During the early development of the People’s Republic of China, major cities were industrialised and historical architecture was severely neglected. The Cultural Revolution (1966-76) provided an extraordinary example of political mobilisation directed against the material and cultural vestiges of the past. During the infamous movement of the Red Guards, China’s public properties and cultural relics were attacked and numerous art treasures and artefacts were destroyed. The Open-Door policy beginning in 1978 instigated another ‘revolution’ – of economic reform and urban transformation. Thirty years of rapid urbanisation have meant that few traditional constructions have survived, and even the buildings and complexes built during the early PRC proved to be transitory, once they had been removed, reconstructed or replaced.
{"title":"Everyday Legend: Reinventing tradition in Chinese contemporary art1","authors":"Jiang Jiehong","doi":"10.1386/jcca_00001_2","DOIUrl":"https://doi.org/10.1386/jcca_00001_2","url":null,"abstract":"During the early development of the People’s Republic of China, major cities were industrialised and historical architecture was severely neglected. The Cultural Revolution (1966-76) provided an extraordinary example of political mobilisation directed against the material and cultural vestiges of the past. During the infamous movement of the Red Guards, China’s public properties and cultural relics were attacked and numerous art treasures and artefacts were destroyed. The Open-Door policy beginning in 1978 instigated another ‘revolution’ – of economic reform and urban transformation. Thirty years of rapid urbanisation have meant that few traditional constructions have survived, and even the buildings and complexes built during the early PRC proved to be transitory, once they had been removed, reconstructed or replaced.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41483797","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}
Abstract This article focuses on the China pavilion of the 57th Venice Biennale as a case study. The theme of the pavilion, Continuum ‐ Generation by Generation, revolved around the long history of Chinese tradition and offered a visual re-elaboration of it by means of contemporary art and folk art. The works exhibited drew on Chinese mythology, masterpieces of Chinese art history, philosophical concepts and handcraft traditions, hence presenting a variegated image of (contemporary) Chinese art. This exhibition offers opportunities for a critical reading of the relationship between contemporary art and tradition implied by the theme Continuum, and I will explore the narrative and curatorial discourse it presented to the audience.
{"title":"Continuum Generation by Generation: The representation of Chinese traditions at the China Pavilion of the 57th Venice Biennale","authors":"Ornella De Nigris","doi":"10.1386/jcca_00011_1","DOIUrl":"https://doi.org/10.1386/jcca_00011_1","url":null,"abstract":"Abstract This article focuses on the China pavilion of the 57th Venice Biennale as a case study. The theme of the pavilion, Continuum ‐ Generation by Generation, revolved around the long history of Chinese tradition and offered a visual re-elaboration\u0000 of it by means of contemporary art and folk art. The works exhibited drew on Chinese mythology, masterpieces of Chinese art history, philosophical concepts and handcraft traditions, hence presenting a variegated image of (contemporary) Chinese art. This exhibition offers opportunities for\u0000 a critical reading of the relationship between contemporary art and tradition implied by the theme Continuum, and I will explore the narrative and curatorial discourse it presented to the audience.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44709967","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}
{"title":"The language of porcelain","authors":"L. Jianhua, Jiang Jiehong","doi":"10.1386/jcca_00014_7","DOIUrl":"https://doi.org/10.1386/jcca_00014_7","url":null,"abstract":"","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48808634","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}
Abstract This article argues that the reinvention of Chinese martial arts through new media art practices reveals new aesthetic potentialities not readily available in the conventional cinematic medium. While martial arts cinema has captivated the global audience with visual and visceral excitements, most notably through the new-style wuxia films of the 1960s and the kung fu craze of the 1970s, it focuses on representational strategies characteristic of imaginative irreversibility and passive immersivity. The former refers to the rigid segregation of reality and fantasy that discourages the possibility of reversal, whereas the latter describes the immersive wuxia and kung fu spectacles as a disembodied experience, contrary to the core of martial arts learning and practice. To address the above issues, martial arts-inspired new media artworks, such as susuan pui san lok's RoCH Fans & Legends (2015) and Jeffery Shaw, Sarah Kenderdine and Hing Chao's Lingnan Hung Kuen Across the Century (2017), look for alternative approaches to represent martial arts imaginations for the goals of preserving an intangible cultural heritage and promoting an intellectual reflexivity. In so doing, not only do the new media artworks help to reposition Chinese martial arts as an everyday art form via conventional art spaces worldwide through the transnational and transregional flow of cinema, but they also establish the subtle connection between traditional martial art and contemporary art in the context of globalization.
