Screens as an archipelago: analysis of screen-based public art as expanded cinema in Chinese metropolises

Abstract

ABSTRACT Drawing upon Édouard Glissant’s notion of the ‘archipel’ and Gene Youngblood’s concept of the ‘expanded cinema,’ this study examines recent examples of screen-based public art showcased in densely populated Chinese metropolises. Focusing on the artworks’ potential to reconfigure the spaces they inhabit and engage the spectators within the context of urban landscapes, screens in these artworks are portrayed as integral components of an archipelago, elucidating the mobility of cultural communication. We introduce a methodological framework, termed ‘World-Archipelago’ and ‘Archipelago-World.’ The former scenario involves artworks that remain central and interact with their surroundings as extensions, merging virtual experiences with reality, while the latter blurs the boundaries between the artwork and its context, harmonizing with local culture and seamlessly integrating into the urban fabric. Thus, this study posits that applying archipelagic thinking provides a substantial and analytical understanding of screens as an artistic medium within public art, involving a rhizomatic interplay that transcends the conventional centre–periphery paradigm and demands an exploration of the evolving relationships between screen-based public art and spatial critical awareness within metropolitan contexts.