The increasing importance of the problematic bordering in the questions posed to the social production of knowledge has given rise to what some scholars believe may be called a bordering turn. To be distinguished from the old question of the border and its associated problems of classification and identity, the new bordering turn is focused on the processes of drawing a border and the practices that constitute the ‘things’ between which the social institution of the border appears to be naturalized or given. Although the essentially political aspect of the act of bordering cannot be denied, it is above all an aesthetic phenomenon. The term aesthetic serves here as a marker of a disjunction between, variously: sensation and signification, the sensuous and the discursive, poetics and politics, fiction and the real.
This special issue of the Journal of Contemporary Chinese Art aims to explore the aesthetics of the bordering turn specifically in relation to Hong Kong, a city that has long been on various literal, imagined and symbolic borders. We’re looking for new ways of thinking, representing, depicting, and intervening that abandon the tired old motifs of Hong Kong as, variously, an outpost, a frontline, a bridge, a filter, a transition point, a training ground, etc., in favor of attempts to expose aesthetic acts of bordering in a ‘long contemporary’ time frame, namely, from the postwar period to the present. Examples of these acts include: visual art, cinema, performing arts, sound art, popular culture, print and digital media, publishing culture, curatorial practices, architecture, fashion, literature, translation, migration, protest, counter protest, high frequency trading, algorithmic governance, automation and AI, etc.
Possible perspectives for proposals include, but are not
• the making of borders in Hong Kong art
• migrant literature in Hong Kong
• bordering practice in Hong Kong cinema
• translation as a bordering practice/Foreign
representations and translations of Hong Kong
• bordering in sound art in Hong Kong
• visualizing protest and border-making in Hong Kong
• Hong Kong urban space and borders
• Hong Kong diaspora and Its expressions
• representations of settler colonialism and refugee
experience in Hong Kong
• the aesthetic “lines” of gender politics in Hong Kong
• theoretical discussions of the relation between acts of
mediation/ bordering and acts of identification
• romanticism and aesthetic ideology in Hong Kong
• the aesthetics of financialization and algorithmic
Publication timeline: 1 June 2020, abstracts due (300 words)
30 November 2020, full manuscripts due (7–8,000 words)
Publication: Spring 2021
Please send submissions and correspondence to: Guest editors
Pan Lu (firstname.lastname@example.org) and Jon Solomon (email@example.com) with
the subject heading ‘JCCA 8.1’.
Please visit Intellect’s website to follow its house referencing guidelines.
Journal of Contemporary Chinese Art is an associate journal
of the Centre for Chinese Visual Arts at Birmingham City University.
About the guest editors: Pan Lu is an assistant professor at
the Department of Chinese Culture, The Hong Kong Polytechnic University, Hong
Kong SAR. Jon Solomon is a professor at the Department of Chinese, Université
Jean Moulin Lyon 3, Lyon, France.