One World Exposition Symposium
Date : 10 & 11/12/2011
Time : 1pm - 5pm
Venue : Lecture Theatre 1 (M3017), L3
Free admission on a first-come, first-served basis.

Conducted in Mandarin and English

For details of One World Exposition, please visit
Presented by School of Creative Media, City University of Hong Kong and Videotage

Situated at the Pearl River Delta as a self-governing territory of China, Hong Kong is always “inside” and “outside” the culture of Mainland China. By curating One World Exposition, we hope to leverage the strategic location of Hong Kong and re-engage contemporary Chinese art from the regional, national and global perspectives. Apart from viewing and representing Chinese art from the geopolitical position of SAR, we also hope to re-think our identities through different concepts of the cultural China. While media artists in Hong Kong has gone through different stages of media and aesthetic genres, it will be a great opportunity to self-reference Hong Kong media art in comparison to various artistic and cultural movements of the Greater China.

Focusing on the issues of identity, economy, society and the bureaucracy of the emerging Chinese art scene, we strive to explore contemporary Chinese art in a non-simplistic way. Each panel will involve scholars, artists, and public intellectuals to discuss the complex phenomenon of the artistic, cultural and the technology of contemporary Chinese life. Through invitation and public call for papers, we hope to synthesize various progress, limitation and strategy for the transformation of our world of Chinese art.

Panel 1 -
Making of The Greater Chinese Art

The Hong Kong art scene always finds itself entangled in a complex position with the global art map. After the transfer of sovereignty in 1997, Hong Kong with its unique regional “situatedness” had naturally become an integral part of the rapidly emerging “contemporary Chinese art” market. Today it’s become impractical to have Hong Kong art looked at without putting it in a larger context of the global position of China. Other than ethnic solidarity between Hong Kong and Mainland China, there is also a cultural logic of Chineseness formulated among the diverse ethnic Chinese groups in Hong Kong, Taiwan, Singapore and the global Chinese art communities. As a result, the concept of “Chinese” is given much more complex meanings. In this global age, are the coherent imaginations of being “Chinese” a logic that binds “us” together, or is such logic a “Chinesenization” that would possibly monolithicize regional cultures? The Making of the Greater Chinese Art will take place on the first day of conference, where different notions of Chineseness will be addressed. Through various discussions of regional and national Chinese art, we hope to re-define Chinese identities through different perspectives.


Melissa Chiu
Valerie C Doran
Oscar Ho

Panel 2 -
Unmasking the Business of Art

“The stronger the power of my money, the stronger am I. The properties of money are my, the possessor's, properties and essential power.”
Economic & Philosophic Manuscripts of 1844, Karl Marx

The emergence of the art market in the USA and Europe during the 70s and 80s was shaped by regime changes in capitalism and the rise of cultural industries. In recent years, commoditization of art has entered a “global” age. New art markets emerge in which international artists, curators, museums and art biennales have become global players in the field of “international contemporary art”. Along with rapidly growing economic force of China and the emergence of Chinese art market, how does the power of valuations affect the value of Chinese art? While contemporary Chinese art becomes one of the major markets across the globe, how does the changing landscape of this economy affect the cultural habits of Chinese art making? In this panel, professionals from art market and non-profit art organizations will unmask the business of art in contemporary China. Not only market trends of contemporary Chinese art will be addressed, but also the fetishistic culture behind the commodity exchanges of Chinese art will be unveiled.


Dong Bingfeng
Guo Xiaoyan
Shen Qibin

Panel 3 -
Technosocial Subversivity

In the world of web 2.0, the Internet becomes a global technosocial system that is conceptualized as a non-hierarchical global networking technology allowing users to re-create information content. Such technological advancement not only facilitates the fluid informational exchange across the globe, the practices of Internet also displace the essential social contradictions by creating new spatial imaginations. Technosocial Subversivity will focus on the social use of technology by different Chinese public intellectuals. Through the coverage of timely topics such as intellectual property, radical media and international politics, we hope to synthesize insights drawing from different social imaginations via practices of creative technological interfaces.


Isaac Mao
Ou Ning
Davide Quadrio

Panel 4 -
Future of “New Media”

Change, evolution, revolution.
Invention, interface, intersection of knowledge.
The beginning, the emergence and the end.

Is there a future of “new media”? Is “new media” new anymore? This is the moment when we embrace the notion of media archaeology and realize the ephemerality of new invention. In what ways could we talk about the future of “new media”? In this panel, panelist will crisscross the discussion of the future of “new media” based on notions such as technological advancement, theoretical proposition and roles of education. The ending panel of the symposium serves as the beginning of the future.


Hector Rodriguez
Wang Jun-Jieh
Zhang Ga

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