중국 현대미술과‘ 노마딕 레디메이드’ = 아이웨이웨이와 니하이펑

다국어 초록 (Multilingual Abstract)

Since the 2000s Ai Weiwei(艾未未) and Ni Haifung(倪海峰) has used readymade in their collaborative works to convey the dire circumstances in which Chinese workers can be compared with western consumers, especially under the western-centered market capitalism on a global scale. Hereby, I coined the term “nomadic readymade” to examine the recent development of readymade works transnationally manufactured and exhibited in contemporary Chinese art. Ai Weiwei’s Sunflower (葵花?, 2010) sheds a light upon the dire circumstances of the chinese workers under communist government while it also indicates the 17th and 18th century colonial history related to fair trade of the Dutch East India Company and Chinese porcelain workshops. In a similar vein, Ni Haifung collected 15 tons of left-over and garbage fabric from one of the factories in Habei(河北) area and exhibited at Manifesta in 2008 to make western audience/potentially consumer to stitch fabric and to question the division between Chinese workers and western consumers in Para-production (2007-2008).

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 본론
• Ⅲ. 결론
• 참고문헌
• Abstract

참고문헌 (Reference)

1 Jervis, John, "“Sunflower Seeds, Ai Weiwei”, Art Asia Pacific 72" Art Asia Pacific

2 Ni Haifeng, "“Conversation between Ni Haifeng and Pauline J. Yao”, Pauline Yao, Ni Haifeng: Para-production" Timezone 8 Limited

3 Grube, Katherine, "“Ai Weiwei Hospitalized After Beating” Art Asia Pacific 66"

4 Brouwer, Marianne, "“A Zero Degree of Writing and Other Subversive Moments: An Interview with Ni Haifeng”, in Ni Haifeng and Roel Arkestein, No-Man’s-Land: Ni Haifeng" Artimo

5 Valentine, Ben, "Where Do Ai Weiwei’s Sunflower Seeds Begin and End?" Hyperallergic

6 Faris, Jaimey Hamilton, "Uncommon Goods: Global Dimensions of the Readymade" Intellect Press and University of Chicago Press 2013

7 Appadurai, Arjun, "The Social Life of Things: Commodities in Cultural Perspective" Cambridge University Press 1988

8 Finlay, Robert, "The Pilgrim Art: The Culture of Porcelain in World History" 9 : 141-187, 1998

9 Brown, Bill, "The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play" Harvard University Press 1997

10 Volker, T, "Porcelain and the Dutch East India Company, 1602-1683" 1955

11 Higgins, Charlotte, "People power comes to the Turbine Hall: Ai Weiwei’s Sunflower Seeds" The Guardian

12 Tate Modern, "One-to-One With the Artist: Visitor’s answer to: What does this work say about society?" Tate Modern

13 "Of the Departure and the Arrival: The Project Proposal" Artist’s Statement

14 Brouwer, Marianne, "Ni Haifung, The Return of Shreds" Valiz/Museum De Lakenhal 2008

15 Ni Haifeng, "Haifeng: The Return of the Shreds" Valiz/Museum De Lakenhal 2008

16 Zheng Bo, "From Gongren to Gongmin: A Comparative Analysis of Ai Weiwei’s Sunflower Seeds and Nian" 11 (11): 117-133, 2012

17 Marx, Karl, "Economic and Philosophical Manuscripts of 1844" Dover 2012

18 Fang Zhuofen, "Chinese Capitalism" St. Martin’s. Press 308-326, 2000

19 Le Corbeiller, Clare, "China into Delft: A note on visual translation" 26 (26): 269-276, 1968

20 Montias, Michael. John, "Artists and Artisans in Delft : A Socio-Economic Study of the Seventeenth Century" Princeton University Press 1982

21 Hancox, Simone, "Art, Activism and the Geopolitical Imagination: Ai Weiwei’s Sunflower Seeds" 12 (12): 279-290, 2012

22 Bourriaud, Nicolas, "Altermodern" Tate Pub 2009

23 Barrett, David, "Ai Weiwei: Sunflower Seeds" 343 : 24-, 2011

24 Tate Media, "Ai Weiwei: Sunflower Seeds"

25 Ai Weiwei, "Ai Weiwei: Evidence" Prestel 2014

26 Ai Weiwei, "About Ai Weiwei’s Sunflower Seeds"

27 이보연, "1990년대 중국 아방가르드 미술의 전개와 특징: ‘후89 미술’을 중심으로" 현대미술사학회 (34) : 209-241, 2013