{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-572d6a42.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-f4d0de30.css\" media=\"all\" /\u003e\n\u003cdiv data-title='ENTERTAINMENT WEEKLY: CHINESE ART AT BIENNALLE' data-url='/boclips/videos/5c54c1d6d8eafeecae15533a' data-video-url='/boclips/videos/5c54c1d6d8eafeecae15533a' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nENTERTAINMENT WEEKLY: CHINESE ART AT BIENNALLE\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eMandarin/Nat          CHINESE ARTISTS SHOW OFF THEIR WARESDATE : JUNE 10 + 11th '99One of the dominant themes of this year's Venice Biennale is New Chinese Art. Nearly twenty different Chinese artists have been  invited to show off their...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eMandarin/Nat          CHINESE ARTISTS SHOW OFF THEIR WARES\u003cbr/\u003eDATE : JUNE 10 + 11th '99\u003cbr/\u003eOne of the dominant themes of this year's Venice Biennale is New Chinese Art. Nearly twenty different Chinese artists have been  invited to show off their work in and around the extended exhibition spaces of the Biennale.. \u003cbr/\u003eDemystification has been an important component of China’s modernization project throughout the twentieth century.  Under the slogan of pochu mixin (literally to destroy and eradicate superstitions), generations of reformers and revolutionaries challenged old conventions and dogmas in Chinese culture and thought; they believed that only through such housecleaning could new social and political ideals be realized in China.   \u003cbr/\u003eThe initial appeal of the Communist Party to a majority of Chinese owed much to this revolutionary approach. But after taking over the country in 1949, the party itself became the major source of dogmas and superstitions. Its political ideals demanded believing and submission and its leaders increasingly detached themselves from reality and turned themselves into political idols. This mystification process reached its zenith during the Cultural Revolution, when Mao Zedong was made into a god and his words into religious doctrines, worshipped and memorized by millions of Chinese unified by faith and loyalty.   \u003cbr/\u003eThis background explains why demystification became such an urgent task to a new generation of reformers and revolutionaries after the Cultural Revolution. In China’s art world, demystification has been a continuous process in experimental art since the late 1970s, where it has developed into a major strategy of isolating, emptying, and recycling canonical signs and images, often even sacred political symbols. These include, among others, images of Mao (sacred icons in the PRC), Tiananmen and Tiananmen Square (the most sacred place in the PRC), the Great Wall (the national symbol of China), and, on a deeper level, the Chinese written language, which has facilitated both classical writings and Communist propaganda. \u003cbr/\u003eFrom the late 1970s to mid-1990s, young artists systematically fragmented the visual language of the Cultural Revolution by extracting individual symbols from their original context, distorting them for formalist or ideological reasons, and mixing them with signs derived from heterogeneous sources (such as commercial advertisements or images from Chinese folk art). Such practices became so common in Chinese art in the early and mid-nineties that they transcend the differences between individual artistic trends taking place at the time, such as political pop, cynical realism, or critical symbolism. At the same time, as such works were increasingly created for foreign and overseas Chinese collectors, they were detached from the local Chinese reality, becoming increasingly image plays staged for a non-Chinese audience. \u003cbr/\u003eBut genuine effort to demystify the official visual language and symbolism (which is still all-powerful in China) also has continued since the mid-nineties. While political pop and cynical realism mainly satirize a bygone political culture, works today often address contemporary issues in Chinese society from an individual’s point of view. One such issue concerns the relationship between the past and the present. \u003cbr/\u003eA striking aspect of Chinese cities over the past five years has been a never-ending destruction and construction: a forest of cranes and scaffolding, the roaring sound of bulldozers, the dust and mud. Old houses are coming down everyday to make room for new commercial buildings, often glittering high-rises in the so-called Chinese postmodern style. Thousands of people have been relocated from the inner city to the outskirts by official decree. These conditions imply changing conceptions of temporality and spatiality and supply both the context and the content of  works by other artists.\u003cbr/\u003eInstead of inspiring melancholy and poetic lamentation, these images, including images of wars, the Cultural Revolution, and large-scale demolitions of traditional cities, evoke pain and terror.