Bøger af Lu Pan

Taking The 70's Biweekly-an independent youth publication in the 1970s Hong Kong--as the main thread, this edited volume investigates an unexplored trajectory of Hong Kong's cultural and art production in the 1970s that represents the making of a dissent space by independent press and activist groups in the city. The 70's Biweekly stands out from many other independent magazines with its unique blending of radical political theories, social activism, avant-garde art, and local art and literature creations. By taking the magazine as a nodal point of social and cultural activism from and around which actions, debates, community, and artistic practices are formed and generated, this book fills gaps in studies on how young Hong Kong cultural producers carved out an alternative creative and political space to speak against established authorities. Split into three parts, this book provides readers with a panoramic view of the political and cultural activisms in Hong Kong during the 1970s, writings on art and film, and crucially, interviews with former founders and contributors that reflect on how their participation led them to engage ideologically with their activism and community that extended far beyond the temporal and physical bounds of the magazine.

This edited volume aims to fill the gap in the research, juxtaposition, and focused discussions in the existing literature on art archives in Asia. Most of the archives included in the book are independent and initiated by individuals, folk groups, or non-profit organizations. In this book, one can trace the dynamics and self-generative capacity in this particular historical and cultural milieu through these ¿alternative¿ archives and through the practices of artists and curators who apply their specific understanding of archive to their works. Many chapters resonate with each other in that they capture the experiences shared by many places in Asia. Those experiences could have resulted from the encounter with the Western idea of archive, the influence of the colonial experience, or a memory crisis triggered by the rapid transformation of media, and may serve as a basis for producing archive theories in/from Asia. The book provides an opportunity for the archives in Asia and those who work around them to recognize one another, understand what their colleagues in archival work do, how they do it and what else there is for them to do.

This book explores five cases of monument and public commemorative space related to World War II (WWII) in contemporary China (Mainland), Hong Kong and Taiwan, all of which were built either prior to or right after the end of the War and their physical existence still remains.

In the early 1990s, Berlin and Shanghai witnessed the dramatic social changes in both national and global contexts. While in 1991 Berlin became the new capital of the reunified Germany, from 1992 Shanghai began to once again play its role as the most powerful engine of economic development in the post-1989 China. This critical moment of history has fundamentally transformed the later development of both cities, above all in terms of urban spatial order. The construction mania in Shanghai and Berlin shares the similar aspiration of re-modernizing themselves. In this sense, the current experience of Shanghai and Berlin informs many of the features of urban modernity in the post-Cold-War era. The book unfolds the complexity of the urban space per se as highly revealing cultural texts. Also this project doesn't examine the spatial changes in chronological terms, but rather takes the present moment as the temporal standing point of this research. By comparing the memory discourse related to these spatial changes, the book poses the question of how modernity is understood in the matrix of local, national and global power struggles.

A photo-collage of past and present street visuals in Asia, Aestheticizing Public Space explores the domestic, regional, and global nexus of East Asian cities through their graffiti, street art, and other visual forms in public space.