between past and future

new photography and video from china

15 september 2005 - 15 January 2006


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Exhibition overview

Exhibition overview

This exhibition is the first comprehensive survey of photography and video from China since the mid 1990s and the first major showing of contemporary Chinese art at a UK venue. Showcasing works by 39 artists - many of whom have not exhibited in the UK before - it will introduce the activities of experimental Chinese artists and through them provide intriguing insights into life in today's China.

For the past two decades, China has undergone remarkable economic, social and cultural transformations. These changes have shaped the development of experimental art. Using media ranging from painting and sculpture to video and photography, China's experimental artists have explored the dynamics of emerging modernity in a country where the forces of tradition still retain enormous power. Photography and video have become increasingly important means of individual expression and are now central to contemporary Chinese art. In many ways, the versatility and instantaneous nature of these media have become synonymous with the rapidity of change in China.

Photography was largely reduced to a propaganda tool during the first thirty years of the People's Republic, but from the 1980s artists began explore the medium's expressive potential. In the mid-1990s, Chinese photography and video entered a new phase of non-stop invention, abundant production, multifaceted experimentation and cross-fertilization with other art forms. The exhibition centres on this most recent and exciting phase of photo- and video-based art in China and is structured around four thematic sections:

Credit

Between Past and Future: New Photography and Video from China was organised by the International Center of Photography, New York, and the David and Alfred Smart Museum of Art, University of Chicago, in collaboration with the Asia Society, New York, and the Museum of Contemporary Art, Chicago. The exhibition received major funding from The Smart Family Foundation, the National Endowment for the Arts, and The Andy Warhol Foundation for the Visual Arts, as well as generous support from other donors.

History and Memory

The opening section, explores the contemporary legacy of China's past, featuring works which update themes from traditional Chinese art, reinterpret famous historical sites and evoke the lives of ordinary people through personal photographs and memorabilia.

  • GAO Brothers, An Installation on Tiananmen, 1995
  • HAI Bo, They, No. 6, 1999
  • HAI Bo, They, No. 6, 1999
  • HAI Bo, They, No. 7 (Three Sisters), 2000
  • HAI Bo, They, No. 7 (Three Sisters), 2000
  • HONG Lei, Autumn in the Forbidden City, East Veranda, 1997
  • HONG Lei, Autumn in the Forbidden City, West Veranda, 1997
  • Liu-Zheng, Clay Sculpture: The Punishment of the Wife who Misbehaved, Houshentai, Henan Province 2000
  • Liu-Zheng, Symbols of Revolution 1999
  • Liu-Zheng, Nanjing Massacre Waxwork in the Memorial Museum, Nanjing, Jiangsu Province 2000
  • MA Liuming, Fen-Ma Liuming Walks on the Great Wall, 1998
  • SHENG Qi, Memories (Mother), 2000
  • SHENG Qi, Memories (Me), 2000
  • SONG Dong, Beijing Breathing Part 1, 1996
  • SONG Dong, Beijing Breathing and Part 2, 1996

My Sun 2001 (Modem)

My Sun 2001 (Broadband)


In this video, the image of a peasant woman working in a field is multiplied until the screens are filled with an army of replicas and the distinction between mass and individual vanishes. In ancient Chinese cosmology the sun is male and the earth female. Thus the woman might represent the earth and refer to China's ancient agriculture-based society. My Sun also evokes the identification of Chairman Mao with the sun and the Chinese people with sunflowers.

Running time 7:00 minutes. Courtesy of the artist and CourtYard Gallery, Beijing

  • WANG Qingsong, Future, 2001
  • WANG Qingsong, Past, 2001
  • WANG Qingsong, Present, 2001
  • XING Danwen, Born with the Cultural Revolution, 1995
  • XING Danwen, Born with the Cultural Revolution, 1995
  • XING Danwen, Born with the Cultural Revolution, 1995
  • MIAO Xiaochun, Opera, 2003

Performing the Self

Contains photographs and videos that reflect the urgent quest for new forms of individual identity in a rapidly changing society. Many Chinese experimental artists have used their own images as a subject of their art, conveyed through self-portraits and self-transformations into fictional characters or symbolic images.

  • AN Hong, Untitled, 1998

COSPlayers 2004 (Modem)

COSPlayers 2004 (Broadband)


This video was filmed in Guangzhou, a rapidly expanding provincial capital in the south of China. It follows the antics of young people engaged in COSPlay (short for 'costume play'), originally a Japanese subculture whereby people create costumes and assume the identity of their favourite character in an animated feature film or TV programme. Their fantasy world - so at odds with their parents' daily existence - is both fuelled and reflected by the emerging architecture of this 21st-century city.

Running time 7:00 minutes. Courtesy of the artist and CourtYard Gallery, Beijing.

