Abstract
Chapter 5 explores how the Shanghai Art Museum a pivotal art institution played a role in contemporary Chinese art. It analyses the dynamism of a public art institution under a bureaucratic structure and demonstrates the contributions made by individuals who engaged with the local avant-garde art scene in the 1980s as art administrators within the organisation. A number of critical exhibitions will be highlighted to demonstrate the significant changes in museum practices that started to take place at the Shanghai Art Museum during this period and how the spirit of individualism has been transmitted through its exhibitions. The examination shows that there has been a lack of adequate study on the role the Shanghai Art Museum played in the development of contemporary Chinese art and art museums in the 1980s, and it has been overlooked in the art discourse in China and internationally. The evidence presented that the Shanghai Art Museum was a forerunner among Chinese art museums in engaging with avant-garde art in China in the 1980s.
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Notes
- 1.
From the discussions related to this subject in international literature, see Andrews (1994), Andrews and Shen (2012), Barmé (1999), Barmé and Minford (1986), Clark (2010), Gladston (2014), Link ed. (1984), Silbergeld and Gong (1993).
- 2.
The most notable writings in this regard from mainland China, see Cao, Yiqiang (2007), Cao Yiqiang (2008), Lin, Zao (2016), Li, Wanwan (2016), Lu, Hong (2014), Lü, Peng (2006), Yu, Ding (2010).
- 3.
See in Chen, Danqing (2010), Galikowski (1998, pp. 9–14), Gao, Minglu et al. (2008, p. 46), Köppel-Yang (2003, pp. 43, 44).
- 4.
See Link (1984), Andrews (1994), Köppel-Yang (2003).
- 5.
Andrews (1994, p. 4).
- 6.
See in Galikowski (1998, pp. 176–180), Köppel-Yang (2003, pp. 40–44).
- 7.
See in Galikowski (1998, pp. 3–6).
- 8.
Köppel-Yang (2003, pp. 40, 41).
- 9.
See Appendix. These diagrams are drawn from my extensive research and collection of materials on historical records from governmental organisations websites, Office of Shanghai Chronicles website, as well as my own experience and first-hand knowledge working in an art institution (SAM) during the 1980s.
- 10.
The terms liberal-minded and open-minded used in this thesis refers to people in the Party and the official system who were open to or tolerant of new ideas.
- 11.
See Sullivan (1996), Xu, Hong (2005, pp. 340–348). I have witnessed these changes during my time living in China.
- 12.
Erjavec ed. (2003, pp. 13, 44). The contributors to this publication included Ales Erjavec, Martin Jay, Boris Groys, Misko Suvakovic, Peter Gyorgy, Gerardo Mosquera, and Gao Minglu.
- 13.
There have been substantial academic studies conducted in this area since the late 1980s, for examples, see Elliott (1979), Groys (1992), Groys (2008), to list a few.
- 14.
See Clark (2014), Gladston (2013).
- 15.
Hou Hanru (2002, p. 24).
- 16.
Ibid.
- 17.
Wu, Hung (2010, pp. 6–13).
- 18.
See in Gao, Minglu (2006).
- 19.
Beijing, however, is a unique case in that it is also a municipality with another city-level of art institutions under the central level.
- 20.
These include, for examples: Link (1984), Galikowski (1998), Xu, Hong (2005), Li, Wanwan (2016), Lin, Zao (2016).
- 21.
See The First NCRMWC (1956, p. 9). See also in Cao, Yiqiang (2008), Lin, Zao (2016).
- 22.
See related discussion in Turner (2002, pp. 13–18).
- 23.
See Cao, Yiqiang (2008), Li, Wanwan (2016).
- 24.
See Li, Wanwan (2016), Peng, Lai and Lu, Huan (2006).
- 25.
See in Yu, Ding (2010, p. 101) and Lin, Zao (2016, pp. 61, 62).
- 26.
See Liu, Xilin ed. (1993) and Lin, Zao (2016, p. 62).
- 27.
Liu Xilin, ed. (1993–2005).
- 28.
See Wang, Huangsheng (2009).
- 29.
See Fang, Zengxian (2009), Zhang, Jianjun (2004).
- 30.
Fang Zengxian had never joined any political party (This is confirmed by an email from Fang’s son Fang Zihong).
- 31.
The Nationalist Party of China (Kuomintang) led by Chiang Kai-shek was the ruling party in mainland China until 1949.
- 32.
Fang, Zengxian (1997, p. 15).
- 33.
Under the “reform and opening-up” policy throughout the 1980s and 1990s, the new SAM building (1986) and its facilities quickly became outdated by the rapid progress of technologies and was unable to accommodate the growing demand for exhibitions and requirements for new technological facilities for various exhibitions. In 2000, SAM relocated into the renovated 1930s Shanghai Race Club building across the road. This time, the floor space of the new location reached 17,326 square metres. The Museum comprised 12 exhibition halls, with more than 5800 square metres instead of 2480 square metres of the total exhibiting area in the previous building. The updated technologies and facilities were capable of hosting various kinds of art exhibitions and relevant conferences and activities.
