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1.
This essay analyses a politically tinged painting by Xu Beihong (1895–1953), a representative modern Chinese painter. He composed the work in 1949, just before the founding of the People’s Republic of China, or the New China. In this article’s discussion of the perplexing work, the author attempts to unveil Xu’s understanding of revolution and of the relationship between art and politics, in relation to his difficulties in exploring and practicing art in the early Republic period (1912–1949). Based on this, the author discusses the painter’s mindset in the social and political context of the New China. She also tries to reveal that Xu’s art practices were restrained by the realities he was in – a crucial point to understanding his achievements and predicaments. As an artist who resisted the western modernism in the course of modernization, and who idealistically pursued the highest good and beauty through “realist” approaches and historical expressions, Xu’s predicaments interestingly reflect the complicated relationship between art and revolution in China’s road to modernization, and provide a foundation for further explorations into the core issues and the particularity of modern Chinese paintings.  相似文献   

2.
ABSTRACT

This paper introduces Dinghaiqiao Mutual Aid Society (DMAS, dinghaiqiao huzhushe, its urban context, issues that it concerns and strategies that it uses by introducing three of its projects. As a group that locates itself in a historically working-class neighborhood under the pressures of urban renewal, it clarifies its vision by both embodying the participants to the projects, and extending knowledge production and imagination of the place into a more profound social and historical dimension. The “common” here, serves as the interactive element and mechanism in DMAS events, as well as in its operational logic. The strategies that it develops, based on this, is a reflection and transcendence of the social political atmosphere and questions the developmental ideology of the city.  相似文献   

3.
In Beijing, a dynamic amateur choir is gaining a growing profile in the music circle and beyond. Twice a week, rain or shine, 38 choir members come from different comers of the city for rehearsal to the middle school at the East Second Ring Road. With a short history of less than three years, the choir has presented dozens of performances for charity or public good purposes, These music amateurs have transmitted their energy to dying old people and handicapped children with their encouraging singing, bringing them love, joy and hope. It is not a professional choir, but its well-trained performers have captivated many people and won several international awards with their melodious singing. From the concert in honor of doctors and nurses fighting against the SARS epidemic to the TV competition for Chinese singing foreign songs, the choir members have demonstrated the charms and passions of their art and brought lyrical serenity and purity back to city dwellers who live in urban hurly-burly all day long.  相似文献   

4.
Abstract

This paper addresses the pedagogic and disciplinary challenges posed by the effort to understand urban spatial practices and institutional histories in Bombay/Mumbai, and other postcolonial South Asian cities. Many cities in the region, such as Chandigarh and Dhaka were designed as iconic of the abstract space of the nation‐state. The dominance of the nationalist spatial imagination in the understandings of public space, citizenship, and the metropolitan environment – combined with the functionalist perception of architecture and spatial practice – have resulted in an urban pedagogy that regards the city only as a technological or physical artefact. Architectural education and urban pedagogy is therefore unable to address the diversity of social‐spatial formations in the city, and its political regime of predatory development, tactical negotiation, and blurry urbanism. To better understand this new regime, we require a collaborative urbanism that treats the city as an extra‐curricular space by which we can reconstruct existing institutional frameworks. Drawing on the work of CRIT (Collective Research Initiatives Trust), Mumbai, this papers explores the post‐industrial landscapes of the Mumbai Mill and Port Lands as a case study in two extracurricular research projects, which grew into urban design and community planning interventions in the Mumbai Metropolitan Region, where urban spaces became the arena for re‐imagining the relations between knowledge production, institutional boundaries, and civic activism on which nationalism has imposed a long estrangement.  相似文献   

5.
The 52nd edition of the Venice Biennale International Art Exhibition opened its doors for previews on June 7, drawing artists, collectors, curators, dealers, critics and art patrons to  相似文献   