  • HONG Lei, Sakyamuni Leaving His Mountain Retreat, 1998
  • SONG Dong, Water Seal, 1996 (detail)
  • SONG Dong, Water Seal, 1996 (detail)
  • SONG Dong, Water Seal, 1996 (detail)
  • SONG Dong, Water Seal, 1996 (detail)
  • SONG Dong, Water Seal, 1996 (detail)
  • SONG Dong, Water Seal, 1996 (detail)
  • SUN Yuan, Shepherd, 1998
  • SUN Yuan, Shepherd, 1998
  • WANG Jin, A Chinese Dream, 1998
  • WANG Qingsong, Night Revels of Lao Li, 2000
  • YIN Xiuzhen, Yin Xiuzhen, 1998
  • ZHANG Huan, Family Tree, 2001
  • ZHU Ming, May 8, 1999, 1999

Re-imagining the Body

Looks at ways in which Chinese artists have used the body as a vehicle for self-expression and social critique. Works in this section employ the human body as image-bearing material, or use the body to explore new ways to communicate with the world.

  • CANG Xin, Communication (Series No. 2), 1999
  • CANG Xin, Communication (Series No. 2), 1999
  • CANG Xin, Communication (Series No. 2), 1999
  • CANG Xin, Communication (Series No. 2), 1999
  • CANG Xin, Communication (Series No. 2), 1999
  • CANG Xin, Communication (Series No. 2), 1999
  • CANG Xin, Communication (Series No. 2), 1999
  • CANG Xin, Communication (Series No. 2), 1999
  • CANG Xin, Communication (Series No. 2), 1999
  • CANG Xin, Communication (Series No. 2), 1999
  • CANG Xin, Communication (Series No. 2), 1999
  • CANG Xin, Communication (Series No. 2), 1999
  • HUANG Yan, Chinese Landscape - Tattoo, 1999
  • HUANG Yan, Chinese Landscape - Tattoo, 1999
  • QIU Zhijie, Tattoo 1, 1994
  • QIU Zhijie, Tattoo 2, 1994

Washroom 1994 (Modem)

Washroom 1994 (Broadband)


Like the photographs by Qiu Zhijie nearby, this video explores the relationship between individual and environment in the information age. Lines painted on the artist's face are perfectly matched to a grid on the wall behind. When his expression is calm, the face seems to melt into the overall grid. Whenever he smiles or frowns, the grid is momentarily disrupted, thus challenging the artist's argument that 'individuals have been completely transformed into an information process'.

Running time 15:30 minutes. Courtesy of the artist and CourtYard Gallery, Beijing.

  • RONG Rong, East Village, Beijing, No. 70, 1994
  • RONG Rong, East Village, Beijing, No. 20, 1994
  • RONG Rong, East Village, Beijing, No. 46, 1994
  • RONG Rong, East Village, Beijing, No. 5, 1995
  • WANG Wei, 1/30th of a Second Underwater, 1999
  • WANG Wei, 1/30th of a Second Underwater, 1999
  • WANG Wei, 1/30th of a Second Underwater, 1999
  • WANG Wei, 1/30th of a Second Underwater, 1999
  • WANG Wei, 1/30th of a Second Underwater, 1999
  • WANG Wei, 1/30th of a Second Underwater, 1999
  • WANG Wei, 1/30th of a Second Underwater, 1999
  • WANG Wei, 1/30th of a Second Underwater, 1999
  • XU Zhen, Actually I Am also very Blurred, 2000
  • XU Zhen, Actually I Am also very Blurred, 2000
  • XU Zhen, Actually I Am also very Blurred, 2000

People and Place

The final section in the exhibition, explores ways in which experimental artists in China have responded to the dramatic changes taking place in the environment, and in particular the rapid transformation of the urban fabric. Works record and comment on the impact of rapid urbanisation on the physical environment and human relations.

  • Bai Yiluo, The People, 2002
  • CHEN Lingyang, 25:00 (No. 2), 2002
  • HONG Hao, Spring Festival on the River No. 7 2000
  • LIU Zheng, Three Elderly Entertainers, Beijing 1995
  • LIU Zheng, Two Rich Men on New Year\'s Eve, Beijing, 1999
  • LIU Zheng, Three Women at a Country Funeral, 2000
  • LUO Yongjin, Lotus Block 1998/2002
  • XIONG Wenyun, On Mount Erlang {HASH}4, 1998
  • XIONG Wenyun, On Mount Erlang {HASH}1, 1998
  • XIONG Wenyun, On Mount Erlang {HASH}3, 1998
  • YANG Yong, Untitled Installation, 1996-2004
  • YANG Yong, Untitled Installation, 1996-2004
  • Dialogue: Full Link Plaza, Beijing, 1998
  • ZHANG Dali, Demolition: Time Plaza, Beijing, 1998