Artist's fascination with text writ large
Xu Bing's fascination with text is clear in retrospective being held in Taipei museum, writes David Frazier
Xu Bing has never been prone to the art-world showmanship of other top Chinese contemporary artists such as Ai Weiwei, Cai Guoqiang and Zhang Huan, the men who will one day be remembered as his peers. In his Harry Potter glasses, wavy grey hair, knit scarves and sports coats, Xu looks more the part of the university professor than the aesthete or provocateur.
Yet in the art world of recent years, Xu's star has been rising quickly. The Chongqing native has seen his work exhibited in the Louvre, the British Museum, the Victoria and Albert Museum and, last month, as part of the first-ever exhibition of contemporary Chinese ink painting, at the Metropolitan Museum of Art in New York.
If his accession to these grey-stoned, old-guard institutions is not enough to set him apart from most contemporaries, Xu is also the recipient of a "Genius Grant" from the MacArthur Foundation, a sort of de facto nomination as one of the top intellectuals of our time. The first large survey of his work recently opened at the Taipei Fine Arts Museum. "Xu Bing: A Retrospective" will be on display until April 20.
The show traces the 59-year-old artist's career from his teenage years to the present day, examining nearly two dozen major series of his works. Stand-outs include a 32-metre-long rubbing of a section of the Great Wall, a book of nonsensical Chinese text so large it fills an entire room, a "tiger skin rug" composed of more than 500,000 cigarettes, and a system of writing that appears to be Chinese, but is actually English.
"He tries to reactivate tradition, and that is very important, because for the past hundred years, a major controversy for Chinese intellectuals has centred around the question of how to bring in the West. But he is doing the opposite, looking back to his own culture.
"However, even though Xu Bing's work looks very Chinese," Wang says, "it also has very universal concerns, and that's why it has a contemporary appeal."
From early on, Xu was fascinated by books. His mother worked in the Peking University Library, and when he was a child often kept him among the library's stacks.
His teen years were dominated by the Cultural Revolution, during which time he was sent down to the countryside of the Taihang Mountains outside Beijing. There, he still managed to contribute social realist illustrations to a village publication called the .
In 1977, when the universities reopened, Xu enrolled at Beijing's Central Academy of Fine Arts. Throughout his career, he has devoted time to studying China's canonical artworks, regional folk arts and historical texts, such as the 1679 instructional booklet, .
Two decades later, in , a series of landscape paintings begun in the Himalayas in 1999, he makes the connection overt.
After graduating from the Central Academy of Fine Arts in 1981, he continued to root himself in academic institutions, first in China and then - through most of the 1990s - in the US.
The work, known as (1987-1991), has been exhibited on the mainland and around the world. Xu's title for the work was "An Analysed Reflection of the World: the Final Volume of the Century", but critics called it .
"Literally speaking, means 'God knows what he's writing'. When people said it, they meant that he's just speaking plain gibberish," says Wang. "But Xu enjoyed this and eventually adopted it as the title of the work."
The most interesting of his writing systems is his "Square Word Calligraphy", which, begun in 1994, refashions English words to resemble Chinese characters. The system is so ingenious that it has been incorporated into Australian IQ tests and experiments in cognitive science.
In the Taipei galleries, visitors are invited to learn this new language in a school classroom, with desks, brushes and paper provided. Xu's finished works are also displayed. These include calligraphy scrolls and tapestries on which the artist has inscribed poems by W.B. Yeats and Tang dynasty poets in English translation. Western scholars have discussed Xu's work as a "deconstruction" of language, and Lydia Liu, of Columbia University, has compared to the writing of James Joyce.
For Taiwan, however, Wang has chosen to keep the exhibition focused on a Chinese context. "The opportunity here is to present Xu Bing's works on a large scale and according to a chronological arrangement, and that has never been done before," he says.
Xu himself writes of a desire to express "the heart and power of Chinese culture, its advantages and disadvantages and its role in the new human civilisation of the future".
Xu Bing: A Retrospective