Swat Beijing Summer 2009

Today I visited an up and coming artist, Yan Bo, at his studio near Sanlitun. He makes art about “first experiences”: his first girlfriend, his first time swimming, his first nap beneath clouds. He likes when things feel new, and his paintings are filled with experimental touches that provide the viewer with that same “newness.”

After talking to him for half an hour, I realized that he was one of the very few people I had encountered who spoke only the truth and seemed to know exactly what I meant when I asked him about the “there must be more than what we can see in the relationship between artists and the government” dilemma. He told me that the government clearly supported Factory 798 despite the many controversial and political paintings it housed because it knew that they were created out of a desire to make money, and not out of true dissent.

For example, a queer art exhibition I heard would be happening tomorrow was canceled at the last minute by the government with threats of punishment if they continued as planned. Sounds like the Chinese art world isn’t as free as almost everyone I talked to told me.

Yan Bo was optimistic though. When I asked him about the continued commercialization of the art world, he said that people with money will pay for things they think are good, whether it’s good because they think of it as an investment, or whether they are truly touched. He said that we can’t expect everyone to act from the heart and that even things that are seemingly bad can become something good. For example he said that nuclear energy used to be equated with evil and tremendously devastating powers, but 50 years later, it’s used as a cleaner method of creating energy. A slightly exaggerated parallel, but still, I see his point. Pouring more money into art will only help artists and the cultivation of truer art in the long run. I mean what would many of the famous Western artists we praise now have done if they didn’t have rich patrons or the newly rich interested in investing in their art? As much as I’d like to wish that the art world consisted solely of artists who created from the heart and of patrons who bought the art with pure intentions without greed and dishonesty, such a desire is like hoping for an entire world without greed and dishonesty.

–Miyuki

Today I went to the artist village of Song Zhuang. It took two and a half hours (Yes, it was a real village far from the center of Beijing). Anyways, a little background info on the village is that the factory 798 (refer back to my post about 798) used to be filled with artist’s studios, rather than the galleries that fill the big factory. After a few years, the rent became too expensive because of the commercialization of 798 that a whole bunch of artists moved the whole gig to Song Zhuang.

At first I just visited a few random studios and talked to the artists that were working. I asked questions about the commercialization of art, the difficulty of staying true to their visions, and the tightly-knit artist community. I learned that rent was amazingly affordable at Song Zhuang (probably because of the aforementioned distance from the center of Beijing)–$4,000/year was the most expensive I heard but it was for a spacious building with two floors and a lot of wall space. An artist who just graduated only pays $1,500/year and made me contemplate if I should try this lifestyle.

I was further enticed when Li Xianting, a contact that I was extremely fortunate to have invited me into his palace. That really isn’t an exaggeration when you consider how he had numerous beautiful paintings, sculptures and decorations tastefully placed around his Chinese courtyard shaped home. Li Xianting can afford this all because he practically founded Song Zhuang, built several art museums he now curates for and has supported many of the currently famous contemporary artists. When I brought up the Cultural Revolution in many of younger artists’ works, he suggested that perhaps it was because the Cultural Revolution has yet to end in China. A disturbing thought, but what if it’s true?

Later, when I casually asked him where all the women artists were, he laughed and told me I should talk to his wife who recently curated a show solely for the women artists of Song Zhuang. She was equally full of insights and told me I had to meet a certain woman artist who’s home she drove me to. Her art which focuses on the aftermath of the Cultural Revolution was raw and experimental–I was moved. While looking at her art though, her husband came in and invited my interpreter and I to join them for a dinner party they were throwing. We stayed of course, and met several artists who progressively got louder and more opinionated as the hosts poured more alcohol into their cups. There was poetry recitation, folk singing and other party activities.

(like this “Let’s see if I can twirl you around” activity)

It’s late now, and I can’t believe all the generosities I encountered today. The people were making challenging art, questioning the status quo but nevertheless enjoying life with like-minded people. Really, I would become a Song Zhuang resident if it weren’t for college..hmmm…

That’s it for now. Thanks for reading!

–Miyuki

Hi! This is Mary.

The other day I had the chance to visit the Yanjing Theological Seminary, the only Protestant seminary in Beijing.

A seminary by the river, in relative isolation, framed by roads and dust.

Once Fan (my translator) and I arrived at the gates of the seminary, the security guard pointed out the office building. As we approached the building I heard a voice calling from above; it was the seminary dean, Pastor Wang, calling us from the second-story window. We climbed up the stairs to a room which walls were decorated with photographs of famous visitors, gifts of goodwill from churches around the world, and cloth scrolls of characters I didn’t understand. There was a photograph of Hillary Clinton shaking hands with a pastor, and a few triangular banners with names of churches in the southern U.S., which reminded me of those banners sold at college bookstores, you know, SWARTHMORE, AMHERST, and the like. The floor was clean tile, the chairs wooden and straight-backed. Pastor Wang spoke with me for about an hour and a half, a conversation mediated of course by Fan, probably riddled with misunderstandings but illuminating nonetheless. It was noon when Fan and I left the seminary, taking with us a few issues of theological journals and an invitation from Pastor Wang to return anytime. We made sure to check out the statues on the lawn as we left.

A statue outside the seminary which integrates the traditional symbolic uses of fish in Chinese culture and in Christianity, and look, the Olympic sign, too!

Another statue on the seminary lawn, between trees, before the gate.

I just had dinner with the director of the Fine Arts Division in the Ministry of Culture and an art history professor from the Central Academy of the Fine Arts. It was the director’s idea to “chat and discuss” (liao liao tian tian) my research topic over a nice Sichuanese dinner. Realizing that this was an extremely adult invitation to dinner, I set out a couple of days ago to get a nice bottle of Californian wine (something I would not have personally done in the States because of my age) for my hosts. We ate at an amazing restaurant called Yuxiang Kitchen where the director asked me what kinds of food I especially liked and ordered like a complete professional. The wine was enjoyed and we slowly started talking about my topic, something we moved on to from the topic of dieting (seems like even Chinese women can’t escape the pressures to be thin). Pretty ironic given that we were sitting in front of about eight dishes though.

The two women self-identified as feminists and seemed confident, independent and?knowledgeable about the topics I raised. Despite the fact that they were both appointed to their current jobs twenty-some years ago, and haven’t changed jobs since, they seemed to feel passionate and invested in the current contemporary art climate. However I couldn’t help but think that they, as workers who have always benefited as government officials, were overly forgiving and unconsciously unaware of the biases that existed in the current art world and the suppression of controversial paintings in academic institutions.

Something I’m still trying to grapple with as an outsider is that what I see daily is great disparities between what might be a developing nation and the facade of happy, peaceful and problem-less society that the academics, officials and students tell me about. It’s a topic I try to tackle with every interview that I conduct.

That’s all for today!

–Miyuki