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| 1 |
ID:
169798
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| Summary/Abstract |
This study proposes a new explanation for institutional differences of organizations in China. It focuses on how two organizational forms dominant in contemporary art markets – commercial galleries and auction houses – were first established in China in the 1990s. Based on archival and interview data, it argues that the organizational forms were introduced to China due to mimetic isomorphism, and that their divergences from the foreign models are the result of unintended consequences of institutional work. It highlights the role of individual agency, including the role of foreign nationals, in organization-building in China. The findings also have implications for institutional theory: the article shows how the political, cultural and institutional context in China shaped institutional work that needed to be conducted and led to unintended consequences of institutional work.
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| 2 |
ID:
164814
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This article focuses on contemporary artworks outlining the current refugee flow from the Middle East to the West, namely to European countries together with the US and Canada. Drawing primarily on Jacques Rancière’s conceptualization of ethical art versus aesthetics, I explore how various journeys of refugees in its many forms have been represented in the contemporary art scene. My aim is to concretize the theoretical debate surrounding the ‘political’ engagement of critical art on the issue of refugee representation through various prominent artworks and art practices starting with the well-known image of Alan Kurdi’s and Ai Weiwei’s replication of this image in his artwork. I will analyse when and in which configurations aesthetics and ethics can be found in contemporary art on the issue of the ‘refugee crisis’. I argue that art on refugees can be grouped into two primary categories that I define as ‘human condition assessment’ and ‘agency empowerment’. As such, I demonstrate in practice how contemporary art on the current refugee crisis both employs and moves beyond the ethical subject matters by challenging abject victimhood as well as the ideal of egalitarian art for the underrepresented and thus assumingly voiceless, depoliticized refugees.
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| 3 |
ID:
177713
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This article examines artistic intervention into local conventions as a means of eliciting social awareness within the current cultural space of Dushanbe, Tajikistan, in which self-censorship is commonplace. As is to be expected, the art receiving the greatest support is sponsored by the authoritarian regime, who use it as a soft tool to construct a desired or prescribed form of national identity and to project state symbols into the global arena. In contrast, artworks which are contentious in their subject matter are mainly supported through international agencies. I explore the agency and autonomy of contemporary art, notwithstanding continuing state efforts at controlling, co-opting and incorporating art into a nationalist and legitimizing narrative. By focusing on selected artworks shown in Dushanbe within the last decade, where there are only a handful of artists work in this genre, I investigate how they unpack current societal issues of women’s rights, shifting ideologies, Islamization and civic duty.
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| 4 |
ID:
188585
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| Summary/Abstract |
The exhibition “Portraits of Ryukyu,” held at the Okinawa Prefectural Art Museum from November 2021 through January 2022, featured works by sixteen artists with close ties to Okinawa, highlighting the diversity of themes, approaches, styles, and media contained within the category of modern and contemporary Okinawan art, and expanding understandings of that canon. The fifteen women and one x-gender artist featured in the exhibition, some of whom were born and raised in Okinawa and some abroad, some with mixed ethnic backgrounds and others with Japanese backgrounds but trained and educated in Okinawa, address not only themes of gender, war, tradition, identity, and the ongoing U.S. military presence in the islands, but also of family, memory, modernity, labor, consumerism, and of historical and contemporary ties with the experiences of people in Taiwan, Vietnam, Hawai’i, and elsewhere.
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| 5 |
ID:
083208
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2008.
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| Summary/Abstract |
Contemporary and alternative art in Hong Kong has strong local roots and translocal connections, and while it reflects cultural politics in the city it lacks substantial international recognition. This interdisciplinary analysis focuses on the contexts of production of contemporary art by women in Hong Kong and their centrality in the city's arts community. The narrative contrasts the presence of contemporary and alternative arts and its absence from art criticism discourses through the disjuncture between the geopolitics of contemporary Asian art and the making of Hong Kong into an unprecedented territorial formation. Reading local art through alternative space-time concepts and intersubjective arts practice is proposed through the exhibit-event, "If Hong Kong, A Woman/Traveller."
