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  • 1.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies.
    Ai Weiwei @ Helsinki på Helsinki Art Museum 25 september, 2015 – 28 februari, 20162015In: Kinarapport, ISSN 1404-3874, Vol. 4, p. 72-75Article, book review (Other (popular science, discussion, etc.))
  • 2.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies.
    Aspects on writing about contemporary Chinese Art: The bridal couple as a theme, 1980–20062007Conference paper (Other academic)
  • 3.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Oriental Languages.
    “Bridal Couples": On Hybridity in Conceptual Chinese Photography 1995–20092013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Chinese art of the 1990s responded to the many changes in the environment and thereby to changes in personal lives. Many Chinese artists of the time were therefore concerned with their selves and their works reveal explorations of personal identity. The medium of photography proved particularly suitable for expressing individuality in a rapidly transforming urban society. A growing number of independent conceptual photographic artists departed from official documentary photography, fetching inspiration from international art and postmodern theory. The bridal couple as a motif in conceptual Chinese photography started to appear in the mid-1990s, coinciding with the development of the consumer society, growing market freedom, foreign imports and the creation of an art market. The bridal couple in conceptual tableaux reveals an intriguing mixed appearance: the images introduce subtle recognition of signs and symbols from both near and afar, calling to mind issues of hybridity. Such hybridity is also something which makes interpretation of these images complex. By means of deep-analysis of eight conceptual photographs by seven artists, this study employs Homi K. Bhabha’s concepts to try out a method in which the images are located in the dynamic process of culture, that is in the Third Space. This method opens up the cross-cultural paradoxes as sites for interpretation: thus the focus of this study lies in unlocking the images to interpret them in their hybrid condition. An important challenge has been to lay bare how works with such mixed appearances communicate in their own right, and not as mere imitations of canonised works of art. By evaluating a number of foreign and domestic symbols in the images, new meanings are revealed, depicting a variety of issues tied to the Chinese cultural context. There are many conceivable reasons why artists in China should have adopted foreign symbols as form of expression; a context is outlined so that this type of art can be discussed from the point of view of the history of photography, marriage customs, bridal portraiture and the art market.

  • 4.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies, Chinese Studies.
    Frankenstein and his Bride in a Conceptual Chinese Work of Photography2014Conference paper (Other academic)
  • 5.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies.
    Frankenstein’s monster as translation: Articulations of artistic creativity, individuality and freedom of expression2016In: Journal of Contemporary Chinese Art, ISSN 2051-7041, Vol. 3, no 1-2, p. 47-67Article in journal (Refereed)
    Abstract [en]

    This article presents an interpretation of conceptual artist Qiu Zhen’s photographic work Me and My Bride: Satan’s Wedding No. 5 (2008) within the theoretical framework of Homi K. Bhabha’s Third Space. Because of its hybrid status and the work’s subtle likeness to certain visual elements related with the story of Frankenstein the interpretation is closely connected to that narrative. More specifically, the article uses this particular literary-photographical and cross-cultural panorama to explore artistic creativity, individuality and freedom of expression as articulated in this conceptual and postmodern work that was produced in the wake of preparing for the 2008 Olympic Games. The article further explores how something foreign like Frankenstein may engage with ‘Chineseness’ and how ‘Chineseness’ may be emphasized through the usage of something foreign. Thus this article approaches the concept of ‘Chineseness’ as a wearer of a foreign coat, negotiating the hybrid as a highly performative but softly speaking political product on the Chinese art scene.

  • 6.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies.
    Från salong till iscensättning: Fotografiet i Kina2015Conference paper (Other academic)
    Abstract [sv]

    Föreläsningen handlar om hur fotografiet nådde Kina och hur mediet sedan starten influerats av västerländsk, inhemsk kinesisk kultur och japanska trender. Med utgångspunkt i porträtt och salongsfoto på 1840-talet följer föreläsnigen utvecklingen fram till dagens internationellt uppmärksammade iscensatta fotografi och diskuterar hur det kan tolkas och förstås.

