JUAN XU 庸现

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    • Bald Girls Iberia Center 2012
    • Bald Girls A Door 2013
    • Made in China 2013
    • Beuys in China 2013
    • Bald Girls Timelag 2013
    • Femme Totale 2014
    • Bald Girls meet Fluxus 2014
    • Bald Girls Pink Solution 2014
    • Bald Girls Nanjing Forum 2014
    • Fluxus Nanjing 2014
    • Li Xinmo Excluded 2015
    • Performance Day 2015
    • Performance Day 2016
    • Performance Day 2017
    • Art Tour Live Tour 3 / Join us to Kassel 2017
    • Feminist Activism in China: In Conversation with Li Maizi 2017
    • Tianjin Live Art Exhibition 2018
    • Denn ich habe schon alles schon gesehen Frankfurt 2018
    • Performance Day Frankfurt 2018
    • Capital @Art. International Frankfurt 2018
    • Feelings as Facts - Memory as Identity Tianjin China 2018-2019
    • Spectacle International Art Exchange Jiangxi China 2019
    • The 7th UP-ON International Live Art Festival 2019
    • 0 Edge Shift Europe A 2020
    • Sharing Crisis 2020
  • ARTICLES
    • Sharing Crisis
    • A Very Serious Game
    • Bald Girls
    • Who is Mary Bauermeister?
    • Iberia Art Center
    • Time Travel to Fluxus
    • Memory as Iidentity
    • We are the Revolution
    • Capital in the Digital Age @ Art
    • Money Is Time
    • Operation Thanatos in Action
    • Memory as Identity
    • From Political Critique to Spiritual Embrace
    • Perception is Reality
    • At Least the Pain is Real
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    • F.A.Z.
    • Global Times
    • ML Art Source
  • PUBLICATIONS
  • Catalogue Bald Girls
    • Introduction
    • Declaration
    • Preface
    • Li Xinmo
    • Xiao Lu
    • Lan Jiny
    • Female Performance Art
    • History of Feminism
    • Feminist Movement and Feminist Art in East and West
  • Catalogue Capital@Art. Int.
    • Artists and curator
    • Preface
    • From Political Critique to Spiritual Embrace
    • Perception is Reality
    • Operation Thanatos in Action
    • At Least the Pain is Real
    • Money Is Time
    • Feelings As Facts
  • CONTACT
  • 关于庸现
  • 展览
    • 秃头戈女- 北京伊比利亚
    • 秃头戈女 - 一个门
    • 中国制造
    • 社会雕塑 - 博伊斯在中国
    • 秃头戈女- 时差
    • 红颜女强 –从杨贵妃到“秃头戈女”
    • 油烟才女 - 秃头戈女 遇见激浪
    • 秃头戈女- 桃色策略
    • 秃头戈女- 南京论坛
    • 激浪时间
    • 排斥
    • 2015威斯巴登行为艺术节
    • 2016威斯巴登行为艺术节
    • 2017威斯巴登行为艺术节
    • 第三届现场艺术巡展參展: 谁要同去卡塞尔?
    • 女权行动在中国:与李麦子的对话
    • 2018 天津现场艺术创作邀请展
    • 2018 我都看过了
    • 2018法兰克福行为艺术节
    • 资本@艺术. 国际 2018
    • 感受即真实 -记忆与身份认同 2018-19
    • "景观”国际艺术交流展2019
    • 第7届Up-On 向上国际现场艺术节2019
    • 0界 移位 欧洲篇上
    • 共享的危机 2020
  • 文章
    • 共享的危机
    • 记忆与身份认同
    • 谁是玛丽·包麦斯特 (艺术国际版)
    • 信息资本主义时代的博伊斯
    • 秃头戈女 - 和吴味谈男权视野的局限
    • 访谈包麦斯特
    • 托尼•克拉格
    • 庸现与李勇政、 周斌对话。
    • 关于“西方主义”
    • 从 清洗 谈肖鲁对 颠覆 之 再颠覆_
    • 重要的不是秃头-再次回应吴味
    • 驳徐乔斯
    • 严肃的游戏: 对话李勇政
  • 媒体报道
    • 中国来鸿 纽约时报 狄狄
    • 凤凰艺术 : 策展人篇
    • 与画刊谈《博伊斯在中国》
    • 答复新京报记者李健亚
    • 《山花》杂志 2012 10月号访谈
  • 出版
    • 艺术家& 策展人简介
    • 《资本 @ 艺术· 国际》 >
      • 数字时代的资本@艺术
      • 从政治批判到精神拥抱
      • 直觉就是现实
      • “托斯”在行动
      • 至少疼痛还是真实的
      • 感受即真实
      • 金钱就是时间
    • 秃头戈女画册 >
      • 作者译者简介
      • 秃头女性艺术宣言
      • 秃头戈女序
      • 李心沫:一个中国批判现实主义艺术的先锋艺术家
      • 重释肖鲁
      • 艺术视觉与真诚 蓝镜
      • 女性身体艺术的承担与实践
      • 女性身体艺术的承担与实践
      • 中国玻璃眼球 中文版
      • 东西方女权运动的思考
