Julie Chun The Inner Trappings of a Dragon: ,

he culture of museum-building in China has reached Long Museum , exterior view. Photo: Ruth unprecedented heights in the last decade. In the period of eleven Thompson. years from 2000 to 2011, the Chinese National Bureau of Statistics T 1 indicated that 1,198 museums were established in China. Compare that with the short span from 2011 to 2012, when 829 museums erupted onto the landscape.2 What is unusual about this exponential building phenomenon is that many museums in China are constructed before the formation of, and oftentimes even without, permanent collections. This may seem like putting the cart before the horse; yet, in an immense country filled with a large pool of established and emerging artists, the belief is that the cart will not only fill, but also overflow. The establishment of the Long Museum (), meaning dragon, is the embodiment of such confidence.3 As one of the few private museums in Shanghai founded by a mainland collector, the Long Museum aims to put on the global map not one but two world-class institutions on either side of the Huangpu River.

The Birth of a Dragon On December 18, 2012, the first Long Museum opened in the upscale area of Pudong, not far from the financial hub of Lujiazui. The inauguration was

20 Vol. 13 No. 5 Left: Long Museum Pudong, with Zhang Wang, Jiashanshi # 108, 2006, stainless steel, 200 x 140 x 64 cm. Photo: Ruth Thompson.

Right: Long Museum Pudong, reception area. Photo: Ruth Thompson.

pivotal because it marked the launching of the first private art museum in Shanghai with a permanent collection of art —ranging from antiquities, revolutionary, modern, and contemporary—that could be rotated. Serenely sheathed in white granite, the pristine rectangular complex was designed by the artist and architect Zhong Song. The sleek modernist exterior aptly references a minimalist-style reliquary for enshrining accumulated since the early 1990s by billionaire “super collectors” Liu Yiqian and his wife, Wang Wei.4

Liu Yiqian’s biography, which included dropping out of school at the age of fourteen to work in his family’s handbag business, then driving cabs, and eventually investing his way into becoming one of the wealthiest tycoons in China, exemplifies the ultimate rags-to-riches dream.5 With Wang Wei, who serves as the co-founder and director of the museum, Liu Yiqian has gone to great lengths to acquire and repatriate historic and iconic works of Chinese art back to the country’s native soil. One has to admire the tenacious nationalism that lies at the heart of this monumental feat, because a love of art alone might not have been able to resolve all the challenges the couple has had to face.6

A recent controversy centred on the allegation that the Gong Fu Tie work of by the Song dynasty poet Su Shi (1037–1101), which Liu Yiqian purchased in September 2013 for $8.2 million USD, is a “fake.”7 Liu Yiqian can afford to stand staunchly resolute, given that he possesses the means and the wealth to hire the best litigators and art experts and has the solid backing of Sotheby’s (where many of Liu Yiqian’s auction purchases were made) to defend his position. Indeed, two months after the allegation, the case came to a close after the authenticity of the calligraphy was confirmed by technical testing, appraisal by three authoritative experts, and published research by Sotheby’s.8

Establishing the Canon With their vast wealth of artifacts, Liu Yiqian and Wang Wei have claimed the rare collecting status that was historically reserved for imperial rulers of China. The provenance of many renowned classical works of art in museums around the world can be traced to royal or imperial collections. The core collection at the Louvre Museum in Paris belonged to King Louis XIV, and the nucleus of the masterpieces at the Museo del Prado in Madrid were commissioned on the orders of King Charles the V. Similarly, in China, the antiquities as well as other patronized art amassed by the Song dynasty Emperor Huizong (r. 1100–1126) grew and evolved to become the crux of the collection at the Palace Museum in Beijing.

Vol. 13 No. 5 21 The tradition of accumulating culture in China was thus perceived as reflecting the collector’s moral virtue. According to art historian Craig Clunas, “Possessions of ancient things stood for an equivalence with the wise rulers of ancient times.”9 The meritorious emperor, having received the mandate of heaven, took on the responsibility of being the arbiter of literary and artistic taste. Dictating discernment and stylistic judgment that was passed on from the royal house to those of the aristocrats, the imperial art collection came to establish the canon for later centuries, to which successive rulers and collectors hoped to aspire.

