Xu Tan’s research-based projects originate in interviews and workshops. By inviting participants at different places in the world, Xu Tan opens up for a discussion on our perception of today’s China. Xu Tan was born in Wuhan in 1957, and lives and works in Zhuhai and Shanghai.
Three questions to Xu Tan
Caroline Elgh, Assistant Curator: China is moving forwards in many ways, and this seems to be on the agenda for a lot of people in Sweden as well as in other European countries. When I think of how fast China has changed to become an important part of globalisation I want to ask you how you as an artist get involved and drawn into the country’s economical and social changes. How does it affect your art?
Xu Tan: Economic and societal transformations have a tremendous impact on our beliefs, values, concepts and visual experiences. The main characteristic would be the high speed of change, which has led to us being unable to exercise enough caution in our thoughts, as well as have a clear understanding of the details of many things and how they commence and end. The massive change in the content of our consciousness is also something that we’d never expected.
I personally have not done much to get involved in this transformation of the economy and society. My approach has always been to observe and to be very acutely aware of it, and through logical methods come to an understanding of its context. From this, I create visual works (or if it can be termed as art) as a response.
Caroline Elgh: The Chinese art scene has developed and spread rapidly the last years and this has had a huge impact on the rest of the art world. What would you say are the possibilities for Chinese artists today compared to let’s say 10, 20 years ago? Today, what can you do and what can you not do?
Xu Tan: In comparison with the situation about 10 or 20 years ago, if Chinese artists pay greater attention to their own developments, there is a possibility today of creating a contemporary Chinese culture of value, which will be a unique contribution to global contemporary culture as well.
For me personally, I don’t possess the ability nor do I wish my works to become bestsellers on the domestic and international market or “hot products” in the scene. That would then substitute artistic activity which I personally feel is valuable, as well as my freedom to live as I wish. I believe that as an artist, the creativity that can come from my work should not be bound by limitations and quantification.
Caroline Elgh: China has a very long history and in this exhibition at Bonniers Konsthall more traditional techniques like calligraphy are evident. On the other hand, the development in China is moving forward very fast and in the exhibition we also see works that involve advanced new technology. Do you in some sense relate to Chinese history and future in your work?
Xu Tan: Yes, history and memory are two aspects which I care deeply about. You can see that in my previous works. The Keywords project looks at and attempts to understand our changing thought processes, value systems, as well as notions of the future, through the investigation of phrases, intonations and their subsequent involvement in the alteration of language.
In terms of global significance, the concept of today’s China is still one enveloped by traditional Chinese culture for the masses. As such, traditional Chinese cultural styles like calligraphy are still the primary means through which Westerners attempt to encounter Chinese civilisation. As for the changes experienced by China in the last 100 years, the impact brought about by globalisation, their impetus and driving force, these remain unresolved both for the world at large as well as the Chinese. Therefore, those of us involved in Chinese contemporary art need to promote contemporary Chinese culture (which is itself related to traditional Chinese culture), in order to build a new, globalised understanding of and bridge to Chinese culture.