The present study is intended to summarize the discourse of contemporary Chinese art and construct the narrative of the exhibition that Chinese art theorists, critics and artists discuss in terms of Museography. Returned to Korea after working and liv... The present study is intended to summarize the discourse of contemporary Chinese art and construct the narrative of the exhibition that Chinese art theorists, critics and artists discuss in terms of Museography. Returned to Korea after working and living in China as a curator for a long period of time, the researcher began to raise questions about critical appraisals of contemporary Chinese art only as a by-product of Western capital. It is hard to deny that the inflow of Western capital was a momentum on the development of Chinese contemporary art; however, I will provide its legitimacy by studying the movement of the theorists in China. As I have seen over the past decade, the structure of existence and social functions of the Chinese contemporary art can no longer be described by the logic of Western capitalism. Chinese art history is comprised of multiple layers of practices and theories, and it cannot be generalized in a single context. This study is based upon such observation. As a preparation, I examine the formation and the historic situation of Chinese contemporary art from 1980s and Chinese contemporary art’s historical background and its transformation promoted overseas from 1990s. It's provocative articles of such intention caused the criticism and countless discussions that largely contributed to form a major flux of contemporary art in mainland China since the 1990s until the financial crisis in 2008. ‘Has Chinese art achieved a pluralism and democratization by means of capital market?’ It is the question that should be considered from all angles and would be answered by its continuous history. By reviewing the discussions, this study aims to focus on the art theory in China magnified and overlooked by a linkage with capital and market. On that account, the researcher discusses Chinese art exhibitions during the time period in the realm of Museography; The Stars Exhibition(星星美展, 1979) and The China/Avant-Garde Exhibition(中國現代藝術展, 1989) which are major exhibitions since the Cultural Revolution in China, and two of many exhibitions abroad arranged by Chinese critics, China’s New Art, Post-1989 (后89中國新藝術展, 1993) and Inside Out: New Chinese Art(蛻變突破:華人新藝術展, 1998) to trace the whole process of the exhibitions with the intention of gathering up the partial evaluation of the Chinese contemporary art. First of all, The Stars Exhibition is the one exhibition that must be retrospective to understand Chinese art in the 20th century. Participating artists of the exhibition displayed the public demonstrations on the People's Republic of China’s thirtieth foundation anniversary and is regard as warriors that requested the democratization of art. Second, "The China/Avant-Garde Exhibition" is considered as the second period of Chinese contemporary art history. During the course of the period, it inherited the precedent The Stars Exhibition and became the definitive edition of the national art movement of the mid-80s, so called "The 85 Art Movement (85新潮美術運動)". Third, the exhibition, "Post '89 China new art" in Hong Kong was discovered by curators and gallerists from Hong Kong, Taiwan, and Western countries. The art works had a close relation with the reality of Chinese contemporary culture, and its satirical elements of Chinese politics were critically acclaimed. Fourth, the exhibition, “Inside Out: New Chinese Art” at San Francisco Museum of Modern Art in the United States, organized on a large scale in the foreign country, paid attention intensively to the problem with ‘Internationalization’. The researcher began to conduct a research based on the following observation; Ironically after the exhibition, Chinese contemporary art works obtained more positive responses abroad than its own country and was grouped as China Pop Art. Furthermore, it has been evaluated as the Cynical Realism (玩世現實主義) and was selected to be interpreted and compared with Western art history which also ignored other diverse practices that cannot be explained in that framework. Whereas previous studies analyzed Chinese contemporary art exhibitions as political pop movement, in this study, I trace Chinese contemporary art’s past and attempt to obtain comprehensive understanding of the partial evaluation of Chinese art exhibitions showing their own color explicitly. Therefore, I add curatorial discourse in the annals of Chinese art which would expand its narrative and discuss the inherent properties in the contemporary Chinese art other than the subversive aspect of political pop art. I analyze how China overcame the scars from the Cultural Revolution with art after the adaptation of the open-door policy and why Chinese art was eloquent of politics and used as a tool of propaganda for a long period of time. Then I evaluate works of artists with glorious fame and indicate problems of art history through critic’s discussion on modernism during the ‘85 New Wave movement’. Moreover, I investigate Chinese artists of recent years since 2000 and trace down how McDonaldization of Art made them rethink the traditional exhibition space and tend towards site-specific exhibitions. The researcher, by grasping the exhibitions of Chinese contemporary art, try to define the characteristics of the era and draw attention to how politically and ethnically intertwined China has responded to these problems. Chinese contemporary art has not solely risen by Western capital, but Chinese artists’ awareness of issues and attempts. From this point of view, the study introduces exhibitions of contemporary art in China that is not well known in Korea and prompts new realization of Chinese contemporary art. Although the global financial crisis due to the US sub-prime mortgage crisis caused a slowdown in the Chinese economy, I believe such hardship would bring more creative energy to Chinese artists and lead them to create vitality of the art world. ，韩语论文网站，韩语毕业论文 |