The founders of the Long Museum have been accruing notable cultural signifiers for over twenty years, making many of their acquisitions at international art auctions. They have also negotiated private purchases of contemporary art from renowned European collectors of Chinese art, such as the former Swiss diplomat Uli Sigg and the Belgian art patrons Guy and Miriam Ullens.10 The treasure trove at the Long Museum in Pudong functions as a carefully controlled artistic archive showcasing not only the state-authorized but also the market-endorsed version of an abridged Chinese art history that can be viewed in under two hours. The third floor offers an eminent, albeit eclectic, collection of antiquities ranging from ink paintings, fine porcelains, and even an imposing eighteenth century imperial throne from the Qing dynasty. The second floor is dedicated to one of the largest private collections of revolutionary art, the visual vehicle for party propaganda that became a potent force after Mao Zedong’s talk at Yan’an in May 1942 and was dominant during the (1966–76).11 With a particular resonance by association, the Long Museum in Pudong effectively sustains the legacy of showcasing a meticulously selected version of elite and sovereign Chinese art history.

Long Museum West Bund, entrance. Photo: Ruth Thompson.

The Dragon Re-emerges As another site for production of meaning, the newly opened Long Museum West Bund attempts to set the institutional framework for a defining a new canon of twentieth and twenty-first century Chinese art. Competing tightly with the Yuz Museum, another ambitious private museum in the vicinity that has since been inaugurated, the Long Museum West Bund opened on March 28, 2014, in Shanghai’s riverside district of Xuhui, a site currently

22 Vol. 13 No. 5 devoted to major re-gentrification as the emerging West Bund Cultural Corridor.12 Almost three times larger than the Pudong branch, the West Bund museum boasts a total area of 33,000 square metres, with about 16,000 square metres dedicated for exhibition space. If the first branch embodies the cube, the second museum takes the form of a basilica. Designed by the Chinese architect Liu Yichun, the immense barrel-vaulted ceiling is constructed the same hue and materiality of the grey concrete to reflect the industrial aesthetics of the museum’s outer environs, which had formerly functioned as an air field. The visual link between the interior space and the exterior landscape appears as fluid as the water flowing in the harbour.

Long Museum West Bund, first floor gallery view. Photo: Ruth Thompson.

Long Museum West Within, the first floor of , first floor gallery with Xu Bing, Square museum constitutes radiating Word Calligraphy, 1999, fabric banner. Photo: Ruth galleries that open out onto Thompson. an expansive foyer where the crimson banner of Xu Bing’s 1999 Square Word Calligraphy swells from floor to ceiling, proclaiming, “Art for the People.” In this vast space, Xu Bing’s work is joined by that of a legion of Chinese artists who played a leading role in developing the lexicon of contemporary art since the 1980s. A large panel in oil Wang Guangyi’s Passport Series (1996) is displayed side-by-side with Zhang Peili’s melodically rendered early painting Silent Jazz (1995), which appears frozen in lyrical time. Representing the genre of “scar art,” Luo Zhongli’s vividly rendered naturalistic portrayal of a peasant woman in Spring Silkworms (1980) shares a wall with Zhang Xiaogang’s iconic haunting portrait of the Blood Line-Big Family series (1998). A few steps beyond, Yue Minjun’s forcefully smiling faces On the Lake (1994) open the vista for the disquieting grinning faces of the Mask Series (1996) by Zeng Fanzhi.

On the second floor, constructed like a spacious loft, the gallery features works by the artists of the New Painting—a term advanced by art historian (and one of many advisors to the Long Museums) Lu Peng to describe the generation of artists born after 1970 whose market-driven successes have granted them greater artistic liberties over the censors.13 Worth

Vol. 13 No. 5 23 Long Museum West Bund, first floor gallery view. Photo: Ruth Thompson.

