Kunming
Kunming, China, 2003
In 2003, the first event took place in south of China in the city of Kunming. The project involved only individuals who were not artists by approaching them on the street and inviting them to paint or draw, 1000 people contributed to this one work on the first day alone, and in exchange those very participants in the street, supported me. The project was successful without any funds financially.
At the end of the 20 days, the project results were exhibited at the Upriver Loft in Kunming, one of the well-known galleries exhibiting contemporary art in Kunming. The opening was supported by a local bar, and was attended by several hundred people. This was the first time that non-artists had exhibited in a legitimate gallery, until then sanctioned only by serious artists.
Motivation: Can Western contemporary art improve Chinese society? In response to Beuys' slogan, "Everyone is an artist", the possibility of using art to improve society was a subject of individual action and experimentation.
Address: Chuangku Kunming China
Participants: Kunming street people
Process: For twenty days, everyone is invited to participate in the art and experience it wholeheartedly. Visitors can become "creators" and everyone can produce "artworks" in this game. Each participant was delighted to receive the instantaneous promise that "everyone is an artist".
Each day had a different theme, interacting and collaborating with people from different parts of the city, resulting in twenty pieces of public art. On the opening day, an impromptu 800 RMB was raised on the streets of Kunming to purchase refreshments and drinks, and a band performed live.
Day 1: The artist brought 40 X 60 blank oil frames and oil paints and invited random passersby to paint. During the eight-hour period, a total of 100 people walked from the west side of the city to the central square, starting with the first child and ending with the last old man, to participate in the impromptu painting.
Recording method: text, picture, video recording
Conclusion: When Western artistic concepts are practiced in the East, the artists themselves may become the instruments of Cultural Imperialism. In Orientalism, Said points out that Orientalism is a form of Western discourse about the East that is closely linked to Western colonialism and imperialism. dominant relationship, a complex and ever-changing hegemonic relationship. And he goes even further in Culture and Imperialism, directly linking culture and imperial time. Said makes it clear that culture played a very important, indeed indispensable, role in the process of imperial expansion.
At the same time, cultural and geographical differences sometimes deepen the misunderstanding of public "art" itself. Therefore, Eastern artists should also find their own way while absorbing Western ideas.