The Conformed Body explores the driving forces behind the development of contemporary art in China. Building upon Jiang Jiehong’s long-standing research interests in collectivity and Maoist legacies, this thought-provoking book sheds new light on the contemporaneity of contemporary art in China. On the one hand, it assesses the role of collective practices and their impact on art and society. On the other hand, it re-evaluates artistic approaches, interpretations and practices that respond to experiences of conformity. It is the latest title in Brill’s Modern East Asian Art and Visual Culture series, edited by Kuiyi Shen, Patrick Flores and Sonal Khullar.

The author’s main argument centres around the idea that the inescapable experience of conformity has become a key method for artists in China – a method that runs, metaphorically speaking, like blood through the body of contemporary art. According to Jiang, the ideal of corporeal conformity can be traced back to the Maoist period and is now “one of the most culturally, socially and politically charged phenomena” (p. 3) in the People’s Republic of China. What makes this argument so compelling is not only the conclusive reasoning throughout the book but also how the argument is substantiated by powerful visual evidence, including various kinds of artworks (e.g. painting, calligraphy, photography, sculpture, installation and performance) and sources not typically found in art historical publications (e.g. political assemblies, mass performances, ceremonial events, radio callisthenics, routine exercises and square dancing).

The Conformed Body is divided into five chapters, which approach the book’s main theme from different perspectives, resulting in a logical and coherent structure. The introduction elucidates the conceptual framework and provides a brief overview of the book’s five thematic chapters. The first chapter examines the notion of the collective through the lens of the danwei (work unit), introducing works by Zhang Hui, Wang Guofeng, Geng Jianyi and two artist collectives. The second chapter investigates “the shell” – uniforms, military ornaments, masks and facial expressions in the work of Zeng Fanzhi, Yue Minjun, Zhang Xiaogang and other artists. Chapters three and four look at Ding Yi, Wang Guangle, Xu Bing, Wang Donglin and Li Binyuan, among others, to explore disciplinary control (“The discipline”) and the performativity of exercises (“The performacise”). The final and perhaps most provocative chapter (“The imprisoned”) considers the forces through which the body is surveilled, disciplined and punished. Artistic responses analysed in this section include Yao Qingmei, Ge Yulu, Shi Yong, Yang Zhenzhong, Ai Weiwei, Zhang Peili and He Yunchang. The book concludes with a coda on the COVID-19 pandemic, demonstrating the ways in which it echoes the key concepts covered in the book.

One of the book’s greatest strengths is its innovative approach and methodology. Unlike conventional monographs, The Conformed Body weaves together multiple storylines at once: a curatorial narrative, which examines conformity through artists and artist collectives, and a self-narrative, which recounts the author’s experiences growing up and living in a conformed society. Although not explicitly stated, one can even identify a third storyline: a sociological narrative that carefully considers how Chinese society negotiates conformity in everyday life. Juxtaposing the collective with various artistic responses and the author’s self-narrative is a highly effective and original approach that reinforces the central argument of the book. The author’s nuanced analysis and his ability to connect theoretical concepts and visual evidence in new ways make the book an intellectually stimulating read. The introduction, for instance, explores the opening ceremonies of the Beijing Olympics (2008 and 2022) and the 100th anniversary ceremony of the Chinese Communist Party (2021) to make a case for the remarkable performative qualities of these events and the embeddedness of conformity in Chinese society.

While there is no doubt about the contribution and significance of this book, there are some limitations to be noted. Conformity may be a shared experience in Chinese society, but it is safe to assume that not every body is affected by it in the same way. What insights might be gleaned from bodies that deviate from societal norms more than others? How does their experience of collectivity and conformity differ? And how might the legacy (or burden) of conformity evolve in the foreseeable future? It is commendable that considerable efforts were made to include artists from diverse age groups who have experienced conformity. Yet most artists discussed in the book seem to represent cisgender males of Han ethnicity. Future research might incorporate more diverse perspectives, including non-binary, queer, non-Han artists and those who operate from various other marginalized positions.

The Conformed Body is an excellent example of the synergies that emerge when personal, academic and curatorial perspectives intertwine and complement each other. The book’s nuanced analysis, innovative approach and compelling argument are a testament to the expertise of the author and make it an insightful and valuable contribution. Scholars and students in the field of art history, cultural studies and Sinology will be particularly interested in this book, but it will certainly appeal to a much larger audience. With 200 high-resolution illustrations, jargon-free prose and an extensive index, this reader-friendly book is also ideal for classroom teaching. It is a must-read for everyone interested in contemporary art and Chinese society.