Abstract
© 2006 Elena Sorokina Chinese video is said to be made primarily for “domestic use” and therefore utilizes a set of internal references that can never truly translate across national boundaries. However, its first strong appearance in New York in 2004, when the Museum of Modern Art organized a series of screenings, was a huge success. A number of galleries and other venues joined MoMA in providing venues for Chinese video work. Video was widely heralded as a booming new medium in China, where younger artists were embracing the rapid production capabilities of digital cameras to comment on the unprecedented scale of transformation within Chinese metropolitan culture.
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