- 34.
There is a large volume of literature on Lu Xun available both inside and outside of China including Uchiyama and Nara 1985, Davies 2013. The Lu Xun Museums in Shanghai and Beijing provide comprehensive information and material collections on Lu Xun’s life and his contributions to modern Chinese literature, as well as conducting extensive research programmes. (See the museum’s website at http://www.luxunmuseum.com; http://www.luxunmuseum.com.cn/index.html)
- 35.
Fang, Zengxian (1988, pp. 1, 2).
- 36.
The first state-level art museum in China was called the National Art Exhibition Hall was founded in 1936 in Nanjing during the so-called “Nanjing decade” (1927–1937) in the Republic of China. The name was changed to the Jiangsu Provincial Art Museum in 1960.
- 37.
Fang, Zengxian (1997, p. 16).
- 38.
Ibid. (p. 15).
- 39.
Fang, Zengxian (2009). Interview by Lansheng Zhang. Audio recording.
- 40.
Chen Long is a well-known Shanghai artist. He worked in the traditional Chinese ink paintings with the modern style of Western art techniques in pushing the boundary of its traditional art form during the 1970s and 1980s.
- 41.
The previous SAEG also had a shopfront that could sell artworks of traditional Chinese paintings and calligraphy as well as arts and crafts items. After 1949 the art market was shut down and there were no private commercial art galleries and specialised art shops selling art. Artworks could only be sold at the designated museum and art exhibition gallery shops, and the state-run art shops such as the Friendship Stores, the Rongbaozhai Art Shop in Beijing, and the Duoyunxuan Art Shop in Shanghai. According to Zhang Jianjun, who had worked in the old collection unit of SAM, there was no registration of items held in the SAEG’s collection before its transformation to SAM. See Guo, Wen (2012).
- 42.
See Peng, Lai and Lu, Huan (2006).
- 43.
See Ma, Chuhua ed. (1997, p. 31).
- 44.
The recently established Long Museum in Shanghai is an important example of the scale in private collecting.
- 45.
See in Gao, Minglu et al. (2008, p. 211) The major art journal Meishu reported this First Shanghai Youth Art Exhibition that included Zhang Jianjun and Gu Wenda’s works. See in Gao, Minglu ed. (1986, pp. 2, 38–42, 59); Lu, Huan (2008).
- 46.
See Lane, Stephen (1987).
- 47.
This special edition journal engaged in the current discourse on nudity in art. Discussing and showing nudity in art in public had been prohibited under the CPC since the 1950s. The discussion was triggered by the exhibition of China First Human Body Oil Painting Grand Exhibition organised by a group of art lecturers from the CAFA. The exhibition consisted of 136 nude oil paintings and was shown in NAMOC in December 1988 and in the Shanghai Art Museum in February 1989. It drew over 220,000 visitors during the eighteen days of the exhibition in Beijing and 200,000 visitors during twenty-five days of the exhibition in Shanghai.
- 48.
For examples of their contributions, see Xu, Hong (2003), Li, Xu (2001).
- 49.
Those eight international exhibitions were: Shanghai Osaka Seal and Calligraphy Exhibition (November 1986), Images of Modern People in Soviet Plastic Art Exhibition (December 1986), Australian Youth Art from Armidale Region (March 1987), The Port Enterprise, City of Antwerp, Belgium (September 1987), Images of British urban and rural Exhibition (October 1987), Modern Japanese Calligraphy Exhibition (November 1987), Contemporary Art from New York Exhibition (December 1987), Shanghai-Osaka the Zeitgeist Photography Exhibition (December 1987). See Xu, Hong and Zhang, Lian ed. (1988, pp. 4, 5).
- 50.
I remember a popular public radio programme in Shanghai for teaching the Japanese language after the established diplomatic relations in 1972 and its popularity continued into the1980s. At this time in Shanghai, Japanese was more popular than learning English.
- 51.
See Chen, Long (2017), Wang, Zheng (2017).
- 52.
See Fang, Zengxian (1997, p. 18).
- 53.
See Hu, Jianjun and Tang Zheming (2009, pp. 32–35).
- 54.
Fang, Zengxian (1997, p. 15).
- 55.
Li, Xiaoshan (1985), “My View on the Contemporary Chinese Ink Painting”; Li, Xiaoshan (1985), “The doomsday of the (Traditional) Chinese painting”.
- 56.
Hu Jianjun and Tang Zheming (2009, p. 7).
- 57.
Jiang, Mei (2007).
- 58.
