Using movement: how Beijing's post-1989 artists capitalized on a city in flux (original) (raw)

The 1990s are often described as a time of political retreat by artists and intellectuals in China, immediately following the protests at Tiananmen Square in 1989 and their bloody crackdown. The 1990s were also, however, a time of dramatic spatial and social flux in the country, characterized by radical urbanization, widespread demolition of the built environment and mass rural to urban migration. This paper considers the political activities of Chinese artists during the 1990s and early 2000s, yet does so with a focus on their spatial engagements, arguing that these constituted a new, necessary and highly productive mode of political work at this time. Describing a number of relatively self-made artists’ colonies that appeared in Beijing in the early 1990s, and tracing these through to their semi-institutionalization (as ‘creative industries precincts’) by the Chinese Communist Party in the mid-2000s, it demonstrates alternative means by which China’s artists continued to intervene in the negotiation of a Chinese modernity, once the possibilities for discursive engagement had been largely foreclosed. Drawing on archival research, personal interviews and literature in art history as well as cultural, urban and policy studies, this analysis thus tells a spatial history of this period often historicized as the development of ‘Contemporary Chinese Art’. Importantly, this paper also seeks to offer new political imaginaries, pressing against expectations that Chinese artists be revolutionary or openly oppositional, and illustrating modes of political intervention that instead work creatively and discreetly with the movements of institutional and physical change.

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