Hostname: page-component-848d4c4894-75dct Total loading time: 0 Render date: 2024-05-21T04:08:37.743Z Has data issue: false hasContentIssue false
  • English
  • Français

Interviews and documentary sources in Chinese contemporary art research: Towards the critical use of polylogues

Published online by Cambridge University Press:  06 June 2016

Paul Gladston
Paul Gladston*
Affiliation:
University of Nottingham, Trent Building, University Park, Nottingham NG7 2RD, UK
*
Email: paul.gladston@nottingham.ac.uk
Get access

Abstract

This article gives an account of the research methods and editing procedures used to inform the production of two recent books, Contemporary Art in Shanghai: Conversations with Seven Chinese Artists and ‘Avant-garde’ Art Groups in China, 1979-1989, focusing on issues related to the use of interviews and documentary sources in Chinese contemporary art research. As well as drawing attention to a range of contingent factors impinging on the reliability of interviews and documentary sources within the particular discursive contexts of China and to ways of mitigating their effects, it argues for the productive possibilities of the serial use of interviews in combination with other texts as critical polylogues.

Type
Research Article
Information
Art Libraries Journal , Volume 39 , Special Issue 2: Special Issue: Chinese Art Documentation in China, UK and USA , 2014 , pp. 20 - 26
Copyright
Copyright © The Art Libraries Society 2014

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1. Gladston, Paul, Contemporary Art in Shanghai: Conversations with Seven Chinese Artists (Hong Kong: Blue Kingfisher/Timezone 8, 2011).Google Scholar
2. Gladston, Paul, ‘Avant-garde’ Art Groups in China, 1979-1989 (Bristol: Intellect, 2013).Google Scholar
3. Berghuis, Thomas J., Performance Art in China (Beijing: Timezone 8, 2006).Google Scholar
4. Koppel-Yang, Martina, Semiotic Warfare: The Chinese Avant-garde, 1919-1989-A Semiotic Analysu (Beijing: Timezone 8, 2003).Google Scholar
5. Gao, Minglu, The Wall: Reshaping Contemporary Chinese Art (Buffalo: Albright-Knox Gallery and Beijing: Today Art Museum, 2005).Google Scholar
6. Derrida 1972; Derrida, Jacques, ‘What is a “Relevant” Translation?’, Critical Enquiry 27(2), (2001), 174–200;CrossRefGoogle Scholar
Bhabha, Homi K., The Location of Culture (London and New York: Routledge, 1994).Google Scholar
7. Ulmer, Gregory L., ‘The Object of Post-criticism’ in Foster, Hal (ed.), Postmodern Culture (London: Pluto, 1985), 83–110.Google Scholar
8. Bhabha, , The Location of Culture, 53.Google Scholar
9. Derrida, Jacques, Glas (Paris: Editions Galilée, 1974).Google Scholar
10. Wimmer, Franz Martin, Interkulturelle Philosophie (Vienna: UTB, 2004).Google Scholar