Tape on wall [site specific

While preparing my solo I would occasionally hit my
emotional ceiling. The slightest errands can be quite a challenge in China.
Agreements are brushed off like dandruff from a shoulder pad and as the Chinese
dislike saying ‘no’, the common reply in every nerve wrecking situation is
‘maybe’, ‘tomorrow’, ‘maybe tomorrow’ or ‘not today because the president is
visiting and the road is closed off’. I had learned however never to show my
nervous crackdown, yet calmly go for tea with one of my Chinese friends, like
Michael. During our conversation I would subtly touch the surface of my problem,
‘transporting one’s artwork can be quite a challenge’, before digressing into
the lovely dumplings I had for breakfast or the blue silk scarf I had bought for
my mother the other day. Michael however had picked up my indication of
desperation and responded immediately by showing up in my studio two hours
later with a Chinese transporter. Haggling about the price was something I had
to do myself however: ‘it is better not to let money interfere in our
friendship’. The Chinese transporter looked sullen and not too keen to lower
his price for any rich looking foreign artist. Being Michael’s friend however was
my best bet for discount. Google Translate did the rest.

This circumspect way of working drives people to madness, even the Chinese.
The simplest errands take ages but it is the only way for the Chinese to keep face.
For direct questions may lead to a negative response and all the creativity required to
disguise it. Personal and business relations further intertwine as the relationship grows.
The positive side effect is that the discount increases accordingly.
Dining with clients should end in a bacchanal with employees slashed to bits.
The idea behind this often embarrassing spectacle: a drunk Chinese shows his real face.
And a bad talent for singing, as I have witnessed several times.

The importance of keeping face in personal relations
was illustrated by my tour guide when I visited the great wall, just outside
Beijing. Miraculously one of my travel companions managed to disappear on the
wall, taking the wrong elevator down. Trying to be funny, I asked my tour guide
if he would be angry with the missing guy once we found him. My tour guide
answered, ‘I am not allowed to be angry’. We were allowed to visit two state
workshops however. Twenty guys paying the obligatory visit to a jade factory.
When the tour guide drove us to the second unexpected enamel outlet, the bus
revolted. There was no escape from the enamel outlet however: the visits were
state’s imperative. The guide admitted we would have to stay inside for exactly
45 minutes. Obviously China wanted to demonstrate its marvel in terms of jade
and enamel, but for twenty western men it was just not what they had had in
mind when booking the day trip tour.

One thing the Chinese are not indirect about is relationships.
Luckily I was able to avoid the eligible women introduced in
every conversation by my Chinese female friends. My Dutch friend however was
not so lucky. In an interview he held with a female Chinese artist the
interpreter at one point stopped translating. It turned out that the Chinese
artist had turned the subject around towards my friends marital status and
whether he was interested in dating her. The interpreter was too embarrassed to
continue and split the scene, leaving my friend with an unfinished interview
for the art magazine and a Chinese artist desperately waiting for an answer.

I will miss my new friends however. Language nor cultural barriers did
prevent us from having a good time together and sharing thoughts, ideas and
laughter. It is a shame however they will not be able to read this since my blog
has been blocked since the last three weeks. Does that mean that I have been censored too?

In order to respect their privacy the names of the persons mentioned in my
blog have been altered.

Since the end of the Cultural Revolution some 25 years
ago, Chinese art has undergone a rapid transition.
Artists experience relatively more artistic freedom, yet still within the
boundaries of the communist policy. The resurrection of Chinese culture has
been watched closely ever since, not only by party members, but also by the
rest of the art world. If China is going to be the next world power, its art
will certainly hold a dominant position. Especially since a large part of the
purchasers is Chinese, determined to take better care of their cultural
treasures than they did in the past. The rest of the buyers are westerners,
riding the economic wave of Chinese art, seeing the value of their recent
purchases tripling or quadrupling in a few years’ time.

My Chinese friend was not the only one critical
towards Chinese contemporary art. A Chinese artist I met recently is fed up
with his fellow artists abusing the Cultural Revolution for their artistic
themes. The revolution as a subject is not only approved by Chinese
politicians, it is also very popular among westerners. Ironical compositions
featuring Mao nearly diminish his cruel heritage. What happened during that
time was horrible, the artist says, but European contemporary artists don’t
continue dwelling on the Second World War either. It is time for new artistic
stories.

Stories that will have to surpass Chinese censorship
however. One day before opening my solo here in Shanghai, my gallerist welcomed
two men in suits wearing cameras. She recognized them from previous shows and told
me they were from Censorship, inspecting the art works and the messages they
convey. If a piece is considered too provocative and not in line with party
policy, you are asked to take it down.

When not investigating popular themes like the
revolution or the link between man and nature, Chinese artists choose intimate,
autobiographical subjects instead. The Chinese artist I spoke to uses his
previous medical profession as his source of inspiration. He finds it hard to
relate his work to other contemporary Chinese artists. Most Chinese artists
tend to repeat themselves, he thinks.

