After the #MeToo movement kicked off in the United States in 2018, it found its way to China and has triggered a number of exhibition projects around the country, organized by young activists, artists and curators, which have galvanized transnational feminist exchanges in the past few years. The article analyses exhibitions such as The Voiceless Rise Up: #MeToo in China, Her Story: Eliminating Gender Violence 2020, Above Ground: 40 Moments of Transformation and Stand by Her, which consisted of works documenting sexual assault and the #MeToo movement in China, as well as of artworks that are dealing with issues concerning sexual assault, the One Child Policy, motherhood, queerness and empowerment. These exhibitions and the #MeToo movement, respectively, demonstrate a growing transnational interconnectedness among activists fighting towards common feminist goals. What is more, these exhibitions are under constant scrutiny and fear of being cancelled, which is evidence of an exhaustive struggle for the official acceptance of women’s rights and ‘radical’ artworks. This article gives an overview of these projects, their transnational interconnectedness, as well as their perception and reaction of the general public, the press and censors. The article argues for a shift from women-centred exhibitions to exhibitions with a strong activist/feminist agenda that are also part of an unprecedented transnational framework.
{"title":"From gunshots to hashtags: Transcultural curating in the #MeToo era","authors":"J. Hartmann","doi":"10.1386/jcca_00070_1","DOIUrl":"https://doi.org/10.1386/jcca_00070_1","url":null,"abstract":"After the #MeToo movement kicked off in the United States in 2018, it found its way to China and has triggered a number of exhibition projects around the country, organized by young activists, artists and curators, which have galvanized transnational feminist exchanges in the past few years. The article analyses exhibitions such as The Voiceless Rise Up: #MeToo in China, Her Story: Eliminating Gender Violence 2020, Above Ground: 40 Moments of Transformation and Stand by Her, which consisted of works documenting sexual assault and the #MeToo movement in China, as well as of artworks that are dealing with issues concerning sexual assault, the One Child Policy, motherhood, queerness and empowerment. These exhibitions and the #MeToo movement, respectively, demonstrate a growing transnational interconnectedness among activists fighting towards common feminist goals. What is more, these exhibitions are under constant scrutiny and fear of being cancelled, which is evidence of an exhaustive struggle for the official acceptance of women’s rights and ‘radical’ artworks. This article gives an overview of these projects, their transnational interconnectedness, as well as their perception and reaction of the general public, the press and censors. The article argues for a shift from women-centred exhibitions to exhibitions with a strong activist/feminist agenda that are also part of an unprecedented transnational framework.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41885332","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the curatorial strategies of the Secret Love exhibition, the biggest queer Chinese art exhibition outside Asia to date. The exhibition brought together 150 works created by 27 queer Chinese artists. It first took place at the Museum of Far Eastern Antiquities (MFEA) in Stockholm, Sweden, from 21 September 2012 to 31 March 2013, and subsequently toured to other museums in Europe. The exhibition raises the critical question of how one can curate queer Chinese art when definitions of queerness, Chineseness and art remain unstable and contested. This article proposes queer curating – that is, collecting and exhibiting genders, sexualities and desires in an art gallery or museum setting without reinscribing social norms and reinstating identity categories – as a critical curatorial method. Queer curating challenges fixed identity categories and dominant power relations; it also explores a non-essentialist and anti-identitarian mode of curatorial practice. As an example of transnational and transcultural curating, the Secret Love exhibition compels us to consider how curators can work with the structural constraints of exhibition and discursive spaces to create new curatorial possibilities.
