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3 Parallel Artworlds: 100 Art Things from Chinese Modern History《三個藝術世界:中國現代史中的一百件藝術物》


Edited by Chang Tsong-Zung (張頌仁 )and Gao Shiming (高士明 )

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Published by Asia One Books & Hanart Projects
Edited by: Chang Tsong-Zung (張頌仁 )and Gao Shiming (高士明 )
Jan 2015
3.00 kg
483 pages
Hard Cover精裝

English and Chinese 中英對照
9789881318008

 

Description

This monumental new book, with essays by a spectrum of international art historians, critical theorists and artists, presents a fresh, new approach to understanding the development of modern and contemporary Chinese art through the art historical and critical framework of‘three parallel artworlds’. The‘100 Art Things’ of the book’s title refers to the special selection of 100 artworks shown in the ‘Hanart 100: Idiosyncrasies’ exhibition in January 2014, the narrative of which was constructed around this theoretical framework.

Authors' List:
GAO Shiming, CHANG Tsong-Zung, Johan Frederick HARTLE, Boris GROYS, Eugene WANG, GAO Shiming, LIU Tian, LU Xinghua, John RAJCHMAN, QIU Zhijie, HUANG Sun Quan, Hammad NASAR, May Bo CHING, WANG Xiaoming, Bei Dao (ZHAO Zhenkai)

這本書以「三個藝術世界」的概念作為學術框架,結集多位美術史學家、評論家及藝術家的論文,
提出一個新的角度來分析中國現當代藝術的發展脈絡。「一百件藝術物」則是指在去年一月於《偏好:漢雅一百》(漢雅軒三十週年展覽)中展出的一百件作品。它們正是圍繞「三個藝術世界」這個學術框架精選出來的代表物。

作者名單:
張頌仁、約翰﹒弗得烈﹒哈托、鮑里斯﹒格羅伊斯、汪悅進、高士明、劉畑、陸興華、約翰﹒瑞哲曼、邱志傑、黃孫權、哈馬德﹒納薩爾、程美寶、王曉明、北島( 趙振開)

 

More about '3 Parallel Artworlds'

3 Parallel Artworks: 100 Art Things from Chinese Modern History is the culmination of a year-long art-historical and critical project, reflection a decades-long process of inquiry and exploration. The concept of ‘three parallel artworlds’ is in essence a comparative framework through which the authors in this book examine three forms of art production of the past century, grounded in China’s pre-modern world, in China’s Socialist world, and in the contemporary global capitalist world. This framework seeks to delineate the major forms of art practices that inform the Chinese cultural imagination today. It takes the position that China’s ideological divide of past century does not mean separate ‘Chinas’, just alternative positions on the project of modernity. Having taken a stake on both sides of the Cold War, Greater China today continues to face problems generated by both capitalist democracy and socialist idealism. At the same time, civilizational China has not been totally erased from memory, as China’s robust visual art practices happily demonstrate. The ‘three artworlds’ reflects a view of art that does not privilege the dominant modern trends, but ruminates on Chinese art production of the past ‘long century’ crossing between ideologies and historical styles in the process.

「三個藝術世界:中國現代史中的一百件藝術物」是長達一年的研究項目,反映了數十年的探索與機
遇。「三個藝術世界」這個理論架構並列了三種藝術生產和藝術機制,包括:中國傳統世界、中國的社
會主義世界和全球資本主義世界,嘗試並置和分析這幾股左右中國文化想像力的最主要力量。這個框架
的立場首先拒絕了「幾個中國」的說法,而替代以幾個面對「現代化方案」的不同的中國立場。中國同時介入了冷戰的兩方,無論社會主義或資本主義的體制,都全面地投入,以致同時投入了兩方的陷阱,今天依然必須解決民主資本主義與社會理想主義所衍生的各種社會與文化問題。慶幸的是,「文化中國」尚未從中國人的記憶中完全消退,近年書畫的迅速復興是其明證。「三個藝術世界」的立場刻意地迴避了主流的現代論述,而走於悠悠百年間激盪中國的幾種意識形態和多樣歷史風格的藝術生產之間。