This edited volume provides a multifaceted investigation of the dynamic interrelations between visual arts and urbanization in contemporary Mainland China with a focus on unseen representations and urban interventions brought about by the transformations of the urban space and the various problems associated with it. Through a wide range of illuminating case studies, the authors demonstrate how innovative artistic and creative practices initiated by various stakeholders not only raise critical awareness on socio-political issues of Chinese urbanization but also actively reshape the urban living spaces. The formation of new collaborations, agencies, aesthetics and cultural production sites facilitate diverse forms of cultural activism as they challenge the dominant ways of interpreting social changes and encourage civic participation in the production of alternative meanings in and of the city. Their significance lies in their potential to question current values and power structures as well as to foster new subjectivities for disparate individuals and social groups.
- Cover
- Contents
- Engagement with the Urban
- Part I
- 1 From Sidewalk Realism to Spectral Romance
- 2 Urban History from Below
- 3 The Transient City
- 4 Shadow of the Spectacular
- 5 China Dreaming
- Part II
- 6 Urban Insertion as Artistic Strategy
- 7 Cao Fei’s ‘Magical Metropolises’
- 8 Relocating Further or Standing Ground?
- 9 Out of Service
- 10 Translocal Site-Responsiveness of Urban Creativity in Mainland China
- Index
- List of Figures
- Figure 1.1 Yang Lina, Old Men, 1999. Courtesy of the artist.
- Figure 1.2 Yang Lina filming in the park, ca. 2007. Courtesy of the artist.
- Figure 1.3 Yang Lina, The Loves of Lao An, 2008. Courtesy of the artist.
- Figure 1.4 Yang Lina, Longing for the Rain, 2013. Courtesy of the artist.
- Figure 1.5 Yang Lina, Longing for the Rain, 2013. Courtesy of the artist.
- Figure 2.1 Jin Feng, A History of China’s Modernisation Volumes 1 and 2, 2011, rubber, marble, rice paper installation. Courtesy of the artist.
- Figure 2.2 Jin Feng, Wordless Petitions, 2006, photograph. Courtesy of the artist.
- Figure 2.3 Zhang Dali, Demolition, no. 65B, 1999. Courtesy of the artist.
- Figure 2.4 Dai Guangyu, Geomancy: Ink, Ice, 2004/05. Courtesy of the artist.
- Figure 2.5 Dai Guangyu, The Kidnapped, 2011, ink acrylic on xuan paper. Courtesy of the artist.
- Figure 2.6 Zhang Dali, Demolition, no. 25, 1998. Courtesy of the artist.
- Figure 3.1 Rong Rong, Liulituan, no. 8, 2003. Courtesy of the artist.
- Figure 3.2 Zhang Dali, Demolition, no. 125a, 1998. Courtesy of the artist.
- Figure 3.3 Zhuang Hui and Dan’er, Yumen: Laojun Temple Oilfield, 2006-2009. Courtesy of the artists.
- Figure 3.4 Wang Qingsong, Skyscraper, no. 2, 2008. Courtesy of the artist.
- Figure 3.5 Miao Xiaochun, Surplus, 2009. Courtesy of the artist.
- Figure 3.6 Jiang Pengyi, All Back to Dust, no. 2, 2006. Courtesy of the artist.
- Figure 3.7 Chen Shaoxiong, Streetscape I, 1997-1998. Courtesy of the artist.
- Figure 3.8 Zhang Peili, The Entryway of Hangzhou Parterre One Year Apart, 2000-2001. Courtesy of the artist.
- Figure 4.1 Ni Weihua, Keywords – Chinese Dream: Shanghai Jiangdong Road, June 7, 2015, 2015. Courtesy of the artist.
- Figure 4.2 Ni Weihua, Keywords – Development: Shanghai Zhongshan Road East No. 1, December 15, 1998, 1998. Courtesy of the artist.
