Gender liberation and its offspring in China
To understand how women have introduced a paradigm shift in the art world, we certainly have to go through the work of at least thirty-four artists and their artworks beginning the late sixties of the last century:
Lynn Hershman Leeson
Mierle Laderman Ukeles
A growing number of female painters, sculptors, performers, photo and filmmakers, but also writers, curators, art teachers, museum directors, and gallery owners, had made a difference in the arts for more than half-a-century challenging an ancient male territory. The presence of female artists in exhibitions, museums and art galleries has grown steadily in Europe and North America since the early seventies. A.I.R. Gallery, established in New York in 1972, is a perfect example of this turning point in the gender dynamics of art. This revolutionary trend slowly moved from West to East. To prove it, we should mention, among others, the following artists:
Anida Yoeu Ali
Red Hong Yi
Since education became a massive trend around the world, globalisation took its pace and Internet expanded worldwide, white male predominance in the arts entered in extinction mode. This cultural change would inevitably induce all range of consequences in the definition of contemporary and post-contemporary art. The issue of identity is a major one, as it is the new technological normality, with its big data attraction mode, and its new divides and anxieties.
Chinese female artists born since 1980, namely those working with new media, not only keep deepening the identity questioning but also reinforcing the new gender trend towards autonomy, liberating themselves from male and patriarchal historical models of domination.
Chen Yiyun 陈义云
Cheuk Wing Nam 卓穎嵐
Hong Wai 洪慧
Hui Ye 葉慧
Jiayu Liu 刘佳玉
Lu Yang 陆扬
Ma Qiusha 马秋莎
Peng Yun 彭韞
Tianyi Zhang 張天譯 and Ling Liu 柳泠
Yuge Zhou 周雨歌
Since education became a massive trend around the world and globalisation took its pace, with Internet expanding worldwide, white male predominance in the arts entered in extinction mode. This cultural change would inevitably induce all range of consequences in the definition of contemporary and post-contemporary art. Identity is a critical issue, as is the new technological normality with its big data attraction mode, and its new divides and anxieties.
Chinese female artists born since 1980, namely those working with new media, not only keep deepening the identity questioning, as reinforcing the new gender trend towards liberation from male and patriarchal historical models of domination.
Not a piece of cake, though. Peng Yun five video artworks made in 2013-2014 prove it eloquently. We decided to highlight one of these films to prove our point: M 小姐和F先生的下午2點31分 / “Miss Melissa and Mr Fish at 2:31 p.m.” (2013).
Peng Yun tends to see fictional characters in females she meet in her daily life. From this imagination procedure upon real people, she develops derivative narratives around identity and autonomy issues and their outcomes. These five short videos seem to replay five dreams about costs of life change and autonomy. Redefining the new liberated role-play of women in a society still full of male phantasies can hurt, and be mind-boggling. There is a pain in all liberation processes. And no way back.
LINKS (for preview only)
1 – 婕語的成人禮 / “Jieyu’s debutante” (2013)
2 – 甜蜜的生活 / “The Sweet Life” (2013)
3 – 李小姐有柔軟的手指和美麗的眼睛 / “Miss Lee has soft fingers and beautiful eyes” (2013)
4 – M 小姐和F先生的下午2點31分 / “Miss Melissa and Mr. Fish at 2:31 p.m.” (2013)
5 – “Sara” (2014)