Xiang Jing, The End, 2000, painted fiberglass, 165 x 65 x 55 cm each piece. Photo: Ruth Thompson.

24 Vol. 13 No. 5 noting is the abundance of sculptural works by Xiang Jing that together with pieces by Qu Guangci and Gao Weigang constitute what seems to be a gallery. At present, there is an absence of photography and video art, excepting the single-channel loop of Estranged Paradise (1997–2002) by Yang Fudong on the main floor and the animated projection of Qiu Anxiong’s The Classic of Mountains and Seas (2006) in the foyer of basement. Adjacent to Qiu Anxiong’s work once stood Xu Bing’s Background Story: The Mountain in the South Looked as a Green Screen, (2013), installed on site and made all the more mesmerizing by the mirror, which revealed the behind-the-scenes detritus of dried plants and assortment of construction material. About three months after its installation, Xu Bing’s piece was removed without any explanation that it was a loan returned to the Shanghai Museum, leaving only a hollow void with prominent nail holes indicating its former presence.

The conundrum of displaced artwork occurs as a recurrent theme in the dimly lit inner sanctums of the basement gallery entitled “Ancient- Contemporary: Conversation with and Observation on the Classics.” According to the wall text, the curatorial endeavor was to “decipher the ancient classics in a different and unconventional way . . . where communication is established between some ancient works and a few contemporary ones.” As such, works by contemporary artists such as Qiu Zhijie, Huang Yongping, and Xia Xiaowan are placed next to scrolls of ink paintings and calligraphy by Ming and Qing dynasty literati masters such as Wen Zhengming (1470–1559), Wang Shimin (1592–1680), and even Song dynasty emperor Huizong (1082–1135). While the represented contemporary artists are held in high regard, the direct placement of their work with those by venerated masters confers validity perhaps before its due time.

Long Museum West Bund, second floor gallery view. Photo: Ruth Thompson.

With the global eyes on China as the current epicentre of the art world, both financially and creatively, works by emerging artists seem to be inducted into the established canon in rapid-fire ascension. Generally, one would expect works of art to follow the trajectory of group and solo shows, and oftentimes travelling exhibitions, with much discussion and criticism generated en route, before they find their place in major public or private museum collections. In China, the course seems to be truncated, with works by talented graduates of prestigious art schools heading directly from the

Vol. 13 No. 5 25 artist’s studio to major “Chinese” Long Museum West Bund, first floor view with Wang 14 exhibitions and auction houses. Yuyang, Artificial Moon, 2007, light installation. As exemplified by the placement Photo: Ruth Thompson. of the relatively young artist’s work such as Wang Yuyang’s Artificial Moon (2007) as one of the centre- pieces in the first floor gallery of the Long Museum and the placement of Ouyang Chun and Li Qing’s paintings in the New Painting gallery endorses the validity of their place in the canon of contemporary Chinese art at the Long Museum West Bund even before their inclusion in art historical survey texts.

What Lies Within Long Museum West Bund, passage to basement. It is clearly evident upon initial Photo: Ruth Thompson. gaze that the macrocosm of the architecture and the collections at both locations of the Long Museum are strikingly impressive. Yet, like many new museums materializing in China, the microcosm governing the daily operations is still fraught with snags and requires much more attention for the long road ahead. The founders of the Long Museum have been wise in appointing a long list of eminent members of the Chinese art world as “academic advisors.”15 Because most of these members are affiliated with state museums and art academies, they are likely to uphold institutional authority rather than explore innovative exhibitions centred on progressive curatorial endeavors and pressing issues governing China and the world at large. The heavy presence of older Chinese members and the mistranslation of their writing have resulted in incomprehensible wall texts with superfluous jargon. Yet, credit is given for the identification labels that attempt to provide contextual information in Chinese and English. Unfortunately, the title plaques are made of either transparent tape offering a minimum of information or foam-backed paperboard that fail to stay affixed to the wall, eventually slipping precariously onto the floor. No audio guides are available, either in Chinese or English, and there is a dearth of docent or guided tours. In fact, there is not even a printed museum map to assist visitors in self-guided tours.

