Contemporary art often appears as a riddle, intelligible only to a few metropolitan citizens fluent in its language. On the other hand, despite the bohemian image of artists as struggling and impoverished, artistic careers are hardly accessible to those from disadvantaged backgrounds. This holds true in the Chinese art world as well. Even though peasants are a recurring theme in Chinese art, artists from rural backgrounds are scarce. However, some artists born in the 1970s and 1980s managed to carve out careers in Chinese contemporary art despite their rural origins. How do these artists navigate the formidable structural barriers? How does the urban-rural divide manifest in their artistic expressions? This talk will delve into these questions through a nuanced examination of the artworks of these artists and their personal narratives. Notably, their debut artworks often reflect a journey of reconciliation with the shame and self-deprecation associated with their rural origins. Breaking free from this self-deprecation, they find unique expressions in the aestheticization of manual labour. By exploring their experiences in navigating the challenges inherent in forging artistic careers, this talk sheds light on the symbolic violence and cultural hegemony perpetuated by the urban-rural divide in China, while also highlighting the resilience and self-determination of individuals who endeavour to transcend socio-economic constraints.
The ANU China Seminar Series is supported by the Australian Centre on China in the World at ANU College of Asia and the Pacific.
Image: Still from Freedom Farming, single-channel video of a performance, 5’02’’, 2014, copyright of Li Binyuan, courtesy of the artist
Event Speakers
Dr Linzhi Zhang
Dr Linzhi Zhang is a visiting fellow at CIW. Her ongoing research examines labour issues in the art world against the backdrop of China’s demanding work culture. She received her PhD in sociology from the University of Cambridge and is currently a British Academy Postdoctoral Fellow at the Courtauld Institute of Art. She also writes for art magazines and catalogues.