Author(s)

Jing Shuyue ¹

Affiliation(s)

¹ Faculty of Arts and Design, Macao Polytechnic University, Macao, China

Corresponding Author

Jing Shuyue

ABSTRACT

He Chengyao's performance art works not only reflect the collectivist immersion of contemporary people, but also the trauma that generations of Chinese women have suffered after facing the persecution of patriarchal thinking. From He Chengyao's performance art works, this paper explores contemporary Chinese women's thinking and outlook on the identity of motherhood.

KEYWORDS

Motherhood, Contemporary Chinese Art, Feminism, He Chengyao, Mother and Me

CITE THIS PAPER

Jing Shuyue, The Image of Motherhood in New China in the Light of Gender Archaeological Research—On the Meaning of He Chengyao's Performance Art . Art and Performance Letters (2023) Vol. 4: 64-68. DOI: http://dx.doi.org/10.23977/artpl.2023.040709.

REFERENCES

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[3] Ueno C, translated by Z. Y & X. M. (2020). Patriarchy and Capitalism. Hangzhou: Zhejiang University Press, 3. 
[4] Xu H. (2005). Women's Art. Changsha: Hunan Art Publishing House, 15-16. 
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[6] Liu B. (2011). A Study of the Evolution of Collectivism in Contemporary China. Shanghai: Fudan University. 13. 
[7] Shen Q. B. (2007). Pain in Soul—Performance Art and Video Works by He Chengyao. Shanghai: Shanghai Zhengda Museum of Modern Art, 50. 
[8] Butler J., translated by Song, S. F. (2009). Gender Trouble: Feminism and the Subversion of Identity. Shanghai: Shanghai Sanlian Bookstore, 58. 
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[10] Salih S., translated by Ma J.C. (2018). Introduction to Judith Butler. Chongqing: Chongqing University Press, 64. 
[11] Deleuze G. (1967). Présentation de Sacher-Masoch. Paris: Édition de Minuit, 61-71.

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