China

In Charles Simić’s book about Joseph Cornell’s assemblages, Dime-Store Alchemy (1992), he quotes his own translation of Croatian poet Slavko Mihalić to describe Cornell’s sculpture ‘Deserted Perch, 1949’, noting ‘the very tiny crack in which another world begins and ends’. Simićmarvels at this ‘Illusionist art ... sleight of hand’.

In the absorbing introduction to the stories in Bapo, Nicholas Jose describes bāpò as ‘an unusual kind of Chinese painting that tricks the eye into thinking it sees a collage of fragments’. Under the disguise of collection and assembly, the painter’s hand creates a trompe-l’œil of torn, burnt, pasted fragments. Jose describes his version as assemblage, and like Cornell, who reinvented discarded scraps and oddments, he finds in bāpò an ‘aesthetic of illusion and salvage, of creative retrieval’.

For countries, and none so important to Australia, have a political system as opaque as that of China. This is deliberate; since the turmoil of the Cultural Revolution, the Communist Party of China (CPC) has striven to make turnovers in its leadership as bland as possible. But the elevation of the country’s current ‘Fifth Generation’ Leadership was actually full of drama. The New Emperors, written by Kerry Brown, director of the China Studies Centre at the University of Sydney, tells us why.

I dealt with China for most of the ten years I worked for the British Foreign Office from 1998. The one conclusion I drew from my experience over those years was that it didn’t take much to stumble into complexity. Britain and China have a vast historic hinterland. In 1839, British forces inflicted the first Opium War on China, and British politicians enforced the unequal treaties which ushered in what some Chinese call to this day ‘the century of humiliation’. In the hundred years that followed, Britain continued meddling and became involved in issues from Tibet to Hong Kong, building up a fund of resentment on the Chinese side that continues to pay back returns to the current day.

China’s extraordinary economic and cultural ascent during the past two decades has generated significant international interest in Chinese contemporary art, especially in photography now widely promoted in the West as ‘Chinese new art’. Since it was first introduced to China in the 1840s, photography has languished somewhat, overshadowed by the traditional arts of brush painting, calligraphy, and ceramics, which have for centuries defined ‘Chinese art’. Historically, photography (and film) in China have been relegated to the status of reportage or propaganda, used by the state to instruct, indoctrinate, and unify its people.

Figures released by the International Monetary Fund on 16 August 2010 revealed that China had overtaken Japan to become the world’s second-largest economy. Within a generation it had gone from being an isolated society that could barely feed its own people to the largest producer of steel and concrete on the planet, a vital link in global production chains and, since 2008, the most important engine for global economic growth.

Patrick Holland makes his plans clear in the first sentence of Riding the Trains in Japan (his fourth book and first work of non-fiction): ‘I arrived in Kyoto in the middle of the national holiday called O-Bon, the Japanese All Souls, when Buddhists believe departed spirits may return to earth and when ancestors and the elderly are honoured.’ His subjects and themes have been identified: himself, the people and places of Asia, Eastern spirituality and tradition, and the transient nature of life and all of its cultural accessories. The opening also reveals Holland’s technical approach: a willingness to conflate personal anecdote with documentary observation, the minutiae of daily life with the grandness of tradition, and the material world with a spiritual one. Clearly, he wants to test the conventional form of travel writing.

Henry Kissinger has never seemed at home in the United States, although he has served in its highest councils and received its richest rewards. When I was one of his students at Harvard, we called him Henry, to distinguish him from professorial luminaries such as Galbraith, Riesman, and Schlesinger. He did not fit the insistent reasonableness of the Harvard faculty. His guttural voice, anxiety to please, mischievous, self-deprecating humour, and fearsome views on nuclear warfare made him an almost unbelievable figure of playful profundity.

Sometime around 1820, forty years after its Industrial Revolution began, Britain overtook China to become the world’s richest country. Sometime between now and 2020, forty years after China’s own Industrial Revolution was launched by Deng Xiaoping’s economic reforms, China is set to overtake the United States and regain its place at the top of the world’s economy.

This fascinating book tells of the friendship between two Chinese artists: the traditional brush painter Huang Binhong (1865–1955) and the Chinese writer, critic, and translator Fou Lei (1908–66). While the long tail of Modernism swept through the twentieth century, decelerating only during the two world wars, and following reductive tendencies based on the early work of either Picasso or Duchamp, cultural workers in China had to deal with the end of the old imperial order, foreign invasion, the rise of communism, and the imposition of socialist realism, quickly followed by the decade-long Cultural Revolution. Then came Tiananmen Square and its twenty-year aftermath of commercial openness and democratic closure. These were dangerous times, and just as Walter Benjamin in the West committed suicide in the shadow of the rise of totalitarianism in Europe, so too did Fou Lei in 1966, at the beginning of the Cultural Revolution.