Summary of the Panel Discussion
Date: Tuesday, July 24, 2007
Venue: Xu Weixin’s Studio, Beijing
Moderator and curator: Wang Mingxian
Artist: Xu Weixin
The Panelists (in the order of presentation)
Shui Tianzhong Research Fellow, China Art Academy
Liu Xiaochun Research Fellow, China Art Academy
Huang Du Art critic
Xu Hong Research Fellow, National Art Museum of China
Yin Hongbiao Expert on the Cultural Revolution, Peking University
Chen Guohua (Chen Tushou) Expert, The New Chinese Culture and Ideloglical Trend
Fang Zhenning Art critic
Wu Hong Editor-in-chief, Artron.net
Zou Yuejin Chair of Department of Art History, School of Humanities, Central Academy of Fine Arts
Zhang Xiaojun Art critic
Wang Mingxian
Welcome to the panel discussion on Xu Weixin’s “Chinese Historical Figures: 1966-1976”. The subject of Xu's work used to be the ethnic minorities. He has won the golden prize award in the First China Oil Painting Exhibition. He is also one of the most important artists in realistic painting. Xu can never satisfy with himself and is constantly exploring a different way to express himself. He created huge portraitures of coal miners, which were wildly received, before undertaking the project of “Chinese Historical Figures: 1966-1976”. From a contemporary, academic and cultural perspective, this series represents a complete departure from his previous works, a total rebirth. I would therefore like to invite your comments and discussions on Xu’s new work. But first of all, I shall pass to Prof. Xu for a brief introduction.
Xu Weixin
First, I would like to thank you all for coming. I don’t know what to say before the presence of all the respectable critics and teachers in this panel discussion.
Let me start with a brief background introduction of myself. I was born in the late 50s. I still have a vivid memory of the ten years from 1966 to 1976: I have been a Little Red Guard; I’ve posted big-character posters and insulting caricature attacking my teacher; I’ve witnessed ruthless fights and fatal casualties; as a member of one the last groups of the educated youth, I’ve been sent to work in a farm for three years since 1975. I’ve been always most intrigued by the origin and the history of this event, because I believe that this mad and absurd period has left a profound impact on Chinese people. I am deeply concerned that this ten-year merciless movement, which affects hundreds of millions of souls, has been forgotten intentionally or unintentionally. The Holocaust happened decades ago but no one has forgotten it. People in the world, including Germans themselves, have been continuously examined this unbearable period of history. This is demonstrated by the countless studies and artworks. In China, on the other hand, there are very few serious works about the Cultural Revolution. Most of the contemporary Chinese artists and writers are indifferent to our heart wrenching past and the numerous critical social issues we’re facing today. They overlook their social responsibilities for the instant gratification of fast food culture. I feel pitiful that the Chinese contemporary art scene is overwhelmed by shallowness and is nothing but an entertaining embellishment in our daily life.
It is extremely difficult to portray the vast Cultural Revolution theme due to the limitation nature of the painting, when comparing with literature and film. For painting, it is crucial to begin with its given nature and come up with an appropriate perspective and a creative style. When I was painting the massive portraits of coal miners around 2005, the idea of using immense images of people living through those ten years to interpret the complicity of the Cultural Revolution came to my mind. My idea is that no matter how complicated and how vast the Cultural Revolution is, it is based on the individuals, grand or small. Each and every individual is a solid bearer and participant in history. As a footnote to the Cultural Revolution, their image is like a “pathological slide” – concrete and macro at the same time. The immense figurative paintings and the associated texts are aggressive. They force the viewers to recall and to think the event. This idea came just in time and was rather mysterious. It was “in time” because it was the time that my age, thoughts and discipline were mature enough for another creativity leap. It was “mysterious” because the inspiration came without an omen. My instinct told me that the style was unique and the substance was powerful. It is solemn, respectful and dignified that is rarely found in the Chinese contemporary art. To my knowledge, no one has ever presented this subject such way. Unlike the style I was familiar with, they are an amalgam of monochrome in color and huge in size. Additionally, they will be exhibited with text together. It cannot be categorized into any genre. My wish is that this large scale and accessible work do not only reach to the art community but also to the general public.
