JUAN XU 庸现

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  • 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

HISTORY OF FEMINISM AND FEMINIST ART IN CHINA

BY LI XINMO


I. Early Days in Feminist Movement      

In the late 19th century, Kang Youwei, Liang Qichao and many other reformists, inspired by "natural right", attached great importance to women's liberation. In his Da Tongshu, Kang Youwei pointed out that men and women, though of different genders, are born with equal rights. Liang Qichao, advocating that women should receive education, opened with Jing Yuanshan Shanghai Girls' School, first of its kind run by a Chinese.  

In 1902, The Rights of Women, by Herbert Spencer, an English philosopher, sociologist and a social Darwinist, was introduced into China and John Stuart Mill's The Subjection of Women was translated into Chinese. Western Feminism found its way into China.  

On August 20, 1905, Peking Women's Newspaper launched its first issue. It is the first women's newspaper in China. 

From 1904 to1908, Lv Bicheng became the first editor of a women's newspaper. To support women's liberation and promote women's education, she published a series of articles in Ta Kung Pao, including On Advocating the Purpose of Female Education, Advice to My Women Compatriots, Perseverance is Essential to  the Promotion of Women's Right, etc.

In September, 1904,Beiyang Women's School was founded  with Lv Bicheng as dean of studies. The school was renamed Beiyang Women's Normal School with Lv Bicheng as principal.

In the spring of 1907, Qiu Jin started Chinese Women's Newspaper in Shanghai.

On October 10, Wuchang Uprising (Xinhai Revolution) broke out. Sun Zhongshan praised women's valuable contribution to the democratic revolution in Promoting Women's Education in Our Newly Founded Country and  a letter.  Women's Council was founded to "spread political idea to women, to foster women's political awareness and to obtain suffrage".  

In March 1912, Tang Guoli advocated  starting a women's association, demanding "female suffrage". Sun Zhongshan gave them great support.  On March 16,  Chinese Women's Association was founded with Song Qingling as  honorary director, Zhang Mojun and Yang Jiwei director and vice director respectively, and Tang Guoli head of the Editing section.  Soon Shenzhou Women' School was founded where Tang Guoli taught and started Shenzhou Women's Newspaper, calling on women to learn, to be economically independent, to participate in politics and to demand equal rights with man.  

In March 1912, Sun Zhongshan, then provisional president, issued an order to abolish footbinding. 

In the early years of the republic, Sun Zhongshan ordered the Education Ministry to issue Interim Regulations on General Education and Curriculum Standards,  stating that elementary schools should be co-educational and attaching importance to girls' education.      

In 1920, Peking University started to enroll female auditors. 

In April 1929, over twenty female artists presented their works at The First National Exhibition of Fine Arts held by the Ministry of Education at Puyutang in Shanghai. In the following several decades  more and more female artists came onto the art scene in China,  such as Pan Yuliang, Cai Weilian, Fang Junbi, Sun Duoci, Guan Zilan, Qiu Ti, etc.  They were born of the women's liberation movement in China. 

After the CPC was founded in 1921, lots of women who believed in Marxism and followed the CPC became leaders in the party and women's movement took an active part in the struggle for Chinese liberation.  Their voice was gradually subdued and gradually trail off in the momentous anti-capitalist movement. 

 II. Feminism after the 1980s

After 1949, Chairman Mao's slogans, such as "men and women are the same" and "women can hold up half the sky", built women into an important force in socialist construction. 

From the 1960s to the 1970s, there was the second wave of Feminist Movement, with which feminist art grew, but China was almost ignorant of that due to the isolation policy in Cultural Revolution. 

In the late '80s and early '90s, the opening up policy gave top priority to the development of economy. As a result, the market economy changed people's life and ideas. The competition caused great imbalance between men and women. Books on feminism, like Simone de Beauvior’s The Second Sex, were gradually translated into Chinese. 

In 1981, Zhu Hong's Preface to Collected Works by American Women Writers was considered the first to introduce feminism in China. 

