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<h3 style="margin-top:0;"><a style="font-weight: 500; font-size: 21px;line-height: 30px; margin-top:25px; margin-bottom: 10px;" href="http://u.osu.edu/mclc/2017/03/07/chinese-art-outside-the-art-space-cfp/" target="_blank">Chinese Art Outside the Art Space–cfp</a></h3>
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<p>Call for Papers<br />
The 10th Annual Conference, the Centre for Chinese Visual Art, Birmingham City University</p>
<p><b>CHINESE ART OUTSIDE THE ART SPACE</b><br />
Thursday and Friday, 12-13 October 2017<br />
School of Art, Birmingham City University<br />
Margaret Street, Birmingham, England</p>
<p>The <b>Centre for Chinese Visual Arts (CCVA)</b> at Birmingham City University aims to foster new understandings and perspectives of Chinese contemporary arts, design and visual culture through interdisciplinary practices and theoretical studies. During its first decade, CCVA has established a unique position in the UK to pioneer the research in the field. We are now convening this two-day Annual Conference to invite researchers, curators, art historians, critics and artists at all stages of their careers worldwide to contribute to the topic, marking the 10<span class="s2"><sup>th</sup></span><span class="s1"> anniversary of the Centre.</span></p>
<p class="p4"><span class="s1">Historically, in China, ‘art outside the art space’ can be understood as both a cultural and a political proposition. From a cultural point of view, the notion of public ‘exhibition’ is entirely Western, whilst in the Chinese tradition of literati art for example, artworks were made, shared, and appreciated within the form of scholarly ‘elegant gathering’ (<i>yaji</i>), which was essentially a kind of private (rather than public) event within secluded (rather than institutional) spaces. From a political perspective, the ‘outside-ness’ immediately relates to the ‘unofficial’ status of contemporary Chinese art from its early development. For example, the first Star Group exhibition in September 1979 – generally acknowledged as the very first show that marked the beginning of contemporary art in China – was staged in a small public park just next to the China National Art Museum, outside the legitimated and official art space. Today, the situation of Chinese art taking place outside the museum and gallery spaces continues, but with a completely different momentum and agenda.</span></p>
<p class="p4"><span class="s1">Art has been produced site-specifically for the spaces other than art institutions in China, including those of working venues, shown in a range of alternative spaces beyond galleries or museums, and has ‘happened’ in the public sphere and become political or social ‘events’, or artistic ‘incidents’, as a special form of ‘exhibition’. Creative curatorial and artistic strategies have been developed to respond to the constraints of art institutions, censorships and at the same time, to push the boundaries of art. Focusing on art made, displayed, performed or executed outside the conventional venues of art museums and galleries, this conference not only offers a unique perspective to understand Chinese art in the contemporary context, but also, more importantly, it aims to critically reflect upon the understandings between art and art exhibition, between artistic productions and audience perceptions, and between art and our daily life.</span></p>
<p class="p5"><span class="s1">We invite papers from innovative and interdisciplinary perspectives to develop new understandings of Chinese contemporary art. The following series of relationships in the context of Chinese art and culture is seen indicative, but not limited to the discussions:</span></p>
<ul>
<li class="p1"><span class="s1">China’s art museums, galleries and alternative spaces</span></li>
<li class="p1"><span class="s1">Curatorial strategies and artistic responses beyond institutional spaces</span></li>
<li class="p1"><span class="s1">Exhibitions, events and incidents</span></li>
<li class="p1"><span class="s1">Art production, dissemination, participation and reception</span></li>
<li class="p1"><span class="s1">Performance and performativity</span></li>
<li class="p1"><span class="s1">Art and everyday life</span></li>
<li class="p1"><span class="s1">Contemporary art and censorship</span></li>
</ul>
<p class="p5"><span class="s1">Please submit an abstract of up to 300 words, a 100-word biography, contact information and any institutional affiliations, <b>by 31 March 2017 to </b><a href="mailto:ccva@bcu.ac.uk"><span class="s5"><b><a href="mailto:ccva@bcu.ac.uk">ccva@bcu.ac.uk</a></b></span></a>, with a subject titled ‘10</span><span class="s2"><sup>th</sup></span><span class="s1"> Annual Conference’. Any general queries should also be directed to <a href="mailto:ccva@bcu.ac.uk"><span class="s5"><a href="mailto:ccva@bcu.ac.uk">ccva@bcu.ac.uk</a></span></a>. Conference presentations should last no more than 20 minutes. Successful proposals for conference contributions will be notified in early April 2017. Invited full papers should be completed by 28 February 2018, to be featured in <i>Journal of Contemporary Chinese Art</i> (Intellect) as a special issue in autumn 2018.</span></p>
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by <a href="mailto:denton.2@osu.edu">denton.2@osu.edu</a> on March 7, 2017 </div>
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