By Silvia Fok
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Additional info for Life and death : art and the body in contemporary China
M. Merleau-Ponty, “The Experience of the Body and Classical Psychology,” Phenomenology of Perception, translated from the French by Colin Smith (London and New York: Routledge, 1996), 90–97. 30. Personal interview with Wu Shanzhuan, 26 July 2005, Hong Kong. 31. Personal interview with He Yunchang, 13 May 2005, Beijing, China. 32. Personal interview with Cang Xin, 7 May 2005, Beijing, China. 33. In my interview with artists, I found that most of them admire Joseph Beuys. Personal interview with He Chengyao, 12 May 2005, Beijing, China.
These two works show a shift of the role of the body. The artist’s body, as the creator, treats his own body as the subject and material of his artwork to address notion of death by means of dying in a ritual and hanging himself respectively. This section will argue that the tactile materiality of the human body as art materials is evidently shown in an unprecedented manner. The last section of Chapter 2 will discuss photographs of aging and dying bodies of grandparent and parents taken by two artists Wang Youshen and Song Yongping respectively.
90 Nesbit states: The strict but mobile pattern of the kites was an extension of his computer drawings, one of which was illustrated in the Documenta X book. 92 In addition, Orozco admits that he was fascinated with games. He invented games with his 27 Life and Death: Art and the Body in Contemporary China own rules since he was a kid. To him, Black Kites is also a game exploring the grid. 93 Orozco’s drawing on the skull tends to be symmetrically geometrical and decorative and in which the notion of death is undermined.