Art, Global Maoism and the Chinese Cultural Revolution

Jacopo Galimberti is a British Academy Postdoctoral Fellow at the University of ManchesterNoemi de Haro García is Lecturer at the Universidad Autónoma de MadridVictoria H. F. Scott is an independent scholar

• Introduction: the art of contradiction – Jacopo Galimberti, Noemi de Haro García and Victoria H. F. Scott1 Realising the Chinese Dream: three visions of Making China great again – Stefan R. Landsberger2 Realism, socialist realism and China’s avant-garde: a historical perspective – Yan Geng3 Engineering the human soul in 1950s Indonesia and Singapore – Simon Soon4 Framing margins: Mao and visuality in twentieth-century India – Sanjukta Sunderason5 The Black Panther newspaper and revolutionary aesthetics – Colette Gaiter6 The Red Flag: the art and politics of West German Maoism – Lauren Graber and Daniel Spaulding7 A secondary contradiction: feminist aesthetics and 'The Red Room for Vietnam' – Elodie Antoine8 Materialist translations of Maoism in the work of Supports/Surfaces – Allison Myers9 Mao, militancy and media: Daniel Dezeuze and China from scroll to (TV) screen – Sarah Wilson10 La Familia Lavapiés: Maoism, art and dissidence in Spain – Noemi de Haro García11 Maoism, Dadaism and Mao-Dadaism in 1960s and 1970s Italy – Jacopo Galimberti12 Another red in the Portuguese diaspora: Lourdes Castro and Manuel Zimbro’s Un autre livre rouge – Ana Bigotte Vieira and André Silveira13 Avenida Mao Tse Tung (or how artists navigated the Mozambican Revolution) – Polly Savage14 Maoist imaginaries in Latin American art – Ana Longoni15 Iconography of a prison massacre: drawings by Peruvian Shining Path war survivors – Anouk Guiné16 Mao in a gondola: Chinese representation at the Venice Biennale (1993–2003) – Estelle Bories17 Reproducibility, propaganda and the Chinese origins of neoliberal aesthetics – Victoria H. F. ScottIndex

‘Maoism and the Chinese Cultural Revolution is a global, and not just a Chinese phenomenon. Red Guards’ grass-roots activism not only captivated young leftists all over the world, it also inspired a generation of artists—and this is what the book sets out to study, dealing with global Maoisms and their repercussions in the artistic scenes: how did different Maoist artistic groups (inter)act within different local and transcultural contexts? This book shows convincingly how, in different places around the world, from Africa, to India, to Latin America, Europe and, China, too, Maoism became and still remains a catalyst in transforming cultural movements, even cultural revolutions.’Barbara Mittler, Centre for Asian and Transcultural Studies, Heidelberg University