The Work Between Us – Paper – Jean Hui Ng



Wednesday 20 January 2016

Bluecoat Gallery, Liverpool, UK

#WorkBetweenUs @AHRC_BAM

Jean Hui Ng

30 years of exhibitions at the Centre for Contemporary Chinese Art

In March 1988, The Arts Council of England published a Cultural Diversity Action Plan wherein it defined Black Arts as African, Asian, Caribbean and Chinese. Since then, debates, seminars and conferences have emerged to tackle and untangle the discourse that is inevitably tied to the new vocabulary and vernacular in British Arts. The Centre for Chinese Contemporary Art (CFCCA) stands amidst the history, chronology and narrative of such developments. Through sessions such as ‘The Impact of Mainland China on British Art and British-Chinese Artists’ in 1996, ‘A New Vocabulary for Chinese Arts’ in 1998, and ‘New Moves – Chinese Arts Conference’ in 1999, as well as a range of gallery exhibitions, CFCCA has been thoroughly engaged in the conversation surrounding the culture, content and diaspora of Chinese Art produced in and around the UK. In the past three decades, the Centre has built a track record of exhibitions, educational programmes, workshops and symposiums by, in, and around British Chinese Arts, British-Chinese artists, and a diaspora of Chinese artists from China, Hong Kong and Taiwan. Focussing mainly on the exhibitions The Desires of the Golden Lotus, Seeing:Out of Time, Made in China, Xu Bing and Harmonious Society, this paper will use the history of CFCCA as a case study in uncovering and discovering the evolution of Chinese Arts in the UK as subsumed within the definition of ‘Black Arts’.

As part of the Black Artists & Modernism project, there are unfolding discussions amongst the research team and with scholars, artists, curators and other engaged publics.


Explore Research