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  • Yishu典藏國際版 [第102期]:Henry Heng Lu, Vennes Cheng Sauwai and Stephanie Bailey explore diasporic discourses
  • 點閱:373
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  • 並列題名:Yishu: Journal of Contemporary Chinese Art
  • 作者: Yishu Office編輯
  • 出版社:典藏雜誌社
  • 出版年:2021.11-2022.04
  • 格式:PDF,JPG
租期7天 今日租書可閱讀至2024-08-01

本期內容簡介

INSIDE
On Fung Man Yee’s Interview with Ricky Yeung

FROM THE ARCHIVE:
An Interview with Ricky Sau Churk Yeung, Fung Man Yee and Cheung Suet Fong

PAUSE:
Reflecting on Hong Kong's recent past and political present through photography and poetry

SOCIAL DISCOURSE:
Gu Ling takes a look at China's popular book art and design fairs
 

雜誌簡介
 
《典藏國際版》為全球第一本專注於中國當代藝術和文化的英文雜誌,自2002年5月創刊以來,經過十年的努力,終成為藝術和學術領域最令人注目的期刊之一。如今它出現在諸多國家的大學、美術館和圖書館中,為中外學者提供了跨文化對話溝通的一個重要平台。
 
About Yishu

 
Yishu: Journal of Contemporary Chinese Art is the first English language journal to focus on Chinese contemporary art and culture. Each bi-monthly issue features scholarly essays on topical issues, interviews with artists and curators, conference proceedings, and critical commentary on exhibitions and books. Yishu offers a platform for a wide range of voices who are living and telling the story of contemporary Chinese art from a diversity of perspectives, and who provide dialogue and debate around current visual and literary forms produced within what constitutes an expanded understanding of contemporary Chinese art.
 
Since its inauguration in May 2002, Yishu has raised its profile internationally to become one of the most respected journals devoted to contemporary Chinese art. Appealing to professionals in the art and academic fields, as well as art enthusiasts in general, Yishu is now the journal of record for the high quality coverage of issues and events pertinent to Chinese art today. Its high standard of critical writing by thinkers from around the world allows us to voice ideas that communicate across cultures.
  • Editors’ Note(第1頁)
  • Contributors(第5頁)
  • From the Archive(第8頁)
    • On Fung Man Yee’s Interview with Ricky Yeung(第8頁)
    • We Are the World: Reality and Absurdity—An Interview with Ricky Sau Churk Yeung, Fung Man Yee and Cheung Suet Fong(第9頁)
  • Hong Kong as a Place from Afar(第17頁)
  • The Spatial and Aural Expression of Displacement in Jia Zhangke’s Mountains May Depart(第25頁)
  • The Queer Global South: Enacting Minor Transnationalism Between China and Africa(第35頁)
  • Transnational Chinese Theatres in Pandemic Times(第47頁)
  • Pause(第52頁)
    • Hong Kong, Xianggang (1980–1997)(第52頁)
    • Travellers(第63頁)
    • Forget Not(第64頁)
    • Words Spoken into the Wind(第65頁)
    • August(第66頁)
  • Diasporic Drifts: A Visualization of Diverse Chineseness(第69頁)
  • We Become . . . On History’s Embodied Glitches(第81頁)
  • The Door Opens: China’s “New” Art Comes to America(第95頁)
  • How a Yawn Became Ideologized: A Study of the 1993 The New York Times Magazine Cover Story on Chinese Contemporary Art(第111頁)
  • Social Discourse Outsider Art Fairs Have Become the New “Insiders”(第121頁)
  • Chinese Name Index(第126頁)
紙本書 NT$ 700
單本電子書
NT$ 460

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租期7天
今日租書可閱讀至2024-08-01
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