An Evening with Cai Guo-Qiang

I had the pleasure to listen to a presentation by Cai Guo-Qiang this evening. Speaking through an interpreter, Mr. Guo-Qiang explained the evolution of his design philosophy and walked us through some of his previous installations. (Using my rudimentary Mandarin skills, I was able to catch a few words here and there, unfiltered -- although that's another topic entirely).

Now, for an introduction to the man himself. He was born in China and maintains a firm connection to his homeland. He talked during the question and answer session about how dao (or "the way," roughly translated) guides him in his personal and professional life. Another influence was Japan, where he lived for a period and most likely picked up on some of the design trends. Some of the greatest minimalist work has come out of that country -- one with many designers who appreciate the beauty of simplicity. The historical legacy also clearly impacted his worldview. One of his pieces, installed at ground zero of one of the atomic bomb sites, was not an apologetic tribute to American liberation. The piece, as he described it, proved that black holes existed on earth too. Working in New York today, Mr. Guo-Qiang surely understands the significance of these colossal disasters. (Some of his self-portraits were taken in front of the World Trade Center -- before it became a ground zero of its own). Perhaps describing what he does will better explain the effect he achieves.

If you were alive in 2008, you most likely experienced one of his key works. The artist directed the pyrotechnics at the 2008 Summer Olympic Games in Beijing. A spectacular coming-out celebration for the country and its people, the ceremony benefitted from the coordination of his fireworks with the myriad other components. He loved the project so much because it showed to the world that Chinese people are not simply a collective. While they can work together, they also maintain individual identities worthy of recognition. A little known component of the Games included an installation at Tiananmen Square. Intriguing to my, the fireworks went off when no one was looking -- exactly as the artist intended. Accustomed to life in the spotlight, it was a relief to go by unnoticed for a while. Actually, I don't think even the Games were the pinnacle of what he's done. Just take a look at some of his tangible pieces and you'll understand. As a signature, Mr. Guo-Qiang works with explosives. He explodes firecrackers, whether in the air or on a grounded piece, to create works with heavy scars and yet an expansive quality to them.


As one of the questions noted, and as his work encourages, he has an inclination toward outdoor pieces. The artist shared a humorous story about the permitting process for an installation in Los Angeles. (It was actually humorous, not Mitt Romney humorous). His original plan was to shoot off fireworks above Griffith Observatory. I, for one, would have been thrilled to see it. But in a democratic country where everyone has their say, as he jokingly admitted, making those things happen isn't always easy. Given the complex permitting process involved in getting approval from the tens of thousands of nearby households, the fire department suggested a museum installation instead. Only through persuasion did they accede to his goal of letting the public watch 40,000 explosions for the installation. While he figured a plastic wall would protect the public, tests showed otherwise. They decided to just move the audience from the line of fire.


I found two pieces particularly striking. The first was a ceramic wall of flowers. Intricately carved, with creative freedom given to the artisans, the solid white block has a classy delicacy to it. Or, it did at least. His explosions on the surface of the work added sharp black marks that enhance the dramatic effect. The second was a circular room, with an outer rim. Viewers walk around the edges to view the art on the walls. Only one catch - the center is filled with water! Ultimately he uses  style to represent a fusing of, and a peaceful harmony between, humans and nature. Actually, sometimes the location dictates a different substance. Perhaps oil, or maybe olive oil in Italy. He tries his best to adapt to the location, understand its culture first and foremost. Once he immerses himself in the local traditions and values, he works to challenge the status quo of the land. He views it as the true job of an artist to question and subvert. That's an approach that goes with him everywhere he makes art.

Because every post should have a picture before it's finished.

Speaking of location, his work connects with my hometown in a way that makes me personally proud. (Okay, technically I'm not from Seattle proper, but I plan to work there). His exhibit of suspended cars, which he says illustrates a car flipping over in a crash and coming to pieces, found a key place at the Seattle Art Museum. Another, later version was installed at the Guggenheim. It's not always that Seattle gets the first pick of fine art, but if we were to monopolize any market it would probably be the kind of edgy, mixed-media works he masters.

You should go check it out. It's only an 18-hour drive from Los Angeles!

Casey Penk