{"title":"Beyond the cinematic: Reinventing Chinese martial arts through new media art practices","authors":"W. Wong","doi":"10.1386/jcca_00012_1","DOIUrl":"https://doi.org/10.1386/jcca_00012_1","url":null,"abstract":"Abstract This article argues that the reinvention of Chinese martial arts through new media art practices reveals new aesthetic potentialities not readily available in the conventional cinematic medium. While martial arts cinema has captivated the global audience with visual\u0000 and visceral excitements, most notably through the new-style wuxia films of the 1960s and the kung fu craze of the 1970s, it focuses on representational strategies characteristic of imaginative irreversibility and passive immersivity. The former refers to the rigid segregation\u0000 of reality and fantasy that discourages the possibility of reversal, whereas the latter describes the immersive wuxia and kung fu spectacles as a disembodied experience, contrary to the core of martial arts learning and practice. To address the above issues, martial arts-inspired new media\u0000 artworks, such as susuan pui san lok's RoCH Fans & Legends (2015) and Jeffery Shaw, Sarah Kenderdine and Hing Chao's Lingnan Hung Kuen Across the Century (2017), look for alternative approaches to represent martial arts imaginations for the goals of preserving an intangible\u0000 cultural heritage and promoting an intellectual reflexivity. In so doing, not only do the new media artworks help to reposition Chinese martial arts as an everyday art form via conventional art spaces worldwide through the transnational and transregional flow of cinema, but they also establish\u0000 the subtle connection between traditional martial art and contemporary art in the context of globalization.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43060816","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}
Abstract This article examines the China Pavilion at the 2017 Venice Biennale through an exploration of temporality. It argues that the pavilion's deployment of a politics of time ‐ by mobilizing China's dynastic past and its traditional arts to enhance the present ‐ constructs a mode of cultural timelessness that sustains a stultifying visual and discursive regime. Touting the theme of 'Continuum ‐ Generation by Generation', the pavilion paid a lofty tribute to folk-art practices such as embroidery and shadow play, elevating two paintings from the Song Dynasty as the fount of contemporary artistic imagination. This recourse to the past mirrors a predictable and safe representational strategy often mobilized by the country to shape its own public and media image on the global stage. In view of this, the pavilion can be more constructively investigated as an exercise in image and perception management, or nation branding, which reveals the self-narratives that the country embraces. Nation branding serves as a complementary analytical lens that probes the instrumentalization of Chinese traditions, history and past, while crystallizing some parallel visual logics and aims of contemporary art. Aesthetics and nation branding are, therefore, conjoined to question the shared visuality that perpetuates, to borrow a term from Rey Chow, the 'affect of pastness' that obscures a more timely and inventive imaginary of the country.
