Film Freaks Vol.05 “Nostalgia for Super-Entertainment-style Hong Kong Movies”

Until recently, when it comes to entertainment movies, it was Hong Kong movies. There were Jackie Chan, Michael Hui (Hui Brothers), Chow Yun-Fat... Each of them kept attracting the audiences in their own genres; Kung-Fu, Comedy, and Hong Kong Noir (“Noir”mainly used for gangland movies) respectively. That was when the studio system, which means big production companies produces large scale and high quality films continuously, was functioning in Hong Kong movie industry, just like the Golden Era of Hollywood in 1930's and 1940's, represented by “Gone with the wind.”

I guess it was around the beginning of the 80's when I started to get into Hong Kong movies. At that time, Hong Kong movie industry had already been missing Bruce Lee and there were neither big political or economic moves in Hong Kong overall. It was also around the time when the reversion of Hong Kong of 1997 was awaiting, after Japanese troops' occupation of Hong Kong came to an end in 1945 and the wave of Great Cultural Revolution of 1967 was gone. That was exactly when above mentioned movie stars came into the scene.

For instance, Jackie Chan swept away the negative image of Kung-Fu movies before his age and pioneered the new genre of “Kung-Fu comedy” by playing a funny character in his movie“Snake in the Eagle's Shadow,”and Hoi Brothers (the "Games Gamblers Play" series) and Chow Yun-Fat　(the "A Better Tomorrow" series ) used cars and guns in their action scenes and succeeded in breaking away from old-style Kung-Fu movies. Thereafter, the boom of contemporary action movies, so-called "New wave" trend, in Hong Kong movie industry lasted until the 90’s.

After the 90’s, a further change hit the Hong Kong movie industry. Responding to the big hits of the Hong Kong noir movies by John Woo and Chow Yun-Fat, tons of imitation movies started to be produced. Under that situation, Wong Ka wai and Andy Lau were among those who rode the tide successfully. You can see it easily by watching Wong Ka wai's debut film "As Tears Go By." Besides two of Hong Kong’s Four Heavenly Kings at that moment, Andy Lau and Jacky Cheung, the movie featured Maggie Cheung as a main character and the storyline was full of elements from Hong Kong noir and youth group portrayal. As a matter of fact, before debuting in the movie industry, Wong Ka wai had been writing the scripts for TV dramas, which are highly competitive field for viewer ratings, and working hard to develop his script-writing skill. He might have chosen an entertainment movie as his debut work with taking his future life in the movie industry into consideration. (Without the success of "As Tears Go by," he couldn’t have gone on to make other masterpiece films like "Days of Being Wild" and "Ash of Time.")

Andrew Law, on the other hand, directed“As Tears Go By,” and went on to produce “Young and Dangerous” series, which had more entertaining elements than Wong Ka wai’s productions, and “Infernal Affairs” series, which Hollywood has decided to remake in the U.S. His movies are so-called "Youth Group Portrayal," in which no box-office stars were needed. It's not clear if he was already predicting the no-big-stars-situation nor working against the past Hong Kong movies, or if it could be called as a "sophistication" or "maturity," meaning that great movies could be made without big stars. But it is obvious that his movies were clearly different from those movies prior.

Precisely the same time, Hong Kong movie industry entered the era of no star figures and started to experience hard times. The problem wasn't only about movie industry itself. Since the middle of the 90’s, Hong Kong has been exposed to the significant changes politically and economically; the retrocession of Hong Kong to China and Asian currency crisis in 1997, SARS epidemic and bird flu in 2003... It might not be surprising that people don't have the luxury to watch entertainment movies with no worries under the situation like this...

Currently, due to the globalization of the film industry, those movies which are generally categorized as "Hong Kong movie" are not quite the 'pure' Hong Kong movie as they aren't "actually made in Hong Kong" or "rich in indigeneity" any more. Taking this fact into account, it appears that movie industries around Hong Kong (China, Korea, and Japan) are more vibrant than Hong Kong's. Globalization is fine as long as they continue to produce good movies, but for me personally, it is quite a pity that recent Hong Kong movie industry hasn't been as energetic as it used to be. Therefore I can't help but feeling nostalgic about classic, characteristic, and entertainment-type Hong Kong movies, rather than current artistic Hong Kong movies.

text by Tomoyoshi Izumi

Interview with Dana Leong

Dana Leong is renowned as an extraordinary musician who plays both the cello and the trombone. He is one of the top performers in NY and his name has quickly found recognition throughout the world. Just a few years ago, he looked a bit the innocent young musician at his live performance, but his music already had a strong presence. Since then, he has been polishing his sound by playing classical, jazz, hip hop and R&B with top musicians as well as gaining experience in music for films and fashion shows. Dana Leong released his debut album entitled “LEAVING NEW YORK” this spring. His brilliant and aromatic sounds are blended with his fresh sensitivity and other elements that soar from New York the world over.