      • 中国女权运动与女性艺术发展历程
  • 联系
  • HOME
  • ABOUT
  • PROJECTS
    • Bald Girls Iberia Center 2012
    • Bald Girls A Door 2013
    • Made in China 2013
    • Beuys in China 2013
    • Bald Girls Timelag 2013
    • Femme Totale 2014
    • Bald Girls meet Fluxus 2014
    • Bald Girls Pink Solution 2014
    • Bald Girls Nanjing Forum 2014
    • Fluxus Nanjing 2014
    • Li Xinmo Excluded 2015
    • Performance Day 2015
    • Performance Day 2016
    • Performance Day 2017
    • Art Tour Live Tour 3 / Join us to Kassel 2017
    • Feminist Activism in China: In Conversation with Li Maizi 2017
    • Tianjin Live Art Exhibition 2018
    • Denn ich habe schon alles schon gesehen Frankfurt 2018
    • Performance Day Frankfurt 2018
    • Capital @Art. International Frankfurt 2018
    • Feelings as Facts - Memory as Identity Tianjin China 2018-2019
    • Spectacle International Art Exchange Jiangxi China 2019
    • The 7th UP-ON International Live Art Festival 2019
    • 0 Edge Shift Europe A 2020
    • Sharing Crisis 2020
  • ARTICLES
    • Sharing Crisis
    • A Very Serious Game
    • Bald Girls
    • Who is Mary Bauermeister?
    • Iberia Art Center
    • Time Travel to Fluxus
    • Memory as Iidentity
    • We are the Revolution
    • Capital in the Digital Age @ Art
    • Money Is Time
    • Operation Thanatos in Action
    • Memory as Identity
    • From Political Critique to Spiritual Embrace
    • Perception is Reality
    • At Least the Pain is Real
  • PRESS
    • New York Times
    • F.A.Z.
    • Global Times
    • ML Art Source
  • PUBLICATIONS
  • Catalogue Bald Girls
    • Introduction
    • Declaration
    • Preface
    • Li Xinmo
    • Xiao Lu
    • Lan Jiny
    • Female Performance Art
    • History of Feminism
    • Feminist Movement and Feminist Art in East and West
  • Catalogue Capital@Art. Int.
    • Artists and curator
    • Preface
    • From Political Critique to Spiritual Embrace
    • Perception is Reality
    • Operation Thanatos in Action
    • At Least the Pain is Real
    • Money Is Time
    • Feelings As Facts
  • CONTACT
  • 关于庸现
  • 展览
    • 秃头戈女- 北京伊比利亚
    • 秃头戈女 - 一个门
    • 中国制造
    • 社会雕塑 - 博伊斯在中国
    • 秃头戈女- 时差
    • 红颜女强 –从杨贵妃到“秃头戈女”
    • 油烟才女 - 秃头戈女 遇见激浪
    • 秃头戈女- 桃色策略
    • 秃头戈女- 南京论坛
    • 激浪时间
    • 排斥
    • 2015威斯巴登行为艺术节
    • 2016威斯巴登行为艺术节
    • 2017威斯巴登行为艺术节
    • 第三届现场艺术巡展參展: 谁要同去卡塞尔?
    • 女权行动在中国:与李麦子的对话
    • 2018 天津现场艺术创作邀请展
    • 2018 我都看过了
    • 2018法兰克福行为艺术节
    • 资本@艺术. 国际 2018
    • 感受即真实 -记忆与身份认同 2018-19
    • "景观”国际艺术交流展2019
    • 第7届Up-On 向上国际现场艺术节2019
    • 0界 移位 欧洲篇上
    • 共享的危机 2020
  • 文章
    • 共享的危机
    • 记忆与身份认同
    • 谁是玛丽·包麦斯特 (艺术国际版)
    • 信息资本主义时代的博伊斯
    • 秃头戈女 - 和吴味谈男权视野的局限
    • 访谈包麦斯特
    • 托尼•克拉格
    • 庸现与李勇政、 周斌对话。
    • 关于“西方主义”
    • 从 清洗 谈肖鲁对 颠覆 之 再颠覆_
    • 重要的不是秃头-再次回应吴味
    • 驳徐乔斯
    • 严肃的游戏: 对话李勇政
  • 媒体报道
    • 中国来鸿 纽约时报 狄狄
    • 凤凰艺术 : 策展人篇
    • 与画刊谈《博伊斯在中国》
    • 答复新京报记者李健亚
    • 《山花》杂志 2012 10月号访谈
  • 出版
    • 艺术家& 策展人简介
    • 《资本 @ 艺术· 国际》 >
      • 数字时代的资本@艺术
      • 从政治批判到精神拥抱
      • 直觉就是现实
      • “托斯”在行动
      • 至少疼痛还是真实的
      • 感受即真实
      • 金钱就是时间
    • 秃头戈女画册 >
      • 作者译者简介
      • 秃头女性艺术宣言
      • 秃头戈女序
      • 李心沫:一个中国批判现实主义艺术的先锋艺术家
      • 重释肖鲁
      • 艺术视觉与真诚 蓝镜
      • 女性身体艺术的承担与实践
      • 女性身体艺术的承担与实践
      • 中国玻璃眼球 中文版
      • 东西方女权运动的思考
      • 中国女权运动与女性艺术发展历程
  • 联系