  • 7.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies, Chinese Studies.
    Gränslös prakt i Östasiatiska museets samling2016In: Kinarapport, ISSN 1404-1855, no 4, p. 82-85Article in journal (Other (popular science, discussion, etc.))
  • 8.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Oriental Languages.
    "I do, I do, I do, I do" i Kina: Bröllopsfotografier av två kinesiska konstnärer2006In: Kina-rapport, ISSN 0345-5807, Vol. 4, p. 50-59Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Konsten i dagens Kina berättar om bröllop ur andra synvinklar än det romantiska. Det finns både fotografier och målningar vilka vänder och vrider på kärleksidealen och konstnärerna funderar kring bröllopets och bindningens roll i ett modernt kinesiskt samhälle.

  • 9.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Oriental Languages.
    I Kinas konst är allt och inget möjligt2014In: Svenska dagbladet, ISSN 1101-2412, no 30 juliArticle in journal (Other (popular science, discussion, etc.))
  • 10.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies.
    Kinesisk konst på OpenART i Örebro2015In: Kinarapport, ISSN 1404-3874, Vol. 4, p. 78-79Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    I år har den femte upplagan av Örebros konstbiennal OpenART gått av stapeln. Den är sedan 2013 den största konstbiennalen i Skandinavien och brukar visa verk av ett sjuttiotal konstnärer från olika delar av världen i stadsrummet och på museer. I år bidrog inte mindre än 13 kinesiska konstnärer och var därmed efter Sverige den mest representerade nationen. De två kinesiska utställningarna "Möten" och "Utan hämningar" fanns att beskåda 14juni–6 september och visade konstverk av Ai Weiwei, Chen Zhiguang, Cheng Dapeng, Chi Peng, Fu Zhongwang, Hu Weiyi, Li Binyuan, Liao Yijun, Song Dong, Wang Rui, Xu Bing, Yang Mushi och Yin Xiuzhen. Svensk-kinesiska föreningen var på plats och höll en visning i början av augusti. Här recenseras OpenARTs stora satsning på kinesisk samtidskonst.

  • 11.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Oriental Languages.
    Kinesiska konstsamlare lockas till Sverige: Svenska auktionshus i blickfånget2014In: Kina-rapport, ISSN 0345-5807, no 2, p. 16-20Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Liksom den kinesiska ekonomin har den kinesiska konstmarknaden växt explosionsartat det senaste decenniet. Kinesiska köpare söker sig nu utomlands i jakten på föremål. Sverige har av tradition fina samlingar av östasiatisk konst och de svenska auktionshusen märker av det nyväckta intresset för den äldre kinesiska konsten även i Sverige.

  • 12.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies, Chinese Studies.
    Lars Nittves M+ i Hongkong: decenniets största och mesta museiprojekt2015In: Kina-rapport, ISSN 0345-5807, no 3, p. 14-19Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    M+museet för visuell kultur i Hongkong öppnar portarna för kinesisk samtidskonst och visuell kultur i ett unikt museiprojekt i Asien. 2018 står byggnaden på 60 000 kvm på plats med Herzog & de Meuron som arkitekt. M+ är dock mycket mer än byggnaden. Lars Nittve berättar under ett samtal i Umeå 2014 om hur det är att skapa ett nytt slags museum enligt demokratisk modell som inte tidigare funnits i Hongkong.

  • 13.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies.
    M+: looking at the world from a Hong Kong perspective2015Conference paper (Other academic)
    Abstract [en]

    M+ is the Museum of Art and Visual Culture in Hong Kong that is currently under construction. The new Hong Kong museum will open its doors to the world in 2019. The idea of placing a museum like M+ in the larger cultural infrastructure project of West Kowloon Cultural District (WKCD) came from a group of people that the Hong Kong Government put together in 2006. This group, known as the Museum Advisory Group, was to think through what kind of museum Hong Kong needed besides the already existing museums it already had. The initiative for this new museum thus initially came from the Hong Kong government. The funding comes from the Hong Kong Special Administrative Region and the decision to move ahead came in 2008–but it took until 2010 until Lars Nittve, at the time director of Moderna Museet in Stockholm, was contacted and asked to become its visionary leader. M+ is a distinct Hong Kong project, looked upon with scepticism from Beijing. This paper puts the project of M+ in the contexts of the rising international interest in contemporary Chinese art after the turn of the millenium, the rising prices on this art on the international market, the rising economic status of contemporary Chinese art on the mainland, adding the ambitious museum building boom on the mainland since around the Shanghai Expo in 2010. What are the main differences between the art museum projects on the mainland and the building of M+ in Hong Kong? How is it to work with this museum project in the Hong Kong SAR environment? What does the existence of a museum like M+ mean to China and the World?

