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PHOENIX
'The phoenix of today’s China bears countless scars,’ says Xu Bing.
‘It has lived through great hardship. But it has adorned itself with great respect.’
‘It has lived through great hardship. But it has adorned itself with great respect.’
Look up. The suspended pair of mythic birds is momentous; equally celestial as raw, as fierce as they are compelling. Composed of culled detritus and twinkling lights, they are a dominating and commanding presence of power and prosperity, and an embodiment of an evolving Chinese history, culture, and commercial identity. This rebirth, the grandeur of grind, the mystique of the migrant, is the basis of what is truly an astounding and alluring artwork. This is Phoenix – Chinese conceptual artist Xu Bing’s most renowned creation.
Weighing about six tons each covering an expanse of 90 and 100 feet, the birds are tremendous and daunting, dwarfing responders gazing from over 12 feet underneath, yet at the same time possess a graceful lightness that uplifts these birds into the air, evoking a sense of wonder and magic. A composition of accumulated remnants salvaged from Beijing construction sites - steel beams, worker possessions, striped travel bags, pliers, chains, saws, screwdrivers, plastic accordion tubing, shovels, hard hats, jackhammers, drills and more - exist harmoniously textured in a symphony ranging talons to tail, chins to wings. Though bold and multi-coloured during the day, nestled amongst the crevices of debris hide LED lights that illuminate the outlines of these colossal creatures into a magnificent constellation at night. These phoenixes not only transcend our imagination, but also invite us to ponder its significance and relevance in society today.
Originating from drawings, models and computer-generated diagrams, the two-year marathon of construction was directed by Xu Bing, his accompanying team of engineers and migrant labourers. In a process of scouring Beijing’s ever evolving skyline to find discarded edifice materials, to creating the work in a factory on the city’s outskirts, it was a collaborative endeavour of assemblage and endurance that incarnated the subjects of the workers, artistic practice and Chinese culture on a grand stage. Phoenix’s conception of this remarkable work commenced when he was commissioned to create a sculpture site specific to the glass atrium bridging the two towers of Beijing's World Financial Center. Xu was drawn to the contrast in the grandeur and luxury of modern buildings and the raw squalor of labourers coin habiting the site. To him, this predicament was an unnerving allusion of a birdcage. Whilst the developers were initially pleased with his ideas to create the birds out of found materials, they decided that to cover them in crystals would be more in their interest. Further, with the financial crisis of 2008, they lost faith and courage to continue to back their commission; they feared the work might be too critical or ironic in the light of their sudden financial difficulties. Hence, these birds became homeless, and arguably Xu’s concepts became even more relevant.
First and foremost, the incorporation of raw, detritus materials is at the heart of Chinese folklore art; in whereby using the cheapest materials in an unsophisticated method (such as that of making of Chinese lanterns) there offers the potential to create something extraordinary. Further in this cultural tradition, the symbolism of the Phoenix can be translated in various ways. Phoenix, or Feng Huang, is commonly referred to as The King of the Birds; a sovereign, an epitome and amalgamation of various species reigning over the feathered world. It is also recognised as a dual combination of masculinity and feminity; Feng and Huang, appropriately what Xu has nicknamed his two soaring beasts. As the artist himself stated; “To me, phoenixes are fierce, powerful and about hope, the sign of a more utopian future." Interestingly, the artist has moreover encouraged meditation on phoenixes’ various connotations in both Western and Eastern culture. Whilst in the West the phoenix signifies rising from the ashes of destruction and despair in a glorious rebirth, in Chinese culture it is an auspicious symbol of prosperity, peace, beauty, benevolence, righteousness, propriety, wisdom and sincerity, who rather than dying and resurrecting, is eternal and present as a mythical creature ruling the universe. Xu urges us to consider both these meanings and to embrace the links between the Chinese hopes and desires of a better future, as well rebirth from destruction in Western connotations. Ultimately it is this unification of cultures that is reinforced in the conceptual ideas and influences of the work. These notions of capitalism brought on by western influence, growing wealth and prosperity, regeneration and development, migration, and the identity of the nation are manifested within the artwork in a number of ways.