- Figure 4.3 Top: Ni Weihua, Keywords – Development: Shanghai Xin Kezhan, May 23, 1999, 1999; Bottom: Ni Weihua, Keywords – Development: Qingdao Shangdong Road, Shangdong, October 15, 2003, 2003. Courtesy of the artist.
- Figure 4.4 Top: Ni Weihua, Keywords – Harmony: Shanghai Zhouzhugong Road, April 10, 2008, 2008; Bottom: Ni Weihua, Keywords – Harmony: Hangzhou Jiefang Road, 14 September 2008. Courtesy of the artist.
- Figure 4.5 Selected pieces from Ni Weihua’s Keywords – Chinese Dream series, 2013-2015. Courtesy of the artist.
- Figure 4.6 Ni Weihua, Landscape Wall – Shanghai Puming Road, 11:46, September 4, 2013, 2013. Courtesy of the artist.
- Figure 4.7 Ni Weihua, Landscape Wall – Shanghai Hengfeng Road, 15:00-15:30, April 18, 2009, 2009. Courtesy of the artist.
- Figure 4.8 Top: Ni Weihua, Landscape Wall – Shanghai Songhu Road, 10:45, April 4, 2013, 2013; Bottom: Ni Weihua, Landscape Wall – Shanghai Langao Road, 16:00-16:30, November 26, 2009, 2009. Courtesy of the artist.
- Figure 5.1 Designer unknown. Title: Tong yige shijie tong yige mengxiang (One world, one dream). Publisher: Beijing Organizing Committee for the Games of the XXIX Olympiad. Date of publication: July 2008, ISBN: 978-7-80716-715-0. Nr. of copies printed: 2
- Figure 5.2 Designer unknown. Title: Tong yige shijie tong yige mengxiang (One world, one dream). Publisher: Beijing Organizing Committee for the Games of the XXIX Olympiad. Date of publication: July 2008, ISBN: 978-7-80716-715-0. Nr. of copies printed: 3
- Figure 5.3 Designer unknown. Title: Geng kuai geng gao geng qiang (Citius – Altius – Fortius). Publisher: Beijing Organizing Committee for the Games of the XXIX Olympiad. Date of publication: 2008. Print nr.: 780716.36. Available online: http://news.xinh
- Figure 5.4 Designer: Public Service Advertising Art Committee; figurine designed by Lin Gang. Title: Zhongguo meng – wode meng (The Chinese Dream – dream). Publisher: China Internet Television Station. Date of publication: 2013. No print number. Availabl
- Figure 5.5 Designer: Public Service Advertising Art Committee; image designed by Liu Zhigui. Title: Zhonghua meide – Xiao (Chinese virtue – filial piety). Publisher: China Internet Television Station. Date of publication: 2013. No print number. Available
- Figure 5.6 Designer: Public Service Advertising Art Committee; image designed by Ren Mingzhao. Title: Ren jing lao ji de fu (The people honour the old for their own happiness). Publisher: China Internet Television Station. Date of publication: 2013. No p
- Figure 6.1 Lin Yilin, Safely Maneuvering Across Lin He Road, 1995, performance, 90 min, Guangzhou. Courtesy of the artist.
- Figure 6.2 A group meeting in 1993, Guangzhou. From left to right: Chen Shaoxiong, Liang Juhui, Xu Tan and Lin Yilin. Courtesy of Lin Yilin.
- Figure 6.3 Lin Yilin, Standard Series of Ideal Residence, 1991, installation, brick, iron, wood. Courtesy of the artist.
- Figure 6.4 Xu Tan, The Alteration and Extension of Sanyu Road No. 14, 1994, installation, photographs, floor plan, video, text, Guangzhou. Courtesy of the artist.
- Figure 6.5 Detail of Xu Tan, The Alteration and Extension of Sanyu Road No. 14, 1994. Courtesy of the artist.
- Figure 6.6 Chen Shaoxiong, Streetscape I, 1997-1998, photograph, photo collage, Guangzhou. Courtesy of the artist.
