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A Metaphor for Identities in Transition Through Urbanization And research articles A Metaphor for Identities in ing of a number of associated terms which Transition through Urbanization and are conventionally regarded as fixed and inherently bonded to a certain field, such as Globalization: Tofu and One Hundred identity, nationality, race, gender, belonging, 1 neighbourhood, etc.3 In the light of migratory Surnames aesthetics, symbolic mobility in contempo- rary art often focuses on the experiences of Yang Jing transition as well as the transition of experi- ence itself into new modalities, new artwork and new ways of being and variously engag- es with themes of travel, identity and shifting concepts of home in a world in which domes- tic and international relocation has become Nowadays, mobility is celebrated as one of audiences. Joaquín Barriendos Rodríguez a commonplace.4 The obvious, fixed and the most significant ideologies of contempo- suggested that in the social context, the term immutable identity is being replaced by ob- rary art. A multitude of notions, such as mi- mobility does not merely mean the changes scure, drifting and unstable ones, dependent gration, displacement, diaspora, nomadism in people’s geographical position; more sig- upon temporal and spatial changes. and deterritorialization have become trendy nificantly, it refers to the social and individual Richard Meyer, by citing Philip Gleason’s topics in contemporary artworks and exhibi- representations of the meaning of displace- analysis of the historical context of identity, tions; mobility in contemporary art engages ment experiences. The symbolic dimension points out that identity actually means some all agents of the art system, including art- of mobility is “that which shapes the cultur- “uncertainty” from the very beginning. When ists, critics, curators, collectors, art dealers al processes and contexts where […] new the term identity came into use in the 1950s, and audiences; it has been articulated on subjectivities are being negotiated.”2 Thus, rather than suggesting a stable sense of different levels, such as the production and the symbolic dimension of mobility is under- selfhood, it was often used to designate “an dissemination of the artworks, the identity of stood as the fluidity of subjectivity, the dis- identity crisis” or “a search for identity”, stem- the artists and the reception of artworks by placement of imaginaries, and the question- ming from the individual’s “alienation in an 5 Tahiti 1/2019 | Artikkeli | Yang Jing: A Metaphor for Identities in Transition through Urbanization and Globalization increasingly anonymous society.”5 ,Later the mediums including installation, performance, names, refers to a metaphorical expression social and political movements in the 1960s photography and video, Chen is widely not- of the identity issue in a broader context of bonded the notion of identity with race, reli- ed for her Migration series that includes five urbanization and globalization, and forms a gion, national background, or other cultural video works, accompanied by numerous significant part of the artist’ multi-angle and markers. 6 In artworks, the problem of the photos, taken in her hometown Wanxian be- multi-level presentation of the complexity of 8 identities of both the artist and the intend- tween 2002 and 2012. The Migration (Qian identity. However, as most scholarly studies ed audience, on the individual and broader xi, 迁徙) series reveals her traumatic feel- on Chen were focused on Migration series, cultural level, is not only the theme of art- ing of being uprooted and the sense of un- her Tofu and One Hundred Surnames series work, but also determines how the work is certainty about the future. She interrogates has yet to attract more attention. constructed.7 Cultural identity is a constantly the problem of identity as a consequence In 2016, I conducted interviews with Chen shifting understanding of one’s identity in re- of forced domestic displacement due to the twice, in August and then again in Novem- lation to others, constructed and maintained construction of the Three Gorges Dam. Ac- ber. Each interview lasted about 2.5 hours. through the process of sharing collective cording to Wu Hung, the significance of her I also examined closely her works that are knowledge such as traditions, heritages, work “lies not in documenting the transfor- preserved at the A Thousand Plateaus Art languages, aesthetics, norms and customs. mation of the region, but in her sensitive rep- Space in Chengdu. Since then we have The presentation of the mobility of cultural resentation of the conflicting emotions and maintained regular correspondence by identity is often focused on how artists ac- desires of an artist who identifies herself as phone, e-mail and WeChat. Chen has kind- knowledge and negotiate with the geograph- her subject.”9 Bearing artistic as well as so- ly given permission for her work to be pub- ical distance and cultural strangeness that cial and cultural