Gray Carnival: Chinese Contemporary Art Since 2000

Contents
1 Prologue
1 A Tempest of Violence
2 An Encounter Thanks to the Olympic Cycle
3 The Chinese People’s Republic of Art
4 Reversal of Identity
5 “Carnival” and “Grayness”
References
2 Hostages to Ideology
1 Suspension and Juxtaposition
2 Second History
3 Between Witness and Delight
4 Phenomenon and Idol
5 Political Rehearsal
References
3 The Reemergence of Form
1 Painting: A Collective Shift
2 Only One Gram
3 Parodies of the Realistic Approach
4 Depiction of Mental Reality
5 Scenery of Detachment
6 Responses to Consumerism
7 Exodus from Sculpture
8 Between Knowledge and Body
9 Sculptural Tableaux and Grass-Roots Expression
9.1 Self-presence of the Feminine
Reference
4 Trans-experience: Expansion of Boundaries
1 Anti-monumental Monuments
2 The Unfinished Zen Garden
3 Internal “Trans-experience”
4 The Possibility of De-localization
5 Dynamic Settings and Repositioned Borders
6 Interactivity, Video Installations, and Anime
7 From “Tedious Long Shots” to “Sub-narrative”
8 Myth of Cinema
9 Magical Narrative and Minimalism
10 Necessary Offering
11 Double Political Incorrectness
12 Journey to the Unseen
13 Post-colonialism and Oriental Identity
14 I Am a Silkworm
References
5 Dual Otherness
1 Doctrines of Ink Art in Crisis
2 “Savor” and “Separation”
3 “New Literati Painting” and “Experiments in Abstraction”
4 The Presence of the Absentee
5 The Marvelous Effects of Leaving White Space
6 A Basketful of Flesh
7 Bearing Allegorical Witness
8 Magic of Emptiness
9 Disappearance of the Folding Screen
References
6 Conclusion
1 Roused from Dreams of a “Garden” Frolic
2 Underworld and Ancestral Temple
3 History is a Chaotic Ledger