Mao, militancy and media: Daniel Dezeuze and China from scroll to (TV) screen

In 2015 I proposed the French artist Daniel Dezeuze for the first Asian Biennale/fifth Guangzhou Triennale at the Guangdong Museum of Art. ‘Asia Time’, had prevailed over ‘ Search: Asia’ as the exhibition concept, inspired by my fellow curator Zhang Qing’s readings around the clash of temporalities in historical China.² Dezeuze was a key member of the Supports/Surfaces group, once recognised as the dominant art grouping in 1970s France.³ In the context of his Maoist engagement and later, Dezeuze’s installations would demonstrate, I argued, how Asian notions of time and a longue durée affected Western theoretical ‘revolutionary’ practices, specifically the