Lu Pan – författare

This volume of original essays critically examines the intriguing interplay among major actors and venues of creative practices in contemporary East Asian cities. Its chapters closely investigate manifestations of the political and aesthetic decisions made, or not made, in the construction and representation of creative cities. The contributors give Tokyo, Seoul, Hong Kong, Taipei, and Shanghai special consideration.

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. Attempting to unfold the complex positions of these images in the urban spatial politics of their respective regions, Lu Pan explores how graffiti in East Asia reflects the relationship between aesthetics and politics. The book situates itself in a contested dynamic relationship among human bodies, visual modernity, social or moral norms, styles, and historical experiences and narratives. On a broader level, this book aims to shed light on how aesthetics and politics are mobilized in different contested spaces and media forms, in which the producer and the spectator change and exchange their identities.

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 thesimilar 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.

Der deutschen Nachkriegsliteratur wird allgemein eine besondere Rolle in der Auseinandersetzung mit der NS-Vergangenheit zugesprochen. Mit Hilfe der Gedächtnistheorie arbeitet die Autorin die verschiedenen Formen der Erinnerungsarbeit in den Werken der schriftstellerischen Gruppierungen heraus und zeichnet ein differenzierteres Bild der Nachkriegs-Literaturlandschaft. Das alte Meisterwerk von Günter Grass Die Blechtrommel wird als ein Roman des Erinnerns in ein neues Licht gerückt, und in einer ausführlichen Analyse zeigen sich viele der bislang ignorierten Details als strukturtragende Elemente dieses Romans. Ein Vergleich mit der chinesischen Literatur nach der Kulturrevolution und insbesondere mit dem Roman Üppiger Busen, Dicker Hintern von Mo Yan zeigt die Gemeinsamkeiten und Unterschiede der beiden Literaturen bei der Erinnerungsarbeit.

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.

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.

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 edited volume aims to fill the gap in the research, juxtaposition, and focused discussions in the existing literature on art archives in Asia.