Awakenings: Art in Society in Asia 1960s–1990s
Second Anren Biennale
Zao Wou-Ki at Gagosian Gallery, Qin Yifeng at White
Painted Screen—Past and Future
Three Exhibitions at The National Gallery of Victoria
Yishu: Journal of Contemporary Chinese Art is the first English language journal to focus on Chinese contemporary art and culture. Each bi-monthly issue features scholarly essays on topical issues, interviews with artists and curators, conference proceedings, and critical commentary on exhibitions and books. Yishu offers a platform for a wide range of voices who are living and telling the story of contemporary Chinese art from a diversity of perspectives, and who provide dialogue and debate around current visual and literary forms produced within what constitutes an expanded understanding of contemporary Chinese art.
Since its inauguration in May 2002, Yishu has raised its profile internationally to become one of the most respected journals devoted to contemporary Chinese art. Appealing to professionals in the art and academic fields, as well as art enthusiasts in general, Yishu is now the journal of record for the high quality coverage of issues and events pertinent to Chinese art today. Its high standard of critical writing by thinkers from around the world allows us to voice ideas that communicate across cultures.
- 編者手記 Editor’s Note(p.2)
- 作者小傳 Contributors(p.4)
- 自主高於一切—《覺醒：1960至1990年代亞洲社會中的藝術》 Autonomy Above All—Awakenings: Art in Society in Asia 1960s–1990s(p.6)
- 對峙的地圖： 評2019年第二屆安仁雙年展 Maps in Confrontation: A Review of the 2019 2nd Anren Biennale(p.22)
- 趙無極在高古軒 Zao Wou-Ki at Gagosian Gallery(p.30)
- 秦一峰：負抽象 Qin Yifeng: Abstract in Negatives(p.38)
- 作為界面的屏風：評《畫屏：傳統與未來》 The Ubiquitous Interface: Reviewing Painted Screen—Past and Future(p.45)
- 維多利亞國家美術館的三個展覽 Three Exhibitions at The National Gallery of Victoria, Melbourne(p.61)
- 中英人名對照 Chinese Name Index(p.107)