Camouflaged Histories
Bibliographic Data
| ID | 12423985 |
|---|---|
| Authors | L Welland (0009-0003-5206-396X, corresponding author), Sasha Su-Ling Welland |
| Year | 2020 |
| Volume | 28 |
| Issue | 1 |
| Pages | 87-119 |
| Publication date | 2020-02-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | positions asia critique (JOURNAL) |
| Journal identifiers | ISSN: 1067-9847 • E-ISSN: 1527-8271 |
| Publisher | Duke University Press (PUBLISHER • US) |
| DOI | 10.1215/10679847-7913067 |
| OpenAlex | W3011681201 |
| Language | EN |
| References cited | 21 |
Lei Yan 雷燕, whose artistic practice was shaped by a decades-long career in the Chinese military, began a period of transition through participation in a 2002 restaging of the Communist Red Army’s 1934 Long March as a multi-sited international art project. Her resulting encounter with US feminist art icon Judy Chicago raised questions about the potential neocolonial influence of global feminist art. The work Lei subsequently produced performs an autoethnographic excavation of the sociohistorical categories—woman soldier, military artist, and woman artist—that made her as both artist and woman. She works from within a national representational corpus, subjecting it to various experiments to reveal the fields of violence it has enacted from the Sino-Vietnamese War to the Great Sichuan earthquake. Lei Yan’s meditation through photography upon national, revolutionary iconography evolved into soft sculpture objects in cloth and paper. Their arrested ephemerality decenters the human subject, drawing attention to haunting absences in conventional stories of art, feminism, and nation. In comparison with the monumental work of Ai Weiwei 艾未未, who also created pieces in response to the 2008 Sichuan earthquake, Lei’s art serves not to admonish but to bring back into consciousness lost lives and camouflaged histories
Art · Communism · Feminism · Iconography · Politics · Sculpture · Sociology · Subject (documents · Visual arts · Chinese history and philosophy · Gender Studies · History · Law · Photography and Visual Culture · Vietnamese History and Culture Studies
A Woman Soldier's Own Story
Why Stories Matter
Third World Women and the Politics of Feminism
Tradition and Modernity in the Writings of Lu Xun
Experimental Beijing
Mao Zedong's "Talks At The Yan'an Conference on Literature and Art"
Engendering the Chinese Revolution
I Myself am a Woman
Women and Gender in Twentieth-Century China
The Question of Women in Chinese Feminism
Mao Zedong’s “Talks at the Yan’an Conference on Literature and Art
Socialist Sex
Lu Xun and His Legacy
Citizen Ai
The Thing Itself
| Citation velocity | historical |
|---|---|
| Highly cited | No |