{"id":8286,"date":"2016-03-09T05:50:00","date_gmt":"2016-03-09T05:50:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=8286"},"modified":"2023-01-17T06:01:37","modified_gmt":"2023-01-17T06:01:37","slug":"datong-dazhang-the-way-out-for-small-town-art-youth","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/datong-dazhang-the-way-out-for-small-town-art-youth\/","title":{"rendered":"Datong Dazhang: The Way Out for Small-Town Art Youth"},"content":{"rendered":"\n

This review is included in Ran Dian\u2019s print magazine, issue 3 (Spring 2016)<\/em><\/p>\n\n\n\n

\u201cDatong Dazhang\u201d<\/strong><\/a>, solo exhibition (organized by the Power Station of Art and the Wen Pulin Archive of Chinese Avant-Garde Art)<\/p>\n\n\n\n

Power Station of Art, Shanghai<\/strong><\/a> (200 Huayuangang Road, Huangpu District, Shanghai) Dec 30, 2015\u2013April 10, 2016<\/strong><\/p>\n\n\n\n

As a tall man hailing from Datong in Shanxi province, Zhang Shengquan had, in the customary Chinese manner, the nickname of \u201cDa Zhang\u201d (lit. \u201cBig Zhang\u201d), and thus ended up being known as \u201cDatong Dazhang\u201d. He started making art in the 1980s. After seeing the \u201cNew York Contemporary Painting\u201d exhibition in 1987, he determined that his artistic pursuits lay in the unaware, the now, and the momentary; he organized the WR Group, which began to gain attention in 1989 for their performance \u201cMourning (Three Men in White)\u201d at the seminal \u201cChina\/Avant-Garde\u201d exhibition in Beijing. In 1993, he created a periodical called <\/em>The Right Guard, which involved mailing manuscripts of artistic proposals to people in the scene. In 1996, he was invited to take part in an exhibition with his work \u201cCrossing\u201d\u2014for the first and only time. On New Year\u2019s Day in 2000, he hung himself in his apartment in Datong, abandoning his own life as his last art performance (in the words of the critic Li Xianting). The current exhibition (curated by Xiang Liping and Zang Honghua) at the Power Station of Art in Shanghai is his first museum solo.<\/em><\/p>\n\n\n\n

Without a doubt, Datong Dazhang strived hard to make breakthroughs. From his letters to his friend Zhang Lei, a few things can be noted: 1) he read widely from philosophers still quoted today\u2014the likes of Foucault, Derrida, Nietzsche, Kant; 2) He had a deep understanding of mediums and language\u2014be it the boundaries of language or reliance on the medium of language; 3) He interacted with the art scene with ease\u2014he absolutely was not withdrawn like the \u201cKing of Kowloon,\u201d for instance. In his letters, he analyzed Gao Minglu\u2019s mentality, mentioned Ai Weiwei paging him, and included names like Li Xianting, Song Dong, Dai Yuguang, and others; 4) He consummately quoted from the\u00a0Black Cover Book<\/em>\u00a0and\u00a0China Art Weekly<\/em>\u00a0[Meishubao<\/em>], and his letters mentioned how he had the entire set of\u00a0Jiangsu Pictorial<\/em>. It can therefore be deduced that Dazhang\u2019s thought process was filtered highly through the media. From this I can imagine him as an \u201cart youth\u201d living in the sorts of second or third-tier cities that rely on intellectual sustenance from magazines and the media to shore up their ideals and resist philistinism in the outside world. They struggle left and right, hoping to find a more appropriate way out in life in general. The vast majority compromise and find an ordinary job in the \u201cfood chain\u201d elsewhere\u2014after all, the art world can only take in so many people; also, there was no real \u201cart industry\u201d in China then. Even the minority who persisted were incorporated in the official \u201cinstitution of art\u201d [yishu tizhi<\/em>] to a great extent because they strived so hard just to reach the positions they hold today\u2014official posts in museums, art academies, and cultural heritage work units [danwei<\/em>].<\/p>\n\n\n\n

