Chapter 3 investigates the turn of the twenty-first-century global expansion of Shanghai’s contemporary art vis-à-vis the first international iteration of China’s premier contemporary art event, the Chinese Communist Party-sponsored 2000 Shanghai. The chapter theorizes biennialization-as-banalization vis-à-vis contemporary exhibition practices and the promotion of contemporary Chinese art. The chapter argues that the Shanghai Biennial’s curators’ hopes of harnessing the spirit of Shanghai were ultimately supplanted by a generic brand of global contemporary art that neglected the city’s unique historical features and current concerns. This chapter then examines critical responses to the 2000 Shanghai Biennial and critiques of the global positioning of Shanghai’s contemporary art as seen in Ai Weiwei and Feng Boyi’s counter-exhibition “Fuck Off” and in two related works by artists Zhou Tiehai and Yang Fudong.
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.