Wednesday, December 05, 2007

An interview with Cao Fei

Interview: Oyama Hitomi
Thanks to Tokyo Gallery + BTAP

As China undergoes a process of rapid, radical urbanization and
modernization, a young artist born and raised in the dynamic urban
center of Guangzhou is building a stellar career on the international
art scene. So what part have Cao Fei's upbringing and environment
played in developing a talent that has now propelled her all the way
to the Venice Biennale?

-- Last year was a busy one for you wasn't it? You shifted your base
to Beijing, but surely you can't have spent much time there?

Indeed: Guangzhou, Taipei, Hong Kong, Korea, New York, the
Netherlands...I've been all over the place, both in China and

-- May we start today perhaps by hearing about your background, the
kind of environment you were raised in, that sort of thing. 1978, the
year you were born, is the year China started taking steps to reform
and open up its economy. What were the first works of art you ever

Both my parents are sculptors, so I suppose the first art I
encountered was their sculptures. My mother was an art school
instructor, and we lived in a faculty apartment on campus. While I
never received anything in the way of special art education from my
parents, I did mix a lot with art students, and I guess you could say
art has been a familiar part of life for me from a young age. Perhaps
I was born with a feeling for it.

-- What sort of things did you have around you apart from your
parents' sculptures?

When I was elementary school age, comics my parents bought for me, and
on TV, I often watched Japanese cartoons.

-- Do you remember the titles of any?

In comics it was things like Tintin, in cartoons the likes of Astro
Boy and Dragon Ball. The cartoons I wanted to watch on TV clashed with
the news, which my father wanted to watch, so we were always fighting

Manga, anime and MTV influences

-- What about later? Being in Guangzhou, you must have had access to a
lot of news and information from Hong Kong, or from further afield via
Hong Kong.

I started getting interested in pop culture at around age 12 or 13, I
think. I was crazy about breakdancing, pop music and MTV, learned
dancing from dancers behind my parents' backs, would dress up to look
18, put on lipstick and take my sister's ID card to get into discos.
Of course my parents knew none of this.

-- Knowing what you're like now I can well imagine (laughs). What kind
of pop music was popular in China back then?

Michael Jackson, Hong Kong pop idols, that sort of thing. Back then,
while it wasn't like these days, when we take being able to travel
freely for granted, if you were prepared to pay a certain amount you
could travel to Hong Kong for leisure. I went there a lot with my
parents and two older sisters. There I used to watch MTV, which you
couldn't see on the mainland, at the homes of Hong Kong acquaintances.

-- What did your parents think of their daughter's obsession with pop culture?

People of my parents' generation threw themselves into their work
after the country started to open up, trying to claw back some of the
time taken from them earlier by politics, so they were not especially
bothered about me. Which means I pretty much did what I liked, without
any parental interference.

-- What sort of student were you at high school? I seem to remember
that's when you first became involved in theater.

Yes, I used to enter the school's annual drama contest with some
classmates, and because I was studying dance, I'd mix dance with all
kinds of music and produce these comedy musical-type affairs with
hardly any lines. For some reason these went down really well, and
always had everyone in stitches (laughs). It was totally different in
style to the traditional plays that had been presented previously, and
we'd win every year.

-- Now why doesn't that surprise me... You then went to university,
where you produced your first work on digital video. How did you
become interested in filmic media?

Once I was at university, I started to encounter a lot more serious,
real art. At first I was mad about Hong Kong independent cinema, and
influenced by it in 1999 I shot the digital video Imbalance 257. At
the time there were still few DV works in China, and I was just
filming whatever took my fancy.

-- What artists were you influenced by around that time?

Discovering the work of Terayama Shuji, still the artist-filmmaker I
respect the most, was a big thing for me. I first saw one of his films
in 1999, being presented with great fanfare at a Hong Kong art space.
Throw Away Your Books, Go Out into the Streets!, Grass Labyrinth,
Death in the Country (aka: "Pastoral Hide and Seek"), Farewell Ark...I
just found them all utterly surreal. I was also impressed by the
posters hedesigned, his poetry and such.

In terms of other Japanese artists, in Yoko Ono I sense status and
courage as a woman, something tough and independent. Then there's
Kusama Yayoi, and her novels. When I finished Numa ni mayoite (Lost in
Swampland) I think it was, I felt as if my whole body had been set
free. Her writing is so sexual, so powerful and liberated. It
stimulated me, motivated me as an artist.

Connecting completely different things

-- When did you first meet Ou Ning?

That was also in '99. Imbalance 257 was finished and there was a
screening in a bookstore; I mentioned it to a friend of my sister's,
who said he had a friend who liked films so he'd invite him along. So
Ou Ning, who was living in Shenzhen at the time, got on a train and
came to see my work. He then went on to feature Imbalance 257 in a
movie magazine he launched, and from 2000 to 2003, he ran a film
society that we worked in together. I saw an awful lot of videos and
films there: Chinese independent cinema, and Western films.

-- Then you started actively collaborating didn't you? On films like
San Yuan Li (2003), The Dazhalan-Project and PRD Anti-Heroes (2005),
all dealing chiefly with China's cities and its people.

My interest in cities is probably largely due to working with Ou Ning.
You could say Ou Ning taught me how to connect with real society
through art. I too am very interested in people and social issues, for
example the incredible upheaval developing nations undergo on the path
to modernity. The kind of upheaval that China in particular is so
obviously experiencing right now.

As part of the Siemens Arts Program, in which each year a different
artist is commissioned for an art project, I ran a six-month project
called What are you doing here? (2006), in which I teamed with workers
at a lightbulb factory in Foshan, Guangdong Province. Up until then
artists in the program had simply presented their work, and I'd always
believed that did little to alter the relationship between art and the
workers. If you're going to embark on something like this, I figured,
surely it makes sense to get the workers involved as well. First I got
them to answer 50 questions, for example, "Do you like the work gear
you wear now?" and "What makes life enjoyable to you?" Then I got them
started by running workshops to help us get to know each other. I
offered some ideas, but left them to do all the planning and the
practical work.

Some built installations using the light-bulbs they made, while others
who liked ballet for example or the peacock dance (a Chinese folk
dance) gave performances next to the workbenches where they usually
worked. After the project was finished, I was gratified when someone
said to me, "Life itself is art, isn't it?" The theme was "Your utopia
is our utopia", and the things they aspire to, are indeed the same
things we all want.

-- But some people look at Hip Hop and Cosplayers and see them as
simply jumping on the latest bandwagon.

For me art is not about forming an image of a thing and making that
into an artwork, or producing something no one else has ever seen, but
searching for connections in the gaps between things that are
completely different. In Hip Hop for example, when ordinary people and
pop music are connected, a sort of wondrous chemical reaction is
generated. Artists on the whole tend to be introverted people whose
work emerges from the "individual". But I'm more of an extrovert. I
want to see what happens when I connect with different pop culture all
over the world. A bridge between art and pop culture: that's what I
want to be.

-- In your Un-Cosplayers performance and photo series for the Beijing
Tokyo Art Projects (BTAP) last year you connected the general public
with cosplay.

The bodies of the public are "real" but cosplay per se is "hyperreal",
so I suppose I connected reality and hyperreality. The word "cosplay"
itself is now internationally recognized, so I imagine people will
think cosplay = anime = fad, but the desire to wear the clothing of
someone totally different to oneself and take on that persona -
whether it be a figure from mythology, or an imaginary character - is
something humans have harbored throughout history. So cosplay in
itself is not my objective.

Originally printed in ART iT 15 Spring/Summer 2007

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