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why most
Chinese artists have lost their talents since they went abroad is not only because of the problems in language and real life, but also the constrained thoughts and thinking process grown from their “cultural originality” which keeps them from entering the contemporary culture in a new environment. Such exhaustion of creativity is due to the artists’ incapability to turn what they’ve learned domestically into something free of cultural borders and enduringly effective. Such incapability is derived from the sealed off and conservative culture that is unique to China. Thus, I prefer to reverse your words by saying that “art will exhaust if it does not leave its cultural motherland”. Of course, when I say to “leave”, what I mean is that the art can only develop if it can exceed at least one aspect of its domestic culture. Today’s world is featured by a globalized cultural communication so we can only realize our uniqueness and vitalize our domestic culture by acknowledging and being involved with cross-cultural and cross-disciplinary studies.
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National identity is never acquired through pursuits. It is the part revealed spontaneously from every artist’s creative works. It is a result instead of a goal. Every conscious pursuit of the so-called national identity will result in crafty and superficial decorative art. It will eliminate artistic
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Indeed, quite many well-established artists stopped making any progress after migrating to another country. However, can we then vaguely derive a general conclusion from this phenomenon and therefore deny the possibilities that
Chinese artists can make art in the foreign context? I think, the reason
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From my very personal perspective, the so-called “cultural exiles” is actually “ideological exiles” which is nothing more than homesick of those who are driven out and can’t return home. If one can make wherever a home, and be free of homesick and geographical boundaries, “cultural exiles” won’t
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An exclusive culture sometimes split one’s body and spirit like a wall. In such culture, one’s psyche is constantly wandering in a rootless manner. One’s body being home causes no home for spirit. Therefore, in this sense, such “cultural exiles” can be a kind of internal impetus of a
199:“Cultural exiles” has another layer of meaning: these artists are forced to leave their fixed resources and audiences which both are determined by their working methods; therefore, when being abroad, they are isolated like a fish out of water.
116:, and Yang Jie Chang were represented. In 1991, he was the chief curator of the Exceptional Passage exhibition, in Fukuoka, Japan and curated the first Promenade in Asia exhibition in Tokyo, Japan, in collaboration with the cultural branch of
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creativity and vilify national culture. Nationalism is the last thing ever wanted but national identity is an inevitable fact regardless of your need – you can only decide how to face it.
181:, saw oversea activities and cultural communication ("cultural exile" of artists) as an internal impetus to create a new hotbed for new arts to jump outside the framework of nationalism.
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164:. The full scope of this project was planned to last more than ten years. He was the general curator of the Lianzhou Foto 2010 photography art fair.
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90:. He moved permanently to France after being awarded a Chercheur Libre research grant by the French Ministry of Foreign Affairs in 1989.
44:, born 1954) is a Paris-based art critic and curator. He belonged to the first generation of art critics and curators in China after the
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at the
Ullence Center for Contemporary Art, which also blends a lot of his personal collection, a work that was published in the book
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exhibition with the MUHKA (Museum of
Contemporary Art) and the KMSKA (Royal Museum of Fine Arts) in Antwerp, Belgium, and
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to manage its collection of
Chinese contemporary art and its new Ullence Center for Contemporary Art (UCCA) in Beijing's
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153:. From 2005 to 2008, he was director of the Ullens Center for Contemporary Art (UCCA) in Beijing, China.
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Only when “domestic culture” steps out of the “domain”, it can become an authentic “domestic culture”.
120:, in 1994 (and the second edition in 1997). A year later, he curated the Asiana exhibition during the
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376:"Notch the Boat to Find the Sword: Fei Dawei on Archiving the '85 New Wave Movement and Beyond"
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From 1995 to 2003, he was one of the juries for the UNESCO-Aschberg
Bursaries for Artists.
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393:"L'actualité vue par Fei Dawei, commissaire général de « Lianzhou Foto 2010 »"
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263:"An interview with the chief curator of the contemporary art museum, Fei Dawei"
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to
Chinese artists for the event. He was also involved in organizing the 1989
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588:"Strict censorship keeps China from becoming a culturally developed country"
308:"Back to Contemporary: One Contemporary Ambition, Many Worlds - Journal #11"
260:"Strict censorship keeps China from becoming a culturally developed country"
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610:"An interview with chief curator of contemporary art center Fei Dawei"
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exhibition at Sonje Museum. In 2004, he was the chief curator of the
562:"Manipulation of the prices of contemporary art is rare but serious"
257:"Manipulation of the prices of contemporary art is rare but serious"
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Various book reviews show appreciation especially to the parts of
496:(Di 1 ban. ed.). Shang hai: Shang hai ren min chu ban she.
