Abstract
This is an edited transcription of the third Xu Bing event—a roundtable discussion on July 16, 2015, moderated by Professor Dr. Sarah E. Fraser. Xu’s address was delivered as Distinguished Visiting Professor supported by the Heinz Götze Foundation. He provides a brief overview of his recent works post-2000s that engage the audience with different mediums, including projects that involve the aesthetics of the working class, archival material, and computer programming. The panelists offer remarks on issues associated with audience participation and transculturality. Professor Dr. Monica Juneja raises questions about authorship and transculturality in participatory projects. Professor Dr. Barbara Mittler analyzes three contradictions in participatory art, including traditional and socialist aspects of art in the Chinese context, beauty in social art projects, and Zen and meaningless meaning. Dr. Birgit Hopfener argues that Background Story transforms the viewers’ awareness of their positions in relation to historiography; she asks whether the act of the audience generating meaning can be interpreted as a contemporary form of cultivation and if it is possible to build transcultural communities through art. Professor Dr. Melanie Trede’s presentation includes an analysis of how Xu uses specific strategies that demand careful readings of the works from the audience. She also draws connections between Background Story and painting techniques in eighteenth-century Japan.
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Notes
- 1.
In the original lecture, Fraser compared Xu Bing’s Wild Zebra with artist Wang Jiuliang’s documentary film Besieged by Waste (2011), which documented people and animals who inhabit 460 landfills around Beijing. The compelling images of cows and sheep grazing on Beijing’s garbage lead to images of utopia and dystopia in the developing country. They remind us of the government’s grand plans of becoming a world power; at the same time, it is the lower class who toil and struggle to fulfill this dream. A similar contrast is also evident in Background Story, Phoenix, and Wild Zebra.
- 2.
This is a translation of the panel discussion held on July 16, 2015, at the HCTS (Heidelberg Centre for Advanced Transcultural Studies), Heidelberg University, which co-hosted the event. Xu Bing delivered his remarks in Chinese; the discussion was held in English. The event was transcribed by Sun Xin and slightly edited. The reader is asked to bear in mind that the purpose of the English translation is to render the original Chinese lecture in straightforward written English, instead of presenting a literal translation.
Acknowledgments
This project received support from the Heinz-Götze Foundation, the Institut for East Asian Art History, the Confucius Institute at Heidelberg University, the Institutte for European Art History, the Heidelberg Centre for Transcultural Studies, and Student Council of the Institute for East Asian Art History.
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XU, B., Fraser, S.E., Juneja, M., Mittler, B., Hopfener, B., Trede, M. (2020). Audience Participation in Xu Bing’s Works: Transcultural Issues in Global Contemporary Art. In: Fraser, S., Li, YC. (eds) Xu Bing. Chinese Contemporary Art Series. Springer, Singapore. https://doi.org/10.1007/978-981-15-3064-7_3
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DOI: https://doi.org/10.1007/978-981-15-3064-7_3
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