Bücher der Reihe Contemporary East Asian Visual Cultures, Societies and Politics

This edited collection brings together essays that share in a critical attention to visual culture as a means of representing, contributing to and/or intervening with discursive struggles and territorial conflicts currently taking place at and across the outward-facing and internal borders of the People's Republic of China.

While reading China's cultural hegemony and its attendant ideologies as 'shaping' memory and history throughout New Silk Road regions, the book includes new regional research from within China's borders, as well as throughout New Silk Road regions.

This book approaches Silk Road studies from within the microcosm of China's Southwest avant-garde arts sector in order to approach the macrocosm of China's cultural heritage and creative industry influence worldwide. While reading China's cultural hegemony and its attendant ideologies as 'shaping' memory and history throughout New Silk Road regions, the book includes new regional research from within China's borders, as well as throughout New Silk Road regions. With twenty years of experience in China, Sophia G. Kidd fills a void in discussions of the New Silk Roads (NSR) which fail to underscore the importance of the initiative's people-to-people component. Cultural diplomacy aids cooperation between New Silk Road Regions by reducing 'cultural discount' of Chinese cultural exports, i.e., ideas and values, creating a shift of geo-cultural thinking to come. This book will prove illuminating for students of the arts and soft power in greater China.

This book explores the impact of global change in China in what is considered in the West as ¿the Asian century¿ and what this in turn means for visual culture. Unravelling a deep understanding of historical shifts in visual culture that represent socio-political mirrors of culture, it expands the Western perception of Chinese visual culture and the intertwined complexities of cultural signification. This book provides a key resource for Galleries and Academic Institutions, offering insights into understanding the systems underpinning ideas, skills and influences of the new visual culture in the Asian century.

This book explores the author's ten-year ethnographic journey in different locations in Shanghai. His immersion in Chinäs art world is grounded in a topology of places and new ways of writing and deploying history today. The ethnographic approaches to experiencing, analysing and representing space offer a critical tool to explore a different version of realism invisible in the nominal art and art history paradigms. As the market and institutional norms are still being defined, this book also documents and analyses how individuals have strived to negotiate boundaries in the art world and thus create unique selfhood. Instead of conventional methods of periodisation and stylistic analysis, this book presents a historiographic strategy emphasising the philosophical significance of spatial realism to offer insights into history, subjectivities and political institutions.

This book traces the cultural transformation of nostalgia on the Chinese screen over the past three decades. It explores how filmmakers from different generations have engaged politically with Chinäs rapidly changing post-socialist society as it has been formed through three mutually constitutive frameworks: political discourse, popular culture and state-led media commercialisation. The book offers a new, critical model for understanding relationships between filmmakers, industry and the State. Zhun Gu was awarded a Ph.D. by the University of Nottingham in December 2019 and is now a research assistant working at Fudan University. His research focuses on memory studies and intercultural communication in Chinese screen media.

¿This timely, compelling, and extremely useful book adds considerably to our understanding of Chinese art immediately after the Cultural Revolution by linking the artistic development of Shanghai during the 1980s with the city¿s vibrant artistic role within Asia during the 1930s and early '40s. ¿¿¿David Elliott, Curator|Writer|Museum Director|Teacher, Oxford|Stockholm|Tokyo|Istanbul|Sydney|Kyiv|Moscow|Guangzhou|Berlin¿It fills a long-overlooked gap in the study of Chinäs Avant-Garde centered in Shanghai during the period, but also connected to the earlier and subsequent development from a new historicist perspective. ¿A must-read for understanding the evolution of Avant-Garde Art in China, but also of China in itself.¿¿Qiu Xiaolong, Professor, Doctor, Author (of the prize-winning Inspector Chen series translated into twenty languages and sold over two million copies worldwide)This book offers fresh perspectives and new insights into the avant-garde art in Shanghai in the 1980s that challenges the narrative in the current discourse on the appearance of contemporary art in China. It includes critical events in Shanghai, that will attract the serious attention of art professionals and collectors. Shanghai, with its semi-colonial, political, economic and cultural history, including the strong legacy of the early twentieth-century modernist art movement, has played a vital role in Chinäs modernisation and presents itself as a unique case in the evolution of contemporary art in China.Lansheng Zhang is an art historian and academic, art curator, artist and designer. He has worked in these roles with universities, governments, international organisations, major art institutions in China, Australia, Japan and Europe. His main research interests are in modern and contemporary art and design, art histories and visual cultures in Asia especially in China. He was an Adjunct Professor at the RMIT University Melbourne, Associate Professor at the East China Normal University Shanghai, Senior Fellow at Lincoln University, UK, Visiting Fellow at the Australian National University, and recently a Research Fellow at the University of Sydney.

This edited volume aims to fill the gap in the research, juxtaposition, and focused discussions in the existing literature on art archives in Asia. Most of the archives included in the book are independent and initiated by individuals, folk groups, or non-profit organizations. In this book, one can trace the dynamics and self-generative capacity in this particular historical and cultural milieu through these ¿alternative¿ archives and through the practices of artists and curators who apply their specific understanding of archive to their works. Many chapters resonate with each other in that they capture the experiences shared by many places in Asia. Those experiences could have resulted from the encounter with the Western idea of archive, the influence of the colonial experience, or a memory crisis triggered by the rapid transformation of media, and may serve as a basis for producing archive theories in/from Asia. The book provides an opportunity for the archives in Asia and those who work around them to recognize one another, understand what their colleagues in archival work do, how they do it and what else there is for them to do.