Tseng Kwong Chi.
Paul Kasmin Gallery, New York New York, state, United States
New York, Middle Atlantic state of the United States. It is bordered by Vermont, Massachusetts, Connecticut, and the Atlantic Ocean (E), New Jersey and Pennsylvania (S), Lakes Erie and Ontario and the Canadian province of NY April 3 * May 3, 2008
As a Hong Kong-born, Paris-trained artist and the son of exiled Chinese nationalists, Tseng Kwong Chi Tseng Kwong Chi (曾廣智,pinyin:zēng guǎng zhì)(1950-1990) was a photographer who was active in the East Village art scene in the 1980's. His most famous work is his self-portrait expedition, East Meets West, also called the "Expeditionary Series. (1950-90), who moved from Canada to New York in 1979, seemed fated to a life of unending tourism, symbolized by the shutter cord he can be seen clenching clenching (klen´ching),
n the nonfunctional, forceful intermittent application of the mandibular teeth against the maxillary teeth. It can become habitual and cause damage to the periodontium. in his fist in many of these self-portraits from the last decade of his life. Characteristically garbed in an iconic Mao suit The Mao suit, also known as Chinese tunic suit or tunic suit, is the western name for the style of male attire known in China as the Zhongshan suit (Traditional Chinese: 中山裝 , dark shades, and ID card stamped "Slut for Life," it is only when this lone, self-appointed "Ambiguous Ambassador" found himself humbled before the Grand Canyon Grand Canyon, great gorge of the Colorado River, one of the natural wonders of the world; c.1 mi (1.6 km) deep, from 4 to 18 mi (6.4–29 km) wide, and 217 mi (349 km) long, NW Ariz. or in the wilds of British Columbia that this cord finally disappears, suggestive perhaps of moments of genuine rootedness.
"Tseng Kwong Chi: Self-Portraits 1979-1989" features over 90 large black-and-white photographs created in the aftermath of the Cultural Revolution (1966-76). Originally inspired by Nixon's visit to Communist China in 1972, which heralded a greater "openness" between China and the United States, Tseng eventually took hundreds of photographs at famous tourist sites across North America, Europe, and around the world, including the Eiffel Tower, Disneyworld, and the Seated Buddha in Kamakura, Japan. Most of the silver-gelatin prints show the artist standing rigidly before a particular destination, somewhat expressionless behind the reflecting shades, targeting both the typical souvenir snapshot and the failed freedom of movement promised by the initiation of U.S.-Chinese relations. Every now and again, however, a sudden change of mood occurs, such as when we see Tseng triumphantly leaping into the air near the Brooklyn Bridge or smilingly leading the St. Patrick's Day Parade in New York City New York City: see New York, city.
New York City
City (pop., 2000: 8,008,278), southeastern New York, at the mouth of the Hudson River. The largest city in the U.S. .
The grid-like arrangement of black-framed photographs at Paul Kasmin shows the methodological way Tseng approached his work, as well as his expert use of lighting, effortlessly highlighting alienation, permanent exile, and uprooted citizenship. There are also references to the documentary photography of Robert Frank and Ansel Adams, correlating the construction of self to identification with the surrounding landscape. So it is ironic that this accidental tourist of the U.S.'s failed open-door policy in China, who was once intimately involved in the 1980s New York art scene alongside Kenny Scharf, Cindy Sherman, and Keith Haring, should have proved so influential for such Chinese avant-garde artists as Song Dong and Zhang Huan, if only through Western art magazines smuggled smug·gle
v. smug·gled, smug·gling, smug·gles
1. To import or export without paying lawful customs charges or duties.
2. To bring in or take out illicitly or by stealth. into their country. Given that Tseng died of HIV/AIDS HIV/AIDS Human Immunodeficiency Virus/Acquired Immune Deficiency Syndrome in 1990, looking today at the artist standing in front of the towering World Trade Center one is eerily confronted with the temporary nature of all icons--even or especially those erected in the name of national and international consolidation.