Jie Lu
is participant at
A New Geography of Art in the Making
Abstract
The Museum is Flat
I wish to start with the use of two problematic key phrases in the introductory paragraph given for this section: ‘global success’ and ‘before and after 1989’. I wish to address the way in which international audiences choose to understand China from a singular moment and the need to recontextualize the development of its own modernity as a much longer discussion of time, movement and memory concerning the relationship between art and society, local and international. I would like to expand the idea of audiences in relation to the development of 798 and Long March Space as a site that historicizes and complicates the dilemma between public and private, between insider and outsider, examining ideas of value in artistic production.