{"title":"China's ancient past in its contemporary art: On the politics of time and nation branding at the Venice Biennale","authors":"J. Chao","doi":"10.1386/jcca_00010_1","DOIUrl":"https://doi.org/10.1386/jcca_00010_1","url":null,"abstract":"Abstract This article examines the China Pavilion at the 2017 Venice Biennale through an exploration of temporality. It argues that the pavilion's deployment of a politics of time ‐ by mobilizing China's dynastic past and its traditional arts to enhance the\u0000 present ‐ constructs a mode of cultural timelessness that sustains a stultifying visual and discursive regime. Touting the theme of 'Continuum ‐ Generation by Generation', the pavilion paid a lofty tribute to folk-art practices such as embroidery and shadow play, elevating two\u0000 paintings from the Song Dynasty as the fount of contemporary artistic imagination. This recourse to the past mirrors a predictable and safe representational strategy often mobilized by the country to shape its own public and media image on the global stage. In view of this, the pavilion can\u0000 be more constructively investigated as an exercise in image and perception management, or nation branding, which reveals the self-narratives that the country embraces. Nation branding serves as a complementary analytical lens that probes the instrumentalization of Chinese traditions, history\u0000 and past, while crystallizing some parallel visual logics and aims of contemporary art. Aesthetics and nation branding are, therefore, conjoined to question the shared visuality that perpetuates, to borrow a term from Rey Chow, the 'affect of pastness' that obscures a more timely and inventive\u0000 imaginary of the country.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41880716","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}
Abstract This article takes artworks by Ai Weiwei that engage with traditions, art historical, art critical and curatorial receptions of these works, and (art-)historical discourses on the 'critical problem of tradition' as the starting point to re-consider contemporary art's relationship with tradition. It adopts a critical global art historical perspective decentring universalized modern western frameworks and uncovering how contemporary art's relation to the past in today's spatially and temporally disjunctive global world has to be read from multiple and transculturally entangled historical, epistemological and geo-cultural perspectives.
{"title":"Tradition and transmission: Shifting epistemological and (art-)historical grounds of contemporary art's relation to the past","authors":"Birgit Hopfener","doi":"10.1386/jcca_00003_1","DOIUrl":"https://doi.org/10.1386/jcca_00003_1","url":null,"abstract":"Abstract This article takes artworks by Ai Weiwei that engage with traditions, art historical, art critical and curatorial receptions of these works, and (art-)historical discourses on the 'critical problem of tradition' as the starting point to re-consider contemporary art's\u0000 relationship with tradition. It adopts a critical global art historical perspective decentring universalized modern western frameworks and uncovering how contemporary art's relation to the past in today's spatially and temporally disjunctive global world has to be read from multiple and transculturally\u0000 entangled historical, epistemological and geo-cultural perspectives.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44669061","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}
Abstract 'The need to go back to the past' is central to Qiu Zhijie (b. 1969)'s understanding of human agency, and in consequence is central to his artistic endeavour. By 'the past' Qiu means Chinese (immutable) history and identity, based on a sense of impermanence. Chinese philosophy has informed his work from its beginning in the 1990s, as he imagined calligraphic performances, infused his installations and photographs with explicit references to Buddhist sutras and Koan. Since 2000 he has peppered his discourse and curating practices with implicit references to Confucianism (such as the celebration of the master/student relationship, the search for social harmony). Initial works used a mix of western contemporary and Chinese traditional art forms, and were concerned to the cultivation of the self. The latter have become associated with social aims such as diffusing art to the masses, promoting ancient arts and crafts in curated projects that link the artist's individual development with that of the collective. Qiu designates this holistic aim as 'Total art'. Critics explain Qiu's concept of Total art using the Wagnerian concept of Gesamtkunstwerk or of post-structural criticality of history. Others compare Qiu's endeavour to Republican New Confucianism. Still others consider it as part of Chinese literati tradition, in an ahistorical perspective. We want to emphasize rather its relation to Mainland New Confucianist philosophy that emerged since the millennium, which is characterized by a will to use ontological Chinese values to defend a political vision of Confucianism that is both social and authoritarian, essentially Chinese and opened to the world. This explains how Qiu reconciles his view of 'going to the past', with his participation in the Government's sponsored international programmes. We shall question its consequence on Qiu's position as global 'avant-garde'.
