Globalization and Cultural Background

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Table of Contents

Introduction
How Cai’s history influenced his work
Analysis of the actual work ‘borrowing your enemy’s arrows’
Effects of globalisation on the work
Conclusion
Footnotes
References

Introduction

Cai GuoQiang epitomises hybridisation of culture through art. His work of “borrowing your enemy’s arrows” captures his oriental origins and hence captivates Asian audiences; on the other hand, his overseas exposure has permeated his art and given it a global appeal. Through an analysis of this work, it will be argued that Cai has managed to negotiate artistic meaning owing to his dual influences; globalisation and cultural background.

How Cai’s history influenced his work

Cai left China for Japan in 1987 and then proceeded to the United States eight years later. This had a profound influence on Cai as an artist because he became an ambassador on behalf of his original culture (Minglu, 2009). But most importantly, Cai found a way of challenging the limits of Asian philosophy.

He therefore curved an artistic pathway that superseded his own culture and added a global or even universal ideal to his work. Japan taught Cai how to relate the human being to nature. This explains why “borrowing your enemies’ arrows” has a certain natural appeal to it.

On the other hand, Cai asserts that living in the United States taught him to be bold and political as described in an interview conducted by Kay Itoi (2009). He noticed that Americans were very straightforward in their work and this makes them quite arresting. Such an influence has also been captured in the work under analysis. Cai has been bold and political just like the Americans.

It is very clear to see some of the traces of Chinese heritage in his work. His use of rice straws and arrows are illustrative of his origins. In fact, in response to his hometown Quanzhou, Cai asserted that he wanted to mine the small elements of his culture and then present them to the world so the world can understand China better. In an interview with Jing Daily, Cai asserted that he should not be regarded as a returning artist.

To him China was always a part of him and he heavily depended on it to create most of his work. Nonetheless, because Cai has involved himself in many large scale works that are quite technologically advanced, he needed to do something that brought him closer to his origins and this was the reason why he chose to make ‘borrowing your enemies’ arrows.

To this individual, progress is only possible when he gets personal and this occurs after he has gone back to his historic roots. In this regard, it can be stated that China is very central to the piece under analysis because it represented who he truly was in the artistic industry (Cai Guo Qiang, 56).

Cai is often fond of taking on relatively political aspects in society and bringing them out in his work; the piece ‘borrowing your enemies’ arrows’ is no exception. This is something he learnt from his foreign influences. Cai has always felt that the communist concept is quite applicable to the people of China. The element of Marxism is especially real to those who have been victim to this kind of propaganda.

The art work under analysis heavily draws on these concepts and is quite applicable to the people of China. In this regard, it was an interpretation of Marxism through an analysis of the East versus the West. He firmly believed that western hegemony as perpetuated through cultural domination can be turned around and utilised by the Chinese as an asset.

Cai was profoundly influenced by his culture even though he was not aware of this fact at first. He left his country of origin as a show of this defiance. However, as he went on abroad, he soon realised that he could never erase his Chinese identity. In fact, he often liked to speak in his native tongue.

Furthermore, his artistic pieces are reminiscent of a strong culture which, like the boat, is always changing. Therefore, one can say that the continuous travels and movements by this artist led him to rediscover his roots and to appreciate them even more (Cavallucci, 2002, 11).

Some Chinese citizens had previously dismissed work done by oversees artists claiming that this was nothing more than western art. They presumed that those artists were so caught up in the ways and perspectives of the west that they ought not to be taken seriously, however, this kind of thinking soon diminished once people realised that Chinese contemporary Art actually reflected matters that were central to Chinese people.

Cai is one of the artists who has been at the heart of this change in thinking because of the subject matter of his works including the one addressed in borrowing your enemies’ arrow (Itoi, 2009).

Analysis of the actual work ‘borrowing your enemy’s arrows’

This piece of work consists of a myriad of objects from Chinese culture but the manner in which he puts them together testifies to his trans-cultural nature. The work consists of a boat that has been suspended in mid air. It is made of rice straw; material that comes from Southern China i.e. Quanzhou.

