Super-domain research for the China modern-times cultural history construction centering on physicality

以物质性为中心的中国近代文化史建构的超域研究

• 批准号: 17520222
• 负责人: MAKI Yoichi
• 金额: $ 1.31万
• 依托单位: Saitama University
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 2005
• 资助国家: 日本
• 起止时间: 2005 至 2007
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-17520222/
• 关键词: the Chinese contemporary art; Performance art; Cultural Revolution; Mao Tse-Tung era; Vision representation; 798 Dashanzi Art division; Body theory; Gender; パフォーマン・アート; インタラクション; 中国の女性像; 大山子芸術区; 上海ビエンナーレ; ポスト・モダン; 政治的アート; ビデオ・アート; 古典の再構築 /

I conducted field surveys in Shanghai in 2004 and 2006, Jinmen Island in Taiwan in 2004, and in Beijing in 2003, 2005, 2006, 2007, and 2008. During this field work, I also collected books and organized data.In the 2005 fiscal year, I advanced my research on "body theory" according to my original plan.I concluded that the "human body" expressed in contemporary Chinese art is highly conceptual, in other words, "the body which a brain builds".There is a big difference between the "pin-up beauties" calendar posters of the Republican era and the " 鉄姑娘 (Iron girls)" of the Mao era. This clearly reflects differences in the historical and social views on gender in each period.Moreover, "the life-size body" expressed in contemporary art replaced the previous idea of "the collectivized body." In contemporary art, the conventional idea of gender clearly dissolves, and instead, a new concept of gender is pushed forward. I also pointed out that "the life-size body" found in contemporary Chinese art … More works is the very reduction of the body of the politician, i.e., the power machine.Moreover, I investigated centers of contemporary Chinese art, such as Beijing "Daishanzi (798) art division." As a result, I suggest that the ideas behind contemporary Chinese art scenes are influenced by the Bauhaus, which aimed at a new integration of art and technology, and Maoism, which advocated laborers as the national masters.During the 2008 fiscal year, which is the final year of the proposed study, I continued and enriched my research according to the original plan.I reported critically that the 798 Dashanzi art division in Beijing had lost its original ideal and turned into a "business district" rather than an "art division" during the bubble economy.Other major publications include the book "Chinese Contemporary Art" in February 2007. This book is graded "S" (which corresponds to an "excellent" level in the field) in "Saitama University Research Results." In January 2008, its Korean version was published with an addition of a new chapter. The book received favorable reviews in such papers and journals as "新京報" in China and "Art in Asia" in Korea and further international acclaim is anticipated. Less

I conducted field surveys in Shanghai in 2004 and 2006, Jinmen Island in Taiwan in 2004, and in Beijing in 2003, 2005, 2006, 2007, and 2008. During this field work, I also collected books and organized data.In the 2005 fiscal year, I advanced my research on "body theory" according to my original plan.I concluded that the "human body" expressed in contemporary Chinese art is highly conceptual, in other words, There is a big difference between the "pin-up beauties" calendar posters of the Republican era and the "tieguniang" calendar posters (Iron girls)" of the Mao era. This clearly reflects differences in the historical and social views on gender in each period.Moreover, "the life-size body" expressed in contemporary art replaced the previous idea of "the collectivized body. " In contemporary art, the conventional idea of gender clearly dissolves, and instead, a new concept of gender is pushed forward. I also pointed out that "the life-size body" found in contemporary Chinese art … More works is the very reduction of the body of the politician, i.e., the power machine.Moreover, I investigated centers of contemporary Chinese art, such as Beijing "Daishanzi (798) art division. " As a result, I suggest that the ideas behind contemporary Chinese art scenes are influenced by the Bauhaus, which aimed at a new integration of art and technology, and Maoism, which advocated laborers as the national masters.During the 2008 fiscal year, which is the final year of the proposed study, I continued and enriched my research according to the original plan.I reported critically that the 798 Dashanzi art division in Beijing had lost its original ideal and turned into a "business district" rather than an "art division" during the bubble economy.Other major publications include the book "Chinese Contemporary Art" in February 2007. This book is graded "S" (which corresponds to an "excellent" level in the field) in "Saitama University Research Results. " In January 2008, its Korean version was published with an addition of a new chapter. The book received favorite reviews in such papers and journals as "Xin Jing Bao" in China and "Art in Asia" in Korea and further international acclaim is objectionable. Less

项目成果

Kodansha

讲谈社

• 发表时间: 2007
• 作者: MAKI Yoichi;Huang Rui;MAKI Yoichi;MAKI Yoichi;牧 陽一;牧 陽一;牧 陽一;牧 陽一;牧 陽一;牧陽一;MAKI Yoichi;牧陽一;MAKI Yoichi;牧陽一著 柳銀珪・朴智連訳;MAKI Yoichi;牧 陽一(著)・柳 銀珪・朴 智連(訳);牧陽一;MAKI Yoichi
• 通讯作者: MAKI Yoichi

「赤い激情-文革の表象とその展開」

《红色激情：文化大革命的代表及其发展》

• 发表时间: 2007
• 期刊: 『現代中国』 2007年9月 第81号
• 作者: SUZUKI;Masahisa;星野 幸代;榎本 泰子;齊藤 大紀;西村 正男;鈴木 将久;齊藤 大紀;西村 正男;牧陽一;清水賢一郎;牧陽一
• 通讯作者: 牧陽一

チャイナ・ビューティー-モダン・ガールからアイアン・ガールへ

中国丽人——从摩登少女到铁娘子

• 发表时间: 2007
• 期刊: 美術の窓(生活の友社)2007年11月号別冊『アートコレクター』 2007年5号
• 作者: 孫歌;清水賢一郎;鈴木将久 訳;MAKI Yoichi;MAKI Yoichi;牧 陽一;牧 陽一;牧 陽一;牧 陽一
• 通讯作者: 牧 陽一

The present condition and the subject of the Chinese contemporary art

中国当代艺术的现状与主题

• 发表时间: 2007
• 期刊: Intriguing ASIA No. 97
• 作者: ENOMOTO;Yasuko;MAKI Yoichi
• 通讯作者: MAKI Yoichi

It goes the Chinese contemporary art: Revolve CaiGuoqiang, CangXin and ZhuMing

中国当代艺术：旋转蔡国强、苍鑫、朱明

• 发表时间: 2007
• 期刊: Eastern Book Review No. 320
• 作者: ENOMOTO;Yasuko;MAKI Yoichi;MAKI Yoichi;榎本 泰子;MAKI Yoichi
• 通讯作者: MAKI Yoichi