In China, performance art feels the chill from official disapproval
In China, performance art feels the chill from official disapproval
But, for the most part, the annual OPEN international performance art festival, held in a secret venue in Beijing out of sight of China’s increasingly active censors, was a relatively tame and quiet affair this year.
Only 15 acts performed last month at the long-running festival, which drew an audience of just around 40 people, most of them the artists themselves or event staff.
The reason was a lack of publicity for the two-day event. The organizer, Chen Jin, said he had been concerned about police raids, knowing that the timing of the festival, ahead of a major Communist Party congress, was just too sensitive.
“Performance art is the freest art form. It doesn’t have any rules, and this might have scared them the most,” Chen said, referring to the authorities.
At its peak in 2009, Chen said, the festival had an eight-week run with more than 300 Chinese and foreign artists. But it has waned in recent years, mostly due to fears of a backlash from censors.
Last year, the event was forced to cancel halfway through due to repeated police raids, Chen said.
Performance artists had been in the vanguard of China’s art scene as it opened up to Western ideas and values in the 1980s, testing the limits of the law and social norms.
But increased pressure on many forms of art, which comes as President Xi Jinping has been shoring up Communist Party control over all aspects of society, has had a chilling effect on the performance art scene in particular.
In 2014, Xi urged all artists to “carry forward the banner of socialist core values”.
Xi, who is expected to consolidate his power during the congress in October, said artists should “use real-life images to tell people what should be confirmed and applauded, and what must be opposed and denied”.
Madeleine O’Dea, author of a new book on dissident artists in modern China, said the country’s contemporary art scene was now experiencing a period of retrenchment.
“I definitely feel like things are getting worse and worse,” O’Dea said at a book-signing in Beijing last month.
In 2015, an art exhibition on feminism in Beijing was banned. The year before, the 11th Beijing Independent Film Festival was shut down on its opening day.
China’s culture ministry declined to comment.
Chen’s quiet festival stands in contrast to the “Art and China after 1989” exhibition at the Guggenheim Museum in New York City, due to kick off on Oct 6.
The exhibition will feature the works of about 70 artists, most of them born in China, including the dissident artist Ai Weiwei, and delve into what would be considered sensitive topics in China – from civil rights to disillusioned coal miners.
Ai, whose work spans everything from sculpture to architecture, is also known for his performance art — notably the dropping and smashing of an ancient Chinese urn.
Other significant Chinese performance artists in the last two decades include Zhu Yu, whose act featured him biting into a stillborn human baby, and Ma Liuming, whose explicit explorations into sexual identity ran counter to a ban on public nudity.
In contrast, full nudity was noticeably absent at this year’s OPEN festival — even behind closed doors.
Beate Linne, 50, a German artist whose work often features nudity, said she stayed covered up because of the timing of the festival.
“It’s not nice to the organizers because there might be some consequences,” said Linne.
One aspiring performance artist whose work went viral in July — a dildo placed on top of a flagpole at the art school he was attending — has apparently felt some of those consequence.
The 27-year-old artist, Ge Yulu, lost a job offer at a university because of his act, according to friends who requested anonymity because of the sensitivity of the situation. Ge declined to be interviewed.
Ge’s act sparked spirited discussion online about whether it was a tasteless prank, or real art. One veteran performance artist, however, deemed it worthy.
“It was a brave attempt from a young student that came with consequences,” said He Yunchang, a 51-year-old Beijing-based artist.
He Yunchang in 2010 allowed a medical doctor to make a meter-long incision from his neck to his thigh in a performance called “One-Meter Democracy” in which the majority of the audience voted for the procedure.
He said he was resigned to the government crackdown. When asked if he planned to stage performances in the future, he smiled and said, “I am already dead inside.”
Ethiopia says British museum must permanently return its artifacts
- The artifacts were plundered by British troops from the fortress of Emperor Tewodros II 150 years ago
- Among the items on display at the Victoria and Albert Museum are sacred manuscripts and gold
ADDIS ABABA: Britain must permanently return all artifacts from Ethiopia held by the Victoria and Albert Museum and Addis Ababa will not accept them on loan, an Ethiopian government official said.
The call comes after the museum, one of London’s most popular tourist attractions, put Ethiopian treasures plundered by British forces on display.
“Well, it would be exciting if the items held at the V&A could be part of a long-term loan with a cultural institution in Ethiopia,” museum director Tristram Hunt said.
“These items have never been on a long-term loan in Ethiopia, but as we look to the future I think what we’re interested in are partnerships around conservation, interpretation, heritage management, and these need to be supported by government assistance so that institutions like the V&A can support sister institutions in Ethiopia.”
Among the items on display are sacred manuscripts and gold taken from the Battle of Maqdala 150 years ago, when British troops ransacked the fortress of Emperor Tewodros II.
The offer of a loan did not go far enough for Ethiopia.
“What we have asked (for) was the restitution of our heritage, our Maqdala heritage, looted from Maqdala 150 years ago. We presented our request in 2007 and we are waiting for it,” said government minister Hirut Woldemariam said.
Ephrem Amare, Ethiopian National Museum director, added: “It is clearly known where these treasures came from and whom they belong to. Our main demand has never been to borrow them. Ethiopia’s demand has always been the restoration of those illegally looted treasures. Not to borrow them.”
The V&A could not immediately be reached for further comment on Monday.
In launching the Maqdala 1868 exhibition of what Hunt called “stunning pieces with a complex history” this month, he said the display had been organized in consultation with the Ethiopian community in London.
“As custodians of these Ethiopian treasures, we have a responsibility to celebrate the beauty of their craftsmanship, shine a light on their cultural and religious significance and reflect on their living meaning, while being open about how they came to Britain,” he said in a blog on the museum website.