Journal of Contemporary Chinese Art Art History Journal of the Association of Art Historians
The Journal of Contemporary Chinese Art (JCCA) is an associate journal of the Heart for Chinese Visual Arts. Equally a professional peer-reviewed bookish journal, JCCA provides a scholarly forum for the presentation of new research and critical debates concerned with the subject area of contemporary Chinese art. The periodical is published by Intellect iii issues per yr.
Call for papers
ten.ane Bodies in Action: Performance Art in China
Abstracts due 31 March 2022 (300 words); full manuscripts due 1 December 2022 (vii,000-viii,000 words).
9.2/3 Transcultural Curation and the Post-Covid World
Abstracts due September 301 2021; total manuscripts due April one 2022.
nine.1 The New Generation: Contemporary Chinese Art in the Diaspora
Abstracts due March 31 2021; full manuscripts due Dec one 2021.
Latest issues
eight.2/3 The World, Two Meteres Away
At the end of 2019 or the first of 2020, when the coronavirus first emerged, Wuhan became the offset city worldwide affected by this deadly disease. It then rapidly spread to the entire country, and farther on to Europe, America and the residuum of the world. Red china, a state with a population of almost 1.5 billion, has to implement the strictest measures to rapidly and efficiently control the situation in its own style. We envisage, however, a tension between the Chinese government's official narrative and public discussions emanating from social media; and nosotros take seen calorie-free shows in Wuhan equally a display of collectivism in overcoming the crunch, Chinese visual propaganda relating to the pandemic, dancing patients in the coronavirus hospitals, and mask-wearing in conformity.
This special issue invites researchers and scholars at all stages of their careers to revisit their experiences and perceptions in this pandemic, to discuss and speculate its impacts, and to make a contribution to our agreement of the COVID-xix in the context of gimmicky China, arts and civilisation in China and beyond.
eight.1 Bordering Hong-Kong: Aesthetics and Politics
The increasing importance of the problematic adjoining in the questions posed to the social production of knowledge has given ascension to what some scholars believe may be called a bordering turn. To be distinguished from the onetime question of the border and its associated problems of classification and identity, the new adjoining plough is focused on the processes of drawing a edge and the practices that institute the 'things' betwixt which the social establishment of the border appears to be naturalized or given. Although the essentially political aspect of the act of bordering cannot exist denied, it is above all an artful miracle. The term aesthetic serves here as a marking of a disjunction between, variously: sensation and signification, the sensuous and the discursive, poetics and politics, fiction and the real.
7.23 Urban Transformations and Gimmicky Art in China
In the recent decades, China has experienced a revolutionary urban development. The incessant changes have shaped a moving reality, almost illusive, beyond the normal and tangible environment of daily life. The rapidity of today's urbanisation is a global issue, and withal the example of contemporary cities in China is singular, filled with excitement and anxiety. Histories have been destroyed, and heritage and memories are existence reinvented for the futurity. How do nosotros re-examine the triumph of the economic achievement and the urban development, or the loss, through sociological, anthropological, cultural and artistic perspectives? For those insiders – artists who are living through the accelerated development and its disturbance, how to capture and interpret the transient, to respond critically to suchan urban existence, and to imagine a unique or almost surreal experience in China?
7.one Biennials, Triennials in China
Today, biennials and triennials have get ane of the most significant phenomena in globalised fine art world. In 1996, the Shanghai Biennale appeared as the very first art biennial in Mainland People's republic of china and it was only opened up to welcome international artists and work from its tertiary edition, Shanghai Spirit, curated by Hou Hanru in 2000. Soon afterward, the Guangzhou Triennial was initiated past Wang Huangsheng at the Guangdong Museum of Art in 2002, and its countdown exhibition curated by Wu Hung et al., Reinterpretation: A Decade of Experimental Chinese Art, aimed to review historically the experimental art in China in the 1990s. Simultaneously, nosotros see many more established in various cities in Communist china – the Shenzhen Sculpture Biennial (est. 1998), the Chengdu Biennale (est. 2001) and the Nanjing Triennial (est. 2002) for instance, likewise every bit in Taiwan, such as the Taipei Biennial (est. 1992) and the Kuandu Biennale (est. 2008). And more than recently, 'biennial' events parachuted in smaller cities and villages including Yinchuan (est. 2016), Wuzhen (est. 2016), and An'ren (est. 2017), as role of the biennial institution, whilst in addition, international art fairs, e.yard., Art Basel Hong Kong (est. 2013) and West Bund Art & Design in Shanghai (est. 2014), migrated from the world or emerged spontaneously as role of the urban civilisation.
6.2 & 6.3 Everyday Fable: Reinventing tradition in Chinese Gimmicky Art
2019 Fall
Since the founding of People's Republic of China, a series of social transformations have rendered traditional design and paw-making skills marginal in contemporary Red china. Craftsmanship in numeous product, such every bit textiles, porcelain, wood- and stone- carving, lack the avenues of future inhertitance and transmission; they have been substituted by the cursory processes of batch product for tourists. Now, much of what is described as 'traditional# is no longer part of an everyday reality, but is instead an particular of material culture ranging from discrete displays of museum cases to monumental structures of national and historical significance. Such popular reactions to 'traditions broadly present the state of anxiety, an anxiety of seeking the cultural root.
