China and Revolution exhibition catalogue 2010-2011 ed. /curated S.Hemelryk Donald

university art gallery

CHina anD revOlutiOn:HISTORY, PARODY AND MEMORY IN CONTEMPORARY ART8 august – 7 nOvember 2010

china and revolution cover 47281.indd 1 2/08/10 1:35 PM

Shui Tianguang ‘Chinese Historical Figures 1966 – 1976’“历史中国众生相1966-1976”水天光

2009 © Xu Weixin

frOnt COver images

Standing Guard for Our Great Motherland为我们伟大祖国站岗1975 oil on canvas © Shen Jiawei

CRICOS 00026AABN 15 211 513 464

Copyright remains with authors and artists.

Produced by University Publishing Service, the University of Sydney, July 2010. The University reserves the right to make alterations to any information contained within this publication without notice. UPS47281

university art galleryt +61 2 9351 6883e [email protected]/museums

Acknowledgement:

Dr Kirsten seale, research and editorial advice

Jo Chipperfield, editorial assistance

natalie tang, video and catalogue, postproduction assistance

china and revolution cover 47281.indd 2 2/08/10 1:35 PM

02 project

03 eXHIBItIoN

04 LIStoFArtWorKS

07 peopLe

09 eSSAYS

09 ChinaandRevolution:histoRy,PaRodyandMeMoRyinConteMPoRaRyaRt,anintRoduCtiontotheexhibitionharrietevansandstephaniehemelrykdonald

12 MeMoRyandshaMeinwoRksofaRtstephaniehemelrykdonald

15 theaRtoftheCultuRalRevolutionseenfRoMaReCentsuRveyJohnClark

coNteNtS 18 fRoMtRagedytofaRCe:thingsfoRgottenandReMeMbeRedinConteMPoRaRyChineseaRtJeromesilbergeld

21 visibleslogans:PolitiCalPRoPagandaPosteRsinMao’sChinashenJiawei

23 MtMaoliudahong

25 theRedeMPtivePoweRofaRtxuweixin

26 the‘newPRoPagandaPosteRMoveMent’inChinaligongming

china and revolution text 47281.indd 1 2/08/10 1:33 PM

2

projectPosteRsoftheCultuRalRevolution:ConteMPoRaRyChinesePeRsPeCtivesonaneRaofPRoPaganda

Xu Weixin interviewed by Stephanie Hemelryk

Donald and Leicia Petersen 2009

2009年徐唯辛接受史蝶飞和立夏采访

‘PostersoftheCulturalRevolution’isaresearchprojectfundedbytheaustralianResearchCouncil.itre-evaluatestheCulturalRevolutionthroughananalysisofpropagandainChinainthe1960sand1970s.focussingonpoliticalposters,andelicitingperspectivesfromthememoriesofthoserepresentedinposterart,aswellasprofessional

image-makerscontemporarybothtothatperiodandtothepresentera,theresearchidentifiesthecontinuinginfluenceofpropagandaasamediumforpubliccommunication,asanartformandasavisualrepositoryofpersonalrecollection.oralhistoriesandanalysesofextantvisualmaterialcombineinaworkthatrefinesreceivedhistory.

PRoJeCt


3

‘ChinaandRevolution’isanexhibitionthatexplorestherelationshipbetweenposterartofthe1960sand1970s,specificallyworkproducedduringthe‘greatProletarianCulturalRevolution’(wenge),andinterventionsbycontemporaryartistswhoseworkengagesinaconsciousdialoguewiththatperiod.

theexhibitionemphasisesconnectivepossibilitiesbetweenpastrevolutionsandthepresent,andbetweenhistory,memoryandforgetting.

curAtorIALAdvISorS:

– StephanieHemelrykdonalddean,schoolofMediaandCommunication,RMituniversityandhonoraryProfessorChineseMediastudies,theuniversityofsydney

– HarrietevansProfessor,ChineseCulturalstudies,universityofwestminster

coLLABorAtINgArtIStS:

– liudahong– xuweixin– ligongming– shenJiawei

coLLABorAtINgFILm-mAKer:

– leiciaPetersen

puBLIcprogrAmS

10tHAuguSt(tueS)6-8pmoPening

11tHAuguSt(Wed)meettheArtists11-12am mrsLeiciapetersen,

freelancefilm-maker12-1pm professorLiudahong:

departmentoffinearts,shanghainormaluniversity

2-3pm professorLigongming,departmentoffinearthistory,guangzhouacademyoffinearts

3-4pm mrShenjiawei,sydney-basedfreelanceartist

25tHAuguSt(Wed)12-1pmgallerytalkprofessorjohnclarkDepartment of Art History and Film Studies, the University of Sydneytopic:artoftheCulturalRevolution-itsarthistoricalfoundations

8tHSeptemBer(Wed)12-1pmgallerytalkdrYiZhengDepartment of Chinese Studies, the University of Sydneytopic:ModelPlaysandsocialistavant-garde

22NdSeptemBer(Wed)12-1pmgallerytalkdrthomasBerghuisDepartment of Art History and Film Studies, the University of Sydneytopic:aestheticRevolutionsinChineseContemporaryart

6tHoctoBer(Wed)12-1pmgallerytalkprofessorStephaniedonaldSchool of Media and Communication, RMIT Universitytopic:MissinghistoriesandchildhoodinCulturalRevolution

20tHoctoBer(Wed)12-1pmgallerytalkjacquigodwinPhdcandidateDepartment of Chinese Studies, the University of Sydneytopic:PostersintheearlyPost-Maoera

eXHIBItIoNChinaandRevolution:histoRy,PaRodyandMeMoRyinConteMPoRaRyaRt

exhibition


4 listofaRtwoRks

1. LiudahongGood Friends2008oiloncanvas40x50cmshanghaiCourtesyofstephaniehemelrykdonald

2. LigongmingNew Propaganda Posters in China2010sourcesofimages:NewpropagandaworkgroupThe problem of earth is the essential one to guarantee farmers’ subsistence allowances Sudengguang,HeXiaoteIllegal demolition, not permitted in national laws LiBingSeeking! Seek the answer to life WeiXiaoyanAnti-corruption of Judiciary NewpropagandaworkgroupCall for a harmonious countryside and a prosperous life for farmers FangFangFight against earth pollution, help child victims YangXiaoyanCall for social justice caiYuanheImprove medical treatments of occupational diseases, respect rights of livessilkprint130x1080cmguangzhouCourtesyofstephaniehemelrykdonald

3. XuWeixinChinese Historical Figures 1966 – 1976 2010PortraitsofChenyaowen,huangshuai,JiangQing,Jinxunhua,laoshe,liZhensheng,linbao,liuChangyu,liushaoqi,luoMing,Mengfei,Pengdehuai,shenlili,tianJiaying,wanghongwen,wengdeguo,yaowenyuan,yuxiangzhen,Zhangguixian,Zhouenlai(reproductionbasedon2006-2007oilpaintingseach100x250cm)print65x40.5cmbeijingCourtesyofstephaniehemelrykdonald

4. StephanieHemelrykdonald,LeiciapetersenI cannot escape…2010videodocumentary6:46minsshanghaiCourtesyofstephaniehemelrykdonald

LIStoFArtWorKS

5. LiudahongFairytales of the Twelfth Month 2007(basedon1987oilpainting)print104.5x74.5cmshanghaiCourtesyofliudahong

6. LiudahongThe Awakening of Insects 2007(basedon1988oilpainting)print101x74cmshanghaiCourtesyofliudahong

7. LiudahongRed Calender - 24 Seasons2006(basedon2005oilpainting)calendar38x58.5cmshanghaiCourtesyofliudahong

8. LiudahongFour Seasons2006(basedon1991oilpainting)print56x90cmshanghaiCourtesyofliudahong

9. Liudahong,XiaguofuPhysical Exercise on Public Announcement System - Puppet Chapter2005videoanimation4:04minsshanghaiCourtesyofliudahong

10. Liudahong,XiaguofuSixteen National Congresses of Communist Party of China 2008videoanimation4:35minsshanghaiCourtesyofliudahong

11. XuWeixinShui Tianguang from Chinese Historical Figures 1966 – 1976 2006-2010oiloncanvas200x250cmbeijingCourtesyofxuweixin

12. XuWeixinUntitled2006-2009videodocumentary9:07minsbeijingCourtesyofxuweixin

13. NewpropagandaworkgroupUnite, the proletariat of the world 2004postcard12x18cmguangzhouCourtesyofligongming


5listofaRtwoRks

14. NewpropagandaworkgroupKäthe Kollwitz: Show concern for people’s sufferings 2004postcard12x18cmguangzhouCourtesyofligongming

15. NewpropagandaworkgroupAll power belongs to the people2004postcard12x18cmguangzhouCourtesyofligongming

16. NewpropagandaworkgroupMy country, my motherland2004postcard12x18cmguangzhouCourtesyofligongming

17. NewpropagandaworkgroupFu Luofei: Show concern for people’s sufferings2004postcard12x18cmguangzhouCourtesyofligongming

18. NewpropagandaworkgroupCall for social justice and fairness2004postcard12x18cmguangzhouCourtesyofligongming

19. NewpropagandaworkgroupJohn Heartfield: Hit the evil of totalitarian politics 2004postcard12x18cmguangzhouCourtesyofligongming

20. junmingEquality and harmony 2007postcard12x18cmguangzhouCourtesyofligongming

21. BlackhorseadvertisementPiglet visits home 2007postcard12x18cmguangzhouCourtesyofligongming

22. chenKaiMigrant workers going home2007postcard12x18cmguangzhouCourtesyofligongming

23. LiuBinTransport during Spring Festival2007postcard12x18cmguangzhouCourtesyofligongming

24. BlackhorseadvertisementChairman Mao laughs2007postcard12x18cmguangzhouCourtesyofligongming

25. FenShiHuiBowl of Spring2007postcard12x18cmguangzhouCourtesyofligongming

26. Ligongming,LiujianzhaoMovement of New Propaganda Posters in China2010videodocumentary10minsguangzhouCourtesyofligongming

27. ShenjiaweiStanding guard for Our Great Motherland 1975poster53x77cmChinaCourtesyofshenJiawei

28. AnonymousAerial drawing of Dazhai & surroundingsundatedposter74x47cmChinaCourtesyofharrietevans,collectionoftheuniversityofwestminster

29. HanxiangCelebrating a good harvest 1972poster77.5x53cmhebeiCourtesyofharrietevans,collectionoftheuniversityofwestminster

30. revolutionaryrebelHeadquartersofShanghaiWorkersDown with Soviet revisionists 1967poster53x77.5cmshanghaiCourtesyofharrietevans,collectionoftheuniversityofwestminster

31. jilinLuYirevolutionaryrebelArmyLearn from the workers, peasants and soldiers1967poster53x77cmJilinCourtesyofharrietevans,collectionoftheuniversityofwestminster

Xu Weixin working on ‘Chinese Historical Figures 1966 – 1976’徐唯辛在创作“历史中国众生相1966-1976”2006 © Xu Weixin, photo by Guo Tieying


6

I accompany Granny on her way to night school 我送奶奶上夜校1973 Poster © Chinese Poster Collection, the University of Westminster

32. Anonymous Hold high the revolutionary banner of proletarian criticism1967poster54x79.5cmshenyangCourtesyofharrietevans,collectionoftheuniversityofwestminster

33. revolutionaryrebelHeadquartersofShanghaipublishingSystemGet rid of selfishness and develop public spirit 1967poster53.5x77.5cmshanghaiCourtesyofharrietevans,collectionoftheuniversityofwestminster

34. daiZeThe great victory at Langfang1975poster77.5x53cmshanghaiCourtesyofharrietevans,collectionoftheuniversityofwestminster

35. SunXuechengI accompany granny on her way to night school1973poster53x77cmtianjinCourtesyofharrietevans,collectionoftheuniversityofwestminster

36. SongWenzhiDaqing flowers on the banks of the Yangzi River 1975poster77x54cmJiangsuCourtesyofharrietevans,collectionoftheuniversityofwestminster

37. jinggangshancommunityBeijingFilmAcademyOur literature and art is all for the masses (White haired girl) 1967poster66x55cmbeijingCourtesyofharrietevans,collectionoftheuniversityofwestminster

listofaRtwoRks


7

peopLe

StepHANIeHemeLrYKdoNALd(curAtor/reSeArcHer)Chiefinvestigatorof‘PostersoftheCulturalRevolution’ResearchProjectdean,schoolofMediaandCommunication,RMituniversityandhonoraryProfessorChineseMediastudies,theuniversityofsydney

Professorstephaniedonaldisaninternationallyrespectedscholar.shewasPresidentoftheChinesestudiesassociationofaustralia2007-2009.herresearchandwritingfocusesonfilm,media,children’sexperience,andtheasiaPacificregion.inrecentyearsstephaniehasworkedspecificallyonurbanbranding,intra-regionalperspectivesoncosmopolitanismandmigration,andtheideaofclassinChina.

