Yishu典藏國際版 [第82期]:57th Venice Biennale


並列題名:Yishu: Journal of Contemporary Chinese Art

作者:Yishu Office編輯





Editor’s Note
Yishu has an extensive history, since 2003, of reviewing the work of artists of Chinese descent at the Venice Biennale. In this issue, Jo-Anne Birnie Danzker examines the exhibition at the China Pavilion, which brought together individual works as well as collaborations between folk artists and contemporary artists. She probes the challenges of attempting to convey traditional Chinese communal means of creativity to such a diverse audience as that attending Venice. Ornella De Nigris engages in conversation with Tang Nannan, one of the artists who participated in the China Pavilion. Tang Nanna delves into his personal experience of partaking in these collaborations while maintaining his belief that the meaning of his work should be transmitted in the most direct way possible. Yeewan Koon discusses the work of Samson Young, who represents Hong Kong at the Biennale, and who has created multifaceted installations addressing the dubious impact of “charity songs” meant to raise money for various disasters. She notes how the artist's work, in contradistinction to that of Tang Nannan, is contingent upon its complexity. Alexandra Grimmer speaks with Liang Yue about her video projects and the role that intuition and the poetic play in evoking feelings of familiarity and memory through works that focus on the discreet or often-overlooked details of life. Stephanie Bailey converses with Wong Ping about his approach to psychosexual narratives and how animation provides him with a sense of freedom that photographic film does not. Vivian Kuang Sheng explores three important installations by Yin Xiuzhen that involve the direct interaction of viewers and the uncertain or disquieting experiences this interaction can entail. Through the highly staged photographs of Fang Tong, Dong Yue Su deliberates on the immigrant experience of mainland Chinese who have relocated to other parts of the world, in this case Canada. Yishu 82 concludes with an in-depth look at the April Photography Society, active during the late 1970s, which, as Adam Monohon proposes, has not been given its due credit for what he considers the first important photographic movement to emerge following the Cultural Revolution.
Keith Wallace

About Yishu
Yishu: Journal of Contemporary Chinese Art is the first English language journal to focus on Chinese contemporary art and culture. Each bi-monthly issue features scholarly essays on topical issues, interviews with artists and curators, conference proceedings, and critical commentary on exhibitions and books. Yishu offers a platform for a wide range of voices who are living and telling the story of contemporary Chinese art from a diversity of perspectives, and who provide dialogue and debate around current visual and literary forms produced within what constitutes an expanded understanding of contemporary Chinese art.
Since its inauguration in May 2002, Yishu has raised its profile internationally to become one of the most respected journals devoted to contemporary Chinese art. Appealing to professionals in the art and academic fields, as well as art enthusiasts in general, Yishu is now the journal of record for the high quality coverage of issues and events pertinent to Chinese art today. Its high standard of critical writing by thinkers from around the world allows us to voice ideas that communicate across cultures.

  • 編者手記 Editor’s Note(p.2)
  • 作者小傳 Contributors(p.4)
  • 「不息」與邃斷──威尼斯雅集 On Continuum and Radical Disruption: The Venice Gathering(p.6)
  • 「不息」──第57屆威尼斯雙年展上 藝術創造的傳承與湯南南的對話 Continuum-Generation by Generation: The Continuation of Artistic Creation at the 57th Venice Biennale: A Conversation with Tang Nannan(p.14)
  • 誰能聽到落空的聲音?楊嘉輝的個展「 賑災專輯」 What Is the Sound of Failed Aspriations? Samson Young's Songs For Disaster Relief(p.28)
  • 《水草》:梁玥訪談 Miss Underwater: A Conversation with Liang Yue(p.37)
  • 慾望城市:對話黃炳 Sex in the City: Wong Ping in Conversation(p.47)
  • 尹秀珍的流動參與──公共空間的交流與衝突 Yin Xiuzhen’s Fluid Sites of Participation: A Communal Space of Communication and Antagonism(p.65)
  • 新移民的建構事實:童方的擺拍攝影 The Constructed Reality of Immigrants: Fang Tong’s Contrived Photography(p.78)
  • 重評四月影會的起源、創作及其目標 The April Photography Society: A Re-evaluation of Origins, Artworks, and Aims(p.86)
  • 中英人名對照 Chinese Name Index(p.111)