Installation Art and China’s Political Nature, Lies in Network and Discourse

kim Young Mi

doi:10.18212/cccs.2015..27.005

The Journal of Chinese Cultural Studies

2015, (27), pp.113-137
DOI : 10.18212/cccs.2015..27.005
Publisher : The Society For Chinese Cultural Studies
Research Area : Chinese Culture

kim Young Mi ¹

¹한국외국어대학교

ABSTRACT

This paper has its focus on examining two contemporary Chinese artists, Ai Weiweiand Huang Yongping, and the politics that is created by a discourse strategy in theworks of these two installation artists. The main focus of this essay are twofold. One is the materiality that is in theinstallation artwork itself. This indicates a one-time, space taking and planetary objectin the artwork. This kind of installation artwork that contains a planetary characteristicforms a discourse that uses a metaphor which does not indicate the reality directly. The other is the futility that is within the artwork. The phrase “No use for anything”indicates everyone aesthetically or economically, and the artwork that is visible to thenaked eye is made up of things that have nothing to do with political issues. Theseworks are made impossible to be a private artwork or goes through a list of a stunningvisualization and incredible size for the audience to experience a event-like nature. Thisis new form of knowledge network operation that does not become abandoned. Intensefeelings that the artwork gives does not directly contact with the physical materializationthat the artwork shows, but the message that the artwork gives is strongly performed. Therefore by a new discourse strategy that is created between Ai Weiwei and HuangYongping that contains the two natures above, the matter that is created by amaterialization and the abstraction that seems useless embodies into the political domain. In addition, the overall framework of this paper, so to speak, submitting invisibletestimonies and the theory that artworks can be made political through the materializingoperation was brought from Jacques Rancière.
KEYWORDS

Post-socialism, Discourse Strategies, discourse, network, installation art works, objects, allegory, Jacques Rancière 이
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