The motivation driving this research stems from an interest regarding the emergence of pop art in China, particularly with the arrival of 'Political Pop' in 1988. Three years after Rauschenberg’s ROCI exhibition in Beijing, Wang Guangyi presented his first Pop practice with Mao’s portrait covered with red grid. During the early 1990s, Chinese artists made significant contributions to ‘Cultural Pop’, which exhibited a distinct emphasis on the cultural identity of China, sometimes referred to as "Chineseness". Hence, the significance of Pop art within the Chinese context can be perceived as a pivotal aspect in the development of "Chinese contemporaneity" or "Chinese modernity". However, it is important to note that these terms are multifaceted and require a comprehensive analysis. The objective of this research is to examine the role of Pop art language in the setting of present-day China. Existing literature on contemporary Chinese art primarily focuses on either providing a comprehensive historical overview or analyzing individual artists. Pop art in China serves as a crucial artistic medium that has been embraced by artists, art critics, and curators. Therefore, the research questions are formulated by considering two key aspects: "What is the form and the significance of the Pop language in China?" and “In what distinct manners do Chinese art criticism and contemporary art practice demonstrate their manifestations?” This investigation aims to conduct a comprehensive examination of the rationale behind the selection of Pop art language as one of the main forms of expression within the realm of Chinese contemporary art.

Authors:
Xiaoman Li, The Chinese University of Hong Kong, China

About the Presenter(s)
Ms. LI Xiaoman is currently a fourth-year Ph.D. candidate in the Department of Fine Arts at The Chinese University of Hong Kong, Hong Kong.

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