The Political Science of 798 Art District

798 Art District · Kim Solbi · Ewha Womans University

Introduction

On the last day of our Beijing field trip, the final itinerary was the 798 Art District, located in the Dashanzi area. Art can be seen as a window reflecting the concrete circumstances and thoughts of people living in a particular era. Art functions as a means to express the numerous anxieties of a society and the diverse reinterpretations that arise from them. We know that these reinterpretations by artists inevitably face a wave of change as the times evolve, and this wave eventually spreads throughout society. A small part of society, such as fine art,

127 serves as a puzzle piece for envisioning the future of the entire society. Therefore, the 798 Art District held even greater significance for us, who study the future of international politics.

As one of the few countries in contemporary international society that inherits the spirit of socialism, art serves as a clear puzzle piece for understanding the modern face of China. Chinese contemporary art has developed in closer connection with various historical events compared to that of other countries.

128 This is particularly true for the Cultural Revolution, during which the Party and government exercised thorough censorship and control over individuals, and Deng Xiaoping's reform and opening-up policies. The scars of the Cultural Revolution have long been a primary theme in the Chinese art world, and their traces have not disappeared even as various policies have been implemented at the government level. Based on this background, the mainstream of contemporary Chinese art, where artists voice political opinions, has been shaped through periods ranging from the informal avant-garde art group 'Stars Art Group' (Xingxing Huahui), centered around Huang Rui, to Ai Weiwei. In this sense, the 798 Art District, where the breath of Huang Rui, the father of the contemporary art world, still lingers, can be considered an important site of new interpretations created by a changing China. Here, the image of a changing China, which does not forget its past while not fearing novelty, is consistently and clearly revealed.

To more clearly envision the future of China, which has undeniably established itself as a great power and is constantly changing, we sought to examine the 798 Art District in conjunction with its political circumstances. It is necessary to understand how historical events of the past, such as the Cultural Revolution and the reform and opening-up, are connected to contemporary art, and how the future of China is depicted through the eyes of the Chinese people. Through this,

129 we can contemplate the identity of contemporary Chinese art and, furthermore, predict the overall direction of China.

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Reform and Opening-up and Art

The significance of Mao Zedong and the Cultural Revolution is immeasurable for the Chinese people. This large-scale socialist movement, initiated by Chairman Mao Zedong over ten years from 1966, ultimately resulted in economic and political chaos, leaving deep trauma for the Chinese people. The same was true in the realm of art. All visual artists had to adhere to the principles proclaimed by Jiang Qing, an actress and Mao's wife, and artworks existed within the single framework of socialist realism, suppressing autonomy (Kim Ji-yeon 2013, 232). However, with Mao's death, the Cultural Revolution naturally came to an end, and as Deng Xiaoping took office as Chairman, changes also occurred in the Chinese art world. The political characteristic that clearly distinguishes Chairman Deng Xiaoping from the previous era is pragmatic reform and opening-up. As demonstrated in his 1978 Standing Committee speech, while not entirely negating Mao's revolutionary spirit and ideology, he considered reform and opening-up an essential means to heal the wounds of the Cultural Revolution and advance towards true socialism (Deng Xiaoping 1984, 141). Deng Xiaoping's policies fostered a liberal and pragmatic atmosphere throughout Chinese society, motivating Chinese artists who had been suppressed,

131 (Gladston 2014, 85-88).

Fueled by these changes, not only did conceptually renewed realist works emerge, but movements that transcended existing forms also appeared. The re-examination of modernism, which had been prohibited as bourgeois art in the West during the Cultural Revolution, is a prime example. Artists recognized the necessity of acquiring various styles to express their ideas effectively and showed active interest in Western art (Lee Ju-hyun, 2010). The challenge to modernist styles went beyond mere curiosity about form; it was an interest in the free and open concepts that modernism embodied. A representative example is the movement of various painters who exhibited their works in the 1979 Stars Art Exhibition (Xingxing Meizhan), such as Huang Rui and Ai Weiwei, which led to the avant-garde nature that characterizes contemporary Chinese art.

From 798 Factory to Art District

As a space for envisioning the future of China, the 798 Art District, our final destination, could not be leisurely explored due to weekend traffic congestion in the city. The planned presentations had to be conducted while on the moving bus. However, despite the tiring schedule, everyone showed focus during the presentations. The 798 Art District is a representative space that clearly illustrates how Chinese culture is growing today. This art space, located in the Dashanzi area, was originally a state-owned factory built in the 1950s with the aid of the Soviet Union and the design of East Germany. With the active support of socialist countries and government attention, the factory expanded rapidly. However, with the collapse of the Soviet Union, the end of the Cold War, and changes in the economic market focused on heavy industry, the Chinese government intended to redevelop the factory district into an IT industrial base. During this process of change, the land's actual owner, the Qixing Group, leased the space. The geographically sensitive location and the spacious, affordable environment for artistic activities attracted many artists with an experimental spirit (Wu Hong 2005, 325-326). Furthermore, the beauty of Bauhaus, a German architectural style rarely seen in China, soon led to more artists settling there. The settlement of artists, which began in this way, continued through a proactive campaign called 'Rebuilding 798' (Zai Zao 798), leading to the creation of the current 798 Art District.

