The Guggenheim Museum’s Art and China after 1989: Theater of the World presents the conceptual and performance practices that brought Chinese artists into the discourse of global contemporary art.
Zhang Peili, who’s having his first American retrospective at the Art Institute of Chicago, rejects the government’s use of media for entertainment and propaganda.
HONG KONG — After the Tiananmen uprising and ensuring crackdown in 1989, the Chinese art world nosedived in a stark and different direction.
HONG KONG — The M+ Sigg Collection, thought to be the most thorough and important collection of contemporary Chinese art in the world, consists of 1,510 art objects produced by 375 artists spanning 1974 to 2010.
BEIJING — I moved to China almost a year ago now, into a country where I knew no one and where even the internet was foreign. I pulled away from my main social circle geographically, but did what I could do stay connected via the internet and phone.
And yet, just as I turned to the internet for social connection, I also realized it was increasingly difficult to rely on my usual circles. Timezones, the Great Firewall and the weak internet connection in my neighborhood all made me realize that the utopian ideal of global connection was far from being achieved.
Zhang Peili (张培力), frequently dubbed the father of Chinese video art, has a retrospective ongoing at Shanghai’s Minsheng Art Museum (民生现代美术馆). Dubbed Certain Pleasures (确切的快感), the show extends over two floors and three main gallery spaces, showing Zhang’s videos and high conceptual work.