  • 14.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Oriental Languages.
    Masquerading Brides and Grooms: Analyses of three art portraits in the medium of photography2008Conference paper (Refereed)
    Abstract [en]

    The topic of my paper is the study of three imaginary portraits of bridal couples in the medium of photography. The works are part of my ongoing ph.d project on the topic of Bridal couples. The aim of my paper is to investigate how the three fake portraits correspond to real studio bridal portraits. The paper further explores how the use of masks, make-up, costume, body language, mimics and background differ in the two settings, i. e. the art world and the photo studio.

    The paper makes use of Judith Butler’s theoretical ideas as presented in Gender Trouble when discussing questions of masquearade, identity and gender. Identity is in addition an intriguing topic since identity in China historically has been connected to the group rather than to the individual; thus the new art since the 1990s tend to focus on the individual rather than the group.

    How is the question of identity and individuality visualised in the art portraits in focus here in comparison to the popular studio portraits? The paper seeks to put the finger on conventionality as well as issues of subversion. The works are additionally put into the context of the Chinese socio-economic changes especially since the 1990s.

  • 15.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Oriental Languages.
    Med oppositionen som drivkraft: Samtal med konstnären, curatorn och innovatören Huang Rui2009In: Kina-rapport, ISSN 0345-5807, Vol. 3, p. 7-11Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Huang Rui har alltid strävat efter att gå sin egen väg. Han engagerade sig i demokratirörelsen 1978-79 och var med om att bilda konstnärsgruppen Stars. Efter femton år i exil återvände han till Kina och deltog i uppbygganden av konstnärsområdet 798 i Peking.

  • 16.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Oriental Languages.
    Människor emellan i 1700-talets Kina2006In: Karavan: litterär tidskrift på resa mellan kulturer, ISSN 1404-3874, Vol. 1, p. 72-74Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    "Det är den roman som haft störst inverkan på mitt liv". Så svarade över hälften av de tillfrågade i en läsarundersökning gjord i Beijing 1999, och romanen de syftade på var Drömmar om röda gemak. Denna 1700-talsberättelse om en släkt i uppgång och fall betraktas inte sällan som Kinas främsta litterära verk genom tiderna. I vinter har den för första gången utkommit på svenska – den första delen, Guldåldern, tronar nu på bokhandelsdiskarna. Karavans recent har läst Pär Bergmans översättning och finner den synerligen välgjord och njutbar.

  • 17.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Oriental Languages.
    Optimism or Pessimism?: On Humour Lily Lau's manhua2005Conference paper (Other academic)
  • 18.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Oriental Languages.
    Samtida konst från Kina i en gäckande skrattspegel2014In: Kina-rapport, ISSN 0345-5807, Vol. 3, p. 4-10Article in journal (Other (popular science, discussion, etc.))
  • 19.
    Aggeklint, Eva
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies, Chinese Studies.
    Striptease à la Duchamp in China2016In: Orientaliska Studier, ISSN 0345-8997, no 146, p. 9-30Article in journal (Other academic)
  • 20.
    Aggeklint, Eva
    et al.
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies.
    Ho, Hang Kei
    Introducing M+ as capital for a Hong Kong specific cultural identity2015Conference paper (Other academic)
    Abstract [en]

    In the last decade the Hong Kong government has shown an interest in promoting large scale cultural development projects including Art Basel Hong Kong, the West Kowloon Cultural District (WKCD) as well as M+ The Museum of Arts and Visual Culture, all presenting Hong Kong as a cultural hub. The development of those projects can be seen as a way for the city to diversify its economy through creative industries (CI) and urban entrepreneurship (Raco and Gilliam, 2012), making the place more appealing for international workers and global tourism. However, ongoing grassroots political movements such as the 2014 Umbrella Movement suggest that the Beijing government is keen to intervene with Hong Kong’s affairs. As a result, its cultural identity is being challenged. In this paper we argue that the study of the yet conceptual M+ museum contribute with accruing capital of cultural identity when compared to likewise huge museum projects in mainland China. We will further argue that the Hong Kong museum will represent an original that other museums in the world may wish to copy.

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