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Song Dongs's Exhibition
Exhibition review Science & Technology Studies 31(4) Song Dongs’s Exhibition ‘Collaborations’, 01.09- 31.10.2017, Kunsthal Aarhus, Denmark Kasper Ostrowski/ [email protected] In the fall of 2017 Kunsthal Aarhus presented the power relations, love relations, aesthetic relations, frst “solo” exhibition in Denmark by the contem- animal, plant and mineral relations. godinuniverse porary Chinese artist Song Dong. The non-mon- is a story about embodied semiotic relations that ographic exhibition was entitled Collaborations are causally signifcant in our thoughts and doings – hence the quotation marks – and focused on in ways both intimate and global. (Grassie, 2011: 9). collaborative forms. The title of the exhibition accentuates Song’s strong interest in artistic col- When best, engaging with Song Dong´s art feels laborations – often involving members of his like entering such a godinuniverse, including com- own family. On display was both some of the art- plex acts of kinship- and relation-makings. In this ist’s best-known works and new creations. Song’s godinuniverse a multitude of relations are becom- work often focuses on family relations and geo- ing. Relations between the artist himself and the politics. They have a powerful way of expressing vast number collaborators who participated in the efects of radical change and social transfor- the realization of the exhibition. A (somewhat mation on members of his own family. He strives dim) attempt of creating a space for ‘inter-visito- to combine the past and the present, the personal rial’ relation-makings, relations between archi- and the universal, the poetic and the political. Col- tecture, consumerism and our digestive system. -
The Self-Organization of Contemporary Art in China, 2001–2012
Bao Dong Rethinking Practices within the Art System: The Self-Organization of Contemporary Art in China, 2001–2012 The Origin of the Term “Self-Organization” in China The term “self-organization” was first used in the context of contemporary Chinese art in 2005 at the Second Guangzhou Triennial curated by Hou Hanru, Hans Ulrich Obrist, and Guo Xiaoyan. Self-organization was one of the special projects of the triennial, and there were two panel discussions on the topic. The exhibition theme “Beyond” focused on the topic of alternative modernity in China and non-Western countries, and the term self-organization was defined by the following statements: “A number of independent art organizations, institutions, and communities have taken an active role in artistic creation and practice” and “their projects are often diverse, flexible” and “self-induced in nature.”1 Altogether, twenty-four self- organized groups2 were included in this project, and for the curators, the concept of “self-organization” was used to differentiate independent and autonomous organizations from those attached to government systems or political parties. This feature is also the fundamental difference between the various artist-run autonomous organizations and the organizations within the conventional art system as constituted by Chinese Artists Association, along with the various academies of painting, art institutes, museums, and so on. In other words, self-organization is considered a force operating outside of the conventional art system, just as the inception, growth, and flourishing of contemporary Chinese art is believed to have been achieved outside of official systems. In terms of any independence from the conventional art system, self- organization is not a new phenomenon in the contemporary Chinese art scene. -
Bingfeng, Dong. "Cinema of Exhibition: Film in Chinese Contemporary Art