HArrIetevANS(curAtor/reSeArcHer)Chiefinvestigatorof‘PostersoftheCulturalRevolution’ResearchProjectProfessor,ChineseCulturalstudies,universityofwestminster

ProfessorharrietevansisarenownedscholaronChinesewomen’shistory,gender,andpolitics.sheisco-ordinatorofasianstudiesResearchintheschoolofsocialsciences,humanitiesandlanguages,universityofwestminster.sheisalsothedirectorofthePostersarchiveattheuniversity.

LIgoNgmINg(curAtor/ArtISt)ProfessorinChinesefinearthistorydean,facultyoffineartshistory,guangzhouacademyoffinearts

Professorligongmingisanartist,fineartshistorianandculturecritic.heisvice-chairmanofthearttheoryCommitteeoftheguangdongartistsassociation,visitingfellowattheguangdongartgallery,memberofguangdongartgalleryacademiccommitteeaswellasexecutiveChiefeditorofmagazinegallery.

LIudAHoNg(ArtISt/FILm-mAKer)ProfessorandsupervisorofPhdcandidates,fineartsdepartment,shanghainormaluniversity

borninQingdao1962,liudahongisapainter,aswellasmanageroftheshuangbaistudio.liudahong’sworkThe Awakening of Insectswasdisplayedinthe6thnationalfineartsexhibitionin1989,andin1990hefinishedtheworkThree Old Work of Chairman Mao.inlate1991,hefinishedtheworkFour Seasons.heheldasoloexhibitioninhongkongin1992afterhisworksofThe Year of MonkeyandThe Illustration of the 9th Version of Broadcast Callisthenicswerefinishedinthesameyear.

PeoPle


8 PeoPle

XuWeIXIN(ArtISt)Professor,deputydeanofartschoolatRenminuniversity

ProfessorxuweixinismemberofoilPaintingCommitteeoftheChinaartistsassociation,anddirectorofChinatheoilPaintingsociety.xuweixin’sartworksinrecentyearsarecommittedtosocialandhistoricalissues.hisseriesChinese Historical Figures 1966 - 1976isover100oilpaintings,memorialisingthefamousandtheordinary,thebraveandtheunfortunate,victimsandperpetratorsfromthetenyearsofchaos.thisserieswasfeaturedinbeijing’stodayartMuseum2007,andproducedagreatimpactamongChineseartistsandideologists.

SHeNjIAWeI(ArtISt)

shenJiaweiwasborninshanghaiin1948.hetaughthimselftobeanartistduringtheCulturalRevolution.hisoilpaintingStanding Guard for Our Great Motherland(1974)waswell-knowninChina.hehasbeenlivingandworkinginsydneysince1989.hisworksareinpublicandprivatecollectionsworldwide.

LeIcIApeterSeN(FILm-mAKer)

leiciaPetersenisawriteranddocumentaristlivinginshanghai.shehasworkedonthePostersoftheCulturalRevolutionprojectsince2008.

LIANgmINg(projectcoordINAtor)

MinghasbeenworkingonthePostersoftheCulturalRevolutionprojectwithProfessorsdonaldandevanssince2008.


9essays

cHINAANdrevoLutIoN:histoRy,PaRodyandMeMoRyinConteMPoRaRyaRt,anintRoduCtiontotheexhibition

China’s‘redlegacy’surfacesinmanydiverseformsincontemporaryChina,fromtheofficial‘redtourist’sitesthatcommemoratethekeyplacesandeventsofChina’scommunistrevolution,tothecommercialpop-publicityofmusicvenuesandbarsindowntownbeijingandthemarketstallssellingreproductionpostersoftherevolution’siconicimages.itispresentintheunsettlingmixofnostalgia,vulnerabilityandterrorinZhangxiaogang’sfamousBloodlineseries,intheworkofyuyouhanwithhisdeliberatesubversionofthepastanditsassociatedpower-holders,intheheavysteelstructuresoftheindustrialcomplexesthatarenowhometobeijing’s798artdistrict,andinthehugenumbersofCulturalRevolutionartifactsdisplayedinfanJianchuan’sprivateanrenMuseuminChengdu.Recentyearshavealsowitnessedtheincreasingprominenceofthe‘redlegacy’ininternationalculturalandacademicdebateasscholarsattempttopriseopenmainstreamnarrativesoftheMaoera.apartfromaixiaoming’sandhuJie’sdocumentaryfilmwork,therehasbeenverylittleconsiderationofhowthepostersoftheCulturalRevolution,asopposedtootherartformsofthetime,werereceivedbythosewhoproducedthem,andbythosewholookedatthemduringthecourseoftheireverydaylives.norhastherebeenmuchsubstantialworkexaminingthewaysinwhichthestylesandcoloursofwhatmightbecalleda‘CulturalRevolutionaesthetics’havebeenadaptedforuseincontemporarydesignsuchascommercialadvertising,sitebrandingand,asinthisexhibition,thefinearts.

abriefsurveyofthevisualcontoursofChinesepostersproducedsince1949revealsarangeofaestheticandideologicalinfluences,includingnineteenthcenturyeuropeanpainting,stalinistsocialistrealism,andtraditionalChinesestylesofpainting(guohua),

woodblockprintandfolkart.onecanseethesimple,stronglinesofthesoviet-stylepostersofthe1950s,thefolknewyear (nianhua)imagesofprosperityandharmony(whichpeaked,withbrutalirony,duringthefamineyearsfollowingthegreatleapforward),theaggressivelydirectappealoftheblackandredimagesofRedguardposters,andthepastoralidyllsoftheearly1970s.thesepostersliterallyframepoliticisednarrativesofChina’srecenthistory.theideathattheseimageswereatransparentlyreadablevisualtoolservingatotalitarianregimeisnotsufficientanexplanationoftheirremit,whichisnecessarilycomplicatedbythemultipleaestheticsensibilitiesandspectatorshipstheycalledupatthetime,andhavecontinuedtoevokethroughthedizzyingpoliticalandeconomicchangesofrecentdecades.

aninterestinposterswasthestartingpointforthisexhibition.indeed,theideasshapingthisexhibitiondatebacksometime,toamomentwhenthenotionof‘redlegacy’hadminimalmomentum.itsfirstsourceofinspirationwastheviewthatposterart,commonlydismissedbyculturalpractitionersandacademicsaslittlemorethansimplistic‘politicalpropaganda’,couldbeapotentiallyrichfieldforopeningupquestionsabouthistoricalnarrativesandculturalmemory.the‘official’viewofaposter’simagehasbeenthatitoperatesasanidealisedreflectionofitspoliticisedslogan.thereare,andwere,however,otherviewpoints–someofwhichwaittobearticulatedinscholarshipandinpopulardiscourse.theseperspectivesarticulatetheprovenanceandreceptionofposters,remindingusthattheimagesandinterpretationsinvokeddifferentinterestgroupsandpublicsparticipatingintheirproduction.RepeatedconversationswithmembersoftheRedguard

Learn from the workers, peasants and soldiers 向工农兵学习，与工农兵结合1967 Poster © Chinese Poster Collection, the University of Westminster

HArrIetevANSANdStepHANIeHemeLrYKdoNALd


10 essays

generationyieldedevidenceofhowtheseposterscouldfunctionasavisualtriggerforthememoriesofexperiencesandaspirationsthathadbeenexcludedfromthewrittenrecordoftheCulturalRevolution.fieldworkinadisadvantagedareaofcentralbeijingrevealedhowthosedispossessedbymarketreformsometimesseethemasnostalgicremindersoflostpromisesofprosperity.evenmoremaycondemnthemasthevisualcuesofaregimeofterrorresponsibleforunspeakablebrutalitiesandtraumas.whatevertheindividualresponse,posterssuchasthosedisplayedinthisexhibitionholdoutambiguouspossibilitiesofinterpretationthathelpexplaintheircontinuingpowerandappeal.

treatingtheposterasanobjectofethnographicenquiryenabledtheshiftfromatheoreticalconvictionthatthepostersoftheMaoeracouldofferwaystoreframehistory,toalineofenquirythatwassubstantiatedbyfieldwork.interviewswithpaintersofMaoeraposters,andwithcontemporaryartistswhosharedthiscommitmenttointerrogatinghistory,suggestedfurtheravenuesforexploringtheinteractionsbetweenMaoeraaestheticsandcontemporaryculturalpractice.thisexhibitionfeaturestheworkofthreeofthoseartists.theyworkfromstrikinglydifferentperspectives,andwithdifferentobjectives,buttheirallusionstoa‘CulturalRevolutionaesthetic’intheirartpracticearefurtherevidenceofthecomplex,disturbing,andoftenhumorouslegacybequeathedbyMao’sChina.

atfirstglance,xuweixin’sworkspeakstotwowell-knownstrandsofaCulturalRevolutionnarrative;namely,monumentalityandsuffering.hisportraitsarevast,asmanyposterswere.theyaddresstheirspectatorsonascaleandwithanimpactthatseemvasterstillwhencontrastedwiththeirtinysnapshotoriginals.the

immediacyofsizecouldbeametaphorforthebrutalityandviolence–bothorchestratedandchaotic–oftheperiod,whichisalsoapparentinthedemeanourofmanyofxu’sfacesaswellasintheirshortautobiographicaldescriptions.anotherlookattheseportraitsrevealsaverydifferentinterpretationthatrejectsthefamiliar‘verdict’ontheCulturalRevolutionbyopeningitout.xu’sportraitsareofdiverseindividuals,womenandmen,youngandold,cadres,workers,soldiers,students,thosewhocelebratedeventsastheyunfolded,aswellasthosewhosufferedbecauseofthem.hisobjectiveisapedagogicalone,todemonstratehowexperiencesandmemoriesofahistoricalperioddonot,andcannot,fitasinglenarrativeframe.eachportraitgivesasenseofinterioritytoitssubject,presentinthelookintheeye,thesetofthejaw.thesearepeoplethathavebeenlovedandknown.indeed,inrecentiterationsofChinese Historical Figures 1966–1976,closerelativesofdeceasedsubjectshavehand-writtenthelifestoriesontothecanvas.thisinterventionclearlysignalsabreakfromthenarrativethatmaintainsthattheCulturalRevolutionwasanexceptionaltime.thepresentandthepastarelinkedbyrealpeopleandcontinuingmemories.