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| 6 |
ID:
140508
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The focus on Beijing’s speed of development and the concomitant fascination with the unchecked destruction of hutongs reveal only part of Beijing’s urban story. If we consider that migrant workers (农民工) are the ‘human infrastructure’ that enables the built infrastructure, then grappling with how contemporary artists depict, exploit, and represent this human infrastructure uncovers many previously overlooked stakeholders. Artists reflect, recombine, and reimagine the figure of the migrant worker. However, such artistic interventions, while a critical avenue for addressing the contested citizenship of urban dwellers, are only one facet of the complex visual field of Beijing. Therefore, in addition to these artists’ works, I discuss other visual elements of Beijing such as the scrawled phone numbers advertising a variety of services for migrant workers on the surfaces of Beijing’s built environment. This unsigned public calligraphic practice is considered alongside the art of globally recognized artists to probe the interconnectedness of urban visual practices, question the targeted constituencies, and examine their reception by a range of urban audiences, revealing the communicative potential of images and text in the urban context and questioning what is at stake for the networks of migrant workers in Beijing that are often invisible.
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| 7 |
ID:
144371
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This paper examines a work of contemporary art by the artist duo Sun Yuan (b. 1972) and Peng Yu (b. 1974). Entitled Wenming zhu (Civilization Pillar), in form the work resembles a classical stone column, but it is in fact entirely composed of layers of congealed, gleaming human fat. While the work has previously been read in relation to the emergence of zhenhan yishu or “Shock Art” in the late 1990s, I argue that it provides an important mirror on the corporeal aesthetics of the wenming discourse. In Sun Yuan and Peng Yu’s Civilization Pillar, flesh is fetishized as a site for the accumulation of wenming as a by-product of the hedonism and decadence of the 21st century. Wenming is thus defined as the corporeal surplus of burgeoning consumerism, a means by which both to figure and to counter the destabilizing forces of sociopolitical transformation.
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| 8 |
ID:
113096
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2012.
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| Summary/Abstract |
Arjun Appadurai has argued that 'the materiality of objects in India is not yet completely penetrated by the logic of the market'.1
However, the entry and the visibility of modern and contemporary Indian art into the circuits of the global art world increasingly challenge this argument. The story of modern and contemporary Indian art is one of the inscription of local objects and their 'Indianness' into the above circuits, with market value being created inthe process. If the globalisation of the art world provides a conceptual and material arena where objects are circulated, displayed and bought and sold through auction houses, exhibitions, biennales and art fairs, this article analyses an event that epitomises some of the forces at play in this arena: the contemporary art exhibition 'The Empire Strikes Back: Indian Art Today' held in 2010 at the Saatchi Gallery, London. An artistic cum business instantiation of 'India in Europe'-and one that challenges the visual and aesthetic canons 'traditionally' associated with India-this article examines this exhibition as anentry point into the analysis of how neoliberal capital produces 'culture', and into the tension between the commodity form and the infinite possibilities, and unintended consequences, opened up by this very status.
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| 9 |
ID:
177714
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This article explores contemporary artistic practices in Kazakhstan that challenge narratives on national belonging and identity through the notion of queerness. It discusses artworks created by artists Saule Dyussenbina, Natalya Dyu and Kuanish Bazargaliyev, the artistic duo Kreolex Center, and the advertising agency Havas Worldwide Kazakhstan, which were created as a reaction to global discussions around gender and sexuality happening in and between various countries. It seeks to scrutinize different approaches and aspects presented in each artwork and argues that the overall strategy present in all the artistic testimonies is humour. While drawing on key concepts and categorizations of humour that permit the uncovering of the ways in which humour creates specific knowledge and identity, this article looks at humour techniques more broadly and builds on the argumentation provided by Uroš Čvoro and Chrisoula Lionis that opt for humour analysis connected to temporality and its perception in the works of art.
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| 10 |
ID:
153534
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| Summary/Abstract |
This article looks at a work by the Vietnamese-American artist Dinh Q Lê (b. 1968) that was installed at one of the world’s most important contemporary art events, the quinquennial exhibition dOCUMENTA (13) in Kassel, Germany in 2012. The work consisted of a series of drawings made by artists from North Vietnam who followed the guerrilla movement along the Ho Chi Minh trail, along with a film consisting of interviews with surviving artists and animations of the drawings. The work raises questions not only about authorship—as the featured artist is not the maker of the drawings—but about the role that art plays in writing and re-writing art history.
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