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Li) had grounds for saying that these works represent ‘the artist’s reckoning with the complicated emotions of selfhood.’ Chen Lingyang herself admitted:
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o Sexyundressedsingers ’search 308 now how to handle my affairs. I lack a sense of security when walking down the street, I even want to become invisible, because I’m so scared of people paying attention to me; however, with art, I have a definite level of freedom. I can transform those feelings of craziness into creative interests, and don’t have to feel ashamed when facing the deepest aspects of myself. In addition, I can also appreciate the wisdom and humor of others, at which I feel the value of being human.
Another way she found of coping was to invent Chen Lingyang 2, so that she could ‘play different roles in different situations.’ Zhang Li may have been right in saying that by revealing something conventionally kept hidden her work is ‘a roundabout way of expressing the pressures felt by women in a male dominated society.’ All that Chen Lingyang herself would venture was that ‘When people see this work in public space, it may provoke various reactions. But the work itself also offers the possibility of dispelling such reactions…Only through the process of provoking and dispelling can new possibilities emerge.’
The female artist and curator Xu Hong’s comment is apposite: ‘To use the body as subject to confront this notion [of body as object — that the female body becomes an object of control and suppression] is the most real and powerful of artistic choices.’ Chen Lingyang did her first menstruation work, Scroll, in 1999. It is noteworthy that in the following year a male artist, Xu Zhen, showed ‘menstrual blood’ dribbling down a man’s leg in Problem of colourfulness. Was the artist subjectively identifying? Was it a sign of the patriarchy crumbling?
Xing Danwen’s photographic series I am woman, 1994–96, shows a knowing, sexy, healthy and beautiful naked young woman, sometimes posed with what look like a young man’s naked legs close by; later there are pictures of a naked pregnant woman, and one of two naked people sleeping face down. The sexual cycle is accepted as involving bodily enjoyment, cohabitation, pregnancy and eventually the birth of a child. Gu Zheng considered this not only ‘the earliest images of nudity shot by a woman in China’s photographic history,’ but saw it as boldly rejecting the representation of the female body under the male gaze:
In an enclosed space, Xing Danwen, through rich and varied visual angles, tricky shadows, and interwoven female bodies, concocted a private space for women, intangible for others. This pictorial space could only be shot with the mutual trust and interdependence of the women involved…By representing the woman’s body, Xing Danwen provided for the first time a concrete shape to the existence and advocacy of the new woman in China.
Xing Danwen’s Born with the Cultural Revolution series again shows a pregnant woman, who was a close friend of the artist and a collector of Mao Zedong memorabilia. Xing Danwen wrote of the series, ‘Under Mao, there was no separation between the private world of the individual, the family, and the public political realm.’
Cui Xiuwen did a series of photographs of naked girls (and boys) around ten years old, which Karin Bergquist pronounced ‘evil,’ probably because of its paedophile implications. In 2003 Cui Xiuwen painted a girl of around ten with her legs up to show her vulva, which raises the same concern.
Jiang Jie used mass-produced fibreglass figures of babies in installations, fully aware of the One Child Policy and of the widespread practice of abortion, especially of female embryos: ‘I felt it was something that touched my heart.’ In Magic flower she placed a plaster female figure on the floor and linked it with threads to the acupuncture points of a male figure, the cycle of sending and receiving reminiscent of Yin and Yang in Chinese philosophy. Jiang Jie:
My mother worked in a hospital. I often saw this medical equipment. Subconsciously I built this fear of anything related to medical matters. I am actually really frightened of the smell of the antiseptic. I almost never went to the hospital. When I was young, I would feel very nervous at the sight of a hospital. When I saw a bandage I imagined the blood and the wound. But that kind of excitement and nervousness were needed in my work…If I fear something then I will make works out of those fears. That ranges from acupuncture to a baby.
In Men in parallel with women, 1996, she posed an armless plaster model of a naked woman next to a similar one of a man, as though to counter the usual assumption that nakedness asserts one’s individuality, by showing that it can emphasise sameness, even between the sexes.
Yang Yi named a 2005 series of her paintings Dantian, after supposed primal health and nerve hubs in the human body (hence Chinese stomach protectors, as worn by ‘Alice Mannegan’ on the dust-jacket of Nicole Mones’s novel Lost in Translation ).
A Taoist medical essay says there are three such ‘crimson fields (Dantian)’ in our body. They are located three inches under the belly button (Lower Dantian), just underneath the heart (Middle Dantian) and in the space between the eyes (Upper Dantian). The Lower Dantian is the location of the source of life (for men, it is the sperm centre and for women, the womb). The Middle Dantian supplies the heart and the Upper Dantian stores our spirit of life.
In Yang Yi's delicate works on silk, she covers the Lower Dantian and the Middle Dantian of a nude female body with some meticulous depictions of Tibetan religious icons, thus forcing viewers to search into their souls for sentiments that are either innate, inert or confined. She leaves the Upper Dantian for the viewers' imagination. She states her points and leaves without passing judgements.
Xiang Jing makes sculptures in fibreglass, plastic and bronze of modern women including adolescent girls, life-size or smaller, naturalistic or distorted, including one of a naked young woman on the toilet, and in Your body, 2005, one of an older naked woman, hairless as though undergoing chemotherapy, and slumped in a chair with legs apart. In each case the woman appears caught up in a novel realisation that this is what she is like, or that this is what life, in its various stages, is really about.
Yu Hong’s Nude, 1988, a realistic painting of a middle-aged naked woman in a full-frontal ungainly stance contrasted with the idealised academic nudes by male artists in that year’s China Nude Art exhibition. In 2002 she did a pastel on paper series called A woman’s life: The art of Yu Hong, showing her at the ages of 2, 4, 6, 9, 10, 13, 21, 26, 27, 28, and 34. The one of her at age 28 shows her standing naked examining her pregnant body.
