This multidisciplinary volume, the first of its kind, presents an account of China’s contemporary transformation via one of its most important yet overlooked cities: Shenzhen, located just north of Hong Kong. In recent decades, Shenzhen has transformed from an experimental site for economic reform into a dominant city at the crossroads of the global economy. The first of China’s special economic zones, Shenzhen is today a UNESCO City of Design and the hub of China’s emerging technology industries.

Bringing China studies into dialogue with urban studies, the contributors explore how the post-Mao Chinese appropriation of capitalist logic led to a dramatic remodeling of the Chinese city and collective life in China today. These essays show how urban villages and informal institutions enabled social transformation through cases of public health, labor, architecture, gender, politics, education, and more. Offering scholars and general readers alike an unprecedented look at one of the world’s most dynamic metropolises, this collective history uses the urban case study to explore critical problems and possibilities relevant for modern-day China and beyond.

 

Confronting big questions about the definition of art, the ownership of an image, and the meaning of originality and imitation, Wong describes an art world in which idealistic migrant workers, lofty propaganda makers, savvy dealers, and international artists make up a global supply chain of art and creativity. She examines how Berlin-based conceptual artist Christian Jankowski, who collaborated with Dafen’s painters to reimagine the Dafen Art Museum, unwittingly appropriated the work of a Hong Kong-based photographer Michael Wolf. She recounts how Liu Ding, a Beijing-based conceptual artist, asked Dafen “assembly-line” painters to perform at the Guangzhou Triennial, neatly styling himself into a Dafen boss. Taking the Shenzhen-based photojournalist Yu Haibo’s award-winning photograph from the Amsterdam's World Press Photo organization, she finds and meets the Dafen painter pictured in it and traces his paintings back to an unlikely place in Amsterdam. Through such cases, Wong shows how Dafen’s painters force us to reexamine our preconceptions about creativity, and the role of Chinese workers in redefining global art.

 

Providing a valuable account of art practices in an ascendant China, Van Gogh on Demand is a rich and detailed look at the implications of a world that can offer countless copies of everything that has ever been called “art.”