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Xu Bing's Magical Mystery Tour

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Xu Bing's Magical Mystery Tour Patricia Eichenbaum Karetzky Xu Bing’s Magical Mystery Tour u Bing’s recent installation Travelling to the Wonderland, which was on view in the John Madejski Garden Court of the Victoria and Albert Museum, London, is a marvel of good will X 1 ambassadorship. Distant from the bustling area of Knightsbridge, the constructed outdoor Chinese garden affords visitors a brief respite from the city’s noise and turmoil. The response of many of the viewers was one of delight: It’s a bit of China, isn’t it, here in the midst of London. But as a conceptual artist, Xu Bing has invested the work with multiple layers of meaning that may not have occurred to the occasional passersby. For one, as a contemporary literati artist, Xu Bing has chosen for his inspiration a prose poem, Peach Blossom Spring, written by Dao Qian in 421 A.D. that described the exploits of a fisherman who, passing a cove filled with peach trees in bloom, moored his boat and then followed a stream only to discover a hidden community living peacefully outside of the purview of 76 Vol. 13 No. 1 Xu Bing, Travelling to the Wonderland, 2013, site-specific ÃÌ>>ÌÊ>ÌÊ6VÌÀ>Ê>`Ê Albert Museum, London. Photo: Fang Chao. Courtesy of Xu Bing Studio. contemporary society. To further the viewer’s appreciation of the work, Xu Bing has written out the Dao Qian prose poem in his Square English calligraphy style and it hangs in a nearby gallery dedicated to Chinese art, reading as follows: During the reign period T’ai yuan (326–97) of the Chin dynasty there lived in Wu-ling a certain fisherman. One day, as he followed the course of a stream, he became unconscious of the distance he had travelled. All at once he came upon a grove of blossoming peach trees which lined either bank for hundreds of paces. No tree of any other kind stood amongst them, but there were fragrant flowers, delicate and lovely to the eye, and the air was filled with drifting peach bloom. The fisherman, marveling, passed on to discover where the grove would end. It ended at a spring; and then there came a hill. In the side of the hill was a small opening which seemed to promise a gleam of light. The fisherman left his boat and entered the opening. It was almost too cramped at first to afford him passage; but when he had taken a few dozen steps he emerged into the open light of day. He faced a spread of level land. Imposing buildings stood among rich fields and pleasant ponds all set with mulberry and willow. Linking paths led everywhere, and the fowls and dogs of one farm could be heard from the next. People were coming and going and working in the fields. Both the men and the women dressed in exactly the same manner as people outside; white haired elders and tufted children alike were cheerful and contented. Some, noticing the fisherman, started in great surprise and asked him where he had come from. He told them his Vol. 13 No. 1 77 story. Then they invited him to their home, where they set out wine and killed chickens for a feast. When news of his coming spread through the village, everyone came in to question him. For their part, they told how their forefathers, fleeing the troubles of the age of Ch’in, had come with their wives and neighbors to this isolated place, never to leave it. From that time on they had been cut off from the outside world. They asked what age this was this: they had never even heard of the Han, let alone it successors the Wei and Chin. The fisherman answered each of their questions in full, and they sighed and wondered at what he had to tell. The rest all invited him to their homes in turn and in each house food and wine were set before him. It was only after a stay of several days that he took his leave. “Do not speak of us to the people outside” they said. But when he had regained his boat and was retracing his original route, he marked it at point after point; and on reaching the prefecture he sought audience of the prefect and told him of all these things. The prefect immediately dispatched officers to go back with the fisherman. He hunted for the marks he had made, but grew confused and never found the way again. The learned and virtuous hermit Liu Tzu-chi heard the story and went off elated to find the place. But he had no success, and died at length of sickness. Since that time there have been no further “seekers of the ford.”2 On the most obvious level, Xu Bing’s garden installation re-creates this hidden land, providing Londoners with solace from the urban disorder outside. And in selecting this poem, Xu Bing engaged a topic that has enchanted