The basic concept for the “Chinese Historical Figures” revolves around its great quantity. It can be a series of 100 paintings or even 300. I will keep on working. At the preliminary stage, I’ve finished some 60 portraits in three categories: the campaign initiators; well-known individuals such as Liang Sicheng, Lao She, Liang Su’ming and Hao Ran, author of Yan Yang Tian (Bright Sunny Days); and the ordinary people, who made up roughly one third of the portraitures. The portraits of the ordinary are highly important in this series. We generally attribute the Cultural Revolution to the “Gang of Four”. However, I am convinced that everyone had a role in it and should be held accountable. Without the crowd cheering for it, the movement could not go on.
Reflecting on this event, it is neither accusing anybody, any group, nor provoking hatred sentiment. All I hope is that reflecting and examining the dark side of the Chinese culture can help us face ourselves. By doing so, reflection would then become meaningful.
Shui Tianzhong
I’ve been intrigued by this series since the very beginning. It is because I, too, experienced the Cultural Revolution, which left me an extremely profound and unforgettable impression; and also because this past was still kept in the dark due to our unusual political situation. Positively or negatively, we are, in general, reluctant, even not permitted, to discuss this matter. I personally think that Chinese artists should endeavor to reflect on it. Xu’s work is even more valuable in this kind of climate.
Xu also distinguishes himself from the other Chinese contemporary artists by his concern on the livelihood of the ordinary Chinese. In the recent decade, the trend of Chinese art is to focus on its form. .Sadly, the content is ignored: Fewer artists pay attention to the vital historical issues or the spirit and ideas which affect our past, present and future.
The series comes with an interactive process. Painting is just a part of it. The presentation of the subjects’ profile stories, stating their experience, their past and present, their transformation due to the Cultural Revolution, give more weight to the exhibition from historical and sentimental perspectives. I wish all of you are able to extend your support to Xu’s work. Your insights and comments will help the public understand the richness and profoundness of his art. I believe Mr. Wang is able to help him in this regard. By doing so, the work can inspire those who are either derailed from or ignorant to the historical reality.
Liu Xiaochun
Xu Weixin raises a critical question: how do Germans face the World War II experience? And how do we, as a nation, see the Cultural Revolution? This is an extremely heavy issue, a simple and yet complicated issue. The reality is that we are not allowed, even till now, honestly face and examine this history. After the occurrence, the ideological trend in the art circle was to confront the Cultural Revolution. Critical realism dominated the mainstream. This, of course, was coincided with the larger political trend at that time. Followed closely was the tendency of avoiding the issue. Why avoid the issue? Because it would only hurt our dominant ideology once we enquire into the Cultural Revolution to a certain point. The result was the birth of whimsical art. The sarcastic art form that was most welcome by foreigners flourishes even until today. To criticize it seriously or to ridicule it constantly is not same as re-examine it. It is even more difficult to ask the whole society to re-examine it in all aspects.
This is my first visit to Xu’s studio and I was deeply moved. His painting is truly simple, nothing fancy. This is, however, most needed today when articulating the Cultural Revolution. The simplicity is not only reflected in his style, but also in his selection of the subjects. These paintings, for sure, will raise a number of good questions, answerable and unanswerable. The absurdity of life is manifest in these paintings: Some were beaten to death immediately after they were stripped of their powers and the others were worshiped as soon as they were promoted. It’s hard to face reality as such while remaining one’s simplicity. Here, Xu approached all his subjects from the humanistic perspective, regardless whom they were: the leaders, the victims or the commoners during the Cultural Revolution. Under the slogan at that time “All the seven hundreds of millions of people are critics”, all of us were a part of the Cultural Revolution history. It is difficult for one to face oneself honestly. Only through the plain presentation, will we be able to undertake self-examination. By enlarging these images, he also magnified simplicity and austerity. I believe they will enlighten today’s society. As Mr. Shui said, they resembled monuments for their weight and simplicity. I believe that to have the full impact of this austerity and simplicity, these oversized paintings must be shown in a large space.
