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is a visual artist and graphic designer based in Chicago and Shanghai. By utilizing printed matter, photography, video, and installation, his work celebrates the “trash aesthetics” born from Chinese low cultural phenomena. With the methodology of appropriation, collage, and building ironic narrative, his work critiques the fetishism manifested in such low culture, which involves broader discussion of consumerism, technology, tradition, and politics. He received his MFA in visual communication from the School of the Art Institute of Chicago.

Mark
Aesthetician Tells You Why Artists Need Team Vitality studies how collectivism functions in Chinese corporate culture. Chinese collectivism emerged during the Mao era in an effort to remove class divisions. The promotion of collectivism originated from the worship of military, which peaked during the Cultural Revolution and turned into a way to realize cult of personality. Such tradition deeply affected generations of Chinese people. After the Chinese Economic Reform period, collectivism and military training were reintroduced into Chinese society by entrepreneurs who were raised during the Mao era, as a way to improve workers’ efficiency and enhance their loyalty. In such a capitalist context, collectivism has ironically turned into a method to exploit employees. This book uses those collectivist strategies to impose authority on art production, posing the questions of standards, worship of power, and free expression.
美的事业(美学大师告诉你为何艺术家需要团队风采)研究中国企业文化中的集体主义。中国的集体主义传统开始于毛时代,起源于对解放军的崇拜,在文革时代达到顶峰并逐步演变成实现个人崇拜的手段。集体主义深深地影响了几代中国人。改革开放后,集体主义作为提高工人效率,加强雇员忠诚度的一种有效管理思想,被一批生长于毛时代的企业家重新提起并应用于企业管理之中。在这样资本主义的语境之中,产生于共产主义时代的集体主义讽刺地成为了剥削工人的手段。本书将集体主义的理论强加于艺术创作之上,进一步探讨权力崇拜与自由表达的关系。