Xiao Lu: asserting her voice through artistic practice

Detalhes bibliográficos
Autor(a) principal: Moner, Laia Manonelles
Data de Publicação: 2023
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Revista Brasileira de Estudos da Presença
Texto Completo: https://seer.ufrgs.br/index.php/presenca/article/view/131810
Resumo: 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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spelling Xiao Lu: asserting her voice through artistic practiceXiao Lu: asserting her voice through artistic practiceXiau LuPerformanceFeminismChinese Experimental ArtAutorshipXiao LuPerformanceFeminismChinese Experimental ArtAutorshipAt 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.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.Universidade Federal do Rio Grande do Sul2023-04-20info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttps://seer.ufrgs.br/index.php/presenca/article/view/131810Brazilian Journal on Presence Studies; Vol. 13 No. 2 (2023): Abr./Jun. 2023; 1-27Révue Brésilienne d'Études de la Présence; Vol. 13 No. 2 (2023): Abr./Jun. 2023; 1-27Révue Brésilienne d'Études de la Présence; Vol. 13 No 2 (2023): Abr./Jun. 2023; 1-27Revista Brasileira de Estudos da Presença; v. 13 n. 2 (2023): Abr./Jun. 2023; 1-272237-2660reponame:Revista Brasileira de Estudos da Presençainstname:Universidade Federal do Rio Grande do Sul (UFRGS)instacron:UFRGSenghttps://seer.ufrgs.br/index.php/presenca/article/view/131810/88386Copyright (c) 2023 Revista Brasileira de Estudos da Presençainfo:eu-repo/semantics/openAccessMoner, Laia Manonelles2023-04-20T13:35:12Zoai:seer.ufrgs.br:article/131810Revistahttp://seer.ufrgs.br/presencaPUBhttps://seer.ufrgs.br/presenca/oai||rev.presenca@gmail.com2237-26602237-2660opendoar:2023-04-20T13:35:12Revista Brasileira de Estudos da Presença - Universidade Federal do Rio Grande do Sul (UFRGS)false
dc.title.none.fl_str_mv Xiao Lu: asserting her voice through artistic practice
Xiao Lu: asserting her voice through artistic practice
title Xiao Lu: asserting her voice through artistic practice
spellingShingle Xiao Lu: asserting her voice through artistic practice
Moner, Laia Manonelles
Xiau Lu
Performance
Feminism
Chinese Experimental Art
Autorship
Xiao Lu
Performance
Feminism
Chinese Experimental Art
Autorship
title_short Xiao Lu: asserting her voice through artistic practice
title_full Xiao Lu: asserting her voice through artistic practice
title_fullStr Xiao Lu: asserting her voice through artistic practice
title_full_unstemmed Xiao Lu: asserting her voice through artistic practice
title_sort Xiao Lu: asserting her voice through artistic practice
author Moner, Laia Manonelles
author_facet Moner, Laia Manonelles
author_role author
dc.contributor.author.fl_str_mv Moner, Laia Manonelles
dc.subject.por.fl_str_mv Xiau Lu
Performance
Feminism
Chinese Experimental Art
Autorship
Xiao Lu
Performance
Feminism
Chinese Experimental Art
Autorship
topic Xiau Lu
Performance
Feminism
Chinese Experimental Art
Autorship
Xiao Lu
Performance
Feminism
Chinese Experimental Art
Autorship
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.
publishDate 2023
dc.date.none.fl_str_mv 2023-04-20
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://seer.ufrgs.br/index.php/presenca/article/view/131810
url https://seer.ufrgs.br/index.php/presenca/article/view/131810
dc.language.iso.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv https://seer.ufrgs.br/index.php/presenca/article/view/131810/88386
dc.rights.driver.fl_str_mv Copyright (c) 2023 Revista Brasileira de Estudos da Presença
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2023 Revista Brasileira de Estudos da Presença
eu_rights_str_mv openAccess
dc.publisher.none.fl_str_mv Universidade Federal do Rio Grande do Sul
publisher.none.fl_str_mv Universidade Federal do Rio Grande do Sul
dc.source.none.fl_str_mv Brazilian Journal on Presence Studies; Vol. 13 No. 2 (2023): Abr./Jun. 2023; 1-27
Révue Brésilienne d'Études de la Présence; Vol. 13 No. 2 (2023): Abr./Jun. 2023; 1-27
Révue Brésilienne d'Études de la Présence; Vol. 13 No 2 (2023): Abr./Jun. 2023; 1-27
Revista Brasileira de Estudos da Presença; v. 13 n. 2 (2023): Abr./Jun. 2023; 1-27
2237-2660
reponame:Revista Brasileira de Estudos da Presença
instname:Universidade Federal do Rio Grande do Sul (UFRGS)
instacron:UFRGS
instname_str Universidade Federal do Rio Grande do Sul (UFRGS)
instacron_str UFRGS
institution UFRGS
reponame_str Revista Brasileira de Estudos da Presença
collection Revista Brasileira de Estudos da Presença
repository.name.fl_str_mv Revista Brasileira de Estudos da Presença - Universidade Federal do Rio Grande do Sul (UFRGS)
repository.mail.fl_str_mv ||rev.presenca@gmail.com
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