{"title":"Curating queerness and queering curation: Exhibiting queer Chinese art in Europe","authors":"Hongwei Bao","doi":"10.1386/jcca_00069_1","DOIUrl":"https://doi.org/10.1386/jcca_00069_1","url":null,"abstract":"This article examines the curatorial strategies of the Secret Love exhibition, the biggest queer Chinese art exhibition outside Asia to date. The exhibition brought together 150 works created by 27 queer Chinese artists. It first took place at the Museum of Far Eastern Antiquities (MFEA) in Stockholm, Sweden, from 21 September 2012 to 31 March 2013, and subsequently toured to other museums in Europe. The exhibition raises the critical question of how one can curate queer Chinese art when definitions of queerness, Chineseness and art remain unstable and contested. This article proposes queer curating – that is, collecting and exhibiting genders, sexualities and desires in an art gallery or museum setting without reinscribing social norms and reinstating identity categories – as a critical curatorial method. Queer curating challenges fixed identity categories and dominant power relations; it also explores a non-essentialist and anti-identitarian mode of curatorial practice. As an example of transnational and transcultural curating, the Secret Love exhibition compels us to consider how curators can work with the structural constraints of exhibition and discursive spaces to create new curatorial possibilities.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48722418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Through a close reading of the curatorial project Long March: A Walking Visual Display (), this article considers that Long March was an experimental curatorial response to the conditions of contemporary Chinese art and contributes to introducing the discourse and practice of ‘curating’ to China. Tracing the main curator Lu Jie’s curatorial motivation, this research looks into what Lu has termed ‘the dilemma of contemporary Chinese art’ during the 1990s – the division of discourses from realities and artistic practices in the curating of contemporary Chinese art, which led to invalid transcultural communication in international exhibitions. This research paid special attention to Lu’s study in the ‘Creative Curating’ MA programme at Goldsmiths, University of London (1998–99), which encouraged Lu to experiment with alternative exhibition formats and review art in visual culture. These inspired Lu to relocate ‘contemporary Chinese art’ from the institutional context to its original realities in China along the historical route of the Long March. Analysing the development of Lu’s curatorial proposal Long March: A Walking Exhibition from 1999 to 2001, this research shows how the main elements of Lu’s curating shifted from objects to participants and argues the project’s curatorial intention to provoke participants was a process of localizing ‘curating’ in the Chinese context. Instead of assuming that ‘curating’ was imported into China from the West, this article views the introduction of ‘curating’ as a new discipline which helps local practitioners identify the artistic values and authorship in making art public.
{"title":"Introducing and practising ‘curating’ for contemporary Chinese art: The transnational trajectory of Lu Jie from London to China and the development of Long March: A Walking Visual Display","authors":"Nie Xiaoyi","doi":"10.1386/jcca_00067_1","DOIUrl":"https://doi.org/10.1386/jcca_00067_1","url":null,"abstract":"Through a close reading of the curatorial project Long March: A Walking Visual Display (), this article considers that Long March was an experimental curatorial response to the conditions of contemporary Chinese art and contributes to introducing the discourse and practice of ‘curating’ to China. Tracing the main curator Lu Jie’s curatorial motivation, this research looks into what Lu has termed ‘the dilemma of contemporary Chinese art’ during the 1990s – the division of discourses from realities and artistic practices in the curating of contemporary Chinese art, which led to invalid transcultural communication in international exhibitions. This research paid special attention to Lu’s study in the ‘Creative Curating’ MA programme at Goldsmiths, University of London (1998–99), which encouraged Lu to experiment with alternative exhibition formats and review art in visual culture. These inspired Lu to relocate ‘contemporary Chinese art’ from the institutional context to its original realities in China along the historical route of the Long March. Analysing the development of Lu’s curatorial proposal Long March: A Walking Exhibition from 1999 to 2001, this research shows how the main elements of Lu’s curating shifted from objects to participants and argues the project’s curatorial intention to provoke participants was a process of localizing ‘curating’ in the Chinese context. Instead of assuming that ‘curating’ was imported into China from the West, this article views the introduction of ‘curating’ as a new discipline which helps local practitioners identify the artistic values and authorship in making art public.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44214698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article aims to shed light on a curatorial momentum that was generated at the turn of the 2010s in the broader international art world, allowing contemporary Chinese ink works for the first time within the context of the new century to have a more geographically widespread spotlight of attention under a dual label of the Indigenous and the international. Indeed, in the run up to the 2008 Beijing Olympic Games, the curatorial approach to ink art in both China and North America and Europe began to change, emphasizing not only ink’s cultural uniqueness but also its transcultural applicability. The pioneering event to do this was the Third Chengdu Biennale in China, following which there was a noticeable escalation in similar exhibitions across countries like the United States or the United Kingdom. These ranged from the ground-breaking Ink Art: Past as Present in Contemporary China (2013–14) at New York’s Metropolitan Museum of Art (The Met) to exhibitions at international auction houses and commercial galleries, such as Christie’s or the London-based Saatchi Gallery. By focusing on the Third Chengdu Biennale and The Met’s Ink Art exhibition as the two case-study examples, this article elucidates in what specific ways present-day Chinese ink works were framed by these two significant internationally oriented exhibitions, as well as what kind of critical reception this attracted. Drawing from this analysis, the article also provides a reflection on this curatorial momentum’s both achievements and limitations, suggesting that altogether they present an important foundation for present-day curators to devise new constructive ways of positioning Chinese ink as the global contemporary medium of artistic expression.
