Abstract Meandering rivers, elevated walkways and high-rise buildings revive traditional landscape paintings in an attempt to re-establish a connection between Chinese citizens and their urban space. Since the Open Door Policy in 1978 and the consequent period of reforms, introduced by Deng Xiaoping, the People's Republic of China (PRC) has been focusing on the economic and urban development of the nation to affirm its modernization and global role. Particularly, since 2001, urbanization has been driven by economic and political goals that have overshadowed Chinese cultural and historical specificity and residents' needs. Cities and metropolises have become the symbol of the country's modernization and globalization, attracting foreign capital and visibility. At the same time, the frenetic and unprecedented scale of urbanization in Mainland China has caused the loss of historical and cultural areas, forced evictions, social instability and worsened pollution, among other issues. By presenting the case study of Beijing-based architect and artist, Ma Yansong, I will illustrate how tradition and culture could be reinvented and implemented in the contemporary urban realities. To do that, Chinese painter Xie He's treatise on the aesthetics of traditional landscape painting will provide with an original framework to understand Ma's urban concept of shanshui city. Aiming to re-connect everyday individuals with their urban space and cultural and historical background, this article responds to the urgency to envision future cities that are conceived by and for Chinese citizens and stem from China's ancient tradition and cultural specificity. Moreover, it intends to question the current urbanizing process and foster alternative urban imaginaries for future Chinese cities.
{"title":"Reverie through Ma Yansong's shanshui city to evoke and re-appropriate China's urban space","authors":"Federica Mirra","doi":"10.1386/jcca_00013_1","DOIUrl":"https://doi.org/10.1386/jcca_00013_1","url":null,"abstract":"Abstract Meandering rivers, elevated walkways and high-rise buildings revive traditional landscape paintings in an attempt to re-establish a connection between Chinese citizens and their urban space. Since the Open Door Policy in 1978 and the consequent period of reforms,\u0000 introduced by Deng Xiaoping, the People's Republic of China (PRC) has been focusing on the economic and urban development of the nation to affirm its modernization and global role. Particularly, since 2001, urbanization has been driven by economic and political goals that have overshadowed\u0000 Chinese cultural and historical specificity and residents' needs. Cities and metropolises have become the symbol of the country's modernization and globalization, attracting foreign capital and visibility. At the same time, the frenetic and unprecedented scale of urbanization in Mainland China\u0000 has caused the loss of historical and cultural areas, forced evictions, social instability and worsened pollution, among other issues. By presenting the case study of Beijing-based architect and artist, Ma Yansong, I will illustrate how tradition and culture could be reinvented and implemented\u0000 in the contemporary urban realities. To do that, Chinese painter Xie He's treatise on the aesthetics of traditional landscape painting will provide with an original framework to understand Ma's urban concept of shanshui city. Aiming to re-connect everyday individuals with their urban space\u0000 and cultural and historical background, this article responds to the urgency to envision future cities that are conceived by and for Chinese citizens and stem from China's ancient tradition and cultural specificity. Moreover, it intends to question the current urbanizing process and foster\u0000 alternative urban imaginaries for future Chinese cities.","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":"42116429","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 radical nature of China's urban transformation has become a key subject in contemporary Chinese art. The ruthless eradication of material remnants of the past, moreover, has reinvigorated an urgency in Chinese art to look to the past for inspiration in the envisioning of a better future. This article examines three works that combine these two important strands of artistic production in China as they negotiate contemporary urban transformation via a return to China´s artistic tradition. This article will look at the imaginary and fantastical topologies of modernity in both analogue and new media, including the installation and oil painting of Shen Yuan and Wang Mingxian, respectively, and the digital ink painting of Miao Xiaochun. In examining closely the artists' choices of medium and their representations of architecture and urban space, this article probes some of the key social, environmental and aesthetic predicaments that underlie China's developmental process. It will argue that responses in Chinese art counter the officially sanctioned grand narrative that equates urbanization, urban renewal and modernization with unequivocal social betterment. Instead, these works create in-between spaces that lie between the material and the idealistic.