Huang Du
I was glad to meet Xu Weixin for the first time through Mingxian. This is my first time viewing so many of his artworks. I am especially interested in his blog. It’s rather rare to see an artist reaching out to the public and doing his research through a public platform like internet. I understand that working on the portrait is Xu’s personal meditation of the history. Like an archaeologist, he distills austerity and deploys it to all walks of life throughout his paintings, 60 plus for now, but may extent to hundreds of them in the future. Like Mr. Liu mentioned before, contemporary art is often associated with exoticism for commercial purpose. A typical example is to show a little girl wearing an army hat and a Red Guard uniform. There is no profound meaning to be found. Xu’s paintings, however, have a sense of history and accountability. They serve as a critique to our society and reflect our agony while probing into the inner world of the intellectuals. Although this is an important genre, it is absent from the contemporary art scene. Xu does not buy into Gerhard Richter and his trendy style of blurring the figures. I think Xu Weixin keeps his creative integrity and does not yield to commercial interests.
Xu Hong
Our discussion has focused on the significance of his works in the historical context. Now I would like to discuss how they represent history. I thought this is an innovative attempt to depict our history. Since the establishment of our nation, there have been numerous works portraying history and reality. To represent history in today’s artistic context, however, is a challenge for artists with social consciousness, like Xu Weixin,
When these characters of different identities and ages appeared simultaneously, a discourse occurred. Their interaction interpreted the unique fate of the Chinese people at that time and the cultural signification.
In terms of a historiography, he had a break through. He animated the static installation of the past in our imagination or in writings. His work brought history to live. In addition, he gave viewers the autonomy to interpret, feel and judge this history through the interaction with the images, which he presented objectively. In short, the viewers are now allowed to examine not only their dialogues with the subjects, but also their questions on history brought up by the dialogues. To me, this is an attitude of the contemporary art. It is respectful to each individual -- the paining subjects and the viewers. Therefore, Xu has found a solution to interpret history, to depict history visually and to respect the viewers. It is significant, in terms of methodology, on how to further study the relationship between Chinese historical personage and history paintings.
Yin Hongbiao
I am an historian. I will talk from the perspective of history studies. The Cultural Revolution was once again being mentioned. This emphasized that we can’t forget the past. A better representation of history is to depict personage, capturing the moment of their life in a simple and genuine way. For example, in the portrait of Liang Suming, it vividly captured his personality; in the painting of Wang Kai and Qiao Xiaohong’s wedding, it clearly illustrated their joy, happiness as well as their status as soldiers. As soldiers, they are different from those educated youths who were reeducated in the countryside. It also truly reflected that period through the style of wedding image and the facial impression, which were very different from nowadays’. In addition, choosing the subjects and the frozen moments reflects the artist’s perspective, and his understanding of history and of the spirit at that time. I found this is rather interesting.
Recently, I did some research, primarily focusing on the crucial ideology during the Red Guards activities from 1968 and 1976. I was very interested in people’s state of mind at that time. For example, Yu Luoke, one of the subjects in this series, is a good representation of that time period. His slender built suggested that he wasn’t born with a silver spoon in his mouth. Looking through a pair of glasses in a transparent frame, he was an indifferent bystander.
