150106 UE Approaches to Contemporary Chinese Art (2022S)
Continuous assessment of course work
Labels
Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
- Registration is open from Tu 01.02.2022 10:00 to Fr 25.02.2022 10:00
- Deregistration possible until Fr 25.03.2022 10:00
Details
max. 25 participants
Language: English
Lecturers
Classes (iCal) - next class is marked with N
- Friday 04.03. 15:00 - 16:30 Seminarraum Sinologie 1 UniCampus Hof 2 2F-O1-10
- Friday 18.03. 15:00 - 16:30 Seminarraum Sinologie 1 UniCampus Hof 2 2F-O1-10
- Friday 25.03. 15:00 - 16:30 Seminarraum Sinologie 1 UniCampus Hof 2 2F-O1-10
- Friday 01.04. 15:00 - 16:30 Seminarraum Sinologie 1 UniCampus Hof 2 2F-O1-10
- Friday 08.04. 15:00 - 16:30 Seminarraum Sinologie 1 UniCampus Hof 2 2F-O1-10
- Friday 29.04. 15:00 - 16:30 Seminarraum Sinologie 1 UniCampus Hof 2 2F-O1-10
- Friday 06.05. 15:00 - 16:30 Seminarraum Sinologie 1 UniCampus Hof 2 2F-O1-10
- Friday 13.05. 15:00 - 16:30 Seminarraum Sinologie 1 UniCampus Hof 2 2F-O1-10
- Friday 20.05. 15:00 - 16:30 Seminarraum Sinologie 1 UniCampus Hof 2 2F-O1-10
- Friday 27.05. 15:00 - 16:30 Seminarraum Sinologie 1 UniCampus Hof 2 2F-O1-10
- Friday 03.06. 15:00 - 16:30 Seminarraum Sinologie 1 UniCampus Hof 2 2F-O1-10
- Friday 10.06. 15:00 - 16:30 Seminarraum Sinologie 1 UniCampus Hof 2 2F-O1-10
- Friday 17.06. 15:00 - 16:30 Seminarraum Sinologie 1 UniCampus Hof 2 2F-O1-10
- Friday 24.06. 15:00 - 16:30 Seminarraum Sinologie 1 UniCampus Hof 2 2F-O1-10
Information
Aims, contents and method of the course
Assessment and permitted materials
15%: Active class participation10%: mid-term submission of presentation outline (1-2 pages)35%: presentation on artwork analysis, to explore and compare different approaches discussed in class, based on mid-term submission and in preparation for the final writing assignment40%: final paper, focusing on the analysis of one work of Chinese art, in connection to the artist’s individual practice, regional artistic groups and practices, or sociocultural conditions of contemporary China (6-8 pages)
Minimum requirements and assessment criteria
In the first half of the semester, each session comprises a theoretical introduction by the course leader, discussion of assigned weekly reading, and group conversation on relevant artworks. After students’ midterm submission of an exploratory outline, the second half of the semester focuses on case studies and student presentation of artwork analysis—the work is chosen from a suggested list or proposed by the student—that uses the methods and recurring themes discussed in class.The course sessions and required reading list are all in English; Chinese-language literature will be provided for some sessions as suggested reading and will not affect the assessment. All materials will be available on moodle.To work on the assignments, students are asked to pick a piece of contemporary Chinese art they have either personally seen or accessed via online viewing room and when justifiable, secondary sources; consider that besides web-based or digital works, the pandemic has given rise to many entirely online exhibitions worldwide. The emphasis is not to recount an immersive and meditative experience with the artwork, but to consciously configure its meaning in multiple aspects.For the outline (1-2 pages) and presentation, students should try applying two or more methods discussed in the class to the artwork of their choice. In presentations, the class will discuss their work in progress, challenges, and thereby receive feedback from each other and the course leader. Throughout the semester, students should note the problems they have met in fulfilling the requirements, be it difficulty with locating and understanding literature, explaining the choice of methods, or grounding their analysis in the societal context.This process prepares for a final paper (6-8 pages) that centers on one approach that the student finds the most fruitful in their analysis; alternatively, the student can continue to develop a comparative paper using different approaches but will have to explain why this is important for understanding the artwork or the unique Chinese context. Details on the assignments will be given at the beginning of the semester.Please note that the requirements to submit the final paper and attend the course regularly (maximum 2 unjustified absences allowed) must both be fulfilled to pass the course, regardless of the partial grades received for other assignments.
Examination topics
Reading list
Byrnes, Corey. Fixing Landscape: A Techno-Poetic History of China’s Three Gorges. New York: Columbia University Press, 2019.
DeBevoise, Jane. Uncooperative Contemporaries: Art Exhibitions in Shanghai c. 2000. Köln: Walther König, 2020.
Wang, Peggy. The Future History of Contemporary Chinese Art. Minneapolis: University Of Minnesota Press, 2021.
Welland, Sasha Su-Ling. Experimental Beijing: Gender and Globalization in Chinese Contemporary Art. Durham University Press, 2018.
Wu Hung. Zooming In: Histories of Photography in China. London: Reaktion Books, 2016.A detailed reading list will be available before the semester starts.For the choice of artwork to analyze, a list will be provided at the semester start. Students are welcome to propose other works. During or leading up to the 2022S semester, museum exhibitions in Vienna that are relevant to the course include “Ai Weiwei: In Search of Humanity” at Albertina Modern, “Huang Po-Chih: Blue Elephant” at mumok (Taiwanese artist, with a central series “Made in China & Made in Taiwan, 2014–20), plus a few groups shows at the Museum of Applied Arts (MAK) and Austrian Association of Women Artists (VBKÖ) featuring Chinese artists.
DeBevoise, Jane. Uncooperative Contemporaries: Art Exhibitions in Shanghai c. 2000. Köln: Walther König, 2020.
Wang, Peggy. The Future History of Contemporary Chinese Art. Minneapolis: University Of Minnesota Press, 2021.
Welland, Sasha Su-Ling. Experimental Beijing: Gender and Globalization in Chinese Contemporary Art. Durham University Press, 2018.
Wu Hung. Zooming In: Histories of Photography in China. London: Reaktion Books, 2016.A detailed reading list will be available before the semester starts.For the choice of artwork to analyze, a list will be provided at the semester start. Students are welcome to propose other works. During or leading up to the 2022S semester, museum exhibitions in Vienna that are relevant to the course include “Ai Weiwei: In Search of Humanity” at Albertina Modern, “Huang Po-Chih: Blue Elephant” at mumok (Taiwanese artist, with a central series “Made in China & Made in Taiwan, 2014–20), plus a few groups shows at the Museum of Applied Arts (MAK) and Austrian Association of Women Artists (VBKÖ) featuring Chinese artists.
Association in the course directory
LK 220
Last modified: Tu 14.01.2025 00:16
- Social art history and the making of the Three Gorges Dam
- Iconography in China’s socialist past
- Structuring local knowledge and global capital
- Performing gender and identity
- (De)colonial buildings as sites of contemporary art
- The autobiography of ruins in photography
- Historiography of “uncooperative” Shanghai in 2000An additional session is dedicated to current debates in Chinese “experimental art,” where the very meaning of “experiment” reflects power structures, group identities, as well as notions of modernity and contemporaneity.This course thus welcomes open and plural interpretations of contemporary art under different research questions and frameworks—clashing views become especially notable in the globalized circulation and exhibition practice of art—in relation to the shifting social, cultural, and economic landscape of contemporary China. Sinology students are encouraged to introduce Chinese artworks of their interest to the class and, in their presentation and writing, consider where the discussed artworks and approaches open up spheres in Chinese history, culture, and society.