{"title":"Back to the future? Chinese artistic tradition and topologies of urban modernity","authors":"Angela Becher","doi":"10.1386/jcca_00008_1","DOIUrl":"https://doi.org/10.1386/jcca_00008_1","url":null,"abstract":"Abstract The radical nature of China's urban transformation has become a key subject in contemporary Chinese art. The ruthless eradication of material remnants of the past, moreover, has reinvigorated an urgency in Chinese art to look to the past for inspiration in the envisioning\u0000 of a better future. This article examines three works that combine these two important strands of artistic production in China as they negotiate contemporary urban transformation via a return to China´s artistic tradition. This article will look at the imaginary and fantastical topologies\u0000 of modernity in both analogue and new media, including the installation and oil painting of Shen Yuan and Wang Mingxian, respectively, and the digital ink painting of Miao Xiaochun. In examining closely the artists' choices of medium and their representations of architecture and urban space,\u0000 this article probes some of the key social, environmental and aesthetic predicaments that underlie China's developmental process. It will argue that responses in Chinese art counter the officially sanctioned grand narrative that equates urbanization, urban renewal and modernization with unequivocal\u0000 social betterment. Instead, these works create in-between spaces that lie between the material and the idealistic.","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":"49497142","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 In December 2016 a group of researchers led by Professor Jiang Jiehong travelled to Jingdezhen as fieldwork for the Everyday Legend research project, funded by the Leverhulme Trust. Representing the White Rabbit Collection of Contemporary Chinese Art, Australia, I was invited to participate. This article developed from reflections on the fieldwork component of the research project, as well as the formal and informal discussions that took place, at the time and subsequently, in Shanghai, Birmingham, Groningen and London. In 2018, as a further development of this process of reflection, I conducted semi-structured interviews with two artists of different generations: the article examines how Liu Jianhua and Geng Xue approach the use of porcelain as a contemporary art material. Each has spent extensive periods of time in Jingdezhen and each is immersed in this particularly Chinese tradition. At the same time, each is identified (and identifies themselves) as practising in a global contemporary art context and participates in exhibitions and exchanges internationally. Considered in the context of current and historical discourses around global contemporaneity2 and its manifestations in twenty-first-century China, their work illuminates the key question that the Everyday Legend project was designed to examine: how can contemporary art and traditional Chinese craft practices intersect, informing and enriching each other? As representatives, respectively, of the generation who emerged into the first years of the post-Cultural Revolution Reform and Opening period, and of a younger generation educated partly outside China, they reveal how Chinese artists strategically negotiate local and global in positioning their work as contemporary reinventions of traditional forms and materiality.
{"title":"Translation, transformation and refiguration: The significance of Jingdezhen and the materiality of porcelain in the work of two contemporary Chinese artists1","authors":"Luise Guest","doi":"10.1386/jcca_00004_1","DOIUrl":"https://doi.org/10.1386/jcca_00004_1","url":null,"abstract":"Abstract In December 2016 a group of researchers led by Professor Jiang Jiehong travelled to Jingdezhen as fieldwork for the Everyday Legend research project, funded by the Leverhulme Trust. Representing the White Rabbit Collection of Contemporary Chinese Art, Australia,\u0000 I was invited to participate. This article developed from reflections on the fieldwork component of the research project, as well as the formal and informal discussions that took place, at the time and subsequently, in Shanghai, Birmingham, Groningen and London. In 2018, as a further development\u0000 of this process of reflection, I conducted semi-structured interviews with two artists of different generations: the article examines how Liu Jianhua and Geng Xue approach the use of porcelain as a contemporary art material. Each has spent extensive periods of time in Jingdezhen and each is\u0000 immersed in this particularly Chinese tradition. At the same time, each is identified (and identifies themselves) as practising in a global contemporary art context and participates in exhibitions and exchanges internationally. Considered in the context of current and historical discourses\u0000 around global contemporaneity2 and its manifestations in twenty-first-century China, their work illuminates the key question that the Everyday Legend project was designed to examine: how can contemporary art and traditional Chinese craft practices intersect, informing and enriching\u0000 each other? As representatives, respectively, of the generation who emerged into the first years of the post-Cultural Revolution Reform and Opening period, and of a younger generation educated partly outside China, they reveal how Chinese artists strategically negotiate local and global in\u0000 positioning their work as contemporary reinventions of traditional forms and materiality.","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":"49000795","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 References to native culture are frequently in the foreground of works by Chinese women artists. When they make contact with different cultures, although not necessarily connected with leaving their place of birth thanks to the transfer of information and cultural heritage that has developed extremely efficiently in the era of globalization (Gordon Mathews), they see their own entanglement in the cultural tradition. In the process of constructing their identity they try to find answers to the following question: which part of the cultural tradition is mine? Which one do I identify with? In the case of Chinese women artists, is it the legacy of literati? Classic ink painting and calligraphy? Or perhaps women's crafts that bear no name? Or perhaps a mixture of inspirations? Such questions about material heritage might also be augmented by others that consider aspects of the immaterial heritage of China. This article explores how Chinese women artists such as Chen Qingqing, Qin Yufen, Shi Hui, Wang Xiaohui, Cheng Caroline, Lin Tianmiao, Zhang Yanzi, Man Fung-yi, Liu Liyun, Peng Wei, Chen Lingyang, Chen Qiulin, Zhang Ou and Liu Ren refer to their cultural tradition.
