Publications- Qi Zhi Long

Qi Zhi Long

The year 1992 will be remembered as the best year for Fu Yuan Mun village. That year was literally a breath of fresh air both for foreign artists and the local community. The story of the so-called Yuan Ming Yuan Artists Village had just been published, and all the wandering artists had been carried away in the excitement generated by the group's public exposure. It appeared that everyone was touched by the fascination that comes with leaping into the limelight overnight.

It was one day in May when I arrived. I had read the half-page article, which had been dedicated to the village, in the China Youth Daily. The article's stylish-looking title was in contrast to the paintings of the deteriorating Yuan Ming Yuan, creating a sacred yet sorrowful feeling. A sense of purpose had thus been aroused.

Fu Yuan Mun is located south-west of Yuan Ming Yuan. After passing through the village's main road, one can reach the west coast of Fu Hai by heading north. In fact, there are no peasants living in Fu Yuan Mun Village anymore, as most of the locals now work in factories. The buildings here are the typical terraced houses of China's Northern suburbs with a few courtyards in between each row. Some people had moved to apartments assigned by their related working units, thus making some courtyard houses available. This in turn created a living space for foreign artists.

One arrives at the village after passing through a lengthy passageway, which runs alongside the wall of Dayuan Hotel. A revolutionist burial ground is situated to the east of this 600 to 700 metre long passage. One can reach the main street by leaving the village and using this pathway. If one heads east along the water channel, on the opposite side of the main road, for about 400 to 500 metres, before turning right and crossing a bridge; one will arrive at the West gate of Peking University.

Though the scholars of Beijing University might have shown little concern for the happenings in their surrounding neighbourhood, they were destined to have countless encounters with this short-lived community of wandering artists who chose to settle in the nearby village of Fu Yuan Mun. "Yuan Ming Yuan Artists Village" glittered as brightly as a comet in the night sky, yet just like a comet it vanished into a dark void.

The year 1992 seemed to be a flourishing year indeed. The entire society appeared invigorated, like sunshine after a rainstorm. It was this year that the "Yuan Ming Yuan Artists Village" became fashionable. However, good times never last long and the disturbance and banishment faced by the artists in the following years to come is reminiscent of the gloomy atmosphere experienced in 1989. How did it all happen? It was due to poets who glorified and accelerated this chosen natural living style (a most suitable one for artists) into something of a sacred ideology that was not to be challenged. At the same time the authorities treated this natural phenomenon, arising from a new age, as an interference with tradition. This attitude resulted in a sombre history and spawned an unforgettable memory on the group. However, at least symbolically, every single artist who ever lived there was honourable since he / she helped to establish the identity of an artist as an independent freelancer in society.

In 1992, the weather was simply too good to be true, but the development of history is never a simple matter. It is really difficult to simplify the many paradoxes in our culture, just like the simplified situation as narrated in Fredric Jameson's Postmodernism and Cultural Theories. When I painted my Consumer Icon series, I tried to render a superficial and shallow feeling by positioning flowers, beautiful women, and scribbles on a large, brightly coloured surface area, in order to express my yearning for the forthcoming epoch of consumption.

Consequently, I became dissatisfied with Consumer Icon in 1995 and turned to creating pictures with more depth. As a cultural indication of the era, military costume entered my paintings. Once it was considered such a glory to join the army. Revolutionary soldiers were idolised by society and their families received thorough care from the government. During that time, military attire was considered fashionable among the youth. Despite the fact that most youngsters did not get a chance to become soldiers, it was a popular trend for everyone to wear green military attire and carry green schoolbags. The military attire signified the essence of idealism, including gestures of justice, courage, sacrifices, righteousness etc. The Red Guards wore military uniforms to fight, similarly "Educated Urban Youths" put on military uniform to go and work in the countryside and mountain areas.

What I have tried to emphasise is the meaning behind military wear of the 1970's. By that time there was no more fighting and the once popular title of "Red Guard" had been replaced with "Educated Urban Youths". I recall going to People's Square one year with my mother to see my sister off, who was going to work in the countryside. There I witnessed an unforgettable and touching scene. As they bade farewell to their families on army trucks, the "Educated Urban Youths" were all dressed in full military garb, complete with army hats, backpacks, and a large red flower on their chests. The dozens of army trucks formed a huge quadrangle in the square, creating a spectacular scene. Crowds of people were gathered around every truck. The "Educated Urban Youths" appeared proud and solemn, and seemed to be eagerly anticipating the "whole new world" ahead of them, despite being surrounded by a sea of weeping relatives. The elders understood that they ought to sacrifice their youth for this moment, and that the sacrifices they were making were dignified and blessed.

That was truly a romantic era, both heroic and touching. It was also at this time when fascination for the ideology of centralisation of power reached its peak. Therefore, military uniform was a symbol of the era. In terms of romanticism, military attire recalls the past spirit of non-materialism; in terms of ideology it represents the centralisation of power. Military uniform also stands for ultimate power or complete ideological control, even in the present era of consumption. Therefore, depicting a woman in military uniform is an expression of complex feelings. This is also where the irony of my work lies.

Qi Zhi Long
3 January 2005