Konstfacks bibliotek

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*020  $a9781841507644
*035  $a(MiAaPQ)1069407
*035  $a(Au-PeEL)1069407
*035  $a(CaPaEBR)10635370
*035  $a(CaONFJC)MIL417618
*035  $a(OCoLC)818847040
*035  $a(MiAaPQ)EBC1069407
*050 4$aN8217.D5 -- F65 2013eb
*08200$a709.51
*1001 $aFok, Silvia.
*24510$aLife and death$bart and the body in contemporary China
*250  $a1
*264 1$aBristol$bIntellect Books Ltd$c2012
*264 4$c©2012
*300  $a1 online resource (240 pages)
*336  $atext$btxt$2rdacontent
*337  $acomputer$bc$2rdamedia
*338  $aonline resource$bcr$2rdacarrier
*5050 $aIntro -- Contents -- List of Illustrations -- Acknowledgements -- Preface -- Chapter 1: Life, Death and the Body in Art in the PRC -- The production and reception of contemporary Chinese art -- The artist's body as a revolutionary tool in contemporary Chinese art: Somatic perception and criticism -- Life, death and the body in art -- Tactile materiality of corpse in art -- Tactile materiality of skull in art -- Overview of the book -- Notes -- Chapter 2: The Role of the Body in Representing Death in Art: Simulation of Death versus Dying in the Name of Art versus Photography Documenting Dying and Death -- Simulation of death -- Wei Guangqing, Suicide Project, 1988 -- Lanzhou Art Army, Funeral/Burial, 1993 -- The SHS Group, Big Glass, Paradise in a Dream, 1993 -- Huang Yan, Lying on the Rail, Suicide/Murder News, 1996 -- Zhu Gang, Obituary, 1999 -- Zhou Bin, A Traffic Accident Scene, 1999 -- Xing Danwen, Urban Fiction, 2004-present -- Dying in the name of art -- Qi Li, Ice Burial, 1992 -- Zhang Shengquan (Da Zhang), Dying on 1 January 2000 -- Photography documenting dying and death -- Wang Youshen, Before and After Grandmother Passed Away, 1989-1995 -- Song Yongping, My Parents, 1999-2001 -- Conclusion -- Notes -- Chapter 3: Animal Body in Art -- Human body interacting with animal body -- Zhang Peili, Document of Hygiene No. 3, 1991 -- Dai Guangyu, Incontinence, 2005 -- Wang Jin, To Marry a Mule, 1995 -- Wang Chuyu, Pigeon Dinner, 1999 -- Zhang Shengquan, To Cross/To Carry a Goat, 1996 -- Sun Yuan and Xiao Yu, Herdsman, 1998 -- Xu Zhen, But I Don't Need Anything (I'm Not Asking for Anything), 1999 -- Wu Gaozhong, Birthday on 28 May, 2000 -- Sun Yuan and Peng Yu, A Safe Island, 2003 -- Animal bodies interacting among one another -- Xu Bing, A Case Study of Cultural Transference, 1994
*5058 $aSun Yuan and Peng Yu, Dogs Cannot Touch Each Other: Controversy Model, 2003 -- Display of living and dead animal body -- Xiao Yu, Ruan, 1999 -- Yang Maoyuan, Inflated Horse, 2001 -- Xu Bing, Wild Zebra, 2002 -- Conclusion -- Notes -- Chapter 4: Corporeal Materials in Art -- Human body interacting with body parts -- Zhu Yu, Basics of Total Knowledge No. 4, 1998-1999 -- Zhu Yu, Skin Graft, 2000 -- Human body interacting with corpses -- Sun Yuan and Peng Yu, Body Link, 2000 -- Zhu Yu, Eating People, 2000 -- Zhu Yu, Sacrifice: Feed a Dog with His Child, 2002 -- Human ashes as material in art -- Dai Guangyu, Be Lost, 1999 -- Sun Yuan and Peng Yu, One or All, 2004 -- Xu Bing, Where Does the Dust Collect?, 2004 -- Human blood as material in art -- Yang Zhichao, Macau, 2005 -- Human hair as material in art -- Leung Mee Ping, Memorise the Future, 1998-2002 -- Gu Wenda, United Nations - China Monument: The Great Wall of People, 2004 -- He Chengyao, The Possibility of Hair, 2006 -- Human body as material in art -- Yang Zhichao and Ai Weiwei, Hide, 2002 -- Yang Zhichao, Revelation No. 1: Earth, 2004 -- He Yunchang, A Rib/Night Light, 2008-2009 -- Conclusion -- Notes -- Chapter 5: Transformative Roles of the Body in Art -- The role of the human body from manipulating representation to presentation of ideas -- The role of the animal body from object of representation to subject of art or art materials -- The role of corporeal materials from subject of representation to art materials -- Life, death and the body represented through technology in contemporary Chinese art -- Song Dong, Touching My Father (Parts 1-3), 1997, 2002-2011, 2011 -- Song Dong, Listening to My Family Talking about How I was Born, 2001 -- Song Dong, Father and Son with My Daughter, 1998-2010 -- Song Dong, Chinese Medicine Healing Story, 2004-2011
*5058 $aConclusion: The significance of the body in contemporary Chinese art as a whole -- Notes
*520  $aFor all their ubiquity, life and death have not been fully explored as integral themes in many forms of contemporary Chinese art. Life and Death addresses that lacuna. Exploring the strategies employed by a variety of Chinese artists who do engage with these timeless concerns, Silvia Fok opens a new line of inquiry about contemporary art in a rapidly changing environment.Fok focuses, in particular, on the ways in which these artists use their own bodies, animals' bodies, and other corporeal substances to represent life and death in performance art, installations, and photography. Over the course of her investigations, corporeality emerges as a common means of highlighting the social and cultural issues that surround these life and death. By assessing its effectiveness in the expression of these themes, Fok ultimately illuminates the extent to which we can see corporeality as a significant trend in the history of contemporary art in China. Her conclusions will fascinate scholars of performance and installation art, photography, and contemporary Chinese art.
*588  $aDescription based on publisher supplied metadata and other sources.
*588  $aElectronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
*650 0$aDeath in art.
*650 0$aArt, Chinese.
*650  $aDöden i konsten
*650  $aKinesisk konst
*655 0$aElectronic books.
*77608$iPrint version:$aFok, Silvia$tLife and Death : Art and the Body in Contemporary China$dBristol : Intellect Books Ltd,c2012$z9781841506265
*797  $aProQuest (Firm)
*852  $hTillgänglig inom Konstfack
*85640$uhttps://ebookcentral.proquest.com/lib/konstfack/detail.action?docID=1069407$zRead online / download
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Fok focuses on the ways in which these artists use their own bodies, animals' bodies and other corporeal substances to represent life and death in performance art, installations, and photography. Over the course of her investigations, corporeality emerges as a common means of highlighting the social and cultural issues that surround these life and death. By assessing its effectiveness in the expression of these themes, Fok ultimately illuminates the extent to which we can see corporeality as a significant trend in the history of contemporary art in China. Her conclusions will fascinate scholars of performance and installation art, photography and contemporary Chinese art.