And others just copy the great western artists. At a
show in Eastlink Gallery I found myself staring at what appeared to be a
Richter but what turned out to be a Chinese copy instead. Similarly I
encountered several Chinese Dumas’ and Serra’s. Was this another illustration
of  Chinese copy culture to cater for the
western taste or are Chinese artists connecting with foreign artists and is
this the beginning of a broader international artistic discourse?

Just before I enter my flat again, I look at the
‘massage salon’, right across the street. Supposedly, the hospitality does not
end with a massage and the blue and red neon lights should give away some of
its true nature. The other night some of the masseuses were being transported
to another ‘massage salon’ or someone with a sore knee, let’s say. Their driver
being a very slick and dodgy type, actually inspected one of the girls in the
neck, lifting her hair the way you would lift a horse’s foot. In the van and
off they went.

Supposedly there is a lot of prostitution in Shanghai,
yet more subtle than your average red light district, taking place in the
backrooms of karaoke bars and hairdressers. The girls in the industry look
harsh, talking loud. Not at all the childish elves most women pose to be as
they dangle on the arm of their stern looking men. Even though the cultural
revolution declared equal rights for both men and women, most Chinese women
find themselves in the ‘female’ positions in society, one of which of course
being at home with the child. Rarely management or the more influential
positions. Luckily this situation is, just like the city itself, undergoing a
transformation. Old institutions are slowly giving way to new high-rises with a
broader view.

How many are able to enjoy that view, I don’t know. Following
the standard path of anyone abroad, my outlook on the city has been taking a
dip over the last couple of days, going straight down to the underbelly I
suppose. After the first weeks being full of impressions, time is now slightly
slowing down and becoming omnipresent. Giving me the opportunity to take a
closer look. Online research is hard, as the internet runs slow and much
information is being scanned reportedly by 130,000 employees in government. Foreign
information is thoroughly filtered before surpassing the Great Firewall of
China (or the bamboo curtain, as some put it kindly). This doesn’t hinder the
Chinese from being online however, even though social interaction can only take
place within the safe net of the country’s borders. Facebook is RenRen or
Kaixin001, Twitter is Fanfou and YouTube is Youku. Sharing information, meeting
new people: all under the watchful eye of Chinese government and the websites’
very rich Chinese founders.

The ones that do manage are usually very eager to learn. Therefore many art classes pay visits to outside places, like galleries, museums and artist studios. I have met several students by now who are very interested in anything different from what they know already. The other day an entire class entered my studio and what turned out to be their teacher gave his students a long monologue about my work. In Chinese. He pointed out details in my work and the class followed his gestures. I was becoming quite curious what this man had to say about my work. So when he had finally stopped, I asked one of the English speaking students to fill me in. True to his Chinese efficiency, he said: ‘in one word, amazing!’. Very flattering of course, but it didn’t leave me with much insight. To me and my Scottish colleague’s amazement, the class then pulled out their cameras in sync and flashed away.

Countering this brilliant experience stand of course some lukewarm receptions as well. One Chinese guide leading German tourists could not help being indignant about my materials. And what is an Anti-Room he asked, was it a place high up in the mountains? A German lady came to the rescue as the conversation, held in German, became increasingly complicated. According to her, an artist does what he feels is right, and the public should just shut up about it and follow his lead. Whether she was annoyed by her guide or she was craving her lunch, the group left not long after her (very German?) remark, leaving me to my work.

Being part of the new economy myself, I work in my studio fulltime. This enables me to fully concentrate on my process and gradually prepare my exhibition which will start in two weeks’ time. Following up on some good advice from other artists here in M50, I will start framing my work, which is a first. The other side to the Chinese economy being, that labor and materials are still quite cheap. Obviously a ‘positive’ side effect to the lack of unions and what we would call fair trade. Leaving me wondering still, whether I should participate in this situation or not.

The other night, the same group visited a small family
run restaurant where the owner had dubbed himself Elvis. Not only because of
his black hair, but supposedly his vocal capacities had something to do with it
too. Of course we wanted to hear. Elvis belched out a high pitched version of
‘Return to Sender’ using the beer bottle for a microphone. Ending the chorus,
Elvis took another swing of the bottle and toasted: ‘Only for happiness!’. We
wondered what made Elvis happy, and it turned out that Elvis was enjoying his
current job as a restaurant manager very much, and that he had quit his job in
advertising which he hated.

Having quit my job myself before coming here, I
immediately felt a warm sympathy for this man. Not many people can afford it to
follow their heart’s desire and especially in China, many people are obliged to
participate in the 24/7 economy. Especially the less fortunate see themselves
working long days with little time off, being separated from their partners and
children as well, as it is usually too expensive to inhabit an apartment in the
city with the entire family. And so it happens quite often that one of the
partners works in the city and the children are brought up by family elsewhere.
In order to save as much money as possible, some people even sleep in the
street. In the end, their salaries should give their children a better future
and a glimpse of happiness.

