{"id":13185,"date":"2014-03-25T07:15:00","date_gmt":"2014-03-25T07:15:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=13185"},"modified":"2023-09-22T07:22:41","modified_gmt":"2023-09-22T07:22:41","slug":"utopian-metropolis-or-zombie-necropolis-filming-haze-and-fog","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/utopian-metropolis-or-zombie-necropolis-filming-haze-and-fog\/","title":{"rendered":"Utopian Metropolis or Zombie Necropolis?\u2014Filming \u201cHaze and Fog\u201d"},"content":{"rendered":"\n

\u201c\u2026to me you are the fog the rain and the wind, come and go, in the end nothing was left behind\u2026\u201d<\/em><\/p>\n\n\n\n

\u2014from \u201cHaze and Fog\u201d (2013)<\/p>\n\n\n\n

In May 2012, at the final edition of ARTHK (Hong Kong International Art Fair; now Art Basel Hong Kong), the curated project and book The future will be\u2026China. Thoughts on What\u2019s to Come by Hans Ulrich Obrist was launched. At the time, I didn\u2019t think a whole lot about the textual sound bites, images and interpretations, along with responses from Chinese artists to the sentence \u201cThe future will be\u2026,\u201d as I leafed through its coarse red, yellow and monochromatic newspaper, zine-like pages. That was, until I came to write this reflection on Cao Fei<\/a><\/strong>\u2018s (b. 1978) latest film\u2014\u201cHaze and Fog\u201d(2013) which was on show at the Centre for Chinese Contemporary Art (CFCCA)<\/a><\/strong> in Manchester where, since October 2012, I am Research Curator on a part-time basis.<\/p>\n\n\n\n

Cao Fei\u2019s contribution to the publication stands out from the bilingual Mandarin-English text-heavy majority as she responded with a photograph, a reproduction of a promotional poster for the popularized American TV series The Walking Dead<\/em>. The ink from the black and white image of a lone ranger seen riding a horse on a desolate highway into the unknown city skyline ahead bleeds to the page edge. Culture and location undefinable, and interpretive text unstated; you are unclear of the artist\u2019s intention only knowing\u2014if you are familiar with the show\u2014the contexts of the poster. The series follows a sheriff\u2019s deputy, who had recently awoken from a coma, negotiating a post-apocalyptic world dominated by zombies. Premiered in November 2010 in the USA, it is now in its fourth season and watched globally, including in China where it is aired through Youku, China\u2019s YouTube, becoming the nation\u2019s most-watched season of Western television with over 27 million views trending on Weibo, China\u2019s Twitter, as \u201c\u884c\u5c38\u8d70\u8089\u201d (x\u00edngsh\u012b z\u01d2ur\u00f2u<\/em>)\u2014\u201cTraveling Corpses, Walking Meat.\u201d<\/p>\n\n\n

\n
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While ghosts and mythical realities of death have been present in symbolic forms or otherwise within Chinese scroll paintings and literature for centuries, the specific notion of the \u201czombie\u201d has only more recently been referenced within Chinese contemporary culture, influenced by these Western representations of the \u201cwalking dead\u201d (it must be noted, however, there is also the traditional lore around the jiangshi<\/a><\/em>, the undead corpse). Through this \u201clone\u201d image, Cao Fei was commenting on a specific moment within popular culture, providing a gateway into a new world, a mirror into another distorted and constructed reality, concepts renowned as part of her multi-media installation and digital to video practice. Unknown to her audience, she was also giving a clear visual clue, a thought into a new artistic concept in progress\u2014questioning the paradox between life and death, and how we define those as dead or as alive\u2014an insight into her next unrealized world that would bring her to make \u201cHaze and Fog\u201d(2013).<\/p>\n\n\n\n

This new commission is based on the artist\u2019s novel writings and is her only work of fiction, set in what is a supposed modern metropolis, some of China\u2019s largest sprawling cities, depicting slowly, intimately, and in detail, the routine struggles of day-to-day life and personal relationships of the middle classes. Usually unnoticed, here they are the main character represented en masse as a powerless, neutral and emotionless force frozen, as if a \u201czombie,\u201d in time, alongside the parallel realities of the upper classes and lower subcultures.<\/p>\n\n\n\n

