A Brook Without a Source

New Women by Wang Qingsong (2000)

The Getty Museum had a Photography exhibit, "Photography from the New China," that caught my interest. The primary theme that I took away from the show was that of cultural and historic reassessment.  It brought to mind the Chinese proverb "I dreamed a thousand new paths. . . I woke and walked my old one." Some of the photos spoke directly to this quote.

For instance, the tableaux works by Wang Qingsong are reinterpretations of classical paintings, but with symbols of modern consumerism and materialism, in which the Golden Arches of McDonald's is the equivalent of an Imperial banner and tawdry modern attire replaces the elegant fashions of the courtly ladies. Yet, although these images have significant difference in value, is the underlying action any different? The mighty lord over and forced their will upon the weak, whether it is a Ming Emperor or an American corporation. A courtesan performs the same function regardless of her clothing and hairstyle. So, do these images speak of a new path or continuing down the old one?

I Am Chairman Mao's Red Guard by Hai Bo (2000)

In contrast, the works of Hai Bo do indicate a rejection of the old path. In his series "They", he presents a set of diptychs in which a photograph from the era of the Cultural Revolution is contrasted with a contemporary photo, using the same sitters. In group photos, when a subject has died, there is an empty space where that subject would have been. This contrast between the rigid and colorless Maoist world and soft, timeworn modern world do indicate significant, even painful, change. For Hai Bo's subjects, it may be true that the underlying realities of power and function are essentially unchanged, as indicated in Wang Qingsong's work, but, for the individual, life forces us down new paths.

Standard Pose by Qiu Zhijie (1997)

Finally, the works of Qiu Zhijie brings us to a synthesis of these styles. Creating tableaux of modern Chinese works posed in the style of Maoist propaganda posters with similar coloration to Cultural Revolution photos, we are presented with an ambiguous statement regarding the new vs. old paths. Obviously, these are parody pieces. But what is being parodied? It it a spoof on the old ways by displaying the modern Chinese as so totally incongruous with the Maoist style? Or is it a spoof on the modern Chinese identity that for all of its superficial change is still following along the old path?

In any case, there was much to consider at this show. Other artists on display include Rong Rong, Liu Zheng, Song Yongping, and Zhang Huan. Sadly, the show closes today. Again, I'm more of a closer than an opener. Sorry, amigos. Maybe some fantastic Pipa music will compensate?

By the way, I selected a performance by Wu Man because she is dealing with a similar quandary as that presented in this webpost. She even curated a musical festival entitled "Ancient Paths, Modern Voices." Good stuff!!!

Here's a link to the Getty website.

Here's Qui Zhijie's Wikipedia page.

And here's Wu Man's Wikipedia page and official website.

Enjoy!!!