According to Confucian tradition, the Chinese keep
their eye on the horizon. Long term prevails over short term, stability and
discipline are key. The ancient philosopher is very popular again, as the
Chinese are revaluing their history, taking different colors from the past and
painting them into a new composition. Confucius is read in school and gains
influence among the Chinese population. His philosophy is quite logical: take
good care of yourself first, then extend your benevolence to your family, your
village, your province and then your nation. This process is supported by good
health and wealth. It is ok to earn money: with the money comes responsibility.
The more you have, the more you can carry out.

Last Monday was mid-autumn festival, a celebration for
the moon. According to one of the legends, a husband lost his wife to eternity,
and she transcended to the moon. Once a year, when the moon is at its fullest,
the man sees the outline of his wife in the moon and he cooks her favorite
dishes to honor her. On this public holiday of legendary separation, the
opposite takes place as the Chinese move back to their homes and their
families, indulging in moon cakes and no doubt, a beer or six: ‘only for
happiness!’.

Now there were two options: adding my new friends by their Chinese or their English name. Introducing themselves people would call both their Chinese name, given by birth, and their personally chosen foreign name (mostly English). Chinese names often reflect virtues or nature. Many people are named after the sky, the sun or ‘doing well for others’. The inspiration for English names springs mostly from (western) cities, popular culture or fairytales. Sometimes it is hard to leave the primary association behind, especially when a peevish girl steps up to you and introduces herself as a robust Argentinian writer. Being asked people state that both names reflect their identity just the same. I find it hard to believe: to me their English names are just another way to describe their hobbies or preferences. It has nothing to do with ancestors, family history or national culture. However, the English names are easier to remember. I find it hard to distinguish the Lings from Mengs and Chengs. Yet Brooke, Eco or York are much easier to associate.

In return they would have liked me to have an English name as well, as Jochem is hard to pronounce without their primary reaction of spitting on the floor. Yet how ridiculous this may seem, there are several European artists working in China who found that it served their income if they adopted a Chinese identity. For Chinese art collectors primarily purchase Chinese art. Being a French artist in China, it makes you wonder. As did Alexandre. I ran into him on the opening night of a gallery on Thursday night, then finding him hosting his own opening on Saturday night as Tao Hongjing. Both names make the same art. Smart or schizophrenic? Assuming that your cultural baggage and personal history work their way into your art, not only the place where you currently live. Alexandre couldn’t care less, as he tells anyone listening. He makes his work, and in the end it is just another seal that is attached to it.

Greeting Alexandre on his opening night, I called out ‘love time no see’, a phrase I had picked up in a shop where it stood on a baseball cap. Chinglish: that’s what they call misspellings in translations from Chinese to English. And there are quite enough to deserve their own category. The text on an Abercromble and Fritz shirt read ‘See you springtime’, leaving me puzzled whether people would address seasons personally, as part of the Tai Chi ritual?

Maybe I was just being old-fashioned, is it not truly about the name giving and the language, but more about the actual person or piece of art. Are names merely a tag to distinguish their owners and their work, more than a means to refer to their family lines or places of birth. Is language just a way to express one’s intention, conveyed with and without the misspellings just the same.

The first day two girls entered the gallery. Seeing my
work, one started giggling, asking me if it was finished yet. The other wanted
to know if I had had some education at all. When I explained I had a degree in
visual arts, they suddenly brightened up. It turned out they were art students
in their second year. My work was obviously new to them and it probably made
them realize the endless possibilities artists can explore. They took pictures
and off they went.

The second day an entire class entered the gallery.
Seeing me work, they stopped and stared. Then one asked cautiously if they
could take pictures. I nodded and as I wanted to step aside I found myself
suddenly surrounded by a few dozen fifteen year olds: girls hooking their arms
in mine, guys tapping my shoulder and making V-signs. They didn’t care about
the work, they wanted to be in the picture with the bearded artist in the wild.
Then there was a Chinese man who I couldn’t understand, but he kept yelling
‘NICE! NICE!’. So frequently and loud that I started to wonder whether I was
missing out on some ritual that I had to respond to.

Many visitors pass by and with some I talk about my
work, art in general and the possibilities of artists in China. Although I have
met several people quite a few times before, they hardly open up just yet.
While visiting exhibitions with some of my new friends, instead of giving a
conceptual interpretation of art, they describe the process of the making. When
I ask them what they think the artist wanted to convey, they stick to
generalities like ‘loneliness’ or ‘beauty’. Political work is interpreted in
esthetical terms. Maybe in time we will have some more profound discussions
about art. Until then, I will continue my (other) unfinished work here.

