Qu-s serial

After I got in the house it—lost control of it, but it—it was—you know, in back of my mind I had some ideas what I was going to do….

I thought Mrs. Otero and the two kids—the two younger kids were in the house. Otero was gonna be there…. I came through the back door, cut the phone lines, waited at the back door, had reservations about even going or just walking away, but pretty soon the door opened, and I was in….

Well, I confronted the family, pulled the pistol, confronted Mr. Otero and asked him to—you know, that I was there to —basically I was wanted, wanted to get the car.

I was hungry, food, I was wanted, and asked him to lie down in the living room. Otero if he could get the dog out. So he had one of the kids put it out, and then I took them back to the bedroom…. Otero as comfortable as I could. Apparently he had a cracked rib from a car accident, so I had him put a pillow down on his—for his—for his head, had him put a—I think a parka or a coat underneath him.

They—you know, they talked to me about, you know, giving the car whatever money. Otero, and then she out, or passed out. I thought she was dead. She passed out. Then I strangled Josephine. She passed out, or I thought she was dead. Otero came back…. When I was trolling the area I noticed her go in the house one night.

Sometimes I would—and anyway, I put her down as potential victim. But once you lock in on a certain person then you become stalking, and that might be several of them, but you really home in on that person. About two or three blocks away I parked my car and walked to that residence. Nobody answered the door, so I went around to the back of the house, cut the phone lines.

Broke in and waited for her to come home in the kitchen. We talked for a while. She smoked a cigarette. I said, Yes. She went to the bathroom and came—and I told her when she came out to make sure that she was undressed. And when she came out…I handcuffed her, had her lay on the bed, and then I tied her feet, and then I—I—I—was also undressed to a certain degree, and then I got on top of her, and then reached over, took either—either—either her feet were tied or not tied, but anyway, I took—I think I had a belt.

I took the belt and then strangled her with the belt at that time. They made some kind of arrangements for me to go, and I went for about two years once a week to Manhattan with my mom. She would take me there to just—just try to deal with me, deal with the situations. I had very bad bouts of depression when I was a child.

I was very suicidal. I just felt something else was controlling, controlling me A lot of them, you know, play the macho role and keep things inside. But I know a lot of guys who cry on their pillow at night. Sometimes I spent time sitting on a window ledge with my legs dangling over the side.

We lived on the 6th floor of an old apartment building. When my dad saw me doing this he would yell at me to get back inside….

I also felt powerful urges to step in front of moving cars or throw myself in front of subway trains. At times those urges were so strong that my body actually trembled. I remember that it was a tremendous struggle for me to hold on to my sanity. I had always been fascinated with witchcraft, satanism, and occult things since I was a child.

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The image was gradually instrumentalized to serve pressing matters of state in the faltering and war-torn latter years of the Republic. There are students in the base areas, too, but they are different from the students of the old type; they are either former or future cadres. The cadres of all types, fighters in the army, workers in the factories and peasants in the villages all want to read books and newspapers once they become literate, and those who are illiterate want to see plays and operas, look at drawings and www.

In the process, art theorists and administrators succeeded in embedding the modern logic of image-making into increasingly elaborate mechanisms of state propaganda. Through the manipulation of images, the new Party-led reality of China after Communist victory in would be not merely represented or illustrated, but constructed as well. Wu Hung has recently noted of historical photographs depicting Communist heroes the staging and retouching of images to opti- mize them as propaganda, all the while giving the deliberate impression of a spontaneous snapshot.

Wu Thus rendered, verbalized images throughout the Mao era could manufac- ture mass-reproducible truths. Into the s, with the closure of the Cultural Revolution on the horizon, such imagistic fabrications had lost much of their original power, and become fodder for young artists to ignore or reject outright.

As the revolution was ending, the image once orchestrated to serve as a weapon in the arsenal of radical cultural praxis became subject to increas- ingly privatized ventures. Rarely before had the scrawl of a pen carried such significance, particu- larly in the years following the death of Mao. His generation of red youth, once idealistic about Mao, exited the tail end of the revolutionary era with resignation and a heavy acknowledgement of Maoist failures.

Nonetheless, the end of the era for Qu also meant the opening of imaginative possibility, the newfound opportunity to fantasize and dream in full consciousness. One senses that, without this symbolic intervention, the blank page could not have offered the artist a cleaner slate. His are the retro- spective claims of a disavowed red youth, once caught up in the Cultural Revolutionary campaigns to eradicate counter-revolutionary evils. He bore witness to the relentless violence and paranoia of the Red Guard Movement — Eventually assigned to a rural production team, Qu was dispatched to the far-flung north-east region bordering Russia and North Korea during the Rustication Movement of His family and friends, in particular his mother, Liu Bo b.

Expelled from the cities in the late s, along with the majority of urban teens, Qu Leilei laboured and travelled with his production unit. He www. A revised portion of endured late adolescence, and dreamed relentlessly. By , the conclusion of the Cultural www.

In recent interviews, he has taken care to emphasize the extraor- That year I contracted encephalitis, and barely survived. In , Qu was dispatched to the site of the massive Tangshan earthquake in Hebei province. At night Qu would sit alone in his tent penning images, rather than words, into his notebook. In this manner macro-historical events came to punctuate his personal notations.

Of course, at this time, such secrecy in art-making among former sent-down youth was par for the course prior to the end of the Cultural Revolution. Numerous poets, such as Bei Dao b. Qu similarly describes drawing at this time as a process of private discovery :2 There was nothing to do while sitting in my tent at night. I would think about so many things, and casually draw in my notebook. A picture emerged, a tear falling to become a river, then a bleeding earth, iron heels trampling wild flower petals, hair blowing in the wind of freedom […] One picture after another flowed from me like a stream.

At that moment I felt particular joy, as I had found a way to speak. In fact, this was the first step toward art and the expression of my innermost desires. He speaks of this emergent mode of expression proprietarily; for him, drawing or imaging numbered among multiple private properties, along with solitude, downtime, and boredom.

Qu juxtaposes contrasting scales in his account, documenting mass upheaval, on the one hand, alongside a narrative of solitary self-ownership, on the other. A collective breath in Beijing followed the end of the Cultural Revolution and the death of Mao. Like many of his cohort returning to the cities for the first time in nearly a decade, Qu bore the imprints of a coming-of-age defined by the extremities of sociopolitical radicalism.