The latter was Cai’s hometown and there is no doubt that he was profoundly affected by its inclinations. The boat has been pierced by a series of arrows and it has a Chinese flag that is being blown by a fan attached therein.

At face value, one would be tempted to think of this piece as being highly destructive. This is because the boat has been pierced by the arrows. However, after taking a deeper look, one easily realises that the latter work is quite contradictory; that there is something else that is rather healing about it.

Because of the arrows, the boat has overcome its limitations and therefore flown up (its suspended). The feathers of the arrows have made this possible. Therefore, one must endure pain in order to get to a better place (Zaya, 2002, 38).

This work borrows the concept from an ancient Asian narrative called “cao chuna jie juan” or straw boat borrows arrows¹. It was basically about this army that was preparing to go to war with its enemies. However, its leader realised that he did not have sufficient tools to outnumber his adversaries. Therefore, he thought about a smart way of going around this challenge.

He gathered three hundred boats and filled them up with rice straws that had the shape of humans and sent them in the direction of his enemies. The latter fell for the trap and actually thought that they were being confronted. They shot their arrows onto the straw figures thinking that they had outdone their adversaries.

However, the smart general retrieved the boats and used his enemies’ arrows to destroy them; he eventually won the battle. This context explains his choice of materials i.e. arrows and straws and the boat as well. Therefore, this work of art captures a rich aspect of the Chinese tradition and appeals directly to Asian audiences.

However, one must not limit interpretation of his work to this commemorative aspect only². Analysts should ask why Cai selected this narrative of all other ancient Chinese narratives. The reason was that he wanted to give a social commentary about the clash between Chinese culture and western culture. The work involved is a recount of what goes on in Eastern martial arts versus Western boxing.

In Western boxing, all one needs to do is beat one’s opponent to the ground and that person has won. However, in the martial arts, one often needs to outsmart one’s opponents in a different way. One may have to utilise the strength of that individual against himself.

In this regard, Cai was showing how different the Chinese ways were from the American ways (Hansen, 2002). He was giving a commentary on the struggles that one goes through when one opens up to another culture. In essence, he presented the complex issues that emanate out of these interactions (Pooke and Newall, 2007).

It should be noted that these tensions emanated from the fact that non western art has long been regarded as inferior. Consequently, non western artist are confronted with the challenge of battling the dominant culture. They have the opportunity to seek recognition and therefore provoke those traditional stereotypes to emerge stronger. In fact, these messages can be best understood through the concept of post colonialism.

The US and the west have long been seen as agents of post colonialism through their cultural and economic domination. They have long spearheaded technological innovations and other transformations in the global arena. Consequently, they have possessed an unfair advantage in determining cultural trends.

In this regard, non western art forms have been categorised as being subordinate to those of the west because of post colonialism. In fact, Cai through an interview carried out by Lombardi (2009) reveals that during the cold war era, some interest in non western art started emerging because of seemingly minor reasons.

Westerners thought that those contemporary artists were actually defying their own culture and that they wanted to shift away from it. Alternatively, some western audiences picked interest in Oriental art because they presumed that the contemporary artists were trying to imitate the Western perspective. However, these assumptions could not be farther from the truth today; a multicultural world is emerging³.

Globalisation has brought various cultures closer together and thus demystified them. In art specifically, western concepts no longer have to be the only perspectives that truly matter. Oriental artists can therefore utilise those very notions that are well understood by westerners to show that Orientals are worth their salt. They can therefore emerge triumphant in this struggle to redefine art (Pooke and Newall, 2007, 211).

Therefore, what the ancient Chinese narrative teaches can therefore become true i.e. that a seemingly weaker team can borrow something indirectly from their adversaries and eventually use it to reign supreme. In this regard, Asian artists can succeed in redefining art and fighting against colonialism by using those very concepts that have been linked to the West.

