ORCID Profile
0000-0002-1905-7926
Current Organisation
University of Nottingham
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Publisher: Informa UK Limited
Date: 02-09-2019
Publisher: Intellect
Date: 07-2022
DOI: 10.1386/JCCA_00053_2
Abstract: This Special Issue of Journal of Contemporary Chinese Art focuses on the social significance and political relevance of diaspora Chinese art in the contemporary era. Although artists and authors may hold different stances towards Chinese and diaspora identities, their works and discussions showcase the importance of identity and identity-inflected art in contemporary times they also demonstrate the productivity of treating Chinese diaspora art as a valuable subject of study in researching contemporary Chinese art. This editorial essay outlines the social and scholarly contexts related to a new generation of contemporary Chinese diaspora art and artists it also introduces the structure and content of the Special Issue. The text is arranged in the following order: it first clarifies key words such as ‘diaspora’ and ‘Chinese diaspora’ and introduces scholarly debates surrounding these terms it then briefly maps the study of contemporary Chinese art in a transnational and diasporic context to articulate the significance and scholarly contribution of the current issue. The essay ends with a mapping of the key topics and themes covered in this issue – which have implications for the study of Chinese diaspora art overall – and a brief outline of the key content and argument of each article.
Publisher: Intellect
Date: 08-2023
DOI: 10.1386/JCCA_00075_1
Publisher: transcript Verlag
Date: 31-12-2013
Publisher: Palgrave Macmillan UK
Date: 15-11-2016
Publisher: Cambridge University Press
Date: 2018
Publisher: Informa UK Limited
Date: 18-05-2020
Publisher: University of Technology, Sydney (UTS)
Date: 28-01-2021
DOI: 10.5130/PJMIS.V17I1-2.7299
Abstract: In an online research seminar titled ‘Intimacies in Asia in a Time of Pandemics’ (GCS Sydney 2020), Hans Tao-Ming Huang, a queer studies scholar from National Central University, Taiwan, compares the geopolitics in the current COVID-19 pandemic to a ‘new Cold War’. This war is characterised by an intense political and ideological antagonism between communist China and the liberal, democratic world led by the United States. In this antagonism, national borders are redrawn political and ideological affiliations are re-enforced. As was the case with the last Cold War, the political and ideological affiliation of queer-identified people are under constant scrutiny. Queer people from China are often forced to take a stance by making a choice between China and the rest of the world, and between a country where LGBTQ rights are not recognised and the part of the world where same-sex marriages have been legalised and gay people can be ‘out and proud’, and between illiberal neoliberalism and liberal neoliberalism. This is a choice easier for some than others. As a queer-identified person born in the People’s Republic of China and currently living in the UK, I constantly feel the pressure to declare my own political and ideological allegiances. The ‘new Cold War’ accompanying the global pandemic has only exacerbated the pressure.
Publisher: Intellect
Date: 11-2022
DOI: 10.1386/JCCA_00069_1
Abstract: This article examines the curatorial strategies of the Secret Love exhibition, the biggest queer Chinese art exhibition outside Asia to date. The exhibition brought together 150 works created by 27 queer Chinese artists. It first took place at the Museum of Far Eastern Antiquities (MFEA) in Stockholm, Sweden, from 21 September 2012 to 31 March 2013, and subsequently toured to other museums in Europe. The exhibition raises the critical question of how one can curate queer Chinese art when definitions of queerness, Chineseness and art remain unstable and contested. This article proposes queer curating – that is, collecting and exhibiting genders, sexualities and desires in an art gallery or museum setting without reinscribing social norms and reinstating identity categories – as a critical curatorial method. Queer curating challenges fixed identity categories and dominant power relations it also explores a non-essentialist and anti-identitarian mode of curatorial practice. As an ex le of transnational and transcultural curating, the Secret Love exhibition compels us to consider how curators can work with the structural constraints of exhibition and discursive spaces to create new curatorial possibilities.
