Stealing the Art of Pain: Body Art and Zhao Yue’s Lattice

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61989592%3A15210%2F22%3A73614962" target="_blank" >RIV/61989592:15210/22:73614962 - isvavai.cz</a>

Výsledek na webu

<a href="http://dx.doi.org/10.4324/9780429325304" target="_blank" >http://dx.doi.org/10.4324/9780429325304</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.4324/9780429325304" target="_blank" >10.4324/9780429325304</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Stealing the Art of Pain: Body Art and Zhao Yue’s Lattice

Popis výsledku v původním jazyce

This chapter examines the emergence and reception in China of ‘body art’ (shenti yishu or routi yishu) – one of the most extreme and controversial artistic trends of the postsocialist era – as a transcultural phenomenon. This chapter frames ‘body art’ in 1990s-2000s China within the atmosphere of cynicism which prevailed in the years after the events of 1989 and the heightened role of the market in the cultural sphere. The chapter argues that the notion that it behoves the Party-state to protect the bodies and minds of the people from harmful cultural spectacles represents a residue of Mao-era socialism in the postsocialist era. To investigate the reception of ‘body art’ by the Chinese art world, this chapter analyses a performance by woman artist Zhao Yue (b. 1981) entitled Gezi (Lattice, or Grids, 2007) and discusses the debate this work elicited among Chinese art critics. Its analysis reveals body art from China as a cultural trend where postsocialist biopolitics and gendered cultural identities intersect with transcultural flows of artistic experimentation, thus highlighting key tensions that animate the intellectual life of contemporary China.

Název v anglickém jazyce

Stealing the Art of Pain: Body Art and Zhao Yue’s Lattice

Popis výsledku anglicky

This chapter examines the emergence and reception in China of ‘body art’ (shenti yishu or routi yishu) – one of the most extreme and controversial artistic trends of the postsocialist era – as a transcultural phenomenon. This chapter frames ‘body art’ in 1990s-2000s China within the atmosphere of cynicism which prevailed in the years after the events of 1989 and the heightened role of the market in the cultural sphere. The chapter argues that the notion that it behoves the Party-state to protect the bodies and minds of the people from harmful cultural spectacles represents a residue of Mao-era socialism in the postsocialist era. To investigate the reception of ‘body art’ by the Chinese art world, this chapter analyses a performance by woman artist Zhao Yue (b. 1981) entitled Gezi (Lattice, or Grids, 2007) and discusses the debate this work elicited among Chinese art critics. Its analysis reveals body art from China as a cultural trend where postsocialist biopolitics and gendered cultural identities intersect with transcultural flows of artistic experimentation, thus highlighting key tensions that animate the intellectual life of contemporary China.

Druh

C - Kapitola v odborné knize

CEP obor

—

OECD FORD obor

50901 - Other social sciences

Projekt

—

Návaznosti

O - Projekt operacniho programu

Rok uplatnění

2022

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

China&apos;s Avant-Garde, 1978–2018

ISBN

978-0-367-34357-6

Počet stran výsledku

18

Strana od-do

157-174

Počet stran knihy

222

Název nakladatele

Routledge

Místo vydání

London

Kód UT WoS kapitoly

—