PhD Thesis

Mei Huang

Acknowledgements

As I write this page, my emotions are complex. It is hard to believe that I have truly completed this thesis, which embodies years of my dedication and passion. The genuine love I have for this subject helped me overcome potential political risks and psychological barriers, driving me forward relentlessly. During the research, I often reflected on an ancient Mongolian proverb: “where there is a will, there is a way (ᠬᠣᠯᠠ ᠭᠡᠮᠠᠠ ᠪᠢᠲᠡᠭᠡᠢ ᠴᠦᠬᠦᠷᠠ ᠶᠠᠪᠦᠪᠠᠰᠤ  ᠬᠦᠷᠦᠶᠣ᠃).” With a strong will in mind, as long as one moves in that direction, the destination will eventually be reached.

This doctoral research journey has taught me many valuable lessons. Through extensive reading of materials and literature, I have filled gaps in my understanding of the history of ethnic minorities in the three northwestern provinces of China. Furthermore, I have gained profound life insights from the artists I studied, learning much about their philosophies and the noble, admirable courage required to pursue art and knowledge with total dedication. The act of writing itself has also taught me how to improve my craft, and I can now truly grasp the meaning behind Stephen King’s words: “The only way to become a better writer is to read a lot and write a lot…There is no shortcut” (King, 2010:1656). It has been a transformative experience, one of personal growth, for which I am deeply grateful.

Through this research experience, I have met many scholars, artists, curators, and cultural workers, and over the years, through our interactions and collaborations, many of them have become close friends. Listening to their insights on art and their personal stories, witnessing their lives’ ups and downs, I am filled with an indescribable sense of poignant reflection and deep emotion. More importantly, I feel immense gratitude—gratitude toward the people who devoted their time and passion to this research. Without their unwavering support and unreserved trust, this thesis would not have been possible. This also proves that friendship, trust, and a shared love for art can transcend ethnic and geographical boundaries. I would like to take this opportunity to thank all the scholars, artists, curators, and cultural workers who participated in this research. Their names, listed in alphabetical order, are: Burenerdene, Chyanga, Gade, Guo Zhenming, Hou Hanru, Hu Ruojing, Kuang Ni Mai, Lhmao Yue Liu, Liu Yujia, Liu Zhen, Lu Nan, Musa, Narankhu, NiNi Dongnier, Penpa, Saz, Shi Tangding, Shinetana, Tashi Norpu, Dr. Wang Hui, Wang Ling, Dr. Wang Mingke, Ye Wuji,  Zhang Yunfeng.  

Moreover, I would like to extend my heartfelt gratitude to my supervisor, Dr. Laia Manonelles Moner, who provided me with deep trust, guidance, and support, allowing me to go further on my academic journey. I also want to thank the research group InterAsia, especially Dr. Joanquín Beltrán Antolín and Dr. Amelia Saiz Lopez, for their constant care and support. They promoted my first academic book in Catalan and offered me the opportunity to publish and present my works even when I was still a PhD student. Besides, I would like to convey my sincere appreciation to Nimfa Bisbe Molin, Nuria Faraig Ferrando, and the other jury members of the “Programa Apoyo a la Creación’22 Comisart” of the Fundació “la Caixa,” as well as the team at the Caixa Forum Barcelona. I am deeply grateful for their support in helping me to transform part of the theoretical foundation from my doctoral research into the exhibition Desde la frontera (2023). The success of the exhibition made me realize that the study of “margins” is not just a national concern; rather, it is a global political and social issue, particularly relevant in the context of our world, which is gradually leaning towards right-wing ideologies and conservatism. I also thank Laura Scivoli for her beautiful thesis cover design. 

Lastly, I want to express my deepest thanks to my family for their constant and unfailing support. In particular, I am profoundly thankful to my husband, Dr. Jaume Suau Martínez, for his love and care throughout all these years. He is my shield and sword, encouraging me to find myself and supporting me to wholeheartedly pursue the things I am passionate about. This means everything to me. I also want to thank my father-in-law and mother-in-law, as well as my uncle, Dr. Jaume Suau Puig, Dr. Catalina Martínez Taberner, and Mn. Teodoro Suau Puig, for their love, boundless understanding and care, as well as for their thoughtful critiques and suggestions on my research and thesis. They have given me a warm home on the other side of the world. Lastly, to my mother, Li Huiling—though she is in another country and we have not seen each other in years, she still calls to offer gentle encouragement, supporting me in the pursuit of my dreams as she always does. 

Of course, the completion of this thesis is not an endpoint; rather, it marks the beginning of a new journey. Throughout this research process, I have encountered numerous academic points that I wish to explore further, as well as many new ideas and related topics that I am eager to investigate and put into practice. I can hardly wait to embark on the next steps of this exciting endeavor. Looking ahead, I see endless possibilities for building upon the foundation laid in this work. The insights gained and the challenges faced have opened up new avenues for scholarly inquiry, encouraging me to further refine my methodologies, broaden my perspectives, and deepen my understanding. This thesis has not only been an academic exercise but also a transformative experience that has sparked my curiosity and motivated me to continue pursuing knowledge with even greater passion and rigour. In this sense, it represents both a culmination of years of dedicated effort and the starting point of a lifelong academic journey.

Abstract 

This thesis investigates how Chinese contemporary art presents and studies the margins of society through the perspective of ethnic minorities from the three northwestern provinces of China: Inner Mongolia, Tibet, and Xinjiang. The research is based on studies of 12 contemporary artists, primarily from minority backgrounds, along with a critical analysis of their works. Furthermore, the study explores the phenomena of cultural homogenisation, as well as the socio-political and artistic boundaries reflected in these contexts. This research fills a gap in both domestic and international studies of contemporary art in the three provinces of Inner Mongolia, Tibet, and Xinjiang: within China, contemporary art research on these regions tends to be Han-centric, dominated by patriotic themes, while deliberately avoiding sensitive topics related to politics, culture, and ethnic minority identity. On the other hand, international research often focuses on political discussions and issues of independence, without deeply engaging with the historical and contextual links between mainland China and these regions. Moreover, there are few studies that approach the subject primarily from the perspective of ethnic minorities themselves. 

The methodology of this research combines historical and sociological analysis, art history, interviews with artists, and artistic analysis of their works from the three northwestern provinces of China. By employing contemporary art as a lens, this thesis offers a comprehensive understanding of the multifaceted and complex issues surrounding ethnic minorities in northwestern China. This research not only provides an in-depth exploration of Inner Mongolia’s “New Nomadic Wave,” but also interprets the cultural identity self-definition of ethnic minorities in northwestern China, from the perspective of both Sinicized and non-Sinicized minority groups’ self-exploration. Furthermore, it challenges the conventional definitions of “center” and “periphery” in the Chinese contemporary art world: the study finds that contemporary Tibetan art, supported by the international art mainstream, holds greater global influence than that of many other minority artists and even Han artists. At the same time, Han artists who express greater sympathy for minority issues often face limitations and marginalization due to censorship of their subject matter. Additionally, through firsthand interviews and analyses of restricted or hard-to-access works by artists, this study examines the ethnic identity of artists from the three northwestern provinces of China. It offers a nuanced perspective on the complex interplay of factors that shape the coexistence of the central and peripheral dynamics within Chinese contemporary art.