Bingfeng, Dong. "Cinema of Exhibition: Film in Chinese Contemporary Art: In conversation with Tianqi Yu Translated by Hui Miao." China’s iGeneration: Cinema and Moving Image Culture for the Twenty-First Century. Ed. Matthew D. Johnson, Keith B. Wagner, Tianqi Yu and Luke Vulpiani. New York: Bloomsbury Academic, 2014. 73–86. Bloomsbury Collections. Web. 30 Sep. 2021. <http://dx.doi.org/10.5040/9781501300103.ch-004>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 10:59 UTC. Copyright © Matthew D. Johnson, Keith B. Wagner, Tianqi Yu, Luke Vulpiani and Contributors 2014. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 4 Cinema of Exhibition: Film in Chinese Contemporary Art Dong Bingfeng In conversation with Tianqi Yu Translated by Hui Miao Dong Bingfeng is regarded as one of the most active curators and art critics working on Chinese contemporary art and visual culture in mainland China today. In the past eight years he has worked at several different contemporary art museums, including the Guangdong Art Museum, Ullens Center for Contemporary Art and Iberia Center for Contemporary Art. At these leading art institutions, he explored the nature and ontology of the ‘moving image’ in its various forms – video art, new media art, video and film installations – pushing the boundaries of the various forms and decon- structing the moving image culture. Currently, Dong is the artistic director at the Li Xianting Film Fund, where he has implemented an intensive exploration into artists’ films shown in gallery spaces, or what has been recently referred to as ‘cinema of exhibition.’ China’s iGeneration co-editor Tianqi Yu interviewed Dong Bingfeng on the emerging field of ‘cinema of exhibition,’ and in the interview Dong shares some of his views on cinema and moving image culture, particularly among China’s current iGeneration. -
Esperanto and Chinese Anarchism in the 1920S and 1930S
The Anarchist Library (Mirror) Anti-Copyright Esperanto and Chinese anarchism in the 1920s and 1930s Gotelind Müller and Gregor Benton Gotelind Müller and Gregor Benton Esperanto and Chinese anarchism in the 1920s and 1930s 2006 Retrieved on 22nd April 2021 from archiv.ub.uni-heidelberg.de usa.anarchistlibraries.net 2006 Zhou Enlai Zhou Zuoren Ziyou shudian Contents Introduction ..................... 5 Xuehui and Erošenko ................ 7 Anarchism and Esperanto in the late 1920s . 16 Anarchism and Esperanto in China in the 1930s 17 Conclusions ...................... 21 Bibliography ..................... 23 Glossary ........................ 25 30 3 “Wang xiangcun qu” wanguo xinyu “Wanguo xinyu”“Wo de shehui geming de yi- jian” Wu Jingheng (= Wu Zhihui) Wu Zhihui Wuxu Wuzhengfu gongchan zhuyi she “Xiandai xiju yishu zai Zhongguo de jianzhi” Xianmin Xin qingnian Xin she Xin shiji “Xinyu wenti zhi zada” Xing Xiwangzhe Xuantian Xuehui Xu Anzhen “Xu ‘Haogu zhi chengjian’” Xu Lunbo “Xu Lunbo xiansheng” “Xu ‘Pi miu’” Xu Shanguang / Liu Jianping / Xu Shanshu “Xu wanguo xinyu zhi jinbu” “Xu xinyu wenti zhi zada” Yamaga Taiji Ye Laishi Yuan Shikai “Zenyang xuanchuan zhuyi” Zhang Binglin Zhang Jiang (= Zhang Binglin) Zhang Jingjiang Zhang Qicheng Zheng Bi’an Zheng Chaolin Zheng Peigang Zheng Taipu “Zhishi jieji de shiming” “Zhongguo gudai wuzhengfuzhuyi chao zhi yipie” Zhongguo puluo shijieyuzhe lianmeng Zhongguo wuzhengfuzhuyi he Zhongguo shehuidang 29 Min Esperanto in China and among the Chinese diaspora was for Minbao long periods closely linked with anarchism. This article looks Ming Minguo ribao at the history of the Chinese Esperanto movement after the Minsheng repatriation of anarchism to China in the 1910s. It examines Minshengshe jishilu Esperanto’s political connections in the Chinese setting and Miyamoto Masao the arguments used by its supporters to promote the language. -
Anarchism in the Chinese Revolution Was Also a Radical Educational Institution Modeled After Socialist 1991 36 for This Information, See Ibid., 58
only by rephrasing earlier problems in a new discourse that is unmistakably modern in its premises and sensibilities; even where the answers are old, the questions that produced them have been phrased in the problematic of a new historical situation. The problem was especially acute for the first generation of intellec- Anarchism in the Chinese tuals to become conscious of this new historical situation, who, Revolution as products of a received ethos, had to remake themselves in the very process of reconstituting the problematic of Chinese thought. Anarchism, as we shall see, was a product of this situation. The answers it offered to this new problematic were not just social Arif Dirlik and political but sought to confront in novel ways its demands in their existential totality. At the same time, especially in the case of the first generation of anarchists, these answers were couched in a moral language that rephrased received ethical concepts in a new discourse of modernity. Although this new intellectual problematique is not to be reduced to the problem of national consciousness, that problem was important in its formulation, in two ways. First, essential to the new problematic is the question of China’s place in the world and its relationship to the past, which found expression most concretely in problems created by the new national consciousness. Second, national consciousness raised questions about social relationships, ultimately at the level of the relationship between the individual and society, which were to provide the framework for, and in some ways also contained, the redefinition of even existential questions. -
