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The politics of trans/nationalism and global expositions

Staging art and Chineseness is about the politics of borders ascribed to Chinese contemporary art and the identification of artists by locations and exhibitions. The paradoxical subject of Chineseness is central to this inquiry, which begins with the question, what does the term Chinese Art mean in the aftermath of the globalized shift in art? Through an exploration of embodied and performative representations (including eco-feminist performances) by artists from China and diasporic locations, the case studies in this book put to the test the very premise of the genealogical inscription for cultural objects attributed to the residency, homeland, or citizenship of the Chinese artist. Acknowledging the orientalist assumptions and appropriations that Chineseness also signifies, this study connects the artistic performance to the greater historical scope of ‘geographical consciousness’ envisioned by past and present global expositions. The emergence of China’s shiyan meishu experimental art movement in the 1980s–1990s has largely been the defining focus for ‘global art’ during the period when artfairs, biennials, and triennials also came into prominence as the new globalized art institution (exemplified by China’s first biennial in Guangzhou). The political aim is to recognize the multiple contradictions and repetitions of history engendered by art, nationalism, and capital in the legacy of Althusserian/Maoist interpellations – the reifications of global capitalist illusions in the twenty-first century are conveyed in this book by performative artistic expressions and the temporal space of the exposition.

exceptions to citizenship and what has been described as the citizenship gap. This term refers to the legal discrepancy between citizenship rights and human rights, and it manifests itself especially at the border zones that mark the geographical and political limits of national entities.2 Rights of citizenship refer to the individual’s membership of a body politic, whereas the concept of human rights disconnects from this in anchoring them in a universal humanity. The United Nations Universal Declaration of Human Rights of 1948 defines human rights as the natural rights

in Migration into art
Abstract only

The period of art practice we have documented in this book in, through and out of Asia inaugurated a new way of making art, thinking art and seeing art. Though it clearly builds on the work of artists from earlier periods in the twentieth century, and often looks much further back, into local traditional practices, it is an art that is of the contemporary globalised era. It is also an art of people who have become citizens  – of their own nations, and of the world. With citizenship comes civic responsibility; and, as Ai Weiwei notes, ‘If artists betray the social

in Art and human rights
From the 1960s to the 1990s

. © APRA Foundation Berlin. Rights movements, intersectionality, and multiculturalism: identity politics in historical and cultural context Following the surge of Civil Rights activism in the 1950s, rights movements of the 1960s fought for subjects to gain the full benefits of citizenship, equal access to resources, and protection under the law. In the 1970s a multiplicity of smaller interest groups expanded the focus on policies and legislation into every realm of familial, social, and cultural life—concerns centered on identity politics. Much contemporary usage of

in The synthetic proposition
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Staging art and Chineseness

genealogical inscription for Chinese contemporary art and the ways in which cultural objects are attributed to territories, usually through the status of residency, homeland, or citizenship of their makers – the artist determines the category of Chinese art more so than the object’s affiliations by cultural tradition, style, or practice. As a discourse, Chineseness has meant different things in different contexts, as shown by theorists such as Gao Minglu and Ien Ang, who provide various perspectives on the term’s use in defining Chinese exceptionalism, stereotype, and status

in Staging art and Chineseness

for her project, however, was the staging of a marriage with her artistic partner David Kelley. The conceptualization of getting married in Shangri-La raises several issues in regard to ‘marrying into’ nationality in the norm of obtaining citizenship based on the territorial borders of a nation. The ability to change citizenship by getting married in another country, as Gayatri Chakravorty Spivak explains, is to ‘naturalize’ and to adopt a nation as a symbol of the ‘private conviction of special birth.’5 The norm of citizenship is based on being born in one

in Staging art and Chineseness
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learning that Leo Levy had an extra two years of life. And of course – chillingly – this belated information brings the story back again to chemistry. To Primo Levi, also enslaved there, and to my father’s own connections with the German chemical industry. hH Article 116 (2) of the German Basic Law concerns the rights of descendants of those deprived of German citizenship on political, racial or religious grounds to apply for naturalisation. Now, writing in the immediate aftermath of the Brexit vote, I am compiling the documents I need to demonstrate my eligibility for

in Austerity baby
The global exposition and the museum

a The archive of Chineseness good consumer, since consumption is more than individual participation, but is a ‘state’ project of survival.’93 The civic programme of consumerism is associated with Hong Kong citizenship, and both Ho and Wong in different ways take up the national identity of the citizen-consumer through their artistic expressions at the Biennale. The selection of artist Stanley Wong, a creative director for an international advertising agency, was therefore an appropriate choice for the 2005 Hong Kong pavilion at the Venice Biennale.94

in Staging art and Chineseness
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world, the global increase in forced migration does give reason for serious concern about the growing stigmatisation of irregular migrants and refugees as ‘crimmigrant’ others (Aas), and about the ways in which the securitisation and fortification of borders increase the citizenship gap and jeopardise migrants’ lives by forcing them to undertake perilous journeys. Such concerns gave impetus to Chapter 6, Conclusion which examined the nexus of forced migration, border control, securitisation and humanitarianism through the lens of some contemporary works of art

in Migration into art
The Dutch colonial world during Queen Wilhelmina’s reign, 1898–1948

royal festivals, imperial subjects ‘provincialised the British Isles, centring the colonies in their political and cultural constructions of empire, Britishness, citizenship, and loyalty’. 27 Local print cultures were essential to promoting these responses, especially in the absence of physical meetings between monarchs, Indigenous royals and colonial commoners. 28 Two further essay collections also published in 2016, one edited by

in Photographic subjects