Archive for the ‘Me’ Category

论文中的一段,回应宝贝老师的文章‘大国崛起’-关于文化殖民

Wednesday, March 14th, 2007

论文中的一段,回应宝贝老师的文章‘大国崛起’-关于文化殖民

Culture colonization the relationship between the colonizer and the colony

Having been very much inspired by Edward Said, Gandhi pointed out that ‘Postcoloniality, we might say, is just another name for the globalization of cultures and histories.’(Gandhi, 1998, p.126) As nineteenth-century colonization has faded from our memory of history, post-colonialists are well aware of a new kind of cross-cultural ‘postcoloniality’, which without hostilities, pillage and occupation but rather cultural, educational and spiritual influence implanted in contemporary society, which can be regarded as an invisible form of cultural imperialism. Regarding cultural imperialism, Ella Shohat and Robert Stam argue that,

… the third world always seems to lag behind, not only economically but culturally, condemned to a perpetual game of catch-up, in which it can only repeat on another register the history of the ‘advanced’ world. This system ignores the ‘systems theory’ that sees all the ‘worlds’ as coeval, interlinked, living the same historical moment (but under diverse modalities of subordination or domination). (Shohat and Stam, 2002, p.38)

They elaborate this point further, ‘ like the sociology of “modernisation” and the economics of “development,” the aesthetics of modernism (and postmodernism) often covertly assume a telos toward which “Third world” cultural practices are presumed to be evolving.’ (ibid.)

From Shohat and Stam’s point of view, the so-called ‘first world’ Modernisation system and its effects on other cultures should be questioned. It cannot be seen as an advanced goal, which the rest of the world (non-western countries) has to follow. The debate here will be centred on the concept that a Modernized ideal is not necessarily the same as a modern ideal. There is still a relationship of cultural colonization between the colonizer and colony.

The identity of Chinese contemporary art
I will now turn to Chinese contemporary art to show how colonization has affected its identity.

In China, there has been a dramatic increase in interest in contemporary art in the last 30 years. There is a question whether contemporary Chinese art is a replication of the western contemporary art or whether it has its own Chinese identity.

In relation to Chinese contemporary art practice, there seem to be three aspects of contemporary postcolonial thought which appear to have influenced it.

Establishing an international image and reputation
First, a growing body of Chinese contemporary art attempts to follow similar western patterns of establishing an international image and reputation. Accompanying the rapidly developed economy in the last thirty-years, there has been a realization of the influence of cultural colonization upon major cities in China such as Beijing, Shanghai and Guangzhou The thriving contemporary Chinese art scene has reflected some kinds of western art world ideologies, and many contemporary institutions such as Shanghai Art Museum have followed similar institutional traditions as Europe since the end of the 20th century. For instance, the Venice Biennale has successfully been held in Europe for more than 100-years. In recent years, the major cities in China such as Beijing, Guangzhou and Chongqing have all held art biennials, which the Chinese government has encouraged in order to attract attention from all over the world.

Who is more familiar with Chinese contemporary art
Secondly, it seems that the westerners are more familiar with Chinese contemporary art than the Chinese by looking at certain phenomena.
After searching and observing many Chinese art institutions and artists’ websites, one phenomenon is that their websites are generally translated into English. By looking at their biography in these websites, the exhibitions are held equally overseas and in China, or often they hold more international exhibitions than ones in their own country, places such as America, Japan and many countries in Europe.

Furthermore, there are foreign collectors, museums and galleries, many from the ‘first world’ especially America and Europe, who have been collecting numerous outstanding Chinese contemporary artworks in recent years. And this tendency is increasing every year, as there are more people from the art circle or even outside paying attention to Chinese contemporary art. For instance, many contemporary Chinese artworks can be found in the well-known Christies and Sotheby’s auctions today. Both of these companies established overseas offices in major cities of China. This might be because on the one hand, the Chinese art market is becoming increasingly popular; on the other hand, it has become another major resource for them. For example Sotheby’s in New York put Chinese contemporary art on the block as an individual sales category for the first time just one year ago (Richard Vine in Vine, 2007, p.50).