I also got hold of a picture of Wang Shenyou, whom I think is worth of painting. It might have already crossed your mind, I also thought about “Li Yizhe” of Guangdong, Li Zhengtian and Wang Xizhe are good candidates too for their advocacy on democracy and lawful legal system, their independent thinking and their, ultimately, profound influence. They were very impressive. I believe in realistic approach. Artists shall not have to give their subjects a face-lift or disfigure them due to ideological bias. The youth don’t have to go through what we did: Believing in all the capitalists have a big belly; all landlords a crooked face. The true was: No one knows what a genuine capitalist really looks like. I believe realism is a better style to present history.
Chen Guohua
I just had a chance to view the work. I was touched by the portraits of Wang Kai and Qiao Xiaohong, especially their eyes, expression and their state of mind. The wedding picture brought me back to the time. It was all very familiar.
I knew that the portraits of Liang Sicheng and Wu Han are pretty much close to what I’ve known of them, especially Wu Han’s. It was more expressive than its original photo. His eyes were revealing. The artist was amazing. The portrait of Liang Sicheng seemed more determined than reality. Liang’s personality was actually weak and became rather perplexed in the end. However, Liang in the portrait looks adamant. It might not be the case in real life. Wu Han in the portrait looks really alike. The feeling is great. Super!
Fang Zhenning
I think that Xu’s art is close to the style of German photographers, Bernd and Hilla Becher. This husband-and-wife team was known to photograph the disappearing industrial architecture with a straightforward objective point of view. When introducing the photographed subjects, they only indicated their location and the function of the buildings, and the time the photos were taken. There is no personal statement as if there were no subjective perspectives. In fact, that was exactly their perspectives.
Xu’s intention was to present these figures objectively, place them in an historical context, as well as preserve them in our memory. This is was a Chinese way of preserving our culture, just like the Fangshan Shijian (“Fanshan Stone Scriptures”), the world’s largest collection of stone-carved Buddhist scriptures. Chinese invented silk, paper and a myriad of other materials to record and preserve history but none of them could withstand wars, earthquakes and other natural or man-made disasters. Therefore, our ancestors engraved the Buddhist canon on stone slabs and kept them in caves. Till today, Fangshan Shijian has survived for more than four hundred years. Likewise, Xu has first-hand experience of the Cultural Revolution and felt obligated to preserve it. This work could enrich the youth’s understanding of that period. I knew many of those born in the 80s, have tried to educate themselves about it by reading. Since the artist means to keep the history intact, he has to see this series as a whole and not to sell the portraits separately, like the panels of the antique folding screens. The panels of the folding screens were sold separately around the world. It’s difficult to have a completed screen now as one third of it is in Germany and another third somewhere else, possibly France.
I hope that Xu will keep his noble intention by preserving these humanistic portraitures as a whole as they offer a comprehensive image to the future generations.
Wu Hong
I am very interested in this topic. I visited Xu as soon as he started working on this series. His works and his production methods are very inspiring. First of all, it is about how we should face the truth of history. This, all of you have discussed a lot. How should we face the Cultural Revolution? The reality is that the Cultural Revolution history has been censored for a long time. The implication is to have it wipe out of our mind.
Secondly, it is about truth. In the beginning Xu asked me in an email, “Are the style and the subject matter contemporary enough?” My response was not to worry about the bullshit contemporariness. The image of the Cultural Revolution is consumed as a symbol or a commercial trend in many galleries, including those in Dashanzi 798 Art District. In my opinion, they are too low and petty comparing with Xu’s work. I encouraged Xu to stick on his own ideas. After all, painting is about returning to the artist's primitive state, after transcending craftsmanship and artistic language. It is great that Xu has achieved this while the others sell the Cultural Revolution as a souvenir. Eighty percent of the artworks in the 798 Art District are peddled as souvenirs. Xu just completed four or five paintings last time when I visited him. He now has a collection of 60 plus portraits. In his studio today, I already felt the strong impact with a display of 10 of them. With their eyes staring at us, I wonder if, should there be another Cultural Revolution today, I would participate voluntarily
Finally, I want to highlight that Xu’s creative process is tied with internet. Xu has always been very candid and has discussed his idea openly in public via the website. He has made himself totally transparent. Comparing with those so-called contemporary artists who mystify art, Xu’s style is more genuine to the human nature.