{"title":"Immutability and impermanence in Qiu Zhijie's work: From Buddhism to New Confucianism to Mainland New Confucianism","authors":"C. Kayser","doi":"10.1386/jcca_00007_1","DOIUrl":"https://doi.org/10.1386/jcca_00007_1","url":null,"abstract":"Abstract 'The need to go back to the past' is central to Qiu Zhijie (b. 1969)'s understanding of human agency, and in consequence is central to his artistic endeavour. By 'the past' Qiu means Chinese (immutable) history and identity, based on a sense of impermanence. Chinese\u0000 philosophy has informed his work from its beginning in the 1990s, as he imagined calligraphic performances, infused his installations and photographs with explicit references to Buddhist sutras and Koan. Since 2000 he has peppered his discourse and curating practices with implicit references\u0000 to Confucianism (such as the celebration of the master/student relationship, the search for social harmony). Initial works used a mix of western contemporary and Chinese traditional art forms, and were concerned to the cultivation of the self. The latter have become associated with social\u0000 aims such as diffusing art to the masses, promoting ancient arts and crafts in curated projects that link the artist's individual development with that of the collective. Qiu designates this holistic aim as 'Total art'. Critics explain Qiu's concept of Total art using the Wagnerian concept\u0000 of Gesamtkunstwerk or of post-structural criticality of history. Others compare Qiu's endeavour to Republican New Confucianism. Still others consider it as part of Chinese literati tradition, in an ahistorical perspective. We want to emphasize rather its relation to Mainland New Confucianist\u0000 philosophy that emerged since the millennium, which is characterized by a will to use ontological Chinese values to defend a political vision of Confucianism that is both social and authoritarian, essentially Chinese and opened to the world. This explains how Qiu reconciles his view of 'going\u0000 to the past', with his participation in the Government's sponsored international programmes. We shall question its consequence on Qiu's position as global 'avant-garde'.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44703034","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}
Abstract This article discusses the approaches of Chinese intellectuals and artists to tradition throughout the twentieth century. Tradition in China is understood, on the one hand, as a notion born in a framework constructed by twentieth-century Chinese intellectuals and their realm of senses and concept of time, on the other hand as a notion driven by modernity and capitalism to anchor a work of art to a distinguishable point of time. Hence, the article will first review a series of debates on old and new culture that have taken place since the May Fourth Movement. It will then move on to discuss how contemporary artists made peace with tradition since the '85 New Wave, a new era when artists are also subject to market forces of supply and demand.
{"title":"Past as future: The discourse of Chuantong in twentiethcentury China1","authors":"Pi Li","doi":"10.1386/jcca_00002_1","DOIUrl":"https://doi.org/10.1386/jcca_00002_1","url":null,"abstract":"Abstract This article discusses the approaches of Chinese intellectuals and artists to tradition throughout the twentieth century. Tradition in China is understood, on the one hand, as a notion born in a framework constructed by twentieth-century Chinese intellectuals and\u0000 their realm of senses and concept of time, on the other hand as a notion driven by modernity and capitalism to anchor a work of art to a distinguishable point of time. Hence, the article will first review a series of debates on old and new culture that have taken place since the May Fourth\u0000 Movement. It will then move on to discuss how contemporary artists made peace with tradition since the '85 New Wave, a new era when artists are also subject to market forces of supply and demand.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41404803","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}
Abstract Celebrated as 'China's Tom of Finland', Xiyadie is probably one of the best-known queer artists living in China today. His identity as a gay man from rural China and his method of using the Chinese folk art of papercutting for queer artistic expression make him a unique figure in contemporary Chinese art. As the first academic article on the artist and his works, this article examines Xiyadie's transformation of identity in life and his representation of queer experiences through the art of papercutting. Using a critical biographical approach, in tandem with an analysis of his representative artworks, I examine the transformation of Xiyadie's identity from a folk artist to a queer artist. In doing so, I delineate the transformation and reification of human subjectivity and creativity under transnational capitalism. Meanwhile, I also seek possible means of desubjectivation and human agency under neo-liberal capitalism by considering the role of art in this picture. This article situates Xiyadie's life and artworks in a postsocialist context where class politics gave way to identity politics in cultural production. It calls for a reinvigoration of Marxist and socialist perspectives for a nuanced critical understanding of contemporary art production and social identities.
