Performance Art in China takes as its subject one of the most dynamic and controversial areas of experimental art practice in China. In his comprehensive study, Sydney-based theorist and art historian Thomas J. Berghuis introduces and investigates the idea of the "role of the mediated subject of the acting body in art," a notion grounded in the realization that the body is always present in art practice, as well as its subsequent, secondary representations. Through a series of in-depth case studies, Berghuis reveals how, during the past 25 years, Chinese performance artists have "acted out" their art, often in opposition to the principles governing correct behavior in the public domain. In addition to a 25-year chronology of events, a systematic index of places, names and key terms, as well as a bibliography and a glossary in English and Chinese, this study also offers the reader numerous previously unpublished photos and documents.
This dissertation, "Performance Art and the Body in Contemporary China" by Siu-har, Silvia, Fok, 霍少霞, was obtained from The University of Hong Kong (Pokfulam, Hong Kong) and is being sold pursuant to Creative Commons: Attribution 3.0 Hong Kong License. The content of this dissertation has not been altered in any way. We have altered the formatting in order to facilitate the ease of printing and reading of the dissertation. All rights not granted by the above license are retained by the author. DOI: 10.5353/th_b4020388 Subjects: Body art - China Human beings in art Performance art - China
First published in 1981. The overthrow of the 'gang of four' in October 1976 had profound effects in all areas of Chinese society, and probably nowhere can this be more clearly seen than in the performing arts. Jiang Qing, Mao Zedong's widow, was strongly interested in the performing arts and exercised great influence over them. This book describes her influence and the effects its removal had on the arts. Although the period covered is mainly that since the death of Mao, there is also considerable reference to the years following the Cultural Revolution.
This book provides an in-depth and thematic analysis of socially engaged art in Mainland China, exploring its critical responses to and creative interventions in China’s top-down, pro-urban, and profit-oriented socioeconomic transformations. It focuses on the socially conscious practices of eight art professionals who assume the role of artist, critic, curator, educator, cultural entrepreneur, and social activist, among others, as they strive to expose the injustice and inequality many Chinese people have suffered, raise public awareness of pressing social and environmental problems, and invent new ways and infrastructures to support various underprivileged social groups.
The Methuen Drama Companion to Performance Art offers a comprehensive guide to the major issues and interdisciplinary debates concerning performance in art contexts that have developed over the last decade. It understands performance art as an institutional, cultural, and economic phenomenon rather than as a label or object. Following the ever-increasing institutionalization and mainstreaming of performance, the book's chapters identify a marked change in the economies and labor practices surrounding performance art, and explore how this development is reflective of capitalist approaches to art and event production. Embracing what we perceive to be the 'oxymoronic status' of performance art-where it is simultaneously precarious and highly profitable-the essays in this book map the myriad gestures and radical possibilities of this extreme contradiction. This Companion adopts an interdisciplinary perspective to present performance art's legacies and its current practices. It brings together specially commissioned essays from leading innovative scholars from a wide range of approaches including art history, visual and performance studies, dance and theatre scholarship in order to provide a comprehensive and multifocal overview of the emerging research trends and methodologies devoted to performance art.
Since the confirmation of Deng Xiaoping’s policy of Opening and Reform in 1978, the People’s Republic of China has undergone a liberalization of culture that has led to the production of numerous forms of avant-garde, experimental, and museum-based art. With a fast-growing international market and a thriving artistic community, contemporary Chinese art is riding a wave of prosperity, though issues of censorship still abound. Shedding light on the current art scene, Paul Gladston’s Contemporary Chinese Art puts China’s recent artistic output into the context of the wider cultural, economic, and political conditions that surround it. Providing a critical mapping of ideas and practices that have shaped the development of Chinese art, Gladston shows how these combine to bind it to the structure of power and state both within and outside of China. Focusing principally on art produced by artists from mainland China—including painting, film, video, photography, and performance—he also discusses art created in Taiwan, Hong Kong, Macau, and diasporic communities. Illustrated with 150 images, Contemporary Chinese Art unravels the complexities of politics, artistic practice, and culture in play in China’s art scene.
This book explores the relationship between the ongoing urbanization in China and the production of contemporary Chinese art since the beginning of the twenty-first century. Wang provides a detailed analysis of artworks and methodologies of art-making from eight contemporary artists who employ a wide range of mediums, including painting, sculpture, photography, installation, video, and performance. She also sheds light on the relationship between these artists and their sociocultural origins, investigating their provocative responses to various processes and problems brought about by Chinese urbanization. With this urbanization comes a fundamental shift of the philosophical and aesthetic foundations in the practice of Chinese art: from a strong affiliation with nature and countryside to one that is complexly associated with the city and the urban world.