Imprints FINAL 15Dec2016.Indd
ls ia er at M ed ht ig yr op C : ss re P ity rs ve ni U se Newest Sources of Western Zhou History: ne hi Inscribed Bronze Vessels, 2000–2010 C he T Edward L. SHAUGHNESSY The University of Chicago In 2002, I published a survey of inscribed bronze vessels of the Western Zhou period that had appeared in the course of the preceding decade. timing was appropriate for at least a couple of reasons. First, the 1990s marked the first flowering of the new Chinese economic expansion; with the dramatic increase in construction activity and with newfound wealth in China came a concomitant rise in the number of ancient bronze vessels taken out of China’s earth. Although much of this excavation was unfor- tunately undertaken by tomb robbers, and the individual bronzes thus lost their archaeological context, nevertheless many of them appeared on the antiques markets and eventually made their way into museums and/or the scholarly press. Second, the decade also witnessed the five-year long Xia- Shang-Zhou Chronology Project (1995–2000). This multidisciplinary inquiry into ancient China’s political chronology was funded by the Chinese government at levels hitherto unimagined for humanistic and social science research, and it resulted in numerous discoveries and publi- cations. The chronology of the Western Zhou period, based to a very large extent on the inscriptions in bronze vessels of the period, was perhaps the most important topic explored by this project. The decade witnessed extensive archaeological excavations at several major Zhou states, as well as the discovery of several fully-dated bronze inscriptions that were the subject of much discussion in the context of the “Xia-Shang-Zhou Chro- nology Project.” 1 The sive archaeologicalThe ten years campaigns, that have severaljust passed of them have unearthing brought several sites and more ceme- exten- teries of heretofore unknown states within the Zhou realm, as well as many, many more bronze vessels from throughout the Western Zhou period, some of them with truly 2startling inscriptions. -
Chinese Contemporary Art and the Value of Dissidence by Marie
Transition and Transformation: Chinese Contemporary Art and the Value of Dissidence by Marie Dorothée Leduc A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Visual Art and Globalization Department of Sociology and Art and Design University of Alberta © Marie Leduc, 2016 Abstract Transition and Transformation: Chinese Contemporary Art and the Value of Dissidence Marie Leduc Taking an interdisciplinary approach combining sociology and art history, this dissertation considers the phenomenal rise of Chinese contemporary art in the global art market since 1989. The dissertation explores how Western perceptions of difference and dissidence have contributed to the recognition and validation of Chinese contemporary art. Guided by Nathalie Heinich’s sociology of values and Pierre Bourdieu’s work on the field of cultural production, the dissertation proposes that dissidence may be understood as an artistic value, one that distinguishes artists and artwork as singular and original. Following the careers of nine Chinese artists who moved to France in and around 1989, the dissertation demonstrates how perceptions of dissidence – artistic, cultural, and political – have distinguished Chinese artists as they have transitioned into an artistic field dominated by Western liberal-democratic values and artistic taste. The transition and transformation of Chinese contemporary art and artists then highlights how the valorization of dissidence in the West is both artistic and political, and significant to the production of contemporary art. ii Preface This thesis is an original work by Marie Leduc. The research project, of which this thesis is a part, received research ethics approval from the University of Alberta Research Ethics Board, Project Name “Transition and Transformation: Contemporary Chinese Art in the Global Marketplace,” No. -
