<< Essays List
Rebuilding
Regional Culture During the Process of Globalisation
Li Xianting
Starting more than a hundred years ago, the West's subjugation and colonisation
of other nations forced a choice on non-Western countries. To varying
extents they began to question their own cultures and study the ways of
the West, and this laid the foundations for globalisation. After the end
of the second world war, the speedy development of America's economy and
technology meant that the West, and the USA in particular, became the
central source of culture; consequently, globalisation is in a sense the
global spread of American culture - American style economies, computers
and the internet, consumer culture and the aesthetic tastes that go with
it, cities modelled on Manhattan, the English language, contemporary art...it
is already almost impossible to find a regional culture that is completely
unaffected by globalisation. My emphasis on "Rebuilding Regional
Culture During the Process of Globalisation" stems from the fact
that I believe the main cultural dangers we face today are, for example,
the high-speed "Manhattanisation" of urban styles, the consumerisation
of aesthetic tastes and various similar problems. Globalisation should
not mean the integration or Americanisation of global culture.
Of course I am not proposing a dualistic world where conflict and opposition
exist between East and West, or any such sham cultural topic as those,
including "Chinese Substance and Western Function" and "Chinese-Western
culture clash", that have been continually arising in China over
the past hundred years and more. They are really just another expression
of the "China as centre of the world" belief that developed
in China as a result of conservatism and being closed off from the world:
a clash between the old cultural centre - China, and the new cultural
centre - the West. It is this mentality that logically leads to the preposterous
statement that "the 21st century will be the Chinese century".
In fact, if we examine the state of cultural globalisation, we see that
China is no different to any other non-Western region, all are located
in the same type of weak cultural position, just one among many weak cultures;
this is our cultural reality, and we have no way of changing ! this reality
in the foreseeable future. Our aim in creating new regional cultures in
China and other nations is not to turn the 21st century into a "Chinese
century" or any other region's century, as it is exactly this situation
whereby a single culture can become the centre of the world that we want
to erase.
The title "Rebuilding Regional Culture During the Process of Globalisation"
emphasises the new cultural conditions and cultural relevancy formed by
regional culture during the process of globalisation. There are two starting
points for our creation of new regional culture today; one is globalisation,
the other is our weak cultural position. A point in favour of globalisation
is that the existing achievements of modern Western culture and art can
be shared by us and rest of the world, but we must remain on guard against
the cultural hegemony that could turn globalisation into a centralisation
of global culture. We must always insist on the plurality and equality
of culture, we must remain calm, adopt an open attitude towards the incorporation
of things of diverse nature, scrutinise and search out the new cultural
origins of our region based on individual existence and cultural context,
gradually produce and clarify a new regional value system within global
modernisation groun! ded on the various existential requirements of the
people now inhabiting this region.
To understand the positive significance of cultural globalisation in
an open way requires an open and active "taking up the challenge"
sort of attitude. From an artistic perspective, this would be to acknowledge
that modern art has already become a form of international language, and
that we should regard it - in a chronological rather than a regional sense
- as the most revolutionary form of language that mankind has discovered
thus far, and the most suited to contemporary humanity. Modern art has
certainly opened up more possible ways for people to express themselves,
and the process of this opening up was also an open process, because as
Western artists were in the process of creating modern art they constantly
turned for sustenance to the art and culture of non-Western countries.
In fact any new culture in its initial stages is accompanied by mutual
influence and assimilation between different cultures. What is significant
and enlightening is the way in which Western artists recombined and transformed
fragments and elements of their own cultures and diverse cultures and
art forms from non-Western countries into a new mode of art. For me the
most important thing is cultural standpoint and context, but for Western
artists the important thing is still whether or not artists can confront
the variety of puzzles posed to people by the circumstances of their lives.
Art's transcendence of racial and national boundaries often works from
the angle of an aesthetics of reception, looking at the acceptable limits
and degrees of art products. However, considering the primary impulse
of the creative process, first and foremost is the artist's grasp of his
or her innermost feelings as an individual, and an individual naturally
has to be living in an environment that is part of the contemporary culture
and society of a specific nation and region; it is unlikely that any artist
can go about making art in a way that bears no relation to their environment.
