Alerted to Jonson Tsang’s sculptural work, via social media, I fired off quick response that it was reminiscent of Yue Minjun’s crazy smiling characters, that first appeared in the early nineties. In doing so I neglected to read the entire article from Cfileonline, in which, as the author(s) pointed out, they referenced those works (how many times have a I told students, particularly here in China, to read the text through). Perhaps driven by my embarrassment I found myself rifling through the small library I keep here to reread Kate Hill’s “Why the Manic Grin? Hysterical Bodies: Contemporary Art as (Male) Trauma in Post-Cultural Revolution China,” in which she attempts to make sense of Yue’s work through the lens of psychoanalysis.
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