Membership is another vexing issue. A dual museum membership costing 600 RMB (about 100 USD) can be purchased, yet foresight was unfortunately lacking; meaning, when the Pudong Long Museum membership was established for 300 RMB, no thought was given to the logistics of merging the two memberships. It is not a simple process of purchasing the West Bund Membership for an additional 300 RMB since with the opening of the West Bund museum only dual membership is available for purchase. Moreover, according to the press release of the Long Museum West Bund, a two-museum adult admission costing RMB 80

26 Vol. 13 No. 5 (about 13 USD) allows entry to both branches if visited within a month. Yet, when one provides the ticket at the entrance of the other museum, none of the employees seem aware of such a policy, and a substantial wait is required while they telephone numerous in-house staff.

Long Museum West Bund, The issue of art education for the basement view. Photo: Ruth Thompson. public at the Long Museum appears conflicted as well. The museum website’s promotional statement states, “Long Museum is devoted not only to professional art exhibitions, researches [sic], and collections but also to the promotion of cultural education in public.”16 Some of the stated benefits of becoming a member include a “free newsletter of Long Museum” and “priority reservation on public programs, lectures, and educational events.”17 Ironically, as a paid member of the Pudong branch of the Long Museum, I have yet to receive any notifications about openings, new exhibitions, or seminars, whether via print or electronically, nor was I granted any priority reservation at public programs, lectures, or educational events.

Long Museum West Bund, The lack of access to information about basement reading room. Photo: Ruth Thompson. museum’s events also extends to art research and public art education. At the Long Museum in Pudong, cameras and pens are strictly prohibited. This mandate is understandable and is similar to many museum policies world wide. Yet, even a notebook and pencil are not allowed for taking notes or sketching within the inner sanctums of the Pudong museum. Conversely, at the Long Museum West Bund, blatant flash cameras are permissible and anyone is welcome to take notes and sketches in pen or pencil. Such inconsistent policies can confound the visitor especially since many of the artworks are transferred between the two sites. As for the reading rooms, at both museums they remain devoid of books and are closed to the general public even months and years after the museum’s grand opening.

As with many public and private museums in China, the grandeur of the hardware is in place, but the intricacies that enable the smooth operation of the software is desperately lacking. The further one enters the system, the more the deficiencies become apparent. On the cast fiberglass sculpture Mao Jacket (2004) by Sui Jianguo at the Long Museum West Bund, there is a thin crack revealing a flaw—not of artistic craftsmanship, but perhaps the inferior quality of its sculptural material and of improper maintenance. (Many of the paintings and are not encased in glass and the interior temperature of the museum remains frigid in winter and sweltering in summer.) Critique of poorly manufactured goods in China remains an ever-present topic in the foreign press as well as in daily conversation. Poor quality may be understandable in the mass production of inexpensive goods for quick profit, but inadequate standards in the quality of high-priced artworks and the museums housing them requires a thorough discussion.

Vol. 13 No. 5 27 A reputable Sui Jianguo, Mao Jacket, 2003, fiberglass, 60.9 x museum of world- 48.2 x 27.9 cm. Photo: Ruth Thompson. class distinction requires more than a monumental structure and notable permanent collection. It also requires a proper board that can provide thoughtful foresight and sustainable planning with an active focus on making its collection accessible and comprehensible to those walking through its doors. The institutional framework can no longer follow the archaic paradigm of a curio cabinet reflecting the social prestige and status of the collector. Rather, it should be a constantly evolving space dedicated to providing access, context, and imagination for the benefit of the public as well as those supporting its mission.

