– May 26
Featuring works by internationally renowned contemporary Tibetan artists alongside rare historical pieces, this exhibition highlights the ways these artists explore the infinite possibilities of visual forms to reflect their transcultural, multilingual, and translocal lives. Though living and working in different geographical areas—Lhasa, Dharamsala, Kathmandu, New York, and the Bay Area—the contemporary artists included in Boundless adopt and adapt elements of Tibetan Buddhist art and philosophy to construct works laden with layered meanings. By adopting and manipulating historical Himalayan forms, they express their latent feelings of displacement, fracture, and trauma, and the contradictions in their daily lives. Pulling from different visual traditions—from Himalayan thangka painting to American Pop art—these artists undertake innovative risks that highlight infinite visual possibilities derived from traditional forms. Contemporary paintings, multimedia works, performances on video, and collage are placed in conversation with historical works, providing viewers with a reference point to understand the visual language from which many contemporary Tibetan artists draw inspiration.
– October 14
This series of five films presented over the course of the Asia Week features two of the top cover girls of pre–World War II China: the screen icon Ruan Lingyu, whose starring roles in The Goddess and New Women, alongside male lead Zheng Junli, have been heralded by critics internationally; and the beloved Butterfly Wu (Hue Die), who is featured here in Rouge Tears, the 1938 talkie remake of The Goddess. The series also showcases the important historical epic The Spring River Flows East, codirected by Cai Chusheng and Zheng Junli, highly regarded for his work as an actor and director; and Crossroads, a comedy that marked the emergence of Zhao Dan and Bai Yang as major stars. Film series sponsor: Bonhams.
The films in the series are listed below.
Conversation and Film Screening
The Goddess (Shennü)
Wu Yonggang (China, 1934)
October 5, 7:00 PM
Silent film star Ruan Lingyu delivers one of her greatest, most luminous performances as a mother forced into prostitution in this classic of the Golden Age of Shanghai cinema. Splitting her time between rocking her infant son to sleep and prowling the streets for lecherous men, our virtuous heroine soon falls prey to a portly, violent pimp, who’ll stop at nothing to keep her under his sway. The film’s unblinking gaze at prostitution could make even jaded denizens of pre-Code Hollywood blush, while Ruan’s immortal performance combines the beauty and steel of contemporaries such as Stanwyck, Dietrich, and Harlow. With live accompaniment by Judith Rosenberg on piano.
This screening includes an in-person conversation between Paul Fonoroff, an expert on Chinese cinema and author of the new book Chinese Movie Magazines 1921–1951, and Peter Zhou, director of the C. V. Starr East Asian Library and assistant university librarian at UC Berkeley.
In conjunction with this screening, BAMPFA welcomes film expert Paul Fonoroff on the occasion of the launch of his most recent book, Chinese Movie Magazines 1921–1951, published by UC Press and drawn from the wealth of pictorial materials held in the C. V. Starr East Asian Library’s Paul Kendel Fonoroff Collection. A selection of rare magazine covers featured in the book will be on view this fall at BAMPFA, and Fonoroff will join us to share stories about his life as an avid collector and film critic and participate in a conversation with Peter Zhou, director of the East Asian Library and assistant university librarian.
New Women (Xin nuxing)
Cai Chusheng (China, 1935)
October 7, 4:00 PM
Inspired by the real-life suicide of actress Ai Xia, New Women pointedly addresses the struggles of China’s urban “new women” to survive independently; tragically, its tale of a talented woman hounded by gossip into suicide was mirrored by the death of its lead actress, the legendary Ruan Lingyu, who would kill herself only months after the film’s release. Ruan plays a strong-willed music teacher and single mother whose dreams of becoming an author (with a novel fittingly titled The Tomb of Love) are dashed. The film’s bleakness is shocking for its time and still eye-opening today.
With an introduction by Paul Fonoroff, an expert on Chinese cinema and author of the new book Chinese Movie Magazines 1921–1951.
The Spring River Flows East (Yijiang chunshui xiang dong liu)
Cai Chusheng, Zheng Junli (China, 1947)
October 11, 7:00 PM
Part I: Wartime Separation (Ba nian li luan); Part II: Darkness and Dawn (Tianliang qian-hou). Included on the Hong Kong Film Awards list of the greatest Chinese-language films of all time, this decades-spanning epic has been termed China’s Gone with the Wind. A married couple in Shanghai are separated during the chaos of the 1937 Japanese invasion and the Sino-Japanese War, with their fates reflecting the divided classes of the nation. The husband reinvents himself in Chongqing as a successful businessman, while his wife and family remain in Shanghai, stuck in poverty. The most politically provocative and militantly left-wing work made during the immediate postwar era, Spring River incorporates harrowing newsreel footage of wartime occupation that amplifies its sorrowful effect.
With an introduction by Andrew F. Jones, a UC Berkeley professor who teaches modern Chinese literature and media culture.