{"title":"Which tradition is mine? Chinese women artists and cultural identity","authors":"Magdalena Furmanik-Kowalska","doi":"10.1386/jcca_00009_1","DOIUrl":"https://doi.org/10.1386/jcca_00009_1","url":null,"abstract":"Abstract References to native culture are frequently in the foreground of works by Chinese women artists. When they make contact with different cultures, although not necessarily connected with leaving their place of birth thanks to the transfer of information and cultural\u0000 heritage that has developed extremely efficiently in the era of globalization (Gordon Mathews), they see their own entanglement in the cultural tradition. In the process of constructing their identity they try to find answers to the following question: which part of the cultural tradition\u0000 is mine? Which one do I identify with? In the case of Chinese women artists, is it the legacy of literati? Classic ink painting and calligraphy? Or perhaps women's crafts that bear no name? Or perhaps a mixture of inspirations? Such questions about material heritage might also be augmented\u0000 by others that consider aspects of the immaterial heritage of China. This article explores how Chinese women artists such as Chen Qingqing, Qin Yufen, Shi Hui, Wang Xiaohui, Cheng Caroline, Lin Tianmiao, Zhang Yanzi, Man Fung-yi, Liu Liyun, Peng Wei, Chen Lingyang, Chen Qiulin, Zhang Ou and\u0000 Liu Ren refer to their cultural tradition.","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":"49046700","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":"Dedication","authors":"Monica Merlin","doi":"10.1386/jcca.6.1.3_7","DOIUrl":"https://doi.org/10.1386/jcca.6.1.3_7","url":null,"abstract":"","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49387177","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":"Queering boundaries: Art, politics and activism in performance art","authors":"W. Chow, Naying Ren","doi":"10.1386/JCCA.6.1.131_7","DOIUrl":"https://doi.org/10.1386/JCCA.6.1.131_7","url":null,"abstract":"","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43631054","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":"Flipping through a magazine: The consumed and consuming ‘woman’ in contemporary Chinese art","authors":"L. Pittwood","doi":"10.1386/JCCA.6.1.113_1","DOIUrl":"https://doi.org/10.1386/JCCA.6.1.113_1","url":null,"abstract":"","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/JCCA.6.1.113_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48940714","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 spectral interior: Gender and representations of household objects in the work of three Chinese artists","authors":"Mengyao Liu","doi":"10.1386/JCCA.6.1.17_1","DOIUrl":"https://doi.org/10.1386/JCCA.6.1.17_1","url":null,"abstract":"","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47809005","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 hypercultural universe of Chen Tianzhuo","authors":"Petra Poelzl","doi":"10.1386/JCCA.6.1.55_1","DOIUrl":"https://doi.org/10.1386/JCCA.6.1.55_1","url":null,"abstract":"","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48730093","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 offers a critical analysis of Chinese lesbian artist, filmmaker and activist Shitou’s 2006 film Women Fifty Minutes ( nüren wushi fenzhong ). Focusing on the representation of queer women in the film, I discern the existence and conditions of queer subjectivities and spaces in a postsocialist Chinese context. This article aims to disentangle different discourses of women and feminism in contemporary China as represented in the film and, in so doing, unravel the importance of sexuality in understanding feminism and women’s experiences. By looking at Chinese women through queer eyes, Shitou’s film brings queer public space into existence through representational and activist strategies; it also introduces sexuality and queerness into feminist debates.
{"title":"Queer eye for Chinese women: Locating queer spaces in Shitou’s film Women Fifty Minutes","authors":"Hongwei Bao","doi":"10.1386/JCCA.6.1.77_1","DOIUrl":"https://doi.org/10.1386/JCCA.6.1.77_1","url":null,"abstract":"This article offers a critical analysis of Chinese lesbian artist, filmmaker and activist Shitou’s 2006 film Women Fifty Minutes ( nüren wushi fenzhong ). Focusing on the representation of queer women in the film, I discern the existence and conditions of queer subjectivities and spaces in a postsocialist Chinese context. This article aims to disentangle different discourses of women and feminism in contemporary China as represented in the film and, in so doing, unravel the importance of sexuality in understanding feminism and women’s experiences. By looking at Chinese women through queer eyes, Shitou’s film brings queer public space into existence through representational and activist strategies; it also introduces sexuality and queerness into feminist debates.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44702793","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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