Public Privacy: The Visual Memories of Lin Jingjing
Jun 11 - Jul 05, 2011
Jun 11 - Jul 05, 2011
Press Release
CURATOR: Gu Zhenqing
EXHIBITION DIRECTOR: Sun Yongzeng
EXECUTIVE CURATOR: Dai Zhuoqun
ASSISTANT CURATORS: Hao Danmeng, Qi Shuangyan
PUBLIC RELATIONS: Wu Wei
SPONSOR: WHITE BOX MUSEUM OF ART
OPENING: 15:00, Saturday, 11th June, 2011
DATES: 11th June, 2011 - 5th July, 2011
MUSEUM OPENING HOURS: 10:00 - 18:00, Tuesday - Sunday
VENUE: WHITE BOX MUSEUM OF ART, 798 Art Dist., NO.2 Jiu Xianqiao Road, Chaoyang Dist., Beijing, China
CONTACT US: +86-10-5978 4801
FOR MORE INFORMATION PLEASE VISIT OUR WEBSITE: www.798whitebox.com
EXHIBITION DIRECTOR: Sun Yongzeng
EXECUTIVE CURATOR: Dai Zhuoqun
ASSISTANT CURATORS: Hao Danmeng, Qi Shuangyan
PUBLIC RELATIONS: Wu Wei
SPONSOR: WHITE BOX MUSEUM OF ART
OPENING: 15:00, Saturday, 11th June, 2011
DATES: 11th June, 2011 - 5th July, 2011
MUSEUM OPENING HOURS: 10:00 - 18:00, Tuesday - Sunday
VENUE: WHITE BOX MUSEUM OF ART, 798 Art Dist., NO.2 Jiu Xianqiao Road, Chaoyang Dist., Beijing, China
CONTACT US: +86-10-5978 4801
FOR MORE INFORMATION PLEASE VISIT OUR WEBSITE: www.798whitebox.com
Curator Article
Public Privacy: The Visual Memories of Lin Jingjing
Gu Zhengqing
Public privacy generally refers to personal privacy and the right of personal privacy in public domains. In fact, the right of personal privacy is a creation of modernity. As a natural right, it is part of universal values of a modern civil society. Thus, personal privacy has been established under the shields of law and in the shelters of morality. But as it was said in The Talmud a long time ago, cough, poverty, and love are the three things that people cannot hide. In the current situation of globalization, personal privacy has become even more difficult to find a cover of concealment when it faces pervasive challenges from the public and from the eyeball economy. The shields and shelters of privacy have often been distorted and become as thin as onion skins. Being a sensitive woman, Lin Jingjing has experienced privacy anxieties due to her personal memories of her own upbringing. As the private elements of her personal life are placed in public space, she is worried by invasions and erosions of her privacy. Her identity as an artist calls for her works to be creative and touch upon the concealment of social behaviors. And yet, the space for artistic expressions to be revealed is a total public space, just like a completely uncovered circular theater. Therefore, when the most intimate secrets of her personal life and thoughts no longer can be concealed, Lin Jingjing adopts a strategy of self protection by facing the public squarely, by disclosing personal memories, by revealing personal emotions, and by sharing her notions of independence. As a consequence, the risks and vulnerability of personal privacy turn out to be a focal point for her to observe tensions between individuals and society.
In her art works, issues of privacy are no longer hidden away. Instead, they are transformed into publicly revealed and shared resources. In this sense, public privacy functions a replacement of personal privacy, offering a solution of concealing the deep realms of privacy in an age of pervasive media attention. While a great many people consider publicizing private experiences as a means of self help and while publicly shared information, public affairs, and public domains contain a considerable amount of personal accounts, certain much deeper elements of human weakness are able to hide in concealment.
Gu Zhengqing
Public privacy generally refers to personal privacy and the right of personal privacy in public domains. In fact, the right of personal privacy is a creation of modernity. As a natural right, it is part of universal values of a modern civil society. Thus, personal privacy has been established under the shields of law and in the shelters of morality. But as it was said in The Talmud a long time ago, cough, poverty, and love are the three things that people cannot hide. In the current situation of globalization, personal privacy has become even more difficult to find a cover of concealment when it faces pervasive challenges from the public and from the eyeball economy. The shields and shelters of privacy have often been distorted and become as thin as onion skins. Being a sensitive woman, Lin Jingjing has experienced privacy anxieties due to her personal memories of her own upbringing. As the private elements of her personal life are placed in public space, she is worried by invasions and erosions of her privacy. Her identity as an artist calls for her works to be creative and touch upon the concealment of social behaviors. And yet, the space for artistic expressions to be revealed is a total public space, just like a completely uncovered circular theater. Therefore, when the most intimate secrets of her personal life and thoughts no longer can be concealed, Lin Jingjing adopts a strategy of self protection by facing the public squarely, by disclosing personal memories, by revealing personal emotions, and by sharing her notions of independence. As a consequence, the risks and vulnerability of personal privacy turn out to be a focal point for her to observe tensions between individuals and society.
In her art works, issues of privacy are no longer hidden away. Instead, they are transformed into publicly revealed and shared resources. In this sense, public privacy functions a replacement of personal privacy, offering a solution of concealing the deep realms of privacy in an age of pervasive media attention. While a great many people consider publicizing private experiences as a means of self help and while publicly shared information, public affairs, and public domains contain a considerable amount of personal accounts, certain much deeper elements of human weakness are able to hide in concealment.
