Abstract
Abstract This article examines the work of contemporary Chinese artist Cai Guo-Qiang (蔡国强) and interrogates the function of the nation state in the production, circulation, and exhibition of contemporary art practices. By invoking the work of Felix Guattari, Bruno Latour, Timothy Morton, it also expands Cai’s thematic engagement with China’s environmental crisis in his 2014 exhibition The Ninth Wave (jiu ji lang, 九级浪) at the Power Station of Art to veer away from the Romantic notion of ‘Nature’ to accommodate a more comprehensive understanding of the environment. Meanwhile, in thinking about the labour practices and the institutional context of Cai’s work, it argues that The Ninth Wave in fact perpetuated the erasure of bio and cultural diversities under the homogenizing effects of global capitalism.
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