郑庆和 Ching Ho Cheng
BANK携郑庆和水粉作品《无题》亮相今年Art021艺博会，展位C03。1964-1968年间，郑庆和在库珀联盟艺术学院学习绘画，在安迪﹒沃霍尔与其朋友们常光顾的艺术家酒吧消磨时光。1976 年，郑庆和搬进了大名鼎鼎的切尔西酒店（Chelsea Hotel），布纸面水粉画是他当时的典型创作。
BANK is presenting Ching Ho Cheng's gouache Untitled at this year's Art021, Booth C03. Cheng studied painting at Cooper Union School of Art from 1964 to 1968, hanging out at the popular artist’s bar, Max’s Kansas City, frequented by Andy Warhol and his entourage. In 1976, Cheng moved into the well-known Chelsea Hotel, where he worked as an artist on gouache on rag paper, a typical work of his time.between 1964 and 1968, Zheng studied painting at the Cooper Union School of Art and spent his time in the artist's bar frequented by Andy Warhol and his friends. in 1976, Zheng moved into the famous Chelsea Hotel, where he worked as an artist on paper, a typical work of his time. Gouache on paper was typical of his work at the time.
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郑庆和 Ching Ho Cheng
郑庆和的水粉作品《刺青的人》正展出于纽约大学 80WSE 美术馆的 “遗产: 纽约的亚裔美国人艺术运动（1969-2001）”展览。
该展览是对艺术家们鲜见的艺术作品和档案资料的一次广泛调查，这些艺术家构成并超越了 “亚裔美国人”这一定义。“亚裔美国人”是起源于 1968 年的一种文化和民族身份标签。通过跨学科和研究驱动的实践，展览揭示了亚裔艺术家在历史上是如何在跨国侨民、种族幻象和政治想象的背景下，将美国身份作为一系列情景实践和制度结构进行诠释的。
Ching Ho Cheng’s Tattooed Man (Gouache Series, 1970, 61 x 61cm) is on display in Legacies: Asian American Art Movements in New York City (1969-2001) at 80WSE, NYU.
This exhibition is an expansive survey of rarely-seen artwork and archival material by artists that constitute and exceed “Asian American”, a label denoting a cultural and national identity invented in 1968. Utilizing an interdisciplinary and research-driven praxis, Legacies uncovers how artists of Asian descent have historically negotiated identity in America as a set of situated practices and institutional structures amidst transnational diasporas, racial phantasms, and political imaginaries.
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座谈会现场 Event Photo
郑庆和遗产管理人Sybao Cheng-Wilson于 2024 年 10 月 8 日参加了在纽约大学普雷斯大厅休息室举行的“艺术、身份与遗产：郑庆和、米格尔·费兰多和曾广智”座谈会。在这场座谈会上，三位因艾滋病逝世的艺术家的姐妹讨论了如何管理她们兄弟的遗产，以及他们的艺术家身份在去世后如何被解读。
在这次活动中，演讲简单的介绍了三位在不同艺术圈中发展的新纽约移民艺术家的作品。在随后的对话中，艺术家的姐妹们——作为他们兄弟姐妹遗产的守护者已有三十多年——反思了遗产工作的性别化劳动及她们在将已故艺术家的艺术、社会和政治关切转化为当代话语中的角色。
Sybao Cheng-Wilson, director of the Estate of Ching Ho Cheng, attended the talk “Art, Identity and Legacy: Ching Ho Cheng, Miguel Ferrando, and Tseng Kwong Chi” at New York University Pless Hall Lounge on Oct. 8th, 2024. In this talk, the sisters of three artists lost to AIDS speak about caring for their brother's legacies and the role of identity has been navigated posthumously.
During this event, short presentations introduced the work of three artists who immigrated to New York City and developed their practice to distinct artistic scenes. In the following conversation, the artist’s sisters – all stewards of their sibling’s legacies for over thirty years – reflected on the often-gendered labor of legacy work and their role in translating the artistic, social, and political concerns of a deceased artist into contemporary discourse.
郑庆和 Ching Ho Cheng
郑庆和的"炼金"系列作品正展于美洲协会的当前展览 “面貌：拉丁美洲和加勒比地区亚裔移民的艺术” 展览。此次展览由纽约美洲协会前副策展人兼展览经理 Tie Jojima 和巴西圣保罗独立策展人兼研究员 Yudi Rafael 共同策划。这是纽约首个围绕20世纪40 代至今散居在这些地区的亚裔的艺术创作为主题的展览。
Ching Ho Cheng’s work Alchemical Torso is exhibited in The Appearance: Art of the Asian Diaspora in Latin America & the Caribbean at Americas Society. This show is curated by Tie Jojima, former associate curator and manager of Exhibitions at Americas Society in New York, and Yudi Rafael, independent curator and researcher based in São Paulo, Brazil. This is the first exhibition in New York City to center on the artistic production of the Asian diaspora in the regions from the 1940s to the present.
关于艺术家
About the Artist
郑庆和
Ching Ho Cheng
