Performance Art in China- A Historical Process

1、Performance Art in China: A Historical ProcessLIZhiqi【Abstract】ThispapercontainsthedevelopingprocessofperformanceartinChinashortlyafterReformandOpening-uppolicylanded，offeringabasicglanceofperformanceartworksstanders，andanalyzingthecauseofthosesignificantstepswithinthespecificbackgroundinsideoftheco

2、untryandaffectedbytheworld.TheusageofthebodyasamediumofChineseartistswouldalsoprovideageneralideaoftheopeningideologyinthecontemporaryChineseartsystem.【Keywords】PerformanceArt;China;Historyanddevelopment1.ResearchBackgroundAfter2020，whenMarinaAbramovi?engagedinanextendedperformancecalled，TheArtistIs

3、Present，presentedinMoMA.Peoplearoundtheworldhavebeenattractedbythisperformanceandbodyart.Performanceart，asoneoftherepresentativemulti-mediaartformwhichemphasizeslivenessandbody，haswidelycapturedpeopleseyes，andresearchersofarthavesomehowturnedtheirattentiontostudythisbody-mediaartform.Itbecomespopula

4、ramongothertraditionalartformsgeneratedallaroundtheworld，especiallyinthestreamofcontemporaryartamongthewesternculture.Performancearthasemergedasanartforminthewestsincethe1960s.However，whilepeopleinthewesternartsystemweredeliberating，generatingandexchangingthisartformdrastically，performanceartseemsju

5、ststartedintheeast.ItisconsideredincomprehensibleforpeopleoutsideofChinatoobtaintheideaofChineseperformanceArtdueltothescarcityofresearchandlanguagebarriers.Therefore，thearticlewouldofferageneralideaoftheprocedurethatperformancearthasgonethroughinChina，andcouldbedividedintosectionsbasedonthetimeline

6、：Birthandmutilation，stylizationandDiversification.2.Foundationlayingandbirthing：theendofthe1980stothemidof1990sPerformanceart，whichusesthebodyasamediumbeginstoimmerseinsidethe60sofwestern.Itwasformedandbecameanimportantexpressmethodincontemporaryartinthelate1980s，togetherwithindustrial，postAIDS，quee

7、randcyberpunkculturesin1990sJohnson，2020.Sincethen，usingthebodyasamediumseemstoarousemoreresonancearoundamassaudiencearoundtheworld.However，duetothepoliticalsituationofunstablesocietymovements，itonlycameintobeingaroundthe1990sinChina.Besidesinfluencingtheflowofwestern，thebackgroundinsideChinawasalso

8、matureenoughtomakeperformingarthappeninChina，fromtheperspectivesofeconomyandideology.Thetransitionfromaplannedeconomytothecommodityeconomyfrom1979hasbroughttheconceptof“marketintotheartsystem.Underthedualpressureofsystemandcapital，artistsneedtosupporttheircreationthroughmarketcompetition.Toattractpe

9、oplesattentionandconsidermassconsumptiontrendsonaestheticsandvalues，theirstanderofChinas“artisticcontemporarinesshasgraduallyevolvedintoatypical“meaninglessfeatureLiHu，2020.AgreatmovementhasbeenmadewhenChineseartistsheldtheofficialexhibitionattheChineseArtMuseum.Theexhibitionexplicitlyprohibitslivep

10、erformingarts，whichcouldonlybepresentedintheformofpictures.However，sevengroupsofbehavioralartistsexpressedtheirironytothecurrentsituationofChineseartfromdifferentperspectivesinvolvingtheirbodies.XiaolusDialogue1989isthemostprominentwork，whichdirectlyleadstotheinterruptionoftheexhibition.Sheusedareal

11、gunwhenChinaprohibitstheusageofgunsandshotatherownworkDialogue1988whichaimedtoshowthepainbroughttopeoplewhenitwasataboototalkaboutemotionsbetweenheterosexuals.AndthoseartworkscouldbeastanderforthemagnificentbeginningofChineseperformingart.Afterthoseperformanceartshavewalkedintopeoplesviews，artistssu

12、chasZhuFadong，CangXin，MaLiumingunabletoperforminhisowncountrymostofthetimeandZhangHuanwereattheforefrontofChineseperformanceart.New，eye-catchingandinterestingworksofartappearedandemerged.Theirworksrevealtheuseoftheirpracticalactionstoresistandfilterthefalseorhypocriticalexperimentaland“post-perceptu

13、alideasinart.3.Stylized：theendofthe1990sChineseperformancearthasrecognizedasexaggeratingunderthepackagingofQiuZhijiesso-called“post-perceptualtheory.WorksofZhuYu，SunYuan，PengYu，andZhangZihan，whoappearedafter1995，showedanunacceptablediscomfort.ZhusmostnotablepiecetitledEatingPeople2000.Inthisperforma

14、ncepiece，theartistrecordedhimselfinhiskitcheneatingwhatappearstobeasix-month-oldfetus，purportedlystolenfromamedicalschool.Thisstyleofinvolvingviolenceiscontinuingnowadays，andworkslikeARib2020appearsfromtimetotime.Duringthisperiod，criticsandartistshaveneverstoppedarguingabouttherationalityofextremebo

15、dyart，andthegovernmentsinterventionhasnotcompletelystoppedtheactionsofChineseperformanceartists.Theystillshuttlebetweenlawandmorality，questioningpeoplesspiritandbody.4.DiversificationandAmbiguityofBoundaries：after21ctilltherecentInthe21stcentury，facingtheprominentstyleofperformanceartinthedirectiono

16、fviolenceandstimulation，criticshavewidelydiscussedthisphenomenon.Manybehavioralartiststrytofindtherightbalance.Althoughitstillshowsnudity，injury，andunusualnesstosomeextent，itcouldbeunderstoodandaccpected.HeChengyaosseriesofworks：SalutetoMother2020，MotherandMe2020and99Needles2020，hasintuitivelyexpres

17、sthemother-daughterrelationship，withthemostoriginalbodytotransparentcontinuousanddelicateemotions，playthemediaadvantageofperformingarts，givingtheaudienceacontinuousemotionaltransmission.Theartisthasneverexplainedhermotivationanddirectionbutusesthebodyasamediumtodeepenherimpressionandcreatemorepossib

18、ilitiestocommunicatewiththeaudience.Intheseconddecadeofthe21stcentury，unprecedentedchangeshavetakenplaceinChineseartcircles.Someyoungandnewgenerationperformanceartistshavenotstoppedtheirpracticeandexploration.Forexample，GaoYuan，HeLiping，andLiuChengrui.Ontheotherdimension，OldergenerationartistsSunYua

19、nandPengYuhaveinsertedtheirperformanceintoabrand-newbody.Canthelpmyself2020，atechnicalbodyseemstohaveopenedthedirectionofthedevelopmentofperformingartsinthenewera，whichcouldapplytheadvantagesofhightechnologytoshowmorepossibilitiesofthebody.5.ConclusionSincePerformanceArthasdefendeditisselfsmeaningandappearanceinChina，ithasbeenmakingheadwayamidtwistsandturns.Nowada