Author: mmbergsu

In his two performances of The Failure of Defense, Dai Guangyu uses material, composition and performance to illustrate contemporary issues such as globalization, westernization, destruction of culture, (any thing more specific so those phrases would not sound general) etc. as they relate differently to China and the United states.

Guangyu’s use of the traditional ink uses the historical significance of the material to give cultural significance to the symbolism of the ink in representing themes such as globalization and westernization.(further clarify the connection between ink and globalization) Trained in classical calligraphy as a child, Guangyu’s use of ink is rooted in tradition both nationally and personally. In both performances of The Failure of Defense, the ink is used as the primary feature of his performance. However, what is unique from his other works, is that the ink, while still having traditional significance, does not represent Chinese traditional culture, but instead invites the viewer to interpret the symbolism of the black ink. The black ink is commonly interpreted to represent themes such as globalization, westernization, modernization, economic power and military power. In both pieces, the red ink seems to represent the culture of the country in each respective piece. The contrast between the two ink colors represents the contrast between traditional culture (red) and the other themes like globalization (black). Hence, the traditional material of ink is manipulated in this work to represent the dichotomy between tradition and threats to tradition and culture. (stay with the title as well as the central thesis of “failure of defense” in terms of color contrast between red and black?)

The composition difference between the original piece in 2007 (pictured above) and the rendition performed in 2017 (picture and link below) illustrate the different experiences of the US and China in respect their contemporary cultural (ten years apart, is it consideration of US-China relations?the analysis could be further supported with US-China relations). In the 2007 rendition, the black ink can be seen slowly overtaking the red shape of China, until the entire canvas is black and Guangyu even paints himself. (performance art is supposed to take the body as the site/medium) Common interpretations of this piece are that the black ink represents western culture and globalization, and how China’s culture has been erased by the nation’s transformation into a global power by failing to defend against the black ink. By the end of the piece, the red shape of China has been completely covered by ink, representing the dominance of globalization/westernization compared to China’s preexisting culture and traditions.

In the 2017 rendition, the black ink forms the outline of the United states while red ink drips from Guangyu’s leg to fill in the outline of the US. The contrast between the final compositions of the two pieces is that in one, China is covered by the ink and in the other, the US remains untouched by the black ink. One interpretation of this contrast is that globalization and westernization define the US and US culture, whereas they erase Chinese culture. If the black ink is seen as representing economic power, one could interpret that China has allowed the pursuit of economic power to prevail over the maintenance of traditional culture. In the US, however, the development of US culture has evolved in parallel with the pursuit of economic power, instead of one dominating over the other. The second rendition, however, can also be interpreted as an individual piece, not as a diad with the original work. In light of the 2016 election, the 2017 Failure of Defense could represent the US failure to defend against an extreme candidate and the social movements that led to his election. Overall, the compositions of the two pieces can be compared in order to analyze the contrast between the two pieces and their respective symbolism, but Guangyu can also adapt the original piece in order to speak to contemporary issues such as recent elections. (in consideration of China as the rising power and competent with US, the color and composition transition could make much more sense)

The performative differences between the two pieces represents the different experience of globalization (and the other themes) in China compared to the US. There are two main differences between the performance in 2007 and 2017: the first is that in 2007, China is painted in red prior to the start of the performance and in 2017 the US gets filled in during the piece. A literal interpretation of this difference is that China is a much older country, and existed with its culture and traditions long before the industrial revolution and globalization. The US, on the other hand, was established as a country at the beginning of this period of global transformation. As a result, US culture developed in parallel with globalization rather than being erased. This same interpretation applies with the other themes such as westernization, modernization and economic power. The second difference is that Dai Guangyu does not paint himself in 2017 as he does in 2007. As a Chinese man, Duangyu uses the significance of painting himself to humanize the symbolism of the work. As an audience member, there is much more empathy for a human being painted by the black ink and all that it represents. Therefore, Guangyu capitalizes on this emotional response to emphasize the human experience of culture being erased in the face of globalization. Guangyu uses enhance the experience of the viewer and further emphasize the symbolism, enhancing his overall goal to translate the different experiences of the US and China in the wake of globalization.

Overall, the two pieces are complex in their symbolism, lending themselves to many interpretations. Guangyu’s choice of material, composition and performance all complement one another in their symbolism and together create this complexity. The openendedness of the work lends itself to sparking conversation and thought regarding all that the piece can represent. This capacity for sparking conversation and contemplation is seemingly the goal of the work and is well executed in both renditions, demonstrating the timelessness of the work as it can continue to address contemporary issues.

 

Huanggang Village, located in Shenzhen, China, shows how villagers themselves can be in charge of transforming a village-in-city from rural to urban in order to match the evolving urbanization of the surrounding city. However, it also shows how these transformations can erase village history and culture in pursuit of economic gain for those in power: the village shareholders company. (clear thesis statements)

The first renovation of the city, completed in the late 1990s, was headed by the village shareholders company and aimed to urbanize in a way that counteracted many of the stereotypes of the villages-in-the-city. They increased the security of the village by having a gate (see photo) and security officers keeping track of everyone entering and leaving the city. (purpose of doing so and how to support your thesis claim) They also installed cameras all over the village and claimed that the new security measures made Huanggang safer than the surrounding neighborhoods of Shenzhen. They also built several symbols of urbanization, including a jumbotron in the town center, a Vegas-style fountain and a European townhall style clocktower (see photo for jumbotron and clocktower). (again what the built architectures speak for?) Additionally, many of the villagers constructed “self-built” apartments in order to profit off their land by renting to migrant workers. Therefore, they too recognized the high demand for housing and the power they could hold in taking the initiative upon themselves. The renovations in the late 1990s were meant to symbolize to the city and the villagers that Huaggang was modernizing in parallel with the surrounding city.

