![]() What does this self-identification suggest? Is it a mere compliance with the norm, an indication of cultural origin, a declaration of political stance or a manifestation of loyalty? And who are the ‘others’? Are they the audience looking to get a sense of certain artistic practices, governmental bodies to strengthen their diplomatic soft power, institutions to tick diversity boxes or markets to cater for collectors’ taste? Or according to art historian Wu Hung in Chinese Art at the Crossroads (2001), a book Iniva co-published as part of its international art series, is the very definition of this term constructed to be challenged and pluralised? ‘Is it for artists to identify themselves or for others to define them?’, asks Cheng. Setting out to rethink the term ‘Chinese’ in various cultural contexts, the seminar has raised questions of why people need this label and who it is for. The resultant work is a performance that restages ‘A New Vocabulary for Chinese Art?’, a seminar the institution organised in 1998. Previous artist-in-residence at Stuart Hall Library, Ting-Ting Cheng ( 鄭亭亭 ) continued her exploration of identity politics from her time at the Centre for Chinese Contemporary Art (CCFCA) in Manchester. ![]() When asked to write about ten Chinese contemporary artists, the first thing that popped into my mind was a question: What is Chinese contemporary art? How is it defined? As someone who doesn’t regard herself as but is and ‘looks’ Chinese in some way, this task seems particularly tricky, but intriguing at the same time. Chinese Art at the Crossroads: Between Past and Future, Between East and West edited by Wu Hang.
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