Interview Questions for Mr Zhu Fadong on Identity Issues

Interview Questions for Mr Zhu Fadong on Identity Issues

Interview Questions for Mr Zhu Fadong on Identity Issues

时间:2015-03-27 15:12:14 来源:

名家 >Interview Questions for Mr Zhu Fadong on Identity Issues

  Denisa Tomkova/MSc student of Modern and Contemporary Art: History, Curating and Criticism at the University of Edinburgh/ 30. 5. 2014
  Interview was conducted by Denisa Tomkova via email exchange. Translations from Chinese into English/English to Chinese were done by Anran TU.
  Tomkova: My dissertation aims to focus on ‘Identity Card’ as my main thesis, to investigate the use of ID cards as visual language by contemporary artists in China and Eastern Europe (this term is here understood politically and historically as an area which experienced communism). Being an Eastern European student in Britain, I feel strongly about the issue of ID cards personally, individually and collectively. In my research, I noticed that some Eastern European artists also adopted ID cards for their art works and performance, which echoes your work in 1998. Therefore, I would very much like to learn more about your motivation and concept when creating works as such. Thank you for agreeing to be interviewed, I deeply appreciate your kindness.
  目前我的研究论文主题为以作出发,希望探讨中国以及东欧的一些艺术现状与艺术对社会与政治的反思。作为在英国求学的东欧人,我能亲身感受到身份证明的问题,不管是就个人还是集体而言。而我也在研究时注意到,有几位东欧的艺术家,不约而同用身分证作了一系列的相关创作。也与您的1998作品 相呼应。于是我很希望能够多了解您的作品内涵与动机。我深深感谢您百忙中接受我的访谈,如果有词不达意的地方,请多见谅。

朱发东 《寻人启事》9



Ztohoven, Citizen K (ID cards), Czech Republic, 2009 – 2010

Tanja Ostojic, Looking for a Husband with a EU Passport, Serbia, 2000-2005

NSK (Neue Slownische Kunst), Passport, Slovenia, 1993


 Martin Mihalec, Exhibition opening Hangover – artist burned his ID card, Slovakia, 2011  

