雜誌簡介: 本雜誌於2022年起停刊，第102期為最後一刊。 雜誌的名稱 YISHU 直接取自中文藝術之音譯，是第一份當代華人藝術英文季刊。探討全球化環境中華人藝術的現狀與前景﹔介紹國際學術界對華人藝術的最新論述和研究﹔提供中外學者﹑藝術家之間相互交流對話的的平臺﹔為當代華人藝開拓術深廣發展的國際空間舞台。
The Guggenheim Museum and New York
University Emerging Scholars Symposium
Art and China after 1989: New Perspectives
Yishu 83 marks our fourth collaboration with the Solomon R. Guggenheim Museum,
New York, and its Samsung Senior Curator, Asian Art, and Senior Advisor, Global Arts, Alexandra Munroe. As part of these collaborations, Yishu has published presentations given by leading scholars
at the Guggenheim Museum’s Asian Art Council. These meetings and discussions are an important component in the development of the Guggenheim’s Asian art programming and in opening up ideas for us all about what constitutes contemporary Asian art.
This special issue of Yishu takes a somewhat different turn in that it published papers prepared by emerging scholars who were invited by the Guggenheim Museum and New York University to participate in the symposium Art and China after 1989: New Perspectives. Taking place in September 2016, it served as a prelude to the ambitious exhibition Art and China after 1989: Theater of the World, which opened on October 6, 2017, and includes the work of seventy-one
artists and groups.
The essays included in Yishu 83 take 1989 and its globally significant events— the China Avant-Garde exhibition, the Tian’anmen Square incidents, the transformation of the Soviet Union and the
Eastern Bloc—as a jumping off point for a vitally important period in the evolution of contemporary Chinese art with respect to an international presence, the importance of localism, the introduction of new media beyond the tradition of painting, collective artistic endeavours, and an entry into the art
market, developments that, among others, are explored in these essays.
Yishu would like to thank the authors for their rich array of contributions and for exploring
various case studies, both well known and not, that illuminate this important period of
history. We also would like to acknowledge Oriana Cacchione, Xiaorui Zhu, Ros Holmes,
Wenny Teo, and Peggy Wang, who made presentations at this symposium but who
have previous commitments for their texts.
Finally, many thanks to Alexandra Munroe and Kyung An, Assistant Curator, Asian Art, who initiated and worked with Yishu on this special issue.
Yishu: Journal of Contemporary Chinese Art is the first English language journal to focus on Chinese contemporary art and culture. Each bi-monthly issue features scholarly essays on topical issues, interviews with artists and curators, conference proceedings, and critical commentary on exhibitions and books. Yishu offers a platform for a wide range of voices who are living and telling the story of contemporary Chinese art from a diversity of perspectives, and who provide dialogue and debate around current visual and literary forms produced within what constitutes an expanded understanding of contemporary Chinese art.
Since its inauguration in May 2002, Yishu has raised its profile internationally to become one of the most respected journals devoted to contemporary Chinese art. Appealing to professionals in the art and academic fields, as well as art enthusiasts in general, Yishu is now the journal of record for the high quality coverage of issues and events pertinent to Chinese art today. Its high standard of critical writing by thinkers from around the world allows us to voice ideas that communicate across cultures.
- 編者手記 Editor’s Note(p.4)
- 作者小傳 Contributors(p.6)
- 前言─1989年後的藝術與中國：新視野 Introduction: Art and China after 1989: New Perspectives(p.9)
- 中國在世界／中國即世界 China in/and/is the World(p.11)
- 形成新的對話：中國九十年代公共雕塑 Forging a New Dialogue: Public Art in 1990s China(p.14)
- 再看「中國明天」 A New Look at Chine demain pour hier(p.27)
- 雙重意義：讀王功新的《布魯克林的天空》 Doubled Meanings: Reading Wang Gongxin's The Sky of Brooklyn—Digging a Hole in China(p.36)
- 觀念攝影作為歴史：碎片化、錯位與中國的歷史形象，1988-1998 Conceptual Photography as History: Fragmentation, Dislocation, and the Historical Imaginary in China, 1988–1998(p.43)
- 黒、白、灰：艾未未在北京，1993-1997 Black, White, and Grey: Ai Weiwei in Beijing, 1993–1997(p.55)
- 自我解放的歧途 Branching Paths to Self-Liberation(p.65)
- 没有藝術圈的地方：「長征計劃」和中國當代藝術的新地域 Where There Are No Art Circles: The Long March Project and New Geographies of Chinese Contemporary Art(p.77)
- 流動的地方性：詹妮弗．阿羅拉（Jennifer Allora）與古利莫．卡爾扎迪亞（Guillermo Calzadilla）的《兩棲：進─出》和曹斐的《誰的烏托邦》 Locality in Flux: Jennifer Allora and Guillermo Calzadilla’s Amphibious (Login-Logout) and Cao Fei’s Whose Utopia(p.84)
- 未來的材料：記錄1980－1990年中國當代藝術 Documenting Exhibitions of Contemporary Chinese Art During the 1980s and 1990s(p.92)
- 主講：後奥運會時期中國藝術的困境 Keynote: The Plight of Chinese Art in the Post-Olympic Era(p.100)
- 中英人名對照 Chinese Name Index(p.109)