On my first day in the studio I am suddenly
interrupted by a lady with a broom and a basket. She and her colleagues are
appointed by the owner and landlord of M50 to keep things safe and clean. At
first I am a bit annoyed, when she stands within eyesight between me and my
work on the wall. Then she bends over and starts to collect the strands of
paper and bits of tape that I dropped there in the process. Before I know it
she has cleaned the floor around me and hurries out the door again. This
scenario repeats itself three more times, despite my pointing at myself and the
floor, telling her not to worry, I am a Dutch artist, I can clean up after
myself. The lady turns out not only to be a very disciplined cleaner, but also
very curious. During a Skype meeting I have later on, I suddenly see my
conversation partner looking at the new face that has just appeared in his
screen. As I turn around I stare into the big smile of the cleaning lady
leaning over my shoulder, looking at the computer screen. We  tell her to join the conversation, but to no
avail.

Of course, being a foreign artist in China is an
exceptional situation. Most artists here don’t even have the luxury to express
themselves properly. One other artist compound like M50 closed down recently,
for one of the artists, a photographer, created politically critical work. The
freedom I have to express my point of view and my ideas is something I would
want my Chinese colleagues to have as well. During several talks with some
Chinese artists, I find they are reluctant to talk about their more personal
beliefs and viewpoints. Understandable, yet very frustrating and unbelievable.
I hope in time I will learn and understand a bit more as to how a visual artist
in China deals with his own personal expression, for it is a true luxury not
having to care about it.

Packed with tons of tape and plastics I headed back,
on foot, which is not a good idea under these weather conditions. I stopped near
the river in a park to get some fresh air. Not soon after I had sat down, I saw
a young couple approaching, asking ‘hellohowareyouwhereyoufrom?’. They didn’t
seem to be pickpockets or hustlers, so I answered politely about my
whereabouts, yet having lost them completely after the second sentence. We
stared at each other and I just bowed, which I do a lot here, hoping to show
courtesy that way. Walking back I promised myself to at least learn some basic
phrases.

As I watched the Chinese characters on shop windows,
buses, newspapers, I realized that by missing the context, the characters had become
merely esthetic to me: communicating in form only. The large part of the messages
that are carried out are lost on me, whether it is commercial crap,
governmental regulations or Chinese chit-chat. This form of isolation could
make one feel lonely after a while, yet it is strangely enough very relaxing in
a way, not having to take part in endless streams of communication.  My mind becomes my own again, not disturbed by
tempting commercials or imposing directions. In communicating with locals I
have to use all my senses to understand them and make my intentions clear (not
always successfully I admit). However, it does make you realize how easily we
rely on words and wordy interaction. A place where this is slightly changing however is in social media, where images are often used to
replace text. Unfortunately, Chinese government has banned these channels
completely, which means that my means of communication have become limited in
that area as well.

Tomorrow morning I will have to report myself at the
police station. That seems to be a regularity for people entering China who are
not staying in a hotel or hostel. Then afterward I should find my working
materials. A couple of weeks back I contacted Deguan Tape, one of the larger
suppliers of tape here. While asking for directions, the lady at Deguan mistook
my approach for a sponsor request, which she positively responded to. Let’s
hope Mrs. Liang is still enthusiastic about this deal tomorrow.

I work with construction materials, like plastics and tape. I research the
picturesque qualities of tape and investigate the border between low and high
materials. China being a large manufacturer and supplier of all sorts of
plastics and tape, I hope to be blown away by the massive assortment and new
possibilities.

My artistic theories evolve around apparently incompatible phenomenon’s as life
and death. Many eastern theories, like the Dao, describe a certain fluid area
where even the most absolute border dissolves. I hope to acquire a lot of
knowledge and new insights.

Eventually, the role visual artists play in eastern and western society is changing. I
would like to speak to fellow artists and ask them their opinions: what should
a visual artist try to achieve in society nowadays? And of course I would like to
know more about themes concerning my own artistic research. In Dutch art academies
people are taught about low and high materials (oil paint being a high material,
construction material being low).

And there is the importance of a work being everlasting. Most people want
art to have everlasting quality. These two theses I’d like to fight, because it
limits me as an artist to really follow my artistic instinct and fascination.
Hopefully I find support in new visions by Chinese artists about this.

It’s going to be a very interesting time, I am sure. If you’re interested, I’d be
happy to keep you updated here.

Jochem

Tape on cardboard_50x80CM_2011

On the longest day

my head goes out the window

wind will fly my loving memories of

you and me

tie strings from the trees to the houses,

reminding us: this day will last.

I never meant to write

you – not in this way.

I shake your hand

but I cannot touch

you – shake the ground

and the green above it -

see the sky

so blue and distant.

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Tape on cardboard_60x50CM_2011

Tape on cardboard_70x50CM_2011