  Email conversation with Zhu Fadong

  From**To 26 May, 2014
  Dear Mr Zhu Fadong,
  I am a Postgraduate student at the University of Edinburgh, currently working on my dissertation on ID Cards and Surveillance in Art based on examples from China and Eastern Europe.?Would you be willing to answer some of my questions regarding your work?
  And in particular on your works: Identity card from 1998 and This Person if For Sale from 1994?
  I would really appreciate your help.
  Thank you in advance
  All the best,
  Denisa Tomkova 7 Jul 2014
  Dear Denisa Tomkova
  Please excuse me for the late reply. ?
  I also have a strong feeling for the discrimination towards Eastern European immigrants from Western European world. I remembered in 2004 when I was invited to visit Switzerland, during my stay there, my wife and I always went out early and returned home very late. When we got down at the bus station, a middle-age man always came to us and asked us to show him the way. Everyone kept implying us: 'say no to him!'?The middle-age is a immigrant from Eastern Europe. My wife and I didn't take their advice and said 'yes' to him, and we got alone very well.?
  Ztohoven This straight-forward and heart-stirring work of Ztohoven is very well-known. Also, I have heard about NSK's works quite early (In 1996 my friend Ma Liuming had met them on a performance art festival. For me your question are too critical to answer, but I really appreciate these challenging questions. I would concentrate on them today and tomorrow. Thank you very much! ?
  Speak to you soon,
  Best wishes!
  Zhu Fadong?
  ** 19 July 2014
  Dear Mr. Zhu Fadong,
  Thank you again for your time to answer my interview questions, which are very important for my dissertation research. Thank you very much for your cooperation.
  I would like to ask you the following questions:
  1 Are there still people applying for your IDs?
  2 Do people?use these cards as a real identification?
  3. Do you document somehow this your art project? As the most of the art examples I am discussing in my paper are performances they require certain documentation in regard to be seen and present to public. I am curious how do you approach this problem.
  Thank you very much indeed.
  Kind regards,
  Denisa Tomkova
  ** to zhustudio
  1. Identity card work was inspired by the fact that people from other provinces need to apply for temporary resident card came when they want to come to Beijing. Could you explain it to me more though? Have you used it as a real ID or have you considered it as art? 20 July 2014
  Question 1: You are right. My work 'identity card' is inspired by the situation that every adult living in mainland China should possess an identity card.?
  What's more important is the residence information (note: there is a specific term in Chinese 'Hukou' or more specific 'Huji zhidu', comparable to the residence permit in the UK or other countries but somewhat different, you can google it if you want to know more) correspond to your identity card. That is to say, no matter where you are, when you are in the big cities like Beijing, Shanghai or Guangzhou, when you show your identity card, your residence information will be exposed. It is impossible for common people to change the situation.?
  My work is the response to these inequality and discrimination within the system. I am responding as a Chinese citizen, as well as an artist! I hope the Chinese could have the right and freedom to immigrate (to other cities), as it is one of the most basic human rights!
   From ? 27 July 2014?
  Ok, now I will answer the latest questions, and then previous questions you asked before.
  1,Now there is scarcely anyone (asking for the identity card). But there is a gallery which hoped to represent the work exclusively, and many people have applied for the work.
  2,It seems to me there wasn't. But someone (whom I can't remember) said to me that he showed the 'identity card' to the Chinese custom official, and the official was stunned...
  3,Since 1998, there have been hundreds of people applied for the 'identity card', including those who involved in the art world and art lovers, such as artist, collectors, gallerists, critics and curators, as well as those who encountered the art by incident. They are from mainland China, Hong Kong, Taiwan and all over the world.?
  From the beginning, I have kept all the original documents related to the 'identity card', including the proposal, application form, dates of receiving the application and making the card. The whole project was invited to exhibitions for several times; some cards and application forms were auctioned online through ''. (See the picture enclosed, I will send to you later)
  Ok, that's all for today. See you next time!
  Best wishes!
  Zhu Fadong
  E-mail conversation was originally conducted in Chinese. Here is the original version:
  在 May 26, 2014,22:17,denisa tomkova > 写道:
  朱發東, 我是一名研究生就讀於愛丁堡大學。 我目前的工作對我的論文對中國和東歐的當代藝術家的工作與身份的工作。 我很好奇,如果有可能問你一些問題關於你的工作身份證自1998年和這個人如果出售自1994年?
  朱发东工作室? 7 Jul 2014
  Dear Denisa Tomkova
  时常与夫人早出晚归,每当从火车站乘坐公交车下车,返回住处时。常会有一个中年男人迎上前来,比划着要帮我们带路,周围的人不断的向我们暗示:“对他说No !”。
  Ztohoven 这张很直白振憾人心的作品很著名。另外,NSK他们的作品,我很早就听说(我的朋友马六明大概在1996,年左右,曾和他们在一个行为艺术节
  祝好! 朱发东 Zhu Fadong
  denisa tomkova?** 19 July 2014
  1. 现在还有人申请您制作的‘身份证’吗?
  2. 会不会有人把这些身份证当做真正的身份证来使用?
  3. 请问您会为这一作品作些归档整理?因为我研究的其他作品很多都是表演艺术,所以艺术家们会将其整成档案资料以便向公众展示。我想知道您是如何处理这一问题的。
  Denisa Tomkova
  denisa tomkova?** to zhustudio
  1.您的作品 工作的灵感来自于一个事实,即从其他省份的人需要申请临时居民卡来了,当他们要来北京。对于利用身分证这个既有的形式与格式,你有没有把它作为一个真正的身份证或者您对于艺术的界定,以及艺术家角色的界定为何吗?
  From 20 July 2014
  From ? ? 27 July 2014
  These are all the original questions:
  1. Identity card work was inspired by the fact that people from other provinces need to apply for temporary resident card came when they want to come to Beijing. Could you explain it to me more though? Have you used it as a real ID or have you considered it as art?
  您的作品 工作的灵感来自于一个事实,即从其他省份的人需要申请临时居民卡来了,当他们要来北京。对于利用身分证这个既有的形式与格式,你有没有把它作为一个真正的身份证或者您对于艺术的界定,以及艺术家角色的界定为何吗?
  2. Do you find the situation with identity cards still the same? If not what has changed?
  你觉得在当今的情况下你是否会再创作同样的作品? 你觉得关于的情况 在近些年是否还相同?如果不是,发生了什幺变化?
  3. In the interview in 2010 you said that around 100 got identity cards, have there been any more people since then?
  在2010年的采访中你说,大约100人已经拿到身份证,目前2014年的情况如何? 是否也反应政策或是城乡的差距?




  4. What does in general national identity card mean to you? Does it represent any political ideology to you?
  5. Your first performance was Looking for a Missing Person in 1993 and then Missing Person Announcement, 1993, This Person is For Sale (Negotiate Price on Spot). Before starting with performance you were practicing painting why did you shift to the performance art? When did you feel the need?
  你的第一个行为艺术是1993年的 然后是Missing Person Announcement, 和 This Person is For Sale (Negotiate Price on Spot)。是什幺让你开始从油画创作转向了行为艺术的创作?你是什幺时候感到这种转变的需要的?


  6. How would you describe your practice?
  7. Do you think art has a capacity to stimulate the discussion in the society? Comparing with two to three decades ago, what’s your opinion on the Chinese art now? What are the challenges and predicament for the contemporary Chinese artists, in your opinion?
  8. In regard to your work VISA, you talked about the difficult situation as a Chinese travelling to the Western countries. Do you find the topic of identity cards and situations on VISAs and the tightened immigration policies reinforced by Western countries (mainly Europe and North America) somehow could be relevant? Why are you interested in political and migration related topics? When you work on pieces like ‘Identity Crad’, do you have any art market or buyers in mind, or they are not your concern?
  9. Your artworks Identity card as well as Looking for a Missing Person and This Person is For Sale seem quite political to me, like kind of revolt against something. Is it correct? If yes can you tell me more about it please?
  你的作品Identity card,Looking for a Missing Person 和This Person is For Sale 在我看来极具政治意味,它们好像在反抗着什幺。我是否可以这样理解?如果是的话,你能告诉我更多关于它们的信息吗?还是这代表您对变迁中的中国社会的看法?
  10. When many contemporary Chinese artists tend to stress on ‘ Chineseness’ and ‘Chinese Identity’ and ‘Chinese elements’ for their art to cater for the market, what’s your view on this? Would you tend to choose a global issue to suit the fashion of globalisation and for exhibition works abroad? What are the challenges you encounter when exhibiting works for international audience, and how are they different from domestic audience in China?

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