Julia Long @BAO — Tabula Rasa Gallery

Imaginary Girlfriends and Guardian Angels:
Performative Narratives of Rebellion and Freedom

Solo show
Julia Long
BAO ROOM
7 November – 19 December 2024

Bao Foundation and Tabula Rasa Gallery present Chinese artist Julia Long's first institutional solo exhibition, Imaginary Girlfriends and Guardian Angels: Performative Narratives of Rebellion and Freedom, in collaboration with SHANGHAI TANG. This exhibition explores themes in gender theory through layered narrative structures. Long incorporates her "discursive" art practice and recent works within a "performative" narrative framework, challenging established boundaries within art, society, and culture.

The exhibition not only responds to themes of cross-cultural womanhood introduced in Long's solo exhibition Running Up That Hill at Tabula Rasa Gallery in London earlier this year, but it also brings her work into the theoretical realm of Performance Studies. Here, Long delves into how actions can create complex dialogues around social, gendered, and power dynamics through their expression.

Imaginary Girlfriends and Guardian Angels: Performative Narratives of Rebellion and Freedom serves as both a re-examination of Long’s artistic practice and a comprehensive presentation of her multi-layered cultural identity and interdisciplinary research. The exhibition thoughtfully explores how she transforms individual experiences into broader societal discourse through the interplay of action and narrative, emphasizing the artist’s approach to rebellion and freedom. Viewers are invited to reconsider the intricate interplay of gender, culture, and power in this multi-dimensional space.

ESSAY

Moving Forward with the Mirror: The Art and Creative Journey of Long Di

Yao Siqing

In Julia Long’s vibrant and richly colored paintings, attractive women often appear in gardens, restaurants, and cafes. Upon first glance, these women seem to inhabit lives overflowing with sweetness, comfort, and abundance. Even when somber moods occasionally arise, they pass fleetingly, with tears spilling freely into their coffee cups, like clouds dispersing after rain, never lingering in sentimentality(1). Perhaps it is this deep appreciation of life’s rich allure and the future’s openness serving as a guiding beacon for curiosity that enables her to quickly adjust her outlook and carry on. This very quality allows her to write pieces such as “Fried Chicken is Good for Breakups” (2). Fluidly moving between painting, writing, and translating roles, she emphasizes creative process and state over any socially defined professional identity. This reflects the core of her creative approach: a belief that everything is interconnected, paired with a desire to lead an interconnected intellectual life. As for her creations, they are often simply what she gathers along the journey.

Thus, while the dynamic vitality of Long’s images largely stems from her skillful use of graceful curves, it is even more deeply rooted in her diverse inspirations—drawn from everyday life, pop culture, literature, and history. These accessible yet profound sources play a crucial role in conveying the artist’s life perspectives, values, and insights. To judge Long’s work solely through the lens of formal art training would be far too narrow-minded. Growing up in an artistic family, she was immersed in aesthetic cultivation and developed a discerning eye in galleries and museums from a young age. However, her family’s open-minded educational philosophy provided even greater nourishment. It emphasized that the natural development of vision and heart is far more valuable than technical skills and that becoming a holistic individual holds more significance than competing with the masters of art history. Painting, as a mode of expression, results from the harmonious interplay among eyes, mind, and hands, with the integration of the mind coming first. This suggests that “what to paint” precedes “how to paint”; the latter is refined through the artist’s contemplation and reflection in pursuit of a more precise expression, rather than becoming an obstacle to authentic expression. Ultimately, the fruits a tree bears are shaped by its intrinsic nature. This view of art and the artist echoes an increasingly rare humanistic ideal today—one that prioritizes cultivating the artist as a person and emphasizes the importance of broadening both knowledge and horizons. In Long’s upbringing, this influence originated from her family and was later enriched by the intellectual insights imparted by her Jewish parents (3), shaping her candid and unconventional approach to life and artistic expression. If we view each of her paintings and writings as a natural outpouring of her life consciousness, each contained in a different vessel, we might overlook their interconnections by taking only a sip. Returning to the source to glimpse the entire spring would be a far better way to appreciate its unique flavor.