liudahongalsoseekstoexploredifferentapproachestomemory.heworksthroughcarefullyselectedthemeswhichcorrespondwithfamiliarpracticesofChina’spast,andlinksthemwithtemporalandvisualrhythmsthattraducethestandardperiodizationoftheofficialversionofMao’sChina.here,thehumansubjectinxu’sportraitsisreplacedbythecharacteristictextbooks,calendars,slogans,physicalexercises,musicandiconicposterimagesfromthattime.situatedalongsideculturalmotifsfromalongeraestheticandfolktradition,whatappearsascritiqueandparody

is,infact,aseriouschallengetothedominanttemporalandthematicframeworksthroughwhichtheCulturalRevolutionisstillwidelyunderstood.

ligongming’s‘newPosterMovement’ismoredirectevidenceofhowthepostersoftheMaoeracontinuetoexercisecontemporaryappeal.inspiredbytheconvictionthatposterswere,andcontinuetobe,anextremelypowerfulmodeofcommunication,lihasreworkedafamiliarstyleintonewcontexts,subjectsandneeds,alongwithslogansthataddressnotthepoorpeasantsandworkersoftheMaoera,butthesmall-scalefarmersandruralunder-classesaffectedbycontemporarymarketreform.Justasthepostersideallysoughttoinspiretheirspectatorstoovercomethedifficultiesofthepresentinordertoforgetheutopiaofthefuture,li’spostcardsfromtheedgeofChina’seconomicrevolutionencourageordinarypeopletousethismediumtoaddressthemajorsocialandpoliticalproblemsoftheirlives.

thepostersselectedfortheexhibitionarechosenfortheirvarietyofformandaddress,andtounderlinethevisualvivacityandstrengthofthegenre,aswellastheambiguitiesoftheirappeal.Maxgallowrites,‘Posterschannelourdreams,exciteourdesires.forapostertobeeffectiveitmustspeaktous...itmustbeacodethatcorrespondstooneofourown.’1thecodesinthepostersherespeakofrevolutionaryromanticism,rurallyricism,hyperbolicmovementsforchange.theydrawtheircontentfromtheenthusiasms,

1 Maxgallo,The Poster in History(london:w.w.norton&Company,2002),9.otherrelevantliteratureandfilmincludes:harrietevansandstephaniehemelrykdonald,Picturing Power(lanham:Rowman&littlefield,1999);stefanlandsberger,Chinese Propaganda Posters (armonk,newyork:M.e.sharpe,1995);huJieandaixiaoming,dirs,Painting for the Revolution: Peasant Paintings from Hu County, China(China,2006);Jieandxiaoming,dirs,Red Art(China,2007).


11essays

policydrivesandsporadiccallstoactionthatcharacterisedthesocio-politicalenvironmentoftheMaoyearsingeneral,andtheCulturalRevolutionperiodinparticular.theselectionincludesreferencestohistoricalevents(Down with Soviet revisionists),theromanticcelebrationofpeasantlabour,thecombinationoffilialdutyandrevolutionarylearning(I accompany Granny on her way to night school),thecanonofculturalworks(White-haired Girl),andtheglorificationofmodelindustrialzones(Aerial Drawing of Dazhai).incombination,thesepostersgiveasenseoftheenergies,confusions,clarities,andpressuresofthetime.Moreover,themixofpragmatism,lyricismandenergybeliestheassumptionthattheCulturalRevolutionerawaswhollychaotic.thethematicattentiontoproductionsuggeststhatasidefromtheviolentexpressionsofpoliticalredemptionandtheshamingofcounter-revolutionaries

Celebrating a good harvest庆丰收1972 Poster © Chinese Poster Collection, the University of Westminster

athomeandabroad,atleastsomeofthecountrywasstillfocusingoneverydaynecessities.

thisexhibitionarisesfromresearchundertakenthroughanaustralianResearchCouncildiscoveryproject.themotivationfortheresearchistolocatethepastinthepresentandtore-evaluatethewayinwhichmemoriesarefashionedandpreservedthroughaestheticre-use.tothatend,theresearchers(donaldandevans)haveworkedcloselywiththeartistsrepresentedhere,andalsowitholderartistslikeshenJiaweiwhoseprofessionalliveswereshapedbythepoliticsofthe1960s.shennowlivesandworksinsydney;hemaybebestknowninaustraliaforhisportraiture,buthiscontributiontothisexhibitionevidenceshisstatusasacontemporaryChineseartistwithrootsinposteraestheticsattheirmostpersuasive.hisevocationoftheheroicsoftherevolution,andthemuscularityof

thosefigures,isastrongreminderofthepowerofcollectivenationalprideeveninthemidstoffrighteninglevelsofchange.

theexhibitionalsoincludesnewvideoworksdocumentingxu’spractice,andonebyPetersenanddonaldwhichexploresthepedagogicworkthatliuundertakeswithstudentsinshanghaiusingthebanal,yetnonethelesspoignant,categoriesof‘friendship’and‘oldfriends’.thestudentseriesOld Friendshelpsliudemonstratethepotentialofhistorytoprovideamoralandemotionalgroundingforthepresent.thisisthepurposeoftheexhibition:toshowpastandpresentinananimated,andsometimesfurious,conversationthattakesplacethroughaestheticandconceptualechoesandchallenges.thatconversationisthebeginningofhistory-makinginanationwhichdependsonthepastforlegitimacy,andyetdeniestherighttomemorywhereitisacutelyrequired.


12 essays

memorYANdSHAmeINWorKSoFArt

thereisatendencyendemictotherhetoricofhistorytoclaimthatthepasthasledinexorablytothepresent.yet,ifthatpastistooconfronting,itissidesteppedasanaberrationthatisnon-constitutiveandirrelevanttothepresent.forgetfulnessthusisanironicemotionalreflex;itisamechanismforavoidingthefeelingsthatarisethroughtheacknowledgmentofpasteventsandactions,butthatimpulsetoavoidisitselfaproductofshame,anemotionthatisbothnationalandindividual.thereistheshameoftheperpetrator,andthatofthevictimorthewitness.indeed,itisthefluctuatingstatusbetweenvictim,witnessandperpetratorthatrenderslong-termmemoryproblematic.atwhatpointisone’sidentityfixedasgoodorbad?thisuncertaintyleadstoevasion,totheshiftingofblame,andeventuallytothecreationofasharedmythofsomeoneelse’sculpability.sincetheearly1980s,theofficialaccountoftheCulturalRevolutionhasheldthatitwasaten-yearperiodofunrestrainedchaos(luan),withmanyvictimsandafewkeyperpetrators.theworkoftheartistsinthisexhibitionquestionsthatreadingoftheperiod.theyuseshameasamotivationnotforforgettingbutforarticulatingnewformationsofmemoryandmemorialisation.liudahong’spaintingsdonoteschewtheconfusionsoftheCulturalRevolution,butnonethelessquestiontheextentofevasion,andrefusetodescribethetenyearsofchaosasessentially,oronly,traumatic.forliu,theseyearsrepresenttheyearsofhischildhoodandtheydeservetoberememberedontheirownterms.

liuismakingworkthatspeakstohisencounterwithshameasamotivatorforaction,butthenationalapproachtothe1960sand1970sisfundamentallyopposedtotheworkheundertakes.whileitcanbepersuasivelyarguedthatshamemaymotivateethicalacts,

itcanalsounderpintheshamelessnessofamnesia,avoidanceandviolenceonthepartofthestateaswellasinindividualpsycho-pathologies.theChineseCommunistParty’srefusaltolookafreshattheeventsoftheCulturalRevolutionislocatedinthisconceptuallyelusive,yetnonethelesspervasive,affect.acurtainhasbeendrawnovertheidentitiesofperpetratorandvictim.

liudahong’sworksince1991isthatofaworkingartistandteachermakingsense,pedagogicallyandartistically,ofhisownpast.hisresponsetoenforcednationalforgetfulnessistoreplaytheimagesandsoundsoftheperiodasavibrantlandscapeofchildhood,thenagainasthereturnofconfusion,andthenoncemoreasfarce.inhisvideoRadio Exercises(2008),liusatirisestheearlymorningexerciseregimesbroadcastbymegaphoneovertheradiothroughouthisyouth.thecalltoexerciseisacalltoparticipate:incontinuingrevolution,inthebettermentoftherevolutionarysubject,andinthepromotionoftheidealworker-body.therewasnochoiceinthematter.thosewhorecognisetheirownpastsinthefilmarelikelytolaugh—andinviewingswithalargelymainlandChineseaudienceofacertainage,laughteristhekeyresponse.liu’sfilmismostcompellingforthosewhosuffered/enjoyedtheexerciseregimes.itmayalsocreateafrissonofnostalgiaforthosewhoaretooyoungtorememberthe1960soreven1980s,buthavethemselvesbeencompelledtoexerciseinthemorningsatschool,orasworkersoutsidesupermarketsandrestaurants.liuinsistsonrememberingthroughdirectlyaddressingthebody,bypassingthepoliticallycarefulandsocialisedintellect.thefilmplacesthebody-that-remembersinanemotionalgeopoliticsofcontinuingrevolutionwhichiscomplicatedbytheinclusionoftextsthatquotekeyslogansand

StepHANIeHemeLrYKdoNALd


13essays

movementsoftheperiod;‘downwithMonstersanddemons’,forinstance,wasthekeyphraseinthe1June1966editorialofthePeople’s DailywhichsparkedtheRedguardonslaughtonpowerfulcadresandintellectuals.

liuhassaidthathemadethefilminthisformsoitwouldbeattractivetoyoungerpeople,andalsobecauseitechoesthemodeofthepicturebooks,cartoonsandbig-characterwallpostersofthetime.thepieceis,however,lessstraightforwardthanachildishentertainment–itis,rather,apostmodernpasticheofChineseness.thegenerationofanimatedancientxiantombwarriors,folk-religiousunderworldguardiansdressedaspolicemenandafricanamericanjazzdancerstramplesonenforcedbreaksinhistoricalcausality,onassumedgeopoliticaldivides,andchallengesstatus-shiftsbetweensuperstitionandmodernity.aboveall,itquestionstheshame/priderelationthatinformssomuchofwhatitmeanstobeaChinesesubjectinthePRC,andinrespecttotherestoftheworld.

therefusaltogivemorethanacursoryglancebackwardsattheyearsoftheCulturalRevolutionisalsoarefusaltoallowanentiregenerationtorememberitschildhoodinanydetail,andtoworkopenlyfromthatmemoryasadults.agenerationisthusstalledinitstracks,andthishiatus,inturn,preventstheemotionalmaturationofthenation

andthegenerationsthatfollow.thisisevidentinthenostalgiathatisprevalentevenamongsttheurbanyoung,whocarryCulturalRevolutionparaphernalia,andwearRedguardbagsandhatstolookchic.inspiteofthecontinuingofficialdemandthattheCulturalRevolutioniswrittenoffas‘tenyearsofchaos’thezhiqing(sent-downyouth)generationsarecyclicallyandinsistentlynostalgic.Meanwhile,aswatheofculturalworksinChinaandthediasporaduringthe1980sand1990susetheperiodasabackdropfortellingstoriesaboutgrowingup,discoveringsexuality,feelingvictimised,beingbetrayed.whilstcertainlynotencouragedbytheChineseculturalbureaux,thesekindsofworksdonotactivelythreatenthestatusquo;allgenerationswilltoadegreefindtheirmomenttoclaimemotionalturmoilastheirownparticularexperience(althoughthetiananmengenerationwenttoofar–byspatialisingitinthecityandintheseatofpower).wemightevenseethevariousmovementsofculturalmemorialisation–themistypoets,thewoundliteratureandfilms,thepopart–asaformofcarnivalesque,workingonthelicensedperipheryofofficialstructuresofattention.Moreimportantly,theseinterventionsintroducezhiqingnostalgiatoanewgroupforwhomearlymemorieswillbesomaticallyandstructurallysignificant,butwho

havefewerstoriestotelloftheirownsufferings,giventheirrelativeyouthatthetime.

