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Art and China after 1989: Theater of the World (exhibition): Difference between revisions
Art and China after 1989: Theater of the World (exhibition) (view source)
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|description_of_content=In March 2017, the Guggenheim Museum, NY announced 'Art and China after 1989: Theater of the World,' a major exhibition of contemporary art from China spanning 1989 to 2008, on view from October 6, 2017 to January 7, 2018. According to the museum's press release, the exhibition is an interpretative survey of Chinese experimental art from "arguably the most transformative period of modern Chinese and recent world history" and the largest such survey of contemporary Chinese art ever to be organized in North America, with a concentration on the conceptualist art practices of two generations of artists. The exhibition examines how Chinese artists have been both critical observers and agents of China’s "emergence as a global presence and places their experiments firmly in a global art-historical context." | |description_of_content=In March 2017, the Guggenheim Museum, NY announced 'Art and China after 1989: Theater of the World,' a major exhibition of contemporary art from China spanning 1989 to 2008, on view from October 6, 2017 to January 7, 2018. According to the museum's press release, the exhibition is an interpretative survey of Chinese experimental art from "arguably the most transformative period of modern Chinese and recent world history" and the largest such survey of contemporary Chinese art ever to be organized in North America, with a concentration on the conceptualist art practices of two generations of artists. The exhibition examines how Chinese artists have been both critical observers and agents of China’s "emergence as a global presence and places their experiments firmly in a global art-historical context." | ||
|description_of_incident=An article published on September 20, 2017 in the New York Times, “Where the Wild Things Are: China’s Art Dreams at the Guggenheim,” meant to preview this highly anticipated, art-historically important survey, detonated a lightening-fast response on social media. | |description_of_incident=An article published on September 20, 2017 in the New York Times, “Where the Wild Things Are: China’s Art Dreams at the Guggenheim,” meant to preview this highly anticipated, art-historically important survey, detonated a lightening-fast response on social media. The three controversial works were: | ||
1) 'Dogs That Cannot Touch Each Other,' a video documenting a 2003 performance-installation by Peng Yu and Sun Yuan, which involved pit bulls chained to treadmills. | |||
2) Video documentation of 'A Case Study of Transference' (1994) by Xu Bing, where two pigs copulated in front of a live audience. | |||
3) 'Theater of the World' (1993) by Huang Yong Ping, consisting of a cage trapping dozens of live reptiles and insects in what would inevitably be Darwinian combat. | |||
One day later, the Guggenheim received such a volume of complaints, it issued a public statement acknowledging concerns around 'Dogs That Cannot Touch Each Other.' A Change.org petition was circulated, demanding the offending works be removed, and received over 800,000 signatures. | |||
|description_of_result=On September 25, five days after the NYTimes article, the museum pulled three works from the show, citing “explicit and repeated threats of violence.” NCAC issued a statement criticizing the Museum for capitulating to threats of violence, followed by an Op-Ed. | |description_of_result=On September 25, five days after the NYTimes article, the museum pulled three works from the show, citing “explicit and repeated threats of violence.” NCAC issued a statement criticizing the Museum for capitulating to threats of violence, followed by an Op-Ed. | ||
|image=07ARTCHINA15-superJumbo.jpg | |image=07ARTCHINA15-superJumbo.jpg | ||