‘Playing the Chinese card’: Globalization and the aesthetic strategies of Chinese contemporary artists

Zhang, Lin; Frazier, Taj

doi:10.1177/1367877915600554

Cited by 8 publications

(12 citation statements)

References 7 publications

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“…Began in the 1990s, the western aesthetics generally believed that colonial thought was superior to Chinese art, which made the chinses artist taste orientation at that time too political, catering to western aesthetics and markets (Smith, 2005). Some Chinese artists' involvement in cultural identity hybridity in their works is a strategy and means to curry favors with the western art market (Zhang & Frazier, 2017). This phenomenon accords with the research background of Bhabha's theory-the influence of post-colonialism-non-Western cultures are self-shielded, written in a western way, and dominated by Western words.…”

Section: Hybridity In Chinese Culture Identitysupporting

confidence: 63%

Chinese Artists Living Abroad: Art, Cultural Identity and Hybridity

Zhang¹

2022

ASSC

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Section: Hybridity In Chinese Culture Identitysupporting

confidence: 63%

Chinese Artists Living Abroad: Art, Cultural Identity and Hybridity

Zhang¹

2022

ASSC

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“…The development of Chinese contemporary art is deeply embedded in China's gradual involvement in the process of twentieth century globalization (Zhang and Frazier 2017). After the founding of the People's Republic of China in 1949, the political function of art was emphasized through a series of sociopolitical movements (Wang 2009).…”

Section: Contemporary Art In Chinamentioning

confidence: 99%

“…But with the (Zhou 2020). Throughout the 1980s, increased overseas travel and a flood of information from the West invoked a "high culture fever" in a more liberal atmosphere of market-economy China (Zhang and Frazier 2017). This enthusiasm gave birth to a new generation of avant-garde artists who embraced Western modern art; experiments with contemporary art began to flourish (Kharchenkova 2017).…”

Section: Contemporary Art In Chinamentioning

confidence: 99%

Emerging in the East: the Shanghai Biennale’s pathways to legitimation, 1996 to 2018

Zhu

Braden

2022

J. Chin. Sociol.

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This study examines the 22-year development of the Shanghai Biennale from a localized contemporary art exhibition to an internationally renowned art biennale. Through the lens of organizational legitimacy, this research examines how the Shanghai Biennale negotiated changing external pressures to establish within China and grow into the international art world. Using a mix-methods approach, we first create a unique database of participant nationality and then examine artist and curatorial statements, media reports, and interviews with organizers and curators of the Shanghai Biennale from 1996 to 2018. Our study delineates three periods of the Shanghai Biennale’s development: incipient (1996–1998), internationalization (2000–2010), and expanding period (2012–2018). Through these periods we examine the different pathways by which the Shanghai Biennale attained legitimacy first within the local and national Chinese context and then within the Biennale’s expansion into the international art scene. We find at the beginning stage of the Shanghai Biennale, establishing local legitimacy was the foremost concern. When the Shanghai Biennale started to diffuse into the global art world in 2000, focus shifted towards remaking the Shanghai Biennale to comply with international perceptions. That said, our research finds both local and international legitimacy requirements remained salient simultaneously, with the importance of maintaining a good relationship with the Chinese State as a critical basis for internationalization and development. In the most recent editions, more local and non-Western features are included in the Shanghai Biennale, signaling the Biennale’s efforts of distinguishing itself in the global biennale scene. This research contributes to organizational study by closely examining a cultural organization’s ability to negotiate legitimacy requirements in different contexts, but also empirically responds to recent calls for studies on the global development of non-Western biennales.

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“…The dereliction of industrial sites increases the stock of workshops and warehouses for artists’ occupation. The second view concerns the development of China’s contemporary art (Wang, 1996; Zhang and Frazier, 2015) and the role of artists in the occupation of industrial lands as art districts (Currier, 2008; Liu et al , 2013). The third perspective emphasises the role of state intervention in regulating industrial land and the development of cultural industries (Zheng, 2011; Ren and Sun, 2012; Tsu-Lung, 2012; Zielke and Waibel, 2013; Liu et al , 2013).…”

Section: Introductionmentioning

confidence: 99%

Adaptive reuse of industrial heritage for cultural purposes in Beijing, Shanghai and Chongqing

Chen

Judd

Hawken

2016

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Purpose With the dramatic transformation of China’s industrial landscape, since the late 1990s, adaptive reuse of industrial heritage for cultural purposes has become a widely occurring phenomenon in major Chinese cities. The existing literature mainly focusses on specific cases, yet sees heritage conservation similarly at both national and regional scale and rarely identifies the main factors behind the production of China’s industrial-heritage reuse. The purpose of this paper is to examine the differences in heritage reuse outcomes among three Chinese mega-cities and explore the driving factors influencing the differences. Design/methodology/approach This paper compares selected industrial-heritage cultural precincts in Beijing, Shanghai and Chongqing, and explores the local intervening factors influencing differences in their reuse patterns, including the history of industrial development, the availability of the nineteenth and/or twentieth century industrial buildings, the existence of cultural capital and the prevalence of supportive regional government policy. Findings The industrial-heritage reuse in the three cities is highly regional. In Beijing, the adaptation of industrial heritage has resulted from the activities of large-scale artist communities and the local government’s promotion of the city’s cultural influence; while in Shanghai, successful and more commercially oriented “sea culture” artists, private developers in creative industries and the “creative industry cluster” policy make important contributions. Chongqing in contrast, is still at the early stage of heritage conservation, as demonstrated by its adaptive reuse outcomes. Considering its less-developed local cultural economy, Chongqing needs to adopt a broader range of development strategies. Originality/value The paper contributes to knowledge by revealing that the production of industrial-heritage cultural precincts in Chinese mega-cities is influenced by regional level factors, including the types of industrial heritage, the spontaneous participation of artist communities and the encouragement of cultural policy.

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‘Playing the Chinese card’: Globalization and the aesthetic strategies of Chinese contemporary artists

Cited by 8 publications

References 7 publications

Chinese Artists Living Abroad: Art, Cultural Identity and Hybridity

Chinese Artists Living Abroad: Art, Cultural Identity and Hybridity

Emerging in the East: the Shanghai Biennale’s pathways to legitimation, 1996 to 2018

Adaptive reuse of industrial heritage for cultural purposes in Beijing, Shanghai and Chongqing

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