LEGAL STATEMENT | PRIVACY POLICY

Liao Wen 2007-11-06
Liao Wen's Home,
Beijing

Conducted in Mandarin

“The issues of [Fine Arts in China] that presented New Wave Art were risky. Finally, the chief editor, Liu Xiaochun, made a rule that whoever organized the issue should represent their point of view and sign their own name. You had to take responsibility. So when you look through those issues of Fine Arts in China, you can see the name of the relevant editor at the bottom of each page—you can see who was responsible for what point of view. The last few pages of each issue actually carried a lot of traditional stuff, like crafts, architecture, et cetera. Whoever signed their name was responsible for their material. Many times, in order to publish stuff about the New Wave, we had to fight with the members of the editorial staff who didn’t want to promote the new artists. I actually get quite nostalgic about those days. You could still get in fights: ‘The article needs to be this way’ versus ‘I want to make it that way’.”

Biography:

Liao Wen (b. 1961, Beijing) is an independent curator and art critic whose art interest includes the intersection of art and feminism.

Liao graduated from the Department of Chinese Language at the Capital Normal University in 1984, and in 1987, was appointed as a journalist and editor of Fine Arts in China (Zhongguo meishubao). Liao helped to arrange the exhibition ‘China’s New Art, Post-1989’ (Hong Kong, 1993) and organized the exhibitions ‘Women’s Approach to Chinese Contemporary Art’ (1995), ‘Woman and Flowers’ (1997), ‘Personal Touch’ (1998), ‘Ouh La La Kitsch’ (1999), ‘Eros Untimely Death’ (2005) and ‘Floweriness’ (2006).

Some of her publications include a book on feminism and women’s art (Nuxing zhuyi zuowei fangshi: nuxing yishu) (1999), No More Nice Girls: Interviews with the American Feminist Critics and Artists (2001) and a recent book about the female in the art of antiquity (Lufei hongshou: gudai xingxiang he guige yishu) (2005).