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\u5927\u540c\u5927\u5f20\uff0c\u300aWR 90\u5ba3\u8a00\u300b\uff08\u56fe\u7247\u7531\u4e0a\u6d77\u5f53\u4ee3\u827a\u672f\u535a\u7269\u9986\u63d0\u4f9b\uff09
Datong Dazhang, \u201cWR 90 Manifesto\u201d (courtesy Power Station of Art, Shanghai)<\/figcaption><\/figure>\n\n\n\n
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Datong Dazhang, \u201cCrossing\u201d, photographs from the performance, 1996 (courtesy Power Station of Art, Shanghai)<\/figcaption><\/figure>\n\n\n\n

As a relatively young \u201cart youth\u201d [wenyi qingnian<\/em>] myself, coming from a family working in a second or third-tier city banking system (which back then was state-run, not private), I could not help but smile at Dazhang\u2019s r\u00e9sum\u00e9. Eight or nine guests out of ten at home would be people like this: some did music, or photography, or else wrote poetry and songs, and more did painting. Gathering at home to discuss \u201cmajor issues,\u201d everyone would become excited, quaking intellectually without restraint, always plotting to do this or that and getting all worked up about philosophy. You would feel the energy gushing forth from them. Never having seen Red Guards, I would always associate them with some great \u201cRed Trailblazer.\u201d In these government work-units [danwei<\/em>] with relatively generous benefits, interpersonal relations were never as tense as they proved to be in private or foreign enterprises later on; some leaders of these work units would even display pride if their danwei<\/em> produced an artist. From the artists\u2019 perspective, many did attain a certain rank (the vast majority of the \u201cMisty Poets,\u201d for instance, had official posts)\u2014only that back then there was no real \u201ctertiary\u201d or \u201cservice\u201d sector, nor was there any space for survival outside the official system. These danwei<\/em> were where idealistic artistic youth had the best chance of belonging.<\/p>\n\n\n\n

In China, however, centralization is ubiquitous; even heterodoxy is concentrated in the center. Only through state-to-state modes of relations and exchange could many foreign ideas legitimately appear in \u201cthe center,\u201d without any practical chance of truly penetrating the regions. Deprived of these opportunities for [international] exchange and interaction, artistically and literarily inclined youth naturally fretted; yet this brooding could very easily become a force that intensified the internalization of the institutional system. If official artists did two works with buttocks showing, then\u00a0I<\/em>\u00a0would do ten. You can paint realistically?\u00a0I<\/em>\u00a0would make mine even more lifelike. Your paintings are painted thick and heavy?\u00a0I<\/em>\u00a0can paint mine darker and thicker. Such a competitive order enveloping art exhibitions and the media could easily reach extreme levels among \u201cregional artists.\u201d To this day, brawling over \u201c[moral] character,\u201d or over [being] \u201clow-key,\u201d \u201choodlum\u201d [liumang<\/em>], or \u201ccrude\u201d are recurring themes in the Chinese art scene.<\/p>\n\n\n\n

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\u5927\u540c\u5927\u5f20\uff08\u5f20\u76db\u6cc9\uff09\uff0c\u300a\u53f3\u5175\u536b\u300b\u5c01\u9762\uff0c1996\uff08\u56fe\u7247\u7531\u4e0a\u6d77\u5f53\u4ee3\u827a\u672f\u535a\u7269\u9986\u63d0\u4f9b\uff09
Datong Dazhang (Zhang Shengquan), cover of\u00a0The Right Guard<\/em>, 1996 (courtesy Power Station of Art, Shanghai)<\/figcaption><\/figure>\n\n\n\n
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\u5927\u540c\u5927\u5f20\uff0c\u300a\u7164\u573a\u884c\u4e3a1\u300b,\u884c\u4e3a\u56fe\u7247\uff0c1995\u20131996\uff08\u56fe\u7247\u7531\u4e0a\u6d77\u5f53\u4ee3\u827a\u672f\u535a\u7269\u9986\u63d0\u4f9b\uff09
Datong Dazhang, \u201cAct in the Coal Yard\u201d, photographs from the performance, 1996 (courtesy Power Station of Art, Shanghai)<\/figcaption><\/figure>\n\n\n\n

