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16 Taylor (2005, pp. 11–12). 21 onwards) and Documenta (begun in 1955) became established in the immediate aftermath of World War II, those exhibitions were conceived primarily, in the first instance at least, as a focus for post-conflict reconstruction and reconciliation based on an upholding rather than a critical problematization of the values of western modernism. In spite of efforts to encompass non-western diversity, such as Harald Szeemann’s unsuccessful attempt to exhibit Rent Collection Courtyard (Shouzuyuan) (1965), a hugely ambitious socialist-realist sculpture produced in the PRC, at Documenta (1972),17 post-war international art exhibitions of this sort tended to present European/North American artistic discourses and practices as a progressive cultural norm, thereby excluding as irrelevant or secondary artworks divergent from or resistant to that perceived norm.

28 standing of the country’s ruling Communist Party. 42 This cumulative battery of laws and directives, as well as the often clandestine means used by the state to police them,43 has created discursive conditions under which most artists and curators working within the PRC, and particularly in mainland China, choose to adopt oblique strategies of resistance involving the careful allegorization/encoding of intended critical significances rather than open resistance to authority. Among the subjects that have effectively been placed off limits by these discursive restrictions is any public questioning of majority Han Chinese rule over minority ethnic groups such as those in the Tibetan and the Xinjiang Uighur Autonomous Regions in the west of China.

The work of the critical interpreter of contemporary Chinese art, as well as of the transnational cultural networks that support its production, display and reception (whether Chinese or non-Chinese), is thus revealed to be a profoundly challenging one, which points towards the critical necessity of new (and almost certainly wholly imperfectable) theoretical paradigms beyond those currently envisaged both within the PRC and in an international context. F. Hegel and Jean Genet to pervasively unsettling critical effect.

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A Love Affair by Dino Buzzati


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