liudahongbelongstothisgroup.bornin1962,hewasadmittedtotheartschoolinshandongattheageof16inanearlypost-CulturalRevolutionintake.heacknowledgesthatafixationontheperiod1966–1976informshiscontributionstothememory-seekingartoftheearly1990s,andnowhasastrongimpactonbothhisartandhisteaching.Fairytales of the Twelfth Month(1987/2007)(recentlyreleasedasaprint)isajumbleofimage-textthatreferstothecityscrollsofthesungdynasty,butwithouttheorder,andthesenseofacityinharmonywithitsownactivities,thatthescrollmodeallows.Fairytalesisanemotionallandscapeofmemories,animage-textwhichprioritisestheflatontologyofchildishwaysandperspectives.theradishinthemiddleofthepaintingmightbeaboutplayingwithrabbits,oritmaysymbolisesomethingsomeonehastoldhimabouttheruralfamineoftheyearbeforehewasborn.Maybeitisanimagebroughtbackwhenhisownchild,inastrangeretreadofgoingdowntothecountry,digsupradishesonChildren’sday(alsoheldon1June,thedaythatunleashedtheattackson‘Monstersanddemons’).there,too,inthetopofthepaintingisShanshan hongxing‘shiningredstar’theeponymousheroofthe1974

Fairytales of the Twelfth Month 腊月1987 oil on canvas © Liu Dahong


14 essays

indicationofwherethenextraysoflightwilloriginate.

inhisexplanationofthehumanfeedbacksystem,thetheoristofemotionssilvantomkinssaysthattheinfant‘doesnotknow“why”heiscrying,thatitmightbestopped,orhowtostopit.evenmanyyearslaterhewillsometimesexperiencepassively,withoutknowledgeofwhyorthoughtofremedialaction,deepandintenseobjectlessdespair.’1sometimes,wemayadd,eventhoughthegrownadultmayhavemorethananinklingoftheoriginsofhisweeping,thecontingentshameofotherscanstandinthewayofcomingtotermswiththepast.inthefantasylanguageoftheCulturalRevolutionthecommondespairofthebeginningandendofchildhood

–sointimatelywrappedupforthisgenerationwiththepresenceofMaoandhisshadowpuppets(shanshan,theradish,thewavinghands,hisexegeticalimage-text)–mustbe rooted out through action.yet,theactionofpainting,ofteachingabout

1 silvantomkins,‘whatareaffects?,’inShame and its Sisters: A Silvan Tomkins Reader,ed.evekosofskysedgwickandadamfrank(durhamandlondon:dukeuP,1995),37.

thepastandofgoingoverandoverfamiliargrounddoesnotnullifyMao.itallowsandextendsMao’simage–statusintothetwenty-firstcentury.

thescriptthatbothprecedesandproceedsfromtheshame-pride-angeraffect,andwhichcharacterisesChina’sviewofitselfintheworld,isconstantlyre-embeddedasfarce.thestoryoftheoldManwhoMovedMountainsisonefamiliartoanyoneevenvaguelyawareoftheinfluenceofMaoist-Marxist-leninistthoughtinthe1960s.itisabout,literally,changingthelandscapeofthetimes,anditreliesonrevolutionaryemotionalenergytocarrythroughthatproject–onceashistory(in1945–1949)andthesecondtimeasnon-history(in1966–69).thatthestorycelebratesfoolishnessoverwisdom,andreliesforitstriumphontheinterventionofheavenlyagents,revealstheperversityoftheproject.itisthisconditiontowhichartistslikeliuaresubject,andwhichtheirartcontests.

filmthatcelebratedrevolutionarymartyrdomandchild-soldiering.thesizeofthisimageisnotsurprisinggivenitsimportanceinthecollectiveculturalmemoryofthepost-zhiqinggeneration.theoveralleffectofthepaintingishyperbolic:Mao,shanshanandtheRadishdominateaproliferationofmini-scenesofredoperas,redguards,andstylised‘flower’handsclutchinglittleredbooks.notably,theproliferationofvisualdetailisconfinedwithinthearchitecturalvernacularofliu’shometownofQingdao–ared-roofedgermantownonChina’sfareasternseaboard.

thecompanionworktoFairytales, The Awakening of Insects(1988/2007),isasimilartreatmentoftheReformera,cavortinginthedarkercarnivalesqueofpost-Maoistreformeconomics.initsemphasisonthereligiousaspectsoftheex-germancolony,itallowsthecity’smultiplepaststoriseintoview,whereaspreviouslyinFairytalesthelightfromtheshiningMaoandthewannabeshanshanobscuredtheseothernarrativesofChinesehistory.theshameandtheangerseetheandcrawlinthispainting,anditgivesno

The Awakening of Insects 惊蜇1988 oil on canvas © Liu Dahong


15essays

tHeArtoFtHecuLturALrevoLutIoNSeeNFromAreceNtSurveY

theartoftheCulturalRevolution,andreactionstoitduringthe1990sandmorerecently,havebecomeavasttopicincontemporaryChineseartandculturalhistoryandhavegeneratedalargeliterature.thefollowingshorttextwillreviewpartsofthecontentandapproachofonerecentsurveybytwoundoubtedexperts,thefirstofwhomisawell-knowncollector.wangMingxianandyanshanxiang’sbookontheCulturalRevolution,titled1966–1976 andpartoftheseries Illustrated History of the Art of New China(2000),1isanimportantindicatorastohowCulturalRevolutionartisandisnotdiscussedinChina.theissuesitraisesmayberepresentativeofwideronesbecauseitispartofalargerfieldofrecentsurveys,whichincludepopularandgenerallyaccessibleillustratedworks,ofChinesemodernandcontemporaryart.2

thepreludeof1966–1976 isabriefdescriptionofthecontextforCulturalRevolutionartusingthatcitestextscontemporarywiththeeventsof1966.thereisnodiscussionoranalysisofthepoliticalmotivationsfortheCulturalRevolutionitself,buttheauthors’citationofChenboda’s1966article,publishedinthePartytheoreticaljournalHongqi,emphasisestheimportanceofartandliteratureasthefieldsinwhichanunderstandingoftheCulturalRevolutionistobeworkedout.(ChenwasheadoftheCultural

1 wangMingxian,yanshanxiang,1966–1976, Xinzhongguo meishu tushi(beijing:ZhongguoQingnianChubanshe,2000).

2 thesetextsinclude:Chenlüsheng,Xin Zhongguo Meishu Tushi,1949–1966(beijing:ZhongguoQingnianChubanshe,2000);Zouyuejin,Xin Zhongguo Meishushi,1949–2000(Changsha:hunanMeishuChubanshe,2002);lüPeng,Ershishiji Zhongguo Yishushi,rev.ed.(beijing:beijingdaxueChubanshe&Zengdingben,2006);huangZongxian,bianzhu,Kangri zhanzheng meishu tushi (Changsha:hunanMeishuChubanshe,2005);Zhaoli,yuding,eds.,Zhongguo youhua wenxian, 1542–2000(Changsha:hunanMeishuChubanshe,2002);liChao,Zhongguo xiandai youhuashi(shanghai:shanghaishuhuaChubanshe,2007).

Revolutiongroupandsentencedtoprisonafterthefallofthegangoffourin1976.)whentheCulturalRevolutionbeganofficiallyintheartworldinJune1966manymassesandcadreswrotebig-characternewslettersfiercelydenouncingCaiRuohong(anarttheoristformerlyclosetothePropagandadepartmentoftheParty),huaJunwu(secretaryofthenationalartists’association),andwangZhaowen(arttheoristandhistorian).thebookincludesfurthertreatmentofthesetextualattacksinChapterfour’sanalysisofcritiquesof‘blackartandliterature’.

thedestructiveimpactoftheCulturalRevolutionismeasuredearlyon.wangandyancitea1958surveyforbeijingthatgivesafigureof6843culturalrelicsor‘heritage’sitesinbeijing,ofwhich4922weredestroyedaccordingtoasecondculturalrelicssurveyinthe1980s.althoughtheydonotgivethepercentageofthedestruction,itisclearlyacceptableforwangandyantosuggesttheextentofthedestructionfromtheonsetoftheCulturalRevolutionin1966.theirpreludeendswithaPartyCentredirectivefromMay1967onthepreservationofculturalrelicsandbooks,andthusanoutsidereadercouldinferthataround70%oftheculturalstockofbeijingwasdestroyedinthateleven-monthperiod.

ChapteroneisdevotedtoastudyofartactivitiesbyRedguards.twothingsneedtobenotedfromtheoutset.firstly,alotofthematerialinRedguardnewspapersissimplyunavailabletooutsiders,andmaynotevenbeavailableinpubliclibrarycollectionsinChina.theauthorshavecollectedthesematerialsandimpressivelytabulatedthem.3secondly,theperiod

3 wangandyan,022–023.thereissomediscussioninenglishofRedguardartpublicationsinthestandardsurveybyJuliaf.andrews, Painters and Politics in the People’s Republic of China, 1949–1979(berkeley,

‘The Art History of the People’s Republic of China’ by Wang Mingxian and Yan Shanxiang 2000(新中国美术图史)王明贤严善錞,2000年

joHNcLArKtheuniveRsityofsydney


16 essays

isofflimitstomanyotherrecentlypublishedarthistories.thechronologyinonesuchpublicationleavesouttheyear1967altogether.4thisisdespitethelargeandmassivelyattendedartexhibitionsheldduringthatyear.wangandyanseeitastheirtasktoexplainCulturalRevolutionartintermsofitsowndevelopmentandlaterreaderswillbeindebtedtotheirdiligenceinpursuingmaterials,eventhoughin2000,onthesurfaceatleast,theymaynothavebeenabletopublishmoreseriousquestionsandanswers.

thecataloguesforsomeoftheexhibitionsclaimthat70%oftheartistswereworkers,peasantsandsoldiers.5thequestionneedstobeaskedbyalateranalyst:whowerethe30%whowerenotworkers,peasantsandsoldiers?itwouldappearfromanecdotalcommentsbyvariousartistsihaveinterviewedindependentlythatartstudentsandtheyoungerartteachers,manyofwhomweresenttothecountrysideearlierin1964inthesocialeducationcampaign,wereamongthisgroup.inotherwords,peopletalentedinartwhomightotherwisehavetriedtogetintoartschoolandactualformerartstudentswereactiveintheseexhibitions.6theidea,much

universityofCaliforniaPress,1994).

4 seeZouyuejin,Xin Zhongguo Meishushi,1949-2000(Changsha:hunanMeishuChubanshe,2002),nopagination.

5 wangandyan,013.

6 anexampleofthekindofinformationwangandyanandothersimilarbooksprovide,butdonotanalyse,isthebriefdetailsofthepainterhekongdewho,onp.105,isstatedasenteringthePeople’sliberationarmyin1946andtheMaximovtraininggroupin1955(graduatingin1957,whichisunstated).hebecameaspecialistpainterfortheChinesePeople’sRevolutionaryMilitaryMuseumin1962.sincehewasgreatlytakenupinthenationalartexhibitionof1972,onecaninferthatthetrainingperiodforprofessionalpaintersinPlaservicewasseventotenyears(1953or1955–1962),thesamelengthoftimeasthestudentsoftheCentralacademyifweaddtogetherattachedhighschool,bfa,andMfastudyperiods.therethenfollowedabouttenyearsinhisproductionunit

toutedinpropaganda,thatthesewereuntrainedandnon-professionalartistsofthemassesneedstobemorefullyexaminedinrelationtotheworksthatwerejudgedasaccomplishedevenbyRedguardstandards.

itisunclearhoweasyitistoestablishtheinformation.however,afullerarthistoricalanalysiswouldrequirealistingofthenamesoftheartistsandtheirsupposedaffiliationintheseexhibitions,aswellasalistingofthenamesoftheyoungstudentsfromtheattachedhighschooloftheCentralacademyoffinearts(andothersuchschoolselsewhereinChina)whobecameRedguards,andtherolestheyplayedinthesepublications.weshouldalsobetoldwhichofthemwereinvolvedinthedenunciationoftheart-worldleaderswhosestrugglesessionsareonlybrieflyreferredtointhisbook.iunderstandanecdotallyfrommyunpublishedconversationsinChinathatthememoryoftheseconflictshaspoisonedrelationsbetweenart-worldleadersandyoungercriticsandartistsoverthecourseofthedevelopmentofthenewCurrentsinartmovementinthe1980s.7

wangandyan’ssecondchapterdetailsthevisualeulogiestotheredcommanderandtheredleadership;thatis,MaoZedongandhiscohort

beforewidespreadrecognitioninthenationalfineartsexhibition(1962–1972).thustheideathatmilitarypainterswereanydifferentintheperiodoftrainingandleveloftechnicalskillstoprofessionalpainterstrainedbytheartschoolsbecomessolelyoneofpoliticalinterpretation.