What's more, the globalisation of culture and especially art is mostly
the transmission of what could be called fragments of culture - linguistic
modes, working methods, the visual form of works - that obscure the dynamic
context present at the time the work was being created, so when non-Western
artists accept the linguistic modes or working methods of Western contemporary
art, they will consciously or unconsciously understand and apply them
from their own individual standpoints. This process regards the starting
point of art as being an individual located within a specific cultural
context and standpoint.
Socio-political and cultural background has always been an important
context for Chinese contemporary art, and it was against this Chinese
background that the works of Wang Guangyi, Fang Lijun, Yue Minjun and
Zhang Xiaogang were produced. They have creatively used the language of
modern Western art, and at the same time also drawn ingeniously on Chinese
cultural resources. Wang Guangyi's Great Criticism, for example, creatively
uses the language of Pop art. American Pop was concerned with popular
images in currency at that time, but Great Criticism juxtaposes images
from the Cultural Revolution era with images from contemporary mass culture,
producing humorous and absurd implications. In essence these works are
spiritual symbols of the period just before the end of the Cold War, signifying
how the ideological infiltration and decimation of the Socialist camp
by the mighty commercial culture of the West created a distinctive sense
of political absurdity in the artist's psyche.
The works of Fang Lijun and Yue Minjun have a definite relationship to
both the Tian'anmen Square incident and traditional Chinese culture. The
biggest impact that the Tian'anmen Square incident had on the Chinese
people was to cause a widespread loss of ideals, and this loss quickly
developed into a mood of cynical ennui and a pop way of dealing with things;
what I call pop is a concept I extracted from a common Chinese term that
means "punk" or "hoodlum", it simultaneously implies
being a joker, loutish behaviour, being dissolute and uncontrolled, seeing
through everything and fooled by nothing. The images of "bald-headed
hoodlums" created by Fang Lijun have become a classic glosseme, while
Yue Minjun repeatedly uses his own image as a model, depicting himself
in comical postures with a vacant and idiotic grin on his face, the works
are self-mocking and also deride the hollow boredom of contemporary China's
spiritual realm.
Pop as a method of spiritual self-liberation is a traditional approach
taken by Chinese intellectuals, and many examples of this can be found
in Chinese history, especially during periods of high political pressure.
Many scholar-officials during the period before the kingdom of Wei gave
way to the Jin dynasty behaved in eccentric, mad and self-mocking ways,
living their lives in defiance of convention in order to cope with high
pressures of politics, thus achieving their aim of self-liberation. The
famous work New Anecdotes of Social Talk from that time records many incidences
of this, and a wide reading of Sanqu verses from the Yuan dynasty, shows
that self-mocking, pop style works are even more ubiquitous; in more recent
decades writers Zhou Zuoren and Lin Yutang have both discussed this. Even
in depictions of the big-bellied laughing Maitreya Buddha, a widely popular
image with strong Chinese characteristics, we can see how deeply cynicism
and pop are lodged in the bones of the Chinese people.
Zhang Xiaogang's work is concerned with the harmful effects on people
of centralised political power. His Family Photograph series draws on
the style of Chinese folk portraiture; through his use of the pictorial
style of traditional "happy family" group photographs he leads
people to make a mental association between Confucian clan traditions
and blood relationships in the Maoist era. The quiet, wooden expressions
of the figures in the paintings, the smooth surface that bears no evidence
of brushstrokes and the neutral grey tones combine into a whole, so that
the Big Family series paints a sort of miniature portrait of the Chinese
people. Living in a society where the style of government is an extension
of the family structure has given the Chinese people a unique sense of
the great changes wrought by time - through the frequent tricks played
by fate, the unpredictable changes in the political weather, they remain
tranquil as water, strong and self-sufficient, a fulfilment of the typically
Chinese coping philosophy expressed in the common adage, "happy is
the man who is content with his lot".
|