Category: Arts

Drawing Lines, Spinning Time: Textile Histories at a River’s End

A research project initiated by Ho Rui An and Zian Chen

in collaboration with Feng Haoxin, Liew Xiao Theng, Sun Jiyuan, Wang Ruohan, Xiong Xin, Yan Jiayue, Zeng Yuting, Zhang Tianyu, Zhang Yilin, and Zhou Feiyang

Community Center East Wing (CCTE)

Duke Kunshan University

Exhibition: 22 November – 8 December 2023

Public program: 22 – 24 November 2023

Organized by: DKUNST Art on Campus

Supported by: Division of Arts and Humanities | Humanities Research Center, Duke Kunshan University

Drawing Lines, Spinning Time: Textile Histories at a River’s End, traces an over-hundred-year history of the Chinese textile industry and its many extensions since the emergence of industrial capitalism within the Yangtze River Delta region. Initiated by Ho Rui An and Zian Chen, the exhibition and public program draws upon materials gathered over a six-month process of fieldwork, archival research, and workshops organized as part of Duke Kunshan University’s (DKU) DKUNST Art on Campus program and with the participation of DKU undergraduates. The program at DKU follows the first large-scale public presentation of the research at Ming Contemporary Art Museum in Shanghai earlier this year.

The exhibition is organized into two sections, each providing a distinctive artistic framework to probe into the historical development of the textile industry in the region. The first, “Drawing Lines”, focuses on material culture and draws upon cartographic and archival methods to trace the networks of labor, technology, and capital that connect the industrial centers of the region to its agrarian peripheries and beyond. The second, “Spinning Time”, centers the embodied experience of labor and its representations by examining films set in textile mills and real-life accounts by retired textile workers. Through the public program, the objects and images on display are further articulated through a curated film program and one-day live program that includes a lecture, guided tour, and a mapping exercise.

The DKUNST Art on Campus program is curated by Prof. Zairong Xiang.

Public Program

Wednesday, 22 November

1700 Exhibition opening

Location: 1F CCTE

1900 Screening and discussion: Huang Baomei

Location: Performance Cafe

A rarely seen gem made by the renowned Third Generation Chinese director Xie Jin, Huang Baomei (1958) is a docudrama based on the real-life experiences of the national model worker of the same name. Set at Shanghai No. 17 Cotton Mill, the film focuses on how the workers collectively resolve the problems posed by their aging machines as they strive for a technical breakthrough. As an exemplar of the genre of “artistic documentary” advocated by Premier Zhou Enlai during the Great Leap Forward, the film is known for its collective scripting process and predominantly female cast of actual cotton mill workers playing themselves.

The screening will be followed by a discussion with Prof. Qian Zhu.

Note: Due to the lack of international distribution, the film is only available in Mandarin without subtitles.

Thursday, 23 November

1900 Screening and discussion: A Single Spark

Location: Performance Cafe

A Single Spark (1959) is a Shanghainese opera film based on a violent confrontation between indentured laborers and their managers at the Japanese-owned Naigaiwata Company No. 7 Cotton Mill in 1925. Reflecting the dominant tropes of Chinese socialist cinema of the period, the film follows the trials and tribulations of a villager fighting to extricate her daughter from the despotic system of contract labor as well as the collective action taken by her fellow workers that eventually catalyzed the May Thirtieth Movement.

The screening will be followed by a discussion with Prof. Kim Gordon.

Note: Due to the lack of international distribution, the film is only available in Shanghainese with Chinese subtitles.

Friday, 24 November

1400 Screening and discussion: Red Skirt Popular in the Street

Location: CCT E1011

Set in the fictitious Shanghai-based Dafeng Cotton Mill, Red Skirt Popular on the Street (1984) follows the story of an enterprising model worker as she navigates the challenges of young adult life, from workplace conflicts to choosing what clothes to wear on her days off. A landmark of the early years of the Reform era, the film shows the growing consumer consciousness among the working class amidst the transition to the market economy, as best observed in the spellbinding array of colors seen in their sartorial choices—a reflection of the fashion trends being introduced into the country through trade fairs and catwalks at the time.

The screening will be followed by a discussion with Prof. Andrew Field.

