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Postsocialist China
He Chengyao & Xing Danwen
How have images of “woman” changed throughout modern Chinese history? What is the relationship between visual representations of gendered bodies and political movements such as anti-colonial revolution, socialism, and post-socialist market reform ?
What can you learn about feminism, feminist art, or the politics of exhibit making from the encounter between Judy Chicago and Chinese artists at site six (Lugu Lake) of The Long March: A Walking Visual Display.
What are the body politics of He Chengyao’s performance art pieces? How does she use her own body to question the sociocultural meanings of the female nude? How does she explore through her work the relationship between the personal and the political?
How has Xing Danwen’s photographic practice shifted over time? What do her photographs document? How do the formal choices she makes (about what and how to photograph) convey about labor, environment, gender, and globalization in market-reform China?
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Sasha Welland, “What Women Will Have Been: Reassessing Feminist Cultural Production in China,” Signs
Sasha Welland, “The Long March to Lugu Lake: A Dialogue with Judy Chicago,” Yishu
Doris Sung, “Reclaiming the Body: Gender Subjectivities in the Performance Art of He Chengyao,” Negotiating Difference: Contemporary Chinese Art in a Global Context
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Gu Zheng, “Projecting the Reality of China through the Lens: On the Artistic Practice of Xing Danwen,” Yishu
Richard Vine, “Beijing Confidential,” Art in America
 Xing Danwen, Duplication Series, Image 1, C-print, 2003
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