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The Museum Circuit in Contemporary China: The THE MUSEUM CIRCUIT IN CONTEMPORARY CHINA: THE INSTITUTIONAL REGULATION, PRODUCTION AND CONSUMPTION OF ART MUSEUMS IN SHENZHEN, GUANGZHOU AND HONG KONG A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy by Ho Chui Fun Asia Institute, Faculty of Arts, University of Melbourne 28 February, 2018 Parts of the publication [Ho, Chui-fun. 2016. “Between the Museum and the Public: negotiating the ‘Circuit of Culture’ as an analytical tool for researching museums in China.” The International Journal of the Inclusive Museum 9(4):17-31. doi:10.18848/1835-2014/CGP/v09i04/17-31.] were used in Chapter One and Chapter Two. The author of this thesis is the sole author of the publication. CONTENTS Acknowledgements i Declaration iii Note on Romanisation iv Abstract v List of Figures, Tables, and Illustrations vii CHAPTER ONE RETHINKING MUSEUMS IN CHINA 1.1 Introduction…………………………………………………………………………...1 1.2 Research Aims and Questions…………………………………………………….13 1.3 Structure of the Thesis…………………………………………………….…….....15 CHAPTER TWO REVIEWING THE METHODOLOGIES OF CHINESE MUSEUM RESEARCH …………………………………………………….…................................25 2.1 Museum Research: Theoretical Perspectives ……………………….………….27 2.2 Museums and Concepts of the Public…...…………………………………….…36 2.3 Visitor Research Methods……………………………………………………….…44 CHAPTER THREE LOCATING THE MUSEUM CIRCUIT …………………………………………….50 3.1 Theoretical Framework: The Museum Circuit …………………………………52 3.2 Research Methods ………………………………………………………………….61 3.2.1 Case Studies of Art Museums …………………………………………….........62 3.2.2 Content Analysis of Museum Texts…………………………………….……….68 3.2.3 Interviews with Museum Professionals……………..…………………………68 3.2.4 Interviews with Visitors…………………...……………………..………………69 3.2.5 Observation……………………………………………………………………….70 3.2.6 Juxtapositional Comparison……………………………………………………71 CHAPTER FOUR THE HISTORICAL TRAJECTORIES OF ART MUSEUMS ……………….....74 4.1 The Path towards the Birth of Modern Public Art Museums in the Republic of China (1912-1949) …………………………………………..77 4.2 Mao’s Politicisation of Art Museums in the People’s Republic of China (1949-1979) ………………………………..83 4.3 Cultural Relaxation and the Resumption of Privatisation in the Post-Mao Period (1979-1989) …………………………………………....87 4.4 The Nascent Development of Private Art Museums in the 1990s …….…..…90 4.5 Museums in the 21st Century………………………………………………………93 4.6 The Changing Museum Contexts in Hong Kong (1962-current).…….………99 4.7 Conclusion………………………………………………………………………....103 CHAPTER FIVE HE XIANGNING ART MUSEUM IN SHENZHEN .............……………..….…106 5.1 The State and the Market: A National Museum Structure.............…..……..109 5.2 From Nationalism to the Production of Knowledge: The Art of He Xiangning.............…………… .............………….....................116 5.3 Cross-straits Cultural Diplomacy and Public Dialogue on Contemporary Art.............…………………………..……121 5.4 Interpreting Contemporary Sculpture: Possibilities and Limitations ..............……………………………………….....127 5.5 Educated Youth, Provincial Visitors, and a Diversified National Public..............……………………………..……...136 5.6 Conclusion............…………………….………..……………………..………….147 CHAPTER SIX TIMES MUSEUM IN GUANGZHOU ..............……………………………………149 6.1 Institutional Boundaries: The Private Market, the State, and Society.........151 6.2 Developmental Perspective of Cultural Globalisation ……………..….…....159 6.2.1 Critique of Art Commodification…...……………….…….………………….159 6.2.2 Social-Political Critique of Everyday Life……………..……..…………….161 6.2.3 Critical Relationship between Art and Society……..…………..…………..164 6.2.4 Institutional Self-critique and Reformulation of the Museum…..………..167 6.3 Artistic Regionalisation: Southern Imaginary vs Northern Hegemony……170 6.4 Educated Youth and the Consumption of “Alternative Culture”……………174 6.5 Conclusion…………………………………………………………………………183 CHAPTER SEVEN HONG KONG MUSEUM OF ART IN HONG KONG……....………….………186 7.1 Museum Bureaucracy and its Institutional Network.…………………….….188 7.2 The Historical Painting Collection: From the Colonial Legacy to Aesthetic Differences……………………….…190 7.3 International Blockbusters and Global Cultural Capital……………………194 7.4 National Representation and the Grandeur of Dynastic Art……………..….197 7.5 Different Notions of the Local: From East-Meets-West to a Local-National-Global Nexus……...…………..201 7.6 Public and Counter-Public: Museum Consumption in a City-State….…....206 7.7 Conclusion…………………………………………………………………..……..222 CHAPTER EIGHT CONCLUSION: RETHINKING THE DISCOURSE AND PRACTICE OF (ART) MUSEUMS FROM THE MUSEUM CIRCUIT PERSPECTIVE 8.1 Summary of Findings…………………………………………………………..…225 8.2 Modes of Museum Circuits………………………………………………………232 8.2.1 Political and Economic Agents……………………………………….