The aesthetics of export in Chinese art outside China

Abstract

This article counters the prevailing and frequently disparaging economic and diplomatic associations of the term ‘export’ in discussions of contemporary Chinese art, and especially those artists who live and work outside China. Drawing attention to the previously underacknowledged political, social and affective aspects of this term, the article offers a new reading of foundational works by Huang Yong Ping (1954‐2019), resident in Paris from 1989 until his death; Ni Haifeng (b. 1964), resident in Amsterdam since 1994; and Cai Guo-Qiang (b. 1957), resident in Tokyo from 1986 to 1995, then subsequently in New York. The article also highlights a concern shared by these artists with the persistence of colonial legacies in contemporary global capital, the connections uniting past and present modes of production and consumption and the essentializing impulses of chinoiserie, Pan-Asianism and related cultural trends. The combined study of these themes is intended to introduce a renewed focus on contexts of display and interpretation, and material, subjective and affective dimensions of meaning, to our understanding of these canonical works.