Photographs, especially instantaneous photographs, are very instructive, because we know that they are in certain respects exactly like the objects they represent. But this resemblance is due to the photographs having been produced under such circumstances that they were physically forced to correspond point by point to nature. In that aspect, then, they belong to the second class of signs [indices].
—Charles Sanders Pierce, “Logic as Semiotic: The Theory of Signs”
Total city, informal city, northern city, Forbidden City, desert city, imperial city, capital of the Middle Kingdom, city of wind, city of bicycles, city of objects, grid city, interwoven city: Beijing is a city with many names and faces. After spending some time in the midst of the many ring roads and the millions of people in this megalopolis, one learns to treasure their names and faces and to understand their way of life. Beijing is a city that can hardly be grasped, a uniform city, ugly for many foreigners, a city that does not speak to them. Its mere size, horizontal extension, and uniformity, however, have changed radically in recent years: from the Forbidden City, the Imperial Palace, to a national village, and to the city with a strong wall of fortification, today’s second ring road, to a gigantic megalopolis with 18 million residents and seven ring streets, at the same time the global “village” as a center of the most populated country in the world.
Those more familiar with Beijing like the city. Miao Xiaochun, born in Wuxi Jiangsu in
1964, likes it too. He lives in the midst of the largest city development area, in Wangjing: there he has his studio and his apartment, his favorite restaurant, his art school, and his art academy, the Central Academy of Fine Arts (CAFA), where he teaches media art. This part of Beijing to the northeast of the city center between the fourth and the fifth ring roads, to the west of Dashanzi with Art District 798, has emerged as it were from nothing over the last ten years as a completely new metropolis with almost three million people. Here, old Beijing has given way to the new business logic of skyscraper real estate: Motorola, Siemens, or Mercedes have erected their China headquarters here at a frantic pace, mercilessly and without taking account of losses. Real estate and rent prices in Wangjing skyrocketed 20 percent in 2009, and that can even surprise or even horrify a resident like Miao Xiaochun.
In any case, in 2008 and 2009 he carried out an idea that can only be understood before the backdrop of this high-speed urbanism: while it does not document the radical transformation of the cityscape, it does explore this question.I Miao placed a dense grid over a city map of Beijing, and at each point of intersection he took a photograph in the actual city situation, using a 360-degree panorama camera.
During the ca. 18-month project, using this random coordinate system 639 shots of the current Beijing could be taken that Miao’s team using GPS technique could carry out minutely within the topography of Beijing. Translated to a digital visual language, this means mapping the world using location on the ground and a panoramic view using the example of Beijing. Here, the master plan of Beijing shows, with its fortifications built in the twelfth century on what is today the second ring road of the gigantic ring road system, while the first ring incidentally forms the Forbidden City as the center of an empty middle. Decisive for this unique project was the neutrality, the objectivity of the technique and the ignoring and blocking out of an artistic and thus subjective relation to the system of an index, that Miao sought to avoid. The result contains viewing, capturing, and documenting the current appearance of the city with its sometimes quite village-like character, its introspection and individuality, but also its “genericity” (Rem Koolhass), its interchangeability lacking identity.
Photography had always been the best of all the media of representation.II With its help, all other media are subsumed, analyzed, and distributed. Time seemed to be stored, concentrated, and condensed with it. Today, however, photography has been supplanted by computer graphics, and has been forced to take on a different, tragic role: it has degenerated to one of the reproducible forms of representation. With electronic image processing, the digital photographic apparatus approaches what Hollis Frampton calls the “dubitative process” in painting. Like the painter, the digital photographer now plays with the picture until it looks right.III
Those who want to derive a theory for photography from the advent of the dubitative
—which the dictionary translates as “tending towards doubt,” or “dubious”—can think
in various directions, the most well-known being the one that William J. Mitchell took in The Reconfigured Eye, as he studied the destruction of photographic truth content that Susan Sontag referred to with the statement that “a photograph is considered the clear evidence that something particular has happened.”IV While postmodern theorists have long since argued with this claim of the truth content for photography, the violent debate on digital image processing shows that the public still maintains the evident essence of photography. As Mitchell and others have shown, recipients in the age the dubitative digital photography are forced to have faith in the source of the image or the truth of the visual context.V In these terms, the digital photograph must be understood as having the same truth content as a written text. Thus, we have returned in a certain sense to the aesthetic of a pre-photographic age and to a sign world that is once again reduced to the dichotomy between word and image, but this time linked in that both word and image are amalgamations of the binary code. This insistence on context and interpretation is not only true of digital photography, but applies in general. The explosion of the indexical relationship between photography and its object is of great significance for the epistemology of post modernism and represents a clear disturbance for the politics of a culture saturated with images (an issue that is far reaching and sensitive China). Yet the overwhelming attention placed on issues of subterfuge, deception, and truth content can rob our attention from a different realm of discourse that has to do with photography. The collapse of the indexical link between photography and its referent and the related liquidation of the truth-value of photography had the same impact as the decay of the aura with the coming of photography itself. To that extent, Miao Xiaochun intuitively acted correctly when with his idea of creating an index of Beijing he blocked out all influence using a random pattern and had the project carried out others. In so doing, he seems to allow no manipulation, no deception, and no lies.
