Titlebook: Rethinking Displays of Chinese Contemporary Art; Cultural Diversity a Paul Gladston,Lynne Howarth-Gladston,Jason Kuo Book 2024 The Editor(s

olfction

inscribe

Paul Gladston,Lynne Howarth-Gladston,Jason KuoExplores diverse approaches to the displaying of Chinese contemporary art.By scholars and cultural workers from differing cultural and professional backgrounds.Discusses Chinese contemporary art’s rel

Locale

Contemporary East Asian Visual Cultures, Societies and Politicshttp://image.papertrans.cn/r/image/829009.jpg

負(fù)擔(dān)

辯論

Inside/Outside the Yellow Box: Toward a Poly/Cacophonic Displaying of (Chinese) Contemporary Art,ng more conducive to the exhibiting of contemporary artworks evocative of China’s long-standing Confucian-literati cultural traditions than the internationally dominant mode of museum and gallery display known as the White Cube and its variant the Black Box. The Yellow Box is shown here not only to

貞潔

意外的成功

天賦

Queerness as Masquerading: Displaying Queer Art in Contemporary China, is restricted. The government ban on queer content, however, does not signal an end to the existence of queer art in China; nor does it stop queer art from being displayed in public spaces. The chapter identifies some of the strategies that Chinese artists, curators, and activists use to display qu

美色花錢(qián)

Institutionalized Socially Engaged Art: The Qingtian Plan and Rural Reconstruction, China. While part of the campaign seeks to establish a discourse of rural reconstruction through artistic and cultural development it also imposes tight governmental controls over such activities. This chapter shows how artists responded to the campaign by incorporating socially engaged artistic pr

信任

,Pharmakon—Online and Offline: Art as Togetherness and Being Apart in the Hong Kong SAR,g and exhibiting has been intensifying in the context of socially engaged art. When the work is no longer conceived by people clearly identified as ‘a(chǎn)rtist(s),’ when the objects or projects thus brought into being are no longer clearly labelled as ‘a(chǎn)rt,’ the question of what is made, how and why it