A Study Of Rural Practice In Chinese Contemporary Art

In recent years,against the backdrop of China’s policy of "rural revitalization",rural development has become an important topic.The rural practice of contemporary art,with new thinking into the countryside,has brought new opportunities for the hot "village construction".The first chapter is entitled "An Overview of the Development of Contemporary Chinese Rural Practice".The first half focuses on tracing the rural practices of twentieth-century Chinese art.There are two broad phases here,the first being the vernacular art of the early 1980s and the second being the early 1990s’ Experimental Art.The second half of this section organizes the current state of Chinese contemporary art rural practice since the twenty-first century,by examining its mode types and methodological paths.The summation highlights the subject of the next chapter of the main study.The second chapter is titled "New Method to Chinese Contemporary Rural Practice".This chapter provides a discussion of Socially Engaged Art theory and focuses on a specific analysis of the Yangdeng Art Cooperatives.Firstly,the history of the location of the Yang Deng is compiled,followed by a sketch of the process and type of practice of the Yangdeng Art Cooperatives,which is complemented by an empirical analysis.It contains three main levels of investigation,namely,initiation origin,subject composition,and mode of operation.When analyzed literally,contemporary art in the countryside can be divided into two connotations:contemporary art complements the countryside in two directions.While the cultural content,the countryside provides a place for contemporary art to be practiced and materials to be created.Contemporary art and the countryside,however,represent two distinctly different contexts,with contradictory relationships within them.This brings us to the third chapter,"Reflection on Chinese Contemporary Art’s Rural Practice".This section begins by describing the specific content of the contradictory relationship in terms of both context and identity.It then analyzes the causes of this contradiction in terms of both the purpose of practice and cultural context.To conclude:artists and local villagers using socially engaged art as a theoretical approach to communicate and build relationships through art projects,thus triggering the actions,emotions,dialogues that this new collective constructed by the relationship contains,which in turn triggers the actions,emotions,and dialogues contained in the new collective constructed by this relationship.Finally,it suggests the parts of contemporary art that should be improved when practiced in the countryside.