6.
ABSTRACT

Before the emergence of the modern sense of popular music in China, the uses of music in that country have been instrumental in serving political purposes for the state. The modern form of popular music began to enter China through Hong Kong and Taiwan – the two very political locales in which we could observe China’s political economy through the reception of their music in mainland China. How the Chinese authorities coped with the production, distribution and consumption of this ‘foreign’ popular music, is reflective of the swing of the pendulum between relaxation and control, and hence the changing ideologies of the state. Based on the cultural and institutional analysis on a few classical Chinese popular singers since the mid‐1980s, this paper illustrates such a transformation. The paper argues that the Chinese authorities have evolved from a dictatorial authority, which chose to control popular music by means of direct bans and censorship, to an active agent, through various strategies, managing and producing a kind of popular music that can be conducive to, and be resonant with, the national ideologies.  相似文献   

7.
The ideas of Bandung had echoes in the anti-colonial and decolonization movement in the Anglophone Caribbean from the 1950s to the 1970s. These echoes were signals of international solidarity that emerged among the political leadership and radicalized publics in Asia, Africa, Latin America and the Caribbean. That sense of solidarity has been replaced by pragmatic business relations in the era of global neo-liberalism and the growing role of China and other ex-colonies as economic powers. There is an urgent need for renewal of mutually beneficial political association among ex-colonial countries. The spectres of racism and racial stereotypes need to be confronted in the building of stronger economic relations. These racial stereotypes arise from the growth of anti-black racism over the past 500 years. Similarly, racial stereotypes of Chinese and other peoples of Asia are rooted in colonial histories. New political relations cannot be based exclusively on trade and economic relations but on an explicit elaboration of ideas that can encourage discussion, debate and the development of institutions. These new political ideas can build on shared principles in an anti-racist direction, which helps to restore human dignity to international relations.  相似文献   

8.
This article provides an insight into the theorization of sōgō geijutsu or the work of total art during the postwar decades in Japan, primarily through the language of Hanada Kiyoteru, a notable communist critic during the 1950s, as a way to present a discursive precursor to what would be explored as intermedia in the 1960s. It is an attempt to trace the debates that were seen in journal Sōgō Bunka, which was established immediately after the war, and how the question of collectivity and collective production of art was discussed among the contributing critics, artists, and intellectuals. Totality as some may know already, is a problematic term that comes close to the wartime notion of ‘totality’, as it was employed for Japanese government's ideological deployment for its war efforts. Although the term has accrued a sinister ring, the critics mentioned in the article, especially Hanada, were determined to reclaim the term as a way of devising a postwar aesthetic-political platform. One important component of sōgō geijutsu was popular art and its relationship to the masses, as it was designed to relocate avant-garde art practices to the juncture of popular space and political praxis, while critiquing the modernist avant-garde art associated with high art. In addition to providing a fuller historiography of intermedia (or transmedia) in Japan, interrogating sōgō geijutsu also serves to shed some light on the complex and multivalent discourse of locating a ‘people’ and their communicative action. Through this history, the term totality gains a greater texture, no longer dismissible as a mere vestige of fascism in the minds of the Japanese artists and critics.  相似文献   

9.
ABSTRACT

This study investigates the spatial practice of a subcultural activism of the “young radicals” in Seoul, South Korea through the lens of urban commoning. As a cohort of people born after the 1980s, these young musicians, artists, and cultural activists have endeavored to create, produce, and transform urban spaces through involvement in a series of anti-eviction protests. In particular, this study investigates how and why radical musicians, artists, and their associates have negotiated the chasms among their personal lifestyle, collective subculture, and political activism by pursuing their spatial practices for self-standing and survival over the past 10 years. Although not necessarily place specific, several cases are drawn from a group that relocated to the central area of Seoul since the mid-2010s, making its urban activism a subcultural (and transcultural) formation.  相似文献   

10.
ABSTRACT

Following on from Peter Burke, Eyewitnessing (2001), this article considers again the potential for collaboration between historians and art historians, and presents ‘ten commandments' to be borne in mind by historians who wish to make use of visual materials in their work.  相似文献   