literati and artists throughout China’s long history. Many painters rendered the Peach Blossom Spring in detailed and elaborate landscape settings using the ancient blue and green style, popular in the Tang dynasty, replete with small-scale narrative details. In these works, the viewer goes on a journey, following the boatman to the village past the peach blossoms.3 Xu Bing similarly re-creates the experience of the story and the destination, but in real time. Creating the Illusion In accord with the poem’s narrative, Xu Bing built his utopia around a large fountain and encircled it with actual pieces of mountain transported from China. The scale and complexity of the project is mind-boggling: First, large slabs of rock were cut from the five major mountains of China and shipped to his workplace in Beijing. The stones, of various sizes, weigh as much 78 Vol. 13 No. 1 Picking stones for Travelling as two tons. Processing included to the Wonderland, 2013. Courtesy of Xu Bing Studio. cleaning and covering the rocks with varnish and then photographing, measuring, and cataloguing each one of them. There are six groups of stones, among them Taihu rocks from Lake Tai in Jiangsu province, Guwen (Morie) stone found around Suzhou, Taishan stones from Shandong, Ling Bi from Anhui, and rocks from Fangshan near Beijing. Acquiring such rocks was a pursuit once limited only to the emperor and the uppermost echelons of society. So prized were garden stones, sometimes called scholar’s rocks, that since the Han dynasty (206 BC–220 AD) imperial emissaries were dispatched to search the nation in an effort to acquire excellent examples for the imperial gardens, where they carefully were placed in various settings—in courtyards and around bodies of water like those in the existing Ming gardens of Suzhou and Hangzhou.4 Catalogues written as early as the Song dynasty (960–1126 A.D.) extolled the virtues of famous stones. For Xu Bing, clearly the stones are the major component of the installation, and he has engaged in the same rock collecting endeavour as his precursors. In fact, the scale of his undertaking dwarfs historical precedent. But it should be noted that Xu Bing’s fascination with the theme of rocks is not unique among contemporary Chinese artists. The rock garden has captivated some of the most prominent artists working today, among them Cai Guoqiang,5 Zhan Wang,6 Sui Jianguo,7 Liu Dan,8 Hong Lei,9 and Wenda Gu.10 Details of stones for Travelling to the Wonderland, 2013. Courtesy of Xu Bing Studio. Next page: Stones for Travelling to the Wonderland being catalogued in a warehouse, 2013. Photo: Pan Hong. Courtesy of Xu Bing Studio. The conception of the installation was worked out in minute detail in Xu Bing’s studio during the summer of 2013. Once the stones were identified with painted numbers and catalogued, Xu Bing and his crew took small photos/prints of each of them and composed them into a small-scale rendering of the proposed site. The project was laden with innumerable logistical difficulties—especially procuring and transporting tons of rock overseas. During an interview in his studio this summer, Xu Bing explained the project to me, and he seemed both horrified and delighted with the challenge. Xu Bing re-created the approximate real geographical relationships of the different mountains in the placement of the rocks around the oval fountain. Each geographical area was represented by dozens Vol. 13 No. 1 79 80 Vol. 13 No. 1 Vol. 13 No. 1 81 Maquette of Travelling to the Wonderland at Xu Bing Studio, 2013. Courtesy of Xu Bing Studio. Xu Bing, Travelling to the Wonderland (details), 2013, Photo: Fang Chao. Courtesy of Xu Bing Studio. Xu Bing, Travelling to the Wonderland (details), 2013, Photo: Fang Chao. Courtesy of Xu Bing Studio. of variously sized stones. For stability, in case of wind pressure, they were attached to the edge of the pool floor by steel bolts. But this is just the framework of the final installation. Xu Bing further explained to me that he wanted to re-create a Chinese landscape painting, first by slicing the stones thinly, thereby reducing their sculptural attributes, and by embellishing them with narrative details. Thus Xu Bing populated the thin slivers of rock with anecdotal details: there are tiny clay houses, groups of buildings approximating a small village, mountain-top temples, forests, a waterfall, and both exotic and familiar animals and birds scattered about. There are even schools of tiny simulated fish in the pond, and in the centre of the pond sits an isolated group of buildings, like a lost empire; as the peach blossom spring was a rural community, the identity of this 82 Vol.
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