For a small-town youngster who had never decided whether he would do literature, music, or painting, that Dazhang\u2019s early abstract paintings (heavily influenced by de Kooning) could stand out and display great confidence was an immense accomplishment. In his later period, in the 1990s, he collected a large number of drafts for large-scale installations and performances in his \u201cMail Art\u201d publication The Right Guard<\/em>. Even though this mail art didn\u2019t go far, Dazhang was very clearly aware of his own marginal position, and this act of \u201cbreaking out\u201d was nonetheless effective for him. The drafts included some already-executed works, like his best-known work \u201cCrossing\u201d, where he carried a sheep across a river and then would have killed and sacrificed it (had Song Dong not intervened); in the series Act in the Coal Yard<\/em> in a Shanxi coal yard which no one visited, there is an intensely romantic quality and ritualism. As a Christian maxim [through Blaise Pascal] has it: \u201cKneel down, and you will believe!\u201d Li Xianting summarizes this highly ritualistic bodily experience of kneeling as the \u201cexperience of survival,\u201d which seems to overstate the case, since the socially created structures and order have long been naturalized internally out of each encounter with lived-in reality.<\/p>\n\n\n\n

Yet artists in the \u201985 New Wave Movement all sought such bodily rituals\u2014which to a great extent magnify psychological processes of suggestion, thereby also magnifying the artistic ideals of (small-town) youths. Whether in Yuanmingyuan performance art or the artistic modes of the Beijing East Village, the technique of ritualization was to have arisen in response to Robert Rauschenberg\u2019s influential 1986 exhibition in China\u2014even if Rauschenberg himself merely painted using other forms. Taking it a step further, once ritualization was stripped bare, so to speak\u2014with pieces that involved the scandal of cannibalism (Zhu Yu in 2000), draping white shrouds (WR Group\u2019s \u201cMourning (Three Men in White)\u201d in 1989), hanging a red carpet (Datong Dazhang\u2019s \u201cAct in the Coal Yard\u201d in 1995\u20131996), the \u201cLittle Red Figures\u201d (Lu Shengzhong since the mid-80s, inspired by the folk sorcery practice of \u201chitting the villain\u201d)\u2014it enabled performance art to be distinguished from the everyday living environment. A sense of ritual affirmed the artists\u2019 sense that they were \u201cdoing art\u201d and legitimated their existence within this environment. The way they understood art\u2014with details standing in for something of greater symbolic significance\u2014could be connected to the legacies of folk sorcery and the votive practices of ancestor and spirit worship as passed down in Chinese tradition. This mode can clearly be offset against performance art in China today\u2014for example Li Binyuan\u2019s tactics of infiltration, pumping tires in public or brushing his teeth in the subway.<\/p>\n\n\n\n

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\u201cDatong Dazhang\u201d exhibition view (courtesy Power Station of Art, Shanghai)<\/figcaption><\/figure>\n\n\n\n
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\u201cDatong Dazhang\u201d exhibition view (courtesy Power Station of Art, Shanghai)<\/figcaption><\/figure>\n\n\n\n

Rituals intensified the autonomy of art and its freedom, and slid towards a nihilistic romantic utopianism which in turn intensified ideological control. The role of ritual in mass psychological suggestion is the one and only function of art that many scholars are prepared to affirm: art as a means to apprehend the world, as proposed by Feuerbach and adopted by Marx, Mao\u2019s ideas on \u201cimagistic thinking\u201d (xingxiang siwei<\/em>), and even Bourdieu\u2019s simple attribution of art to symbolic capital\u2014all of these are really no different on some level. Allan Kaprow\u2019s mode of \u201cplan+improvisation\u201d was critiqued because the level of the \u201cplan\u201d had too much ritualistic content and that inextricable symbolic romanticism. The many Fluxus works which demanded a stage stem from the same origin. Today, many performances have become \u201cclown shows\u201d at openings, completely at odds with performance art\u2019s original intent. \u201cArtists\u201d have started to emphasize the technique of \u201cperformance,\u201d which really amounts to their genuflection before the ossifying \u201cinstitution\u201d of performance art.<\/p>\n\n\n\n