COOL: How was your living musical environment as a child?

DL: My musical environment was quite an animated one as a child. As a child,I was quite unpredictable. I always had an unlimited amount of energy and was extremely hyper active. Growing up with a single mother who taught piano lessons 7 days a week, and an older brother who was training to become a concert violinist, made it quite a healthy setting for musical growth. I learned by the time I was 18, I had learned almost every major violin concerto just by living & sleeping next door to my brother’s practice room.
After I took piano lessons for a few years, I started the violin, then later the cello & trombone. Though my mother had a grand plan to get me involved in the school band and orchestra, she disguised it behind the tale of "Santa Claus." When I was 8 years old, "Santa" brought me a cello and came again the next year with a trombone. I immediately began private lessons on both as well as studying in school.
Though I was required to listen to classical music, I had a secret fetish with rock and heavy metal which was thriving at the time in the 1980’s. Whenever, my mother would leave us alone at home, I would put on heavy metal and jump for joy on the couch until I was totally exhausted and out of breathe. I also loved the sound of the movie soundtracks of John Williams and would frequently visit those as well.


C: Who was the most influential person in your life?

DL: For obvious reasons, my mother was the first major influence on my life. She was playing piano even when she was pregnant carrying me. When I was 1 year old, she used to let me sit at the piano and touch the keys as I wished. Remarkably she noticed that I was starting even then to recognize octaves on the keyboard (notes which are the same pitch, but located in a higher or lower register.)


C: How do you get your ideas or inspirations for music?

DL: My inspirations are found in a few different ways. The first and most common is through concentration. What used to be purely emulation has now turned into thoughtful concentration with respect to who I may be writing music for (players,) sometimes occasions and audiences, and settings (where it will be performed.)
The second is from our vast world of recorded works. I listen to the music that I love and try to continue to seek the sounds which I love as well.
The 3rd and final is from the instruments. The reason I say this is because I do try to avoid using the natural mechanics of the instruments to create my music. This keeps things fresh and challenging for everyone. If I just sat all day and wrote music that was easy to play on the cello or trombone, then I wouldn't be coming up with anything new. However, it is important to document the discoveries which are unique to your own personality and playing style on the instruments.


C: You have collaborated and performed with top artists such as Yoko Ono,Stephen Spielberg.
How did your experience there influence your subsequent music career?

DL: It is always fascinating and exciting to see someone who is an obvious icon in many ways as well as someone who has had a long life of success.
Experiences such as the previous re-affirm that there is still room to grow no matter who you are.
Before I met Stephen Spielberg, I had heard rumors that he had many childlike mannerisms and was always inquisitive and eager to learn from everyone. I had the chance to meet him when we worked on his movie “The Terminal” together and it was very true.
I always continue to seek the sounds that I love. When I see a player who delivers something I like, I don’t let the opportunity pass by. I am fortunate to say that I am surrounded by the most talented community I could ever imagine. Like Mr. Spielberg, I don’t hesitate to ask questions and those that know me are aware that I make a point to internalize the answers, continuously creating stepping stones for my development.


C: How do you think on today's New York music scene? What is happening now?

DL: Living in New York has never been easy, and for an artist, forget about it.
There is no concrete objective & such a lifestyle life is difficult for anyone to gauge.
The states of mind which are created by all of my surroundings directly affect my output. I am greatly affected by the physical feeling in my head.
I hear many complaints from people who worry about the government, about job turnover rates, about gentrification, lack of funding for the arts, misappropriation of our tax dollars, and the list goes on. Though these are all factors taking toll on our community and our arts scene, there are many positive things going on as well. I try to concentrate on finding people who still truly believe in supporting good music passionately. With so much new technology popping up, it is hard to tell what direction we are going to head in as a society, but I am finding enough like-minded young people taking initiative as well as some fantastic talent that I eagerly await the outcome.
New York still means the highest level of execution, variety, symbiosis of heritage and culture, and opportunity.


