STATION II: Shanghai, China
(February 18 – March 30, 2004)
- Zooming into Focus: Chinese Contemporary Photography and Video from the Haudenschild Collection
- STATION I: San Diego, California
- STATION II: Shanghai, China
- STATION III: Tijuana, Mexico
- STATION IV: Singapore
- STATION V: Beijing, China
- Michelle McCoy: After the Market's Boom - A Case Study of the Haudenschild Collection
- Barbara Pollack: Chinese Photography - Beyond Stereotypes
- Lisa Movius: Chinese Art in America
- Wang Jie: Picking Winners - Eloisa Haudenschild
- Yishu Journal for Contemporary Chinese Art Review of 'Zooming into Focus'
- Britta Erickson: Zooming into Focus, Sliding into History
- Lu Leiping: When Experiment Encounters Classics - The Haudenschild Collection
- Wu Hung: Contemporaneity in Experimental Chinese Photography
- Li Xu: Curatorial Essay, Shanghai Art Museum
- Robert L. Pincus: Moving Pictures
- Robert L. Pincus: Focus on China
- Mandy Herrick: Avant-Garde Gold Rush - Chinese Contemporary Art
- Lim Jen Erh: Focusing on Urban Transformation in China
- Phoebe Wong: Floating Images - Eloisa Haudenschild & Contemporary Chinese Art
- Looking Closer: The Shanghai Star Review of 'Zooming into Focus'
- Collected Reviews of 'Zooming into Focus' from Beijing and Shanghai
- Ten Year Reunion in China
“Photography came into contemporary art together with photographic technology. When recognizing and expressing themselves, artists apply photograph, video, movie, animation and other new media that are closely related to the changes of images in our comtemprary life.
The emergence of conceptual photography can be traced back to the years before World War II. At that time, photographers participated in photography with pure Pharisaic experiments and independent artistic concepts, and created visual art using the methods of the camera and the darkroom. Today, conceptual photography has become one of the integral schools, represented in all major Western art exhibitions. Many works have been collected by various museum. After the 1990s, conceptual photographic works became even more popular in the art market. In the 1960s, video art emerged and grew in the 1990s, which brought us Nam June Paik, Gary Hill, Bill Viola, Matthew Barney, Mariko Mori (these two have been presented in the Shanghai Art Museum in 2000) and other masters.
Along with the active interaction between Chinese and internatioal contemporary art circles, as well as the movements of family video equipment from professional areas towards daily life since the mid-1990s, there have been more and more energetic experimental activities in video art which has emerged as the basic language of Chinese artists. Nowadays, the works of those contemporary Chinese video artists have been presented and highly commented on at the Venice Biennial, Sao Paulo Biennial, Documenta and other major international exhibitions. Some of the works have created explosive outcomes and won many awards. However, due to the relatively delayed promotion, these dynamic works have been quite far away from domestic visitors in a fairly long period and there are few centralized introductions in featured exhibtions. However, this exhibitions “Zooming into Focus” explains the importance of re-acknowledging and re-evaluating this hot spot of contemporary art.
From the very beginning, contemporary Chinese photography has been closely related to the daily lives of Chinese people. The quickly growing and changing social environment has focused on the created objects of the artists. From these vivid and graphical works, we can witness the exciting pulse of this age, experience the active interaction between art and society, and understand the new and unique exploration of these pioneers.
Shanghai has always been the essential window to contemporary Western cultural patterns. From oil painting to photography, from industrial design to video art, Shanghai plays a critical role during this process of communication and incorporation. Therefore, the opening this exhibition, which is a preliminary review of Chinese contemporary photography and video, is not only an occasion of chance but a necessary consequence of history. The importance of the exhibition is in no doubt: it showed some truth of Chinese contemporary art to the public and to the cultural circle, and it prodded the Chinese art museum circle to start collecting contemporary video and photography works.” -Li Xu, Curator, Shanghai Art Museum” -Li Xu, Curator, Shanghai Art Museum
“Different from traditional art, such as painting and sculpture, photography includes video, together with film and animation. Focusing on photography, this exhibition introduces the history of recent contemporary Chinese art….Furthermore, this collection can be regarded as an objective review on the current situation of Chinese photography. The Shanghai Art Museum is dedicated to the promotion and development of contemporary Chinese art. This exhibition is the first time contemporary photography and Chinese artists are introduced to the public.” -Li Xiangyang, Executive Director, Shanghai Art Museum
Zooming into Focus: Contemporary Chinese Photograph and Video from the Haudenschild Collection
February 18 – March 30, 2004, Shanghai Art Museum
Organized by Li Xu, Laura Zhou, and Eloisa Haudenschild.
Roof Top Performance by Song Tao
February 18, 2004, Shanghai Art Museum
Following the opening of the exhibition Song Tao with other contemporary Chinese artists, presented a multimedia sound and video performance on the roof of the Shanghai Art Museum.
Envisioning the Future of Contemporary Art From Different Glocal Positions
March 25 & 26, 2004 – China Art Academy, Hangzhou
Organized by Zhang Peili (Artist and Director of New Media dept., China Art Academy, Hangzhou), Laura Zhou (Former Director of ShanghART, Shanghai, China) and Eloisa Haudenschild. All participants toured Zooming into Focus at the Shanghai Art Museum before being transported via bus to Hangzhou’s China Art Academy.
Moderated by Hou Hanru (Former Director of Exhibitions and Public Programs, SFAI and Independent Curator) and Pi Li (Independent Curator and Founder, Boers-Li Gallery) with works shown by Bill Voila (courtesy of Britta Erickson; presented by Eloisa Haudenschild), Wang Gongxin, Qiu Zhijie, Zhang Peili, and Yang Fudong.
– Pi Li (Independent Curator and Founder, Boers-Li Gallery, Beijing) Chinese Contemporary Video Art
– Fan Di’an (Director, National Art Museum of China) Meeting and Traffic
– Hans Ulrich Obrist (Curator, Paris) The Museum of the Future – Art, Architecture, Science and Technology
– Mami Kataoka (Senior Curator, Mori Art Museum, Tokyo & International Associate Curator, Hayward Gallery, London) New Media as New Experience
– Li Xu (Curator, China) The Relationships Between New Media Art and Museum Systems in China
– Huang Du (Ph.D., China) New Events and Culture Space
– Zhang Zhiyang (Professor, China) Where is the Space for Art in the Era of Technological Globalization?
– Rudolf Stoert (Curator, Germany) Switch Media Project in Thailand
– Gridthiya Gaweewong (Curator, Thailand) Regional Strategies and Global Impacts: A Southeast Asian Perspective
– Hu Fang (Writer, China) Pseudo-Machine of Writing
– Evelyn Jouanno (Curator, France) Under the Earth, There is the Sky
– Martina Köppel-Yang (Art Critic, Germany) The Pingpang Policy of Chinese Contemporary Art
– Zheng Shengtian (Curator & Managing Editor, Yishu Journal, Canada) Non-Local and Non-Mainstream
– Karen Smith (Art Historian, UK) The Future: In Whose Hands?
– Waling Boers (Curator and Founding Director of Buro Friedrich-Berlin and Boers-Li Gallery) Art Between the State and the Market, A Challenge?