Tag: Minsheng Art Museum

ArtSlant: Sehgal’s Antics come to China

Taking the Stage OVER presents – Tino Sehgal

Minsheng Art Museum, Bldg F, No.570 West Huaihai Road, Shanghai

16 July – 14 August, 2011

In amongst the videos and installations by Zhang Peili at the Minsheng Art Museum (which I reviewed here last week), I also had a surprise encounter with the work of Tino Sehgal, whose works of performed discussions as institutional critique added an unusual perspective to the display of new media work.

Under the collective title “Taking the Stage Over,” curator Biljana Ciric has organised a year-long series of events for Shanghai. From July to September she has arranged for Sehgal to present pieces at MOCA Shanghai, then the Minsheng Art Museum, and finally the Rockbund Art Museum. On my visit to the Minsheng, “This is New” and “This is Exchange” had been “installed” in the reception area and in one of the galleries.

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ArtSlant: (Possibly) China’s First Video Art

Certain Pleasures: Zhang Peili Retrospective

Minsheng Art Museum, Bldg F, No.570 West Huaihai Road, Shanghai

16 July – 14 August, 2011

A short excursion to Shanghai from my usual territory of Beijing allowed for a quick visit to the Minsheng Art Museum, while dodging the storms presaging the arrival of typhoon Muifa. The Minsheng is a non-profit institution occupying a large warehouse-type set of spaces at the back of an off-street cultural area. It was established in 2008 by the China Minsheng Banking Corporation, and is currently hosting a large retrospective of the work of veteran new media artist, Zhang Peili.

What this exhibition does, inevitably in somewhat hagiographic terms, is support the notion of Zhang as one of the very first new media artists in China. From his beginnings in the mid ‘80s through to the present day, he has become an influential figure, now heading up the New Media Arts Center housed in a rather futuristic new building at the China Academy of Arts in Hangzhou. He is something of a father-figure for the new media arts scene here in China, a scene that goes to great pains to assert itself as an autonomous style and format amongst the often osmotic boundaries between the art forms of contemporary art in China.

Originally trained in oil painting, Zhang has developed a practice across video, filmed performance, installation, and actions, with a typically heavy conceptual backing. Early new media works by the artist can be seen to pick up on process practices from abroad, displaying durational and task based techniques, in most cases with few geographical or cultural specifics.

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