: OF ‘BRITISH CHINESE’ ART
Thesis submitted towards a combined practice/theory PhD in Fine Art with Aavaa (the African and Asian Visual Artists Archive, co-directed by David A.Bailey and Sonia Boyce) at the University of East London. Begun in 1997 as a full-time HEFCE-funded doctoral research post uniquely appointed to the archive, A – Y… was completed (after various diversions) in 2004
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CONTENTS
4 Acknowledgements
5 Abstract
6 Introduction
Writing (In Practice)
13 A – Y
38 Take Outs
How to Wave Flags
Inglorious Food
Service Not Included
Assimulations (sic)
55 Outtakes
Cutting In
Acting Out
Setting Up
Making Of
Martial Art
77 Translators’ Notes
Interrupted Transmission
Pidgin, Pigeon
Chinglish Pinyin Engrish
Home
Interval
95 Cinema Interval
Practice (In Writing)
100 Back Words
Trails
Undoing
Dealing
Siting, Sightless
Return
120 Conclusion
(Of Sorts, and Sorties)
122
131 Appendices
A. ‘Anthony Key,’ Empire and I, exhibition catalogue (London: Terra Incognita, 1999)
B, ‘Staging / Translating: Surname Viet Given Name Nam,’ Third Text, no.46, Spring 1999
C. ‘Trinh T. Minh-ha: Cinema Interval,’ parallax, no.19, 2001
D. ‘Inglorious Food,’ Anthony Key, exhibition catalogue (Bristol: Eddie Chambers, 2002)
E. A – Y,’ Third Text, no.62, March 2003
F. ‘Cruel/Loving Bodies,’ Cruel/Loving Bodies, exhibition catalogue (Shanghai: Duolun Museum of Modern Art, 2004)
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