Miao Xiaochun was occupied with a complementarily distinct project during Beijing
Index’s autonomous process of emergence: the modern, timely, digital execution and
translation of Hieronymus Bosch’s 1516 triptych The Garden of Delights from Madrid’s
Prado. A monumental homage that presented a new cosmos of pseudo-religious
revelation of world mysticism using photography, sketches, stick figures, and computer graphics. Microcosm is the title, and was completed in 2008 after a year of work, a process that was preceded by several years of engaging with the cosmology of Western historical painting, usually religiously inspired. In his engagement with fundamental questions of human existence, birth, death, life, heaven, God, and the meaning of life in general, for Miao the adaptation of familiar visual motifs of Western provenance and generating strong statements with current methods of image creation. A kind of screen with nine huge panels shows his interpretation of Bosch’s winged altar that as a surrealist masterpiece of the Renaissance inspires has repeatedly inspired to new world formulas. On chromogenic prints, Miao, like Alice, takes us behind the looking glass to a garden of delights generated using computer technology, thus virtually accessible, which in turn allows for a view into his own brain.
The Last Judgment, Michelangelo’s fresco from the Sistine Chapel in Rome, is also a
gigantic cyber epic that Miao transferred to a post-modern worldview. The fresco is
located far from Beijing, on the other, Western side of the globe, and in the old center
of the Christian world empire. For the Chinese artist, it represents at the same time a
significant part of the cultural memory of those today mad about images. He never saw the actual work, which was cleaned a good 20 years ago to a high polish by Japanese restorers: but detailed illustrations from art volumes were sufficient to enter virtually the neo-Platonic mix of figures and colors of the Last Judgment. These images, once rich in iconographic meaning, become in Miao’s work dreams of his own space of imagination and life translated to the contemporary that can be playfully transformed with surreal combinations into new images. In the photograph series and the colossal video triptych The Last Judgment in Cyberspace from 2007, Miao shows how an almost introspective change of perspective changes the foundational construction of meaning in the work. The recasting of Michelangelo’s almost 400 figures with the alter ego of the artist takes on a hybrid appearance, since we enter the Sistine Chapel with him, with his imagination.
In 2000, before this virtual phase of anthropological visual reality, Miao Xiaochun tried
to approach his new hometown Beijing by way of large format C-prints. Outstanding
here are his photographs of the SOHO district with the title Celebration (2004) and Await (2005) of Beijing’s so-called “Silicon Valley” or the nighttime shot of a new shopping center alongside an “old-style” restaurant, Surplus (2007). With these wall-filling C-prints, he created icons of a contemporary architectural cityscape. Miao combined the rapid changes to Beijing and assembled a new, dynamic image of the Chinese capital, a modern world city, using numerous photographs. During this phase, he found his way to his later, all dominating use of digital programs of visual processing that also quote global film production in a Hollywood style, especially the special effects in disaster movies.
2004/2005 can be considered a turning point in Miao Xiaochun’s work, for his
engagement with differences and analogies between Western and Eastern culture
moves from the rather meditative, static context of the photographic snapshot to a
more complex structure of several shots taken over time and very time-intensive digital processing on the computer. The beholder of Celebration (2004) for example is given the impression that it was taken as only one picture using a fish-eye lens. Upon closer inspection, we see that something isn’t right, for there are repetitions and details that are extremely focused. The work was created using around 90 individual shots. A group of workers with yellow helmets for example surfaces in several places in the image. Just as in traditional Chinese landscape painting, we see one and the same figure walking though nature in various locations. Photography thus not only can hold onto a single moment, but also a longer span of time.
Using the technical refinements of digital photography, Miao comes close to the
possibilities of human vision. For the human eye, it is no problem to direct the gaze
repeatedly towards objects at different distances, to bring them into focus. Photography in contrast usually works with a fixed focal distance, so that the things are increasingly unfocused the further they are from the center. By combining numerous digital photographs at the computer, Miao simulates the eye’s way of working, simultaneously destroying the illusion of an authentic representation of reality. Photography has for twenty years been suffering the fate of all analog media whose qualities are being abolished with their integration into the digital code. Information, digitizable or digital, can now be randomly changed on the computer. With the universal machine of the computer, a profound intervention in our understanding of reality is thus undertaken. It is just this transformation that fascinated him as a person living between cultures. On the other hand, this form of visual creation is closely related to the techniques of landscape painting in which certain objects in the foreground or background are emphasized or represented as smaller. Equally, the construction of the image often pursues methods of classical landscape presentation, for it is just as in painting, where in a selective and as it were subjective take on the world compositional techniques are used that are similar to the momentary view of reality. In so doing, Miao holds a special place in art history, due to his visual understanding trained in both East and West.
