AAA has contributed archival research and loaned items from our collection to Solomon R. Guggenheim Museum for the exhibition Art and China after 1989: Theater of the Worldwhich "presents work by 71 key artists and groups active across China and worldwide whose critical provocations aim to forge reality free from ideology, to establish the individual apart from the collective, and to define contemporary Chinese experience in universal terms."  

This week, we present printed matter related to the International Exposure section of the show's archival materials.


Other Posts in the Series

Avant-Garde Movements

Life in the Aftermath

Urban Experiments

Alternative Publishing

Experimental Exhibitions

New Systems


China's New Art, Post-1989

China's New Art, Post-1989
Image: Cover of China's New Art, Post-1989.

From the collecton description:

This is the catalogue for the seminal exhibition China's New Art Post-1989, the first major collection of Chinese experimental art to exhibit outside of the country. It was first held in Hong Kong in 1993 and subsequently travelled to Australia and the United States.

The present catalogue offers an in-depth study of the various artistic undercurrents and general cultural sensibilities for the creation of experimental art in China during the late 1980s and the early 1990s, through contributions from a number of noted critics and art historians. The artists are placed and studied under various categories, namely "Political Pop," "Cynical Realism: Irreverence and Malaise," "The Wounded Romantic Spirit," "Emotional Bondage: Fetishism and Sado-Masochism," "Ritual and Purgation: Endgame Art," and "Spirit Introspection and Retreat into Formalism."

As Chang Tsongzung, one of the curators of the exhibition, writes, "The art of the Post-1989 period was significant as it characterised the spirit of the new decade, closing the chapter of the 1980s. It was important also for the fact that it presented to the world the first major coherent overview of China's experimental art scene, and has maintained a continuing dialogue ever since."

Hanart TZ Gallery, the original publisher, has donated the publication rights of the book to Asia Art Archive. The present copy was republished in 2001, with an extended section on "Performance Art in China" and a preface by Chang Tsongzung.


China's New Art, Post-1989: Invitation

China's New Art, Post-1989 — Invitation
Image: Invitation for China's New Art, Post-1989.

The exhibition China’s New Art, Post-1989 took place at Hong Kong Arts Centre and Hong Kong City Hall in 1993. It was curated by Johnson Chang Tsong-zung and Li Xianting. From 1993–97, it travelled to venues in Taiwan, Australia, the United Kingdom, Canada, and the United States.

From the Francesca Dal Lago Archive.


China Avant-Garde

China Avant-garde
Image: Cover of English edition of China Avant-Garde.

From the collection description:

This catalogue of the touring exhibition China Avant-Garde held from 1993 to 1994 in Berlin, Rotterdam, Oxford, and Odense provides a retrospective of Chinese art and culture in the eighties and early nineties. From the work shown in this exhibition, two broad tendencies which may both be identified as avant-garde in that they challenged the established cultural order are shown: The first is that of innovation—the search for new form and languages; The second takes an ironical view of the ideologies and myths of the dominant culture by subverting its images. Apart from visual art, other areas of art including film, literature, theatre, and music are also discussed. 

In addition to the participating artists in the exhibition, a list of modern Chinese artists of the eighties and nineties with biographies is included.

Please note that the catalogue is also published in a Chinese and a German edition. The Chinese version is available in the library with the same location code.


Cities on the Move

Cities on the Move
Image: Cover of Cities on the Move.

From the collection description:

"As the twenty-first century draws near, Asia's great cities are facing enormous change. We are witnessing the dawning of a new model of modernity, open to all types of cultural influences and carried by the tide of technological developments. This incredible boom has sparked off dramatic tensions in urban life. The blending of two different worlds, of East and West, into a hybrid culture is one of the major characteristics of these countries...Art is being produced in these cities with new force, energy and impetus. Contemporary creation has not only shown itself to be sensitive to social change, it is also contributing to the rise of a new form of modernity that affects all fields of creativity: film, video, architecture and the visual arts."

—Excerpt from preface by Henry-Claude Cousseau, Director of the CAPC Musee of Contemporary Art. This catalogue also includes a preface by Werner Wurtinger, President of the Vienna Secession. Non-Asian participating artists include David D'heilly, Jacques Herzog, Pierre de Meuron, Aglaia Konrad, Rem Koolhaas, Greg Lynn, Fiona Meadows, Frederic Nantois, and Rudi Molacek.


La Biennale di Venezia: 48a Esposizione Internazionale d'Arte - dAPERTutto

La Biennale di Venezia: 48a Esposizione Internazionale d'Arte - dAPERTutto
Image: Cover of La Biennale di Venezia: 48a Esposizione Internazionale d'Arte - dAPERTutto.

From the collection description:

"But the meaning in this year's great art exhibition lies primarily in the quality of the critical and cultural proposals. This very bold 'check up' on contemporary art raises many questions. How do art forms react to the prevailing globalization of languages? Has contemporary art simply echoed the process of economic, financial, commercial and technological integration, albeit in ironic and detached ways? Or does it attempt to criticize and question this process?...There is no easy answer to these kind of questions. Twentieth century art has reacted in various ways to the 'informationization' of languages, their reduction to pure means of communicating information...Has the world of so-called 'art' become a single game, in which the moves are increasingly predictable and absolutely 'de-territorialized', with no genius loci and in which every surprise is not by 'chance', insofar as already implicit in the calculation, intrinsic to the combinatory technique governing the whole? Thanks to its vast 'planetary' scope, this year the Biennale can help to develop these issues concerning the broadest cultural, social, and political dimension of contemporary art."

—Massimo Cacciari, Mayor of Venice. Included in this catalogue are essays on participating artists as well as artists' biographies.




Anthony YUNG, 翁子健

Collection Spotlight
Mon, 13 Nov 2017

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