BALD GIRLS    "PINK SOLUTION"    FUNDACIÓN LIA BOGOTÁ

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"PINK SOLUTION" - AN UNUSUAL TITLE. WHAT IS IT?

 Pink, actually magenta, is the brand of a group of Chinese feminist artists called "Bald Girls”, i.e., Xiao Lu, Jiny Lan and Li Xinmo, who  presented their art works at  Iberia Art Center in 798 Beijing under the title “Bald Girls”, which has incidentally become the collective name of this art group.

 “Bald Girls” was a provocation with the use of various art media. Their artworks are related to the complex female role, both outside and inside the family, as seen from cultural, social and psychological perspectives, and they depict how women are forced to deal with changing society and its social consequences.

 Feminist art is not a phenomenon unique to the West in the 1960/70s-it can be founded in every decade in the past 40 years and in most countries where an international profile for contemporary art has been developed. 40 years later, it happened also in China in 2012.  “Bald Girls” continued their battle in 2013 in Beijing with international artists and new art language, which was manifest in cross-boarder art at Zajia.

 2014 is a special year for the first Chinese feminist art group.  It is now the third year and “Bald Girls” has already made some domestic experiences of exhibitions.  Looking for new challenges, it has embarked on a dialogue tour with artists from all around the world.  The tour will involve three continents: Europe, South America and Asia, offering three different cultural discourses. Finishing the "Bald Girls - Timelag”, an independent part of the " Single Mom" exhibition at the Women's Museum in Bonn,  "Bald Girls" is now ready for the exhibition in Bogotá, Colombia -  “Pink Solution”.