However, there are positives and negatives if Chinese contemporary art practice remains the same. The fact is that there are less Chinese people collecting contemporary art than westerners. The reason could be either people cannot afford these artworks (perhaps because these works are brought to the international market where western buyers are willing to pay a higher price than Chinese collectors) or even those who are wealthy have no intention of collecting contemporary art, owing to the fact they are not aware of its significance and value.

Another reason could be the absence of an aesthetical education of what is contemporary Chinese art by which I mean having a culture of aesthetic appreciation of contemporary art in general. This may be because of the lack of world-class museums in China and the major movement of Chinese artefacts to the west in the 19th century.

The well-known Chinese artist Chen Danqing reminds us that among what is preceived to be the best ten museums, such as the Berlin Museum in Germany, the Maya Museum in Mexico or the British Museum in the UK, there are none of in Asia which has the largest population in the world. (Chen, 2005, p.19) Without more local facilities, the next generation will have the same ‘destiny’ as the Chinese now.

They will also have to fly almost half the globe to visit places such as the British Museum to look at the art from their ancestors. So instead of permanently working individually, Chinese contemporary artists should encourage and help the government construct an aesthetical education system to collect contemporary art works in order to provide an artistic environment and also educate young generations. It will help change the sense of art of the nation. Chen Danqing says, art is visual culture, if we cannot perceive it originally, is just like deaf men talking about music. (Chen, 2005, p.18)

Sharing experience at the study centre

Friday, March 9th, 2007

Today, I was invited to attend an informal gathering at the study centre where I used to study English language and contemporary culture last year at Goldsmith College. It was nice to meet all the new faces and also my previous tutor and some of the course mates.

The purpose of today’s gathering was to share everyone’s experiences with language studies and academic life at the College. I gave a talk about my personal experience on my current course (postgraduate diploma on contemporary art history) and how I have been developing my English through these studies. I have been thinking maybe it is a good idea to analyze what I have shared with all the new students today, and post it in here as a piece of my personal archive.

Firstly, I talked about how useful summaries are in terms of engaging with new articles and texts. The best way of doing revision is to begin with a summary of all the key concepts that are introduced throughout the academic term. The aim of this is to help one revisit and refresh one’s memory with previous lectures or text materials. I proposed that a good starting point for revision would be to go over the readings again and to summarize them at the end. They help demonstrate theories in a more personalised way, giving one a better understanding of how these theories work in real life. In order to do better revision, one should also consider a broader overview of the academic framework in order to explain contemporary issues in a more interesting way. I suggested that one should not only memorize the context of books, but to also take the ideas from these books and apply them to reality (contemporary situations), in which I think the best way to do so, is to adept theories into a presentation. This is because, presentation is a way of retelling what one has been studying and to analyze one’s thinking at the same time. In doing so, I suggested that one should try to participate more in class and sharing opinions with each other.

I advised the new students to identify their own problems from which they can construct a personal study plan, which suits them best. In order to create an effective study environment, one should also have an ultimate aim to encourage oneself and also to deal with one’s own difficulties and issues. Finally, the most important thing is to be patient and relaxed about the processing of learning.

Understanding theory

Thursday, March 1st, 2007

Understanding theory

I question why I temporarily gave up art practise, and studied in art theory.

The aim of this journal is to emphasize what theory is and why studying theory is significant in culture and history studies. Theory is usually defined as explanations, and concepts organized together. Theories help analyze and uncover the veil of phenomena and events that occur in contemporary society.

The study of theory is both crucial and political. For instance, it can be a way ‘to oppose utilitarianism and anti-intellectualism of the government’s approach to education’. The idea is to encourage citizens to be more critical and aware of how the society is composed. According to Gramsci’s concept of the ‘organic intellectual’, everyone is an intellectual but not all possess the function of it. In other words, all men should not only have a role in the market but also be a critical and involved member in the society.

Theories do not exist for the sole purpose of being studied. They are studied because it stimulates critical thinking and because they relate to broader issues that are political, social and historical. Theories substantiated by our predecessors can be related to contemporary issues and thus support current day intellectuals as they speak to persuade the population.

Successful application of theory in one’s argument makes it more reasonable and harder to question and provides evidence of affinity with other academics. A clear understanding of theory can open one’s mind to the very essences of the subjects studied. In order to propose a new theory, one is required to take into account existing theory in order to be substantiated and eventually become persuasive.

