The Yi Museum
The Yi were considered a Feudal Society as late as the 1950s, years after the Communists had taken over the country. Slave trade between the Black Yi Tribe, the enslaved, and the White Yi tribe, the lords, was still being practiced as late as the 1960s. The Yi’s relationship with the majority Han Chinese has historically been troublesome, resulting in a massive strike against the Nationalists government in 30s and exacerbating the already existent tension between the Yi and the Han. In 1934, when the Red Army arrived in the land of the Black Yi Guji tribe, to avoid detection from the Nationalist army, they had no choice but to pass through this area. The Red Army was reluctant to encounter the Yi, for they were perceived as dangerous. To ameliorate the situation, General Liu of the Red Army explained to the Black Yi Chief the Communist’s philosophy of class struggle – comparing the Red Army to the Black Yi, those who are oppressed and must unite to fight the oppressors, and the Nationalist government to the White Yi. This discussion culminated in General Liu and the Black Yi Chief swearing brotherhood in the tribal manner by drinking the blood of a freshly killed chicken. Later, the Yis danced under the moonlight to welcome the Red Army. Today, some village people still wear the Red Army’s hat.
Yi Trbal men joined the Red Army and arrived in Yanan
Musical about the Yi and the Red Army
Zhou Tiehai, “New Listing, Zhou Tiehai, Phases on Debut before Reaching Fiar Value, Shanghai,” 1995
The Yi region has contributed to the nation’s glory through its Xichang Satellite Launcher Station, where the Long March Space Rocket has reaped a large profit launching many satellites for China and Western countries. We will have a joint exhibition of traditional Chinese ink paintings made by the art club members who are scientists from the satellite station, and art students from the Sichuan Art Academy (some of these art students are ethnically Yi). A strong contrast will be created through the juxtaposition of the Chinese ‘traditional’ style and motifs employed by the art club members, the scientists whose careers are based on the ‘universal’ language of science and technology, and the art student group’s works that employ the ‘universal’ language of contemporary art. Accompanying the exhibition will be a forum between the two groups discussing ideology, the market economy and the function of art and technology. We will examine Christie’s and Sotheby’s auction catalogues of Chinese contemporary art, the Sensation exhibition catalogue and materials on Charles Saatchi and Leo Castelli.
Stocks issued by artist Sun Ping, 1992
Sun Ping , Performance
Yao Ruizhong , “Measuring History Series,” 1999
Yao Ruizhong, “Measuring History Series, ” 2000
Yao Ruizhong , “Capturing the Native Land,” Instalaltion
The Memorial of the Union of the Red Army and Yi
Xichang Satelite Launcher Station
Long March III Launcher
The Yi People
Zhan Wang, “Meteorite Project”
Nandan Meteorite, reached Nandan, Guanxi, in 1956 AD. discovered in 1958. Weight 680 Kilogram, shipped to
Beijing in 1992.
Copy of Nandan Meteorite by artist, Zhan Wang. Made in Beijing, November 2001. Weight: 2 Kilogram. To be sent back to the space via the Long March Launcher in Xichang, for the Long March Project
Liu Chengying, Performance
Ni Weihua, Series of photography works with Deng Xiaoping’s slogan, “Development is the Hard Principle”,