Wenyan Ma
Keywords: Chineseness, modernization, collective, gender political express
Abstract
In the 1980s, following China’s economic reforms and exposure to Western Enlightenment theories, the art market flourished, leading to the 85 New Movement, with over 2,250 artists forming 79 groups. However, the creative practices of female artists in this vibrant period remain under-researched. How can we re-examine the marginalized female artists’ artistic and political expressions in the context of post-colonialism and 20th-century political dynamics? In what manner were the contributions of female artists towards the conclusion of the 20th century and their narratives historically marginalized?
Background
Following economic reforms and a decade of turmoil, China was introduced to Western Enlightenment theories, which helped establish the foundation for the flourishing art market in the 1980s. The 85 New Movement was part of a nationwide consciousness liberation movement based on the introduction of Western theories (Wang, 2013). Between 1985 and 1986, 79 art groups with over 2,250 artists created 149 artworks (Marco Meccarelli, 2021). The development trajectory of Chinese feminism was closely linked to the socio-political structure of the time. However, there was a gap in research into the creative practices of female artists in this vibrant artistic environment. During the digitization of the archive of the American photographer Joan Lebold Cohen by Asia Art Achieve, it was discovered that there were archives of 157 female artists from the 1980s, many of whom have not been extensively researched in academic circles today (Archive, A.A).
During that era’s rebellious movements and artistic narratives, retrospective assessments of female artists’ contributions within predominantly male-led collectives were rare. Avant-garde art groups emerged in droves, while women artists during that time wanted to show their gender identities, which were not celebrated during Mao’s time. They wanted to connect traditional art with modern art. Artists like Xiao Lu, Pan Yuliang, Shen Yuan, and Xing Danwen wrote about Chinese identity, personal history, Western feminism, and women’s identities (Guest, 2023). Many of the artists have gained recognition both domestically and internationally, but this aspect of their work has been relatively overlooked in critiques and academic literature (Guest, 2023).
Identity anxieties of Chinese artists at the end of the 20th century and reflections on self-objectification under post-colonial discourse are the reasons for using a decolonial and comparative feminist research method (Gao, 2008). This research methodology is widely used in interdisciplinary and cross-cultural studies, suggesting a form of resistance to policies that aim to rethink and revise overarching narratives of human progress in specific fields (Ruiz, I., & Baca, 2017).
Case Study
Kasang — Female artist in Northern Art Group
Female characters from the past are readily accessible in historical records.
Kasang is a prominent figure documented in the archives and interviews of the Northern Art Group. SHU Qun, who started the Northern Art Group, is known as a talented and influential artist from China. His artistic talents lie in his ability to translate the profound tenets of Western philosophy into visually captivating images. Notably, he spearheaded the ‘Rational Painting’ movement, which stands as a quintessential example of the 85 New Movement school of painting.
Kasang has been referenced repeatedly in the autobiographies and interviews of this renowned artist. It is evident, without much difficulty, to discern the profound bond between SHU Qun and Kasang. Their connection extends beyond mere friendship, as it is evident that she has attained a remarkable level of artistic prowess. Initially, the artist diligently presents his experimental creations to Kasang, eagerly seeking her valuable insight. He persistently inquires about Kasangs opinion regarding his artistic Endeavours during the interview. SHU Qun shows WANG Guangyi, a famous person from the northern group, his experimental work after she says it was a big success. This description can be found many times in interviews and autobiographies.
During the formation of the Northern Artists’ Group in 1985, WANG Guangyi proposed the publication GOD. SHU Qun meticulously documented the activities of the Northern Artists’ Group (I) within the pages of the Chronicle. The group actively sought new members from May to September that year, with Kasang being one of those fortunate enough to be enrolled. There is no additional documentation available regarding her, who, as per their own assertions, possesses expertise in the field of Abstract Expressionism and has undergone extensive study of the works of Gauguin and Van Gogh. However, it’s worth noting that of all the mentions of Kasang, only one mentions her artistic flair and accomplishments.
There was no trace of her artwork in the historical record, nor any further explanations. Her former glory and artistic ambitions were only glimpsed from blurred old photographs, and no one mentioned her in interviews recently.
