대장정 프로젝트로 본 중국의 농민참여형미술 : 예술의 대중 수용에서부터 농촌 문제관여까지

Abstract

This paper primarily analyzes two art projects involving peasant participation from the early 2000s, spearheaded by the Long March Project: “Long March – A Walking Visual Display” and “Long March Project-the Great Survey of Paper-cutting in Yanchuan County.” In response to the insufficient domestic output of art from the late 1990s to the early 21st century, Chinese artists of this period attempted to recontextualize the avant-garde concepts of the 1980s. This endeavor is linked to the ‘participatory strategy’ demonstrated by the Long March Project. Researchers will examine how ‘peasant participation’ became the objective, intent, and ultimate outcome of these projects. The paper also focuses on the expansion of the participant audience during the implementation of these two projects. “Long March – A Walking Visual Display” aimed to disseminate artworks and artistic concepts to peasants, familiarizing them with contemporary art, while “Long March Project-the Great Survey of Paper-cutting in Yanchuan County” began with investigating the interest in folk papercutting among the residents of Yanchuan County (including peasants, government officials, and resident art professors). This project started by fostering the self-worth of peasant participants, eventually facilitating active involvement in addressing the scarcity of future art education resources. Thus, the peasant involvement art projects of the Long March Plan not only expanded from broad art acceptance to engaging with rural issues but also reflected the artists’ adaptive themes based on participant changes and their continual embrace of China’s complex social and cultural conditions in project positioning.