………234 8.2.2 Cultural Intermediaries……………………………………………….……….236 8.2.3 Museum Publics………………………………………………………..…….…239 8.3 Contributions and Limits of the Research………………………………..……241 REFERENCES ………………………………………………………………….………249 APPENDICES I. Interview Guide (for museum professionals) ……………………………………279 II. Interview Guide (for museum visitors) ……………………………………..……283 ACKNOWLEDGEMENTS This thesis could not have been completed without the contribution of my generous doctoral supervisors, Edwin Jurriëns and Lewis Mayo in the Asia Institute at the University of Melbourne. They have thoroughly read and offered incisive comments on every chapter in this thesis. To my principal supervisor, Edwin Jurriëns, I would like to express my deepest gratitude for his supervision and constant help. He has given me valuable advice, particularly on audience reception and contemporary art practices. In addition, I thank him for having invited me to present the findings of this thesis at the panel, “Contemporary Art, Society and Representation in Asia 1” convened by him at “The Tenth International Convention of Asia Scholars (ICAS 10)”. To my associate supervisor, Lewis Mayo, I am deeply grateful for his critical questions. He helped me and challenged my thinking at different times. I have truly benefited from his profound knowledge of the cultural history of China. In addition, I have benefited from the comments offered by the two anonymous external reviewers. I am extremely grateful to all of them, for their insight and suggestions, which contributed greatly to the work presented in this thesis. This thesis is the product of an intensive four-year period of research. It has not only drawn on investigations into museum-related materials, but has also extended to include oral interviews. I have interviewed a range of curatorial and managerial staff, as well as visitors, in three museums. They include Feng Boyi, Wang Dong, and Philip Ngan from the He Xiangning Art Museum; Zhao Ju, Cai Yingqian (Nikita), Shen Ruijun, Veronica Wong, and Jacqueline Lin from Times Museums; and Eve Tam, Maria Mok, and an anonymous interviewee from the Hong Kong Museum of Art. I am thankful for sharing their time to give me insights into understanding their practices. I also thank the staff of the Asia Art Archive, particularly Michelle Wong and Linda Lee, who have offered help in accessing the materials of the Archive. Most of all I thank some 150 anonymous visitors. I appreciated their opinions, attitudes and interesting remarks. They have greatly contributed to my analysis of museum consumption in this thesis. i Researching and presenting this thesis required enormous financial support. I must acknowledge the University of Melbourne for its generous support to my research. I have been fortunate to receive an International Research Scholarship (2014-2017) cum International Fee Remission Scholarship (2014-2017) from the Graduate School of Humanities and Social Sciences of the University to support my PhD study. In addition, I received a Fieldwork Grant (2015-16), and two GRATS funds (2015 & 2017) from the Faculty of Arts and the Asia Institute to support my research field trips and my trips to two conferences, respectively the eighth International Conference of Inclusive Museums (New Delhi, India, 2015), and the ICAS 10 (Chiang Mai, Thailand, 2017). I thank the scholars and curators who have kindly shared ideas for my work during these trips. There are other many individuals who have helped me in different ways. My friend and interlocutor, Vivian Ting (the former Assistant Professor in Museum Studies at Hong Kong Baptist University), has constantly discussed the subject matter of this thesis with me. I deeply thank for her suggestions to my thesis. In addition, I thank her and my former teacher, Richard Sandal (the Professor in Museum Studies at the University of Leicester), as well as my former museum supervisor, Michael Robinson (the former Director of the Hong Kong Museum of Education), for their impressive references which brought me the opportunity of studying at the University of Melbourne, and for their previous guidance which strengthened my knowledge of many aspects of museums. This research would also have been impossible without the support of friends and colleagues, near and far. They are too numerous to list, but I especially thank my study buddies Tao Tao and Yu Jin, my friend Ivy Yuen and sister Helen Ho, who offered technical help to my research, and Hong Kong artists Clara Cheung and Gum Cheung who provided two photos to be included in this thesis. My final thanks are to my family: — especially my old mum and late dad. I dedicate this thesis to them, and to our beloved 18-year-old cat, which left us only a few days ago. ii DECLARATION I hereby
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