As scenes play out you become more and more the voyeur, observing partial reality, partial insanity, partial absurdity, double and changing identities, characters that are repeatedly viewed as multiple story lines unfold in a literal and somewhat confusing \u201chaze.\u201d There is a character to which we can each make an association\u2014the pregnant housewife cutting off her finger with no emotion as she cooks dinner, a man delivering a box of what seem like watermelons when they are in fact bouncy balls, a young girl changing into a stripper outfit in a stairwell, a man cracking an egg on a glass-topped table, an artist painting an illusionary visual cube on canvas, an out of tune singer heard from an apartment window, a man playing snap with a collection of call girl cards, an aroused security guard peeking through partially open blinds to watch a couple\u2019s intimacies, a group of estate agents playing in a newly built playground devoid of expression, a woman obsessively cleaning the windows of a dental office, an ayi [domestic helper] pulling a wheelie rubbish bin behind her on the street only to come across an iridescent male peacock in full plume.<\/p>\n\n\n\n

The final scenes conclude with the presence of \u201creal\u201d blood-covered, partially mutilated, leg-dragging zombies who represent the \u201cliving\u201d in the film, who come to feed from the flesh of, and thus awaken, the bored, the numb, the lifeless, the thoughtless, the painless, the already dead, the people en masse. It is the estate agents who are the gatekeepers between the zombie fiction and the mortal reality; they choose the prey from which the \u201creal\u201d zombies feed\u2014furthermore, making reference to the rapid changes of architectural development in China and a drive for an urban utopian perfection.<\/p>\n\n\n\n

A purposeful lack of color and opaque clarity to the film builds a quiet sensitivity to how sex or sexual pleasure, harm or self-harm does not even have the power to arouse appropriate emotion, also echoing how a city is seen for the first time\u2014such as viewing the skyline from a taxi cab window often frozen in awe of the unseen and unknown. Furthermore, being largely a silent articulation with limited verbal narrative, understanding is therefore primarily reliant on the film\u2019s visual strength and clarity. Short injections of soundtrack provide another layer of context, including well-known Latin melodies, traditional Chinese folk music translated with discrete subtitles, and newly composed piano score to give \u201ca sense of sadness and craziness, of mixed emotion\u201d\u2014another chance to break from the \u201chaze\u201d and \u201cfog.\u201d These musical interludes twinned with ritualistic movement and action on-screen provide another humorous subplot to the film that also links to the often absurd imagery and props on screen.<\/p>\n\n\n\n

A further and obvious interpretation is that Cao Fei is making reference to China\u2019s constant battle with pollution, which has recently been at unprecedented levels, as characters are seen wearing face masks or bathing to remove the murky airborne \u201cfog\u201d of industrial and societal dirt that on a near daily basis layers the skyline, clinging to your skin and lungs. Ironically, since my days of living in China, it has awoken my gaze to the beauty and clarity of a clear blue sky that I now get lost in and silenced by, as do the characters within the film.<\/p>\n\n\n\n

\u201cHaze and Fog\u201d(2013) was premiered in a solo exhibition at Eastside Projects, Birmingham (UK) at the end of September 2013, then screened across multiple venues across the UK including Tate Modern, London, and Arnolfini, Bristol, with a further exhibition at Centre for Chinese Contemporary Art (CFCCA), Manchester. This sporadic placement of the film in different UK localities immediately made you question each city, and your purpose in it, through Cao Fei\u2019s eyes\u2014\u201ca moment for on-going global discovery\u201d\u2014acting as a tool to question your existence, your reality, your fears, your place in the world, a clarifying act as such with a potential to acknowledge the now and make change happen. Also, it brings to the fore a global state of mind, indicative of a lack of engagement with and association to the reality of life, the comfort of the security blanket of life, the fact that you can be anyone or anything and still feel the same feeling wherever you are in the world, still feel an emptiness at the end of a day, or a confusion of not knowing how you feel. It also references the simplicity of life, satisfying for some, but a battle for others.<\/p>\n\n\n\n