回想2007除夕夜

Sunday, February 25th, 2007

转眼间,已经有10天没有留言了。人的一生中又有多少个10天可以轮回?

今年的春节,我又在伦敦度过。与去年不同的是我有了Ed(Ed是男友)。

可能是在外面过节的原因,邻近春节的日子里,我并没有觉得自己完全投入到了节日的气氛当中。倒是Ed的存在,让我第一次有了在家的感觉。我俩把彼此当做家人一样,别提多亲了。尤其是在上次正式拜访他父母之后,愈加亲切和体贴。我还是第一次被男朋友带回家呢!(虽然这么直接的说出来有点儿‘麻’,但这才真实嘛!)

大年三十,是在jeni召集的聚会上度过的。这也是Ed第一次参加华人的旧历年聚会。他还特意为自己新增了件红色体恤,来和大家一起红红火火过个年。他的认真和对来自我的文化的尊重更增进了我门的感情。

聚会上,包饺子,做游戏,大家尽情的说,笑,食,饮,拍照,祝福。jeni还特地身着大红旗袍,高挂大红灯笼,尽足了女主人的‘义务。’餐桌中央的各种甜点和瓜子更让人尝尽春节的味道. 值得一提的是stone手下的‘年年有余(鱼)’,和大家齐心协力下的‘天之骄(饺)子’。一桌地道的东北新春宴就这样‘凑合’成了,并在伦敦隆重推出。

虽然没有放鞭炮,没有拿红包,身边没有父母,耳边没有春节联欢晚会的嘈杂环绕。我还是尽情享受了2007年的春节。心怀对新的一年的憧憬和期待,我仿佛已经踏上了新的旅程。

最后,向jeni,sam,jana,goeff,susan,stone,ed致谢!

除夕夜留影

a love letter+ a red rose +a little poem

Wednesday, February 14th, 2007

凌晨, 当秒针刚刚跨过了2007年2月14日的大门。
我,身着睡衣,依赖在‘苹果’前,终于完成了上一篇稿子,关于是否应该把国宝归还给原属国。
身后,一只玫瑰悄悄的探出头来。
拥抱,我不由自主的扑向他的怀中。
一封情书,那是来自他传达给我情人节的另一份礼物。
信尾,一首诗舒展在淡蓝色的影线之间

My little poem, 是诗也是我。

my little poem, 我心中的小诗,
i brush gently against your joy, 我温馨地梳理你的喜悦,
i move my hand over your hair, 任随指尖在你长发间穿梭,
barely touching you, 时而接触,时而疏离,
shining in front of me. 闪耀在我面前。

my little poem, 我心中的小诗,
i will keep trying to find the words, 我会一直找寻那些为你臣服的发自我内心深处的言语,
for what i felt for you. 为你,为你。

傲慢与偏见

Saturday, February 10th, 2007

傲慢与偏见

80年代的人常常讲,花花世界太多诱惑了。花花世界这个词,好像很土啊!到底花花世界是什么?在那里?难道就是资本主义国家和社会吗?花花世界对于每一个人,都有不同的定义和解释。

习惯了城市的喧嚣和吵闹,已不觉得有任何特别的人,反而喜欢郊外淡淡的微风和稻草的清香。但那可能只是一时‘城里人’对现实社会的逃避。每一个住在伦敦的城里人可能都有同感。因为伦敦的魅力已经不仅仅在与方便和时尚。 对于一些人,伦敦是一个让人觉得压抑却又具有推动力变态工厂。

生活在这里的人,常常抱怨,常常愤怒,可与此同时,他们又以种种傲慢而沾沾自喜且心怀满足感。抱怨是因为,这里申请一个固定电话要等至少3个礼拜,开一个银行账户就需要你比等电话更有耐心。所以一些中文极为美妙的学子称’BT’(British Telephone line)为‘变态’。因为那是一种精神上的折磨。没有电话就意味着没有网络,那你就如人间蒸发了一样,会被以前的朋友骂到狗血喷头的。因为他们会说你到了london,人品也变得london了!意为you傲慢you偏见。因为你没有和他们及时联络啊!另一方面, 说道心怀满足感是因为,你常常被身边的小事而震惊。就好像当你发现原来一代宗师Freud竟在50年代的时候就读与与你现在同一间学校。那是一种欣喜,感觉完全不同与你在机场偶遇某个你早在少年时期为之疯狂的Super star。股子里,单纯的你变的虚伪了一点点儿。然后,更有可能告诉后来到伦敦又在为等点话线诉苦的人,说,‘嘿,这就是london啊!u should be proud!’

