Visual representations of the Cold War and postcolonial struggles: art in East and Southeast Asia

Cover
Half Title
Series Page
Title Page
Copyright Page
Table of Contents
List of Figures
List of Contributors
Introduction: Locating Asian art in the Cold War
	Note to readers
	Acknowledgements
	Notes
Part I: Joining the game: Trauma and regionalism
	Chapter 1: “The New Chinese Landscape” in the Cold War era
		The geopolitics of the exhibition
		The rise of the Fifth Moon
		The new landscape painting
		The exhibition and its reception
		Conclusion
		Notes
	Chapter 2: Before and beyond the Cold War: Visual accounts of the “Secret War” in Laos (Pha Khamfan’s collection of photographs and Terry Wofford’s paintings of planes)
		“Oblique, riven by silences”: images as deathly and unyielding
		“Of benefit both to its receiver and its donor”: Pha Khamfan’s collection of photographs
		“The emotional side of flying”: Terry Wofford’s paintings of planes
		Acknowledgements
		Notes
	Chapter 3: Affects, trauma, and experimental art in New Order Indonesia, 1970–1977
		Introduction
		The anti-communist killings and Indonesia’s cultural trauma
			Mapping trauma: affect and the collective memory of 1965–66
			Artistic rebellion and traumatic affect: FX Harsono and Bonyong Munny Ardhie
		Conclusion
		Notes
	Chapter 4: Asia’s Cold War and environmental devastation: Kidlat Tahimik and Roberto Villanueva’s neo-indigenous response in the Philippines and beyond
		The perfumed nightmare
		“Waste nothing” aesthetics
		Bagong Sibol ang Gubat ( The forest is newly grown)
		The Baguio Arts Guild
		Ephemeral art: Villanueva’s sustainability aesthetics
		Healing Our Planet Earth (HOPE) after Hiroshima, 1995
		Acknowledgments
		Notes
	Chapter 5: Imagining a region: Australian exhibitionary turns to Asia in the late Cold War
		White Australia
		Vietnam, Americanization, and internationalism
		Gough Whitlam and the geographical turn
		Homegrown internationalism: Biennale of Sydney
		Conclusion: postcolonialism and a new regionalism
		Acknowledgments
		Notes
Part II: Visual gallery and primary documents
	Chapter 6: FROM OKINAWA WITH LOVE
		Story about a rape victim
		How Japanese think of Okinawans
		Why photography?
		Akabana
		Why identify with Black culture?
	Chapter 7: Dinh Q Lê: Works and primary documents
		Dinh Q Lê, photo-weaving work
		The farmers and the helicopters, 2006
		South China Sea Pishkun, 2009
	Chapter 8: Reconfiguring history
		Historical background
		Bone cemetery
		Mass graves
		Feeling insecure
		Arts and pilgrimage to history
		Description of artworks 4
		Notes
	Chapter 9: Voyage into the COLD SEA
		The Kris Project (2016 to 2020)
		Notes
	Chapter 10: From cities into the mountains and the fields: An archaeology of lives in dark ruins
		Notes
Part III: The continuous Cold War
	Chapter 11: Survival tactics within Cold War ideologies: Post-Mao artists on the tides of globalization
		Introduction: the postsocialist condition of People’s Republic of China
		Wang Guangyi: art predicting “globalization?”
		Privatization under neoliberalism in China
		Cold War images as propaganda
		Politics as aesthetic forms
		From Mao to Shanzhai art
		Conclusion: the ideological war never ended
		Notes
	Chapter 12: Performance, memory, and affect in Yamashiro Chikako’s Mud Man
		Introduction
			Growing to sense Okinawa: fences, seaweed, meat, and mud
			Viewing Mud Man (2016)
			Mud Man and Cold War sites: Marine Corps Air Station Futenma, Kadena, Iejima, Jeju Island, and Beyond
		Conclusion
		Notes
	Chapter 13: Undoing Cold War temporality: Transnational adoption in Agnès Dherbeys’s Omone and Retired
		#K76_3613 : Omone
		The multitemporality and multispatiality of transnational adoption: Retired
		Notes
Bibliography
	Archival Material
	Published Sources
Index