Alice Jim | Concordia University (Canada) (original) (raw)
Papers by Alice Jim
Resources for Feminist Research, 2004
... Angelique George Elliott Clarke 65 Examining Racism and Criminal Justice The Advancement of a... more ... Angelique George Elliott Clarke 65 Examining Racism and Criminal Justice The Advancement of a Defence Based on Section 15 (1) of the Canadian Charter of Rights and Freedoms Faizal R. Mirza 85 Criminological Research on" Race" in Canada Wendy Chan 103 Questions ...
Captus Press Inc., 2018
"Drawing from the established fields of “African American Art History”, “Race and Representa... more "Drawing from the established fields of “African American Art History”, “Race and Representation”, and the “Visual Culture of Slavery”, Charmaine A. Nelson and her colleagues — a group of established and up-and-coming artists, scholars, and cultural critics — argue for an African Canadian Art History that can simultaneously examine the artistic contributions of black Canadian artists within their unique historical contexts, critique the colonial representation of black subjects by white artists, and contest the customary racial homogeneity of Canadian Art History." -- Publisher's website
Among the most significant examples of new media art in China to first receive critical attention... more Among the most significant examples of new media art in China to first receive critical attention are those that tend towards re-engineering early video games while riffing off on aspects of the 1990s' 'political pop' movement. Are these works the product of, or interventions into, the current parameters established for Chinese media, political censorship and game worlds? How might they reflect the fault lines of the growing interest in networked cultures and participatory media in contemporary art and in general? Through personal vignettes and playful moments, this article argues that one of the politico-cultural implications of the Mao Goes Pop art movement going digital concerns the link between digital art's 'precarious playbour', the rise of gaming in Asia, and emergent techno-Orientalist discourses about media art and technologies in China. Since the 1990s, game art by Feng Mengbo (b. 1966) and other artists is introspective of not only the transnational art world but of global media convergence as well. KEYWORDS media art, China, Feng Mengbo, Political Pop, playbour, video games 'political pop' genre in contemporary Chinese art. Focusing on the game art installation, Long March: Restart (2006-2008), by Beijing artist Feng Mengbo (b. 1966), this article argues that one of the politico-cultural implications of the Mao Goes Pop art movement going digital, 8-bit to be precise, concerns the link between digital art's 'precarious playbour' that 'effectively masks labour as play' (Kücklich 2005), the rise of gaming in Asia, and emergent techno-Orientalist discourses about media art and technologies in China. These artworks are not only products of but also interventions into the current parameters established for Chinese media, political censorship and game worlds, reflecting the fault lines of the growing interest in networked cultures and participatory media in contemporary art in general. In the second half of the article, I bring in three 2 personal vignettes, or what I call snapshot scenarios, that are related to game art and recent digital and visual culture in China. These scenarios enable other optics into how, since the 1990s, Feng's game-related works have been progressively introspective of the transnational art world and global media convergence. The term 'game art' used in this article is as defined by Matteo Bittanti: 'game art is any art in which digital games played a significant role in the creation, production, and/or display of the artwork' (2006: 9). With the 'Beijing International New Media Arts Exhibition and Symposium' since 2004, followed by the 'International Triennial of New Media Art' since 2008 (with three editions to date), there is a substantial discourse on Chinese media arts (ranging from video art, digital art and animation to flash art and sound art) emerging both in China and abroad, one in which Feng's work also figures regularly, if sporadically. Since the first video art exhibition curated by Wu Meichun in 1996 in Hangzhou (capital of East China's Zhejiang Province) where the China Academic of Fine Arts is located, to the tenth and eleventh Documenta exhibitions in Kassel, Germany, both of which Feng participated in, media arts in China has come a long way from 1988 when Hangzhou-based artist Zhang Peili used a video camera to record a performance exhibition he staged. In his book Performance Art in China, art historian and curator Thomas J. Berghuis makes the distinction between two early strains of media arts, circa 1994-2004, in terms of highbrow (intellectual) or lowbrow (popular) culture, writing that 'Yang Fudong and Feng Mengbo represent an important generation of artists who grew up during the Cultural Revolution (1966-1976), and their works become useful in distinguishing two different approaches to new media art in China over the past decade' (Berghuis 2006: 137-9). The new media artworks discussed in this article prove these categories to be more fluid in the context of recent game art.
Oxford Art Online, Sep 22, 2005
Oboro eBooks, 2017
I n an era where fake news and alternative facts ominously sediment into false history, no wonder... more I n an era where fake news and alternative facts ominously sediment into false history, no wonder the early twenty-first century has been preoccupied with ways in which ghosts of the past and our lost futures with knowledge of events yet to come, inhabit and haunt our troubled present. In DIY Haunt, Yen-Chao Lin provides an opportunity to experience spectral modes of being through an intensely personal hauntology that invokes an unsettling diasporic view of the present. Haunted
Ciel variable : Art, photo, médias, culture, 2012
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.
