Chineseness as a theoretical, historical, and political problem in global art and exhibition

Davidson, Jane Chin

doi:10.7765/9781526139795.00007

Cited by 3 publications

(4 citation statements)

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“…En ese contexto, China, si no el más internacional, es al menos uno de los que mayor interés ha suscitado en el entorno occidental por su creación contemporánea, con lo cual podríamos considerarla en cierto modo como una etiqueta positiva para parte del extranjero. No obstante, no deja de ser una clasificación basada en la otredad que ha sido fuente de debates académicos en relación al arte contemporáneo (Davidson, 2019;Liu, 2011).…”

Section: Sobre Los Conceptos "Mujer Artista" Y "Arte Femenino"unclassified

Ser o no ser una artista feminista: el caso de Lin Tianmiao

Luengo-Aguirre

2024

Arte, individuo y sociedad (Internet)

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Lin Tianmiao (Taiyuan, 1961) ha recibido especial atención en el ámbito artístico occidental, siendo frecuentemente considerada como “artista feminista”. Sin embargo, la artista ha rechazado de manera continua esta etiqueta. Un rechazo que resulta especialmente interesante para la reevaluación de la categoría de “artista feminista” y las connotaciones de esta taxonomía. En este artículo, para problematizar la figura de “artista feminista”, en primer lugar, se introduce el marco conceptual en torno a conceptos como “mujer artista” y “arte femenino” para después ahondar en la figura de “artista feminista” en relación al arte contemporáneo chino. A continuación, se analiza la posición de rechazo de Lin con respecto a la etiqueta “artista feminista”, para después analizar dos factores que han influido en la identificación de Lin con dicha figura, es decir: el uso del textil y la autorrepresentación corporal. Finalmente, se estudia de qué modo esa percepción como “artista feminista” ha influenciado la propia producción de la autora. De este modo, a través de un caso específico, se muestra la lógica de la construcción de la categoría de “artista feminista” y los retos que conlleva, con el fin de poder reevaluar su modo de empleo.

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Section: Sobre Los Conceptos "Mujer Artista" Y "Arte Femenino"unclassified

Ser o no ser una artista feminista: el caso de Lin Tianmiao

Luengo-Aguirre

2024

Arte, individuo y sociedad (Internet)

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“…The extent to which chinoiserie represents Chinese cultural identity and how it has evolved from ancient China to contemporary and modern China have been debated by scholars in the fields of the arts and aesthetics (Davidson 2019), creative culture (Wu et al 2013;Christie 2015;Geczy 2019), and historiography (Porter 1999;Johns 2016). Heritage and history alone may indeed inhibit renewal and innovation as history is often misconceived as interchangeable with heritage (Morley and McMahon 2011).…”

Section: Literature Reviewmentioning

confidence: 99%

Implementation of Chinese-styled branding in global fashion: ‘Guochao’ as a rising cultural identity

Wang

2022

Fashion, Style &Amp; Popular Culture

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Culture-specific Chinese-styled branding as a rising trend in cultural and branding studies has provided new discourse for the discussion on the national identity of Chineseness or chinoiserie that has long existed, with further reflections on the Chinese fashion brand design known as ‘Guochao’, which has become an increasingly ubiquitous new conceptual identity in the past five years. Chinese fashion brands are changing their peripheral cultural status and impacting global fashion, transforming the global recognition of Chinese national identity and style in the field of fashion. This article investigates this emerging phenomenon in the global fashion system and theorizes ‘Guochao’ as a rising cultural identity that reconfigures and readdresses the national identity in Chinese fashion branding practices in terms of its connotations and industry applications. It shows that the ‘Guochao’ identity can be separated into two sub-connotations: one that addresses the connotations of ‘Guo’ that symbolize, rejuvenate and rematerialize Chinese historical and material culture, and one that emphasizes the ‘Chao’ discourse, featuring subtle Chinese symbolism that incorporates strong western street style and further blurs the boundaries in the West–East aesthetic binary system. Through case studies on the brand designs and campaigns of two Chinese designer brands that are paradigmatic of the ‘Guo’ identity, Angel Chen and MUKZIN, and two classic Chinese sportswear brands that are representatives of the ‘Chao’ identity, Li-Ning and Warrior Shanghai, the theoretical connotations of ‘Guochao’ as a rising cultural identity in Chinese-styled branding are discussed. This article theorizes ‘Guochao’ as a recreated representative cultural identity in global fashion that challenges the world’s understanding of chinoiserie in the field of fashion and further showcases the popularization of Chinese-styled branding in Chinese fashion.

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“…It is important to note that most of these artists are male, heterosexual and cisgender identified, because this socially privileged group had the symbolic and cultural capital needed at the time for art education, exhibition opportunity and transnational mobility. Jane ChinDavidson's (2019) study recovers the hidden voices of Chinese women diaspora artists including Patty Chang, Cai Fei, Wu Mali and Yu King Tan. In their artworks, Chineseness remains a recurring theme; but there are also other themes such as ecofeminism in these artists' performance and video works.…”

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confidence: 98%

“…. Writings specifically focusing on contemporary art produced by Chinese artists outside the PRC remain limited (e.g Gao 1998;Wu 2001;Chiu 2006;Kuehn, Louie and Pomfret 2013;Leduc 2018;Davidson 2019)…”

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confidence: 99%

The new generation: Contemporary Chinese art in the diaspora

Bao

2022

Journal of Contemporary Chinese Art

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This Special Issue of Journal of Contemporary Chinese Art focuses on the social significance and political relevance of diaspora Chinese art in the contemporary era. Although artists and authors may hold different stances towards Chinese and diaspora identities, their works and discussions showcase the importance of identity and identity-inflected art in contemporary times; they also demonstrate the productivity of treating Chinese diaspora art as a valuable subject of study in researching contemporary Chinese art. This editorial essay outlines the social and scholarly contexts related to a new generation of contemporary Chinese diaspora art and artists; it also introduces the structure and content of the Special Issue. The text is arranged in the following order: it first clarifies key words such as ‘diaspora’ and ‘Chinese diaspora’ and introduces scholarly debates surrounding these terms; it then briefly maps the study of contemporary Chinese art in a transnational and diasporic context to articulate the significance and scholarly contribution of the current issue. The essay ends with a mapping of the key topics and themes covered in this issue – which have implications for the study of Chinese diaspora art overall – and a brief outline of the key content and argument of each article.

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Chineseness as a theoretical, historical, and political problem in global art and exhibition

Cited by 3 publications

References 0 publications

Ser o no ser una artista feminista: el caso de Lin Tianmiao

Ser o no ser una artista feminista: el caso de Lin Tianmiao

Implementation of Chinese-styled branding in global fashion: ‘Guochao’ as a rising cultural identity

The new generation: Contemporary Chinese art in the diaspora

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