Creative Systems
Self-Orientalist Art Approach in Representation of Self
Paper Presentation in a Themed Session Elif Dastarli Dellaloglu
The concepts of “East” and “West” have meant always more than just geographical locations. It is being argued that these concepts still continue to have same meanings in the debate over Edward Said’s book Orientalism. Throughout the history, a negative East image and positive West image have been made up from the culture to the philology, from the painting to fine arts. When we are talking about art, the concepts such as “east”, “west”, “center” or “periphery” are controversial meanings. The term of Orientalism has gained a new meaning called self-orientalization of Eastern Societies. In order to evaluate the international art organizations from this point of view is important to understand clearly contemporary art. The international exhibitions/expositions which had been organized in some capitals such as London and Paris since 19th century could be turn to a show of force for all countries in industrial matter. Nowadays, international exhibitions, cultural festivals and biennials which are organized by the sponsorship of private international firms in Europe and the United States, can be a national cultural demonstration of the third world countries. These exhibitions which are organized by this country’s “good image” concerns can be the presentation of what West does want to see in some kind of supply/demand relation. With this study, we are going to scrutinize contemporary art works and exhibitions that are organized with some kind of self-orientalists perception and discuss culture policy.
Hybrid Spaces of Cultural Production: Case Study Art Spaces in Shenzhen
Paper Presentation in a Themed Session Christine Maria Kaiser
In China the separation and agglomeration of urban practices and functions often differ from the ones that can be found in western cultures. This is also the case of many art spaces in Shenzhen. Flagship city of China and the most successful among the four special economic zones instituted by Deng Xiaoping. Shenzhen has been rapidly developing after the Chinese Economic Reform of 1978. The cities art scene is undergoing a fast and dynamic growth. In this context new hybrid forms of art spaces are crystallizing. This research investigates in these new forms of cultural production by analysing the artistic and curatorial practices within a case study of two art spaces. This can be analysed through a dense net of a theoretical framework based on Cultural Studies and a qualitative methodological cluster system based on Grounded Theory. This study aims at shading new light on the development of two hybrid spaces of cultural production in post-reform China and to reveal how these spaces influence the wider system of the urban grid.
Tam-Giao Aesthetics In Visual Arts
Paper Presentation in a Themed Session Kim Thu Le
This paper argues that the aesthetic systems of the East are different from the West, and culturally significant meaning can be lost under a universalising, de-contextualising Western semiotic engagement. The argument is introduced with a comparison between Russian and Japanese art in the 17th century. The paper then examines the nature of Western Formalism and the role of European philosophy in German art, and analyses Buddhist, Taoist and Confucian ideas that contribute to a Tam-Giao aesthetic. This aesthetic is sensuous and embodied in everyday lived experience in Vietnamese and Chinese arts practice. It can easily be missed in formal art historical analysis that frames the world through a Western chronological lens. The author has used qualitative methods and an ethnographic approach to explore the use of aesthetic canons, (formalism from the West and the Tam-Giao aesthetics of the East) used in appreciating artworks. Seven case studies are presented through works by the German artists Anselm Kiefer, Thomas Schutte, Neo Rauch, the Chinese artists Yue Minjun, Fang Lijun, and the Vietnamese artists Truong Tan, Vu Dinh Tuan and Hoang Tuong who deal with the subject of individual and cultural traumas. The author argues that despite the similarity of their content, its aesthetic treatment reflects very different perceptions. The Tam-Giao art of expression develops globally today, therefore this research provides a Western audience with an aesthetic tool to explore in depth the subtly of meanings in the Eastern art of expression.