We were unable to complete the presentation. The prepared presentation had to be made in a moving car. However, despite the tiring schedule, everyone showed a focused attitude towards the presentation. The 798 Art Zone is a representative space that clearly shows how Chinese culture is currently growing. Located in the Dashanzi area, this art space was originally a state-owned factory built with the aid of the Soviet Union and the design of East Germany in the 1950s. With the active support of socialist countries and the government's attention, the factory rapidly expanded. However, with the collapse of the Soviet Union, the end of the Cold War, and changes in the economic market focused on heavy industry, the Chinese government intended to redevelop the factory district into an IT industry base. In the process of this change, the actual landowner, Qixing Group, leased the land. The geographically sensitive location and the spacious, inexpensive space suitable for artistic activities attracted many artists with an experimental spirit (Wu Hong 2005, 325-326). Furthermore, the beauty of Bauhaus, a traditional German architectural style rarely seen in China, soon led to more artists settling there. The settlement of artists, which began in this way, continued through a proactive campaign called the 'New 798 Construction (再造798)' movement, leading to the creation of the current 798 Art Zone.

From a military factory to a colony of artists, the transformation of spatial characteristics in the Dashanzi district vividly demonstrates the rejection and resistance of prevailing concepts initiated by artists. After the reform and opening-up,

133 although a society with state control and censorship still existed, an environment was created where those who felt critical of the prevailing conditions could voice their opinions more loudly. At the forefront of these voices was the culture of art, and the 798 Art District, where various non-traditional artists established their base, served as the frontline. The 798 Art District also functions as a space that best reveals the complexity and avant-garde nature of Chinese art, where the past and present, and China and the West, coexist (Park Jung-hee 2012, 519).

134 The artists who led 'Rebuilding 798' (Zai Zao 798), including Huang Rui and Xu Yong, sought to use the space while minimizing damage to existing historical and aesthetic values (Lee Bo-yeon, 2008). This can be seen as an example of the unique characteristics of China's modernization process, which coexists socialist traditions with new Western values. While Western ideologies are clearly reflected in China's development, it does not proceed by completely overturning its existing traditions. This is a clear distinction from Western avant-gardism, which implies complete rejection and struggle against past systems and ideologies (Ko Myung-ro, 2009).

Beyond Huang Rui and Ai Weiwei

Ai Weiwei is a pioneer of contemporary Chinese art, who exemplifies the anti-establishment and avant-garde characteristics of Chinese contemporary art. As seen in his work 'Study of Perspective-Tiananmen,' a photograph of him giving the middle finger in front of Tiananmen Square, his works clearly convey political messages that distance themselves from the existing dominant ideology (Ai Weiwei, 2014). Ai Weiwei

135 confronts the current Chinese society, which lacks freedom, particularly freedom of expression, and rejects blind acceptance. However, he does not advocate for unconditionally aspiring to or following a Western-style liberal democratic society. In other words, he is not trying to completely reject the current Chinese system but is fighting for the basic freedoms that humans should enjoy (Sera Thornton 2016, 37). Therefore, his activities are moving towards greater engagement with the daily lives of the public and encourage viewers to think continuously.

The future of the Chinese art world, which has been developing around Ai Weiwei, is heading in a significantly different direction. In works such as Cao Fei's 'Cosplayers' (2004) and 'Whose Utopia?' (2006), which represent contemporary Chinese artists, the artistic activities emphasize commercial and aesthetic elements more than the previous avant-garde characteristics, in order for China to engage with other actors in the international community. Projecting thoughts or resistance regarding domestic politics into artworks is considered the art of the previous generation, with a greater focus on popular culture activities (Beam, 2015).

This represents a departure from the previous mainstream, which used artistic activities as a means to inspire political criticism and resistance against outdated ideologies, and instead embraces art as a form of personal and individual expression in line with globalization (Nuridsany 2004, 241).

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This new trend in the Chinese art world was also evident at UCCA, one of the prominent galleries in 798. On the day of our visit, an exhibition titled 'The New Normal: China, Art, and 2017' was underway, showcasing works that reflected artists' diverse perspectives on a globalizing China. The work that most caught our attention was 'The Mercy of Not Killing,' an installation art piece that allowed visitors to physically ascend to areas like the rooftop. The installations and videos utilizing the entire space were sophisticated and globalized enough to overturn previous notions of Chinese art. Overall, many works were completed through audience participation using video, which seemed to follow global trends. Thus, the future of China appears to be moving towards enhancing flexibility to better integrate with global trends. In contemporary China, which is driving immense economic and cultural growth, it is deemed more efficient to follow the flow of globalization to some extent rather than solely adhering to traditional Chinese values. The expansion of the contemporary Chinese art auction market and the increasing number of works with more popular elements than political undertones are also clear examples of this phenomenon. However, the most striking thought after seeing the works at UCCA was whether these works were authentically Chinese. In the realm of culture, where China is considered relatively behind the West, works that are excessively globalized and lack Chinese character might lack competitiveness. Through this single domain of art, we were able to glimpse the direction China is heading in an era where traditional order and new global order are rapidly intermingling.

It was an installation art that allowed visitors to climb onto it. The installations and videos that utilized the entire space were sophisticated and globalized enough to overturn previous notions of Chinese art. Overall, many works were completed through audience participation using video, which also seemed to follow global trends. In this way, future China appears to be moving in a direction that increases flexibility to better integrate with global trends. In the current China, which is driving immense economic and cultural growth, it is judged more efficient to follow the flow of globalization to some extent rather than adhering solely to existing Chinese values. The expansion of the contemporary Chinese art auction market and the increasing number of works with more popular elements than political themes are clear examples of this phenomenon. However, the most prominent thought after seeing the works at UCCA was: "Are these works Chinese?" In an era where it is considered relatively behind the West in the realm of culture, I thought that works excessively influenced by globalization and lacking Chinese characteristics would ultimately lack competitiveness. Through this single domain of art, we were able to glimpse China's future direction in an era where traditional orders and new global orders are rapidly intermingling.

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