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Above SeaContemporary art, urban culture, and the fashioning of global Shanghai$
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Jenny Lin

Print publication date: 2019

Print ISBN-13: 9781526132604

Published to Manchester Scholarship Online: May 2019

DOI: 10.7228/manchester/9781526132604.001.0001

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PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSO for personal use.date: 04 August 2020

Biennialization-as-banalization, promotion, and resistance

Biennialization-as-banalization, promotion, and resistance

Chapter:
(p.96) 3 Biennialization-as-banalization, promotion, and resistance
Source:
Above Sea
Author(s):

Jenny Lin

Publisher:
Manchester University Press
DOI:10.7228/manchester/9781526132604.003.0004

Chapter Three investigates the turn of the twenty-first century global expansion of Shanghai’s contemporary art vis-à-vis the first international iteration of China’s premier contemporary art event, the Chinese Communist Party-sponsored 2000 Shanghai. The chapter theorizes biennialization-as-banalization vis-à-vis contemporary exhibition practices and the promotion of contemporary Chinese art. The chapter argues that Shanghai Biennial’s curators’ hopes of harnessing the spirit of Shanghai were ultimately supplanted by a generic brand of global contemporary art that neglected the city’s unique historical features and current concerns. This chapter then examines critical responses to the 2000 Shanghai Biennial and critiques of the global positioning of Shanghai’s contemporary art as seen in Ai Weiwei and Feng Boyi’s counter-exhibition “Fuck Off,” and in two related works by artists Zhou Tiehai and Yang Fudong.

Keywords:   Biennials, Exhibitions, State-Sponsored Art, New Media Art, Intellectual Critique

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