M+ Matters:
Cantonese Art and Plural Modernities M+思考:廣東藝術與多元現代性
M+ Matters:
Cantonese Art and Plural Modernities M+思考:廣東藝術與多元現代性
Why did Guangdong artists establish some of the most radical news pictorials in China in the early 20th century? How did they adapt the elegant poetics of Chinese painting to represent the realities of modern warfare or to satirise society? How do their innovations continue to shape the way we see?
This public symposium will shed new light on Guangdong's distinctive contributions to Chinese artistic modernism and its place within the current discourses of regional and multiple modernities. Leading experts from universities and museums in Beijing, Guangzhou, Hong Kong, and Shenzhen will consider such topics as the varieties of realism in 20th-century Guangdong painting; the social circulation of images, especially pictorials, woodblock prints, and cartoons; and the propagation of the Lingnan School in Hong Kong and the Cantonese diaspora. The symposium will be conducted in Cantonese and Mandarin, with simultaneous interpretation available in English.
Ongoing since 2012, M+ Matters is a series of public talks and discussions exploring critical issues with key players in the fields of visual art, design and architecture, and moving image with both professionals and members of the general public. Past topics in the series include postwar design and industry in Asia, contemporary ink art, China’s museum boom, and global museums’ collection and display strategies.
Time: 09:00–09:30
Time: 09:30–10:00
Speakers:
Suhanya Raffel, Museum Director, M+
Alan Yeung, Associate Curator, Ink Art, M+
Tina Pang, Curator, Hong Kong Visual Culture, M+
Time: 10:00–12:00
Speakers:
Pedith Chan
Visual Representation of Regional Culture: The 1940 Exhibition of Guangdong Cultural Heritage
Zou Jiejie
Guangzhou Art Museum’s Presentation of Regional Characteristics from the Perspective of Museum Outreach
Phil Chan
Li Xiongcai’s and Guan Shanyue’s Painting and Calligraphy Demonstrations at The Chinese University of Hong Kong, 1980s–1990s
Wong Yuet Heng (Janet)
The Lingnan School Community in San Francisco
Discussant: Vennes Cheng
Time: 14:00–15:30
Speakers:
Li Weiming
What is Truth? Rereading The True Record
Chen Zhiyun
Situ Qiao's Three Conceptions of Realism
Ding Lanxiang
Life Sketching and Guan Shanyue’s Landscapes, 1940s–1950s
Discussant: Zhu Wanzhang
Time: 15:30–17:00
Speakers:
Cai Tao
Revisiting the Year 1935 in the Modern Art History of China
Li Gongming
Huang Xinbo’s Woodblock Prints of His Hong Kong Period (1945–1949)
Wu Xueshan
Authority of Satire: Liao Bingxiong’s Cartoons of the 1950s
Discussant: Kathy Mak
Time: 17:00
Speaker: May Bo Ching
Huang Shaoqiang, Beggar (detail), 1930s. Ink and colour on paper. Collection of Han Mo Xuan, Hong Kong. Image courtesy of Han Mo Xuan
Guan Shanyue, Dujiangyan, 1941. Collection of Guan Shanyue Art Museum. Image courtesy of Guan Shanyue Art Museum
Fang Rending, Mother and Child in the Rain, 1932. Ink and colour on paper. M K Lau Collection, Hong Kong. Image courtesy of M K Lau Collection, Hong Kong
Guan Shanyue's Chinese calligraphy demonstration in the Department of Fine Arts, The Chinese University of Hong Kong, May, 1980. Image courtesy of the Department of Fine Arts, The Chinese University of Hong Kong
News Illustration about the Japan–Korea Treaty of 1905 (detail), Shishi huabao (Current Affairs Pictorial), issue 9, 1906. Collection of Han Mo Xuan, Hong Kong. Image courtesy of Han Mo Xuan
Zhao Shou, Faces, 1934, oil on canvas. Collection of the Guangzhou Art Museum. Image courtesy of the Guangzhou Art Museum
Liao Bingxiong, The Technique Must Be So, 1957, print. Collection of the Guangzhou Art Museum. Image courtesy of the Guangzhou Art Museum
Situ Qiao, Hunger, 1946, pastel on paper. Collection of the Guangzhou Art Museum. Image courtesy of the Guangzhou Art Museum
Gao Jianfu, Flying in the Rain, 1932, hanging scroll, ink and colour on paper. Photo courtesy of Art Museum, The Chinese University of Hong Kong
Li Hua, Raging Tide Series no. 4: Rise Up, 1947. Woodblock Print, Set of 4. ‘Hanart 100’ Collection. Image Courtesy of Hanart TZ Gallery
About the Speakers
Dr. Cai Tao is Professor at the School of Arts and Humanities, Guangzhou Academy of Fine Arts and previously worked at the Guangdong Museum of Art. He specialises in the research and curation of modern Chinese art, with a focus on the impact of war and social changes on art.
