Journal of Contemporary Chinese Art最新文献_第8页

Reverie through Ma Yansong's shanshui city to evoke and re-appropriate China's urban space 通过马岩松的山水城市幻梦，唤起和重新定位中国的城市空间

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Journal of Contemporary Chinese Art Pub Date : 2019-09-01 DOI: 10.1386/jcca_00013_1

Federica Mirra

{"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}

引用次数: 0

Back to the future? Chinese artistic tradition and topologies of urban modernity 回到未来？中国艺术传统与城市现代性拓扑

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Journal of Contemporary Chinese Art Pub Date : 2019-09-01 DOI: 10.1386/jcca_00008_1

Angela Becher

{"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}

引用次数: 0

Translation, transformation and refiguration: The significance of Jingdezhen and the materiality of porcelain in the work of two contemporary Chinese artists1 翻译、转型与重塑：景德镇的意义与中国当代两位艺术家作品中瓷器的物质性1

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Journal of Contemporary Chinese Art Pub Date : 2019-09-01 DOI: 10.1386/jcca_00004_1

Luise Guest

{"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}

引用次数: 0

Which tradition is mine? Chinese women artists and cultural identity 哪个传统是我的？中国女艺术家与文化认同

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Journal of Contemporary Chinese Art Pub Date : 2019-09-01 DOI: 10.1386/jcca_00009_1

Magdalena Furmanik-Kowalska

{"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}

引用次数: 0

Dedication 奉献

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Journal of Contemporary Chinese Art Pub Date : 2019-03-01 DOI: 10.1386/jcca.6.1.3_7

Monica Merlin

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Queering boundaries: Art, politics and activism in performance art 酷儿边界:行为艺术中的艺术、政治和行动主义

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Journal of Contemporary Chinese Art Pub Date : 2019-03-01 DOI: 10.1386/JCCA.6.1.131_7

W. Chow, Naying Ren

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Flipping through a magazine: The consumed and consuming ‘woman’ in contemporary Chinese art 翻阅杂志:当代中国艺术中被消费和被消费的“女人”

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Journal of Contemporary Chinese Art Pub Date : 2019-03-01 DOI: 10.1386/JCCA.6.1.113_1

L. Pittwood

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The spectral interior: Gender and representations of household objects in the work of three Chinese artists 光谱的内部:三位中国艺术家作品中家庭物品的性别与表现

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Journal of Contemporary Chinese Art Pub Date : 2019-03-01 DOI: 10.1386/JCCA.6.1.17_1

Mengyao Liu

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The hypercultural universe of Chen Tianzhuo 陈天卓的超文化宇宙

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Journal of Contemporary Chinese Art Pub Date : 2019-03-01 DOI: 10.1386/JCCA.6.1.55_1

Petra Poelzl

引用次数: 0

Queer eye for Chinese women: Locating queer spaces in Shitou’s film Women Fifty Minutes 中国女性的酷儿眼光:石投电影《女人50分钟》中的酷儿空间定位

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Journal of Contemporary Chinese Art Pub Date : 2019-03-01 DOI: 10.1386/JCCA.6.1.77_1

Hongwei Bao

引用次数: 2