11.
ABSTRACT

This essay examines contemporary art as a tool of political resistance against existing and emerging ideologies as well as controversial and discriminatory cultural norms. On the example of the 2017 Venice Biennale, this research project analyses art, and more specifically, selected nation-specific exhibits, as pieces of critical pedagogy, representative of ideological and cultural resistance. Concentrating on the comparative analysis of art exhibits from US-American, Russian, and German national pavilions, this research project explains what their respective art communicates, what the main messages are, and elaborates on the impact, the salience, and the affect the exhibits have on their numerous audiences today, when the sphere of international and intercultural relations is challenged like never before. This essay further demonstrates that the exhibits challenge and critique the past and the present of their respective national cultures and attempt to refocus and humanize the future in the globalized world.  相似文献   

12.
ABSTRACT

What happens when we try to understand art as a commons? Elinor Ostrom [(1990/2012). Governing the commons. Cambridge University Press] challenged Hardin’s “The tragedy of the commons” [(1968). Science, 162(3859), 1243–1248] demonstrating that the governance of common pool resources is not always destined to failure. Ostrom’s analysis was initially applied to the management of shared natural resources; however, over time the term “commons” has also been used to describe non-tangible resources, specifically knowledge. Can Ostrom’s theory of the commons inform artistic practice? This article investigates some challenges presented by these research questions and their implications for cultural policy. In order to provide an empirical ground for the discussion of this topic, this paper will analyse the case studies of two cultural spaces in Italy, Teatro Valle (Rome) and Asilo Filangieri (Naples), which were occupied by groups of cultural professionals and managed as commons between 2011 and 2016; the outcomes of these occupations indicate possible ways to develop a commons-oriented approach to culture.  相似文献   

13.
This article argues that the term wa?an (“homeland”) was used in new ways in Arabic texts describing Syria from the sixth/twelfth and seventh/thirteenth centuries. The authors of these texts understood wa?an in its older sense as an affective attachment to land but assigned it new meaning as a territorial category of political and religious belonging. By analysing first the use of wa?an in Arabic literature from the third/ninth and fourth/tenth centuries and then its use in these later texts, this article proposes a re-evaluation of our assumptions about the role played by territory in defining political and religious allegiances in the pre-modern era and, thus, about the relationship between the pre-modern concept of wa?an and the modern concept of wa?aniyya, or “nationalism”.  相似文献   

14.
This paper examines new cultural and political movements that have developed outside of traditional leftist politics since the early 1990s in Japan. The new movements, including Dame‐ren, the Cardboard House Art movements in Shinjuku and recent anti‐war protests on the Iraqi war, were mainly led by young people, in particular, the freeter generation, who did not experience the leftist politics of the 1960s. These movements are different from traditional Marxist political ones and even from the new social movements in the 1960s and 1970s in the sense that they incorporate more cultural practices such as art, music, dance and performance into their political activities. The paper also explores the historical background against which the new movements were born and have developed since the end of the Bubble economy. It sees freeters, young part‐time workers, as emerging, new political actors that have appeared through the transition of a mode of production from Fordism to post‐Fordism. The transformation of society, economy and politics, known as ‘post‐modernization’ or recently as ‘globalization’, has asked us to re‐consider and re‐define the basic concepts such as class, proletariat, power, labour and work which we once shared. The paper tries to locate, through a critical examination, the new movements within a broader context of anti‐neo‐liberalism and anti‐globalization and find political potentiality within it.  相似文献   

15.
ABSTRACT

This essay explores what it means to theorize Han racism in Malaysian contexts, where ethnic Chinese constitute a minority. Given the history of Malay political dominance and recent intensification of Malay-Muslim ethno-nationalism as part of a backlash against the historic change of government in 2018, theorizing Han racism might seem like a move to downplay these factors and minimize the various forms of racialized violence directed at Chinese identified bodies. To the contrary, I show that doing so involves tracking the transnational process of racial production, which requires understanding how racist and capitalist modes of hierarchy operate in tandem, and how racial discourses are used by the state to manage domestic political exigencies and global economic forces to facilitate ongoing capitalist accumulation. I then turn to consider the arena of world Anglophone literature, which has emerged as a transnational site for narrating Chinese Malaysian experiences, by considering an exemplary text, a 2012 novel by Tan Twan Eng, The Garden of Evening Mists. In examining the material and ideological conditions of the global literary marketplace in shaping the novel, I consider how the cosmopolitan nature of global Anglophone literary production can obscure the racial underpinnings of its cultural productions as in the case of Tan’s novel.  相似文献   