{"title":"Curating the international profile of contemporary Chinese ink medium art: The Third Chengdu Biennale (2007) and The Met’s Ink Art (2013–14)","authors":"Alina Sinelnyk","doi":"10.1386/jcca_00068_1","DOIUrl":"https://doi.org/10.1386/jcca_00068_1","url":null,"abstract":"This article aims to shed light on a curatorial momentum that was generated at the turn of the 2010s in the broader international art world, allowing contemporary Chinese ink works for the first time within the context of the new century to have a more geographically widespread spotlight of attention under a dual label of the Indigenous and the international. Indeed, in the run up to the 2008 Beijing Olympic Games, the curatorial approach to ink art in both China and North America and Europe began to change, emphasizing not only ink’s cultural uniqueness but also its transcultural applicability. The pioneering event to do this was the Third Chengdu Biennale in China, following which there was a noticeable escalation in similar exhibitions across countries like the United States or the United Kingdom. These ranged from the ground-breaking Ink Art: Past as Present in\u0000 Contemporary China (2013–14) at New York’s Metropolitan Museum of Art (The Met) to exhibitions at international auction houses and commercial galleries, such as Christie’s or the London-based Saatchi Gallery. By focusing on the Third Chengdu Biennale and The Met’s Ink Art exhibition as the two case-study examples, this article elucidates in what specific ways present-day Chinese ink works were framed by these two significant internationally oriented exhibitions, as well as what kind of critical reception this attracted. Drawing from this analysis, the article also provides a reflection on this curatorial momentum’s both achievements and limitations, suggesting that altogether they present an important foundation for present-day curators to devise new constructive ways of positioning Chinese ink as the global contemporary medium of artistic expression.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44295828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article addresses the work of Chinese American interdisciplinary artist Patty Chang over a 25-year period that begins with her groundbreaking short form videos in the 1990s, and considers transitional works in the mid-2000s that led the artist to create two major bodies of work connecting identity issues with climate change since 2009. I discuss Chang’s influence on subsequent generations of Chinese American and Asian American artists, her prescient use of online aesthetics and her complex engagement with the political, social and ecological realities of mainland China and neighbouring Uzbekistan. After contextualizing Chang’s influence through the lens of her inclusion in the group exhibition Wonderland with nine other Chinese Diasporic artists, I consider the impact of COVID-19 and anti-Asian violence in the United States and globally on the direction of Chang’s work and discuss the experience of curating her recent project during the pandemic shutdown.
{"title":"Spectres of orientalism: Patty Chang and Chinese American art in the pandemic","authors":"A. Vikram","doi":"10.1386/jcca_00071_1","DOIUrl":"https://doi.org/10.1386/jcca_00071_1","url":null,"abstract":"This article addresses the work of Chinese American interdisciplinary artist Patty Chang over a 25-year period that begins with her groundbreaking short form videos in the 1990s, and considers transitional works in the mid-2000s that led the artist to create two major bodies of work connecting identity issues with climate change since 2009. I discuss Chang’s influence on subsequent generations of Chinese American and Asian American artists, her prescient use of online aesthetics and her complex engagement with the political, social and ecological realities of mainland China and neighbouring Uzbekistan. After contextualizing Chang’s influence through the lens of her inclusion in the group exhibition Wonderland with nine other Chinese Diasporic artists, I consider the impact of COVID-19 and anti-Asian violence in the United States and globally on the direction of Chang’s work and discuss the experience of curating her recent project during the pandemic shutdown.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46476234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
New and complex forms of entanglements and power dynamics have taken place via a transcultural curation ethos of Chinese contemporary art in recent decades – the frictions of which have amplified during pandemic times. This Special Issue of the Journal of Contemporary Chinese Art (JCCA) focuses on curatorial research and debates on the transcultural and the post-COVID world in China and beyond. The editorial sets out the key conceptual framework for assessing the significance of transcultural curation and Chinese contemporary art, both before and after the COVID-19 pandemic. The editorial unpacks key concepts and ideas such as transculturation as theory, method and practice; interrogates the processes and challenges of curating Chinese contemporary art in a transcultural context and the post-COVID world; and maps the issue content and structure. The Special Issue invocation to transcultural curation in a post-COVID world serves as a provocation to think carefully about the connections between past, present and future, and what continues and what is new for curatorial imaginaries.