Zou Yuejin
People have been reevaluating the complexity of the Maoist era and the Cultural Revolution starting from the late 90s when China’s market-oriented economic took off. As a result of it, a growing polarization between rich and poor emerged due to the social inequality. I believe that this is a foothold and a drive behind the growing passion in reflecting over the Cultural Revolution. In Xu’s miner series, it clearly displayed his compassion to the commoners, especially the disadvantage groups. In another words, that was his meditation on the social inequality and the polarization of rich and poor. From there, it seems nature, to me, that Xu’s work evolve to his current theme – The Cultural Revolution. In parallel, I’ve been thinking which other philosophical and cultural heritages can help us face today’s society? I believe there are two: “The world belongs to the pubic,” one of our traditional philosophy; the other is the Cultural Revolution, or the social equality that practiced during the Mao era, despite it is very utopian. Many of you enquired why people nowadays do not talk about the real issues in the Cultural Revolution. To me, the explanation is simple: It is too difficult to deny it or agree with it, therefore, forget about it is the best way.
In Xu’s latest series, the Cultural Revolution subject is meaningful. I found, however, his attitude and stance on this subject is reserved, comparing with his loud and clear stance in the coal miners series. Where is this ambiguity from? He might have seen the rationale and complexity behind the Cultural Revolution movement while facing today’s society but found it problematic if benchmarked with his social ideas. At last, he chose to compromise by presenting it like a documentary, allowing different voices and stances displayed in his paintings. It’s fine to have his works served as the memory of the period while respecting each individual personal experience. My problem is that the work lacks of the stance of the artist. Xu was willing to make himself clear and explicitly elaborate his views in his previous works. Had he done the same in this current series, apparently, it means that he would risk greater. Yet, success is secured at the cost of risk-taking especially he has already took the risk by choosing this subject. Based on his previous work, I expect him to have a well-defined and clear value judgment, which is unified with his previous works. This is absent from this series. When we enter the 21st century, we need new perspectives to reflect on many issues. And a value system and stance is prerequisite for reflection.
Zhang Xiaojun
I think Xu’ works are inevitable results of history. They represent a new ideological trend. He has successfully presented the depth of the Cultural Revolution, which is presented as a symbol in today’s artistic expression. Xu’s portraits narrate the destiny and the variable life experience of the subjects. They reflect his sentiment toward life politically, artistically and philosophically.
A while ago, Mingxian held an exhibition called “The Missing Memory in Fine Arts History”, which reflects on and reevaluates the symbolic significance in Chinese arts pertaining to the cultural revolution. If you check online, you will find a myriad of symbols associated with the Cultural Revolution. They can be categorized in two trends: One is political pop art, using pop art to deconstruct politics and red; the other is sarcasm, an expression of wisdom. Simply take a look at the auctions, you will find them getting popular. Once these expressions are accepted and recognized as mainstream arts, they are no longer revolutionary and avant-garde. Accordingly, people are longing for a new style and a new vision.
I believe that Xu’s and Mingxian’s works have redefined the symbolism developed since the 90s. They mark a new era that is neither commercializing nor politicalizing art. Instead, they emphasize on social responsibility and intellectual conscious. This has distinguished Xu from other contemporary artists. It represents the trend in the seventh year of the 21st century, and even years that follow. We should cherish this visionary expression. As for the style, it's up to the artist to decide whether it should be blur or solid. Facing his paintings is like facing a history of China. It is complex politically and aesthetically that require us to acknowledge it and recognize it. Unlike the works in galleries and in the 798 Art District, Xu's work is profound esthetically and responsible socially. He has put an end to the mad period of commercialization. I think Xu deserves an academic acknowledgement and affirmation.