{"title":"Metamorphosis of a butterfly: Neo-liberal subjectivation and queer autonomy in Xiyadie's papercutting art","authors":"Hongwei Bao","doi":"10.1386/jcca_00006_1","DOIUrl":"https://doi.org/10.1386/jcca_00006_1","url":null,"abstract":"Abstract Celebrated as 'China's Tom of Finland', Xiyadie is probably one of the best-known queer artists living in China today. His identity as a gay man from rural China and his method of using the Chinese folk art of papercutting for queer artistic expression make him a\u0000 unique figure in contemporary Chinese art. As the first academic article on the artist and his works, this article examines Xiyadie's transformation of identity in life and his representation of queer experiences through the art of papercutting. Using a critical biographical approach, in tandem\u0000 with an analysis of his representative artworks, I examine the transformation of Xiyadie's identity from a folk artist to a queer artist. In doing so, I delineate the transformation and reification of human subjectivity and creativity under transnational capitalism. Meanwhile, I also seek\u0000 possible means of desubjectivation and human agency under neo-liberal capitalism by considering the role of art in this picture. This article situates Xiyadie's life and artworks in a postsocialist context where class politics gave way to identity politics in cultural production. It calls\u0000 for a reinvigoration of Marxist and socialist perspectives for a nuanced critical understanding of contemporary art production and social identities.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44467406","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}
Abstract 'You always treat the sun as though it were yours.' Lining the frame of a pen-and-ink sketch, these words reflect conditions of possibility particular to the contemporaneity of early post-Mao China. Included in his Visual Diary series from the early 1980s, Qu Leilei's image-text turns inward the heavily socialized forms of visual and political expression from the revolutionary era. As instances of the artist's emerging private practice, such works, including etchings, line drawings, and fragments of prose poetry, are seldom addressed in existing scholarship on contemporary Chinese art. This article takes up a selective examination of Qu's diaristic ephemera from this historical moment following the Cultural Revolution (1966‐76) to explore how Qu's entries both maintain and transform aspects of revolutionary-era media and visuality. The article further considers the following questions: In what ways does Qu's Visual Diary reconfigure the serial images of revolutionary state-driven practices in the social landscape of still-Maoist Beijing? How do Qu's transfigured image-texts complicate the rejection of Maoist visual vanguardism in cultural practices after the revolution?
{"title":"Chasing the sun: Qu Leilei's serial images in early post-Mao China","authors":"J. Lee","doi":"10.1386/jcca_00005_1","DOIUrl":"https://doi.org/10.1386/jcca_00005_1","url":null,"abstract":"Abstract 'You always treat the sun as though it were yours.' Lining the frame of a pen-and-ink sketch, these words reflect conditions of possibility particular to the contemporaneity of early post-Mao China. Included in his Visual Diary series from the early 1980s,\u0000 Qu Leilei's image-text turns inward the heavily socialized forms of visual and political expression from the revolutionary era. As instances of the artist's emerging private practice, such works, including etchings, line drawings, and fragments of prose poetry, are seldom addressed in existing\u0000 scholarship on contemporary Chinese art. This article takes up a selective examination of Qu's diaristic ephemera from this historical moment following the Cultural Revolution (1966‐76) to explore how Qu's entries both maintain and transform aspects of revolutionary-era media and visuality.\u0000 The article further considers the following questions: In what ways does Qu's Visual Diary reconfigure the serial images of revolutionary state-driven practices in the social landscape of still-Maoist Beijing? How do Qu's transfigured image-texts complicate the rejection of Maoist visual\u0000 vanguardism in cultural practices after the revolution?","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41615030","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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