C: What is the important thing to work as a musician in New York?

DL: For me, if life isn't getting better each day, then it's time for change.
The same things still apply to my lifestyle and to my work as the day I came to the city. These very basic things will stick with me for a long time. For me some of the top things to remember are: Work towards your dreams, always work your hardest and show your best, continue to learn and update yourself, and be persistent.


C: When you are performing in the live show, what are you feeling?

DL: Performing is a wonderful part of my life. Though I can never predict how I may feel in the future, in many ways I feel it is the crossing of the relationship that one would have in a romantic setting, mixed with the excitement, teamwork, competition, and adrenaline involved in a sports match. Sometimes you’re leading, following, supporting, sometimes matching, but also presenting. True music is not dying, however the exposure of true performers is.


C: Tell us about debut album entitled "LEAVING NEW YORK"

DL: I released my debut CD independently in March of 2006.
The title of my first record "LEAVING NEW YORK"is a metaphoric symbol of our gift of music to the world. We don't create music for ourselves or for the confines of the walls within our city, yet for everyone everywhere.
It features some of my favorite musicians together performing my original songs. With this CD I covered a lot of ground. I always wanted to lead my own band as well as compose my own songs which would naturally fuse my love for Chamber Music, Cinematic Harmony, and catchy grooves.
Cinematic Harmony is a description I use with the album which refers to the lush dramatic orchestral sound that you hear in many blockbuster movies. However, we are also added a lot of elements from funk and groove with the integration of B3 Organ, Moog Keyboards, and Drums.
I'm very happy with the way it came out and everyone did a great job. I am already well on my way to finishing my second album which shows a much funkier side of my musical tastes.


C: Tell us about recent project.

DL: I produce a monthly series at The Jazz Gallery in New York where I have brought in a fantastic array of talents to play my music. I like to find people that are great at what they do and many times that means that they are truly original from the ground up as far as where they are from around the world and the instruments that they play such as Claudia Acuna (Vocal) from Chile, Edmar Castaneda (Harp) from Colombia, Jason Lindner (Piano) from NYC, Baba Israel (Rapper) NYC, Miya Masaoka (Koto) Japan/NYC, and Josh Roseman (Trombone) NYC to name just a few.
I hope to continue to find people who inspire me to become better at what I want to learn.
My next immediate goal is to finish my 2nd album soon!
I am looking forward to a day in the future when people get to know me as someone they enjoy, but have to Keep up with.


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DANA LEONG :INSTRUMENTALIST,COMPOSER,PRODUSER

Born in San Francisco. He had learned musical skill at an early age under the tutelage of his mother who is Japanese. He studied classical cello and jazz trombone at the Manhattan School of Music. Since then,he has performed and recorded with top artists such as Paquito D'Rivera(clarinet),Dafnis Prieto(drum-set),Henry Threadgill(saxophone). He has also performed in Steven Spielberg's feature film"The Terminal". His debut album entitled "LEAVING NEW YORK" is coming out in March of 2006. "DANA LEONG IS A YAMAHA ARTIST AND PLAYS YAMAHA TROMBONES, HE IS ONE OF THE YOUNGEST MUSICIANS TO BE SIGNED TO YAMAHA's EXTREMELY SELECTIVE ROSTER."


http://www.myspace.com/DanaLeonG
http://www.DanaLeonG.com

interview by Chihiro TAKAHASHI

COOL Vol.12 NOW ON SALE ! !

As one of the pioneers in the video arts, Bill Viola has been highly recognized internationally. Since 1970, he has been making video arts and had numerous successful exhibitions in Europe as well as in the United States. He has worked closely with his wife and partner Kira Perov since the late 70s. The themes of most of his works, which draw people into their worlds, are the principles of human beings, "birth" and "death." He admits that he received much influence by Japanese tradition and culture when he spent several years in Japan in the 80's. From October 14, for the first time in Asia, a large-scale retrospective exhibition has been held at the MORI ART MUSEUM in Roppongi, Tokyo. COOL got a chance to interview Viola at the studio in Long Beach, California, where now he is based. Viola speaks about his life before video arts and what his artistic activities should be.

　　

　

- CONTENTS -

Interview with BILL VIOLA

the 10th annual dumbo art under the bridge festival

6th Shanghai Biennale

The Worldwide Art Views

and more...