McGill-Queen's University Press eBooks, Jul 18, 2017
esse arts + opinions, 2013
"This exhibition seeks to examine the role of marginalization in everyday life and its influ... more "This exhibition seeks to examine the role of marginalization in everyday life and its influences on artistic practices. The goal is to create a framework that allows for empathetic viewing of works of art concerning experiences that may not be akin to one’s own. In this way, it is hoped that visitors can become more aware of the ways in which empathy goes beyond acceptance and challenges normative assumptions about the lived experiences of others." -- p. 1.
Leonardo, 2006
of the most conspicuous and controversial policies of the Singapore government, it is no surprise... more of the most conspicuous and controversial policies of the Singapore government, it is no surprise that this move has aroused several political sensitivities. It is fascinating how this ban on chewing gum has unfavorably positioned Singapore internationally. Today, Singapore still upholds the ban on the import of chewing gum but in a provision of the FTA has given in to the limited import of therapeutic chewing gum (e.g. nicotine gum). In this work, we seek to problematize the notion of free trade by reflecting on the ways in which it brings deeper cultural and political differences to the forefront. Toward this end, our video installation is composed of interviews with Singaporeans who are asked to express their views about the FTA, free trade, U.S. imports and their cultural meanings (liberal values, consumer lifestyles, etc). Placed on the floor of a 20-ft container shipped from Singapore to the U.S.A. is a blob of chewed-up gum approximately 10 ft in diameter. Embedded in it are two TV screens showing the interviews and a number of symbolic objects. The installation will allow the audience to move around and look at the two TV screens, which are mounted horizontally, at a comfortable height, as well as at the other embedded objects. The items in the heap, placed at different positions and angles, will consist of a variety of everyday objects caught in various degrees of contact with the chewing gum. The interviews will be interspersed with video clips of 1980s coverage of the chewing gum ban in Singapore as well as other video snippets.
RACAR, revue d'art canadienne, Canadian art review, 1996
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'
McGill-Queen's University Press eBooks, Jul 21, 2008
Oxford Art Online, Sep 22, 2015
Journal of curatorial studies, Jun 1, 2013
Amerasia Journal, 2007
... There are of course other overlapping histories of ra-cial injustices in this country. ... 14... more ... There are of course other overlapping histories of ra-cial injustices in this country. ... 14. This is contrast to, for example, representations in film, notably Karen Cho's documentary, In the Shadow of Gold Mountain (NFB, 2004). 15. ...
Afterall, Sep 1, 2018
Alice Ming Wai Jim analyses Lee Wen’s Yellow Man performance-actions in light of the global disse... more Alice Ming Wai Jim analyses Lee Wen’s Yellow Man performance-actions in light of the global dissemination of racist ideology.
Journal of Visual Culture, Dec 1, 2007
Resources for Feminist Research, 2004
... Angelique George Elliott Clarke 65 Examining Racism and Criminal Justice The Advancement of a... more ... Angelique George Elliott Clarke 65 Examining Racism and Criminal Justice The Advancement of a Defence Based on Section 15 (1) of the Canadian Charter of Rights and Freedoms Faizal R. Mirza 85 Criminological Research on" Race" in Canada Wendy Chan 103 Questions ...
Captus Press Inc., 2018
"Drawing from the established fields of “African American Art History”, “Race and Representa... more "Drawing from the established fields of “African American Art History”, “Race and Representation”, and the “Visual Culture of Slavery”, Charmaine A. Nelson and her colleagues — a group of established and up-and-coming artists, scholars, and cultural critics — argue for an African Canadian Art History that can simultaneously examine the artistic contributions of black Canadian artists within their unique historical contexts, critique the colonial representation of black subjects by white artists, and contest the customary racial homogeneity of Canadian Art History." -- Publisher's website
Among the most significant examples of new media art in China to first receive critical attention... more Among the most significant examples of new media art in China to first receive critical attention are those that tend towards re-engineering early video games while riffing off on aspects of the 1990s' 'political pop' movement. Are these works the product of, or interventions into, the current parameters established for Chinese media, political censorship and game worlds? How might they reflect the fault lines of the growing interest in networked cultures and participatory media in contemporary art and in general? Through personal vignettes and playful moments, this article argues that one of the politico-cultural implications of the Mao Goes Pop art movement going digital concerns the link between digital art's 'precarious playbour', the rise of gaming in Asia, and emergent techno-Orientalist discourses about media art and technologies in China. Since the 1990s, game art by Feng Mengbo (b. 1966) and other artists is introspective of not only the transnational art world but of global media convergence as well. KEYWORDS media art, China, Feng Mengbo, Political Pop, playbour, video games 'political pop' genre in contemporary Chinese art. Focusing on the game art installation, Long March: Restart (2006-2008), by Beijing artist Feng Mengbo (b. 1966), this article argues that one of the politico-cultural implications of the Mao Goes Pop art movement going digital, 8-bit to be precise, concerns the link between digital art's 'precarious playbour' that 'effectively masks labour as play' (Kücklich 2005), the rise of gaming in Asia, and emergent techno-Orientalist discourses about media art and technologies in China. These artworks are not only products of but also interventions into the current parameters established for Chinese