Details

Chapter 1: Introduction.- Chapter 2: Aestheticized Display in China’s Three Cosmological Realms.- Chapter 3: Performing Artivism: Social Engaged Queer Art in China.- Chapter 4: Curating Global Contemporary Chinese-Ink Art: Zheng Chongbin’s Pictorial and Digital Ink Works in Western Art Institutional Contexts.- Chapter 5: Thinking (and Practice) (In-/)Outside the (Yellow) Box: toward the displaying of visual-cultural poly/cacophony.- Chapter 6: Pharmakon – socially engaged art and online hybrid display in Hong Kong.- Chapter 7: Curating Human Togetherness: Artivism and the Remaking of People and Place in Mainland China.- Chapter 8: Beyond Existing Approaches to the Displaying of Chinese Art: Three Case Studies.

<p><strong>Paul Gladston</strong>&nbsp;is Judith Neilson Chair Professor of Contemporary Art, University of New South Wales, Sydney, Australia.</p>

<p><strong>Lynne Howarth-Gladston </strong>is an artist, curator, and scholar. She has exhibited her painting internationally, including in the People’s Republic of China, the UK, and Australia.</p>

<p><strong>Johnson Tsong-zung Chang</strong>&nbsp;is a curator, director of the Hanart TZ Gallery in Hong Kong, and guest professor at the China Academy of Art, Hangzhou.</p>

<p><strong>Jason Kuo</strong>&nbsp;is Professor of Art History and Archaeology, University of Maryland, College Park, MD, US.</p>

<p>This is the first edited collection to critically address in its entirety questions related to the displaying of Chinese contemporary art. It includes chapters by scholars and cultural workers from diverse backgrounds involved in the interpretation of artistic as well as curatorial discourses and practices. Each of those chapters gives a detailed account of a particular, socio-culturally informed, approach to the making and showing of Chinese art - including in relation to queer identities, transculturality, the use of social media, artivism, social engagement, institutional critique, and neo-Confucian aesthetics. Together they present a vital intervention with established curatorship amidst the intensely interconnected and increasingly multi-polar cultural conditionalities of early 21st-century contemporaneity.</p>

<p><strong>Paul Gladston</strong>&nbsp;is Judith Neilson Chair Professor of Contemporary Art, University of New South Wales, Sydney, Australia.</p>

<p><strong>Lynne Howarth-Gladston </strong>is an artist, curator, and scholar. She has exhibited her painting internationally, including in the People’s Republic of China, the UK, and Australia.</p>

<p><strong>Johnson Tsong-zung Chang</strong>&nbsp;is a curator, director of the Hanart TZ Gallery in Hong Kong, and guest professor at the China Academy of Art, Hangzhou.</p>

<p><strong>Jason Kuo</strong>&nbsp;is Professor of Art History and Archaeology, University of Maryland, College Park, MD, US.</p>

Explores diverse approaches to the displaying of Chinese contemporary art By scholars and cultural workers from differing cultural and professional backgrounds Discusses Chinese contemporary art’s relationship to cultural diversity, tradition and social activism/artivism