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Art, Global Maoism and the Chinese Cultural Revolution$
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Jacopo Galimbert, Noemi de Haro García, and Victoria H. F. Scott

Print publication date: 2020

Print ISBN-13: 9781526117465

Published to Manchester Scholarship Online: May 2020

DOI: 10.7765/9781526117472

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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: 12 August 2020

Mao in a gondola: Chinese representation at the Venice Biennale (1993–2003)

Mao in a gondola: Chinese representation at the Venice Biennale (1993–2003)

Chapter:
(p.311) 16 Mao in a gondola: Chinese representation at the Venice Biennale (1993–2003)
Source:
Art, Global Maoism and the Chinese Cultural Revolution
Author(s):
Estelle Bories
Publisher:
Manchester University Press
DOI:10.7765/9781526117472.00021

Estelle Bories’s chapter investigates the re-emergence of Chinese contemporary art in the West, concentrating on the way in which artists and curators addressed the revolutionary past of China. It considers Cai Guoqiang’s famous restaging of Rent Collection Courtyard, presented during the forty-eighth Biennale of Venice in 1999. The appearance of Chinese art at the Biennale occurred with much fanfare. While, on the one hand, this could be read as a point of departure and a new expression of Chinese modernity, on the other hand it could also be read as a repackaging of some standard Maoist positions on art.

Keywords:   Venice, Mao, Maoism, Venice Biennale, art, Chinese contemporary art, contemporary art, Cai Guoqiang

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