media, political censorship and game worlds, reflecting the fault lines of the growing interest in networked cultures and participatory media in contemporary art in general. In the second half of the article, I bring in three 2 personal vignettes, or what I call snapshot scenarios, that are related to game art and recent digital and visual culture in China. These scenarios enable other optics into how, since the 1990s, Feng's game-related works have been progressively introspective of the transnational art world and global media convergence. The term 'game art' used in this article is as defined by Matteo Bittanti: 'game art is any art in which digital games played a significant role in the creation, production, and/or display of the artwork' (2006: 9). With the 'Beijing International New Media Arts Exhibition and Symposium' since 2004, followed by the 'International Triennial of New Media Art' since 2008 (with three editions to date), there is a substantial discourse on Chinese media arts (ranging from video art, digital art and animation to flash art and sound art) emerging both in China and abroad, one in which Feng's work also figures regularly, if sporadically. Since the first video art exhibition curated by Wu Meichun in 1996 in Hangzhou (capital of East China's Zhejiang Province) where the China Academic of Fine Arts is located, to the tenth and eleventh Documenta exhibitions in Kassel, Germany, both of which Feng participated in, media arts in China has come a long way from 1988 when Hangzhou-based artist Zhang Peili used a video camera to record a performance exhibition he staged. In his book Performance Art in China, art historian and curator Thomas J. Berghuis makes the distinction between two early strains of media arts, circa 1994-2004, in terms of highbrow (intellectual) or lowbrow (popular) culture, writing that 'Yang Fudong and Feng Mengbo represent an important generation of artists who grew up during the Cultural Revolution (1966-1976), and their works become useful in distinguishing two different approaches to new media art in China over the past decade' (Berghuis 2006: 137-9). The new media artworks discussed in this article prove these categories to be more fluid in the context of recent game art.
Oxford Art Online, Sep 22, 2005
Oboro eBooks, 2017
I n an era where fake news and alternative facts ominously sediment into false history, no wonder... more I n an era where fake news and alternative facts ominously sediment into false history, no wonder the early twenty-first century has been preoccupied with ways in which ghosts of the past and our lost futures with knowledge of events yet to come, inhabit and haunt our troubled present. In DIY Haunt, Yen-Chao Lin provides an opportunity to experience spectral modes of being through an intensely personal hauntology that invokes an unsettling diasporic view of the present. Haunted
Ciel variable : Art, photo, médias, culture, 2012
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.
McGill-Queen's University Press eBooks, Jul 18, 2017
esse arts + opinions, 2013
"This exhibition seeks to examine the role of marginalization in everyday life and its influ... more "This exhibition seeks to examine the role of marginalization in everyday life and its influences on artistic practices. The goal is to create a framework that allows for empathetic viewing of works of art concerning experiences that may not be akin to one’s own. In this way, it is hoped that visitors can become more aware of the ways in which empathy goes beyond acceptance and challenges normative assumptions about the lived experiences of others." -- p. 1.
Leonardo, 2006
of the most conspicuous and controversial policies of the Singapore government, it is no surprise... more of the most conspicuous and controversial policies of the Singapore government, it is no surprise that this move has aroused several political sensitivities. It is fascinating how this ban on chewing gum has unfavorably positioned Singapore internationally. Today, Singapore still upholds the ban on the import of chewing gum but in a provision of the FTA has given in to the limited import of therapeutic chewing gum (e.g. nicotine gum). In this work, we seek to problematize the notion of free trade by reflecting on the ways in which it brings deeper cultural and political differences to the forefront. Toward this end, our video installation is composed of interviews with Singaporeans who are asked to express their views about the FTA, free trade, U.S. imports and their cultural meanings (liberal values, consumer lifestyles, etc). Placed on the floor of a 20-ft container shipped from Singapore to the U.S.A. is a blob of chewed-up gum approximately 10 ft in diameter. Embedded in it are two TV screens showing the interviews and a number of symbolic objects. The installation will allow the audience to move around and look at the two TV screens, which are mounted horizontally, at a comfortable height, as well as at the other embedded objects. The items in the heap, placed at different positions and angles, will consist of a variety of everyday objects caught in various degrees of contact with the chewing gum. The interviews will be interspersed with video clips of 1980s coverage of the chewing gum ban in Singapore as well as other video snippets.
RACAR, revue d'art canadienne, Canadian art review, 1996
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'
McGill-Queen's University Press eBooks, Jul 21, 2008
Oxford Art Online, Sep 22, 2015
Journal of curatorial studies, Jun 1, 2013
Amerasia Journal, 2007
... There are of course other overlapping histories of ra-cial injustices in this country. ... 14... more ... There are of course other overlapping histories of ra-cial injustices in this country. ... 14. This is contrast to, for example, representations in film, notably Karen Cho's documentary, In the Shadow of Gold Mountain (NFB, 2004). 15. ...
Afterall, Sep 1, 2018
Alice Ming Wai Jim analyses Lee Wen’s Yellow Man performance-actions in light of the global disse... more Alice Ming Wai Jim analyses Lee Wen’s Yellow Man performance-actions in light of the global dissemination of racist ideology.
Journal of Visual Culture, Dec 1, 2007