First International Conference Art of the East and East in Arts (AEEA) (original) (raw)
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Modern Art Asia: Selected Research Papers, Issues 1-8
2012
The most incisive and important research papers from the first two years of Modern Art Asia, now in print for the first time. Founded to address the need within art history and art journalism for a space dedicated to the arts of Asia from the eighteenth century to the present, Modern Art Asia is the most significant and innovative inter-regional and inter-disciplinary resource for the discussion of Asian art and culture. For the rising generation of Asian art scholars, this production exists in a globalized interdisciplinary context at the intersection of scholarship, criticism, and the market. Modern Art Asia reflects this discourse through the combination of peer-reviewed research, insightful commentary, presentations by leading contemporary artists and international exhibition reviews. To celebrate the second anniversary of our foundation, Modern Art Asia makes its most incisive original contributions to the field available in print for the first time, in a volume that is a vital addition to any research collection on Asian art.
Contemporary Asian Art and Exhibitions
Thought and Historical Difference, and Ganguly's conceptualisation of the three conferences have been extremely influential in shaping the first theme of this current volume of essays-'world-making'. 2 The keynote papers delivered by Patrick Flores and John Clark at the conference 'The World and World-Making in Art: Connectivities and Differences', are published in this volume. In all, nine authors in this volume gave papers and participated in discussions at the conference (
This article examines how Chinese artists respond to the political and social changes in wartime China, with a focus on two leading figures of the 20th century Chinese artists, Pang Xunqin and Chang Dai-Chien, whose works are currently displayed in the exhibition “Pure Land Images of Immortals in Chinese art” in the Ashmolean Museum. During the Sino-Japanese War (1937-1945), with relocation of art schools and institutions to the wartime capital Chongqing, many artists journeyed to the west of the country and gained artistic inspiration from the historical heritage at Dunhuang and the living resources of the ethnic groups. This research takes approach of case study and explores a fundamental shift of focus in the practice of Chinese art. This paper first provides historical context for the art creation in wartime China. Then it discusses how the discovery of Dunhuang and the ethnographic investigation in the southwest regions have influenced the development of Chinese paintings. The case study on Pang Xunqin and Chang Dai-chien demonstrates a range of ways in which individual artists looked to the past for inspiration and developed their individual styles. An introduction to the history of collecting Chinese paintings, with a focus on the Khoan and Michael Sullivan Bequest in the Ashmolean Museum will also be given.
PANEL SESSION 05 | CONDITION OF CONTEMPORARY ASIAN AESTHETICS
| his paper disc sses abo t the aesthetics of the inawan artists in the postwar era A er the World War II, the artists mostly oil painters in inawa managed to merge the concept of modern art learnt from the mo ements in apan or overseasinto the cultural climate of their homeland. inawa is sit ated in the so theastpart of apan and was once independent as y y ingdom In 1 9, inawa was forced to obey the apanese go ernment, ne ertheless in 19 , had t rned into b rnt gro nd in the Paci c War A er that, the nited tates orces became their go erner, ntil 19 2 herefore, the postwar reco eryof art began from some interchanges between the soldiers of the and the inawan artists who had drawn the postcards or the portraits for sale heir arena was called ishim i Artist illage, which was formed in c 19 It co ld be said that e ery following artistic mo ement in inawa, s ch as Okiten inawa Art hibition, 19 9 , had been born from ishim i hro ghthese acti ities of the artists, it was the most important aesthetical concern what the identity of their paintings was In preceding st dies, there were two artists gro ps abo t this problem one was arealist gro p who had been acti e before the WWII, the other was an abstractionist gro p who had become professional painters a er the war he la er is seen as the modernist painters in inawa Howe er, the real sit ation was more conf sed he a thor had researched the archi es abo t the artists of postwar inawa: their wor s of art, their criti es abo t inawan aesthetics and the records of the artists inter iews ollowing this s r ey, Adaniya Masayoshi 1921 19 , who has beenconsidered as the one of the modernist and semi abstractionist painters, had tried to b ild new tradition In other words, his aesthetics of acti ities was made of the modernism as ni ersal aesthetics and the localism as the new tradition of inawa herefore, the a is of the contro ersy between the pre io s two gro ps was not whether realism or abstractionism, b t how to treat localism in their paintings rthermore, the artists who were a ected by modernist paintings were interested how they co ld e press the c lt ral climate of inawa in their paintings Conse ently, imported modernism is made into their own modernism only a er the paintings ca ght the localism hat is a form of modernism in the small island among the strong political and c lt ral power