Interview with Takashi Murakami

　　　　

----- Takashi Murakami’s Exhibition: “Little Boy” in New York

"I don't want to have an exhibition in Japan at all. It doesn't matter whether my work is good or bad, I just don't want the audience to assume, 'my work is popular in a foreign country.'"

With his animation-like pop style, Takashi Murakami "dressed up" a dark cult philosophy and sustains his position as a world-class superstar. Although both Murakami Takashi and his work (which both contain a lot of deviant elements) are from Japan, his status there is somewhat low, and there he is merely known as "Louis Vitton's person." With a slightly angry voice, Murakami showed us his irritation toward his status in Japan.

Murakami is curator of the exibition "Little Boy: The Explosive Japanese Subculture" (open from 4/8 through 7/24), which analyzed the trend of cult cultures in Japan. The exhibition is being held in New York City at the Japan Society, which has a 100-year history of communicating between Japan and the U.S. The works of the exhibition lie on the border between art and commercialism, ranging from the paintings of Michi Nara that contain the coexistance of fear and loveliness, to Kai Kai Kiki, the popular television game software, to items from "New Century Evangelion",Ultraman, Hello Kitty, and other Japanese mascots from many different sources.

"Little Boy" is the code-name of the atomic bomb dropped on Hiroshima in August of 1945. After Japan's defeat in WWII, Japan was promised security by agreeing to the Japan-United States Security Treaty and to U.S. regulation. In the 60 years that Japan was protected (not by it's own means, but by those of another country) the people and culture did not encourage expression of opinions and emotions related to the war. Murakami implies this in his title for his exhibition, "It became a little boy who lives in a sheltered life and believes that peace is coming from the sky." He analyzes that the themes of human extinction and world revelation were often depicted in the extremely popular animation culture of the post war era; and these ideas were based on recollections of life after the atomic bomb. Also, Japanese people who are ignorant of politics and world affairs eventually created "pop culture" in the form of cult and charm.

However, Murakami (who was born in 1962) is too young for the generation that struggled with the poverty and ruin that came after Japan's defeat in the war. During the interview, Murakami revealed the secret story of how he achieved the concept behind his exhibition. "At first, I was going to introduce the phenomena of cult, but at last year's Venetian Biennale, Mr. Kiichiro Morikawa exhibited the same them about cult phenomena by his revamping of 'Akibahara.' I couldn't do the same thing, so I had to change my theme quickly. Then, I decided to examine the history of cult. If Mr. Morikawa's exhibition was not held, the title of my exibition would have been 'cult.'" said Murakami.

Among the people who know Murakami, he is described as one who gives a business-like impression rather than that of an artist. This description is probably attributed to him because he is a quick thinker. Murakami also demonstrates a clear understanding of his position, "The Arts are a business here in the U.S. It's a trend that is decided by the consumers' demands. Right now, I'm on the wave but it will be over after awhile; however, I myself do not change. I just keep drawing as I've been doing."


----- Favorite quote: Art Beauty Reformation

Takashi Murakami is well known among all the art fans in New York. He has established reputations and became one of the top artists. He continuously presents fresh and innovative ideas and has made New Yorkers realize what “Japanese OTAKU (which means ‘Nerd’ in English) culture” is. Here, he reflects his past productions in New York and talks about what he thinks about a contemporary art.

COOL: Why did you choose New York as a base for you activities?

MURAKAMI: The fact that New York is a center for contemporary art helped me decide. (Perhaps if I could've picked freely, I would have chosen California or Hawaii since they're closer to Japan.)

C: What about New York gives you stimuli to create?

M: The fact that many different kinds of people live there. By living in New York, I can become aware of the good and bad parts of Japan.

C: How does the fact that Japanese anime characters and figures etc. are accepted world-wide as art help to trigger recognition?

M: When I think about what art in Japan can achieve, I feel as if we're falling behind the Western world. It's not that there are parts of Japanese art that are inferior to Western art, but I feel like the Western standard makes it seem we're falling behind. In order to think about what art is again, I focused on the things that only Japanese culture can create. So, looking at the tremendous impact "Manga" and anime has had on society, it was possible to discover a connection on both Western and Japanese standards.

C: How do you think American Japanese art (artists) were reputed at the time you came to New York?

