Made in China

This humble assertion, from an internationally renowned artist, serves only to highlight the difference in the understanding and meaning of art between the East and West.

Lu is a contemporary artist, who graduated from the department of sculpture at the China National Academy of Fine Arts, and is recognised for his photographs, video and multimedia art works. Incredibly Lu, who is regarded as extremely influential among the younger generation of Chinese artists, confesses he is the only one in his family who is artistic and “they actually do not know what I am doing right now”.

Lu is showing his film The First Man Who Bought A Juicer Bought It Not For Drinking Juice in an exhibition called Counterpoints at this EC2 gallery.

“The film focuses on two main characters: a reaper machine, used for harvesting grain, which is given Frankenstein-like characteristics, and a mechanic who cares for and repairs it,” explains Lu.

“It casts the relationship between man and machine in which humanity is denigrated to serve an alien species born from its own hands. In making the film, I was thinking about Orson Welles’ fictional account of an alien invasion in The War of the Worlds, which was mistaken for a real news item. It illustrates the influence of technology, mass media and the power of fear.”

Lu’s work consists of brooding films and photographs which appear preoccupied with the industrial era and Communist history. However, the stories told via his films are more mystic than nostalgic.

As the artist himself puts it: “I had an image in mind when making the film, I was thinking of a cliff edge and a person repairing a reaper machine.

“Curiosity has been a driving force,” continues Lu. “The film was made in the United States and that was my first visit there. I’m aware of America as one of the most powerful countries in the world, and I wanted to know what it looked like, I’d been imagining this for a long time.”

Lu’s film, which focuses on the individual’s vulnerability amidst rapid modernisation is reflected in fellow countryman, Jia Aili’s monumental installations which are also exhibiting at Rivington Place.

He has created an installation specially created for the window overlooking Rivington Street. The site-specific piece is inspired by 16th Century painter Caravaggio’s famous painting The Incredulity of Saint Thomas. In his work, Jia uses a muted colour palette and quick brushwork, conjuring up the disorientating emotions felt in a developing society.

Poignantly, when discussing his work through a translator, Jia reveals: “I like grey. It is interesting that every colour no matter how bright it is will always turn out grey when mixed with others.”

Lu Chunsheng and Jia Aili: Counterpoints, Rivington Place, London.
From now until Monday, May 31. Admission is free. For opening times telephone.
020 7749 1240.

LU CHUNSHENG

Q: As a Chinese artist can you tell me how it feels to be chosen to display your work at Rivington Place in London?
LC: I’m very happy to be displaying my work here at Rivington Place, this is the first time I’ve seen my work on the big screen and the projector is of such a good quality I can see all the detail in the work. Iniva who have put together the programme also have a very good reputation.

Q: Can you describe The first man who bought a juicer bought it not for drinking juice - the film you have chosen to exhibit and why?
LC: The film focuses on two main characters: a reaper machine, used for harvesting grain, which is given Frankenstein-like characteristics, and a mechanic who cares for and repairs it. It casts a relationship between man and machine in which humanity is denigrated to serve an alien species born from its own hands. In making the film I was thinking about Orson Welles’ fictional account of an alien invasion in The War of the Worlds which was mistaken for a real news item. It illustrates the influence of technology, mass media and the power of fear.

Q:Is there a theme or an emotion that inspired you to make this film?
LC:I had an image in mind when making the film, I was thinking of a cliff edge and a person repairing a reaper machine.

Q:What is your motivation behind this film and what do you hope the audience will experience?
LC: Curiosity has been a driving force, the film was made in the US and this was my first visit. I’m aware of the US as one of the most powerful countries in the world, and wanted to know what it looked like, I’d been imagining this for a long time. So much else has been going on that I haven’t had a chance to think about audiences but very much hope they will enjoy the film.

Q: Can you tell me about your technique you used to produce this film?
LC: I have not been to a film school, I learnt from watching DVDs and films. This film was produced in a more relaxed way than previous ones I’ve produced, sometimes using a handheld camera as well as tripod. This was also the first time I’d used a micro lense.

Q: Tell me about the camera you used to film it?
LC: A Red 1, this is the first time I have used this camera.

Q: Can you tell me about any difficulties you have had in filming and how you overcame them?
LC: There were a few problems with finding the right actors but it worked out fine in the end, and also getting the shots I wanted of the reaper machine, not knowing much about the US meant things took longer.

Q: What do you think about Jia Aili’s work?
LC: I was aware of Jia Aili’s work but this is the first time I’ve seen the originals. I think they are very good and not like other artists who are following the mainstream, he has his own individual style and taste.