{"title":"Transcultural curation and the post-COVID world","authors":"N. Querol","doi":"10.1386/jcca_00066_2","DOIUrl":"https://doi.org/10.1386/jcca_00066_2","url":null,"abstract":"New and complex forms of entanglements and power dynamics have taken place via a transcultural curation ethos of Chinese contemporary art in recent decades – the frictions of which have amplified during pandemic times. This Special Issue of the Journal of Contemporary Chinese Art (JCCA) focuses on curatorial research and debates on the transcultural and the post-COVID world in China and beyond. The editorial sets out the key conceptual framework for assessing the significance of transcultural curation and Chinese contemporary art, both before and after the COVID-19 pandemic. The editorial unpacks key concepts and ideas such as transculturation as theory, method and practice; interrogates the processes and challenges of curating Chinese contemporary art in a transcultural context and the post-COVID world; and maps the issue content and structure. The Special Issue invocation to transcultural curation in a post-COVID world serves as a provocation to think carefully about the connections between past, present and future, and what continues and what is new for curatorial imaginaries.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48299452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What spaces do we inhabit? How do we become integrated within an unfamiliar community in an unfamiliar territory? Can we ever be fully immersed in a foreign place during art production and exhibition? As I think about the notion of transcultural curating, I start to interrogate questions of belonging and borders.
{"title":"Impermanent inhabitations: ‘The everyday’ as a catalyst for transcultural curation","authors":"J. Watkins, Jun-qi Jiang","doi":"10.1386/jcca_00072_7","DOIUrl":"https://doi.org/10.1386/jcca_00072_7","url":null,"abstract":"What spaces do we inhabit? How do we become integrated within an unfamiliar community in an unfamiliar territory? Can we ever be fully immersed in a foreign place during art production and exhibition? As I think about the notion of transcultural curating, I start to interrogate questions of belonging and borders.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48454666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the works of the Chinese American artist Patty Chang, tracing how Chang’s early deconstructive approach to Asian American identity evolves into her more recent diasporic approach to landscape and travel. The first section covers the early ‘body art’ phase of Chang’s career (from the late 1990s to the early 2000s). The second section focuses on the pivotal work Shangri-La (2005), which usefully illuminates Chang’s evolution from identity to relation, from deconstruction to ‘diasporic cartography’, using her diasporic body to forge a mode of navigation and world-making that is embodied, anti-systematic and relational in nature.
{"title":"From identity to relation: Patty Chang’s diasporic cartography","authors":"Xueli Wang","doi":"10.1386/jcca_00057_1","DOIUrl":"https://doi.org/10.1386/jcca_00057_1","url":null,"abstract":"This article examines the works of the Chinese American artist Patty Chang, tracing how Chang’s early deconstructive approach to Asian American identity evolves into her more recent diasporic approach to landscape and travel. The first section covers the early ‘body art’ phase of Chang’s career (from the late 1990s to the early 2000s). The second section focuses on the pivotal work Shangri-La (2005), which usefully illuminates Chang’s evolution from identity to relation, from deconstruction to ‘diasporic cartography’, using her diasporic body to forge a mode of navigation and world-making that is embodied, anti-systematic and relational in nature.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48169037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The mass shooting in Atlanta that killed eight people including six Asian women in March 2021 marked the new peak of the unceasing waves of anti-Asian violence since the outbreak of COVID-19 in the United States. In this context, this article examines how a group of Chinese visual artists in New York perform and remake their Asian identity on social media in response to a surge in hatred towards and violence against Asians in the United States following the outbreak of COVID-19. Based on my analysis of their visual rhetoric and media activism, I identify three approaches that this group of Chinese visual artists use to perform and remake their Asian identity. First, they performed their Asian identity by developing various visual rhetorics to combat and denounce anti-Asian discourse and hate crime. Second, their Asian identity emerged when they created new visual rhetoric to reimagine what it meant to be Asian in the United States. The new visual rhetoric enriched the understanding of Asian-ness and diversified the experiences of being Asian in the United States by overtly or subtly challenging Asian stereotypes as a product of the western imagination. Lastly, they claimed their Asian identity through seeking racial justice in a larger social context in collaboration with other racial minority groups.
