Xu Bing- 'Phoenix'
"I wanted to create both a sense of limitation, and also a complete lack of limitations. There is tension there” – Xu Bing
Two birds are suspended from the roof of St. John the Divine Cathedral in New York. Their presence consumes the space, looming over the heads of the audience beneath- and their incredible weight creates an atmosphere of astonishment and awe. The birds are Phoenixes, raw in their appearance- made up of discarded building materials and great chunks of metal- stunningly conflicting with the traditional, reverent atmosphere of the cathedral. Their appearance is ugliness in its most magnificent form- huge constructions of unwanted scraps and uncoordinated colours- yet, so beautiful. The beauty is created in the great sense of liberty one feels when viewing the work- the phoenixes positioned in a way that suggests an effortless flight, and an absence of boundaries. The structures are speckled with LED lights- and when lit up, appear as constellations. What is most magnificent is the fact that these incredibly heavy, 12 tonne creatures, appear in the air as if weightless- as if there are no ropes at all.
The work is titled ‘Phoenix’ and was created by contemporary Chinese artist Xu Bing. The work was initially designed for a specific building in Beijing, where Xu was asked to create a work for. Upon inspecting the construction site surrounding the building, the artist was shocked to discover the disgusting living conditions that the migrant workers had to endure- and the ill-treatment they received. It was this significant encounter that caused Xu Bing to design his phoenixes using leftover or discarded building materials- directly from the site. The building had a sort of glass atrium- where the architects wanted Xu’s work to be installed. It was this glass atrium that inspired the artist to create a work about birds, as the structure appeared to him as something similar to a birdcage- he thought it would be an interesting composition to create birds that appeared to be free, and in-flight, yet contained in this cage-like form; "I wanted to create both a sense of limitation, and also a complete lack of limitations. There is tension there” the artist told China Daily. This was heavily symbolic of the conditions and the lives of the migrant workers at the sight- as was his choice of the birds, the Phoenix.
In western culture, the Phoenix represents ‘rising up from the ashes’ or rebirth. However, for Chinese traditional culture, the Phoenix is a creature of folklore that represents righteousness, hope, prosperity and even imperial power. Through the use of the phoenixes, the work incorporates values of both traditional and contemporary Chinese culture and issues. The birds are named Feng (Male) and Huang (Female) harmoniously create the name fenghuang- Chinese phoenix mythology. Even during the assemblage of the birds, Chinese tradition was re-ignited, as the structures were unsophisticatedly assembled, much like Chinese lanterns- Xu says that “The entire process of creation forms an interactive relationship with the environment and Chinese society”.
‘Phoenix’ was never exhibited in the glass atrium- after the 2008 global financial crisis, the architects had “lost their sense of humor” according to Xu, and they even suggested the work be covered with a crystal layer. Xu Bing refused to do this- and so the commission was let go. However, it was not long after that the Phoenixes were being exhibited in the Massachusetts museum of contemporary art (Mass MoCA), and then at its current site- St. John the Divine Cathedral in New York. The works sharp, mystical aesthetic and the cathedrals heavenly, sacred atmosphere, work in harmony to create a magical feeling, which highlights qualities in the work about hope and righteousness- on an extremely empowering level.
‘Phoenix’ is a work which thoroughly explores notions about tradition and culture. The fact that the phoenix is a creature with different ideologies for western cultures, urges the audience to merge the two meanings and to then find significance in the work. As well as this, the whole ideology of the Phoenix as a traditional symbol, is communicating ideas about hope for the commercial industry in China- and for the migrant workers. The use of recycled materials ties into this notion of industry, and the conflict of labour versus wealth. The phoenix is a symbol of hope- and it is reigniting the optimisms for contemporary china and the forgotten workers, as much as it is reigniting the aspect of Chinese tradition, and in fact forgotten tradition. This idea of forgotten tradition is one often incorporated in contemporary Chinese art- as it is a concept heavily influenced by the Cultural Revolution, which Xu Bing was exposed to for much of his life.
In 1966, communist leader of China, Mao Zedong, started a political revolution in an attempt to reassert his authority in China. This included the shutting down of schools and massive youth mobilization, to encourage the cult of personality surrounding Mao Zedong, revolutionary spirit and mass propaganda. Youths were encouraged to join the ‘Red Guards’- a group who took part in the persecution of Chinese teachers and intellectuals, as well as the burning of books. Mao Zedong was trying to purify China- and rid it of some of its traditional and past culture. As a result, many people such as Xu Bing were raised in a society where knowledge was not accepted, and tradition became non-existent- which is an idea often explored in contemporary Chinese art, as artists such as Xu Bing lived through it.
In 1989, Xu Bing was involved in the infamous Tiananmen Square Massacre- in which Chinese students gathered in the square to protest against the current government- yet turned into a tragic scene of chaos and violence, as the Chinese military mercilessly sprayed bullets at the protesters. The relentless surveillance and regulations from the Chinese government further affected Xu, when his work ‘Book from the Sky’ was banned shortly after the Tiananmen Square Massacre, as it was believed to contain subversive, secret messages- potentially threatening the government. This aspect of Chinese culture can be consistently seen in Xu’s works, as he explores aspects of language and culture- perhaps investigating the loss of communication, knowledge and tradition that occurred during the Cultural Revolution. This is especially evident in ‘Book from the Sky’, as it is in ‘Phoenix’.
It is evident that Phoenix is a work that explores ideas about contemporary China, as well as traditional. The use of materials, and the context of the work, exposes themes of modern-day Chinese industry, and the values of the phoenix furthermore express hope for the future of China’s industry- as it reminds the audience of the labour behind the wealth. Similarly, notions of Chinese tradition are explored- as the image of the phoenix pays homage to traditional Chinese folklore, and revives traditional Chinese culture through the values and imagery. The ambitious, free flight of the two birds is symbolic of China’s rise out of its dark past- and into a hopeful future, which is what the phoenixes represent. It is about providing hope to the forgotten- the workers, the traditions. When one views ‘Phoenix’ they are immediately overcome with a sense of passionate hope- and this is exactly what Xu Bing wants us to feel. The phoenixes are raw, they are powerful. And they are a symbol of the complex relationship between labour, commercial development, and Chinese tradition- with hope for the future.
"It creates a great distance between the realities of daily life and the dreams and desires that people hold” – Xu Bing (China Daily)
Clare Wigney