Xiao Lu
At the opening of the iconic exhibition China/Avant-Garde (1989, Beijing), the artist Xiao Lu fired two shots at her installation Dialogue and handed the gun to the artist Tang Song, who would later become her boyfriend. From that moment on, the artworld attributed the piece to Tang Song and Xiao L...
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| Format: | Article |
| Language: | English |
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Universidade Federal do Rio Grande do Sul
2023-04-01
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| Series: | Revista Brasileira de Estudos da Presença |
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| Online Access: | https://seer.ufrgs.br/index.php/presenca/article/view/131810 |
| _version_ | 1797842526176018432 |
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| author | Laia Manonelles Moner |
| author_facet | Laia Manonelles Moner |
| author_sort | Laia Manonelles Moner |
| collection | DOAJ |
| description |
At the opening of the iconic exhibition China/Avant-Garde (1989, Beijing), the artist Xiao Lu fired two shots at her installation Dialogue and handed the gun to the artist Tang Song, who would later become her boyfriend. From that moment on, the artworld attributed the piece to Tang Song and Xiao Lu. Two decades after the event, Xiao Lu disputed the unique authorship of the artwork in a fictional memoir, Dialogue (2010). In this text, she presented a historiography of her art, reflecting on the performance and challenging Tang Song’s appropriation of the work. This article explores Xiao Lu’s re-writing of the official history of art and its patriarchal foundations through a feminist lens. It engages with complementary, contradictory, and contrasting readings of Xiao Lu's art and offers a new approach that addresses both the therapeutic and political dimensions of the artist's autobiographical account.
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| first_indexed | 2024-04-09T16:50:25Z |
| format | Article |
| id | doaj.art-a9a07e2389aa4411bf337726a4c61610 |
| institution | Directory Open Access Journal |
| issn | 2237-2660 |
| language | English |
| last_indexed | 2024-04-09T16:50:25Z |
| publishDate | 2023-04-01 |
| publisher | Universidade Federal do Rio Grande do Sul |
| record_format | Article |
| series | Revista Brasileira de Estudos da Presença |
| spelling | doaj.art-a9a07e2389aa4411bf337726a4c616102023-04-21T18:07:58ZengUniversidade Federal do Rio Grande do SulRevista Brasileira de Estudos da Presença2237-26602023-04-01132Xiao LuLaia Manonelles Moner0Universitat de Barcelona At the opening of the iconic exhibition China/Avant-Garde (1989, Beijing), the artist Xiao Lu fired two shots at her installation Dialogue and handed the gun to the artist Tang Song, who would later become her boyfriend. From that moment on, the artworld attributed the piece to Tang Song and Xiao Lu. Two decades after the event, Xiao Lu disputed the unique authorship of the artwork in a fictional memoir, Dialogue (2010). In this text, she presented a historiography of her art, reflecting on the performance and challenging Tang Song’s appropriation of the work. This article explores Xiao Lu’s re-writing of the official history of art and its patriarchal foundations through a feminist lens. It engages with complementary, contradictory, and contrasting readings of Xiao Lu's art and offers a new approach that addresses both the therapeutic and political dimensions of the artist's autobiographical account. https://seer.ufrgs.br/index.php/presenca/article/view/131810Xiau LuPerformanceFeminismChinese Experimental ArtAutorship |
| spellingShingle | Laia Manonelles Moner Xiao Lu Revista Brasileira de Estudos da Presença Xiau Lu Performance Feminism Chinese Experimental Art Autorship |
| title | Xiao Lu |
| title_full | Xiao Lu |
| title_fullStr | Xiao Lu |
| title_full_unstemmed | Xiao Lu |
| title_short | Xiao Lu |
| title_sort | xiao lu |
| topic | Xiau Lu Performance Feminism Chinese Experimental Art Autorship |
| url | https://seer.ufrgs.br/index.php/presenca/article/view/131810 |
| work_keys_str_mv | AT laiamanonellesmoner xiaolu |