Artistic and Intellectual Practices in Contemporary China: China as an Issue

Contents
Notes on Contributors
China as an Issue: Artistic and Intellectual Practices Since the Second Half of the Twentieth Century
Other Histories of Chinese Art after 1949: Continuity
Chinese Art in the 1950s: An Avant-Garde Undercurrent Beneath the Mainstream of Realism
A Review of Artistic Practices from 1972 to 1982
	Introduction
	The Institutionalization of Art and Creative Discourse After 1949
	Deviations and Cracks Under Strict Control
	Beijing Art Company
	The Space for Art After 1971
	The Removal and Return of Experts
	The Story of People’s Mourning
	The New Spring Painting Exhibition
	Conclusion
Painting in China After the Cultural Revolution: Style Developments and Theoretical Debates
	Part I: 1979–1985
		The Political Role of Art in Chinese Tradition
		Seeking New Directions
		Wang Keping and the “Stars Group”
		“Scar-Art”
		Yuan Yunsheng and the Beijing Airport Mural Painting
		Chen Danqing and the Sichuan School
		Opposition Against the “Sichuan School”
		Western Art Exhibitions in China
		Huang Yongping: Chinese Thought and Western Art
		Gu Wenda
		Disillusion: The Sixth National Art Exhibition
		Again: Seeking New Directions
		1984–85: The Unofficial Art Movement
		Polemics in the Art Press Until 1985
		Wu Guanzhong: The Contents of Art Cannot be Prescribed
		Qu Leilei: The Primacy of Self-Expression
		Li Xiaoshan: The End of Traditional Chinese Painting
		Official Art Criticism Criticized
	Part II:1985–1991
		“A Direct Contact with the Audience”: Happenings
		The Pond Society
		Wu Shanzhuan
		Huang Yongping\'s Dada Manifestation
		Views on East and West in China\'s North and South
		Experiments Based on Traditional Chinese Art
		The Inspiration From China\'s Ethnic Minorities
		Zhao Jianren, Outsider
		The Chinese Art Press on the 1985 Movement
		“Rationalistic” vs. “Intuitionistic” Art
		1987: The Movement Dissolves
		The Ideas Behind China/Avant-Garde 1989
		After the Massacre
		The Position of Modern Chinese Art
	References
The Market as Imaginary in Post Mao China
Prophecy at the Turn of the 1990s
Other Histories of Chinese Art after 1949: Frame of Mind
Somewhere (and Nowhere) Between Modernity and Tradition: Towards a Discursive Polylogue Between Differing Interpretative Perspectives on Contemporary Chinese Art
	Chinese Art Theory
	International Art Theory
The Authenticity and the Neutrality of Value: On the Issue of Value in the Writings of Contemporary Art History
	Whose Values
	Where Is “History”?
	“Where Am ‘I’”
The More Singular, Pure, and Clear, the More Dangerous History is
	Farewell to Tradition: Historiography is Nothing Other Than Historical Materials
	A New Step: All Historical Materials are Historiography
	Clearing Away the Smoke: Exploring Histories Lost and Blurred
Expanses and Limitation: Universality
What Is Asia? On Anthropological Difference
	I
	II
Creating New Universality
Pull Universality Down From the Alter of Being Singular: Naoki Sakai and Sun Ge Responding to Audience Questions
Expanses and Limitation: Particularity
On the Founding of The Scholar Journal
	Introduction
	Full Text of “A Short Decade. Twenty-First Century and The Scholar”
	Conversation
Some Tendencies in Small-Scale Art Publishing in Asia
	Imagining Locals Differently
	Emancipating Distribution
	Publication as Political Announcement
	Paper as a Technology
	Coda
Self-Publishing as a Method
Expanses and Limitation: Self-Criticism
How We Deal With the Virus Determines What It Is
China, On the Verge of a “Momentous Era”
Bringing Back “Self-Criticism”
	Heroizing the Victims Has Prevented Us from Thinking About Our Own Historical Responsibility
	Binary Divisions of Right and Wrong May Mask the Complexity of Contemporary History
	Bring Back Self-Criticism
Index