7 Manyscholars,isuspect,havetouchedtheedgesofthelivesofthoseaffectedbytheCulturalRevolution(butwhowerenotdirectlyinvolved),yetcanonlydisclosewhathasbeenmadeknownpublically.forexample,thefullhorrorofthetreatmentofsomeoftheseleaderslikeZhouyang,himselfalreadyinculpatedbyhisownanti-rightistaccusationsofJiangfengin1957,beggarsbelief.however,inthecaseofthehumiliationsinflictedonZhou(onlyonecaseamongstmany),theycanonlyawaitdisclosurebytheinterviewersoftheirownrecords.

ofleaders.themultiplevariationsofimagesofMaoarecarefullycollatedandillustrated,andweareintroducedsomewhatellipticallytotheworkoftwoactualRedguardartists:shenyaoyifromthegraphicartsdepartmentoftheCentralacademyoffineartsandwangweizheng,aRedguardfromtheCentralacademyofCrafts.8unfortunately,wangandyandonotappeartowishtoexercisearthistoricalinterpretationhere,andthenotionof‘allegory’asitisunderstoodinwesterneuropeanartandliteraturecouldhavebeenusefullyinvoked.9someChinesereadershavealsowantedtoinvokeChinesebodylanguageorthegesturesofthebeijingoperatoexplainthephysicalhandgesturesofMaoZedong.whicheveristhecase,theseworksrepresentthefarmorecriticalvisualinheritanceofnineteenthcenturyeuropeannationalistpaintingthroughsovietart.theallegoryofpowerandhegemonyovervisualspaceisfoundelsewhereinimagesofawholerangeofnationalistleaders,includinghitlerandstalin.

amoreseriousproblemarisesinthischapter,onethatisfoundinotherareasofChinesemodernarthistory:attributionofdates,sizes,mediaandthecurrentownershipandlocationforpaintingsismissing.inparticular,anillustration(ill.073)ofadeclarationbyMaoZedongin1928omitsthedetailsthatalltheartistsarefromthePeoplesliberationarmy,thatthepaintingisdated1973,andthatitwasfirstpublishedinMeishu Ziliao(Art Materials)in1973.onecanonlydeducethatthisartpublicationwasunderthedirectcontrolofJiangQinginshanghai,andthatitspublicationwasonepartofaseriesofhigh-levelpoliticalmanoeuvreswhicharenotdeclaredin

8 wangandyan,029;031.

9 seeangusfletcher,Allegory: The Theory Of A Symbolic Mode(ithaca:CornelluniversityPress,1964)foranintroductiontosomeoftheseideas.


17essays

thisbook.theunderstandingoftheseimagesaspartofahighlymotivatedartdiscourseisfurtherimpededbytheabsenceofadateforanotherimageofMaoZedongonabridgeoutsidetian’anMen(ill.080),thusassimilatingtheintentionsofill.073andill.080(thelatterimagewaspaintedbyagroupofformerCentralacademyoffineartspainterswhohadbeenspeciallyinvitedbacktobeijingin1972).Clearlyitisnotpossibletodoproperarthistoricalanalysisaboutimagesimbricatedinsuchacomplexpoliticalnexus,eventhoughimagesoflinbiaoandJiangQingareshowninasectionattheend

ofthischapter,possiblyforthefirsttimesince1976.10

wangandyanproduceoneofthemostinterestingand,withregardto1967,irreplaceablecompilationsoftextsandimagesfromtheCulturalRevolution.

10furtherchapterstreattheoriginsandreceptionofthepaintingbyliuChunhuaChairman Mao goes to Anyuan,thecritiqueof‘blackliteratureandart’ofliuxiaoqiandothersintheartworldincludingpublicationofretrospectiveattacksonthedirectionsofartstruggles(i.e.conflictingpolicies)andonparticularartworks,onyouthartincludingdetailsofsomethenyoungartistslikeliuborongandshenJiawei.theissuesofworkerpeasantandsoldiers’artaswellasthoseofworksproducedbyprofessionalpaintersaregivenseparatechapters,asaresculptureandarchitecture.worksfromthenationalartsexhibitionsbetween1972and1975arecollectivelyillustrated.

however,theirworksuffersfromadearthofcarefularthistoricalanalysis,andfromtheconstraintsonwhatcanorcannotbesaidaboutpoliticaldebates,leadershipconflicts,andtheinterventionsofpoliticiansandpoliticsinart.despitegivinganindicationofthemateriallossofculturalcapital,wedonotlearnmuchabouttheactualjuniorpersonswho,asRedguards,ledartstruggles,ortheactualexperiencesofthoseseniorartistsandarttheoristswhosufferedintheCulturalRevolution.

Illustration No.80插图80

Illustration No.73插图73


18 essays

FromtrAgedYtoFArce:thingsfoRgottenandReMeMbeRedinConteMPoRaRyChineseaRt

‘hegelremarkssomewherethatallfactsandpersonagesofgreatimportanceinworldhistoryoccur,asitwere,twice.heforgottoadd:thefirsttimeastragedy,thesecondasfarce.’Karl Marx1

yangdechang’sprize-winningfilmYi Yi(2000),whichbeginswithaweddingandendswithafuneral,viewsthecyclesofhistorythroughthepatternsoffamilylife.2earlyinthefilmnJ,thefather,isabouttostepintoahotelelevator,whenoutstepsthewomanhewasoncegoingtomarrybuthasn’tseenforthirtyyears.beforetheirencountercantakeitscourse,theelevatordoorsopenoncemoretodislodgeamutualfriendwhointerruptsthemwithhisownsurpriseatseeingthecoupletogetheragain(Figure 1).afewmeaninglesswordslater,thewomangoesherownwayandthemenareabouttoridebackupintheelevatorwhenthefather’sfriendexclaims,‘i’veforgottenmyfirstownlove.whydoirememberyours?’andthen,realizinghisdistraction,askshimself,‘eh,whatdidicomedownfor?’

thisisoneplottriggerinafilmloadedwithmemories,forgetting,andeffortsatretrieval.anotheressentialelementoftheplotistriggeredearlyinthefilmwhen(attheverymomentwhennJhasforgottenwhathewaslookingfor)hisdaughterforgetshisinstructionstocarryoutthegarbage,leavingthefamily’sagedmatriarchtocompletethetask.theconsequenceisthatshesuffersastroke,whichleaveshercomatose.ledonebyone(yi yi)totalktotherecumbentgrandmother,asifreportingtoanancestralimageatthefamilyaltar,thefamilymemberssoonrealisehowlittle

1 The Eighteenth Brumaire of Louis Bonaparte(london:theelectricbookCompany,2001),section1,7.thisbookwaspublishedin1852,aftertheCommunist Manifestoandthedebacleofthe1848revolutions,andbeforeMarx’sKapital.

2 Yi Yi,dir.yangdecheng(edwardyang),2000.

theyhavetosayaboutlivesthathavecometoseemlikeemptyroutinesinthesterilisedenvironmentoftaipei’smodern‘economicmiracle.’absentthegrandmother’sunifyingforce,eachbeginstogotheirownway–onebyone–theoldergenerationinanefforttorecoverthelostorforgottenpurposeoftheirlives,theyoungergeneration,tellingly,downpathsthatmirrortheirparents’pasttrajectories.nJpursuesthelostgirlfriendandhistoryrepeatsitself;atonepointhesaystoher,‘thefirsttimeiheldyourhand,wewereatarailroadcrossing,goingtothemovies.ireachedforyou,ashamedofmysweatypalm.nowi’mholdingyourhandagain.onlyitisadifferentplace,adifferenttime,adifferentage,butthesamesweatypalm’(Figure 2).

atthisverymomenthisdaughter,inadifferentplaceandofadifferentage,isholdinghandsforthefirsttimewithherill-chosenboyfriend(Figure 3).lifeparodiesitselfhere,twiceover,butperhapstogoodeffect.travellingdownmemorylane,historyrewindsfornJ,andherealisesatlastwhythisrelationshipdidn’tworkoutinthefirstplace.

eventually,outofthemultipleandoftenparallelnarrativestrandsofpeopleexploringandseekingtocorrectpastmistakes,thecomplexgenerationalfabriciswovenbacktogetheragainwitharealizationthatmistakesandlimitationsarelife’sownway,tobeforgottenandrelearned,repeatedandrelived,ineachgeneration.nJ’swifereturnsfromherfailedpursuitofnirvanainamountain-topmonasterytogainenlightenment–howeversmall–athome:‘i’vecometorealisethingsarenotreallysocomplicated.whydidtheyeverseemso?’nJresponds,‘whileyouwereaway,ihadachancetorelivepartofmyyouth.Myfirstthoughtwasthaticouldmakethingsturnoutdifferently.buttheyturnedoutthesame,ornotmuchdifferent.isuddenlyrealisedthat

Figure 1. Yi Yi: Memories ignited.

Figure 2. Yi Yi: Memories pursued.

Figure 3. Yi Yi: Memories in the making.

jeromeSILBergeLdPRinCetonuniveRsity


19essays

evenifiwasgivenasecondchance,iwouldn’tneedit.’