The film has attracted mixed reaction from viewers, including those embracing the zombie phenomenon, feeding from its urban and societal dramatic representations, to those disgusted by an apparent misguided vision of China. This latter issue is another underlying statement presented within the film where the \u201cwalking dead\u201d could be seen to portray a censored China and Chinese voice.<\/p>\n\n\n

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Presented in collaboration with the Eastside Projects exhibition was Cao Fei\u2019s \u201cHouse of Treasures\u201d(2013), initially commissioned for the Mobile M+ series exhibition \u201cInflation!,\u201d a city intervention project of large inflatable sculptures that took over the West Kowloon district of Hong Kong in spring\/summer 2013. In Birmingham (UK), Cao Fei\u2019s giant suckling pig was installed in the interior atrium space of Millennium Point, a multi-functional media venue peripheral to the city centre that serves as a thoroughfare go-between the local university, Thinktank Museum, IMAX cinema and office spaces. Its absurd placement in the building\u2019s metallic interior made it feel like a caged animal, and as I was getting inside the insides of \u201cHouse of Treasures\u201d(2013) my mind was torn between its interpretations in Hong Kong and UK, and whether it could ever be translated and understood in UK terms due to the many complex Chinese cultural references. On show inside were multi-dimensional screenings of Cao Fei\u2019s prolific digital and video work \u201cRMB City\u201d (launched in 2008), factions of the global interactive online \u201cSecond Life\u201d platform that present a constructed virtual world in form of a petropolis, a new floating frontier city formed from their inherent natural resources which could be seen as \u201csomething between apotheosis and apocalypse. Its positive and negative. Its optimistic and pessimistic. Its apocalyptic and apotheotic,\u201d a statement that further resonates through her latest film.<\/p>\n\n\n\n

In Chinese terms, \u201cZombie\u201d has become a Western ghost and, in this sense, echoed as a shadow concept throughout the film where the \u201cwalking dead\u201d representation of the \u201creal\u201d zombies, seen fleeting on screen, are an almost gestural transcultural reference. From the serious to humorous, the voyeuristic to observed, the real to the imagined, \u201cHaze and Fog\u201d(2013) presents another collective identity of China today by commenting on the rapid construction of the contemporary metropolis, specifically the want of a city utopia, in friction with negotiating this modern-day necropolis, a 21st Century \u201ccity of the dead.\u201d Is it feeding time? Or is it time to be awakened?<\/p>\n\n\n\n

[The works of Cao Fei cited here mark new initiatives within the UK, specifically \u201cHouse of Treasures\u201d(2013) for the new Arts Strategy at Millennium Point, Birmingham (UK), and \u201cHaze and Fog\u201d(2013) as the first artwork acquired for the ‘New Contemporary Chinese Art Collection’, the first collection of its kind in the UK created in partnership with Centre for Chinese Contemporary Art (CFCCA) (UK) and University of Salford (UK). The film was produced with Eastside Projects (UK) and Vitamin Creative Space (China), and co-commissioned by Centre for Chinese Contemporary Art (CFCCA) (UK), Eastside Projects (UK), Arnolfini (UK), Bath School of Art and Design and Bath Spa University (UK)]<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201c\u2026to me you are the fog the rain and the … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":13186,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[17],"tags":[9520,9521,9522,9523,1042,9512,1324,5336,9513,2815,1382,9514,7203,5329,9515,9516,9517,6399,9518,9519,9524,9525,9526,9527,9528,1390,9529,6403,9530,9531],"yoast_head":"\nUtopian Metropolis or Zombie Necropolis?\u2014Filming \u201cHaze and Fog\u201d - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/utopian-metropolis-or-zombie-necropolis-filming-haze-and-fog\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Utopian Metropolis or Zombie Necropolis?\u2014Filming \u201cHaze and Fog\u201d - 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