Body Art in China: Yang Zhichao's Diary from a Psychiatric Ward
Identifikátory výsledku
Kód výsledku v IS VaVaI
<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61989592%3A15210%2F23%3A73620385" target="_blank" >RIV/61989592:15210/23:73620385 - isvavai.cz</a>
Výsledek na webu
<a href="https://zenodo.org/records/8363798" target="_blank" >https://zenodo.org/records/8363798</a>
DOI - Digital Object Identifier
<a href="http://dx.doi.org/10.1215/10679847-10441260" target="_blank" >10.1215/10679847-10441260</a>
Alternativní jazyky
Jazyk výsledku
angličtina
Název v původním jazyce
Body Art in China: Yang Zhichao's Diary from a Psychiatric Ward
Popis výsledku v původním jazyce
This study aims to trace how artists in postsocialist China have adopted the discourse of body art and reshaped its import of sociopolitical criticality. In this article, “body art” implies the use of the human body as the primary material of artistic creation and the performance of actions of cruelty, modification, and endangerment on the artist's body. Through an engagement with theories of embodiment, biopolitics, and postsocialism, this article argues that body art represents one way in which the corporeal assumes a new centrality in China's post‐1978 avant‐garde and popular culture, as both a reappropriated territory of self‐expression and an alienated object of consumption and surveillance. To do so, it discusses body art by Yang Zhichao 杨志超 (b. 1962), focusing in particular on a performance artwork titled Jiayuguan 嘉峪关 (Jiayu Pass, 1999 – 2000) and its documentation by the artist. As a result, this article shows how body art encapsulates the tension between dystopian negativity and regenerative potential at the heart of the postsocialist condition.
Název v anglickém jazyce
Body Art in China: Yang Zhichao's Diary from a Psychiatric Ward
Popis výsledku anglicky
This study aims to trace how artists in postsocialist China have adopted the discourse of body art and reshaped its import of sociopolitical criticality. In this article, “body art” implies the use of the human body as the primary material of artistic creation and the performance of actions of cruelty, modification, and endangerment on the artist's body. Through an engagement with theories of embodiment, biopolitics, and postsocialism, this article argues that body art represents one way in which the corporeal assumes a new centrality in China's post‐1978 avant‐garde and popular culture, as both a reappropriated territory of self‐expression and an alienated object of consumption and surveillance. To do so, it discusses body art by Yang Zhichao 杨志超 (b. 1962), focusing in particular on a performance artwork titled Jiayuguan 嘉峪关 (Jiayu Pass, 1999 – 2000) and its documentation by the artist. As a result, this article shows how body art encapsulates the tension between dystopian negativity and regenerative potential at the heart of the postsocialist condition.
Klasifikace
Druh
J<sub>imp</sub> - Článek v periodiku v databázi Web of Science
CEP obor
—
OECD FORD obor
50901 - Other social sciences
Návaznosti výsledku
Projekt
<a href="/cs/project/EH22_010%2F0002593" target="_blank" >EH22_010/0002593: MSCA Fellowships na Univerzitě Palackého v Olomouci I.</a><br>
Návaznosti
P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)
Ostatní
Rok uplatnění
2023
Kód důvěrnosti údajů
S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů
Údaje specifické pro druh výsledku
Název periodika
Positions-Asia Critique
ISSN
1067-9847
e-ISSN
1527-8271
Svazek periodika
31
Číslo periodika v rámci svazku
3
Stát vydavatele periodika
US - Spojené státy americké
Počet stran výsledku
26
Strana od-do
"571–596"
Kód UT WoS článku
001062171500003
EID výsledku v databázi Scopus
2-s2.0-85169559897