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Anthropometry Revision, Lee Wen

Anthropometry Revision, Lee Wen

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Published by Lee Wen
Published as catalogue for solo exhibition and performance 'Anthropometry Revision' by Lee Wen, Soo Bin Art International, 10 - 27 September 2008.
Essays by Lee Wen, Adele Tan, Ray Langenbach, Łukasz Guzek, Zha Changping

Anthropometry Revision:Yellow period (after Yves Klein) #2 (performance)

On 13 April 2008, Chengdu, China, I collaborated with Jiang Jing, He Liping in a performance re-visiting the historical performance of Yves Klein’s “Anthropometries”(1958) with reference to my own contexts as well as within local conditions. Klein conducted some models in using the female body as ‘living brushes’ to make body prints and paintings on paper. While the “Monotone Symphony” was being performed, with a nine-piece orchestra playing one single note. Yves Klein had three nude models cover themselves in blue paint and affix their body prints on the white papers, laid out on the gallery walls and floor. In using the models as if paint brushes, Klein’s motivations were based on that of “removing the hand” of the artist.
Based on these explorations by Yves Klein, I have re-opened discussions of Klein’s work in contemporary situation such as:-
- why should the bodies be that of women models only?
- Klein’s motivations were based on that of “removing the hand” of the artist, however performing it myself together with other artists we not only use our hands, but also our own bodies, a rejection of the artist as the dandy, master composer, creator using the bodies of others as object or tool.
- can this be done in an Asian context? in Singapore public nudity is illegal and considered an obscene act.
- Yves Klein doing this work in Europe had various implications which may not have been consciously addressed. Other questions are approached if I propose to use Asian bodies and a music orchestra, which is non-western. In Singapore the music was played by Kai Lam on laptop and Jeremy Hiah, on jaw harp. it was to involve music from the extremes of technology.
- The position of painting today in contemporary art practice with reference to Yves Klein and performance art.


Published as catalogue for solo exhibition and performance 'Anthropometry Revision' by Lee Wen, Soo Bin Art International, 10 - 27 September 2008.
Essays by Lee Wen, Adele Tan, Ray Langenbach, Łukasz Guzek, Zha Changping

Anthropometry Revision:Yellow period (after Yves Klein) #2 (performance)

On 13 April 2008, Chengdu, China, I collaborated with Jiang Jing, He Liping in a performance re-visiting the historical performance of Yves Klein’s “Anthropometries”(1958) with reference to my own contexts as well as within local conditions. Klein conducted some models in using the female body as ‘living brushes’ to make body prints and paintings on paper. While the “Monotone Symphony” was being performed, with a nine-piece orchestra playing one single note. Yves Klein had three nude models cover themselves in blue paint and affix their body prints on the white papers, laid out on the gallery walls and floor. In using the models as if paint brushes, Klein’s motivations were based on that of “removing the hand” of the artist.
Based on these explorations by Yves Klein, I have re-opened discussions of Klein’s work in contemporary situation such as:-
- why should the bodies be that of women models only?
- Klein’s motivations were based on that of “removing the hand” of the artist, however performing it myself together with other artists we not only use our hands, but also our own bodies, a rejection of the artist as the dandy, master composer, creator using the bodies of others as object or tool.
- can this be done in an Asian context? in Singapore public nudity is illegal and considered an obscene act.
- Yves Klein doing this work in Europe had various implications which may not have been consciously addressed. Other questions are approached if I propose to use Asian bodies and a music orchestra, which is non-western. In Singapore the music was played by Kai Lam on laptop and Jeremy Hiah, on jaw harp. it was to involve music from the extremes of technology.
- The position of painting today in contemporary art practice with reference to Yves Klein and performance art.


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Categories:Topics, Art & Design
Published by: Lee Wen on Jan 14, 2011
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02/19/2013

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