u5bab\u5ef7\u620f\u66f2\u89d2\u8272\u8138\u8c31\u8bbe\u8ba1\u300b\uff0c\u7ea61746-95\u5e74\uff0c\u7eb8\u672c\u8bbe\u8272\u3001\u6c34\u58a8\u3002\u00a9\u83f2\u5c14\u5fb7\u81ea\u7136\u53f2\u535a\u7269\u9986\uff0c\u6444\u5f71\u5e08John Weinstein.<\/figcaption><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"438\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-229.png\" alt=\"\" class=\"wp-image-9719\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-229-300x199.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-229-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-229-452x300.png 452w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-229.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Wu Hung giving a tour at Smart Museum. Courtesy of Smart Museum.<br>\u5deb\u9e3f\u5728\u829d\u52a0\u54e5\u5927\u5b66Smart\u7f8e\u672f\u9986\uff0c\u7248\u6743\u7531\u829d\u52a0\u54e5\u5927\u5b66Smart\u7f8e\u672f\u9986\u6240\u6709<\/figcaption><\/figure>\n\n\n\n<p><strong>Interview:<\/strong><\/p>\n\n\n\n<p><strong>Dasha Filippova<\/strong>: Can you speak about how the project came together and about your experience collaborating with your spouse, Judith T. Zeitlin?<\/p>\n\n\n\n<p><strong>Wu Hung<\/strong>: I suggested doing two separate sections [for \u201cEnvisioning China: A Festival of Arts and Culture\u201d at the Smart Museum]. The traditional part becomes more historical, and the contemporary part becomes separate because the logic is quite different in these two components. \u201cInspired by the Opera: Contemporary Chinese Photography and Video\u201d became a smaller show, but in conversation with the bigger show.<\/p>\n\n\n\n<p><strong>DF<\/strong>: In relation to the Three Gorges Dam work (Rhapsody on Farewell;&nbsp;<em>Bie Fu<\/em>&nbsp;[\u522b\u8d4b], 2002), Lu Jie\u2019s \u201cLong March Project\u201d comes to mind, and the utopian idea behind a reenactment of the historic Long March; it was explicitly made to intertwine art with original Chinese context and history. Call it \u201canxiety over influence\u201d or resistance to the seduction of Western ways, but I suppose critics and art historians are always very aware of these things. Artists themselves do not think of that as often.<\/p>\n\n\n\n<p><strong>WH<\/strong>: I feel that critics or curators or writers can often overemphasize how important tradition is in contemporary art (<em>laughs<\/em>). In the introduction to the show, I mention the dichotomy between Eastern and Western art. And that is the general context of modern Chinese art in the 20th Century. From the 20th Century, Chinese art was divided into these two big systems, or camps. Now, contemporary art has to deal with this dichotomy. In a way, new mediums or new forms provide a way out. When you use a video or a photograph\u2014these forms are not strictly speaking culturally-coded\u2014they are not Chinese or Western, unlike oil painting or ink painting. These artists\u2019, sources are just images, and their logic is no longer Chinese versus Western. It\u2019s a very postmodern style.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"527\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-230.png\" alt=\"\" class=\"wp-image-9722\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-230-300x240.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-230-150x120.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-230-376x300.png 376w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-230.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Liu Wei, still from \u201cThe Shadow\u201d, video, running time 2:47, 2001; courtesy of the artist.<br>\u5218\u709c\uff0c\u300a\u5f71\u5b50\u300b\u622a\u56fe\uff0c\u89c6\u9891\uff0c\u65f6\u957f2\u520647\u79d2\uff0c2001\uff1b\u7248\u6743\u5f52\u827a\u672f\u5bb6\u6240\u6709<\/figcaption><\/figure>\n\n\n\n<p><strong>DF<\/strong>: The exhibition itself poses another dichotomy, beyond Eastern and Western mediums. Traditional Chinese opera on one hand is a seemingly clear signifier, but on the other hand, we have performance and \u201cperformativity, which speak to Western culture wars, and international contemporary conversations over identity, queerness, sexuality This part of the exhibition folds into the larger, critical conversation, and much beyond Chinese traditional opera. Cui Quiwen (\u5d14\u5cab\u95fb; b. 1970) and Liu Zheng do engage with queerness and identity issues explicitly, but to what extent is this an explicit theme of the show or the Festival?