Yi YiisaconservativebutrefreshingcritiqueoftheshortcomingsofthetraditionalChineseviewofthepassageoftimeassteepedinidealisedmemory(huai gu,ornostalgiaonsteroids)andoftheperceptionofhistoryaseverindeclineexceptwhenbrieflyandperiodicallyrefreshedbydynasticrenewal.traditionally,thebestthatcanbesaidofthepresentisthatitcouldbeworse,asthefuturesurelywillbe;theworstisthathistory,asMarxoncewrote,goesfrombadtoridiculous,transformingtragedyintofarce.inYi Yi,theentirerangeofone-by-onepursuitsthatonlyleadbacktotheirpointofdepartureseem,inthelongrun,likeanelaborateifunderstatedfarcethathighlightsthesimpletruthoflife’spredictablephasesanduncontrollablepatterns.history,despiteitsaccumulationofaccidentsandincidents,holdstoafairlysteadycourse.

intaiwan,whereaconvolutedhistoryhaseasedintoastablemodernity,itisnothardtoholdsuchaview.inthePeople’sRepublic,whatunitesahistorythatrangesfromthetaboosubjectofthemanifestfailuresofMaoism(thetragediesoftheanti-Rightistmovement,thegreatleapforward,andtheCulturalRevolution)tothequalifiedsuccessofpost-socialism(successincapitalformation,bitterdisappointmentinhumanrights)isthefactthat,formostpeople,thepastiswhateverthegovernmentsaysitis.thebiochemistryofforgettingiscomplicatedandstillintheearlystagesofresearch,3 butthepoliticsofforgettingissimplifiedbythebanningofalternativehistoriesandthesuppressionofcomplaint.Celebrationoftheregimeremainstheorderof

3 facilitatedbythediscoveryin1992ofanandamide,anunexpectedby-productofthestudyoftetrahydrocannabinol.

theday,yearafteryear.itishardtoimproveontheparodyofsomethingthatalreadyparodiesitselfsowell,butsomeofficialperformancesareespeciallyhardtobeat,likethisPeople’sliberationarmyroutinecelebratingthe50thbirthdayofthePeople’sRepublic(Figure 4),orthe‘reliablysoporificChinesenewyeartelevisiongala’(astheNew York Timesputit)inthe60thyearofthePeople’sRepublic,whichfeatured‘merrymembersoftheuighurminoritybeltingoutpraiseforCommunistPartypolicies’onlymonthsaftertheviolentuighuruprisinginxinjiangprovince.4adissidentviewofthishistory,fromMaotonow,conformstotheMarxiantragedy-to-farceformulation,outofwhichhasemergedthearchstrategyofartisticparodythat,giventhegovernment’sunsurpassedmasteryoffarce,onemightcallcounter-farce.

oneofthechiefrhetoricalstrategiesofcontemporaryChinesearthasbeentostagemis-remembrancesofthepastinordertohintattheforgottenhistoryhiddenbehindofficialnarrativesandtoextendaskepticalpublicre-readingintotherealmof‘settled’truths.itisrelativelyeasytocompilealistofcontemporaryartworksfoundedonsuchastrategy:thepaintingsandprintsofyuyouhan(Figures 5and6)andlishan,mockingthepropagandistartoftheMaoyears;thephotographsofZhaoshaoruoandwangQingsong;thestudieddeviousnessofJiangwen’sfilms,whosenarratorinIn the Heat of the Sun (1994)arguesthattheCulturalRevolutionwasreallyablastwhilerepeatedlyconfessingtobeinganinveterateliar,demonstratingtotheaudiencehowgullibleitis,andallthewhilelinkingtoday’sentrepreneurial

4 andrewJacobs,The New York Times,March10,2010,a9.thenewyear’sperformanceispostedatwww.tudou.com/programs/view/1fiudd9u7v8

Figure 4. From Sheila Melvin, ‘On a Golden Anniversary, A Leaden Yoke of Ideology,’ The New York Times, September 26, 1999, D1.

Figure 5. Photographer unknown. Chairman Mao Chatting with Commune Members of Poor-peasant Origin in Shaoshan, his Birthplace. 1959. (From China Reconstructs, 25.12 (December 1976), 57.)

Figure 6. Yu Youhan. Chairman Mao in Discussion with the Peasants of Shaoshan. 1991. (From Jochen Noth et al., eds, China Avant-garde (Berlin: Haus der Kulturen der Welt, 1993), 180.)


20 essays

leadershiptothepoliticaleliteofthosedaysgoneby.5

whiletheeconomicsuccessofthepost-MaoeramaybeamoredifficulttargetforthesatiristthanMaoistpropaganda,nothinghitsthemarkmoresquarelythanadigitalphotographbyhonghao(Figure 7),whichaimsnotattheshortcomingsoftheera–thehundredsofmillionsleftbehind,dispossessedandpreyedupon–butattheshortcomingsofthesuccessitself.

hong’ssubjectismanipulationitself,aparodyofparodies.heappearsinmostofhis‘own’photographsnotasamilitantMaoist,butastheconsummateconsumer,aselegantlymanneredasafinebronzinoportrait,whilstmodelledmorecontemporaneouslyontrendyadvertisingthattargetstheconnoisseurofdeluxeproductsinthenewnewChina.inMr. Hong, Please Come In theartistadvertisesthegoodlifewithagatheringofexoticgoodsthatspeaktotheinculcationofglobaldesires:ionicandCorinthiancolumns;gothic,southasian,andpseudo-egyptiantemplemodels;americancigar-storeindiansandafricansculptures;acaninestatussymbolwhoseposturecarefullycomplementshismaster’sown.nothingisleftoutandeverythingisanimitationoftherealthinginthiswell-organisedculture-clutter.inaposethatisstudiouslyoff-centre,yetexquisitelysuperciliousandself-conscious,lookingupfromwould-beabsorptioninhisreadingandhiscultureofcollectingwithadiffident,gentlyturnedhandtocheek,honghaoprimarilyadvertises

5 formycommentselsewhereonyuyouhan,Zhaoshaoruo,andwangQingsong,seeJeromesilbergeld,‘ChinaseenbytheChinese:documentaryPhotography,1951-2003,’insilbergeld,Humanism in China: A Contemporary Record of Photography(newyork:Chinainstituteinamerica,2009);onlishan,seeJeromesilbergeld,Body in Question: Image and Illusion in Two Chinese Films by Director Jiang Wen(Princeton:PrincetonuniversityPress,2008),35-39;forin the Heat of the Sun,seesilbergeld,Body in Question.

himself-self-centerednessitself.alongtheupperborder,smallChinesecharacterstellusthat‘agentletonereadilyallowsMr.hongtoenterapeacefulreverie.’theexaggerated‘Please’in‘ComeinMr.hong,’‘Qing jinru,’dripswithanaffectationthatparodiestheentirethinginthescriptsandfontsofeasternandwesternhemispheres.suchisthecritique,themockeryofanage,thatitturnsthephotograph’sshallownessintocriticaldepth,whilethreatening,throughitsownstudiedcleverness,todrawthedepthbackintoitsownshallowness.

asitturnsout,whathasbeenappropriatedherearenotjustgathereditemsbuttheentirephotograph,whichwastakenintactfromacommercialphotographbysanfranciscophotographerChristopheririon(Figure 8).theamericanphotographerwassurprisedtolearnfrommethathiswork,unrequestedandunacknowledged,andwiththedigitalinsertionofaChinesestranger,issellingforthousandsofdollarsontheinternationalmarket.thisslycritiqueonownershipandone-upmanship,onstagingandauthenticity,framestheartist’sjudgmentonChina’spost-socialistmodernity:successforthefew,andaculturenotbeggedbutmostlyborrowedorstolen.ofcourse,onecanhardlybeshockedbythis;nothingismorestablethroughoutthecourseofChinese(oranyother)historythanthepracticeofartistic‘borrowing,’which,afterall,constitutesatime-honouredformofculturalmemory.

Figure 8. Christopher Irion. Untitled commercial photograph. Ca. 1992.

Figure 7. Hong Hao, Mr. Hong, Please Come In. 1998. (From Wu Hung and Christopher Phillips, Between Past and Future: New Photography and Video from China (Chicago and New York: Smart Museum, University of Chicago, International Center of Photography, and Asia Society, 2004), 126.)


21essays

Jiang Zhaohe ‘The Chinese people have stood up forever from now’ 1949蒋兆和《中国人民从此站起来了》1949年

Li Bin ‘Rebellion is reasonable’ 1966

李斌《造反有理》1966年

fromamacro-observation,politicalpropagandapostersdonotbelongtototalitarianregimesalone.beforethetvera,whenagovernmenturgentlywanteditscitizenstounderstanditspoliciesvisually,undoubtedlythebestwaywastousepropagandaposters.aninterestingexamplefrom1914intheuk,whichwasseeneverywhereintheearlydaysofwwiisaposterofasoldierpointinghisfingeratviewers:Britons. [image of soldier] wants YOU. Join your country’s army!thissoldierwaslordkitchener,thedefenceMinisteratthattime.threeyearslater,JamesMontgomeryflagg,anamericanartist,borrowedthisimagetocreatehisnotoriousunclesam,whoalsopointedattheviewer,ordering:I want you for U.S. Army.again,threeyearsafterthat,dmitryMoor,asovietRussianartist,madeasimilarversion:aRedarmysoldierwearingabudyonnycap,pointingatviewers,andasking:‘didyouregistertobeavolunteer?’

around1970,MaosentallChinesehigh-schoolstudentsdowntothecountrytobecomefarmers.ofthesemillionsofyoungpeople,one,Jingxunhua(金训华),losthislifewhenhetriedtosavesomecollectivepropertyfromthefloodedheilongjiang(amure)River.aposterdepictingthisyoungherowascreatedby‘yiZhong’(逸中), thepseudonymoftwoshanghaiartistsxuChunzhong(徐纯中)andChenyifei(陈逸飞).ifanolderamericanviewersawthispicture,hewouldrecallaverysimilarversion:awwiipostercreatedbyanunknownamericanartistin1943,We have just begun to fight!ConsideringmanyamericanmagazinesfromwwiicouldstillbeseeninCulturalunitsandfamilyhomesinshanghaiinthe1960s,wecanpresumethattheremustbesomeinfluencebetweenthesetwoposters.inaverypopularsovietpostermadein1941,Nation-Mother is calling,themother’slefthandappearsexactlythesameasthesoldier’sleft

vISIBLeSLogANS:PolitiCalPRoPagandaPosteRsinMao’sChina

SHeNjIAWeI

handintheamericanposter.inthiscase,theamericanartistcopiedtheRussianartist.

thethreedecadesfrom1949to1979werethegoldenageofpoliticalpropagandapostersinChina.whentheCCP,underMao’sleadership,gainedpowerinChinain1949,theyannouncedtheirforeignpolicyasyi-mian-dao(一面倒)‘dependingononesideonly(thesovietside)’,thusChinesepropagandapostersalsofollowedtheposterstylesoftheussR.

increasingly,however,Chinesepropagandaposterspresentedtheirowndistinctfeatures.therewerethreedifferenttypesofcommercialposterexistinginChinabefore1949.asidefromthewesternstyleposter,thereweretwosortsnian-hua (年画),New Year pictorial prints,whichwerepopularwithordinarypeople.asawaytocelebratenewyear,itisatraditionthatpeople,howeverpoortheyare,alwaysboughtoneormorepiecesofnewnian-huabackhometoreplacethepreviousnian-huaonthewall.oneoldandpurelyChinesestyleofnian-huawasthecolourfulwoodcutprint,mostlywithancientstoriesandPekingoperafiguresasthesubjectmatter.anothernewandcolonialstyleofnian-hua,alsocalledyue-fen-pai (月份牌)whichmeanscalendar pictureswascreatedbyagroupofshanghaibasedartistsanddevelopedintheearlytwentiethcentury.theyusedwatercolorandcharcoal,andmixedwesternandfolktechniquestocreateakitschstylewiththemotifofabeautifulfashionablewoman.theCCP’snewregimesuccessfullytransformedthesetwosortsofnian-huaintospecialkindsofpostersthatservicedpoliticalpropaganda.twoseniormastersofyue-fen-pai nian-hua,liMubai(李慕白)andJinxuechen(金雪尘),continuedtoworkforthenewgovernmentfordecades,butofcourse,


22 essays

thefashionableladieswerereplacedwithworkingclassheroes.

theCCPhadclearculturalpolicies,thedirectionandprinciplesofwhichwerelaidoutinMao’sfamousbookletThe Speech on the Arts Forum in Yan-an(1942).itssimplifiedprinciplewas:Arts in the service of proletarian politics; arts in the service of workers, farmers and soldiers.therewerenofreelanceartistsexistinginMao’sChina;everyonebelongedtoa‘unit’.artistsworkedfortheParty-statealoneandwerepaidwagesbythegovernment.anyartworkthatwasthoughtnottoidentifywiththeParty’spolicywouldnotbeallowedtobepublishedorexhibited,andtheauthorwouldbeintroublewiththeauthorities.PoliticalpropagandaposterswerealwayscloselyexaminedbytheParty’sPropagandadepartments.