Publisher: Palgrave Macmillan US
Date: 2017
Publisher: Informa UK Limited
Date: 17-05-2022
Publisher: Informa UK Limited
Date: 03-2013
Publisher: SAGE Publications
Date: 12-2018
Abstract: This article offers a critical analysis of Matthew Baren’s 2018 film Extravaganza, a documentary about drag scenes in Shanghai. By focusing on some drag performers represented in this film, in tandem with an examination of the social and industry contexts of the film, as well as my interviews with the filmmaker and performers, I problematise the gender identity of the performers and the national identity of the film. Drawing on Deleuze and Guattari’s notion of ‘becoming’ and Song Hwee Lim’s discussion of ‘trans’, I propose to think about certain modes of transnational production with the critical concept of ‘becoming trans’. ‘Becoming trans’ offers a productive way of conceptualising new modes of ‘minor’ transnational cinematic connections in a globalised world without having to resort to identity politics.
Publisher: Intellect
Date: 11-2021
DOI: 10.1386/JCCA_00041_1
Abstract: This article examines the digital artworks created by three Chinese diaspora artists based in Europe: Berlin-based queer filmmaker Fan Popo’s short digital video Lerne Deutsch in meiner Küche (‘Learn German in my kitchen’), London-based performance artist Zeng Burong’s performance Non-Taster and London-based writer David K. S. Tse’s digital radio play The C Word . All three artworks were created in 2020 during the pandemic and all deal explicitly with the issues of anti-Asian racism and cross-cultural understanding. All these artworks also engage with issues of food and culinary practices. Through an analysis of the three artworks, I suggest that making digital art about food can serve as a creative and culturally sensitive strategy to engage with pandemic politics. Indeed, in an era of rising nationalism and international antagonism, diasporic Chinese artists have turned to seemingly mundane, apolitical and non-confrontational ways such as creating digital artworks about food to engage with the public about important social and political issues. This functions as a creative and culturally sensitive strategy to conduct social and political activism and to enhance cross-cultural understanding. It also showcases the political potential and social relevance of digital art for a pandemic and even a post-pandemic world.
Publisher: Intellect
Date: 03-2019
Abstract: This article offers a critical analysis of Chinese lesbian artist, filmmaker and activist Shitou’s 2006 film Women Fifty Minutes (nüren wushi fenzhong). Focusing on the representation of queer women in the film, I discern the existence and conditions of queer subjectivities and spaces in a postsocialist Chinese context. This article aims to disentangle different discourses of women and feminism in contemporary China as represented in the film and, in so doing, unravel the importance of sexuality in understanding feminism and women’s experiences. By looking at Chinese women through queer eyes, Shitou’s film brings queer public space into existence through representational and activist strategies it also introduces sexuality and queerness into feminist debates.
Publisher: Linkoping University Electronic Press
Date: 30-01-2011
DOI: 10.3384/CU.2000.1525.12497
Abstract: This article examines different types of queer spaces in contemporary Shanghai together with the various same-sex subjects that inhabit these spaces. In doing so, it discusses the impact of transnational capitalism, the nation state and local histories on the construction of urban spaces and identities. Combining queer studies and urban ethnography, this article points to the increasing social inequalities hidden behind the notion of urban cosmopolitanism created by the deterritorializing and meanwhile territorializing forces of transnational capital and the state. It also sheds light on how these various identities and spaces are lived and experienced by ordinary people, as well as possible ways of resistance to the dominant narratives.
Publisher: Lectito BV
Date: 19-03-2018
Publisher: SAGE Publications
Date: 31-08-2020
Abstract: In this article, I examine grassroots cinematic connections between China and Africa by using Queer University, short for the Queer University Video Capacity Building Training Program, a 3-year (2017–2019) participatory video production program between Chinese and African queer filmmakers and activists, as a case study. Through interviews with Queer University organizers and participants, I discuss the transnational politics and decolonial potentials underpinning these grassroots initiatives. Drawing on Françoise Lionnet and Shu-mei Shih’s critical term “minor transnationalism,” I study transnational queer grassroots collaborations in the Global South, and, in doing so, unravel the hopes, promises, and precariousness of emerging people-to-people exchanges taking place in the Global South.