In Long's paintings, the words "freedom" are a recurring theme, while “money” and “roses” frequently appear as well. There is neither pretentious sophistication nor a didactic stance. When simple, mundane desires are expressed honestly, they become things that elicit smiles. “Money” represents the protection of self-independence, providing the material security without dependence on others. Conversely, “roses” symbolize intimacy with others, with fragrance and thorns as two sides of the same coin. Reflecting on and presenting these concepts ultimately leads back to the theme of “freedom,” particularly women’s freedom. For modern women, the ideal situation is certainly to have both love and sustenance, yet if reality falls short, there is no need to feel regret. Having this ideal in one’s heart may be even more important, as this inner conviction emboldens one to move forward courageously (4). Long’s recent paintings of peonies and tulips also explore the significance of this intentionality (5). Viewing tulips as peonies, or aspiring to become a peony, is entirely valid; though the path may be more challenging, this is the essence of freedom. The ideal viewers for Julia Long’s work, much like the figures in her paintings, are likely mature women with a wealth of life experience, akin to the role models she admires in her own life—those who work hard and believe in love, as if they possess endless enthusiasm and ideas. The smiles they share when confronted with her artwork reflect a shared understanding and empathy, rooted in common experience and encompassing tolerance and acknowledgment of the differing values shaped by unique life circumstances. This idealised form of exchange constitutes the foundation of Long’s understanding and crystallisation of female friendship. Thus, we frequently see her depict small gatherings of women, including her recently finished oil paintings titled Three Is A Team, which emphasise the value of sisterhood (6) and the necessity for women to grow together as listeners and mutual supporters of one another.

Another characteristic of Julia Long’s paintings is her use of unexpected reinterpretations of well-known texts as a form of expression. These popular texts include depictions of women that have been stigmatised and diminished in fairy tales, films, myths, and history, such as the Witch and the Siren. Long suggests that instead of engaging in battles, Yu Jiaolong (7) might find it more fulfilling to lie down in a bamboo forest and enjoy a moment of tranquility. This idea inspired her to create Hiding & Riding in the Bamboo Woods and Lazy Yu Jiaolong, re-establishing the bamboo forest as a spiritual space in traditional culture. Long proposes that a princess with many golden balls should throw the bothersome frog forcefully against the wall, and that the mermaid’s sisters should cut out the prince’s heart to avenge their sister’s transformation into sea foam. Through these reinterpretations, Long imbues her female characters with a greater strength of personality. Narratives that celebrate obedience and sacrifice—values long revered under the shadow of patriarchy—are deconstructed through a modern lens, exposing hidden systems of inequality through the form of female “vengeance.” Historically, women’s anger has often been dismissed as emotional “jealousy” or pathological “hysteria”—merely evidence of women’s perceived inferiority. In Long’s work, however, this anger is reclaimed as an assertive and justified form of beauty.

Julia Long’s ability to re-tell these stories requires a deep intellect and vision, stemming from her long-standing concern with women's history and her training in historiography. Although she majored in history instead of attending art school, her diverse paths are not wasted; they merge in new ways. Her life choices reflect the emphasis on process inherent in historical education, which also influences her paintings, albeit in a more abstract way. The first rule of historical research is to respect facts, then to examine compromises and exceptions within specific contexts. How do compromises and shortcomings arise in the atmosphere of an era? What are the conditions that enable exceptions? By probing these questions, history uncovers hidden possibilities, inspiring those who come after—a concept embodied in “learning from history.” In the tradition of biography within historical studies, exceptional individuals are often sought as role models and shapers of history, an approach echoed in Carlyle’s On Heroes, Hero-Worship, & the Heroic in History. However, in Long’s view, the heroines she seeks first undergo imaginative transformation, enabling them to overcome “compromise” and become rebellious women who might shape history. Perhaps Long aligns with the words of American historian Laurel Thatcher Ulrich: “Well-behaved women seldom make history,” bringing this vision into her art. Patriarchal conventions and stereotypes about women are often subconsciously perpetuated through popular forms like fairy tales, and re-evaluating their legitimacy has become increasingly critical today. Long’s spirit of reimagining recently expanded to Chinese history and her own family lineage. She imagines the lives of figures like Wang Zhaojun and her daughter, as well as the vibrant youth of her grandmother. Ultimately, Long may construct a genealogy of women who transcend temporal and cultural boundaries, without distinguishing between reality and fiction. These figures serve as role models or mirrors, encouraging those of us navigating diverse life choices. This seems to represent a contemporary interpretation of “learning from history,” one with a universal or “world citizenship” approach.

