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.
the period 1976–1989 in relation to the theme of transcendence; and Rusk (2002) analyses Kingston’s ‘life writing of otherness’, in juxtaposition with other contemporary women writers like Jeanette Winterson. While this list attests to Kingston’s status as a major literary figure, it also highlights the absence of an extensive study devoted to her entire oeuvre, which includes the major redirection her work has taken since 2002 towards an engagement with a politics of pacifism and eco-feminism (an omission this study seeks to partly redress). Recent studies look
Eve and her unsuspecting garden in seventeenth-century literature
important to note here, though, that while Lanyer and Sowernam in
varying ways both suggest that Eve’s original garden can be
used to explain her fallen virtues, Eve does not become a new
ethical figure of eco-feminism in the later century. Rather, for the
civil-war writers upon whom Milton also builds, paradise lost,
paradise within and paradise rediscovered require Eve as their
temptation to read her as the goddess of preagrarian society must not lead us into too Romantic a view of her
habitat. Diane exists to be chaste/chased in both senses and the
tacit acknowledgement that the right fate for all women is to be
caught underlies the representation of her as both huntress and
virgin goddess, patron of childbirth and queen of the underworld.
In a conglomeration of attitudes readily familiar to all feminist
thought, and particularly eco-feminism, this goddess exists to be
mastered (to evoke Val Plumwood’s phrase)15 just as her environment, the
girlhood into womanhood, Želibská’s work
cannot be classified as part of the radical wave of feminism; it rather carries traces of influences of psychoanalysis and a wave of liberal feminism and eco-feminism – a so-called second wave which sounded in our milieu [Czechoslovakia] only through this author’s voice, where Marxists and the socialist feminism wave based on political ideology ruled.
She also states that Želibská remained a singular figure in that context because the paradigm with which she was working was ‘understood as alien in our environment, as “an