Inscriptional Records of the Western Zhou
INSCRIPTIONAL RECORDS OF THE WESTERN ZHOU Robert Eno Fall 2012 Note to Readers The translations in these pages cannot be considered scholarly. They were originally prepared in early 1988, under stringent time pressures, specifically for teaching use that term. Although I modified them sporadically between that time and 2012, my final year of teaching, their purpose as course materials, used in a week-long classroom exercise for undergraduate students in an early China history survey, did not warrant the type of robust academic apparatus that a scholarly edition would have required. Since no broad anthology of translations of bronze inscriptions was generally available, I have, since the late 1990s, made updated versions of this resource available online for use by teachers and students generally. As freely available materials, they may still be of use. However, as specialists have been aware all along, there are many imperfections in these translations, and I want to make sure that readers are aware that there is now a scholarly alternative, published last month: A Source Book of Ancient Chinese Bronze Inscriptions, edited by Constance Cook and Paul Goldin (Berkeley: Society for the Study of Early China, 2016). The “Source Book” includes translations of over one hundred inscriptions, prepared by ten contributors. I have chosen not to revise the materials here in light of this new resource, even in the case of a few items in the “Source Book” that were contributed by me, because a piecemeal revision seemed unhelpful, and I am now too distant from research on Western Zhou bronzes to undertake a more extensive one. -
2013 ANZSI Conference: “Intrepid Indexing: Indexing Without
Intrepid indexing: indexing without boundaries 13–15 March 2013 Wellington, New Zealand Table of Contents Papers • Keynote: Intrepid indexing: from the sea to the stars, Jan Wright • Publishers, Editors and Indexers: a panel discussion, Fergus Barrowman, Mei Yen Chua and Simon Minto • Māori names and terms in indexes, texts and databases, Robin Briggs, Ross Calman, Carol Dawber • EPUB3 Indexes Charter and the future of indexing, Glenda Browne • People and place : the future of database indexing for Indigenous collections in Australia, Judith Cannon and Jenny Wood • Indexing military history, Peter Cooke • Ethics in Indexing, Heather Ebbs • Running an Indexing Business, Heather Ebbs, Pilar Wyman, Mary Coe and Tordis Flath • Archives and indexing history in the Pacific Islands, Uili Fecteau and Margaret Pointer • Typesetting Dilemmas, Tordis Flath and Mary Russell • Can an index be a work of art? Lynn Jenner and Tordis Flath • Advanced SKY Index, Jon Jermey • East Asian names: understanding and indexing Chinese, Japanese and Korean (CJK) names, Lai Lam and Cornelia (Nelly) Bess • Intermediate CINDEX - Patterns for the Plucky, Frances Lennie • Demystifying indexing: keeping the editor sane! Max McMaster (presented by Mary Russell) • Numbers in Indexing, Max McMaster (presented by Mary Russell) • Japan's indexing practice, Takashi Matsuura • Understanding Asian Names, Fiona Price • Indexing Tips and Traps; Practical approaches to improving indexes and achieving ANZSI Accreditation, Sherrey Quinn o Indexing Tip and Traps — slides o Practical -
Cao Pi (Pages 5-6) 5
JCC: Romance of the Three Kingdoms 三國演義 Cao Cao Dossier 曹操 Crisis Director: Matthew Owens, Charles Miller Email: [email protected], [email protected] Chair: Harjot Singh Email: [email protected] Table of Contents: 1. Front Page (Page 1) 2. Table of Contents (Page 2) 3. Introduction to the Cao Cao Dossier (Pages 3-4) 4. Cao Pi (Pages 5-6) 5. Cao Zhang (Pages 7-8) 6. Cao Zhi (Pages 9-10) 7. Lady Bian (Page 11) 8. Emperor Xian of Han (Pages 12-13) 9. Empress Fu Shou (Pages 14-15) 10. Cao Ren (Pages 16-17) 11. Cao Hong (Pages 18-19) 12. Xun Yu (Pages 20-21) 13. Sima Yi (Pages 22-23) 14. Zhang Liao (Pages 24-25) 15. Xiahou Yuan (Pages 26-27) 16. Xiahou Dun (Pages 28-29) 17. Yue Jin (Pages 30-31) 18. Dong Zhao (Pages 32-33) 19. Xu Huang (Pages 34-35) 20. Cheng Yu (Pages 36-37) 21. Cai Yan (Page 38) 22. Han Ji (Pages 39-40) 23. Su Ze (Pages 41-42) 