To reflect critically upon this anxiety, we started the inquiry project, Every Legend, funded by the Leverhulme Trust with a leading enquiry question: volition tradition reinvent the past for the future and interpret from China to the world? Assembling twelve articles, this event looks at the re-invention, re-construction and representation of traditions in contemporary Chinese art. The first article by Pi Li reviews the concept of 'tradition' in the Chinese intellectual history of the twentieth century. Ornella De Nigris and Jenifer Chao examine the Chinese Pavilion of the 2017 Venice Biennale, in relation to its cultural and political meanings respectively. In addition to focusing on private artists such as Ai Weiwei, Liu Jianhua and Qu Leilei, manufactures included in this issue also examine Chinese female artists' approaches to traditions equally a group, and bring in interdisciplinary perspectives by relating traditions to urban planning and new media fine art. The 2 conversations pieces included in the end of this issue provide interpretations of traditions from artists' perspectives.
6.1 Gender in Contemporary Chinese Art
2019 Spring
For decades studies in Chinese art take resisted gender (xingbie or nannv) equally a theoretical framework and method of inquiry. This issue of the Journal of Contemporary Chinese Art testifies that the field is changing. The articles selected for this consequence focus on mainland Red china with some brief exceptions, and include contributions by young scholars, academics, curators and 1 artist. The prevailing response from early career scholars in this event indicates the desire to deepen the agreement of gender and its complexities inside a growing field of research. The seven interdisciplinary articles contemplate the multiple meanings of gender and apply it as a method of inquiry to translate and understand the piece of work of Chinese artists male person and female, or higher up binary-distinction, feminist and non-, queer and non-, while including reflections on artistic, curatorial and fine art historical work.
The kickoff two articles address gender in relation to intimate spaces, such as those of the house/abode and family unit in a call for revaluating the micro versus the macro, and at the same fourth dimension in rediscover the political and gendered dimension of familiar objects and the ordinary in contemporary artistic practices. While two other authors discuss gender and the complicacies of queerness, female artists are fundamental to Pittword's and Low'south articles. The last commodity in this issue is a serial of conversations with the London-based Chinese performance artist Whisky Chow whose practise challenges the normative agreement of femininities and masculinities, the assumptions and cultural expectations attached to them and the limitations of their meanings within the binary gender framework. All the contributions converge on avoiding to reduce gender to 1 single concept, while pointing at the complexity and fluidity of a wide set of notions which intersect it.
5.two & v.3 Chinese Art outside the Fine art Space
2018 Fall
Historically, in Mainland china, 'fine art outside the fine art space' can exist understood as both a cultural and a political proposition. From a cultural indicate of view, the notion of public 'exhibition' is entirely Western, whilst in the Chinese tradition of literati art for example, artworks were fabricated, shared, and appreciated within the course of scholarly 'elegant gathering' (yaji), which was essentially a kind of individual (rather than public) event within secluded (rather than institutional) spaces. From a political perspective, the 'outside-ness' immediately relates to the 'unofficial' status of contemporary Chinese art from its early development. For example, the first Star Group exhibition in September 1979 – generally acknowledged as the very get-go show that marked the beginning of contemporary art in Red china – was staged in a pocket-sized public park just next to the Communist china National Art Museum, outside the legitimated and official art space. Today, the situation of Chinese art taking place outside the museum and gallery spaces continues, but with a completely dissimilar momentum and agenda.
Art has been produced site-specifically for the spaces other than art institutions in China, including those of working venues, shown in a range of alternative spaces across galleries or museums, and has 'happened' in the public sphere and get political or social 'events', or artistic 'incidents', as a special course of 'exhibition'. Artistic curatorial and creative strategies have been adult to respond to the constraints of art institutions, censorships and at the same time, to push the boundaries of art. Focusing on art made, displayed, performed or executed outside the conventional venues of art museums and galleries, this themed double outcome non but hopes to offer a unique perspective to sympathize Chinese art in the contemporary context, but besides, more chiefly, it aims to critically reflect upon the understandings between art and fine art exhibition, betwixt artistic productions and audition perceptions, and betwixt art and our daily life.
5.i. Gimmicky Chinese Artists in the Globalised Art World
2018 Leap
The end of the Chinese Cultural Revolution opened an entirely new chapter for modern Chinese history, and indeed, for Chinese art too. In 1993, as a section of the 45th Venice Biennale, Passaggio a Oriente (Passage to the Orient) was ane of the start representations of Chinese contemporary art on the global fine art stage presenting fourteen Chinese artists. Externally, Chinese art started to attract the globe's attending by artists' frequent participations in those long standing fine art events in cities like Venice, Kassel, Lyon, Istanbul, Sharjah and Sydney besides as important museum exhibitions and art fairs. Internally, contemporary art exhibition became international from the get-go of this millennium, precisely, marked past the third Shanghai Biennial (2000). The Chinese government'south awareness and anxiety virtually the internationalisation of cultural and artistic industries through urban transformations, the institution of biennials and triennials invented and organised in various cities in China, and the rise of newly founded private art museums and galleries have all played a part in promoting Chinese artists and the development of contemporary fine art in the international context.
The term 'Chinese' in this periodical is always cultural and signals a broad sense, to include artists not only from Mainland China, but also Hong Kong, Taiwan, too as those global Chinese diasporas. The editors of this issue would similar to invite article submissions from a multifariousness of perspectives to produce a series of case studies of private artists (or artist groups) and their work as representative examples of development in Chinese contemporary art inside the concluding three decades. These individual case studies tin be based on their artistic lives, conceptual strategies, speculative knowledge, political and social engagements, and methodological approaches to fine art production in response to the globalised art world today. Equally such, this result is designed to stimulate original inquiry, disquisitional thinking and new understanding of Chinese contemporary art.
Source: https://www.bcu.ac.uk/art/research/centre-for-chinese-visual-arts/publications-and-events/journal-of-contemporary-chinese-art
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