The commanding contrast between modern luxurious buildings, growing capitalism and flaunting wealth with the harsh living conditions, low pay, and rawness of the labourers, is embodied through the materials found in these worker dwellings in the remnants of the constructions they have worked so diligently on. From simple scrap metal to their striped vinyl migrant bags, all objects that have inextricable links with these worker’s identity and stories, these abrasive assemblage objects so beautifully manipulated into this mesmerising bird highlight the skill and value of this forgotten growing underclass, and the integral role they play in China’s fate as a capitalist nature. The rise of China's rapid economic flourish is in many ways credited to these poor workers, who are honoured and appreciated in this representation of the Phoenixes, who further epitomize their dreams and prosperity, and in turn, those of the Chinese nation. This combination of materials conveying the realities of daily life and will and desires of people as represented in the phoenixes suspended, tremendous and constellation like presence entices people to pursue their dreams literally glittering above them. With self-respect and hope found even when faced with the depths of uncertainty, one can move forward and be empowered and proud of the things they have overcome and continue to bear in any context. This universal symbolism is perhaps why it is also so effective and magnificent in its current reside in St John the Divine New York, one of the US’ most momentous and similarly adored cathedrals.
Xu Bing himself has similarly overcome many challenges in his life, from growing up in the oppressive Chinese Cultural Revolution, a period of peril, terror and uncertainty for the Chinese people, as well as the banning of one of his first ingenuous works The Book from the Sky in the lead up to the Tiananmen Square massacre, and even the September 11 attacks which brought the conception of Where Does the Dust Itself Collect?. A consistent theme in his practice is his commitment to traditional Chinese art techniques, as further evident in his beautiful Background Story collection, and most notably, his ability to render contemplation, appreciation, and evenly evoke a sense of criticism and praise of the world and issues around him. I believe that Phoenix is truly the best conception of all these aspects. With its social allegorical messages and majestic execution, the artwork truly represents and pays homage to the people building the future of this flourishing country, their resilience, dignity, and traditional beliefs and customs.
Weighing about six tons each covering an expanse of 90 and 100 feet, the birds are tremendous and daunting, dwarfing responders gazing from over 12 feet underneath, yet at the same time possess a graceful lightness that uplifts these birds into the air, evoking a sense of wonder and magic. A composition of accumulated remnants salvaged from Beijing construction sites - steel beams, worker possessions, striped travel bags, pliers, chains, saws, screwdrivers, plastic accordion tubing, shovels, hard hats, jackhammers, drills and more - exist harmoniously textured in a symphony ranging talons to tail, chins to wings. Though bold and multi-coloured during the day, nestled amongst the crevices of debris hide LED lights that illuminate the outlines of these colossal creatures into a magnificent constellation at night. These phoenixes not only transcend our imagination, but also invite us to ponder its significance and relevance in society today.
Originating from drawings, models and computer-generated diagrams, the two-year marathon of construction was directed by Xu Bing, his accompanying team of engineers and migrant labourers. In a process of scouring Beijing’s ever evolving skyline to find discarded edifice materials, to creating the work in a factory on the city’s outskirts, it was a collaborative endeavour of assemblage and endurance that incarnated the subjects of the workers, artistic practice and Chinese culture on a grand stage. Phoenix’s conception of this remarkable work commenced when he was commissioned to create a sculpture site specific to the glass atrium bridging the two towers of Beijing's World Financial Center. Xu was drawn to the contrast in the grandeur and luxury of modern buildings and the raw squalor of labourers coin habiting the site. To him, this predicament was an unnerving allusion of a birdcage. Whilst the developers were initially pleased with his ideas to create the birds out of found materials, they decided that to cover them in crystals would be more in their interest. Further, with the financial crisis of 2008, they lost faith and courage to continue to back their commission; they feared the work might be too critical or ironic in the light of their sudden financial difficulties. Hence, these birds became homeless, and arguably Xu’s concepts became even more relevant.