This work is also illustrative of yet another important lesson; that the Asian world is better equipped to deal with the future because of its adaptability. The Chinese narrative is in fact a depiction of the usefulness of this important trait called flexibility. The army that triumphed in the latter piece was the one that responded quickly to the situation around it.

It did not stick to traditional methods of fighting battles because if it had done so, then chances are that it would have lost. Similarly, Cai was trying show that through continual change, the Asian culture can become much stronger than it was in the past. Belting (1987) explains that the irony between the East and the west is that the East is more willing to change than the latter.

In other words, it is only through the hardships and transitory nature of China that its people have come to resist fixedness. They take it as a universal and permanent state. This can make China highly creative because it is a crucial ingredient in art. The West has long been characterised by an inclination towards technology.

However, because of the need to maintain certain identities, the West has become rigid and unresponsive to change around it. In this regard, it is often very difficult for the West to adjust to its external conditions. Therefore, when tough times come, Easterners are at a better place to embrace them because they have always known that things are cyclical.

Furthermore, most tend to dwell on what will happen to their artists after the difficult times rather than focus on the actual difficulties. Their optimism is what gives them strength. However, the same thing cannot be said of Westerners who have not always looked at issues from a relativist perspective. This renders strength to the Chinese who can then be in a position to develop their minds and transform themselves.

Through the piece ‘Borrowing your enemies’ arrows”, Cai has shown that contrary to popular assumption, China has the qualities necessary to deal with an ever changing world and this will ensure a bright future (Belting, 1987).

In fact, it appears as though even in the political front the Chinese government has embraced the fact that change is here to stay. For instance, contemporary Chinese artists are now featured in art exhibitions and this shows how much they are respected by their people.

In fact, since a number of contemporary artists utilised their art work as a platform for criticising their governments, they will now have to think of other subject matters since the government has become cooperative⁴. This explains why ‘borrowing your enemies’ arrows’ was political in nature but it did not necessarily address the personal conflicts that the local China man had with his government.

Instead, Cai opted to look at another issue which did involve the Chinese people but was more far reaching because it involved that group’s interactions with the world. In essence, change for the people of China – especially their artists – is something that they will always encounter and they need to adjust accordingly by looking for new social evils that they can address through their work (Itoi, 2010)

Effects of globalisation on the work

Cai’s work has been described by art critics such a Dominic Lombardi (2009)as mysterious and intriguing. Indeed, one can argue that this could be a risky move given that most Oriental art is rarely understood⁵. However, reports show that the world has been rather receptive of his work especially the piece under analysis.

Some external audiences have asserted that the work is quite engaging and empowering thus denoting the fact that it does possess a multicultural appeal. The reason his work has appealed to the masses outside of China is that the pieces first of all are symbolic of social realism.

‘Borrowing your enemies’ arrows’ discuss a myriad of issues confronted by an increasingly open China. He takes on a social issue and translates it into an art piece that can be understood by the world.

In fact, this work’s true meaning is best understood by a stranger to Chinese culture because that person will not be confused by the baggage of ancient narratives in understanding it. Non easterners have been very quick at identifying the social issues being put forward by the piece even more than the Easterners because they tend to focus only on what is available to them.

Globalisation also plays a crucial role in this work because of its carefree nature. In an interview conducted by Rodriguez (2005), Cai explained that the thing he admires most about western artists is their willingness to be themselves or to let go. Most of them never lose touch of this fact even when they become critically acclaimed artists.

Cai explains that what he did not like most about artists from his home country is their tendency to lose that freedom in their work. He explained that in fact most mature Chinese artists tend to become teachers and they play it too safe or too cautiously. Cai believes that this is indeed a major killer in the Asian artistic industry because it delineates the artist from what truly added value to him.

He believes that one must continuously look for happiness in his or her work no matter how great one’s status becomes. It can therefore be seen that Cai’s respect for experimentation is an alien feature in the orient and that he derived this aspect from the west. He defied the way of thinking of his earlier culture because it did not encourage self growth⁶.