Ed says, ‘you are my little poem’.

Tuesday, February 6th, 2007

当Ed第一次对我说 ‘you are my little poem’, 我的心被深深的触动了。
当他给我这个‘布拉格’,鼓励我写英文记事,写感受,表达内心世界,分享学业与经历,纪录人生的点点滴滴,我命名这片天地为‘ a little poem’.

今天,晚餐后,当一切犹如以往一样安静,祥和。在我们对坐于mac开始工作前,他说,让我为你读首诗吧!

Love is encompassed…

Love is encompassed in my Lady’s eyes
Whence sheennobles all she looks upon.
Where e’er she walks, the gaze of everyone
She draws: in him she greets, such tremors rise,
All pale, he tures his face away, and sighs,
Reflecting on his failings, one by one,
Fleeing before her, wrath and pride are gone,
Come, ladies, sing with me her eulogies,
All gentleness and all humility
When she is heard to speak in hearts unfold,
And blessed is he by whom she first was seen.
When she a little smiles, her aspect then
No tongue can tell, no memory can hold,
So rare and strange a miracle is she.

这首诗写于1290,是但丁为Beatrice所作。同但丁一样,Beatrice 来自于佛罗伦萨,貌美绝伦的她年纪轻轻(24岁)就不幸去世了。在但丁的记忆里(从童年到成年),Beatrice 一直拥有完美的女性形象。Beatrice去世后,自然而然她的成为了但丁心中爱神的化身。但丁用诗歌,回味她,歌颂她,悼念她,同时一如既往的爱着她。

Enjoy every fresh morning!!!

Friday, February 2nd, 2007

361436852_e4a94f44ed_m.jpg 361437017_bf6297af24.jpg
This is our breakfast for spring term – fruits smoothie&coffee
Supplementing vitamins
S&E secret recipe : green apple, banana, carrot/raspberry, plum/kiwi fruits, sesami seeds, pumpkin seeds, honey, organic lowfat yoghurt, soya milk,  青汁.

暢子先生のお誕生日です!

Thursday, February 1st, 2007

Today is my dearest teacher, friend and sister nobcco‘s birthday! I wish you a very happy birthday and all your wishes will come true in 2007!
I met nobcco in Japan, who is very important to me. During my time in Japan, She inspired me to expend my appreciation of art and also helped me develop as a person. Nobcco is a beautiful Japanese lady who is also a excellent artist. She embodies the most beautiful Japanese gesture and also an absolute style leader.
I haven’t seen her since last summer we had a short meeting in Kobe. I really miss you! I have so much to tell and share with you! Hope to visited you this summer again or let’s meet up in the UK. All the best!

Update:

Thank you for the comment my dear nobcco, that’s so sweet! I am fine and doing great! We are planning to visit Japan during this summer as well, will definitely come and see you. By the way, I have added a link directly to your homepage .I hope you don’t mind? Thanks dear!
love and miss you!

why do I chose Sexual Poetics as my special subject

Wednesday, January 31st, 2007

Since I chose Sexual Poetics as my special subject, I have been considering writing about female art in China. Or to be more specific, the application of feminist theory to art in China as feminism is an exclusively western phenomenon.

In order to find more information in relation to feminist theory in China, I have observed some of the websites which introduce this theory to China, especially how Chinese women deal with this western philosophy. Many important philosophers have been introduced to China, such as Simone de Beauvoir, Luce Irigaray, Julia Kristeva and Judith Butler. However, it seems that the essays that introduced these writers generally attempted to introduce western thoughts directly from translations rather than elaborate them from Chinese perspectives. The critical articles on the subject of feminism in Art are also difficult to find.

I hope I can study this subject matter in depth, to be able to understand more contemporary theories which are happening in the west. However, my aim is not to apply these theories to the Chinese side. Instead, I think one should encourage oneself to be critical toward contemporary issues in order to develop one’s own thoughts.