Challenges for China at Venice show
By Wang Jie |
April 14, 2013, Sunday
|
Print Edition
Print Edition
WANG Chunchen, the curator of the China Pavilion at the upcoming Venice Biennale, studied English language and literature because his artist father warned him that he wouldn't be able to make a living in art.
"Never try to be a painter because you cannot earn the bread to feed yourself," he recalled his traditional ink-wash painter father telling the young would-be artist. "My father knew all the pain and suffering of not being successful and he didn't want me to choose the same road he did," Wang told Shanghai Daily in a recent interview before he left for Venice.
Those studies in English and Western art and literature paid off when China's Ministry of Culture announced his appointment as curator in February. It also cited his extensive knowledge of contemporary Chinese art, impressive body of writings and translations and important curatorial work.
The 49-year-old academic was not widely known when he was appointed.
The 55th Venice Biennale is titled "The Encyclopedic Palace." The prestigious exhibition of international contemporary art runs from June 1 to November 24. Wang chose the theme "Transfiguration," referring to transformations in Chinese contemporary art and thinking, the transformation of life to art, of non-art to art and continual renewal.
He also chose the seven exhibiting artists - two of them working in video, others in photography, installation and painting. They are video artists He Yunchang and Hu Yaolin. The others are Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong and Zhang Xiaotao. His choices were dictated by the large, peculiar space of the China Pavilion, a former shipbuilding workshop filled with rusted tanks. There's not much white wall space.
Wang is head of the Department of Curatorial Research of China Academy of Fine Art Museum at the China Central Academy of Fine Arts in Beijing. He is also Beijing-based adjunct curator of The Eli and Edythe Broad Art Museum of Michigan State University. The Hebei native majored in English language and literature at Hebei University.
This is the fifth time China has participated and in the past years, critics have said the quality of art was low and there was poor communication between curator and artists.
"Those negative voices are good, since they try to support art in an active way," Wang said.
Q: Why did you pursue art after graduating in English?
A: After graduation I worked in a factory as a technical translator. It was very boring, so I quit and taught English at university. But my heart was always in art. I took a year's refresher course at the China Central Academy of Fine Arts, leaving everything behind. I later got a postgraduate degree there, but I didn't have an art job after graduation. I worked in Shenzhen, then returned to the academy for my doctorate.
Q: How did you react to your selection as curator?
A: When I wrote the proposal (on "Transfiguration"), I didn't expect to be selected. When I heard the news I was nervous, a little excited and worried. As you know, it's easier to write something than to implement something.
Q: What inspired the theme of "Transfiguration?"
A: From art history, we know "transfiguration" was first related to Christian religion. But today it refers to the transformation of items both in life and art. "Encyclopedic Palace" is a term proposed by a little-known Italian artist after World War II; it's a utopian concept calling for tolerance for various civilizations and knowledge, which fits with "transfiguration." China has witnessed dramatic changes in past decades and everything is changing. "Transfiguration" is the perfect word to mirror it. At first I couldn't find the right Chinese translation. Then I thought of "bian wei" (taste is changing), which many consider perfect.
Q: What's the biggest challenge at the the China Pavilion?
A: The venue is a bit tough for any curator. It has 42 oil tanks, cubes and cylinders, scattered around 800 square meters. Each tank is 3 to 4 meters high. They are around 100 years old and considered antiques. Because of the tanks, the lighting is terrible and exhibition space is limited. So I thought of video projection, works from artists that both represent new media trends and resolve the lighting problem. I recently heard the tanks would be removed. I don't know when.
Q: Did English help your career?
A: Of course, especially in international projects. Communication skills with Westerners is one plus, but for me, the immediate approach to the contemporary art world is more important. I read many magazines and books on art in English, including the latest information and trends. If these had to be translated into Chinese for me, then I would be one step behind the others.
"Never try to be a painter because you cannot earn the bread to feed yourself," he recalled his traditional ink-wash painter father telling the young would-be artist. "My father knew all the pain and suffering of not being successful and he didn't want me to choose the same road he did," Wang told Shanghai Daily in a recent interview before he left for Venice.
Those studies in English and Western art and literature paid off when China's Ministry of Culture announced his appointment as curator in February. It also cited his extensive knowledge of contemporary Chinese art, impressive body of writings and translations and important curatorial work.
The 49-year-old academic was not widely known when he was appointed.
The 55th Venice Biennale is titled "The Encyclopedic Palace." The prestigious exhibition of international contemporary art runs from June 1 to November 24. Wang chose the theme "Transfiguration," referring to transformations in Chinese contemporary art and thinking, the transformation of life to art, of non-art to art and continual renewal.
He also chose the seven exhibiting artists - two of them working in video, others in photography, installation and painting. They are video artists He Yunchang and Hu Yaolin. The others are Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong and Zhang Xiaotao. His choices were dictated by the large, peculiar space of the China Pavilion, a former shipbuilding workshop filled with rusted tanks. There's not much white wall space.
Wang is head of the Department of Curatorial Research of China Academy of Fine Art Museum at the China Central Academy of Fine Arts in Beijing. He is also Beijing-based adjunct curator of The Eli and Edythe Broad Art Museum of Michigan State University. The Hebei native majored in English language and literature at Hebei University.
This is the fifth time China has participated and in the past years, critics have said the quality of art was low and there was poor communication between curator and artists.
"Those negative voices are good, since they try to support art in an active way," Wang said.
Q: Why did you pursue art after graduating in English?
A: After graduation I worked in a factory as a technical translator. It was very boring, so I quit and taught English at university. But my heart was always in art. I took a year's refresher course at the China Central Academy of Fine Arts, leaving everything behind. I later got a postgraduate degree there, but I didn't have an art job after graduation. I worked in Shenzhen, then returned to the academy for my doctorate.
Q: How did you react to your selection as curator?
A: When I wrote the proposal (on "Transfiguration"), I didn't expect to be selected. When I heard the news I was nervous, a little excited and worried. As you know, it's easier to write something than to implement something.
Q: What inspired the theme of "Transfiguration?"
A: From art history, we know "transfiguration" was first related to Christian religion. But today it refers to the transformation of items both in life and art. "Encyclopedic Palace" is a term proposed by a little-known Italian artist after World War II; it's a utopian concept calling for tolerance for various civilizations and knowledge, which fits with "transfiguration." China has witnessed dramatic changes in past decades and everything is changing. "Transfiguration" is the perfect word to mirror it. At first I couldn't find the right Chinese translation. Then I thought of "bian wei" (taste is changing), which many consider perfect.
Q: What's the biggest challenge at the the China Pavilion?
A: The venue is a bit tough for any curator. It has 42 oil tanks, cubes and cylinders, scattered around 800 square meters. Each tank is 3 to 4 meters high. They are around 100 years old and considered antiques. Because of the tanks, the lighting is terrible and exhibition space is limited. So I thought of video projection, works from artists that both represent new media trends and resolve the lighting problem. I recently heard the tanks would be removed. I don't know when.
Q: Did English help your career?
A: Of course, especially in international projects. Communication skills with Westerners is one plus, but for me, the immediate approach to the contemporary art world is more important. I read many magazines and books on art in English, including the latest information and trends. If these had to be translated into Chinese for me, then I would be one step behind the others.
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