Contemporary Chinese art at the Venice Biennale 2015

2015 ◽  
Vol 2 (2) ◽  
pp. 305-312
Author(s):  
Felix Schöber
Keyword(s):  
Chinese Art ◽  
Contemporary Chinese Art ◽  
Contemporary Chinese ◽  
Venice Biennale

Continuum Generation by Generation: The representation of Chinese traditions at the China Pavilion of the 57th Venice Biennale

2019 ◽  
Vol 6 (2) ◽  
pp. 343-366
Author(s):  
Ornella De Nigris
Keyword(s):  
Contemporary Art ◽  
Chinese Art ◽  
Chinese Tradition ◽  
Contemporary Chinese Art ◽  
Continuum Generation ◽  
History Of ◽  
The Relationship ◽  
Contemporary Chinese ◽  
Venice Biennale

Abstract This article focuses on the China pavilion of the 57th Venice Biennale as a case study. The theme of the pavilion, Continuum ‐ Generation by Generation, revolved around the long history of Chinese tradition and offered a visual re-elaboration of it by means of contemporary art and folk art. The works exhibited drew on Chinese mythology, masterpieces of Chinese art history, philosophical concepts and handcraft traditions, hence presenting a variegated image of (contemporary) Chinese art. This exhibition offers opportunities for a critical reading of the relationship between contemporary art and tradition implied by the theme Continuum, and I will explore the narrative and curatorial discourse it presented to the audience.

The Watery Turn in Contemporary Chinese Art

Art Journal ◽  
2006 ◽  
Vol 65 (4) ◽  
pp. 56-77 ◽  
Author(s):  
David Clarke
Keyword(s):  
Chinese Art ◽  
Contemporary Chinese Art ◽  
Contemporary Chinese

Biennialization-as-banalization, promotion, and resistance

Above Sea ◽  
2019 ◽  
pp. 96-116
Author(s):  
Jenny Lin
Keyword(s):  
Contemporary Art ◽  
Communist Party ◽  
Chinese Communist Party ◽  
First Century ◽  
Chinese Art ◽  
Global Expansion ◽  
Contemporary Chinese Art ◽  
Global Positioning ◽  
Current Concerns ◽  
Contemporary Chinese

Chapter Three investigates the turn of the twenty-first century global expansion of Shanghai’s contemporary art vis-à-vis the first international iteration of China’s premier contemporary art event, the Chinese Communist Party-sponsored 2000 Shanghai. The chapter theorizes biennialization-as-banalization vis-à-vis contemporary exhibition practices and the promotion of contemporary Chinese art. The chapter argues that Shanghai Biennial’s curators’ hopes of harnessing the spirit of Shanghai were ultimately supplanted by a generic brand of global contemporary art that neglected the city’s unique historical features and current concerns. This chapter then examines critical responses to the 2000 Shanghai Biennial and critiques of the global positioning of Shanghai’s contemporary art as seen in Ai Weiwei and Feng Boyi’s counter-exhibition “Fuck Off,” and in two related works by artists Zhou Tiehai and Yang Fudong.

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