In early 1988,Betty Friedan's  The Feminine Mystique, translated  by Wu Yiyun, Ding Zhaoming and Lin Wuwei, was published by Jiangsu People's Publishing House. 

In February 1989, Chinese translation of Virginia Woolfe's A Room of One's Own was  published by Sanlian Bookstore.

In February 1989, Mary Eagleton’s Feminist Literary Criticism was published by Hunan Art and Literature Press.

In 1988, Women's Studies Series,  conducted by Li Xiaojiang,  came out. 

In 1989, Shang Hai Literature started a new column. i.e., Feminist Criticism, offering a forum for feminist criticism. 

In 1989, Meng Yue and Dai Jinhua's Growing out of History, one of Women's Studies Series, came out. 

From Nov. 23 to Nov. 26, 1992, the First Peking University International Women's Studies Conference  was held at Peking University. More than 7000 people, from China, America, Britain, Australia, Japan, Taiwan and many other regions and countries attended the conference, exchanging views mainly on four topics:  women in the opening up China, women and law, female fertility and health, and women and culture. 

In November 1994, the seminar Chinese Women and Chinese Traditional Culture was held  at Peking University, which provided a forum for how to understand and evaluate the strengths and weakness of Chinese tradition and its influence on women.

From May 16 to May 18, 1995, School of Law, Chinese Academy of Social Sciences organized an international conference on Women and Human Rights, aiming to protect women's rights by establishing and improving the legal system on the protection of women's rights and interests,   

On September 4, 1995, UN’s Fourth World Conference on Women was held in Beijing.  17,000 people attended the conference, including representatives from 197 countries and regions, 5 UN regional commissions and 16 UN organs and the Development Programme, 12 organs and organizations, observers from 26 inter-government organizations and non-government organizations. Beijing Declaration and Platform for Action were adopted. The conference appealed to the governments for the protection of women's rights and adopted the slogan“human rights are women's rights". 

From June 20 to June 22, 1995, the First International Seminar on Women and Literature was held at Peking University. It was jointly organized by  English Department, Peking University, World Literature Journal by Foreign languages Department, Chinese Academy of Social Sciences  and Free Forum of Literature of Tianjin Literary Federation.  Betty Friedan, a leader of American women's liberation movement attended the meeting and delivered a speech entitled "A Women 's Life". 

III Rise of Feminist Art in China 

In 1994, Jiangsu Periodical (Vol. 7) published Xu Hong's "call to arms", Out of the Abyss: My view on Feminist Criticism, which became a declaration of feminist art criticism. 

In 1995, Liao Wen’s Subversion in Silence and Sedition by Stealth: Feminist Pattern in Contemporary Chinese Art brought up the concept of "feminist pattern".

In May 1995, Liao Wen organized Exhibition of Feminist Pattern in Contemporary Chinese Art.

In March 1998, about 60 female artists presented their works at Century. Women, an exhibition curated by Jia Fangzhou at National Art Museum. With a male curator, this exhibition was obviously in a male perspective, therefore revealing some problems with feminist art in China.

In 1999, Liao Wen elaborated on "feminist pattern" in Women's Art: Feminism as a Pattern, pointing out that, as a cognitive approach to the study of women's art, it was included in every aspect of the discourse patterns in feminist art criticism. She got funds for a research program form Asian Cultural Council, which enabled her to interview some influential female curators and artists in America. The interview was later developed into No More Nice Girls: Interviews with American Feminist Artists. This book offered reliable reference to Feminist art in the West by giving an introduction to these artists in the form of dialogue. 

In 1989, Xiao Lu fired two shots at her installation Dialogue at the First National Modern Art Exhibition held at China Art Museum, marking the beginning of feminist art in China. 

Since then feminist artists have gradually entered the art scene in China, contributing to the history of art a lot of brilliant artists like He Chengyao, Chen Lingyang, Xiang Jing, Cui Xiuwen and many others.