Note: Due to the lack of international distribution, the film is only available in Mandarin without subtitles.

1630 Guided tour

Location: 1F CCTE

1700 Mapping exercise: Object and Network

Location: 1F CCTE

Using a selection of objects as its starting point, this student-led cartographic exercise attempts to connect the lines between different objects, people, and sites across the Yangtze River Delta region as a way to visually represent the material networks that constitute the region’s modern textile industry.

1730 Discussion moderated by Prof. Zairong Xiang

Location: 1F CCTE

1800 Break and refreshments

Location: 1F CCTE

1900 Lecture: Spinning Time

Ho Rui An and Zian Chen

Location: Performance Cafe

In this lecture, the networked lines of labor, technology, and capital that make up one river delta region flow into another river delta region as the textile histories along the Yangtze River are woven with those of its southern double: the Pearl River. Drawing upon their research across Shanghai, Nantong, Hong Kong and Guangzhou, Ho Rui An and Zian Chen construct a timeline that inquires into the displacements and returns that characterize China’s modern textile history as much as it reflects on the time of history itself.

Nikita Yingqian Cai is Artistic Deputy Director and Chief Curator of Times Museum. She has curated exhibitions such as Times Heterotopia Trilogy (2011, 2014, 2017), Jiang Zhi: If This is a Man (2012), Roman Ondák: Storyboard (2015), Big Tail Elephants: One Hour, No Room, Five Shows (2016) , Pan Yuliang: A Journey to Silence (Villa Vassilieff in Paris and Guangdong Times Museum, 2017), Omer Fast: The Invisible Hand (2018), Zhou Tao: The Ridge in the Bronze Mirror (2019), Neither Black/Red/Yellow Nor Woman (Times Art Center Belin, 2019) , Candice Lin: Pigs and Poison (2021) and One song is very much Like another and the boat is always from afar (2021). She initiated the para-curatorial series in 2012 and launched “All the Way South” research network in 2016. She was awarded the Asian Cultural Council Fellowship in 2019.

Public Lecture: When a Trebuchet Met a Museum
Tuesday 25th April 15:00 – 17:15 | AB 3107

Over the past five years, Nikita Yingqian Cai has been focusing on curating an interdependency in the evolving network of Times Museum. By referring to a case of how a trebuchet entered a contemporary art museum, how it was fabricated and contextualized in an exhibition she curated in time of the pandemic, Cai maps the variety of human agencies and non-human actors in the network of a museum, and unpacks the disparate tools of ‘curating’ and the expanded field of ‘the curatorial’.

In Candice Lin: Pigs and Poison, the artist offers a speculative archaeology of the ‘Black Death’. Rather than being an inert object, the ‘trebuchet’ (used by the Mongol army to siege the town of Caffa in 1347) materializes how the Asiatic ‘other’ might have become associated with disease and condemnation in the fourteen century European context, connects the administrative activities of exhibition-making with the formative events of the curatorial to tell a history of the present. By inserting things into already existing conditions and setting up a friction between them, a shadowed context is activated and may subsequently change what we think it is all about. In this sense, the curatorial allows us to blur boundaries and categorizations thus challenging their constraining powers, and forms a constellation of meanings. So when a trebuchet met a museum, it sent off a recurring process of unlearning which inquires what might have or could have been.

In this public lecture, Nikita will also share some insights into different career paths in the broad field of museum, exhibition making, and contemporary art.

(organized by prof. Zairong Xiang, with support of AH, HRC, and DKUNST Art on Campus)

What is a thing? What is an object? These seemingly simple yet profoundly complex ontological questions have been explored by artists and thinkers across culture and time. In the specific setting of contemporary exhibition making (a specialty of MACHANG for almost a decade with the booming contemporary art scene in Shanghai and in China at large), what matter matters in an art exhibition? What does not? What matters before the installation of an exhibition and after its show time is over? What do we do with the materials left behind an art exhibition – the frames, pigments, dry walls, etc. – other than throwing them in the garbage and turning them into waste? How might we archive these things before and after their use value has been exploited?

CALL FOR PROPOSALS Continue reading “Call for Proposals from A Library of Things at MACHANG is seeking proposals for an upcoming three-week residency at MACHANG”