First and foremost, the incorporation of raw, detritus materials is at the heart of Chinese folklore art; in whereby using the cheapest materials in an unsophisticated method (such as that of making of Chinese lanterns) there offers the potential to create something extraordinary. Further in this cultural tradition, the symbolism of the Phoenix can be translated in various ways. Phoenix, or Feng Huang, is commonly referred to as The King of the Birds; a sovereign, an epitome and amalgamation of various species reigning over the feathered world. It is also recognised as a dual combination of masculinity and feminity; Feng and Huang, appropriately what Xu has nicknamed his two soaring beasts. As the artist himself stated; “To me, phoenixes are fierce, powerful and about hope, the sign of a more utopian future." Interestingly, the artist has moreover encouraged meditation on phoenixes’ various connotations in both Western and Eastern culture. Whilst in the West the phoenix signifies rising from the ashes of destruction and despair in a glorious rebirth, in Chinese culture it is an auspicious symbol of prosperity, peace, beauty, benevolence, righteousness, propriety, wisdom and sincerity, who rather than dying and resurrecting, is eternal and present as a mythical creature ruling the universe. Xu urges us to consider both these meanings and to embrace the links between the Chinese hopes and desires of a better future, as well rebirth from destruction in Western connotations. Ultimately it is this unification of cultures that is reinforced in the conceptual ideas and influences of the work. These notions of capitalism brought on by western influence, growing wealth and prosperity, regeneration and development, migration, and the identity of the nation are manifested within the artwork in a number of ways.
The commanding contrast between modern luxurious buildings, growing capitalism and flaunting wealth with the harsh living conditions, low pay, and rawness of the labourers, is embodied through the materials found in these worker dwellings in the remnants of the constructions they have worked so diligently on. From simple scrap metal to their striped vinyl migrant bags, all objects that have inextricable links with these worker’s identity and stories, these abrasive assemblage objects so beautifully manipulated into this mesmerising bird highlight the skill and value of this forgotten growing underclass, and the integral role they play in China’s fate as a capitalist nature. The rise of China's rapid economic flourish is in many ways credited to these poor workers, who are honoured and appreciated in this representation of the Phoenixes, who further epitomize their dreams and prosperity, and in turn, those of the Chinese nation. This combination of materials conveying the realities of daily life and will and desires of people as represented in the phoenixes suspended, tremendous and constellation like presence entices people to pursue their dreams literally glittering above them. With self-respect and hope found even when faced with the depths of uncertainty, one can move forward and be empowered and proud of the things they have overcome and continue to bear in any context. This universal symbolism is perhaps why it is also so effective and magnificent in its current reside in St John the Divine New York, one of the US’ most momentous and similarly adored cathedrals.
Xu Bing himself has similarly overcome many challenges in his life, from growing up in the oppressive Chinese Cultural Revolution, a period of peril, terror and uncertainty for the Chinese people, as well as the banning of one of his first ingenuous works The Book from the Sky in the lead up to the Tiananmen Square massacre, and even the September 11 attacks which brought the conception of Where Does the Dust Itself Collect?. A consistent theme in his practice is his commitment to traditional Chinese art techniques, as further evident in his beautiful Background Story collection, and most notably, his ability to render contemplation, appreciation, and evenly evoke a sense of criticism and praise of the world and issues around him. I believe that Phoenix is truly the best conception of all these aspects. With its social allegorical messages and majestic execution, the artwork truly represents and pays homage to the people building the future of this flourishing country, their resilience, dignity, and traditional beliefs and customs.
This video was commissioned by the Center for Faith & Work to help illustrate the concept of "Humanizing Work" for their 2013 conference.
Directed by Jonathan Seale.
Directed by Jonathan Seale.