Transcultural contemporaneity in the paintings of juan baños in China
DOI:
https://doi.org/10.1590/0101-3173.2022.v45esp2.p101Keywords:
(In)Traducción, Trazos, Transculturalidad, Neobarroco, ContemporaneidadAbstract
The purpose of this article is to explore in the context of Shanghai in regards to the distances and closeness between Chinese and Spanish cultures are revealed, defined and questioned, through the pictorial canvases of Juan Antonio Baños (Spain, 1980). His nomadism or status as a foreigner will raise some doubts about the identity and the place that the artist occupies in the contemporary world. In addition, the contemporaneity of his work suggests some effects according to which the borders disappear, while new ones are erected. The mere gesture of Baños´ artwork in attempting to translate the traces of Shanghai by means of a world of dislocations and citations incites a heterogeneous symphony of varied spaces and times that amplify the possibilities of artistic knowledge between East and West. Drawing from the analysis of a postcolonial framework that stretches from baroque hyperrealism to retro-futurist epistemologies of the city, right up to a kitsch pop art, the article claims that this translatable cultural itinerary displaces the ways of understanding contemporary art in China towards a post-paradigmatic period.
References
APTER, E. The Translation Zone. Princeton: Princeton University Press, 2006.
BAÑOS, J. A. Interview with the artist. 21 Jul. 2016.
BAUMAN, Z. La Vida Liquida. Barcelona: Austral, 2013.
BENJAMIN, W. Angelus Novus. Barcelona: Edhasa, 1971.
BHABHA, H. El lugar de la cultura. Buenos Aires: Manantial, 2002.
BOURRIAUD, N. Relational Aesthetics. Paris: Presses du Reel, 2002.
BREA, J. L. Las Auras Frías. Barcelona: Anagrama, 1992.
CALABRESE, O. La era neobarroca. Madrid: Cátedra, 1999.
CHEN, E. E. The Wang Chao-chün Legend: Configurations of the Classic Chinese. Literature: Essays, Articles, Reviews. CLEAR, v. 4, n. 1, p. 3-22, Jan. 1982.
CHEN E. E. Two-Way Mirrors: Cross-Cultural Studies in Glocalization. Lanham, MD: Lexington Books, 2007.
CHIAMPI, I. The Baroque at the Twilight of Modernity. Oxford Handbook of the Barroque. London: Sage, 1994.
CHOW, R. (Not Like a Native Speaker) On Languaging as a Postcolonial Experience. New York: Columbia University Press, 2014.
CLUNAS, Cr. Art in China. Oxford: Oxford University Press, 1997.
DELEUZE, G. Simulacro y filosofía antigua, en Lógica del sentido. Trad. Ángel Abad. Barcelona: Barral, 1970.
DELEUZE, G. El pliegue. Leibniz y el Barroco. Barcelona: Paidós, 2005.
DELEUZE, G.; GUATTARI, F. Nomadology: The War Machine. New York: Semiotext(e), 1986.
DERRIDA, J. Speech and Phenomena and Other Essays on Husser Vs Theory of Signs. Evanston, Illinois: Northwestern University Press, 1973.
DERRIDA, J. On Cosmopolitanism and Forgiveness: Thinking in action. London and New York: Routledge, 2005.
DERRIDA, J. Espectros de Marx. Madrid: Trotta, 2012.
DERRIDA, J. La diseminación. Espiral/Ensayo, 2015.
ENWEZOR, O. The Postcolonial Constellation: Contemporary art in State of Permanent Transition. Research in African Literatures, v. 34, n. 4, p. 57-82, 2003.
FOSTER, H. Arte desde 1900: Modernidad, antimodernidad, posmodernidad (Arte contemporáneo. Madrid: Akal, 2006.
GREENSPAN, A. Shanghai Future: Modernity Remade. Oxford: Oxford University Press, 2014.
GLADSTONE, P. Permanent (R)evolution: Contemporaneity and the Historicization of Contemporary Chinese Art. Yishu Journal, v. 9, n. 2, May/Jun. 2010.
GILROY, P. After Empire: Multiculture or Postcolonial Melancholy. London: Routledge, 2004.
HANRU, H. Hou Hanru: On The Mid-Ground. Timezone 8, 2002.
HUNG, W. A Case of Being ‘Contemporary’ — Conditions, Spheres, and Narratives of Contemporary Chinese Art. In: SMITH, T.; ENWEZOR, O.; CONDEE, N. (ed.). Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity. Durham: Duke University Press, 2008. p. 290-306.
HSIEN-HAO, L-S..2014. Becoming Butterfly: Power of the False, Crystal Image and Zhuangzian Onto–Aesthetics. In: uredili Ronald Bogue, Hanping Chiu in Yu-lin Lee, (ed.). V Deleuze and Asia, 1–29. Newcastle upon Tyne: Cambridge Scholars Publishing.
JARAUTA, F.; GLUCKSMANN, C. Barroco y Neobarroco. Madrid: Círculo de Bellas Artes, 1992.
LIPOVETSKY, G.; SERROY, J. La estetización del mundo. Barcelona: Anagrama, 2015.
MINGLU, G. Particular Time, Specific Space, My Truth: Total Modernity in Chinese Contemporary Art. In: SMITH, T.; ENWEZOR, O.; CONDEE, N. (ed.). Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity. Durham: Duke University Press, 2008.
MINGLU, G. Total Modernity and the Avant-Garde in Twentieth-Century Chinese Art. Cambridge: The MIT Press, 2010.
RATNAN, N. Chris Ofili and the Limits of Hybridity. New Left Review, v. 224, p. 153-159, 1999.
SMITH, T. What is Contemporary Art? Chicago: University of Chicago Press, 2010.
SPIVAK, C. Translation as culture. In: ST-PIERRE, P.; KAR, P. C. (ed.). In Translation – Reflections, Refractions, Transformations. Amsterdam/Philadelphia: John Benjamins, p. 263-176, 2007.
SPIVAK, Ch. The Politics of Translation. In: VENUTI, L. (ed.). The Translation Studies Reader. 2. ed. New York and London: Routledge, 2009. p. 369-388.
VIRILIO, P. Estética de la desaparición. Barcelona: Anagrama, 2003.
ZHANG, X. Shanghai Nostalgia: Post-revolutionary Allegories. Positions, v. 2, p. 349-387, 2000.
Received: 29/9/2020 - Accept: 06/12/2021
Published
Issue
Section
License
Copyright (c) 2022 TRANS/FORM/AÇÃO: Revista de Filosofia
This work is licensed under a Creative Commons Attribution 4.0 International License.
This is an article published in open access under a Creative Commons license
.
Este é um artigo de acesso aberto distribuído sob os termos da Creative Commons Attribution License.