significance, the Migration lished and discussed here. In what follows, result in the making of artworks, which is series attracted wide attention both within taking her Tofu and One Hundred Surnames seen in the artists’ preferences for and shifts China and abroad and established Chen a series as an example, I attempt to reveal the between various concepts, subject matters, unique and prominent figure in Chinese con- conception, form, medium, material, and ex- formal properties, materials and mediums. temporary art. hibition strategy of this series. My analysis This paper focuses on the work of Chen Since 2004 Chen has created a sequence is built on two issues that somehow overlap Qiulin — a Chinese artist who has been tak- of single and multi-channel videos, photos, with each other. First I will analyze how the ing displacement and the resulting unrest performances and installations dealing ex- artist has transformed tofu and surname into in people’s identity as her persistent theme plicitly with tofu and Chinese surnames. This a metaphorical language for revealing the since the early 1990s. Working in multiple series, titled Tofu and One Hundred Sur- identity conflict stemming from the enormous 6 Tahiti 1/2019 | Artikkeli | Yang Jing: A Metaphor for Identities in Transition through Urbanization and Globalization Figure 1: Chen Qiulin, Tofu, Photograph, 2004 © the artist and the A Thousand Pla- teaus Art Space. Courtesy of the artist. influence of China’s urbanization in recent work was first presented at the Blue Roof Art na although the content and the white colour decades. Second I will illuminate how the Centre in Chengdu on February 14th, 2004. show the difference. This work was docu- artist has integrated her trans-cultural expe- Chen displayed a hundred Chinese sur- mented by digital photography and has since riences with Chinese migrant communities names carved out of Tofu accompanied by a then been displayed at many exhibitions. in Australia with a specific focus on Chinese series of photo and video records of the carv- Chen soon started to include the spoilage immigrants’ surnames and their cooking and ing process. After the opening ceremony a process of tofu into her art. She took part in eating experience with tofu, to reflect the con- hot-pot dinner was served. The guests were the 2014 Art Stage Singapore. She initially tinuity and fluidity of cultural identity against her friends and randomly invited visitors at planned to install 100 surnames carved out the background of global migration. The Tofu the exhibition. Three girls in nurses uniforms of tofu; due to the restriction of display space, and One Hundred Surnames series provides pushed hospital carts around to distribute only about 60 surnames were displayed in a significant example for revealing the ambi- pieces of tofu characters and kept asking the the exhibition hall. Before the opening day guity, ephemerality, instability and fragility in guests: “Would you like to eat some tofu?” of the exhibition, Chen transported these identity in Chinese contemporary art, which Then, the guests cooked the tofu surnames surnames to the site where she also gave a have previously not been fully recognized. in five hot-pots and enjoyed a candlelit din- performance of carving tofu into surnames. ner party. Shortly after displaying this work During the exhibition, the tofu gradually Tofu and One Hundred Surnames in the Blue Roof Art Centre, the artist put the started to weep; its fragrance changed to a The first work of this sequence is titled Tofu tofu surnames on the edge of an express- slightly unpleasant odour, creating a disturb- on February 14th (Er yue shi si hao de dou way near Chengdu. At first glance, the tofu ing feeling, this introduction of the smell into fu, 二月十四号的豆腐), a mixture of instal- characters look like the political slogans that the interaction with the visitors being an inte- lation, video, performance and event. This can be seen in many public spaces in Chi- gral part of the work. Later, when the odour 7 Tahiti 1/2019 | Artikkeli | Yang Jing: A Metaphor for Identities in Transition through Urbanization and Globalization Names for Kwong Wah Chong consists of Figure 2: Chen Qiulin, One 25 screens of video. These videos document Hundred Surnames in Tofu, the gradually decaying carved surnames of Video Installation, 100 Screen those early Chinese immigrants. The artist (25×35cm/ Screen), 2’15’’/ interviewed 15 Chinese immigrants who are Screen, dimensions variable, the decedents of the early Chinese immi- 2004-2014 © the artist and grants and recorded the interviews and jux- the A Thousand Plateaus Art taposed them with her previously conducted Space. Courtesy of the artist. interviews with the inhabitants in Chengdu who share family names with those early Chinese immigrants in Sydney. The artist cooked different tofu meals with the partic- ipants and asked the participants to de- became more oppressive, Chen demolished for Kwong Wah Chong (Guang he chang scribe their favourite tofu recipe.
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