Mao in a gondola
Chinese representation at the Venice Biennale (1993–2003)
in Art, Global Maoism and the Chinese Cultural Revolution
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Estelle Bories’s chapter investigates the re-emergence of Chinese contemporary art in the West, concentrating on the way in which artists and curators addressed the revolutionary past of China. It considers Cai Guoqiang’s famous restaging of Rent Collection Courtyard, presented during the forty-eighth Biennale of Venice in 1999. The appearance of Chinese art at the Biennale occurred with much fanfare. While, on the one hand, this could be read as a point of departure and a new expression of Chinese modernity, on the other hand it could also be read as a repackaging of some standard Maoist positions on art.

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