Folk culture China in the China Pavilion, Venice Biennale: repositioning ‘Chineseness’ in contemporary art discourse

Abstract

ABSTRACT In this article, I explore how Qiu Zhijie’s curation of the exhibition Continuum – Generation by Generation at the China Pavilion of the 57th Venice Biennale offers a new understanding of ‘China’ and ‘Chineseness’. It is neither a reproduction of literati arts nor a critical use of symbols of socialist China, but an appropriation of Chinese folk culture to re-envision the central role of China in the global art scene. This new form of Chineseness is what I call ‘folk culture China’. Although the curator attempts to challenge the existing interpretation of contemporary Chinese art widely circulated in the art market, the curatorial strategy deployed in this exhibition inherits a culturalist view of Chinese culture by re-nationalizing folk culture as the essence of Chinese culture that sustains Chinese civilization. Folk culture China also highlights the importance of collaboration between folk and contemporary artists in which the former can remind the latter of the collective spirit embodied in craftsmanship, which is the core of the Chinese mode of art-making. More importantly, folk culture China is an anti-nation-statist discourse that paradoxically repositions China from an object of the Euro-American-centric contemporary art system to the center of the world.