England between the wars was a paradise of calm and leisure for the very, very rich. Into this enclave is born Mrs. Emmeline Lucas—La Lucia, as she is known—a woman determined to lead a life quite different from the subdued formality of her class. With her cohort, Georgie Pillson, and her husband, Peppino, Lucia upends the greats of high society: the imperious Lady Ambermere and her equally imperious dog, Pug; the odious Piggy and Goosie Antrobus; the Christian Scientist Daisy Quantrock, with her penchant for the foreign; and all the rest of the small English town that the British rich call their country home. Beset on all sides by pretenders to her social throne, Lucia brings culture, fine arts, excitement, and intrigue into this cloistered realm.
"Material matters in new Chinese art, which presents its subjects through the directness and immediacy of its material. This book applies theories by Osborne and Danto to new Chinese art to show how artists are working below the level of language to make each work of art prove that it is art"--
Publisher: The Chinese University of Hong Kong Press
Category: Social Science
This book seeks to engage Chinese philosophy to reframe existing Western scholarship in the fields of gender, body, and aesthetics. The assembled essays cover traditional and current global issues related to Chinese female bodies by addressing the following questions: Does Confucianism rule out the capacity of women as moral subjects, and hence, as aesthetic subjects? Do forms of Chinese philosophy in some ways contribute or correspond to the patriarchal Confucian culture? In what ways can Chinese philosophy provide alternative perspectives sought by Western feminist scholars? Professor Man uses an interdisciplinary approach to explore feminist philosophy through the issues of the body, aesthetical representation and gender politics, which are simultaneously historical and contextual. The first section of the book, "Body Discourses in Chinese Philosophy", brings in theoretical and philosophical discussions of Western traditions such as those of Plato, Descartes, and Kant, to examine their views on body and mind and how the Chinese philosophical ideas offered by Confucians and Daoists provide alternative body ontologies for critical feminist practices. The second section, "Chinese Bodies, Aesthetics and Art", reviews female aesthetical representations in classical traditional Chinese works ranging from The Books of Songs, women's embroidery, sexuality and suggested ways of kissing, and the contemporary body art represented by the controversial body artist He Chengyao. These chapters demonstrate the intertwining relationship among body, sexuality, aesthetics and the ascribed gendered roles in social environments. The third section, "Chinese Bodies and Gender Matters", aims to unfold the changing perceptions of femininity from imperial China to contemporary China. Case studies touch on female body ideals in the literary fantasies in late Ming, in the iron girls in Communist China, and in the Olympics Hoopla at the 2008 Beijing Olympics. This section also discusses Hong Kong women's fashion in the 1960s and how their bodies were shaped by colonial politics. Finally, the subject of sex and emotion in the development of ethical discourse of Chinese female sex workers from late Qing to contemporary society is discussed alongside the impact of the global economy on female beauty today. Overall, this book discusses new conceptual models that feminist scholars are using to displace dualism and emancipate notions of the body from Cartesian mechanistic models and metaphors. The different chapters review traditional and contemporary alternatives to understanding female bodies in Chinese society. Eva Man is professor of humanities and creative writing at Hong Kong Baptist University. She publishes widely in comparative aesthetics, feminist philosophy, cultural studies, art, and cultural criticism.
The late twentieth century has been marked by momentous political, economic, and social change throughout the Chinese world. Deeply rooted cultural assumptions and ancient visual traditions have been challenged by rapid modernization and conflicting global, ethnic, and local identities. Inside/Out: New Chinese Art was the first major international exhibition to explore the impact of these challenges on artists in the People's Republic of China, Hong Kong, Taiwan, and those of the 1980s Diaspora. The multifaceted exhibition and accompanying catalog encompass an extensive range of artistic forms, including installation, video, and performance art as well as more traditional media such as oils and ink. The art is grouped according to themes, some specific to regions and others that reflect widespread and overlapping trends. With the inclusion of ambiguous territories like Hong Kong and Taiwan, the exhibition opens up a perspective of modern Chinese art from the "outside" as well as a looking-out from the "inside." The catalog features essays by eminent Chinese art scholars and curators along with leading curators and historians of Western art. Together they promote Chinese art's rightful place in the contemporary global cultural arena and at the same time acknowledge the influence of its rich heritage. The diversity and freshness of the exhibition reflects the explosion of creativity among Chinese artists during the past decade. The ironic social commentary of Li Shan's The Rouge Series, no. 24, the "apartment art" of artists reacting against the traditional patronage of large museums and corporations, and Wang Jin's sly humor in portraying consumer fetishes in today's China are a few examples of the spirited artistry awaiting the viewers of Inside/Out. The late twentieth century has been marked by momentous political, economic, and social change throughout the Chinese world. Deeply rooted cultural assumptions and ancient visual traditions have been challenged by rapid modernization and conflicting global, ethnic, and local identities. Inside/Out: New Chinese Art was the first major international exhibition to explore the impact of these challenges on artists in the People's Republic of China, Hong Kong, Taiwan, and those of the 1980s Diaspora. The multifaceted exhibition and accompanying catalog encompass an extensive range of artistic forms, including installation, video, and performance art as well as more traditional media such as oils and ink. The art is grouped according to themes, some specific to regions and others that reflect widespread and overlapping trends. With the inclusion of ambiguous territories like Hong Kong and Taiwan, the exhibition opens up a perspective of modern Chinese art from the "outside" as well as a looking-out from the "inside." The catalog features essays by eminent Chinese art scholars and curators along with leading curators and historians of Western art. Together they promote Chinese art's rightful place in the contemporary global cultural arena and at the same time acknowledge the influence of its rich heritage. The diversity and freshness of the exhibition reflects the explosion of creativity among Chinese artists during the past decade. The ironic social commentary of Li Shan's The Rouge Series, no. 24, the "apartment art" of artists reacting against the traditional patronage of large museums and corporations, and Wang Jin's sly humor in portraying consumer fetishes in today's China are a few examples of the spirited artistry awaiting the viewers of Inside/Out.