Rouge Tears (Yanzhi lei)
Wu Yonggang (Hong Kong, 1938)
October 12, 5:00 PM
This 1938 talkie remake of The Goddess offers a chance to see how another leading star, Butterfly Wu (Hue Die), interpreted the role made famous by the late Ruan Lingyu. Rouge Tears was made in Hong Kong under British colonial rule, during the flourishing of the Cantonese film industry at the start of the sound era. “It was precisely under such tumultuous and constantly shifting sociopolitical and technological circumstances that Wu [Yonggang] made his two film attempts (The Goddess and Rouge Tears) to deliver a humanist social expose through the trope of an illegal prostitute roaming Shanghai’s night streets” (Yiman Yang, Remaking Chinese Cinema).
Crossroads (Shizi jietou)
Shen Xiling (China, 1937)
October 14, 4:30 PM
This popular film marked the emergence of Zhao Dan and Bai Yang as major stars. Shen’s promising career was cut short by his early death in wartime Chongqing in 1940. “A funny, inventive Depression comedy about the trials facing unemployed young graduates in thirties Shanghai. The central fraught romance comes straight from Hollywood, but the overall realism and the hints of looming political turmoil are purely Chinese. . . . Location shooting on the streets of Shanghai is used whenever possible, and the film enhances its sense of direct contemporary relevance by inserting several brief documentary sequences” (Scott Meek and Tony Rayns, Electric Shadows).
Award-winning journalist, art critic, and curator Barbara Pollack introduces her new book Brand New Art from China: A Generation on the Rise (I. B. Tauris, 2018).
One of the world’s leading authorities on contemporary Chinese art, Pollack tells the story of a visionary new generation of young Chinese artists coming to prominence just as China cements its place as the world’s second largest art market. She asks, “What does it mean to be a Chinese artist today?” when many young artists declare themselves “not Chinese, but global”.
Pollack’s writing has appeared in The New York Times, Vanity Fair, the Washington Post, and the Village Voice, as well as numerous leading art magazines. She has authored several important monographs on young Chinese artists, including the first artist profile of Ai Weiwei for Artnews in 2005. Pollack lectures regularly across the United States and Asia, and was the keynote speaker at the 2018 Art Basel Hong Kong.
Tibetan artist Tsherin Sherpa, whose works are featured in Boundless: Contemporary Tibetan Artists at Home and Abroad, explores themes of displacement and identity as he recounts his artistic journey. Trained as a traditional Tibetan thangka painter, Sherpa is now an artist whose work brings together both sacred and profane or, in his words, “the icon and the ordinary.” Sherpa has exhibited his work throughout the United States, Europe, and Asia, including at the Rubin Museum of Art in New York, the Asian Art Museum of San Francisco, and the Victoria and Albert Museum in London.
Berkleley Art Museum and Pacific Film Archive 2155 Center Street
Berkeley, CA 94720
1:30 pm–3:00 pm
Vikram Sarabhai by artist Matti Braun
This illustrated slide presentation takes its point of departure from the remarkable life and biography of Vikram Sarabhai (1919-1971), the father of Indian Space Program. A Cambridge University cosmic-ray scholar, Dr. Vikram was much more than a brilliant physicist.
A scientist, an entrepreneur, a key institution builder, and a man of vision, Sarabhai’s ongoing search to innovate led him to experiment in diverse fields as art, technology and textiles.
His ability to extend the scope of artistic frontiers while simultaneously emphasizing and nurturing India’s scientific progress made Vikram Sarabhai extraordinarily unique. He stood as an emblem of Modernity, a citizen of the world.
The presentation traces his connections not only to famed Indian cultural figures as the poet, Rabindranath Tagore, film director, Satyajit Ray, and his wife, the renowned Indian dancer Mrinalini Sarabhai, but also, how Sarabhai’s work intersects major cultural developments in 20th century India. His global interactions revealed associations with international modernist figures Le Corbusier, Louis Kahn, John Cage, Alexander Calder, Henri Cartier-Bresson and more.
The artist, Matti Braun spins an elaborate web of interdisciplinary associations around the Indian physicist Vikram Sarabhai. Inspired by some of the cultural developments and momentum of the Modernist movement of Twentieth Century India, Braun’s research focuses on, among others, the multifaceted figure of Sarabhai.
His slide presentation is created as a precisely composed score of images and words that reflect stories through a unique artistic vision.
Chinese, Japanese, Indian, Southeast Asian, Himalayan & Central Asian
The UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) is the visual arts center of the University of California, Berkeley, the nation’s leading public research university. Our mission is to inspire the imagination and ignite critical dialogue through art and film, engaging audiences from the UC Berkeley campus, the Bay Area, and beyond. Each year BAMPFA presents more than twenty art exhibitions, 450 film programs, and dozens of performances, as well as lectures, symposia, and tours.www.bampfa.org
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