A Study of Southwest Art Collective and Xiamen Dada Collective: HOU Wenyi and SHEN Yuan
Another part of the study delves into the intriguing connection between HOU Wenyi and SHEN Yuan. Both were active participants in two significant art collectives during the 85 New Wave, the Southwest Art Collective and Xiamen Dada. These groups had a great influence on the art scene of that time. These two individuals embarked on their educational journey at the esteemed Zhejiang Academy of Fine Arts, forging a profound bond along the way.
SHEN Yuan presented an intriguing discussion on female artists during the 1980s in a 2018 interview. She opened up about her personal experience of being isolated, the prevalent bias toward female artists created by men, and society’s erroneous belief that the issue of gender equality had been addressed. Furthermore, SHEN Yuan mentioned the profound impact of the experimental works of two distinguished female artists, namely HOU Wenyi and WANG Gongyi, on her artistic journey at that point. Shen Yuan’s personal account vividly demonstrates the evident disregard for the contributions of women during the 1980s. Therefore, it becomes rather uncomplicated to comprehend the absence of these women in the current visual landscape.
The involvement of SHEN Yuan in Xiamen Dada and the renowned 1989 Contemporary Art Exhibition is frequently discussed within academic circles. However, it should be noted that her name is only mentioned specifically in the 89 Contemporary Art Exhibition, also known as the “End of the Wave of the 85th Wave of Art.” Her name was also not included in the interpretation of the art concepts of the Xiamen Dada, however. Her true triumph was manifested after her relocation to France. As a resident immigrant in France, she faced obstacles like language barriers, cultural differences, and the constraints of self-expression. These challenges compelled her to consider political boundaries and the intricacies of Western discourse.
She is one of the few female artists who actively participated in the August 5th New Wave movement and is still active in the field of Chinese contemporary art today. As mentioned earlier, the 1985 New Wave took place during the precursor period of feminist enlightenment, and the dilemmas faced by female artists were quite complex and difficult. Shen Yuan’s most recent exhibitions come from Angling at RED BRICK ART MUSEUM, China in 2023, and The Image of Memory: Leiko Ikemura and Shen Yuan at BEING ART MUSEUM, China. The same thing happened to Hou Wenyi, who went into exile as a result of the Cultural Revolution. She participated in the New Figurative Paintings exhibition with Zhang Xiaogang, Mao Xuhui, Pan Dehai and others, and at the same time, her unintentional reference to “New Figurative” became the title of the exhibition that later gained much attention. Nowadays, the female artist who has appeared repeatedly in the Southwest Art Group and co-hosted exhibitions at her own expense, her latest work on the Internet dating back to 1993.
Potential Challenge
The research faces both potential and inherent challenges. Initially, the discourse on Chinese feminism remains unsystematic, lacking a distinct theoretical framework and adequate discourse volume, necessitating extensive historical material research and familiarization. Second, discussions about female artists can easily get lost in a single feminist framework and Western-Eastern binary. Therefore, logical coherence in discussing Chinese and even Asian female artists’ creations is crucial, as Joan Kee suggested, to avoid classification according to Western feminist frameworks (Kee, 2007). Locating older documents from the 1980s presents a significant challenge, as many have been lost or are difficult to access. It also takes a lot of time and work to organize and digitize them. Available literature and archival data often lack contributions from archival keepers like Joan Kee. Therefore, it is essential to collect public data in subsequent research plans, which will serve as a vital pathway for re-examining the practices of female artists in the 1980s.
Conclusion
The study represents a new historical perspective, where stories of survival within the context of multicultural feminism are regarded as a form of resistance against dominant progressive narratives. Shohat’s discourse emphasizes the importance of excavating these stories from the wreckage of such dominant narratives (Shohat, 2002). Asking how the contributions and creations of female artists have been overlooked in the past can theoretically enrich the established narratives of contemporary Chinese art, enhancing the predominantly gender-centered perspective in studies of the 1980s avant-garde art movement. According to Burns (1994), the inquiry into the “spirit of the times” exerting pressure on diverse genders transcends mere feminist or female artist research. It is important to restore narratives of individuals and even nations marginalized by mainstream history, as well as cultural survival strategies within the context of global transformations.
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