M: I don't think there was a set opinion about the Japanese artist, but it was definitely a time when Japanese were overwhelmed by the Western and American standard for art. This made them more self conscious than necessary which isn't a good condition to be in to freely produce art.

C: What kept you going with your work before you were successful?

M: The thought of being successful gave me strong motivation. Being raised in a so called "blue-collar" family, just one step away from being middle class, made me feel more eager to get out of that. I strongly believe that there's a different method for producing art.

C: Why do you think Japanese extreme (manga/anime) culture and subculture was accepted to such an extent in America?

M: Perhaps Americans are turning a blind eye saying "It's just the strange part of Japanese culture, so it can't be helped." Or perhaps they are really feeling sympathy towards the shy and introverted personality towards the "Otaku."

C: It was stated in a prior interview that you said "I'm not thinking about doing an exhibition in Japan at all." When it comes viewing your art in Japan or other countries, where do you think the difference in appraisal actually comes from?

M: For Western people, Japanese pop (culture) is really fresh and new, but Japanese are more accustomed to it. It doesn't seem right to all of a sudden say that this is an exclusive and glamorous culture. There's no concept like that spreading in Japan the way it is spreading in the Western world. That's why there are critics that make Japan laughable through my productions.

C: Last Year when "Little Boy" was being displayed in Japan Society, it was picked up by the media and became quite the hot topic. Also in February this year, the International Association of Art Critics Union (AICA) awarded "Best Thematic Museum Show in New York City" to your exhibition. Do you think this exhibition exerted the same kind of influence in the American art scene?

M: I want to believe that there is diversification. When it comes to "Little Boy," more than contemporary art it is also an investigation of history and society. That's why I don't think its about the art scene. For example, after "Little Boy", the artists who love animation and cute things started to have more confidence to do what they're interested in. If that happens, I would be happy.

C: Organizations such as "Kaikai Kiki" and Japan's "GEISAI" gave young artists opportunities to go into art production. What made you want to start such organizations?

M: The top reason I wanted to produce more artists was to return the favor for my assistants who helped me for so long. Second, it's necessary to train the younger generation of Japanese artists. There are many artists around me who are in need of management, so I feel a need to help them. Western arts are different in the fact that they are more individual. In Japan, artists are used to being trained and produced, so its easy to find artists who want to join these organizations.

C: I heard that you have some doubt in Japanese fine arts education, but is there some kind of difference in the way of thinking when it comes to fine arts education in America?

M: I don't know the present situation in the States so I can't really say. From my experience with a visiting professor from UCLA, I feel that American fine arts education reflects the present condition of what's going on in the market. The U.S. teaches knowledge of how to be an artist after graduation (such as art history and just how to do what you choose to do). In Japan, the market and production environment isn't developed well enough so the contents taught in school lacks reality. So, its appropriate to say that they can't teach what they should teach.

C: What is "contemporary art" to you?

M: For me there are two meanings. One is the fashion that can be found in the heart of the New York art scene. Then there's the art that is produced all over the world that isn't related to any art scene. New York fashion is acknowledged as the contemporary art of this era and will make history. As for the art produced around the world, it is always a new and unique creation.



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Takashi Murakami
1962: Born in Tokyo. Artist. "Kaikai Kiki" Representative, 2003: The life size "Miss Ko2 " is bided off for the highest price in the history of contemporary art work in Japan. He collaborated on many Louis Vuitton projects one after the other. He established a solid status as a contemporary artist overseas. Especially in 2005 in the Japan Society exhibition held in New York, "Little Boy: Explosion of Japanese Subculture Art" attracted the media. The International Association of Art Critics Union (AICA) awarded it the "Best Thematic Museum Show in New York City."

text by Sei KOIKE

Interview with Cai Guo-Qiang

China-born artist Cai Guo-Qiang is known for his dynamic installations with fireworks. Now, based in New York, he works worldwide as one of the top Asian artists. COOL asks him what he thinks about the art scenes of New York and Asia from the artist’s perspective. Also, we will show you his latest installation and its press preview exhibited now at the Metropolitan Museum in New York.


----- About his production in New York

COOL: What made you move to New York?

