About my research

Art and Text Collisions in Contemporary Chinese Art

The term of Chinese contemporary art began to gain currency from 1976 and was deeply influenced by Western art and rapidly developed from 1985. Although Chinese contemporary art has flourished nationally and globally since then, there hasn’t been an identifiable textualization process equivalent to the textualization (the linguistic turn) in Western art since 1960s. As the first significant mediating practice, textualization of art has important spatial meaning in the history of Western art, while in China, text art has not had much visibility and thus has not previously been studied in detail.

Using the methodology of reflective curation, this practice-led research investigates the lack of visibility of contemporary text art in China through three transnational/cross-cultural curatorial projects with artworks from UK and China. It traces the development of Chinese-language-based contemporary art, attempts to determine the relationship between Chinese text-based art, Chinese calligraphy and Chinese Shu Xiang. Consequently, this research establishes a theoretical framework of contemporaneity of Chinese contemporary art, whilst contributes to new understanding of creative contemporary text art practice, contemporary curation and theory about contemporary Chinese text art.