- Figure 6.7 Liang Juhui, One Hour Game, 1996, installation and performance, white cloth, chair, television, video game, Guangzhou. Courtesy of Liang Juhui Memorial of Libreria Borges Institut d’Art Contemporain.
- Figure 6.8 From left to right: detail of Figure 6.4 showing Xu Tan; detail of Figure 6.7 showing Liang Juhui; and photograph of Chen Shaoxiong holding Streetscape II, 1997-1998. Courtesy of Luo Qingmin, spouse of Chen Shaoxiong.
- Figure 7.1 Cao Fei, Hip Hop Guangzhou, 2003, video. Courtesy of Vitamin Creative Space, 2015.
- Figure 7.2 Moonwalking in Cao Fei’s Whose Utopia, 2006, video. Courtesy of Vitamin Creative Space, 2015.
- Figure 7.3 Cao Fei, RMB City, 2007 onwards, moving image. Courtesy of Vitamin Creative Space, 2015.
- Figure 7.4 ‘My Future Is Not a Dream,’ Cao Fei, Whose Utopia, 2006, video. Courtesy of Vitamin Creative Space, 2015.
- Figure 7.5 The zombies in Cao Fei’s Haze and Fog, 2013, video. Courtesy of Vitamin Creative Space, 2015.
- Figure 7.6 Dancing in the factory in Cao Fei’s Whose Utopia, 2006, video. Courtesy of Vitamin Creative Space, 2015.
- Figure 7.7 Bouncing watermelons in Cao Fei’s Haze and Fog, 2013, video. Courtesy of Vitamin Creative Space, 2015.
- Figure 7.8 Encountering the peacock in Cao Fei’s Haze and Fog, 2013, video. Courtesy of Vitamin Creative Space, 2015.
- Figure 7.9 Yoga in high heels in Cao Fei’s Haze and Fog, 2013, video. Courtesy of Vitamin Creative Space, 2015.
- Figure 8.1 Candlelight vigil staged by Songzhuang artists to demand the release of the BIFF organizers. Wang Wo, A Filmless Festival, 2015, screenshot. Courtesy of the artist.
- Figure 8.2 Online performance-protest for the closing ceremony of the BIFF. Screenshots from WeChat edited for Wang Wo’s A Filmless Festival. Courtesy of the artist.
- Figure 9.1 The phone numbers function as ads for counterfeit documents like driver’s licences, diplomas or safety certifications. Note the accompanying characters banzheng. Beijing, 2011. Photograph by the author.
- Figure 9.2 Hoarding in Dongcheng district, note the slogan ‘Be a civilized urbanite’ with the two characters wen and ming in the calligraphic font. Beijing, 2012. Photograph by the author.
- Figure 9.3 Billboard in Chaoyang District, near 798 Art District with phone number defacements. Beijing, 2012. Photograph by the author.
- Figure 9.4 Defacements of the defacement. Beijing, 2011. Photograph by the author.
- Figure 9.5 Banzheng, Beijing, 2011. Photograph by the author.
- Figure 10.1 Three of the eight Urban Carpets, 2009. Courtesy of Instant Hutong.
- Figure 10.2 Urban creativity as an umbrella concept to include artistic and creative practices in urban public space. Copyright by the author.
- Figure 10.3 Urban creativity as an organic process of translocal site-responsiveness: the multilayered interactions between the three main variables, namely, forms of agency; manifestations; and site, place, and space (as multilevel physical and conceptu
- Figure 10.4 A local person defending Kaid Ashton’s right to put up a photograph in Guangzhou and the result of the negotiation. Courtesy of the artist.
- Figure 10.5 Family choosing a photograph for their house in Beijing and the outcome. Courtesy of the artist.
- Figure 10.6 Julien Malland’s partially demolished painting, Shanghai, September 2015. Photograph by the author.
- Figure 10.7 Julien Malland’s painting in Xinyi village, September 2015. Photograph by the author.
- Figure 10.8 Julien Malland and Cao Xiuwen, a sleeping girl in Xingta village, September 2015. Photograph by the author.
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