In fact, the reason why Picasso is one of his favourite artists is that this individual was continuously looking for things to improve himself and that is something that he always strives to achieve. In fact, ‘borrowing your enemies’ arrow’ is indicative of this point of view because even if the work is quite insightful or deep, the author has still created something beautiful and carefree.

Conclusion

There is no doubt that Cai’s cultural origins played a tremendous role in this piece. The narrative behind the piece, its title, choice of material are all quite entrenched in this way of life. On the other hand, his contemporary nature and the fact that he travelled to different parts of the world are also indicative of how influential foreign elements have been in his wok.

His inclinations towards the political in the piece testify to this concept. Furthermore, he is bold in his work in much the same manner that western artists are. He has talked about a subject matter that can be understood by anyone i.e. change.

Cai puts forward the notion that in opening up to the West, then China can use Americans’ own strength to bring out theirs. This focus on tensions that take place between adversarial groups therefore brings out the global nature of his work. Cai is a nationalist and globalist all wrapped up in one.

Footnotes

1 Luo Guanzhong, Romance of the Three Kingdoms, Graham Brash, Singapore, 1985

²Jennifer We Mon. “I Wish It Never Happened”. Ed. Cai Guo-Qiang. Cai Guo-Qiang. Taiwan: Artist Publishing Co., 2005.

³ Niklas Luhmann, Art as a Social System, trans. Eva M. Knodt, Stanford University Press, Stanford, CA, 2000 p.19

⁴ Dan, Cameron. “Blinded by the Light”, Cai Guo-Qiang: Head On, Frankfurt am Main: Deutsche Bank AG, 2006, pp. 19-24.

⁵ Hou Hanru, On The Mid Ground, Timezone 8, HongKong 2002 p.32

⁶ Craig Clunas, Pictures and Visuality in Early Modern China, Princeton University Press, Princeton, 1997 p.10

References

Minglu, Gao. Inside out: New Chinese Art. San Francisco Museum of Modern Art and the Asia Society Galleries, New York, 2009.

Pooke, Grant & Newall, Diana. Art History: The basics. NY: Routledge, 2007 p211-212.

Hans Belting (trans. by Christopher S. Wood), The End of the History of Art? (Chicago: The University of Chicago Press, 1987).

Cai Guo-Qiang. I Want To Believe, by D. Dominick Lombardi, (n.d) Web.

Rodriguez, David. “East-West-East”, Cai Guo-Qiang: On Black Fireworks, Valencia: IVAM Institut Valencia d’Art Modern, 2005, pp. 106-131. Web.

Kay Itoi, Inside Cai Guo-Qiang, (n.d). Magazine Features – Inside Cai Guo-Qiang. Web.

Hansen, Dana. Octavio Zaya in conversation with Cai Guo-Qiang, page 8-38, Cai Guo-Qiang, Phaidon Press, April 17, 2002.

Cavallucci, Fabio. “Extraterrestrial Fires”. Cai Guo-Qiang: Ethereal Flowers, Trento: Galleria Civica di Arte, 2002. pp. 11 -25. Web.

Luo Guanzhong, Romance of the Three Kingdoms, Graham Brash, Singapore, 1985 Cai Guo-Qiang. “I Like Things That Are HardTo Control” In Interview, Chinese Contemporary Artist Discusses New Exhibition, World Expo, Family (N.d). Web.

Clunas, Craig. Pictures and Visuality in Early Modern China, Princeton University Press, Princeton, 1997 p.10.

Luhmann, Nilkas. Art as a Social System, trans. Eva M. Knodt, Stanford University Press, Stanford, CA, 2000 p.19.

Hanru, Hou. On The Mid Ground, Timezone 8, HongKong 2002 p.32.

Cameron, Dan. “Blinded by the Light”, Cai Guo-Qiang: Head On, Frankfurt am Main: Deutsche Bank AG, 2006, pp. 19-24. Web.

Ma, Jennifer Wen. “I Wish It Never Happened”. Ed. Cai Guo-Qiang. Cai Guo-Qiang. Taiwan: Artist Publishing Co., 2005.

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