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Revisited: Propaganda Poster Art Center
Dazibao posters at the Propaganda Poster Art Center - By Melanie, Mar 31, 08
The Propaganda Poster Art Center is still trapped in a basement off Huashan Lu.
However, Yang Pei Ming, owner of 5000 propaganda posters and director of Shanghai's Propaganda Poster Art Center, may be looking to move his collection to a more conspicuous location. At the moment the Center operates out of three basement rooms located in a cluster of apartment high-rises. A low profile and low rental costs dictated the location heretofore, but Yang believes that "a private investor may back a move out of the basement."
The Center doesn't expect to receive government support any time soon, but Yang doesn't believe the powers-that-be will try to blockade his expansion.
Expansion would reduce the (significant) clutter, allow more of the work to be displayed and provide some continuity in the exhibition spaces. Currently, the posters and gift shop are in adjoining rooms, but the display of "dazibao" (handwritten posters) is stowed across the hall in a locked and darkened room.
Fascinatingly creepy, the Dazibao would probably be extremely sinister project for anyone taking a stab at translating traditional characters. Certainly, these wall-sized posters deserve a more prominent positioning than they currently receive. Dazibao began appearing in June of '66 all over Chinese cities and in particular on university campuses as yet another form of cultural revolution propaganda.
On the top of the poster the calligrapher pens a Mao quotation in red. The remainder of writing is in black ink and denounces anyone critical of the ideas put forth. Perversely, the dazibao often denounced those closest to the artist -- his family, his teachers, and sometimes even himself.
In addition to being a historical relic, the freehand calligraphy is a work of modern art and this collection is the only one of its kind in the world.
Yang Pei Ming began collecting Mao-era thought control art about 12 years ago. Because the government cleansed the country of many of the offending works, Yang has obtained his posters from some unique origins. "For instance," he says, "one part of the collection came from under a family's sofa."
It is Yang's plan "to ensure that the thirty years represented with this art are never forgotten. The role of the propaganda posters within the Shanghai art scene is extremely important. The suffering is over now, so we can try to examine these relics as art."
Despite the continued underground status, Yang and his collection are building notoriety. Visitors to the Center include travelers and expats, as well as groups of wealthy Chinese. Next month he will give a lecture at UC Davis about the significance of these works, making the posters visible in America.
The Propagande Poster Art Center is open daily from 10am-4:30pm. Entrance dfee is 20rmb, and posters available for purchase start at 800rmb.
However, Yang Pei Ming, owner of 5000 propaganda posters and director of Shanghai's Propaganda Poster Art Center, may be looking to move his collection to a more conspicuous location. At the moment the Center operates out of three basement rooms located in a cluster of apartment high-rises. A low profile and low rental costs dictated the location heretofore, but Yang believes that "a private investor may back a move out of the basement."
The Center doesn't expect to receive government support any time soon, but Yang doesn't believe the powers-that-be will try to blockade his expansion.
Expansion would reduce the (significant) clutter, allow more of the work to be displayed and provide some continuity in the exhibition spaces. Currently, the posters and gift shop are in adjoining rooms, but the display of "dazibao" (handwritten posters) is stowed across the hall in a locked and darkened room.
Fascinatingly creepy, the Dazibao would probably be extremely sinister project for anyone taking a stab at translating traditional characters. Certainly, these wall-sized posters deserve a more prominent positioning than they currently receive. Dazibao began appearing in June of '66 all over Chinese cities and in particular on university campuses as yet another form of cultural revolution propaganda.
On the top of the poster the calligrapher pens a Mao quotation in red. The remainder of writing is in black ink and denounces anyone critical of the ideas put forth. Perversely, the dazibao often denounced those closest to the artist -- his family, his teachers, and sometimes even himself.
In addition to being a historical relic, the freehand calligraphy is a work of modern art and this collection is the only one of its kind in the world.
Yang Pei Ming began collecting Mao-era thought control art about 12 years ago. Because the government cleansed the country of many of the offending works, Yang has obtained his posters from some unique origins. "For instance," he says, "one part of the collection came from under a family's sofa."
It is Yang's plan "to ensure that the thirty years represented with this art are never forgotten. The role of the propaganda posters within the Shanghai art scene is extremely important. The suffering is over now, so we can try to examine these relics as art."
Despite the continued underground status, Yang and his collection are building notoriety. Visitors to the Center include travelers and expats, as well as groups of wealthy Chinese. Next month he will give a lecture at UC Davis about the significance of these works, making the posters visible in America.
The Propagande Poster Art Center is open daily from 10am-4:30pm. Entrance dfee is 20rmb, and posters available for purchase start at 800rmb.
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Winner of four Tony Awards, Sir Elton John and Tim Rice's pop musical AIDA is an epic tale of love, betrayal, death, and royalty condemned to the trials of slavery.
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