Publisher: SAGE Publications
Date: 03-01-2023
DOI: 10.1177/0920203X221147481
Abstract: This article examines Chinese government censorship in the intersection between queer and fan cultures and the government’s regulation of big tech companies and platform economies in the 2020s conjuncture. In the context of booming platform industries and proliferating queer representations, the government issued explicit directives to censor the representation of ‘sissy men’, or androgynous and effeminate male celebrities, on video streaming platforms in 2021. Accused of encouraging ‘sissy capital’ (娘炮资本), the digital platforms that produce or host these videos have also been closely scrutinized. Focusing on the discourse of sissy capital, this article traces how the term has been used in state policies and mainstream media to discern the power relations that produce such a discourse. It argues that in the context of China’s fast-developing digital platform economy in which the pink economy plays a part, the governance of non-normative sexualities and platform industries has converged in the government’s efforts to define and regulate culture in an era of digital capitalism. The term sissy capital points to the gendered dimension of capital as well as the political economy of queerness it also contributes to a more nuanced understanding of contemporary governing rationalities and techniques in a digital, non-Western, and illiberal context.
Publisher: Informa UK Limited
Date: 11-2012
Publisher: Intellect
Date: 09-2019
DOI: 10.1386/JCCA_00006_1
Abstract: Celebrated as 'China's Tom of Finland', Xiyadie is probably one of the best-known queer artists living in China today. His identity as a gay man from rural China and his method of using the Chinese folk art of papercutting for queer artistic expression make him a unique figure in contemporary Chinese art. As the first academic article on the artist and his works, this article examines Xiyadie's transformation of identity in life and his representation of queer experiences through the art of papercutting. Using a critical biographical approach, in tandem with an analysis of his representative artworks, I examine the transformation of Xiyadie's identity from a folk artist to a queer artist. In doing so, I delineate the transformation and reification of human subjectivity and creativity under transnational capitalism. Meanwhile, I also seek possible means of desubjectivation and human agency under neo-liberal capitalism by considering the role of art in this picture. This article situates Xiyadie's life and artworks in a postsocialist context where class politics gave way to identity politics in cultural production. It calls for a reinvigoration of Marxist and socialist perspectives for a nuanced critical understanding of contemporary art production and social identities.
Publisher: John Benjamins Publishing Company
Date: 18-12-2021
Abstract: This article traces the historical moment when queer theory first arrived in mainland China in the early 2000s by comparing and contrasting two translated texts in Chinese: Wang Fengzhen’s book Guaiyi Lilun [Peculiar Theory] and Li Yinhe’s book Ku’er Lilun [A Cool Kid Theory]. Juxtaposing the two translators’ positioning and marketing strategies, along with their use of paratexts such as book cover design and translator’s prefaces, this article aims to explain why Ku’er Lilun ended up being a more popular and widely circulated text than Guaiyi Lilun . It also pinpoints the cultural specificities of queer theory’s reception in the postsocialist Chinese context at the beginning of the new millennium. This article hopes to provide critical insights into the politics of translating academic theories transnationally, with a focus on paratextual, extratextual, and contextual factors which work in tandem to shape the reception of these theories in a non-Western context.
Publisher: Hong Kong University Press
Publisher: University Library System, University of Pittsburgh
Date: 04-11-2011
DOI: 10.5195/HCS.2012.17
Abstract: In this article, through a critical reading of the published diaries written by gay ‘patients’ who received aversion therapy in south China in the 1990s, I examine how the transformation of subjectivities from gay to straight was made possible by such ‘self-technologising’ practices as writing and communication. I also consider the centrality of the body and affect in the process of subject (trans)formation, and ask how a new, coherent and authentic ‘self’ was fabricated through bodily and affective experiences. This discussion not only reveals the social construction of the self as central to China’s postsocialist governmentality, but also the central role that gender and sexuality play in processes of self-formation.
Location: United Kingdom of Great Britain and Northern Ireland
Location: United Kingdom of Great Britain and Northern Ireland
Location: United Kingdom of Great Britain and Northern Ireland
No related grants have been discovered for Hongwei Bao.