A unique and visionary generation of young Chinese artists are coming to prominence in the art world - just as China cements its place as the second largest art market on the planet. Building on the new frontiers opened up by the Chinese artists of the late 1980s and 1990s, artists such as Ai Wei Wei who came to the West and became household names, this new generation are provocative, exciting and bold. But what does it mean to be a Chinese artist today? And how can we better understand their work? Here, renowned critic Barbara Pollack presents the first book to tell the story of how these Chinese millennials, fast becoming global art superstars, negotiate their cultural heritage, and what this means for China's impact on the future of global culture. Many young Chinese artists have declared they are "not Chinese, but global" - this book investigates just what that means for China, the art market, and the world. Brand new Art from China is the first collection to showcase the dynamic new art coming from Chinese artists, and features full-colour photos and video stills throughout - with many works being published in book-form for the first time. Featuring an in-depth interview with Zhang Xiaogang, probably the most well-known artist in China itself, whose sombre portraits of Chinese families during the Cultural Revolution sell for as much as $12 million at auction, alongside unparalleled access to the tastemakers of today's art scene, Brand New Art from China is the essential guide to Chinese contemporary art today - its vision, values and aesthetics.
Nowadays, plenty of factories from Europe and other developed countries have been relocated to this country, considering its tremendous economic scale and rapid growth rate during the past three decades.But most of what happens inside the China nowadays is deeply hidden from the outside world (¿the foreigners¿ as China people would call). This fact is partly because most reports on China were written by the so-called fly-high experts who are busy completing their reports despite a busy schedule. Very few books or reports were written by people inside, or at least ¿foreigners¿ who spent a few years in China. Therefore in this book, we took a different approach, by inviting local scientists and other writers to describe what happens surround them.It is the purpose of this book to bring these cultural advantages into more focus, in order to bring into light some 'human¿ aspects of the country, and how these can be integrated into the broader context of economics development. At the end of the day, their achievements cannot be measured by economic progress alone, but also how the people can have the proper sense of meaning (i.e. 'feel¿ at home) in their own homeland, instead of being just another 'bolt¿ in the obsolete industrial engine of economics. As shown in history that China/Eastern cultures can shed some light into modern science (cf. Fritjof Capra etc.), it is of our belief that both cultures can learn from each other, rather than suppressing the Eastern cultures under the spell of modernization.As with other books on development economics, it is beyond the objective of this book to give the final word. We would rather see the purpose of this book is to invite further dialogue over a long-time issue on how the modernization can be given a more humanized interpretation. This perhaps will include rethinking on the meaning of modernization and development themselves, beyond classical debates between inward-outward looking development programs.
The result of collaborative research from noteworthy dramatists and scholars, this volume investigates the dynamic relationship between culture, performance and theatre in Iran. The studies gathered here examine how various forms of performances, especially theatre, have and continue to undergo change in response to shifting political and social settings from the antiquity to the present day. The analysis in this book focuses on performance practices, examining drama, texts, rituals, plays, music, cinema and drama technologies. This is done in order to show how Iran has been imagined through enactments and representations, and reproduced through these performative actions. The book uses a wider definition of the concept of 'performance', offering analysis of a wide range of phenomena, including indigenous rituals – such as the naqqali and taziyeh – and online performances by diaspora communities.
This work gives an 'inside' view of Chinese theatre and the actor in performance for the first time. It challenges western theatre artists such as Brecht, Grotowski, Barba and Schechner, who have extracted from Chinese theatre elements which might enrich their own theatres. It is based on personal observations of and dialogue with Chinese actors, experiences which were impossible before 1980. Riley's study is well illustrated with photographs and diagrams and is accessible to anyone interested in theatre, even those with no knowledge of Chinese or Chinese theatre.
"For all their ubiquity, life and death have not been fully explored as integral themes in many forms of contemporary Chinese art. Exploring the strategies employed by a variety of Chinese artists who do engage with these timeless concerns, the author opens a new line of inquiry about contemporary art in a rapidly changing environment."-P.  of cover.
This is an interdisciplinary study of Chinese modernity in the context of globalisation from the late 19th century onwards. The text draws on Chinese literature, film, art, photography, and video to map the emergence of modern China in relation to the capitalist world-system in the economic, social, and political realms.