{"title":"Performing race and remaking identity: Chinese visual artists in New York during the COVID-19 pandemic","authors":"Feng-jie Chen","doi":"10.1386/jcca_00062_1","DOIUrl":"https://doi.org/10.1386/jcca_00062_1","url":null,"abstract":"The mass shooting in Atlanta that killed eight people including six Asian women in March 2021 marked the new peak of the unceasing waves of anti-Asian violence since the outbreak of COVID-19 in the United States. In this context, this article examines how a group of Chinese visual artists in New York perform and remake their Asian identity on social media in response to a surge in hatred towards and violence against Asians in the United States following the outbreak of COVID-19. Based on my analysis of their visual rhetoric and media activism, I identify three approaches that this group of Chinese visual artists use to perform and remake their Asian identity. First, they performed their Asian identity by developing various visual rhetorics to combat and denounce anti-Asian discourse and hate crime. Second, their Asian identity emerged when they created new visual rhetoric to reimagine what it meant to be Asian in the United States. The new visual rhetoric enriched the understanding of Asian-ness and diversified the experiences of being Asian in the United States by overtly or subtly challenging Asian stereotypes as a product of the western imagination. Lastly, they claimed their Asian identity through seeking racial justice in a larger social context in collaboration with other racial minority groups.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43660990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article counters the prevailing and frequently disparaging economic and diplomatic associations of the term ‘export’ in discussions of contemporary Chinese art, and especially those artists who live and work outside China. Drawing attention to the previously underacknowledged political, social and affective aspects of this term, the article offers a new reading of foundational works by Huang Yong Ping (1954–2019), resident in Paris from 1989 until his death; Ni Haifeng (b. 1964), resident in Amsterdam since 1994; and Cai Guo-Qiang (b. 1957), resident in Tokyo from 1986 to 1995, then subsequently in New York. The article also highlights a concern shared by these artists with the persistence of colonial legacies in contemporary global capital, the connections uniting past and present modes of production and consumption and the essentializing impulses of chinoiserie, Pan-Asianism and related cultural trends. The combined study of these themes is intended to introduce a renewed focus on contexts of display and interpretation, and material, subjective and affective dimensions of meaning, to our understanding of these canonical works.
{"title":"The aesthetics of export in Chinese art outside China","authors":"Alex Burchmore","doi":"10.1386/jcca_00054_1","DOIUrl":"https://doi.org/10.1386/jcca_00054_1","url":null,"abstract":"This article counters the prevailing and frequently disparaging economic and diplomatic associations of the term ‘export’ in discussions of contemporary Chinese art, and especially those artists who live and work outside China. Drawing attention to the previously underacknowledged political, social and affective aspects of this term, the article offers a new reading of foundational works by Huang Yong Ping (1954–2019), resident in Paris from 1989 until his death; Ni Haifeng (b. 1964), resident in Amsterdam since 1994; and Cai Guo-Qiang (b. 1957), resident in Tokyo from 1986 to 1995, then subsequently in New York. The article also highlights a concern shared by these artists with the persistence of colonial legacies in contemporary global capital, the connections uniting past and present modes of production and consumption and the essentializing impulses of chinoiserie, Pan-Asianism and related cultural trends. The combined study of these themes is intended to introduce a renewed focus on contexts of display and interpretation, and material, subjective and affective dimensions of meaning, to our understanding of these canonical works.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44147560","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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