Q: How would you describe yourself as an artist?
LC: I see art as another profession, nothing special.

Q: What inspires your artwork generally – is it the human form, a colour, a mood?
LC: Many things inspire me – others’ work, events in my life, and if something really touches me.

Q: Can you tell me about your training as an artist?
LC: At school I was taught technique but not how to be an artist. For me it is about the interest and love for art that drives the creation. How you think about life and art is important.

Q: Who inspired you to become an artist?
LC: There are so many filmmakers who have inspired me, there is a French film director called Robert Bresson who has had an impact on me, as well as many musicians.

Q: Can you provide me with some background information about yourself?
LC: I was born in Changchun, in North East China, I am now based in Shanghai. I attended the China Academy of Fine Art and studied sculpture. I am the only one in my family doing something artistic. My family do not actually know what I am doing right now. It is not generally respected as a profession in China unless you become very famous.

Q:In China, are you an artist professionally or do you currently have a day job?
LC: Before I had a job which covered my daily expenses, now I can live ok as a professional artist.

Q: Can you tell me about the best exhibition you’ve ever seen?
LC: There are so many films and music that I love but I cannot think of one exhibition.

Q: Who’s your favourite artist – and why?
LC: There is a group of Chinese artists from the late 1980s, early 1990s called Xin ke du.

Q: If your life was a colour, what would it be?
LC: Blue is a colour I like, and I find myself picking up things that are blue or white.

Q: What’s next for you as an artist?
LC: I will continue filming and making videos.

JIA AILI

Q: As a Chinese artist can you tell me how it feels to be chosen to display your work at Rivington Place in London?
JA:I’m really pleased to be showing my work here in London where there is such a wide range of people of different ethnicities in one city.

Q: Can you describe the installation you have chosen to exhibit and why?
JA: I chose the work that would best complement the space. I’m showing three large-scale paintings which use quick brushwork and muted colours to conjure up the disorientating emotions felt in a developing society. There is also a site-specific piece for the window which is inspired by 16th-century painter Caravaggio’s famous painting The Incredulity of Saint Thomas.

Q:Is there a theme or an emotion that inspired you to make this installation?
JA: I’m interested in the individual’s vulnerability amidst rapid modernisation, and in contemporary attitudes and life.

Q: What is your motivation behind this project and what do you hope the audience will experience?
JA: This is not something I’ve really thought about.

Q: Can you tell me about the painting technique you used to produce this piece?
JA: I use a mixture of styles which are very free and expressive, sometimes including graffiti, also cutting out and reconstructing.

Q: Can you tell me about any difficulties you have had in putting together the installation and how you overcame them?
JA: Sometimes I start with an idea then it develops in another direction, none of my works are completely finished, I like it that way - there is the possibility to develop them further. I’ve been making the largest in the exhibition ‘Good Morning’ for four years.

Q: What do you think about Lu Chunsheng’s work?
JA: I’ve only had time to see a section of Lu Chunsheng’s film at this point, I’ve seen much of his early work and really like the experimental approach and uncertainty that he expresses.

Q: How would you describe yourself as an artist?
JA: I find this very hard to answer.

Q: What inspires your artwork generally – is it the human form, a colour, a mood?
There is a painting I’ve been working on for two years based on my whole life’s experience - a dramatisation, like much of my work it reflects a personal feeling.

Q: Can you tell me about your training as an artist?
JA: I learnt traditional Chinese painting – calligraphy and Western painting at school.

Q: Who inspired you to become an artist?
JA:Wu Dao Zi who is an ancient Chinese artist, he worked on a large scale, also the Italian Renaissance artist Michelangelo.

Q:Can you provide me with some background information about yourself?
JA: I was born in North East China on the border with North Korea, and attended Lu Xun Academy of Fine Art in Shenyang. I am now based in Beijing and the only artist in my family.

Q: In China, are you an artist professionally or do you currently have a day job?
JA: Yes I’m working as a professional artist, in the past I taught art at Lu Xun Academy of Fine Art in Shenyang.

Q: Can you tell me about the best exhibition you’ve ever seen?
JA: There are too many to choose from.

Q: Who’s your favourite artist – and why?
JA:My favourite artists are Wu Dao Zi, Michaelengelo and Caravaggio. I also admire a painting which was in the Forbidden City in Beijing and taken during the European invasion in the 19th-century.

Q: If your life was a colour, what would it be?
JA: I like grey, it is interesting that every colour no matter how bright it is will always turn out grey when mixed with others.

Q: What’s next for you as an artist?
JA:I will focus on finishing the painting which reflects the experiences of my life so far, I’m working on it each day and adding something new.