Dr. Pedith Chan is Assistant Professor of the Bachelor Programme in Cultural Management at the Chinese University of Hong Kong. Currently, she is engaged in a project exploring the development of scenic attractions in modern and contemporary China. Her other research interests include the production and consumption of art and cultural heritage in modern and contemporary China.
Dr. Phil Chan is Associate Curator, Painting and Calligraphy, at the Art Museum of the Chinese University of Hong Kong. His research focuses on painting and calligraphy of the Ming, Qing, and modern periods, particularly the relationship between Chinese poetry and painting and the history of connoisseurship and collecting.
Chen Zhiyun is Associate Curator at the Guangzhou Art Museum, where she has worked since 1998 and previously served as Head of the Department of Exhibition Research. She has focused on the case study of Situ Qiao in recent years and is currently editing The Complete Collection of Situ Qiao.
Dr. Vennes Cheng is Associate Curator of Hong Kong Visual Culture at M+. Her research areas include modern and contemporary art of Hong Kong and China, histories of Asian diaspora, artist archive, and historical and mnemonic contingency.
Dr. May Bo Ching is Professor of History and Head of the Department of Chinese and History at City University of Hong Kong and the ‘Distinguished Professor of the Pearl River Scholars’ at Sun Yat-sen University. Her main area of research is the social and cultural history of modern China. In recent years, she has been examining how the regional culture of South China took shape in a trans-regional context in terms of sound, colour, and taste from the 16th to the 20th centuries.
Dr. Ding Lanxiang is a curator who specialises in modern Chinese art and visual culture, with a focus on the impact of social and political changes on artistic expression.
Li Gongming is Professor Emeritus and former Head of the Department of Art History at the Guangzhou Academy of Fine Arts. In recent years, his research has mainly focused on the art history of 20th-century China, especially that of the Cultural Revolution.
Li Weiming is Professor Emeritus at the Guangzhou Academy of Fine Arts and specialises in the art history of modern Guangdong. Currently he is editing Collected Poetry and Prose by Gao Jianfu.
Dr. Kathy Mak is an Assistant Professor in the Department of Chinese History and Culture at the Hong Kong Polytechnic University, where she focuses on the global making of art in Mainland China and Hong Kong after the Second World War. Currently, she is working on a book manuscript, titled Mediated Visions: Landscape and Territorial Imaginations in Socialist China (1949–1976).
Dr. Wong Yuet Heng (Janet) is Postdoctoral Fellow of the Institute for Art History at the Freie Universitat Berlin, working on a European Research Council funded project ‘Art Academies in China: Global Histories and Institutional Practices’. Her publications and research have centered on the Lingnan School, and its diasporic communities, historiography, and intermediality.
Dr. Wu Xueshan is Professor at the School of Humanities, Central Academy of Fine Arts. He taught at Minzu Universiy of China from 2003 to 2015. His primary research area is Chinese art history and visual culture.
Dr. Zhu Wanzhang is Curator at the Hong Kong Palace Museum. His expertise includes Ming and Qing dynasty to modern Chinese painting and calligraphy, art criticism, publishing, teaching, exhibition planning, and authentication.
Zou Jiejie is Head of Education and Outreach and Associate Curator at Guangzhou Art Museum.
Image at top: Fang Rending. Mother and Son in the Rain, 1932. Ink and colour on paper. Photo: Courtesy of M K Lau Collection, Hong Kong.
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Membership Benefits 會籍禮遇
- Access to the M+ Lounge with your guests
- Access to M+ Private Viewing on Sunday mornings
- Priority ticket purchase and member discounts
- Priority entry for General Admission only
- Free General Admission access and selected cinema screenings
... and much more
M+ Membership benefits list updated in March 2024