24. Works Cited (Pages 43-) Introduction to the Cao Cao Dossier: Most characters within the Court of Cao Cao are either generals, strategists, administrators, or family members. ● Generals lead troops on the battlefield by both developing successful battlefield tactics and using their martial prowess with skills including swordsmanship and archery to duel opposing generals and officers in single combat. They also manage their armies- comprising of troops infantrymen who fight on foot, cavalrymen who fight on horseback, charioteers who fight using horse-drawn chariots, artillerymen who use long-ranged artillery, and sailors and marines who fight using wooden ships- through actions such as recruitment, collection of food and supplies, and training exercises to ensure that their soldiers are well-trained, well-fed, well-armed, and well-supplied. -
ASIAN Athletics 2 0 1 7 R a N K I N G S
ASIAN athletics 2 0 1 7 R a n k i n g s compiled by: Heinrich Hubbeling - ASIAN AA Statistician – C o n t e n t s Page 1 Table of Contents/Abbreviations for countries 2 - 3 Introduction/Details 4 - 9 Asian Continental Records 10 - 60 2017 Rankings – Men events 60 Name changes (to Women´s Rankings) 61 - 108 2017 Rankings – Women events 109 – 111 Asian athletes in 2017 World lists 112 Additions/Corrections to 2016 Rankings 113 - 114 Contacts for other publications etc. ============================================================== Abbreviations for countries (as used in this booklet) AFG - Afghanistan KGZ - Kyrghizstan PLE - Palestine BAN - Bangladesh KOR - Korea (South) PRK - D P R Korea BHU - Bhutan KSA - Saudi Arabia QAT - Qatar BRN - Bahrain KUW - Kuwait SGP - Singapore BRU - Brunei LAO - Laos SRI - Sri Lanka CAM - Cambodia LBN - Lebanon SYR - Syria CHN - China MAC - Macau THA - Thailand HKG - Hongkong MAS - Malaysia TJK - Tajikistan INA - Indonesia MDV - Maldives TKM - Turkmenistan IND - India MGL - Mongolia TLS - East Timor IRI - Iran MYA - Myanmar TPE - Chinese Taipei IRQ - Iraq NEP - Nepal UAE - United Arab E. JOR - Jordan OMA - Oman UZB - Uzbekistan JPN - Japan PAK - Pakistan VIE - Vietnam KAZ - Kazakhstan PHI - Philippines YEM - Yemen ============================================================== Cover Photo: MUTAZ ESSA BARSHIM -World Athlet of the Year 2017 -World Champion 2017 -World 2017 leader with 2.40 m (achieved twice) -undefeated during the 2017 season 1 I n t r o d u c t i o n With this booklet I present my 29th consecutive edition of Asian athletics statistics. As in the previous years I am very grateful to the ASIAN ATHLETICS ASSOCIATION and its secretary and treasurer, Mr Maurice Nicholas as well as to Mrs Regina Long; without their support I would not have been able to realise this project. -
Song Dong Song Dong Doing Nothing
PRESS CONTACT: Sarah Goulet [email protected] / +1 212 421 8987 PRESS RELEASE Song Dong Song Dong Doing Nothing 510 & 534 West 25th Street, New York January 18 – February 16 & 23, 2013 Opening reception: Thursday, January 17, 6 to 8 PM Pace is pleased to present Song Dong Doing Nothing, a two- venue exhibition surveying twenty years of work by the Chinese artist Song Dong. The gallery at 510 West 25th Street will focus on Song's recent work, including a new installation related to his projects for Documenta 13 and the Kiev Biennial. The gallery at 534 West 25th Street will feature eighteen of Song's performances, photographs, videos, and installations made between 1994 and 2012. Song Dong Doing Nothing is on view at 510 West 25th Street, New York from January 18 through February 16, 2013, and at 534 West 25th Street from January 18 through February 23, with an opening reception for the public on Thursday, January 17, 6 to 8 pm, at both galleries. For over two decades, Song Dong has been at the forefront of Chinese contemporary art, embracing performance, installation, video, sculpture, painting, and calligraphy, and often combining mediums within a single work. Using modest, quotidian materials, Song confronts notions of impermanence, the reality of living in contemporary China, ideas of waste and consumption, the transformation of China's urban environment, and the value of self-expression, even when it leaves no trace. Simultaneously poetic and political, personal and global, his work often explores larger social and cultural issues by drawing on deeply intimate, biographical experiences.