In reading these paintings, it is noteworthy that Julia Long primarily draws from popular sources for her imagery, which demonstrates her emphasis on communicability and empathy with the general audience. This approach reflects the influence of New York intellectualism, rooted in one’s own life and literary experiences and prioritizing independent thinking, free expression, and accessible writing for a broad audience. Lionel Trilling exemplifies the New York intellectual as a figure committed to writing for ordinary readers. While China has long upheld a tradition of “mastering specialisation through generality,” and the humanities in the UK and European countries typically aim to cultivate well-rounded amateurs rather than field specialists, this elitist tradition often remains confined to literate families and lacks a public focus. However, in the United States, a unique historical context facilitated a closer connection between intellectuals and the public, particularly around 1895, when the publishing industry began to grow alongside a new “reading public,” helping New York establish its status as a global opinion center. Consequently, the New York intellectuals not only sought broad knowledge but also placed a significant emphasis on enlightening the public, a humanistic ideal beautifully reflected in Long’s essays and commentaries. In her visual choices, she often reimagines familiar public figures, allowing pop stars and fairy tale characters to converge, thus avoiding the communication barriers that specialised knowledge can create. As a member of a generation raised in the information era and having worked as a restaurant publicist, Long is adept at filtering effective information to facilitate communication. If social networks are mirrors reflecting myriad worlds, then the real-time dissemination of images provides a perfect setting for conceptual renewal and reinterpretation. British historian Mary Beard’s Women & Power: A Manifesto offers sharp observations on women’s historical vulnerabilities in power dynamics, suggesting that under patriarchal influence, a woman’s powerful visual representation often requires her to exhibit androgynous traits or adopt a masculine appearance. Long reflects on this point in her review titled “Powerful Women Don’t Need to Act Like Men” (9), which aligns with her depiction of confident, beautifully adorned women. This beauty, rather than depending solely on physical appearance, radiates from their self-assured expressions. When women view themselves in the mirror, they need not mimic men if they possess an inherent legitimacy in their power. However, achieving this self-awareness is not always easy. Therefore, the presence of other women as role models or supporters becomes essential, providing a legitimate projection of the idealised female self. The figures in Long’s paintings, whether contemporary friends or historical icons, embody the energy that inspires us to reflect inward and move forward. This energy enriches our daily experiences—from food to animals to the changing seasons—making them all the more vibrant and fulfilling.

Notes

This describes the feeling evoked by the painting Don't Cry Over Spilled Milk, Cry a River Into Your Coffee by Julia Long.
See pages 2-5 of “Fried Chicken is Good for Breakups” (分手时候适合吃炸鸡) in Distracted, a collection of essays by Julia Long. In this essay, she argues that the dual satisfaction of appetite and satiety derived from eating fried chicken helps release and dissolve tension in relationships, ultimately encouraging both parties to move on.
In several articles and interviews, Julia Long spoke warmly about the support and encouragement she received from her Jewish parent, the illustrator Maira Kalman.
See Julia Long’s series of paintings titled Quest for the Rose.
The series of paintings includes Peony or Tulip, Tulip or Peony, Zadie Smith, What Kind of Flower Are You, and Any Kind of Flower. It was inspired by Zadie Smith’s 2020 essay “Peonies”, in which she argues that even though most people see tulips, those who see peonies are destined to become peonies. This, in essence, reflects a choice.
Sisterhood and brotherhood are relative. Unlike men, in the past, when women’s activities were confined to the domestic sphere and their rights to participate in public life were limited, their interactions and free associations were often suppressed, see Social Sex: A History of Female Friendship. In “Next-Table Conversations on Sisterhood”（邻桌对话之Sisterhood）, Long records the scene of the three girls' chats and writes: “These three women are women who live in a very real and concrete world, nourishing their friendships with love, understanding, kindness, and tolerance, dealing with their own intimacies, and living their own lives and facing their own problems between seeking common ground and reserving differences. Their friendships are true sisterhood, concrete and precious.” This quote also summarizes her understanding of sisterhood.
Yu Jiaolong, the female lead in the film Crouching Tiger, Hidden Dragon, has a famous fight scene with the male lead, Li Mubai, set in a bamboo forest.
See Yu Yingshi’s preface to Selected Poems, Calligraphy, and Paintings of Zhang Chonghe (张充和诗书画选). In Chinese history, the ultimate ideal in both academia and the arts was to be a generalist, leading to a wide range of interests across different artistic disciplines. Zhang Chonghe was one of many ancient artists who embodied this ideal.
See “The Hidden History of Wonder Woman” (神奇女侠的隐秘历史), pp. 49-54, in Julia Long’s Distracted.

About the Artist

Julia Long (b. 1984, Chongqing, China) lives and works in Beijing. Coming from a family with three generations of artistic practice, Long has forged her own creative path beyond the conventional framework of contemporary art. She earned a bachelor’s degree with highest honours in World History from Nankai University and further pursued a master’s degree in American and Gender History from the University of Georgia on a full scholarship.

Since returning to China in 2017, Long has turned her focus to art and has held three solo exhibitions at Tabula Rasa Gallery, Beijing. Her translation work on female writers and gender-focused writings have shaped the themes of her artistic practice, creating a universe centred on feminism, women’s history and lived experiences. Drawing from her academic background and personal observations, her work opens up discussions that are rooted in an intercultural perspective.