 Why does “Bald Girls” choose such stereotypical “soft”, ”feminine" pink color? “Bald Girls” stands for soft femininity with strong political statement and rebel against the existing social convention at the same time. Mingling on important social issue, they try to find a different solution to the male method: “pink solution".

 Not only “Bald Girls” from China, but also three artists from three different South American countries join in the special transcultural dialogue: the Guatemalans artist, Regina José Glindo, and the Colombian artist, Sandra Miranda Pattin and the Argentinian artist, Sol Storni.

 Belonging to the economically fast developing regions, both China and Latin America have bitter semi-colonial or colonial past but different cultural consensus and religions: post-communism and post - colonialism vs Confucianism and Catholicism.

 “Pink Solution” shows primarily actual art works on these two continents.

Concentrating on the theme, the exhibition will show a wall painting by Li Xinmo, “Pink Solution - Living without violence “, and a performance work with Japanese artist in 2009 called "The place where ethnicity and politics vanish”.  As everyone knows, Japan invaded China during World War II and caused enormous suffering and trauma in China. Both countries have currently a very strained relationship.  In this work, Li Xinmo explores issues of ethnicity and identity and tries to overcome the nationalism against Japan.

 The Chinese artist Jiny Lan, who lives for most of the time in Germany, reflects that the discrimination against the female system in China is rooted in the bloodline that is overstressed in the Confucian tradition.  Jiny Lan has created in 2014 a series of works that not only address the misguided traditional thinking, but also provide a constructive proposal to solve the problem.

As the first exchange between South America and China in such form, “Pink Solution” is going to show some classic art works by two important artists from both cultures. On one side, there is the Chinese artist Xiao Lu.  In 1989, prior to the Tiananmen Square Protests, she shot at her artwork "Dialogue" at the opening of the first contemporary art exhibition at the Chinese National Art Museum. This was broadcast worldwide, making this act a symbol of the Chinese democracy movement.

 On another side, there is the Guatemalan artist Regina José Galindo.  Her performance "Who can deny these Traces? " in 1999 was a protest against the participation of the former dictator in the presidential elections. It became one of the most sensational art events, providing South American female artists with a unique opportunity to air their views and even to influence social and political causes. At the same time she is going to show her classic works and recent video work “Alud” where her body is covered with mud and people driven by an empathy start cleaning it and “Suelo común” regarding the unidentified bodies on what is called the common tombs and that are a found in her country and many others in Latin America

 The Argentinian artist Sol Storni considers in her works “Corazón a la deriva” and ” Trapitos” the relationship between gender and genre as well as women artists as producers of images in contrast to the image of woman in the works on the walls. They are about images of women, specially their faces or bodies works or woman’s creative production.

 "Corazon a la deriva" is an itinerary action done where for 7 days the artist walk through the city and asks people to listen to their heart beats with the stethoscope, a dialogue is created by stoping people and forced them to be conscious of their being alive, the artist then responses to the dialogue by drawing something on the floor as a "shadow" of the person, like a prove of that person's life and projection on the space. 

 Trapitos al Sol is a work where many people participated, it speaks about abuse to women in it's various ways, the physical and the physiological one and how by making it public through art it can be healed and transformed.

Interventions of each person are done on white women underwear.

As Colombia-born artist Sandra‘s installation ”Credere” has experienced violence by own place and reflects the vulnerability of the country suffering violence. She builds a 488 floor made of beeswax tiles, being back from abroad involved looking at a country that was being rebuilt after an era of violence that had forced many people to lose their faith and to leave the country. Violence has left an indelible mark that is still very visible in people but it has been slowly replaced by  progress and hope.

 Finally, there is a joint performance by the artists from both continents who will try to present their unique “pink solution”, actually an epiphany of this exhibition.

" Bald Girls - Pink Solution " is truly a cultural dialogue  that  aims to build with three local artists a new peaceful “ Pink World”, a world without suppression and violence.

 26.05.2014

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