After more than two and a half years of discussion with Chinese artists, musicians, writers, bloggers, performers, filmmakers and arts professionals, about everything from yaogun to blogging to queer film, Artspace China is wrapping up the conversation here.

Thanks to all those who’ve been involved as readers, guest authors and interviewees. It’s been great talking to you!

The website will remain as is until the beginning of 2014, so all archives will be available until then. Artspace China’s Facebook page will keep chugging as well, keeping our presence online with regular posts of contemporary Chinese film, art, literature and music news.

Any further iterations of the Artspace China project (yes, there are possibilities) will be announced at the Facebook site as well, so keep your eyes peeled.

Until such time, happy travels, take care, and …

慢走!

‘Art is a Thinking to Enlightens the Future’: art as a brand, art as aspiration

Since the district’s official classification as a Creative Industries Precinct in 2006, 798 has spawned a range of cultural enterprises, many of which have taken on the idea of ‘art’ with which to brand their businesses. Walking around 798 today, the word ‘art’ is constantly flashing up before you, on billboards advertising galleries or design consultancies, on signs for gift shops, hotels, bars and cafes. Artopal, Artside, 798 Art Hotel, such and such Art Centre or Artspace … Visitors are repeatedly running into odd composite bi-products of the word ‘art’ – uses that suggest the term’s ability to ‘value-add’ to all kinds of entrepreneurial pursuits. In both English and Chinese, the word often looks raw and partial, slapped onto ventures and slipped into business titles in a way that suggests its newness – or even more so, its novelty – as a Chinese marketing category. At 798, the term ‘art’ has a faddish quality to it, a kind of hype and artificial freshness reminiscent of the thousands of so-called ‘Twenty-first Century’ housing developments, or many SoHos, under construction across the country.

To the extent that art is a brand at today’s 798, it is one that conflates notions of the global and the contemporary, and one that is consonant (or you could say ‘harmonious’) with national discourses of China’s economic development. At 798, the word ‘art’ occurs frequently alongside the terms ‘new age’ (xin shidai), international (guoji) or ‘contemporary’ (dangdai). Billboards advertising Coca Cola or Vitamin Water do so by situating 798 within a perceived pantheon of global and cultural cities (‘Available in New York, Paris, Japan, and now Beijing!’). In signs, advertisements and art-branded objects at 798, ‘art’ generally represents a component in a contemporary urban lifestyle, the latest in fashion and, by virtue, a hallmark of a Chinese cosmopolitanism.

‘Only Products, No Art’: honesty and irony in the new market

In the Beijing autumn of 2011, I saw the above billboard at 798, in which two images are accompanied by the slightly odd English: ‘Only Products, No Art.’ In Chinese, the sign is only slightly less mysterious, announcing that ‘Li Qing’s Products Are Not Art’, and then giving an email address, presumably as a contact for curious customers. At first glance it wasn’t clear whether the sign was supposed to be ironic or not. If it was it would contain an extra meaning, translatable to a certain audience; it would be a comment that cut both ways, both telling it like it is yet critiquing its own message in a coded language. If it wasn’t, however, it was simply a straightforward statement, upfront about its products’ social function and declaring plainly its lack of pretensions.

The context was what made it confusing. 798 is a collection of both local and international high-end galleries – a so-called ‘international art district’ – but it’s also a bustling commercial market selling contemporary art, furniture, homewares, art souvenirs and other dinky design objects. It’s already difficult at 798 to tell exactly where the art ends and the retail begins, the galleries blurring into shops and each often resembling the other. Was this a clever and Warhol-esque comment on 798 and its relationship with consumer culture – ala Chinese artist, Zhao Bandi, or American artists, Barbara Kruger and Jenny Holtzer, all of whom have rented advertising space with which to exhibit similarly ambiguous works – or simply the advertisement of a local entrepreneur? In other words, was the sign deliberately ambiguous, or only so because of its situation at a crossroads of expectations of contemporary art, and of market and avant-garde definitions?