Shuchen Wang
Biographic Data
| ID | 4014464 |
|---|---|
| NAME | Shuchen Wang |
| GIVEN NAMES | Shuchen |
| FAMILY NAME | Wang |
| SIGNATURE | WANG S |
| AFFILIATIONS | Aalto University |
| ORCID | 0000-0001-8401-225X |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 5 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 2 |
Foreign (In)Direct Investment in Chinese Contemporary Art Game
The boom in Chinese contemporary art is the result of China’s opening to foreign investment and private entrepreneurship in 1978, and the significant contribution by the transnational art enterprises of long-term patron-investor-collectors, such as Uli Sigg and Guy Ullens, between approximately 1989 and 2013. Through the opportunity offered by the gap between the private market mechanism and national heritage process for the “art game”, these inv…
Museum coloniality
The transformation of Musée Guimet and the transition of museums in the ‘countries of origin’ of its collections elucidates how white-cube crystallises Western cultural hegemony by erasing the colonial past of the objects and by representing the physical form of modernity. It contributes as well to nullifying the demand of repatriation, which seems to merely raise new power struggles rather than to recover indigenous beliefs (or identities). Thro…
Museum diplomacy
In an age of globalised neoliberalism, prestigious museums have become a diplomatic milieu and their collections a significant token to manifest diplomatic ties between the West and China. This paper explores the 'clash' between 'universal museums' and returning cultural objects to their 'countries of origin' presented in and by the Sino-German Museum Forum. Both countries are seen to use 'the past' for current foreign affairs, not only with rega…
Museum coloniality
The transformation of Musée Guimet and the transition of museums in the ‘countries of origin’ of its collections elucidates how white-cube crystallises Western cultural hegemony by erasing the colonial past of the objects and by representing the physical form of modernity. It contributes as well to nullifying the demand of repatriation, which seems to merely raise new power struggles rather than to recover indigenous beliefs (or identities). Thro…
Museum diplomacy
In an age of globalised neoliberalism, prestigious museums have become a diplomatic milieu and their collections a significant token to manifest diplomatic ties between the West and China. This paper explores the 'clash' between 'universal museums' and returning cultural objects to their 'countries of origin' presented in and by the Sino-German Museum Forum. Both countries are seen to use 'the past' for current foreign affairs, not only with rega…
Museum diplomacy
In an age of globalised neoliberalism, prestigious museums have become a diplomatic milieu and their collections a significant token to manifest diplomatic ties between the West and China. This paper explores the 'clash' between 'universal museums' and returning cultural objects to their 'countries of origin' presented in and by the Sino-German Museum Forum. Both countries are seen to use 'the past' for current foreign affairs, not only with rega…
Museum coloniality
The transformation of Musée Guimet and the transition of museums in the ‘countries of origin’ of its collections elucidates how white-cube crystallises Western cultural hegemony by erasing the colonial past of the objects and by representing the physical form of modernity. It contributes as well to nullifying the demand of repatriation, which seems to merely raise new power struggles rather than to recover indigenous beliefs (or identities). Thro…
Foreign (In)Direct Investment in Chinese Contemporary Art Game
The boom in Chinese contemporary art is the result of China’s opening to foreign investment and private entrepreneurship in 1978, and the significant contribution by the transnational art enterprises of long-term patron-investor-collectors, such as Uli Sigg and Guy Ullens, between approximately 1989 and 2013. Through the opportunity offered by the gap between the private market mechanism and national heritage process for the “art game”, these inv…
Japanese History and Culture (2 works) · Museums and Cultural Heritage (2 works) · Political science (2 works) · Aesthetics (1 work) · Anthropology (1 work) · Archaeology (1 work) · Art (1 work) · Art History and Market Analysis (1 work) · Boom (1 work) · Buddhism (1 work)