16.
The medieval city of Rhodes kept a secure position as artistic and commercial crossroads, where pottery was the most intensely traded commodity. Here, I focus on a group of fifteenth-century ceramics decorated with profile busts of men and women excavated there, near the Orthodox Church of St. Spyridon. Used in a culturally complex urban centre, these vessels borrowed elements of design, and the concept of portrait-ceramics and love pots from Italy, where spouses and lovers exchanged such objects as ritual gifts. I explore the patronage, production, and function of these ceramics within the specifics of Rhodes, to see how they were suited to serve this cosmopolitan society governed by the Hospitaller Knights of St. John of Jerusalem, while displaying comparable feelings of power and (romantic) character common in Italian portraiture.  相似文献   

17.
Through the lens of consumption at Chinese Starbucks, this paper examines the lifestyle and attitudes of parts of the mainland Chinese urban middle class, especially of the so-called xiaozi. Based on interviews with and guestbook entries by customers I analyze how the foreign brand and the multitude of meanings associated with it are consumed. I argue that consumption may be viewed as a particular search for authenticity that enables consumers to construct their self-images in the context of the vast changes occurring in contemporary China. A foreign brand promises to be especially valuable as it promises the authenticity of an ‘other’ on which one's own desires may be projected.  相似文献   

18.
Abstract

The term guomin is found in Chinese texts from an early period. However, as commonly used today – as a modern political concept of special value and significance – guomin belongs to a political vocabulary adopted by Chinese intellectuals in the late nineteenth and early twentieth centuries from Japan’s new usages. The goal of this essay is to explain how this important concept was formed and what it signified. The term guomin has basically conveyed two levels of meaning since the late Qing. In essence, the term is similar to the English word ‘citizenship’, and it reveals a kind of awakening of a new political consciousness on the part of Chinese intellectuals since the late Qing. Through the discourse of guomin, they began to emphasize the subjectivity of each individual in the national political process, along with all of their rights and duties. Since the beginning of the twentieth century, the criticisms and reflections of Chinese intellectuals about traditional politics, society and culture, and thought have basically developed along the lines of the logic of ‘turning subjects into citizens’. However, the pursuit of a strong nation‐state under a civil crisis sparked by foreign pressure marked the historical conditions that generated the modern Chinese guomin discourse. Limited by this kind of ‘national identity,’ the discourse and construction of guomin since the late Qing have never been able to escape the shadow of the state. Under these ideological conditions, guomin could only become a means of the nationalist project for survival; it could never become an autonomous and universal category. Guomin, as it turns out, has been, and still remains, ‘the people of the state’.  相似文献   

19.
The 8th National Violin Performance Competition, under the auspices of Chinese Cultural Ministry and sponsored and organized by Qingdao Municipality, took place in the city of Qingdao from September 17 to 26. 87 contestants from a dozen of prestigious music conservatories from across the country competed in the final round, presenting high-level art galas to this beautiful seaside city.  相似文献   

20.
In the mid-1980s, Frith and Horne (1987) were describing the experience of British arts schools as, “an anachronism, with students desperately clinging on to attitudes to work and play, which had otherwise vanished” (p. 12). Among these attitudes were the importance of freedom and experimentation in one's work, the status of the artist as an outsider, and the superiority of art over other forms of activity, such as design. Despite huge social changes and contemporary concerns about the “instrumentalization” of arts policy and education (Singerman, 1999; Wilson, 2007), the article argues that the Romantic ideology of the artist is remarkably persistent, and continues to shape graduates' attitudes to their working lives. This in turn feeds into contemporary debates about the nature of cultural labour (Ross, 2003) and the role of the “artistic critique” (Boltanski & Chiapello, 2005), and, crucially, provides an empirically based view of these debates from the perspective of cultural workers themselves.  相似文献   

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