Transforming ritual into everyday action is not easy. Be it Hannah Arendt\u2019s attempt to jolt the bookishness of New York intellectuals with her post-war \u201cTheory of Action\u201d or that rough-and-tumble \u201ccode of honor\u201d (jianghuqi<\/em>) that the Beijing exhibition \u201cUnlived by What Is Seen\u201d last year could not shake off, ritual symbols are stymied from being transformed into real action that produces real results. Walter Benjamin, when analyzing the mechanical reproduction of art in 1936, stops here, at a point which can only be a third-rate philosophy of technology (in Chinese, this would be termed a dialectics of nature). What he really wanted to say was that by bearing out this non-auratic reproduction of art, he had deduced that art is already politics itself.<\/p>\n\n\n\n

The most pressing issue for art as politics is not ritual or symbols, but linking up with related mechanisms of mobilization. I once asked Gao Minglu why the \u201985 New Wave Movement, as an art movement that brought together and mobilized a group of people, was so easily overturned. Right from the start, the \u201985 New Wave Movement moved strangely towards \u201cartistic autonomy\u201d and the \u201cfreedom of art\u201d; this perhaps stemmed from a backlash against the Cultural Revolution as supported by the political center\u2014a belief that the Cultural Revolution robbed them of freedom that they wanted to demand back. This, instead of pushing forward from the basis of Mao Zedong\u2019s \u201crustication of intellectuals\u201d and \u201cCultural Revolution\u201d to establish a more careful, circumspect relationship between intellectuals and the blind collective action of the masses, in order to create an institutional system that would interact and communicate with the \u201csilent majority.\u201d Only when there is a conversation with the masses can there be a basis for mobilization.<\/p>\n\n\n\n

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Datong Dazhang\u2019s apartment on January 1, 2000 (courtesy Power Station of Art, Shanghai)<\/figcaption><\/figure>\n\n\n\n
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Datong Dazhang, \u201cI Saw Death\u201d, photography (courtesy Power Station of Art, Shanghai)<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

This review is included in Ran Dian\u2019s pr … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":8311,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[4689,4690,4691,4693,4694,4692,4695,4696,4697,4699,4698,4701,4700,4702,4704,4705,4706,4703,4707,4708,2912,4709,4710,4711],"yoast_head":"\nDatong Dazhang: The Way Out for Small-Town Art Youth - \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\/datong-dazhang-the-way-out-for-small-town-art-youth\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Datong Dazhang: The Way Out for Small-Town Art Youth - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"This review is included in Ran Dian\u2019s pr … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/datong-dazhang-the-way-out-for-small-town-art-youth\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2016-03-09T05:50:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-01-17T06:01:37+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/01\/x9F20x6768x76EE.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1440\" \/>\n\t<meta property=\"og:image:height\" content=\"960\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Lien\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lien\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/datong-dazhang-the-way-out-for-small-town-art-youth\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/datong-dazhang-the-way-out-for-small-town-art-youth\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Datong Dazhang: The Way Out for Small-Town Art Youth\",\"datePublished\":\"2016-03-09T05:50:00+00:00\",\"dateModified\":\"2023-01-17T06:01:37+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/datong-dazhang-the-way-out-for-small-town-art-youth\/\"},\"wordCount\":1919,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"ACT>ION\",\"art youth\",\"avant-garde\",\"Crossing\",\"danwei\",\"Datong\",\"Datong Dazhang\",\"Datong Dazhang: The Way Out for Small-Town Art Youth and for Decentralization\",\"ideology\",\"performance\",\"ritual\",\"second tier\",\"Shanxi\",\"suicide\",\"The Right Guard\",\"Wen Pulin\",\"\u4eea\u5f0f\",\"\u540a\u4e27\",\"\u5927\u540c\u5927\u5f20\",\"\u5927\u540c\u5927\u5f20\uff1a\u5c0f\u57ce\u827a\u672f\u9752\u5e74\u7684\u51fa\u8def\/\u53bb\u4e2d\u5fc3\u5316\u7684\u51fa\u8def\",\"\u5f20\u76db\u6cc9\",\"\u610f\u8bc6\u5f62\u6001\",\"\u6e21\",\"\u884c\u4e3a\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/datong-dazhang-the-way-out-for-small-town-art-youth\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/datong-dazhang-the-way-out-for-small-town-art-youth\/\",\"url\":\"http:\/\/www.randian.art\/datong-dazhang-the-way-out-for-small-town-art-youth\/\",\"name\":\"Datong Dazhang: The Way Out for Small-Town Art Youth - 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