Due to Fang’s health, Li Xiangyang was appointed the executive director of SAM to assist Fang in 1993 and held that position until 2005.
- 59.
The period of Li Xiangyang’s executive directorship of SAM covers some significant art events and changes for the Museum. See Li, Xiangyang (2006).
- 60.
In 2000, SAM moved to the refurbished former Library Building until 2012 it moved again to the site of the Shanghai World Expo China Pavilion on the east side of the Huangpu River—Pudong.
- 61.
See Xu, Hong (2005, pp. 340–348).
- 62.
See in Ding, Xiyuan ed. (1986, p. 2).
- 63.
As all collections from state-owned museums are public assets, under special circumstances the government has the authority to transfer or to relocate collected works from one museum to another. This process is termed “government allocation” which Fang Zengxian referred in his address in the museum’s publication on the fortieth anniversary of SAM. (See in Fang, Zengxian 1997, p. 31; Ding, Xiyuan ed. 1986, p. 2.) To accompany this significant display, SAM produced an elaborate catalogue in both soft and hard cover with an Introduction by Director Fang.
- 64.
From my research, such a form of independent art exhibition making without any official representatives in the selection of exhibits at a state-owned art museum level was unprecedented in China since 1949.
- 65.
I have had conversations with the curatorial team members (except Du Ning) on this exhibition over the years and a formal audio recording interview including this topic with my former Shanghai Art Museum colleague Zhang Jianjun on 10 November 2004.
- 66.
Zhang, Jianjun (2004).
- 67.
As a young artist and designer affiliated with the local avant-garde artists at the time, I was invited by SAM to submit a design concept on a special invitation for the up-coming new building’s completion exhibition. Among many design concept submissions, mine was chosen for the official invitation to this important event.
- 68.
I visited SAM’s archive and library in May 2011. The only information I could find is the date and title of this exhibition in the archive.
- 69.
See in Xu, Hong and Zhang, Lian, eds. (1988).
- 70.
Berghuis (2006, p. 75).
- 71.
Ciric (2010, p. 182).
- 72.
This is not a presumptuous claim as one of the key organisers for the China Avant-Garde Exhibition Li Xianting, while not part of the process of making the exhibition, was a participant in The Last Supper performance. Li was on a research trip to Shanghai and other places for the preparation of the China Avant-Garde Exhibition. He knew the key artists, Li Shan and Zhang Jianjun, well and they invited him to join the performance.
- 73.
Fang, Zengxian (2000, p. V).
- 74.
Hou, Hanru (2000, pp. IIIV–IIIIV).
- 75.
Zhu, Qi (2001, pp. 252–258).
- 76.
See Xu, Hong (2001, pp. 18–20), Liu, Xiaochun (2001), He, Qing (2001), Wu, Hung (2001, pp. 42–49).
- 77.
I was invited as a special researcher to assist in organising the opening programme of the symposium.
- 78.
Zhang, Qing (2000, p. xvi).
- 79.
Lü, Peng (2008).
- 80.
In the exhibition catalogue article in 1993, Nicholas Jose analysed such political slogans from a historical perspective and demonstrated how they were reflected in contemporary Chinese art. See in Jose 1993, xxxviii.
- 81.
Caroline Turner noted: “[…] since 1980 [to 2002], the Shanghai Museum has sent over fifty exhibitions to sixteen countries in Asia, America, Europe and Oceania (Australia and New Zealand) and also held sixty art exhibitions in Shanghai from outside, including contemporary art from Europe and Australia.” Turner (2002, pp. 15, 16).
- 82.
The success of the Biennale in the internationalisation of contemporary Chinese art was widely reported in the media. For example, see Tung (2001), Wu, Hung ed. (2001), and Pi, Li (2001).
- 83.
In a joint news report, journalists Li Jian and Yang Zhanyi described: “Rivers of visitors flow in [to the Museum], many of them come especially from other places even overseas” [Li, Jian and Yang, Zhanyi (2001)].
- 84.
Hou, Hanru (2000, p. viii).
- 85.
Turner (2002, p. 18).
- 86.
Fang, Zengxian (2000, p. v).
- 87.
For further discussion on the fringe exhibitions during the Biennale see Ma, Qinzhong ed. (2002), Chen, Lüsheng (2003), Yang, Zhong (2001), Tang, Fengming (2001, pp. 27, 28), Merewether (2007), Ai, Weiwei and Feng, Boyi (2010, pp. 354, 355), Berghuis (2006, pp. 151, 152).
- 88.
Merewether (2007).
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Zhang, L. (2023). The Shanghai Art Museum—Bureaucratic System and Individual Influence (1979–1989). In: The Spirit of Individualism. Contemporary East Asian Visual Cultures, Societies and Politics. Palgrave Macmillan, Singapore. https://doi.org/10.1007/978-981-19-8653-6_5
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