Cai Guo-Qiang: I first move to Japan from China in 1986 and lived there for 8 years and a half. I had mostly been in Asia since I was born in China and worked in Japan. Even when I started to work in Europe in the early 90's, I was there just to attend the exhibitions most of the time and didn't have chances to get to know European people there. In America, there weren't that many opportunities for me either. But, as a contemporary artist, I always wanted to live and work in America or Europe so that I could expand my career. At that time, it had been said that the 20th century was about American justice, so I wanted to actually live and work in the country like that and obtain some thoughts. In 1991, I was requested to join ACC (*US-Japan Creative Arts Fellowship; one of Japan's international exchange funds) by America, but I was turned down because I wasn't Japanese.

Later, from around 1994, I began showing my installations at various international exhibitions as a Japanese contemporary artist and being invited to international exhibitions overseas by foreign ministries and embassies. Then, I started to be recognized as one of the Japanese artists. In 1995, America again requested me to join ACC and I was accepted this time, and I could finally come to America

C: What does New York mean to you?

Cai Guo-Qiang: Living in New York is like being in the large park of the world. Like, people all over the world gather at the park called New York and communicate each other. You don't have to go out to meet people because people get together naturally. So, now it is much more convenient when it comes to work.

C: How do you think Asian arts are recognized in America?

Cai Guo-Qiang: I don't think American people see Asian arts as exotic, which Europeans do. America is a multi-cultural country, so people get interested in Asian arts not because it is a foreign culture. Here we have various cultures like Asian, Latin, and African. For example, if an Asian-themed exhibition is held in America, it won't be reviewed or recognized in terms of its Asian ethnicity. Rather, being recognized and successful in America means that the works and productions of the artists themselves are recognized (regardless of its ethnicity). When I look at Asian artists in Berlin or Paris, I sometimes wonder if, even though they are loved by people there, they and their works are recognized in the right way. In that respect, I appreciate that Americans review the works honestly in a non-biased way. Recently, Mr. Murakami* (Japanese Artist Takashi Murakami) received recognitions from American people. That’s not because they like Japan, but because what he does and his pieces are fun and interesting to them.

C: What are the differences between America and Japan regarding your production?

Cai Guo-Qiang: Firstly, I thought Japan was great because it was a modernized and democratized country. In addition, people were very kind. Japan was a great country for an amateur and young artist like me. One of the reasons is that galleries in Japan generally have a vanity gallery system, which offers places where young artists can show their works. When I went to Iwaki city in Fukushima, I collaborated with the locals and made the installation called "Horizon― Pacific-Rim." I felt that the piece was loved by people in Iwaki and that the town united as one. Back in those days, the Japanese art world was accredited for its modernization and globalization, but also criticized because it looked westernized. I was in Japan at that time, so I could learn a lot from the trend of the Japanese art world, the atmosphere of the society, and being surrounded by many of those criticisms and views. Japan is an easy place to collaborate with local people. I often tell young people (in Japan) that it is hard to struggle in New York at a young age. So I rather recommend that they come to America after finding their own styles or what they really want to do by trying anything that they want to try while in Japan. As America has well-developed systems of the arts (museums, galleries, collectors, auction houses, and media), I think it is easier to start careers in America after gaining certain skills.

C: What are you feeling after you actually started working in America?

Cai Guo-Qiang: America is rough and tough. But that's also a good thing. For example, when I was working in Japan, the reviews about my works were mostly good ones. In America, I get both good reviews and harsh criticisms.

C: Have you found anything awkward?

Cai Guo-Qiang: Yes, a lot. In Japan, I could collaborate with locals and make pieces together. Since I speak Japanese, I could explain the concepts of my works in my own words. Also, because Asian philosophy was born in China, it was easy for me, from the same "Asian" ethnic group, to get my intensions across. In America, it is hard for me to explain the concepts and philosophies in English. Besides, since everything is about business here, collaborating with locals encompasses many problems. For instance, even when you hire volunteers, you have to make contracts to make it clear that who is responsible in case something happens. Collaborations with locals in America are harder to realize.


----- About his installations

C: Tell us about your recent works.

Cai Guo-Qiang: At the beginning of this year, I had my exhibition "INOPPORTUNE" in Santa Fe, New Mexico. I also had "Official Ceremony for The Permanent Installation of UMoCA" exhibition this March, in Tuscany, Italy. In May, another exhibition of mine called "Long March: Chinese Contemporary Art Education Panel" will be held in China. From April 25 to October 29, my installation “Cai Guo-Qiang on the Roof: Transparent Monument” will be held at the metropolitan Museum in New York. In June, the largest one-man exhibition of my own will be held at the National Gallery in Canada.