<\/p>\n\n\n\n<p><strong>WH<\/strong>: Yes. In these four works alone, we have quite different subjects. \u201cRhapsody on Farewell\u201d is really about a contemporary event, and Cui Xiuwen\u2019s three videos are largely about her identity and her sexuality, and about her memories of herself as a little girl. Although these artists use a lot of elements from the theater, it\u2019s really about something else. It\u2019s about themselves, about different things\u2026 Opera offers them a sort of means through the images. Liu Zheng, the photographer, is especially interested in this artificial kind of image\u2014things that look like statues \u2014and there is a weird kind of symbolism there; opera very naturally becomes this \u201chalf real, half unreal\u201d theme. I was surprised by how many opera-inspired images were there in his 100-piece set of \u201cThe Chinese\u201d (The series \u201cMy Countrymen\/Guoren\u201d [\u56fd\u4eba], alternatively known as \u201cThe Chinese\u201d). And I was wondering: Why? And it\u2019s because the mask offers an opportunity to be both real and unreal. There is a surreal feeling about it: one image of an older man performing as a young girl.<\/p>\n\n\n\n<p><strong>DF<\/strong>: It seems that each artist engages with visual inheritance, an engagement with structures of power\u2014like Liu Wei\u2019s \u201cForbidden City\u201d (\u7d2b\u7981\u57ce, 2000),or with fantasy and transcendence in Cui Xiuwen\u2019s work (reference to \u201cDrifting Lantern\u201d \u98d8\u706f, 2005 and \u201cTOOT,\u201d 2001).<\/p>\n\n\n\n<p><strong>WH<\/strong>: This term \u201cperformance,\u201d\u2014is realized on many levels. Play itself is a kind of performance, and here the artists play in different ways. New media provides a kind of venue to re-perform certain things. Like Liu Wei\u2019s masks\u2014it\u2019s like a game, almost. The mask is totally artificial, but somehow he makes these connections between his real face and the mask\u2019s expression\u2014which is a complete construct. It\u2019s an interesting visual game, but I don\u2019t think he deals with any profound meaning or social critique. There is a childish feeling, or excitement about it.<\/p>\n\n\n\n<p><strong>DF<\/strong>: This makes me think of seeing something like Commedia dell\u2019Arte, where there are only a few masked archetypes, and so you must choose among them.<\/p>\n\n\n\n<p><strong>WH<\/strong>: For Liu Wei, it\u2019s almost as of the face is pulled upon by different forces\u2014destroyed, or about to vanish. There are two kinds of transformation: one is into these old masks, and the other about total disappearance, total destruction. And if you look at TOOT\u2014Cui Xiuwen uses this paper to wrap her body and then stands in water\u2014it\u2019s a very sad piece. Chinese theater often uses this kind of scene of a single person on a stage with certain gestures.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"503\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-231.png\" alt=\"\" class=\"wp-image-9725\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-231-300x229.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-231-150x114.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-231-394x300.png 394w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-231.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Chen Qiulin, Still from \u201cRiver, River\u201d, video, ruvning time 16:00, 2005; courtesy of the artist&nbsp;<br>\u9648\u79cb\u6797, \u300a\u6c5f\u6cb3\u6c34\u300b\u622a\u56fe\uff0c\u89c6\u9891\uff0c\u65f6\u957f16\u5206\u949f\uff0c2005; \u7248\u6743\u5f52\u827a\u672f\u5bb6\u6240\u6709<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"660\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-232.png\" alt=\"\" class=\"wp-image-9728\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/364zdQzl-image-232-300x300.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-232-150x150.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/en\/image-232.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Liu Zheng, \u201cAn Old Peking Opera Actor Playing a Female Role\u201d, Beijing, 1995 (negative; this impression printed 2007), from the series&nbsp;<em>My Countrymen<\/em>&nbsp;(Guoren, alternately translated as The Chinese), gelatin silver print. Smart Museum of Art, The University of Chicago; the Paul and Miriam Kirkley Fund for Acquisitions, 2013<br>\u5218\u94ee\uff0c\u300a\u8001\u5e74\u4eac\u5267\u8868\u6f14\u8005\u5728\u626e\u6f14\u5973\u89d2\u300b\uff0c\u300a\u4e2d\u56fd\u4eba\u300b\u7cfb\u5217\u7167\u7247\uff0c\u5317\u4eac\uff0c1995\uff08\u5e95\u7247\uff0c\u8be5\u7248\u5370\u4e8e2007\u5e74\uff09<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>by \u4f5c\u8005\uff1aDasha Filipovatranslated by \u8bd1\uff1a Lu  &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/inspired-by-the-opera-interview-with-art-historian-wu-hung-on-performativity-in-art\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":9725,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[17],"tags":[3616,6025,6028,2285,6024,6013,178,6014,6015,6027,6026,6016,1168,6017,6019,6018,6020,6021,1190,6022,6023,3645],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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