Gender (still) matters in Chinese contemporary art

Merlin, Monica

doi:10.1386/jcca.6.1.5_2

Cited by 3 publications

(2 citation statements)

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“…Como hemos dicho al inicio de este apartado, la motivación para elaborar la instalación nació de la constante interrogación en torno al feminismo que recibía la artista por parte de figuras extranjeras. Como indica en la entrevista conducida por Monica Merlin, quien defiende la relevancia del género en el estudio del arte contemporáneo chino (Merlin, 2019), Lin explica que comenzó a investigar cómo la sociedad percibe a las mujeres, descubriendo que los estándares estaban establecidos por hombres.…”

Section: Retroalimentación En La Obra De La Artistaunclassified

Ser o no ser una artista feminista: el caso de Lin Tianmiao

Luengo-Aguirre

2024

Arte, individuo y sociedad (Internet)

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Lin Tianmiao (Taiyuan, 1961) ha recibido especial atención en el ámbito artístico occidental, siendo frecuentemente considerada como “artista feminista”. Sin embargo, la artista ha rechazado de manera continua esta etiqueta. Un rechazo que resulta especialmente interesante para la reevaluación de la categoría de “artista feminista” y las connotaciones de esta taxonomía. En este artículo, para problematizar la figura de “artista feminista”, en primer lugar, se introduce el marco conceptual en torno a conceptos como “mujer artista” y “arte femenino” para después ahondar en la figura de “artista feminista” en relación al arte contemporáneo chino. A continuación, se analiza la posición de rechazo de Lin con respecto a la etiqueta “artista feminista”, para después analizar dos factores que han influido en la identificación de Lin con dicha figura, es decir: el uso del textil y la autorrepresentación corporal. Finalmente, se estudia de qué modo esa percepción como “artista feminista” ha influenciado la propia producción de la autora. De este modo, a través de un caso específico, se muestra la lógica de la construcción de la categoría de “artista feminista” y los retos que conlleva, con el fin de poder reevaluar su modo de empleo.

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Section: Retroalimentación En La Obra De La Artistaunclassified

Ser o no ser una artista feminista: el caso de Lin Tianmiao

Luengo-Aguirre

2024

Arte, individuo y sociedad (Internet)

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“…(a) firstly, in opposition to some art markets' literature that affirms that the current market can be seen as a global one with very blurred boundaries between countries (Codignola, 2015;Velthuis & Baia Curioni, 2015), there is still a strong connection between the country of origin of the artist and the country of origin of the art purchaser. Therefore, a collector may tend to buy artworks from artists that possess his same nationality; (b) secondly, some studies have shown that in contemporary art, in addition to Western hegemony, male hegemony is also prevalent among artists (Merlin, 2019;Reilly & Nochlin, 2007); (c) thirdly, by following the major art market's trends, the high-end collector segment (LAC) is characterized by riskier attitudes and prefers to purchase emergent or young emerged artists. In doing so, such segment would also follow the behavior of the avant-garde and innovative art collectors (AIC) segment.…”

Section: Data Collection and Proceduresmentioning

confidence: 99%

Investigating preferences in art collecting: the case of the François Pinault Collection

Codignola

Mariani

2021

Ital. J. Mark.

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This article focuses on private art collections that play a relevant role on the art market while reducing its information asymmetry. Knowledge of how art consumers such as private art collectors show preferences for specific artworks may allow to identify collecting patterns based on the preference of some artworks’ signs. Understanding these patterns is essential for evaluating the impact of art collectors on the art market. The evolution of the art market shows complex consumption systems that shape the cognition and behavior of actors such as private art collectors. Consequently, to be a key art collector and to progress as such in today’s art world implies a constant reinterpretation about what it means to consume and to collect art. This paper explores the collection of one of the most important art collectors in the world, the French tycoon François Pinault. More precisely, his background as a key collector was examined, and a number of preferences toward particular signs which connote his collected artworks were identified. All the collected artworks were observed through a descriptive data analysis of the Pinault Collection’s exhibition catalogues, published from 2006 to 2015, enforced by the statistical decision tree classifier. Results show how the Pinault Collection is shaped by collecting preferences that can be described as collecting patterns. As a preeminent collector and owner of one of the two major auction houses in the world, Pinault’s consumption preferences and decisions may impact the art market, for instance through signals and by influencing other art market players or the artists’ careers.

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Gendered bodies: Feminism and Chineseness in the work of Li Xinmo, Xiao Lu and Xie Rong

Guest

2023

Journal of Contemporary Chinese Art

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From its emergence in the post-Mao era of gaige kaifang (Reform and Opening) the performing body in Chinese xingwei yishu (‘performance art’) was most often assumed to be male. The representation of performance practices in exhibitions, festivals – and in the art historical literature – has too often been dominated by male artists. This article turns the gaze onto three women artists, examining their work through lenses of gender, feminism and ‘Chineseness’: Performance artists Xiao Lu (b. 1962), Li Xinmo (b. 1976) and Xie Rong (b. 1983) explore aspects of embodied lived experience in often-encoded ways. Li Xinmo explores experiences of gendered violence through theatrical, immersive performances that have often used ink or pigmented fluids as metaphors for blood and trauma – and through a series of paintings made with actual menstrual blood. In The Death of the Xinkai River (2007) she first explicitly links an embodied feminism with her distress at the destruction of the natural environment. Xiao Lu’s post-menopausal performances move beyond her previously more literal explorations of gender. Works such as Ren (2016) and Suspension () employ ink and water in poetic reference to shufa (‘calligraphy’) and shuimo hua (‘ink-wash painting’). Inserting herself into the visual language of literati scholar painters, an artistic lineage from which she would have been excluded by virtue of her gender, Xiao’s liquid materiality becomes a feminist embodiment. Xie Rong (also known until recently by her English name, Echo Morgan) ‘writes’ ink painting using her hair as her brush in I Am a Brush (2011), Painting Until it Becomes Marble (2019) and Anatomy of . She paints her naked body with images of birds and flowers and blue-and-white porcelain motifs to perform lamentations of grief, loss and longing in works such as Be The Inside of the Vase (2012) and Echo of Posidonia (2022). Framed by Anne Anlin Cheng’s concept of ‘ornamentalism’, Ella Shohat’s notion of a non-western ‘subterranean’ feminism and early twentieth-century anarcho-feminist He-Yin Zhen’s gendering category of nannü, the artists’ embodied practices are understood as creating nannü spaces that reveal female subjectivities and reposition them within the discourses of Chinese performance practice. Emerging from encounters with the artists, in studio visits and (during the pandemic years) online conversations, analysis of their counter-patriarchal work reveals not merely the ghostly presences and absences of women in narratives of performance art in China that have tended to marginalize them, but also the significance of their contributions.

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Gender (still) matters in Chinese contemporary art

Cited by 3 publications

References 0 publications

Ser o no ser una artista feminista: el caso de Lin Tianmiao

Ser o no ser una artista feminista: el caso de Lin Tianmiao

Investigating preferences in art collecting: the case of the François Pinault Collection

Gendered bodies: Feminism and Chineseness in the work of Li Xinmo, Xiao Lu and Xie Rong

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