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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



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)


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.