Chineseposterartistsworkinginthesethreedecadescanberoughlythoughtofasbelongingtothreeseparategenerations.thefirstgenerationhadestablishedtheirnamesandownstylesbefore1949andwereeducatedin,orinfluencedby,europe,unitedstatesorJapan.thestylesofthesecondgeneration,whorosetoprominenceinthe1950sand1960s,weremostlyinfluencedbysovietart.thethirdgenerationwereformer‘Redguards’,alsocalledzhi-qing (知青),educatedyouthorex-studentswhowereworkinginfarmsorfactoriesduringtheCulturalRevolution.theymissedtheopportunitytoreceiveformalarttraining,andwereself-taughtbecauseuniversitiesinChinawereclosedfrom1966to1975.

on1october1949,themasterofthefirstgenerationoftheseartists,JiangZhao-he(蒋兆和),madeawatercolorpainting,The Chinese people have stood up forever from now(中国人

民从此站起来了).thisworkcouldbeconsideredthefirstpropagandaposterinMao’snewChina.incomparisonwithhisearlierworkLiu-min Tu(流民图),War Refugees(1940),onebelievesthathegenuinelywelcomedthe‘liberation’.hisworkwasnotonlymadeontheParty’sorder,butalsotoexpresstheartist’sownprideandhappiness.

haQiong-wen(哈琼文)wasacelebratedpostermasterofthesecondgenerationofartists.eventodayhispostersholdaplaceincontemporarymemory.

libin(李斌)wasa17year-oldhighschoolstudentin1966whenhebecamea‘Redguard’.hemadeawoodcutprint,Zao-fan-you-li(造反

有理)Rebellion is reasonable,whichwaspublishedonthebackcoverofRen-min Hua-bao(人民画报),People’s Pictorial Magazine,aChineseversionofLifemagazinethathadacirculationofonemillion.thispicturecouldbeseeneveninlondon’shydeParkthatyear.

duringthe‘CulturalRevolution’,someoilpaintings,whichwerenotoriginallydesignedtobeposters,werepublishedinthemillionsoncepickedupbyMadameMao(江青)examplesoftheseincludeChairman Mao going to An-yuan(1968)byliuChun-hua(刘春

华),andStanding guard for our great motherland(1974)byshenJiawei(沈嘉蔚).

thisshowsthegreatdifferencebetweenthetotalitariansocietyandthedemocraticsociety.inMao’sChina,politicscontrolledalltypesofart.anyandeverypaintingwasapartofPartypropaganda.ifprintedinpostersize,itwasjustastandardpoliticalposter.inothercountries,propagandaposterscouldbeseenonlyinpublicplaces,butinMao’sChina,withtheaidofthenian-huatradition,propagandaposterswentintoeveryfamilyhome,andwererenewedautomaticallyeveryyearwithoutthegovernmentpayingforit.Millionsofcopiesofeventhelower-pricedpostersweresold,bringingbigprofitstothegovernment-runpublishinghouses.authorsofthepostersreceivedalowroyalty(1949to1965),ornothingatall(1966to1977).thiskindof‘Pan-posterism’wasnotseeninstalin’sRussiaorhitler’sgermany,onlyinMao’sChinaduringtheyearsofthe‘CulturalRevolution’.

duringtheseyears,Chinesepeoplelivedtheirwholedaywithpoliticalslogans:listeningtoslogans,recitingslogans,lookingatslogans.itwasamadtime.whenathingreachesitsextreme,itreversesitscourse.extremenessledtoextinctionoftheChinesepropagandaposterart.

since1979,Chinahasenteredthepost-Maoera.themarketeconomyreplacedtheplannedeconomystepbystep.freelanceartistsappearedeverywhere.theageoftvarrived.the1980swerethelastdaysofthepoliticalpropagandaposters,andinthenewcenturytheyfinallydisappeared,tobereplacedbythecommercialadvertisementsthatblotouttheskyandcoveruptheearthintoday’sChina.

‘Nation-Mother is calling’ by Russian artist 1941

1941年苏联宣传画(祖国—母亲在召唤)

‘We have just begun to fight’ by unknown American artist 1943

无名美国画家1943年作品《我们才刚刚开始战斗》

Jing Xunhua by Yi Zhong

逸中创作的金训华


23essays

mtmAo whenireturnedtoshanghaifromavisittoQingdaoinshandongovertheChinesenewyear,irealisedhowicouldusemytriptothemountainsasafootnoteforthisyear’sChina & Revolutionexhibitioninaustralia.

MyhometownhasafamousdaoistmountaincalledlaoshanwhichivisitafewtimeswheneverireturntoQingdao.thisyeariwasnotgoingtogosinceithadhadthebiggestsnowfallinsevenyears,butwheniheardthatanewsitecalledMtMaohadbeenadded,igladlysetoffforit.

thecarwentasfarasxifu,andthenitwasaneasywalkupthemountainonthecementpath.ifollowedaneatsetofstairscalledtheRevolution

Mao Xinyu © Liu Dahong刘大鸿作品毛新宇画像

Road,besidewhichwasaseriesofGood Deeds,MaoZedongpropagandapostersthatcouldcomparewellwithmyRed Calendar in 24 Seasons.irememberedthegod makingmovementthatisawonatripfromChangsha,inhunanprovincetoMao’shometowninshaoshanafewyearsago.ididn’texpectthatthisred stormwouldblowsoquicklytotheshoresoftheeastsea,andinsteadofseeingtheblue-blackheadsofdaoistmonks,allicouldseewereredflagssproutingfromthehills.inthedistancetherewasarockwhichreallydoeslookslightlylikeMaowearingasunyatsenuniformand,at8.3metershigh,matchesMao’sage(83)whenhedied,makingittheonly

LIudAHoNg


24 essays

Four Seasons – Autumn四季 – 秋1991 oil on canvas © Liu Dahong

totallynaturalstatueofMaostandinginthecountry.anadvertisementforithasbeenalreadybeenerectedattheairportsoitobviouslyhasagreatdealofdevelopmentvalue.atthebottomofthemountain,agreatnumberofRustic Happinessrestaurantshavebeenbuiltinanticipationofthehordesofvisitorscomingfromalldirections.Mao’sgrandson,Maoxinyu,hasalreadyjumpedonthebandwagon;youcanseehisportlyfigureatthegroundbreakingceremonyinoneofthepostersonRevolution Road.

iclimbedthemountainonthethirddayofthenewyear,whichiswhenmarrieddaughterstraditionallyvisittheirmother’shome,andhencetherewasacontinuousstreamofpeople,oldandyoung,comingtoworshipMao.therearesomanymoney-obsessedpeoplenowadays;ChinahasagodofwealthandculturecalledZhougongandagodofwealthandwarcalledguangongbothofwhomyoucanworshipeverywhere.nowthereisaMaogodofwealthwhocombinescultureandwarsincehehasthefearfulabilitytoexorciseevilspirits(accordingtomytaxidriver).thepowerofthelatestgodisimpossibletoresist,sothisyearialsoboughtaso-calledno.1sealofChina,areplicaofMao’sjadeseal,toputinthecornerofmyhousetokeepthehousesafe,sincethisyearismyzodiacyearandibadlyneedtofightthedevilwithanotherdevil.

infact,thereligionofMaohasalwaysprevailed.sincethetimewhenhetalkedabouttheeast wind overwhelming the west wind,hisbull-whiphaswavedoverthemainlandfor60years,afullcircleoftheChinesecalendar,andthisiswhatimpelledme

tomakeRed Calendar in 24 Seasons.Maochangedalmosteverything,fromtheChineselunarCalendar,theYellow Calendar–whichisaboutharmonybetweenhumansandnature–totheRed Calendar,whichisaboutpeoplecombatingheaven,earthandotherpeople.withoutanyexaggeration,myRed Calendar in 24 Seasonscanbeseenasahistoryfilledwiththetearsandbloodoftherepublic.inthoseredyears,nomatterwhetheryouwerethechairmanofthecountryoranordinaryperson,youcouldonlysurvivebyunconditionallybelievinginMao.

atleastthreegenerationsofpeopleweremanipulatedbyMao,andthisisthecentralthemeofFour Seasons.thefour seasonsofMao’slifedictatedthefateofabillionpeople,includingme(iwasbornin1962).Fairytales of the Twelfth Monthwasbasedontheimpressionsofmychildhood.atthattimeMaowasthesun,wavingtouseveryday,justasinAutumnofmyFour Seasons.afterhisdeathin1976,thereligionofMaowasquestioned,andalargenumberofnewthoughtsgushedout.theunprecedentedsocialcrisiscausedthebirthofanotherpaintingofmine,The Awakening of Insects.theCulturalRevolutionwasMao’smagnumopus,theeruptionofMtMao.itsaftereffectsarethesourceofthediseaseofcontemporaryChinesesocietyandbillionsofpeoplestillliveinthevolcanicash.thisiswhysomanyofmypaintingscannotbewithouthim;thisisapsychosis,MaowasnotfairandforthisreasonweshoulddigintoMtMaoandnotstop.

let’scarryforwardthespiritofMao’sstoryYugong yishan,digginganddigging,generationaftergeneration. The jade seal of Mao

毛玉玺(工艺品)


25essays

tHeredemptIvepoWeroFArt

in1966,iwasclassrepresentativeforthesecondgrade.shortlyaftertheCulturalRevolutionstarted,theschoolheldamotivationmeetinginthesportsfieldforallstudentsandstaff.istoodonthelittledirtplatformthatwasusuallyusedfordirectingtheexercises,andreadaspeechdraftedbytheleadersoftheschooltothewholeschool.icannotrememberthedetailsofthecontent,butidoremembertheslogansthatiyelledattheendofthespeech:Long live the Cultural Revolution! Long live Chairman Mao!

next,wejoinedthelittleRedguardssothatwecouldimitatebig brotherRedguardsincriticisinganddenouncinglandlords,searchingpeople’shomes,andconfiscatingtheirpossessions.ourhomeroomteacher’snamewasliubingandshewasakindpersonwithglasses.nobodyknewwhospreadthenewsthatshewasthedaughterofalandlord.

afterfindingthisoutourheartsfilledwithanger.itwasunbearablethatwe,thedescendantsoftherevolution,shouldbeeducatedbyadescendantoftheclassenemy.inthaterawewereallbrainwashedintobelievingthatlandlords,asmembersoftheexploitingclasses,werethepersonalenemyofthepeople,thelowestsocialrank.

sowestudentsdiscussedhowwecouldmakehersuffer.atthattimeiwasalreadyinterestedinpaintingandhaddecidedtobeapainterwhenigrewup.iheroicallyvolunteeredtopaintaportraitofthehomeroomteacherinthecurrentfashionofcaricaturingpeopleinauthority.inthepainting,therewasagreen-facedandlong-toothedwomanwiththenameofthehomeroomteacher.

thatnightwestucktheportraitontheblackboard.earlythenextmorning,teacherliuwalkedintotheclassroomandimmediatelysawthecartoon.herfacebecamepale,butshedidn’tsay

Xu Weixin working on ‘Chinese Historical Figures 1966 – 1976’徐唯辛在创作“历史中国众生相1966-1976”

Xu Weixin standing among ‘Chinese Historical Figures 1966 – 1976’徐唯辛与作品“历史中国众生相1966-1976”

XuWeIXIN

anythingandcontinuedtoteachinfrontoftheblackboardandherportrait.wewereveryproudofourselvesandinhighspirits,sincewefeltthatthedaughter of the class enemyhadbeenpunished,asshedeserved.

onlyafterigrewupdidigraduallyunderstandthedepressionthattheteachermusthavefelthavingtofacethestudentswhohadchangedintoherenemyovernight.ibegantounderstandwhysomanypeoplecommittedsuicide.

now,wheniamtalkingaboutthiseventandwheniamintheprocessofworkingontheprojectof Chinese’s Historical Figures 1966-1976,onlythencanmyfeelingofguiltforhavingdestroyedthedignityofotherpeoplebereduced.

duringtheCulturalRevolution,asordinarypeople,werewenotpartofthecruelty,oraccomplicestoit?shouldn’tweresolvetorepentandexamineourselvesandouractions?

aftermanyyears,iamgivingmyselfanotherchancetorepentbypaintingportraitsthatscrutinisetheCulturalRevolution.whatisthemeaningofthisinrelationtothefirstportraitthatcaricaturedmyteacherbackthen?

thisisalsothequestionthatpeopleoftenaskme:whydoyoupaintabouttheCulturalRevolution?whatmeaningandpurposedoesithave?