Before his return to China, he spent five years studying in Germany, from 1995 to 1999. Miao Xiaochun studied at the Kassel art school photography, and became an outsider in two senses: first, in a different, Western culture, and back in Beijing, as a foreigner in his own country. At the end of the 1990s, he created a sculpture, his alter ego made of fiberglass in the figure of a classical Confucian scholar. This became his trusted partner on foreign terrain. In the midst of usually urban scenes, this dignified figure stands monolithic and sublime, a bit unworldly and yet full of self-confidence in light of his worldview and deeper understanding of life.
His first photographs were black and white, and quite simple, with a modest and reticent feel, in the spirit of the old man in Germany. These photographs represent him as a ”mysterious traveler in the West from an unidentifiable time and an unidentifiable place in China” (Wu Hung). Miao himself sees here a mixture of the intellectual and the artist, who in China from the Han to the Song Dynasty (206 BC-1279 AD) had something to say when it came to socially relevant issues. These life conditions, excellent for an artist, also existed in Europe (around 200 years later) with the universal scholars at the courts of the Medici and other Renaissance princes. To that extent, cultural memory, as Miao Xiaochun understands it, when at issue are central questions of our existence, is set no temporal or geographic limits. He does not distinguish between Western and an Eastern visual memory. He thus makes lovely links between this figure at rest in the photographic works of this series between East and West, between old China and a postmodern global zeitgeist. The photograph As a Guest of a German Family (1999) shows his alter-ego in the midst of a German family, but where he remains the silent guest. The statue of the old, honorable man can never become part of real life, but remains a symbolic object where at issue is the “loss of context of a native language.” “The self is a stranger,” as Arthur Rimbaud already knew. For the relationship of the modern Chinese individual to his or her surroundings and own self, this statement is surely more than fitting.
The series ends with the symbolic widescreen photograph Mirage (2004). From a raised standpoint, we have a view of a city landscape, a view of Miao Xiaochun’s hometown Wuxi Jiangsu near Shanghai. Moving uphill in a cabin on a lift, we see the statue, while we see the artist himself moving downhill. His is moving, leaving history behind him, to a new life, his future. The scholar returns with his creator to the place of his origin, and they look together—in memory and in the present—at the highly changed city structure. In the horizontal format of Mirage, we can see the rapid urban development, from traditional courtyard buildings on the edge of the forest to row houses, tall buildings, the highway, the center with skyscrapers… If he departs from the figure of the scholar, the issue of high-speed urbanization with its impact on residents is clearly visible and culminates precisely in his Beijing Index from 2009.
Miao Xiaochun’s photographs are in the best sense a conversation the artist holds
with himself on the spirit as being and the aura of the analog and the digital image,
as a memory and storage of the real absent, albeit momentarily evident. Man as a
photographer in analogy to the Last Judgment takes on both the role of the judging and the judged. And finally, the possibility of being in the image, of recognition, and at the same time of the spatial, of the panoramic is the most fascinating characteristic of this visual medium. For it is our limited view of the artificial world and its beauty by way of the absolute power of photography that tears apart what belongs together and grants autonomy to the appearance.
I
See Gregor Jansen (ed.), Totalstadt.
Beijing Case. Kulturelle Aspekte der
Hochgeschwindigkeitsurbanisierung in
China (Cologne, 2006).
II
See Hubertus von Amelunxen,
Stefan Iglhaut, and Florian Rötzer (eds.):
Fotografie nach der Fotografie. Ein
Projekt des Siemens Kulturprogramms
(Dresden and Basel 1996), esp. 93–99.
III
Hollis Frampton, “Digressions on the
Photographic Agony,” Circles of
Confusion: Film, Photography, Video:
Texts 1968–1980 (New York, 1983): 190.
IV
William J. T. Mitchell: The Reconfigured
Eye: Visual Truth in the Post-Photographic
Era (Cambridge 1992): 24. See also
Digital Photography am San Francisco
Camerawork 1988, die von Marnie Gillett
und Jim Pomeroy organisiert wurde.
Digital Photography: Captured Images,
Volatile Images, New Montage has two
essays Timothy Druckreys “L’Amour
Faux” (2–9) und Martha Roslers “Image
Simulations, Computer Manipulations:
Some Ethical Considerations” (28–33).
V
Occasionally the demand has been made
that digitally changed image should
be marked with a special sign and thus
made identifiable. A Norwegian suggestion
is to use the word “Montasje” and
the capital letter M as a standardized
indication for an alteration. John Larrish:
Digital Photography: Pictures of
Tomorrow (Torrance 1992): 160.
【Editor：jen】
