'Contemporary art in China takes place in a post-socialist (post-Mao) context, and at the same time a post-traditional one, searching for balance between aesthetic legacy and modernization. It also tries to find its position in the post-colonial globalized arena.
This book explores the tension between individual artistic freedom and a dominant discourse of central Chinese government, between China's cultural legacy and modernization, and between China and a global art world still dominated by a Western canon. As a case study it focuses on the artists who participated in the Venice Biennale in 1993, which as the first time contemporary art from mainland China was structurally invited to participate in a global art context.' - excerpted from back cover.
Including glossary of Chinese titles, names and terms, and index.
Onsite
English
2014
288
9789057182150
2
monograph
Introduction: Chinese art? Ethnic art? Western art? Global art?
General introduction
General research conditions
The structure of the book
Practical note on the use of Chinese characters and transcription
Chinese art in East and West
1.1 Introduction
1.2 China: Post-socialist
1.3 China: Post-traditional
1.4 China: Post-colonial
1.5 Discourse, constructs, and limits of theory
1.6 Non-Western art in the West
1.7 The Venice Biennale in post-colonial times
1.9 Selecting Chinese artists for the 1993 Venice Biennale
1.10 Conclusion
Chapter 2: Chinese art going global
2.1 Introduction
2.2 The birth of contemporary Chinese art
2.3 Main evolutions in contemporary Chinese art pre-1978
2.3.1 Chinese art at the beginning of the 20th century
2.3.2 Socialist Realism - art as political tool: 1949-1978
2.3.3 Underground art during the Cultural Revolution: No Name Group
2.4 Main evolutions in contemporary Chinese art post-1978
2.4.1 From Socialist Realism to a 'point of no return' in 1989
2.4.2 Post-1989 evolutions
2.5 The Passage to the East artists
2.6 Conclusion
Chapter 3: Post-social: Chinese art from socialist to post-socialist
3.1 Introduction
3.2 Impact of political events on artists
3.3 From Socialist Realism to the reality of post-socialism
3.4 Opening up new artistic languages and methods
3.5 The Mao Zedong legacy
3.6 Art and politics: An ongoing negotiation
3.7 Top-down discourse past and present
3.8 Bottom-up dynamics
3.9 Art as part of the economy
3.10 Conclusion
Chapter 4: Post-traditional: Chinese art between tradition and innovation
4.1 Introduction
4.2 The spiritual dimension of art
4.3 The Chinese language as a source of inspiration
4.4 Calligraphy and ink painting tradition in contemporary art
4.5 China's cultural past incorporated in contemporary art
4.6 Conclusion
Chapter 5: Post-colonial: Chinese art between China and the West
5.1 Introduction
5.2 Discovering non-Chinese art and taking a position
5.3 Exploring the local: One's own Chinese background
5.4 Post-colonial: Reviving the local and taking a position
5.5 Curatorial practices in the West
5.6 Conclusion
Epilogue
Contemporary Chinese Art: Post-socialist, Post-traditional, Post-colonial
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