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Journal of Contemporary Chinese Art

The Journal of Contemporary Chinese Art (JCCA) is an associate journal of the Centre for Chinese Visual Arts. As a professional peer-reviewed academic journal, JCCA provides a scholarly forum for the presentation of new research and critical debates concerned with the subject of contemporary Chinese art. The journal is published by Intellect three issues per year. 

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Latest issues

5.1. Contemporary Chinese Artists in the Globalised Art World

2018 Spring

The end of the Chinese Cultural Revolution opened an entirely new chapter for modern Chinese history, and indeed, for Chinese art too. In 1993, as a section of the 45th Venice Biennale, Passaggio a Oriente (Passage to the Orient) was one of the first representations of Chinese contemporary art on the global art stage presenting fourteen Chinese artists. Externally, Chinese art started to attract the world’s attention by artists’ frequent participations in those long standing art events in cities like Venice, Kassel, Lyon, Istanbul, Sharjah and Sydney as well as important museum exhibitions and art fairs. Internally, contemporary art exhibition became international from the beginning of this millennium, precisely, marked by the third Shanghai Biennial (2000). The Chinese government’s awareness and anxiety about the internationalisation of cultural and creative industries through urban transformations, the institution of biennials and triennials invented and organised in various cities in China, and the rise of newly founded private art museums and galleries have all played a part in promoting Chinese artists and the development of contemporary art in the international context.

The term ‘Chinese’ in this journal is always cultural and signals a broad sense, to include artists not only from Mainland China, but also Hong Kong, Taiwan, as well as those global Chinese diasporas. The editors of this issue would like to invite article submissions from a variety of perspectives to produce a series of case studies of individual artists (or artist groups) and their work as representative examples of development in Chinese contemporary art within the last three decades. These individual case studies can be based on their artistic lives, conceptual strategies, speculative knowledge, political and social engagements, and methodological approaches to art production in response to the globalised art world today. As such, this issue is designed to stimulate original research, critical thinking and new understanding of Chinese contemporary art.

5.2 & 5.3 Chinese Art outside the Art Space

2018 Fall

Historically, in China, ‘art outside the art space’ can be understood as both a cultural and a political proposition. From a cultural point of view, the notion of public ‘exhibition’ is entirely Western, whilst in the Chinese tradition of literati art for example, artworks were made, shared, and appreciated within the form of scholarly ‘elegant gathering’ (yaji), which was essentially a kind of private (rather than public) event within secluded (rather than institutional) spaces. From a political perspective, the ‘outside-ness’ immediately relates to the ‘unofficial’ status of contemporary Chinese art from its early development. For example, the first Star Group exhibition in September 1979 – generally acknowledged as the very first show that marked the beginning of contemporary art in China – was staged in a small public park just next to the China National Art Museum, outside the legitimated and official art space. Today, the situation of Chinese art taking place outside the museum and gallery spaces continues, but with a completely different momentum and agenda.

Art has been produced site-specifically for the spaces other than art institutions in China, including those of working venues, shown in a range of alternative spaces beyond galleries or museums, and has ‘happened’ in the public sphere and become political or social ‘events’, or artistic ‘incidents’, as a special form of ‘exhibition’. Creative curatorial and artistic strategies have been developed to respond to the constraints of art institutions, censorships and at the same time, to push the boundaries of art. Focusing on art made, displayed, performed or executed outside the conventional venues of art museums and galleries, this themed double issue not only hopes to offer a unique perspective to understand Chinese art in the contemporary context, but also, more importantly, it aims to critically reflect upon the understandings between art and art exhibition, between artistic productions and audience perceptions, and between art and our daily life.

Call for papers

7.2 & 7.3: Urban Transformations and Contemporary Art in China

Abstracts due September 30, 2019; full manuscripts due February 1, 2020

7.1: Biennials, Triennials in China

Abstracts due June 1, 2019; full manuscripts due September 30, 2019

6.2 & 6.3: Everyday Legend: Reinventing Traditions in Chinese Contemporary Art

6.1: Gender in Contemporary Chinese Art (Guest edited by Dr Monica Merlin)

5.2 & 5.3: Chinese Art outside the Art Space 

5.1: Contemporary Chinese Artists in the Globalised Art World (Co-edited by Dr Wenny Teo)

4.2 & 4.3: Making the New World: The Arts of China's Cultural Revolution 

4.1: The World of Art Museums in China (Guest edited by Karen Smith)

Editorial team

Principal Editor 

JIANG Jiehong

Editorial Assistant


Editorial Board

Thomas BERGHUISThe University of Sydney

Katie HILL, Sotheby’s Institute of Art

Ros HOLMESUniversity of Oxford

Becky KENNEDYManchester Metropolitan University

Franziska KOCHUniversity of Heidelberg

Monica MERLINBirmingham City University

Juliane NOTH, Free University Berlin

SHAO Yiyang, Central Academy of Fine Arts

Tan CHANG, The Pennsylvania State University

Wendy TEO, The Courtauld Institute of Art

Wei Hsiu TUNG, National University of Tainan

WANG Meiqin, California State University, Northridge

PI Li, M+, Hong Kong

WANG Chunchen, China Central Academy of Fine Arts

Peggy WANG, Bowdoin College

Frank VIGNERONThe Chinese University of Hong Kong

ZHENG Bo, City University of Hong Kong

International Advisory Board

Julia F. ANDREWS, The Ohio State University

Chris BERRYKing's College London

James ELKINS, School of the Art Institute of Chicago

Harriet EVANS, University of Westminster

GAO Mingle, University of Pittsburgh

Jonathan HARRIS, Birmingham City University

Birgit HOPFENDER, Carleton University 


Jason KUO, University of Maryland

LU Xinghua, Tongji University

SHEN Kuiyi, University of California, San Diego

Karen SMITH, OCAT Xi'an 

WU Hung, University of Chicago