2024
ART in the EAST and EAST in ARTS III Beauty and Usus: In Search of Understanding (AEEA / ИВВИ) September 16–18, 2024 The 3rd conference “AEEA: Beauty and Usus: In Search of Understanding” (2024), as before, will unite museum experts, curating collections of art from Asia and Africa, academic and educational institutions’ researchers, dealing with multiple and diverse topics and different periods in history of art of the East. This year’s conference will attempt to formulate both the general and more concrete aesthetical principles of beauty, its existence and/or understanding; both ideal (art in all its diversity) and functional (material culture and everyday objects). We encourage the participants to speculate on the perception of the Beautiful VS Utilitarian in the East to determine ways of possible interaction between these categories in Eurasian and African cultures. The forthcoming Conference is not limited by chronological boundaries: This year we invite speakers to reflect on the formulas that have governed art and material culture, from the Ancient World to the 21st century. Alongside with the Conference the premises of IOS RAS will host several exhibitions “Belated Flowers”, “From Mali to Nepal: Aesthetics of the Utilitarian” and the youth photo show “The East Within”.
2ND CONFERENCE OF THE EUROPEAN ASSOCIATION FOR ASIAN ART AND ARCHAEOLOGY
2017
The Second Conference of European Association for Asian Art and Archaeology University of Zurich, Switzerland August 24–27, 2017 The conference is jointly organized by the European Association for Asian Art and Archaeology (EAAA) and the Section of East Asian Art History (KGOA) at the University of Zurich. The University of Zurich is the only institution of higher learning in Switzerland where the subject of East Asian art history can be studied as a full program. Museum research constitutes an important part of the department’s activities and its broader aim is to promote the discipline of East Asian art history, both within Switzerland and within Europe. The KGOA is proud to host the conference as a founding member of the EAAA.
SOMETHING IN COMMON 1. Introduction. Modern Asian Conditions which brought about Avant-garde Performance Art Recently, there was an exhibition titled Awakenings: Art in Society in Asia 1960s-1990s. 1 After World War 2, throughout Asia, there was a transformation of the established social structure caused by drastic changes such as industrialization, urbanization and democratic movements. Coinciding with the Zeitgeist of this period, the form and function of art also changed. Having identified the resonances between the radical and experimental art practices of each Asian country, the curators of the exhibition presented the keyword 'awakening' which refers not to awareness through external (Western) intervention, but to the emergence of political awareness, new artistic attitudes, and a newfound sense of subjectivity as the driving force behind the change of the art practice paradigm. Under this premise, the exhibition dismantled the distinction between 'Social Realism/Activism' and 'Experimental Art/Conceptualism,' and incorporated these into the radical art practices triggered by the 'awakening.' 2 As the exhibition revealed, radical art trends recognized as 'avant-garde' emerged in Asian countries after World War 2. 'Avant-garde' is a concept related to the attitude toward art rather than its form, and its essence is the deconstructive criticism of modernity and the re-connection between life and art. Therefore, 'avant-garde,' whose core is not an external form but a relationship to practical life, was the concept that enabled postwar artists, who had internalized Asian hybrid modernity, to bring criticism to the fullest extent, and to present more autonomous contemporary art. At this point, I will briefly mention the ACC (Asia Culture Center) Archive and Research's 'Performance Art in Asia' Archive to elaborate the modern conditions of the Asian avant-garde. This project highlighted performance art as the front line of avant-garde based on the similarity of sociocultural conditions as Asian avantgarde appeared when each country commonly experienced the instability of domestic politics, rapid economic growth, and the aspiration of democratization with the growth of cultural consciousness. Namely, Asian avant-garde art emerged based on new subjectivities that appeared in the transitional period and performance art, especially, is a significant index to understand it.