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Lan Jing, The Chinese Glass Eye, Oil and enamel on canvas 100×80cm 2011
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Li Xinmo, a controversial and rebellious feminist artist in the contemporary art scene in China, refers mainly to body performance and examines the relationship between performance and film, between performance and painting. What she advocates as "liberal women's rights" includes human rights into women's rights and encourages pursuit of freedom and equality, reaction against the established rules and conventions, independence of women as individuals, and freedom from any bonds of the mind, which are all necessary for liberal women.
From its outset, contemporary feminist art in China was connected with feminist artist Xiao Lu, who shot at her own diploma work. Her recent body performances challenge social morals and the imagination of the audience. Her works reveal her quality as a critical feminist who tries to reexamine the possibilities and forms of feminism in China and reflects on the relationship between women and social codes in contemporary art.
Before leaving China, Lan Jing had been strongly influenced by the modern art movement in 1989 and got the same life experiences as Li Xinmo and Xiao Lu. Exposed later to a social context characterized with relatively developed cultural elements, Lan Jing does not seem to be as anxious as the other two artists to upset the status quo. To some extent, she benefits from the Feminist Movement in the West. By making use of different media, she interprets her new feminism of pleasure embodied in "enjoying the physical well-being, maintaining the balance between career and family, and assimilating the essence of both the East and the West".
Exhibition: Bald Girls
Artists: Lan Jing, Li Xinmo, Xiao Lu
Curator: Xu Juan
Duration: March 3, 2012---April 3, 2012
Venue: Iberia Center for Contemporary Art Address: E06, 798 Art Zone, 4 Jiuxianqiao Rd, Chaoyang District, Beijing
Producers: Gao Ping, Qiu Chenfeng
Director: Xia Jifeng
Organizers: Iberia Center for Contemporary Art
IAC，Fundación de Cultura y Arte
Editor: Wen Yi
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