In this first step towards urbanization, the village shareholders showed how with the villagers themselves in charge, the renovation was able to strike a balance between honoring the village’s rural past while also celebrating its urban future (good points). The primary way it did this was with the construction of the ancestral hall, located in the main plaza of the village. The Ancestral Hall serves as a historical monument in terms of traditional architectural style, centrally located site and its use of traditional materials. In the photo, there is a clear contrast between the past and the present, making the hall stand out amidst the modern architecture and only further emphasizing the unique roll the hall plays in the culture of the village as well as the greater city. In addition to celebrating traditional Chinese architecture, it was also the first museum dedicated to village history in the nation. This enabled visitors and villagers alike to memorialize the village’s past in light of its ever-evolving urban future. Overall, the first renovation successfully combated many of the negative stereotypes held against villages-in-the-city and was also able to maintain identity and historical memorialization of the village while simultaneously modernizing with the times. (this is a strong section)

The plans for the second renovation show how economic gain can outweigh the value of maintaining the village as a place of culture and history. As the photo demonstrates, the latest plans for Huanggang are to demolish almost all of the existing structures in order to build high rises. These high rises are modern in material and will erase the at that site village entirely. Not only will this displace the villagers that live there and the migrant renters, but the space will likely cease to be residential at all, instead being filled by office spaces and losing the sense of community that previously existed. The central location of Huanggang, at the bottom of Shenzhen’s main north-south axis, has resulted in pressures for the village to become something else entirely. The first renovation of the city seemed like a compromise between these urban demands and the villagers. This second renovation, however, seems entirely driven by the economic gain at stake. The land can be made much more profitable with the construction of sky scrapers compared to the low rise, “self-built” apartment buildings. Therefore, Huanggang will no longer represent a harmony between the city and a village-in-the-city. Instead, it will disappear and homogenize into the city landscape around it, and with it erase the history of the village.

Overall, Huaggang has experienced many phases of being a village-in-the-city. At first, it represented a progressive and proactive approach by the villagers themselves, who were willing to change with their changing surrounding city in a way that still celebrated the village’s existence and cultural significance. However, the location of the village eventually outweighed this original compromise, subjecting it to the fate of many villages-in-the-city: demolition for the economic gain that comes from skyscrapers and office buildings.

Number 19 on the Bund was originally built as The Palace Hotel, designed by British architect Walter Scott. The Palace Hotel represents the Colonial history of Shanghai’s Bund and its transition into the global and modernized city it is today.

The Hotel was originally constructed during a time when the Shanghai Bund was divided amongst the various colonial powers. Constructed by a British architect, the building served as a representation of British power. This British architectural influence can be seen in the façade of the building, which features many windows as well as Victorian style ornamentation and turrets. The material stood out on the Bund because it was one of the only buildings that featured, and still features, color with a red and white exterior. Two distinguishing elements of the hotel were its rooftop deck, which was rich with greenery and featured a view of the Bund, and having the first elevator in the city. Both of these elements served as representations of the British wealth, power and superiority. (how does the  list of the architectural elements stand for “British Power?” for instance, why the windows or victorian ornamentation reflect the power of British empire?)

The building then fell into the hands of the Japanese during WWII. Not much is known about this period of time because the Chinese do not want historical reports of a time when Japan was in control. After the war, the hotel became the Peace Hotel South Building and lived in the shadow of the real Peach Hotel (number 20). It was only recently that the Hotel finally regained an identity of its own (please define what is the “identity of its own).

In 2010, the Hotel renovated it’s interior in order to function as an Artists and Residence named The Swatch Art Peace Hotel. Hotel rooms were converted into dual-functioning studios and apartments for the artists to both live and do art. The residency is free to the artists, and they are only asked to leave a “trace” of what they do during their time there. Since its opening, the hotel has hosted over 250 artists and has built an art collection of over 300 “traces” and 50 donated pieces. (the significance of the transition from a hotel to artists residence?)

Overall, the hotel represents the transition of the Bund from colonial concession through WWII, through a period of rebuilding and then into the modern day. Today, the Bund is a symbol of capitalism, with many of its buildings occupied by banks. The Swatch Art Peace Hotel, however, brings a unique new culture to the Bund. A free Artists and Residence is not the product of capitalism, but rather a new Shanghai that in addition to its capitalist roots, values culture. Therefore, the hotel represents the beginning of a new phase of the city that is striving to match Beijing and other cultural hubs by creating space for art and artists amidst its financial global significance. (incorporation of this paragraph to the previous one will strengthen the issue of transition)

 

Citation: Qiao, Michelle. “Palace Hotel reigned over city’s most famous road” (2017) https://archive.shine.cn/feature/Palace-Hotel-reigned-over-citys-most-famous-road/shdaily.shtml

https://www.swatch-art-peace-hotel.com/building