This thesis addresses the misrepresentations of contemporary Chinese artworks in the global art arena. The identity of these contemporary Chinese artists (how these artists represent themselves and...Show moreThis thesis addresses the misrepresentations of contemporary Chinese artworks in the global art arena. The identity of these contemporary Chinese artists (how these artists represent themselves and how they are represented in the global art world) is central in this research.Show less
This thesis focusses on nine traditional Balinese paintings collected by Ir. T.A. Resink and purchased by the Museum Volkenkunde in 1971. By first identifying the nine paintings that protray the...Show moreThis thesis focusses on nine traditional Balinese paintings collected by Ir. T.A. Resink and purchased by the Museum Volkenkunde in 1971. By first identifying the nine paintings that protray the Arjunawiwaha story it is possible to give more insight into the relationship between the paintings and the textual tradition, and try to contextualize the paintings in their cultural setting.Show less
Although Japan started participating in the commercial international art world during its so-called ‘bubble period’ between 1986 and 1991, very few Japanese artists currently enjoy international...Show moreAlthough Japan started participating in the commercial international art world during its so-called ‘bubble period’ between 1986 and 1991, very few Japanese artists currently enjoy international art market visibility. Furthermore, Japan’s own art market and market actors remain understudied. This study aims to provide insight in Japan’s position in the international art world, focusing on contemporary art galleries, important gatekeepers of the art market. Through quantitative data analysis of Tokyo’s contemporary art galleries, this thesis identifies two factors to measure art galleries’ globalization: their ‘home bias’, which is the degree in which galleries represent artists from the country it is based in; and its participation in international art fairs. Although data for both factors show a relatively high national focus, Japan’s galleries’ home bias is especially large. Furthermore, Japan’s own art market stays underdeveloped and does not sufficiently succeed in attracting international art crowds. These factors pose difficulties for international participation and obtaining international relevance. On a larger scale, this study of Japan functions as a case study for drawing conclusions on globalization of art markets in general, and the validity of the concept of a ‘global art world’.Show less
Bodhgaya is situated in the state of Bihar in India and is known as the place where the Buddha became awakened while sitting under a Bodhi tree, which is marked by the diamond seat (Sanskrit:...Show moreBodhgaya is situated in the state of Bihar in India and is known as the place where the Buddha became awakened while sitting under a Bodhi tree, which is marked by the diamond seat (Sanskrit: vajrasana). The holy site developed in recent times from a small village to one of the most important places of Buddhist pilgrimage on an international scale. For this research I focus on how Bodhgaya, as a lieu de mémoire, became a global village, and show how the visual culture of three foreign temples from Sri Lanka, Burma, and Thailand visually express on the one hand their relationship with the site as a place of memory, and on the other hand their relationship with their home country.Show less
Reality show Dad, Where Are We Going has been a tremendous success in China. Through the lens of the show and the entertaining experience starring celebrity fathers and children, a lot of heritage...Show moreReality show Dad, Where Are We Going has been a tremendous success in China. Through the lens of the show and the entertaining experience starring celebrity fathers and children, a lot of heritage sites and historical and cultural villages, as well as local tradition, culture, and life of the local community, have been exposed under the gaze of camera and the whole nation. Looking into the story of Xin-Ye, one listed national historical and cultural village that became the second filming location of Season 2, the show as a media power is taking the role of unearthing, displaying, labelling and defining the heritage and cultural uniqueness of a place. Overnight fame and a tourism boom are brought to the villagers and gentrification is triggered. Tourist development as a filming location of the show has, however, also shaded new meanings and values on Xin-Ye and the heritage of the locals. Xin-Ye becomes a destination of parent-child tours. Moreover, in the process of turning heritage into assets for local branding and cultural commodity, local villagers are increasingly losing their voice in the representation of Xin-Ye’s heritage as well as their rights of owning, managing, using their heritage and self-determination on how to benefit from their living environment.Show less
