Rong Rong on Chinese photography

Based on his experience of the submissions for the annual Three Shadows Photography Award, Rong Rong makes the following observations in an interview with Dan Edwards for RealTime Arts:

One thing I noticed is that everyone wanted to express their private selves. Unlike older photographic trends that were focussed on society or big topics, younger artists are focussed on their inner world.

This is certainly a strong trend in art-making here in China, something which I’ve been aware of ever since I arrived here, but it’s interesting to hear this from someone who has such a perspective on the recent history of Chinese photography.

Rong Rong (2009). Interviewed by Edwards, Dan. the nurturing of chinese photography. RealTime, issue #92 (Aug-Sept). [Online]. Available from http://www.realtimearts.net/article/issue92/9557 [Accessed 6 June 2010]. Reproduced with permission.

Agamben: undergone not experienced

As Agamben indicates in the 1989 preface to the English translation of Infancy and History, the key question that unites his disparate explorations is that of what it means for language to exist, what it means that “I speak.” In taking up this question throughout his work, and most explicitly in texts such as Infancy and History, Language and Death, and most recently, The Open, Agamben reinvigorates consideration of philosophical anthropology through a critical questioning of the metaphysical presuppositions that inform it, and in particular, the claim that the defining essence of man is that of having language. In taking up this question, Agamben proposes the necessity of an “experimentum linguae” in which what is experienced is language itself, and the limits of language become apparent not in the relation of language to a referent outside of it, but in the experience of language as pure self-reference.Infancy and History … attempts to grasp and articulate the implications of such an experience of language as such. Consisting of a series on interconnected essays on concepts such as history, temporality, play, and gesture, Infancy and History provides an importance entrance to Agamben’s later work on politics and ethics, particularly in the eponymous essay of the edition on the concept of infancy understood as an experiment of language as such. In this, Agamben argues that the contemporary age is marked by the destruction or loss of experience, in which the banality of everyday life cannot be experienced per se but only undergone, a condition which is in part brought about by the rise of modern science and the split between the subject of experience and of knowledge that it entails. Against this destruction of experience, which is also extended in modern philosophies of the subject such as Kant and Husserl, Agamben argues that the recuperation of experience entails a radical rethinking of experience as a question of language rather than of consciousness, since it is only in language that the subject has its site and origin. Infancy, then, conceptualizes an experience of being without language, not in a temporal or developmental sense of preceding the acquisition of language in childhood, but rather, as a condition of experience that precedes and continues to reside in any appropriation of language. (Mills; emphasis mine)

  • Mills, Catherine (2005) Agamben, Giorgio [The Internet Encyclopedia of Philosophy]. [Online]. Available from: http://www.iep.utm.edu/agamben/ [Accessed 27 March 2010].

Chu Yun: “soft monumentality”

“Make a Great Work” [by Chinese artist Chu Yun] is an urban intervention on the level of soft monumentality. Soft monumentality is a concept developed by Wu Hung in his reading of the political and discursive uses of the architecture of Tiananmen Square. It is intended to encompass the flower displays, temporary amusement rides, ephemeral photo backgrounds, and other public sculptures that began to be placed in the square during National Day under the Jiang Zemin regime; all of this was opposed to the hard monumentality of earlier interventions in the political texture of the space, including the Monument to the People’s Heroes and, most notably, the Mao Zedong Mausoleum. Perhaps somewhat enamored with Jiang-era politics, Wu Hung claims that such techniques are akin to Michel de Certeau’s tactics of the everyday, and opposed to the strategic manipulations of architectural hegemony. Though he may have been overly optimistic, Chu Yun now brings a new version of soft monumentality for the age of soft power.

As an aside, “soft monumentality” is a term which could have been used to describe the soft works of American Pop artist, Claes Oldenburg (although I’m not sure that this exact conjunction is used with his work, but the words are separately applied to them). His pieces favoured humour over the gravity which art was expected to display at that time, and this seems to parallel, at least in its intentions if not it’s exact material or methods, the flowers amongst the monuments. The humour (in the sense of lightening the mood, perhaps) and the play with scale, if taken metaphorically, can be seen to be present over both these interventions.

Peckham, Robin (2010) CHU YUN IN FRANKFURT (2 OF 3). Kunsthalle Kowloon. Weblog. [Online] Available from: http://kunsthallekowloon.org/archives/219 [Accessed 2010/02/05].

“art pollution”

The art world has different faces; it is the place where art activity is commercialised, but also the place where ideas are presented and exchanged for free. It produces useful knowledge, but also ‘art pollution’. It offers some freedom, but also subordinates its employees. It has tools to criticise western cultural domination, colonialism, the hegemony of science and so on, but it also produces a lot of idiocy. It offers visual experiences, but also makes people blind. With all these galleries, museums, art schools, magazines, critics, collectors, collections, sellers, art fairs, websites, books, catalogues – with all this collected knowledge and collected idiocy, including of course, artists – it is huge, global and powerful, a cultural machine.

Zmijewski, Artur (2010). The Politics of FEAR, Artur Zmijewski interviewed by Daniel Miller. Art Monthly No.333 (February). p.3.