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632:"Those who criticize '85 Movement have never experienced that"
471:(Di 1 ban. ed.). Shanghai: Shanghai ren min chu ban she.
266:"Those who criticize '85 Movement have never experienced that"
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exhibition at the Museum of
Contemporary Art in Lyon, France.
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Dawei earned a bachelor's degree in
History of Art from the
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85 Xinchao Dang'an II (An
Archive of '85 New Wave Movement)
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at the National Art Museum of China in Beijing, along with
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85 Xinchao Dang'an I (An Archive of '85 New Wave Movement)
333:"Foundation Cartier holds its first exhibition in China"
444:. 中国当代艺术论坛 Chinese Contemporary Art BBS. Archived from
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540:"Collecting artworks is a way of writing history"
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104:exhibition in Pourrieres, France in 1990, where
684:"You make the exhibit or the exhibit makes you"
272:"You make the exhibit or the exhibit makes you"
254:"Collecting artworks is way of writing history"
173:Cultural communication instead of nationalism
518:"Artists are a kind of birds who eat worms"
251:"Artists are a kind of bird who eats worms"
184:Below are quotes from Fei's letter to Li.
97:to leading contemporary Chinese artists.
145:In 2002, Fei became the director of the
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93:In the early 1990s, he introduced the
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71:in Paris, introducing the organizer
63:He advised the curators of the 1989
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564:. Chinese economic. Archived from
147:Guy & Myriam Ullens Foundation
48:, especially to the '85 New Wave.
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278:, Asia Art Archive, 18 March 2009
241:by the French Ministry of Culture
212:Publications and ongoing projects
158:'85 New Wave Inaugural Exhibition
177:Fei Dawei, deeply influenced by
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658:"Looking for the turning point"
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269:"Looking for the turning point"
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284:Yue Minjun, L'ombre du sourire
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239:Ordre des Arts et des Lettres
741:21st-century Chinese artists
736:20th-century Chinese artists
58:Central Academy of Fine Arts
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112:, Chen Zhen, Yan Pei Ming,
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660:. ArtInfor. Archived from
634:. China001. Archived from
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442:"A Letter to Li Xianting"
287:, Fondation Cartier, 2012
276:Interview with Fei Dawei
162:The ’85 New Wave Archive
156:In 2007, he curated the
130:In 1996, he curated the
237:1999: Chevalier of the
494:'85 Xinchao Dang'an II
140:The Monk and The Demon
102:Chine Demain pour Hier
716:Artists from Shanghai
469:'85 Xinchao Dang'an I
337:www.chinadaily.com.cn
65:Magiciens de la Terre
60:, Beijing, in 1985.
721:Chinese art critics
492:Fei, Dawei (2007).
467:Fei, Dawei (2007).
397:Le Journal Des Arts
374:Fuca, Yuan (2017).
46:Cultural Revolution
448:on 29 October 2013
168:Ideas and thoughts
73:Jean-Hubert Martin
95:Fondation Cartier
78:China/Avant-Garde
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228:and Xiamen Dada
151:798 Art District
136:All under Heaven
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226:Huang Yong Ping
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122:Venice Biennale
110:Huang Yong Ping
100:He curated the
69:Centre Pompidou
67:exhibit at the
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363:. 1 July 1997.
357:"Chronologies"
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688:. Retrieved
686:. Meishuwang
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666:. Retrieved
662:the original
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636:the original
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566:the original
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450:. Retrieved
446:the original
440:Fei, Dawei.
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423:. Retrieved
421:. ARTLINKART
417:Fei, Dawei.
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401:. Retrieved
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340:. Retrieved
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315:. Retrieved
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232:Distinctions
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106:Cai Guoqiang
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18:Chinese name
711:1954 births
399:(in French)
84:Li Xianting
22:family name
705:Categories
503:7208074410
478:7208074402
403:2024-06-04
342:2024-06-04
317:2024-06-04
292:References
246:Interviews
88:Gao Minglu
80:exhibition
612:. Art Now
124:, Italy.
52:Biography
34:Fei Dawei
542:. Artxun
203:culture.
118:Shiseido
114:Gu Wenda
16:In this
38:Chinese
590:. Sohu
520:. SoHu
500:
475:
196:exist.
40::
20:, the
690:3 May
668:3 May
642:3 May
616:3 May
594:3 May
572:3 May
546:3 May
524:3 May
452:3 May
425:3 May
379:(PDF)
331:董志成.
281:(fr)
692:2013
670:2013
644:2013
618:2013
596:2013
574:2013
548:2013
526:2013
498:ISBN
473:ISBN
454:2013
427:2013
86:and
42:费大为
27:Fei
24:is
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299:^
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36:(
30:.
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