Myansweristhis:itistoredeemmyinnermostself,andthisisthemostsignificantpartofthisproject;everythingelseissecondary.


26 essays

tHe‘NeWpropAgANdApoStermovemeNt’INcHINA

initiallyplannedin2002,thenewPropagandaPosterCreationMovementgraduallybecameareality.aftersomeyearsofdevelopment,itstillcontinuestodevelopinChina.

from1949,propagandaposterartinChinaplayedanimportantroleintheareaofideologicaleducation,especiallyduringtheCulturalRevolution,whenitbecamethemediumthroughwhichthewholesocietywassymbolisedpictorially.inthe1980s,propagandaposterartgraduallybecameneglected,andevenforgotten.

in2002,iproposedtheconceptofaNew Propaganda Posterwhichwouldbeprincipallydefinedbythefollowingideas:1)itisnotthepropagandatoolofapoliticalmovementasinthepast,butatypeofcriticalthinkingthatisderivedfromreallife;2)theworkswillbeproducedbynewmeans,takingadvantageofnewtechnologiestodifferentiatethemfromthehand-paintedpostersofthepast.3)theprintedposterswillbedistributedonlyinsmallnumbers;themessagewillbeconveyedlargelythroughpublicationinthemediaandexhibitioningalleries.thiswilldifferentiatethenewpropagandaposterfromthehugestreetpostersthatwereprintedanddisplayedinlargenumbersinordertoservetheirpurposeaspropaganda.

themostimportantnewelementistheguidanceoflibertarianvalues,drawingexperiencefromthecriticalnatureandcreativemethodsoftheLeft WingartmovementtoexposeandcriticisethewidespreadrepressionandinequalityofcontemporaryChinesesociety,andtocallforsocialjusticeandequity.

intermsofartisticmethods,isuggestedthatartistslearnfromthemorereasonableaspectsoftheartisticmethodsoftheCulturalRevolution,suchasputting the subject firstandpenetrating life.themethodofexpressionandartisticlanguage

New Propaganda Posters in China新宣传画在中国Silk print 2010 © Li Gongming

LIgoNgmINg

shouldbesimple,clearandeasytounderstand,andabletoarouseordinarypeople.thesecanallbeinspiredbytheCulturalRevolutionposters.inaddition,wealwaysinvitesociologists,artists,workers,farmers,businessmen,civilservants,entrepreneursandofficeworkerstoparticipateintheselectionofthebestworksandtoattendconferences.weemphasiseparticipationfrompeopleinallwalksoflife.

foryears,thenewPropagandaPosterMovementhasattractedmanyparticipants.ithasalsodealtwithlargersocialissues.subjectshaverangedfromsocialjusticeandequitytopublicwelfare,andparticipantsarenotonlyartistsandartstudents,butallpeoplewhowishtotakepartincreatingimages.

iwillbrieflyreviewthehistoryofthedevelopmentofthenewPropagandaPosterMovementinChinabelow.

iinitiallyproposedtheideaofholdinganewPropagandaPosterexhibitionatameetingintheguangdongartgalleryinfebruary2002.ilaterproposedtheideaataconferenceattheChineseartuniversity(hangzhou),andagainatapresentationatthePaintingdepartmentatguanghouacademyoffinearts.thelatterproposalmadeabigimpactonthestudents.

inJune2004,afterdiscussionwiththeguangdongartgallery,wedecidedtoholdaNew Poster Exhibition: Calling for Social Justice and Equity.Manymediaoutletsparticipatedaswell.wesentoutanoticeforsubmissionsthroughdifferentchannelsinordertocollectworksfromalloverthecountry.

onthe29June2004,theSouthern Metropolis Daily (Guangzhou)publishedawholepageonnewPropagandaPosteractivityincludinganinterviewwithmecalledNew Values: Promoting the Progress of Society,aswellasaninterview


27essays

withhubing,ayoungteacherfromguangzhouacademyoffineartsandanassistantinthisproject,titledNew Experiences: Expressing the Soul of the Times.on19september,iheldapresentationatguangdongartgallerycalledContemporary Art and Social Responsibility.on25september,atoneoftheinternetcafésinguangzhou,aneventcalledCreating New Posters with On Site Computerswasheldtoguidestudentstoproducepostersusingwebresources.studentsfromguangzhouacademyoffinearts,huanannormaluniversity,guangzhouuniversityandhuananagricultureuniversityparticipatedintheevent.

sinceseptember2004,newsreportsandsomenewPropagandaPosterworkshavebeenpublishedonthewebsitesTianya (Hiakou, Hainan),Open-up Time (Guangzhou)etc.on28october2004,theexhibitioncommitteeratedworkscollectedfromalloverthecountry.Manyoftheworkswereaboutsocialissues,forexample:workers’rights,problemsinthecountryside,childrenunabletoattendschool,thecredibilityofthegovernmentandequityinthejudiciary.Manyworksweremadewithcomputertechnology,andthestylesdemonstratedgreatvariety.thecommitteeintheendchosemorethan60worksfortheexhibition.

theexhibitionNew Propaganda Posters Exhibition: Calling for Social Justice and Equitywasscheduledtoopenbetween25novemberand28december2004atguangdongartgallery.thisexhibitionwasforciblycancelledduetopressurefromthegovernment.aconferencescheduledon27novembertocoincidewiththeexhibitionwasalsocancelled.

however,on30november2004,Southern Metropolis DailypublishedanarticlecalledNew Posters: Reality Confronting Idealism,whichoutlined

detailsoftheeventandopinionsfromplanners,committeemembersandparticipants.aninterviewwithmecalledIntellectuals Should Hold the Responsibility of Social Criticismwaspublishedaswell.intheinterview,italkedabouthowcultural development needs to be critiqued by intellectualsandthatcontemporary arts need to re-establish flesh and blood connections with people.

indecember2004,artleaguenet(beijing)andartleaguenetforumatguangzhouacademyoffineartspublishedarticlesdiscussingnewPropagandaPosters.on3March2005,thepresentationthatigaveatguangzhouZhongshanuniversityonContemporary Art and Caring for Social ProblemsintroducedtheworkandactivitiesofthenewPropagandaPosterMovement.thispresentationwasbroadcastonhongkongPhoenixtvon26March.

from21Mayto3June2005,theExhibition of New Propaganda Posters Calling for Social Justice and Pictures Concerning Disadvantaged Groupswasheldatthestadiumofguangzhouacademyoffinearts.on14november,agroupofstudentsfromguangzhouacademyoffineartsheldanexhibitioninthecountryside,titledThe Game Beside the Field,whichproducedamoredirectconnectionbetweenthenewPropagandaPosterartanddisadvantagedgroupsandfarmers.theexhibitionquestionedtherationalityofpresentartactivitiesandthedistributionandusageofsocialpublicresources.someofthenewPosterswereputonthewallsinthevillageandattractedagreatnumberofvillagers.on14december,igaveaspeechatChinaartacademyinhangzhoucalledPublic Art and the Social Justice Movement.

beforetheChinesetraditionalspringfestivalin2007,istartedworkon

New Posters – New Year Cards for Public Welfarewhichorganisedartiststocreatenewyearcardsinordertohelpworkingparentsdefendtheirrightsandtoobtainbackpayments,andtoraisesocialconcernaboutdisadvantagedgroups.artistscreatedsixsetsofnewyearcards.weprinted10,000copiesanddistributedthemforfreetopublicinterestgroupsandpeopleatthebottomofthesocialladder.on4february2007,theSouthern Metropolis DailyreportedthisactivityunderthetitleofA Trial of Art Intervening in Societyandpublishedourannouncementthatweweredistributingthecardsforfree,whicharousedabigresponseinthepublic.

next,beforespringfestival2007,iplannedaneventwhichinvolvedgoingtoyangxiCountyguangdongtomakenewPropagandaPosters.thiseventwasjointlyheldwiththeliaobingxiongfoundation.on9and10february,wecreatedandpaintedtheworksFarmers Studying the Constitution,Establishing Farmers Associations,Solving the Land Problems of the Chinese Countrysideandtheseartworkswerewelcomedbylocalfarmers.on17January2007,The Southern Daily (Guangzhou)reportedthiseventunderthenameofMember of the Committee of CPPCC Leading Team to Paint New Murals in the Countryside – Professor Li Gongming from Academy of Fine Arts went to Yangxi to Paint the New Countryside.

inoctober2007,igaveatalkonthenewPropagandaPosterMovementataconferencecalledContemporary Chinese Propaganda PostersheldattheCentreforthestudyofdemocracy,universityofwestminster(london).inJuly2009,iattendedthebiennialconferenceoftheCsaaattheuniversityofsydneyandintroducedthelatestdevelopmentofthenewPropagandaPosterMovement.


28 essays

Transport during Spring Festival 春运图2007 postcard © Liu Bin

inseptember2009,istartedplanningNew Propaganda Poster Collection: The Unspoken Pain and Hope of the Chinese People, 2009.theworkswillbeexhibitedatsydneyuniversity’sgalleryinaugust2010.thisprojectfocusesonmajorsocialeventsthathaveoccurredinChinathisyear,includingdefendingconsumers’rights,opposingtheviolentremovalofprivatehouses,opposinglandpollution,improvingtreatmentforoccupationaldiseases,respectingtherighttofreespeechontheinternet,fightingfordemocracy,andresistingtheabuseofpublicpower;sucheventsreflecttheproblemsthataremostfrequentlyhighlightedasissuesincontemporaryChina.wecansaythatthiseventwasdifferentfromthepastactivitiesofthenewPropagandaPosterMovementbecauseitfocusedonspecificeventsexposingcentralissuesofChina.

fromthishistoricalreviewofthedevelopmentofthenewPropagandaPosterMovement,ibelieveafewpointsareworthyofstudyand

reflectionbywesternscholarswhoresearchChineseartsandsociety.

first:thebasicstandofthenewPropagandaPosterMovementundoubtedlybelongstoliberalismandnottheneo-left-wingassomepeoplehaveincorrectlyclaimed.however,thenewpostershavedrawnresourcesfromtheartstylesthathavehistoricallybeenassociatedwithsocialistart.

second:thenewPropagandaPosterMovementhasbeenlargelyindependentfrom,andmarginalto,thecurrentenvironmentofChineseideology,publicopinionandfreedomofartcreation.however,inrecentyearsthegovernmenthasbeenusingidenticalslogans,suchassocialjustice,fairness,andliberalopinions,intheofficialmedia.exceptforthecancellationofthe2004exhibitionthishasprotectedthemovementfromdirectgovernmentinterference.

third,lookingfromthepointofviewofthedevelopmentofChinesecontemporaryarts,thenewPropagandaPosterMovementisavery

uniquecase.intermsoftargetandtaste,itdoesn’tbelongtomainstreamcontemporaryartsanditdoesn’thaveanythingtodowiththeartmarket.itisthemostintenseandradicalexperimentinChinesecontemporaryarts.wehavetherighttosaythatthenewPosterMovementistheoutcomeoftherealityofChinesesociety,andatthesametime,itisalsotheoutstandingsymboloftheturningofChinesecontemporaryartstowardsociology.

ibelievethedevelopmentofthenewPropagandaPosterMovementinChinawillcombinewiththedevelopmentofacivilsociety,andwillcontinuetodriveChinatowardsademocraticconstitutionalsociety.

guangzhou,19thMarch2010


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China and Revolution exhibition catalogue 2010-2011 ed. /curated S.Hemelryk Donald

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