Contemporary Chinese art exhibition narratives, 1979-2015: changes in institutional environment and actor network

Abstract

Between 1979 and 2015, in the wake of China’s reform and opening-up policy, contemporary Chinese art exhibitions presented three phases of narrative features: ideological liberation during the 1980s, market-oriented exploration in the 1990s, and integration into globalisation since 2000. Different from existing views – artists’ creativity, political and institutional impact, or internationalisation influence – focusing on the nexus between contemporary Chinese art exhibitions and public/national art museums in China, this thesis explores the driving forces behind the phased changes in the narratives of contemporary Chinese art exhibitions. Going beyond the existing literature that interprets contemporary Chinese art and exhibitions at the level of ontology, rational choice, and abstract philosophy, this study explores the agency of the key actors in the art world and their interactions by drawing on Pierre Bourdieu’s practice theory and Howard Becker’s art worlds theory, and further demonstrates that these relationships are structured by broader institutional changes.
In the analytical framework of this thesis, the art world is viewed as a field in which actors gain position, capital, and power through ongoing cooperation and competition, forming a network of shifting relationships. Adopting a meso-level analytical lens, the study examines the structural features of this network and the interactions among key players, positioning the art world network as a bridge between the macro- and micro-levels of analysis. Grounded in a constructionist stance, the study methodologically challenges dualistic and structuralist thinking by employing a macro-meso-micro approach, thereby revealing intersubjective relationships and the dynamic processes of socio-historical change.
Through case studies spanning three historical stages, this thesis employs qualitative comparative-historical analysis from both historical and comparative perspectives to investigate the evolving dynamics of exhibition narratives in contemporary Chinese art. The analysis is conducted across three dimensions: the influence of changes in the state’s institutional environment (macro), the structure of the art world network (meso-), and the behavioural strategies and shared understandings of key actors within the art world (micro).
This study concludes that the ideological characteristics of contemporary Chinese art indicate that changes in state ideology and cultural institutions inevitably exert a dominant influence on the narratives of contemporary art exhibitions. However, institutional environments do not directly determine exhibition outcomes; rather, within specific institutional contexts, key actors in the art world implement strategies and reach shared understandings through networked interactions, thereby shaping the exhibition narratives of different historical stages. China’s particularity lies in the strong influence of the state institution, which in turn stimulates the agency and creative power of artistic actors. Drawing on the Chinese experience, this study incorporates the institutional environment into the application of art world and practice theories, thereby both verifying and extending existing practice theory.

Date of Award	15 Oct 2025
Original language	English
Awarding Institution	University of Nottingham
Supervisor	Lily Yu (Supervisor) & Gabriele Neher (Supervisor)