C: Sounds you are very busy!

Cai Guo-Qiang: It was hard because I needed to create new pieces for each shows. I draw my drawings at the firework factory in Long Island and gunpowder gets blended at another factory in China. They send it to America.

C: Where do you find themes for your works?

Cai Guo-Qiang: After the 9/11 attack in New York, my themes and works has been quite diverse. For example, I made the rainbow of fireworks above the East River and expressed the colorfulness of the city. I also made the black rainbow under the daylight, whose theme was to express the dismay of the modern society. The pieces with cars inspired me to produce pieces about terrorist attacks.

C: You have works which have concepts of Feng Shui. Do you arrange your studio according to Feng Shui?

Cai Guo-Qiang: Absolutely. Feng Shui is the first priotiry when choosing studios. Even after choosing the studio, I rely on Feng Shui where to place Buddha and other stuff. I placed the Lion Rock between doors. I have many female staffs, and when they complained that they were too busy with work to date, I placed some stuff that would bring opportunities to meet great matches. I also made a Japanese-style garden in the studio. At exhibitions at local towns, Feng Shui represents the energies of the culture, people's history, and space of the town. The life energy "Qi" is an invisible energy. I develop ideas and work on my pieces, taking that energy highly into consideration. I don’t always express like “This is Feng Shui” in my works directly, but when I am working, I am conscious of Feng Shui in an invisible way, like aesthetically.

C: Upon the production of your works in which you use gunpowder, you invented the technique to control the altitude of explosions of fireworks by putting microchips into firework balls. How did the invention affect your work after adopting microchips?

Cai Guo-Qiang: First, it had been said that using gunpowder was dangerous.
Until I started developing the technique of built-in microchips around 2001, all the fireworks were exploded by fuse and the timing of explosions were calculated by the length of fuse. Since fuse was made by hand, it was very difficult to fix the shape and order of explosions of fireworks. But if you use fireworks with built-in microchips, the altitudes and timing of explosions are already calculated.For instance, it is like 2000 people who have tickets get seated exactly in their right seats. I can control the altitude and timing of the explosions of 2000 fireworks. However, there are a good thing and a bad thing about introducing microchips. The good thing is that now I can use the sky as canvas. The bad thing is that they are expensive. I feel pressured in many aspects because huge amount of money is spent on few dozens of seconds of art. That is, promoters try to gather many people to see that expensive piece of art by using the media. The pressure gets even more intense when thousands of people come to see the few dozen seconds of art. That kind of pressure is basically nothing to do with arts, though. Now that I can collect funds and attract people for my work, but I still feel apprehensive if that something in the sky was an art and that the piece was really an artistic piece.

C: When do you feel the excitement while working?

Cai Guo-Qiang: All the time. I always joke that making pieces is the same thing as having sex (laughs). Even when you fail, you can't start over again. Each time is the last time, and you never know if it will end up good or bad if you don't try. But when I finish working, all I feel is a joy. No matter good or bad. I always feel delighted and happy after completing my works.

C: What is an art for you ?

Cai Guo-Qiang: An art is what I do. Through the artistic eyes, everything in the world, from election campaigns of politicians or constructions on the streets, can look as arts.

C: If you were not an artist, what do you think you would be doing?

Cai Guo-Qiang: I can't imagine. I can't see myself being anything but an artist. Sometimes I myself think that I am good at making artistic pieces, but I am not that good at anything else (laugh).


On April 24, the press preview of Cai Guo Qiang’s latest installation was held at the rooftop of the Metropolitan Museum. It had been raining for two days and didn’t seem to stop even an hour before the opening. However, as the time got closer to the opening, the rain magically stopped as if the heaven above was also expecting for his new work. Cai Guo Qiang captivated the attendees with his greater-than-expected piece and live installation. He looked very proud of them.



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Cai Guo-Qiang
Cai Guo-Qiang was born in Quanzhou-city, Fujian, China in 1957. He worked in Japan from 1986 to 1995 and currently lives in New York. He is known for his original philosophy backed up by Oriental ideals like Feng Shui and for dynamic projects and installations with fireworks. He has received many international awards including "International Venice Biennale award." He has held both solo exhibitions and group exhibitions many times globally and is highly renowned internationally.

text by Nobuko MARUTA