It was largely the porcelain fever of the early 19th century and frivolitality, in the field of Chinoiserie, worked in the framework and interpretation of Chinese culture and Chinese aesthetics. An exhibition of Museum Museum of Metropolitan Museum of Art is obsessively obsessively at the state of high-level households. The perception of art form was the financial autonomy of European women and contributed to the exotic objectivation of Asian women and cultures.
The Moon Moon, which oversees ceramics and glass collections in the Department of European Sculpture and Decoration, Beauty Monster: Chinoiserie’s feminist review It sends 200 objects and internationally from Met’s collections and internationally lends the critical analysis of the autonomy and racial stereotypes of the genre. In a conversation HyperalergicThe Moon mentioned the main entrance to the department’s collection as an American woman in Asia through Chinoiserie. He wanted to disclose the histories embedded within the style and within the heritage Beauty monster Show, opening on March 26.
“Another starting point for this exhibition is another woman’s mirror, 1760 in a Manchu dress.” The moon explained. The generic commercial commercial object was highlighted because he looked directly on the image of the woman. “It should be a decoration on the surface of the mirror, it’s not someone you need to deal with, and I thought it was incredibly fascinating.”
The moon imposed imported porcelain trends and acquisition trends HyperalergicWhile the first presence of European material was in the medieval period, it was mainly available as a strange and precious object or set for objects or precious objects.
“The association with women and frivolism is truly XVIII. Century consumer revolution,” he worked. “It’s at this time when women get power as consumers, that public discourse releases about the new woman’s power and no one has control the taste.”
“Suddenly, porcelain, the explosion of uncontrolled desire,” continued the moon, “and is setting sexualized language at the time of developing a taste of these objects in front of these women.”
The moon stated that one of the main social criticisms that you can not have a single set of social critics. “You have to catch them all, they were like Pokémon.” The female collector filled shelf rows with shopping throughout the room. Dezorative art is often observed from a aesthetic and political point of view, the moon said that the porcelain was available under the radar.
When the inheritance of Porcellain has an object, the Commissioner explained that the rights of the land and the rights of land and property inherited to men, and women inherited moving goods. ” Amalia Van Solms-Braunfels, which he mentioned the orange princess, decorated his four daughters and had jewelry that left his flavor and influential collection. There, he offered a room in his house to show and build his mother’s heritage.
But in particular, women draw this form of women? Were white material, milk milk milk and delicate decorations? Was the action of organizing and showing guests and the fine tea associated with guests?
“It is important to consider the decoration, because you see the figures in all these objects – pavilions and pagodes, trees and women in silk dresses,” said the moon. “But if you are the only penetration of the world than yourself, the porcelain imagination and a tool to feed fantasy and projections.”
Right: Porcelain Medical Manufacturing (Italian, Florence, 1575-87), Ewer (BROCCA) (1575 – 80)
(© Metropolitan Art Museum)
And in that, Chinoiserie took the aesthetics of Chino’s porcelain and other decorations and walked with him, creating fetish performance of “Orient”“ Told by the imagination of European producers based on the interpretations of real trade goods.
“Chinoisserie Europe had nothing knew the fixed and serialized image of culture, and was designed to adapt to European liking,” explained the moon. “They think that China has become a structure that does not disappear; it is returned when needed. The inanimate object purchased is the idea that your relationship is the complexity of Chinoiserie.”
Right: YeeSookyung, “Translated Vase_2017 TVBGJW1_Nine Dragons in Wonderland” (2017) (Venice’s Venice Biennale Asac, Andrea Avezzù photo)
The exhibition of the moon, rounding the interviews about stereotypes and autonomy, Candice Lin, Lee Bull, Yee Buri, Yee Soo-Kyung, and Patty Chang, Chinoiserie’s seduction and people come to represent people.
“Different stories expect people to open new ways to think about new perceptions and history, as we live today,” said the moon Beauty monsterfeminist lens.
“I hope the audience come when they come first.”