\u003cbr/\u003eFor many years Chinese artists have been schooled to inject deep meaning into their works. They have been told that they should investigate the essence of the phenomenal world and should only employ their brushes to paint images that convey social commentaries. This teaching has influenced generations of artists, including some experimental artists, Others have firmly rejected it. \u003cbr/\u003eDuring the autumn and winter of 1998, New York city was witness to a heavy flurry of Chinese contemporary art.  Driven by Asia Society's INSIDE/OUT: NEW CHINESE ART exhibition, smaller China showings helped to line the fabric of NY's fall season.  Then, in October, the Museum of Modern Art in NY presented their recent acquisition of a video piece by one of China's leading artists, ZHANG PEILI.  This marked the first occasion that a mainland Chinese artist had exhibited, much less had a work purchased by MoMA.  Zhang's work registered a significant step in the current transitional relationship between Chinese artists and the global art world.   \u003cbr/\u003eBeijing based artists showing off their work in Venice include  YANG SHAOBIN,  MA LIUMING, WANG XINGWEI, FANG LIJUN, WANG JIN, ZHUANG HUI and ZHAO BANDI. Shanghai artists include ZHOU TIEHAI. \u003cbr/\u003eQUI SHIHUA lives and works in Shenzhen and Zhang Peili lives and works in Hangzhou. \u003cbr/\u003eWang Xingwei studied at the Shenyang Normal University, Fine Art Department and then taught at a High School in Shenyang. In 1991he became a free artist in Haicheng before moving to Beijing. He has exhibited in Munich, Edinburgh, Basel, Tokyo, Lyon, Amsterdam, and the Guggenheim Art Museum, Bilbao, Spain.  \u003cbr/\u003eXIE NANXING was born in Chongqing. In 1993 he graduated from Sichaun Art Academy, Printing Department. He now lives and works in Chengdu \u003cbr/\u003eHe has previously exhibited in Chonqing, Hong Kong, Chengdu and Amsterdam.\u003cbr/\u003e\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='action-container flex justify-between'\u003e\n\u003cbutton aria-expanded='false' aria-label='Read more description' class='rp-full-description' type='button'\u003e\n\u003ci class='fai fa-solid fa-align-left'\u003e\u003c/i\u003e\n\u003cspan id='read_more'\u003eRead More\u003c/span\u003e\n\u003c/button\u003e\n\u003cdiv class='rp-report'\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv aria-labelledby='resource-details-heading' class='rp-info-section'\u003e\n\u003ch2 class='title' id='resource-details-heading'\u003eResource Details\u003c/h2\u003e\n\u003cdiv class='rp-resource-details clearfix'\u003e\n\u003cdiv class='detail'\u003e\n\u003cdl\u003e\n\u003cdt\u003eCurator Rating\u003c/dt\u003e\n\u003cdd\u003e\u003cspan class=\"star-rating\" aria-label=\"3.5 out of 5 stars\" role=\"img\"\u003e\u003ci 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class='detail'\u003e\n\u003cdl\u003e\n\u003cdt\u003eDate\u003c/dt\u003e\n\u003cdd\u003e1999\u003c/dd\u003e\n\u003c/dl\u003e\n\u003c/div\u003e\n\u003cdiv class='detail'\u003e\n\u003cdl\u003e\n\u003ci aria-hidden='true' class='fai fa-solid fa-language'\u003e\u003c/i\u003e\n\n\u003c/dl\u003e\n\u003c/div\u003e\n\u003cdiv class='detail'\u003e\n\u003cdl\u003e\n\u003cdt\u003eAudiences\u003c/dt\u003e\u003cdd\u003e\u003cspan\u003e\u003ca href=\"/search?audience_ids%5B%5D=371079\u0026amp;grade_ids%5B%5D=259\u0026amp;search_tab_id=1\"\u003eFor Teacher Use\u003c/a\u003e\u003c/span\u003e\u003c/dd\u003e\u003cdd class=\"text-muted\"\u003e\u003ci class=\"fa-solid fa-lock mr5\"\u003e\u003c/i\u003e2 more...\u003c/dd\u003e\n\u003c/dl\u003e\n\u003c/div\u003e\n\u003cdiv class='detail'\u003e\n\u003cdl\u003e\n\n\u003c/dl\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv aria-labelledby='concepts-heading' class='rp-info-section'\u003e\n\u003ch2 class='title' id='concepts-heading'\u003eConcepts\u003c/h2\u003e\n\u003cdiv class='clearfix'\u003e\n\u003cdiv class='details-list concepts' data-identifier='Boclips::VideoDecorator' data-type='concepts'\u003ebeijing, art museums, china, east asia, mao zedong, museums, asia\u003c/div\u003e\n\u003cdiv class='concepts-toggle-buttons' data-identifier='Boclips::VideoDecorator'\u003e\n\u003cbutton aria-expanded='false' class='more btn-link' type='button'\u003e\n\u003cspan\u003eShow More\u003c/span\u003e\n\u003ci aria-hidden='true' class='fa-solid fa-caret-down ml5'\u003e\u003c/i\u003e\n\u003c/button\u003e\n\u003cbutton aria-expanded='true' class='less btn-link' style='display: none;' type='button'\u003e\n\u003cspan\u003eShow Less\u003c/span\u003e\n\u003ci aria-hidden='true' class='fa-solid fa-caret-up ml5'\u003e\u003c/i\u003e\n\u003c/button\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv aria-labelledby='additional-tags-heading' class='rp-info-section'\u003e\n\u003ch2 class='title' 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