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This book provides an in-depth and thematic analysis of socially engaged art in Mainland China, exploring its critical responses to and creative interventions in China’s top-down, pro-urban, and profit-oriented socioeconomic transformations. It focuses on the socially conscious practices of eight art professionals who assume the role of artist, critic, curator, educator, cultural entrepreneur, and social activist, among others, as they strive to expose the injustice and inequality many Chinese people have suffered, raise public awareness of pressing social and environmental problems, and invent new ways and infrastructures to support various underprivileged social groups.
This book provides an in-depth and thematic analysis of socially engaged art in Mainland China, exploring its critical responses to and creative interventions in China's top-down, pro-urban, and profit-oriented socioeconomic transformations. It focuses on the socially conscious practices of eight art professionals who assume the role of artist, critic, curator, educator, cultural entrepreneur, and social activist, among others, as they strive to expose the injustice and inequality many Chinese people have suffered, raise public awareness of pressing social and environmental problems, and invent new ways and infrastructures to support various underprivileged social groups.
This book is concerned with socially engaged art projects in the Chinese countryside, with the artists and intellectuals who are involved, the villagers they meet and the local authorities with whom they negotiate. In recent years an increasing number of urban artists have turned towards the countryside in an attempt to revive rural areas perceived to be in a crisis. The vantage point of this book is the Bishan Commune. In 2010, Ou Ning drafted a notebook entitled Bishan Commune: How to Start Your Own Utopia. The notebook presents a utopian ideal of life based on anarchist Peter Kropotkin’s idea of mutual aid. In 2011 the Commune was established in Bishan Village in Anhui Province. The main questions of this book thus revolve around how an anarchist, utopian community unfolds to the backdrop of the political, social and historical landscape of rural China, or more directly: How do you start your own utopia in the Chinese countryside?
This anthology elucidates the historical, global, and regional connections, as well as current manifestations, of socially engaged public art (SEPA) in East Asia. It covers case studies and theoretical inquiries on artistic practices from Hong Kong, Japan, mainland China, South Korea, and Taiwan with a focus on the period since the 2000s. It examines how public art has been employed by artists, curators, ordinary citizens, and grassroots organizations in the region to raise awareness of prevailing social problems, foster collaborations among people of varying backgrounds, establish alternative value systems and social relations, and stimulate action to advance changes in real life situations. It argues that through the endeavors of critically-minded art professionals, public art has become artivism as it ventures into an expanded field of transdisciplinary practices, a site of new possibilities where disparate domains such as aesthetics, sustainability, placemaking, social justice, and politics interact and where people work together to activate space, place, and community in a way that impacts the everyday lives of ordinary people. As the first book-length anthology on the thriving yet disparate scenes of SEPA in East Asia, it consists of eight chapters by eight authors who have well-grounded knowledge of a specific locality or localities in East Asia. In their analyses of ideas and actions, emerging from varying geographical, sociopolitical, and cultural circumstances in the region, most authors also engage with concepts and key publications from scholars which examine artistic practices striving for social intervention and public participation in different parts of the world. Although grounded in the realities of SEPA from East Asia, this book contributes to global conversations and debates concerning the evolving relationship between public art, civic politics, and society at large.
This anthology elucidates the historical, global, and regional connections, as well as current manifestations, of socially engaged public art (SEPA) in East Asia. It covers case studies and theoretical inquiries on artistic practices from Hong Kong, Japan, mainland China, South Korea, and Taiwan with a focus on the period since the 2000s. It examines how public art has been employed by artists, curators, ordinary citizens, and grassroots organizations in the region to raise awareness of prevailing social problems, foster collaborations among people of varying backgrounds, establish alternative value systems and social relations, and stimulate action to advance changes in real life situations. It argues that through the endeavors of critically-minded art professionals, public art has become artivism as it ventures into an expanded field of transdisciplinary practices, a site of new possibilities where disparate domains such as aesthetics, sustainability, placemaking, social justice, and politics interact and where people work together to activate space, place, and community in a way that impacts the everyday lives of ordinary people.As the first book-length anthology on the thriving yet disparate scenes of SEPA in East Asia, it consists of eight chapters by eight authors who have well-grounded knowledge of a specific locality or localities in East Asia. In their analyses of ideas and actions, emerging from varying geographical, sociopolitical, and cultural circumstances in the region, most authors also engage with concepts and key publications from scholars which examine artistic practices striving for social intervention and public participation in different parts of the world. Although grounded in the realities of SEPA from East Asia, this book contributes to global conversations and debates concerning the evolving relationship between public art, civic politics, and society at large.
'Living as Form' grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a 30-person curatorial advisory team; each project is documented by a selection of colour images.
Two contemporary Chinese artist collectives, Long March Project (LMP, formed in 1999) and Polit Sheer Form Office (PSFO, founded in 2005) posit themselves in both the contemporary Chinese and international art scene, as conducting something akin to "socially engaged art practice." This thesis attempts to read their practices as emanating from the artists' political and social experiences and critically observes how explanatory frames transfer between cultures. Through a wide range of research methods, including literature reviews, interviews with artists and field research, this thesis examines the evolution of interests, practices and terminologies as collective members grew up at the tail end of the Cultural Revolution, were educated locally and studied internationally, in England and Germany, being exposed to artistic responses to end-of-century political events there. It shows how members professionally intersected with national and international organizations and politics, working as artists, writers, critics and gallery administrators. It tracks them and their work as they thus gained standing individually, joined forces and then collaborated, all through periods of further significant transitions in Chinese society. In conclusion, a critical evaluation discusses how both groups' collective practices are brokered and present themselves, in Chinese and international, cultural and political contexts.
This thesis examines two socially engaged art (SEA) projects while focusing on their implementation and representation: Bishan Project (2011-2016) initiated by curators and activists Ou Ning & Zuo Jing, and Qiuzhuang Project (2013-2015) by artist Li Mu. Chewing over the concept site-specificity, this thesis unfolds how the selected projects traveled through transformations in multiple dimensions, which involve the physical space, public participations, institutional conditions, artists’ identities, and critical discourses. The continuous practice of SEA in China during the recent two decades has urged a new perspective to read the Chinese contemporary art history, which highlights the artists’ consciousness of reflecting and acting upon the changing social landscapes as well as aggravating social problems, for which the urban- rural relationship is a vital factor. As direct interventions to the very scene were more frequently adopted by artists and cultural workers, they have challenged the ideology and methodology of contemporary art practice by reshaping the roles of artworks in accordance with different contexts, which, subsequently, paved the way for an alternative appraisal system for art values and aesthetics. Observing that the primary SEA projects are exhibited globally in diverse formats, this thesis also attempts to establish a conversation between local practice and global awareness, which may help with the advancement of knowledge production in the realm of global art history.
To convey modern China’s history and the forces driving its economic success, rail has no equal. From warlordism to Cultural Revolution, railroads suffered the country’s ills but persisted because they were exemplary institutions. Elisabeth Köll shows why they remain essential to the PRC’s technocratic economic model for China’s future.