Notes 1 Tzvetan Todorov, The Fantastic: A Structural Approach to a Literary Genre, trans. Richard Howard (Cleveland: Case Western Reserve University, 1973), 174. 2 According to the State Administration of Cultural Heritage, by June 2012, there were about 3,400 museums in China. See Kevin Holden Platt, “Public or Private? The Culture Clash in China,” New York Times, June 12, 2012, http://www.nytimes.com/2012/06/13/arts/13iht-rartchina13.html/. 3 According to Wang Wei, the name, Long Museum, was chosen because its Chinese pictogram means long-lasting. See Michael Young, “Shanghai’s Private Museums,” Asian Art, July 2, 2014, http://www.asianartnewspaper.com/article/shanghai-s-private-museums-0/. 4 Vantage Shanghai, “Long Museum Opens its First Exhibition,” November 26, 2012, http://www. vantageshanghai.com/en/arts/2012/11/long-museum-presents-through-all-ages-series-exhibition. html/. 5 “China’s Tycoons,” Week in China, April 2011, 44, http://www.weekinchina.com/wp-content/ uploads/2011/04/Investment.pdf/. 6 Wang Wei believes that Chinese art should remain firmly in Chinese hands. See Michael Young, “Shanghai’s Private Museums,” Asian Art, July 2, 2014, http://www.asianartnewspaper.com/article/ shanghai-s-private-museums-0/. 7 Wang Zhenghua, “Sotheby’s denies $8.2 million calligraphy is fake,” China Daily, December 23, 2013, http://usa.chinadaily.com.cn/china/2013-12/23/content_17189799.htm/. See also Jason Chow, “8.2 Million Chinese Scroll Branded a Fake,” Wall Street Journal, December 23, 2013, http://blogs.wsj. com/scene/2013/12/23/8-2-million-chinese-scroll-accused-of-being-fake/. 8 See “Authenticity of ‘Gong Fu Tie’ Calligraphy Confirmed,” Global Times, Feb. 18, 2014, http://www. globaltimes.cn/content/843276.shtml/. 9 Craig Clunas, Art in China (Oxford, New York: Oxford University Press, 1997), 58. 10 Tom Lee, Celine Song, and Chase Bray, “The Collectors,” in That’s Shanghai, January 4, 2013. 11 An English translation of a full transcription of Mao Zedong’s “Talks at the Yan’An Forum on Literature and Art”, (lecture, Yan’An, China, May 2, 1942), can be accessed at http://www.marxists.org/ reference/archive/mao/selected-works/volume-3/mswv3_08.htm/. 12 Budi Tek is the Chinese-Indonesian founder of the Yuz Foundation and a major collector of art by Chinese and international artists. With a collection of over 1,500 pieces, including large-scale objects, the Yuz Museum opened on May 17, 2014, in of Shanghai, near the Long Museum West Bund. “Budi Tek, Chinese-Indonesian collector, founder of the Yuz Foundation,” Art Review, http://artreview.com/power_100/budi_tek/. 13 Lu Peng, A History of Art in Twentieth-Century China (Milano: Charta, 2010), 1154–55. 14 Examples include Chi Peng, Hu Xiangqian, Liu Di, Lu Yagn, Ma Qiusha, and Song Kun. See Artists’ Biographies in Barbara Pollack, My Generation: Young Chinese Artists (London: Giles, 2014), 142–55. 15 Academic advisors to the Long Museum comprise Li Xianting (art critic), Shan Guolin (former Director of the Department of Calligraphy and Painting of the Shanghai Museum), Chen Lusheng (Vice Director of the National Museum of China), Wang Huangsheng (Director of the Art Museum of China Central Academy of Fine Arts), Lu Peng (art historian of Chinese contemporary art), and Zhao Li (professor of China Central Academy of Fine Arts). This list is taken from “About Long Museum,” museum website, http://thelongmuseum.org/en/page/detailed/038do/. 16 Ibid. 17 From the Long Museum website on member benefits, http://thelongmuseum.org/en/page/ detailed/02dco/.

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