三角化非洲:当代艺术是建立中非关系的一个平台

IF 0.1 0 ART
Lou Mo
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引用次数: 0

摘要

殖民和种族是影响国际当代艺术实践的重要问题,但相关话语往往集中在欧洲或美国,处于与边缘地区和前殖民地对立的二元对话的一端。自20世纪中叶以来,随着新民族国家的独立和1955年万隆会议等事件的发生,人们越来越意识到要建立新的社会政治联系轴线。中非关系就是在这样的背景下发展起来的,但仍然是一个主要从国家政治和经济层面研究的话题。最近,来自大中国背景下的艺术家们开始探索通过他们的艺术作品来理解非洲文化的方式。朴英伟(中国大陆)、穆斯基基·齐英(台湾)和郑恩诺(香港)是三位年轻艺术家,他们最近的作品专注于创作更亲密的叙事,以构建对中非关系的理解。以二分法的话语模式介绍中国,这种新的三角焦点通过提供更细致入微的视角,扩大了对中非关系的理解。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Triangulating Africa: Contemporary art as a terrain for creating China–Africa connections
Colonization and race are important issues influencing international contemporary art practice, but related discourse is often focused with Europe or America at one end of a binary dialogue opposing the peripheries and former colonies. Since mid-twentieth century, following the independence of new nation states and events such as the 1955 Bandung Conference, there has been an increasing awareness to create new axes of sociopolitical connections. China–Africa relations evolve from this context but remains a topic mostly studied from state-level politics and economics. Recently, artists from the Greater Chinese context have started investigating ways of understanding Africa culturally through their artworks. Pu Yingwei (mainland China), Musquiqui Chihying (Taiwan) and Enoch Cheng (HK) are three young artists whose recent works focus on creating more intimate narratives to construct an understanding of China–Africa relations. China is introduced in the dichotomous mode of discourse, and this new triangulated focus expand the understanding of China–Africa relations by offering more nuanced perspectives.
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来源期刊
CiteScore
0.50
自引率
25.00%
发文量
12
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