He Chengyao, as a way (she says) of dealing with childhood memories of her mother stripping off in public, has often done the same, beginning with her taking off her shirt during another artist’s performance at the Great Wall. Her 99 needles performance was a replication of her mother’s ordeal of an amateurish village attempt at a cure with acupuncture. In Fish-woman she stood in the ocean holding a split fish resembling female genitalia, and in Public broadcast exercises she performed naked the calisthenics done collectively in schools and work units, but having wound tape around her body sticky side out, her movements were irregular and caused tearing sounds. Sasha Su-Ling Welland described He Chengyao’s Figure series, 2004, as:
coloured-line sketches of nude female bodies contorted to fit into the rectangular frame. One consisted mainly of a yellow pair of legs, forming a triangle composition on the canvas, seen from behind as a woman bends forward. Her genitalia would be completely exposed except that the figure’s hands reach back to barely cover up this area.
Zhang Jie paints introspective portraits of a very young woman half-undressed, hugging herself, with big sad worried eyes. Qin Jin has done a series of photographs of a young naked woman, face hidden, as though to document her ample breasts and bulbous nipples. Of Ma Yanhong it has been said, ‘She has developed a fresh and original pictorial vision which is centered on the growing self-awareness of her circle of female friends in the frenetic and free environment of modern China’; she and her naked friends are not so much reclaiming their bodies as discovering them, along with other ‘girls who just want to have fun’ all over the world. In Giving birth, 2002, Xing Fei, who describes her works as a woman’s self-discovery, included images of the ancient fertility goddess, and a photograph of herself naked and about to give birth.
Xiao Huixiang in the early 1980s made a big mural at Beijing airport called The Spring of science, using female nudes to symbolise an open, dynamic and scientific future for China. Now she paints, among other things, bright red female genitalia, believing that female private parts can be feminist subjects. In a 2005 exhibition she included twenty female nudes who appear to be masturbating, painting them in strong colours and distorting and exaggerating aspects of their bodies. She called them ‘feminist paintings.’ ‘We cannot look at women's private parts merely from the perspective of sex,’ said the artist. ‘These private parts are the medium I chose to express my view of feminism, which is very popular in the United States.’ Xiao Huixiang said her paintings expressed her insight into the lives of sexually frigid women. ‘Masturbation is a sensitive topic Chinese people have avoided talking about in public,’ she said. ‘But it is no longer a taboo subject for a painter of my age [she was born in 1933] to explore.’ Xu Sa has painted questioning works about sex, love, and modern life, such as painful desire, 2002, showing a naked woman masturbating on a leopard skin and surrounded by signs of bars, men, and the internet.
Much of this kind of art relates to Julia Kristeva’s notion of the abject: that which ‘disturbs identity, system order. What does not respect borders, positions, rules.’ Moving from the surface of the patriarchal female body that is looked at and moving into the feminist inner body that is lived in can be very shocking to many people; that it also acts as a kind of Brechtian alienating device, jolting people out of the illusions of art and forcing them to think, is a possibility. Gill Saunders reported on Western feminism in 1989: ‘Feminist art strategies involve breaking taboos surrounding childbirth, menstruation, vaginal imagery, and celebrating what have hitherto been areas of shame for women and thus weapons of subjugation.’ To break the bounds, to be transgressive, is to feel liberated, even though the outcome may be the opening up of these formerly shameful areas to the onslaughts of advertising and commodity marketing.
5. Laughter, mockery, playfulness
In the midst of the patriarchy, it has been argued, a female gaze may be achieved ‘through strategies like mockery, which disrupt the male gaze…the female gaze as mockery of machismo offers spectators the possibility of identifying with the pleasures of activity without the sort of mastery or voyeurism associated with the male gaze position of classic Hollywood cinema.’ Laughter can also indicate and achieve the kind of release known as catharsis.
I see a good deal of mockery in the work of Shen Ling. She has made many oil paintings on canvas and brush drawings on paper of a woman (herself?) and a man (her husband the artist Wang Yuping?) together in domestic and intimate settings. In many of these they are naked, with her often fronting brazenly to the viewer as a person who is not afraid to be herself or to show herself as she really is. There is a humorously cynical view of the man as well, but because it is a female artist who is doing the mocking it seems to me that female viewers are more likely than men to identify with their counterpart in the pictures: the woman is seen to be mocking herself, but the man is seen to be mocked by a woman.
Wang Nanfei has painted a great range of naked women, young and old, fat and thin, several masturbating, a group on bikes in the street, several singing and smoking at the same time, others being approached by men, many crowded around banquet tables with equally naked men, etc. Wang Nanfei in her comments sounds more lonely than happy, but the effect of most of her work on viewers must be to send them into fits of laughter.
Liu Yan is a fan of both Chinese opera and rock music, of Chinese tradition and Western ways, and reads Confucius and Mencius as well as Schopenhauer and Nietzsche. Her paintings are a wild mixture of Chinese opera male and female actors (probably including males dressed as females) and more modern types exuberantly engaging in a range of madcap sexual activities.
With biting humour Zhang Ping has also caught naked women sitting on the toilet and smoking, or making up in front of the mirror, in her 2004–05 series Making up, Smoking, and Private business, making them pathetically funny with enlarged heads and cartoonish postures, even as they expose their genitals to the viewer; she has also done a number of paintings of a naked girl looking in a mirror, or at a picture of other girls, and some even more lesbian-inclined paintings of two girls naked together. Ji Xiaofeng also paints young modern women going about their life, singly or in pairs, often topless, sometimes naked, always sexy and amusing.
Yu Hong painted a series called Routine, in which she showed herself naked and as though snapped enjoying an everyday activity: her casualness is disarming. The
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