Building the Good City

Insight: Makoto Fujimura

Artist, writer and creative catalyst Makoto Fuijmura creates and advocates beauty in a world often soured by cynicism and doubt. This week, he opens his first solo exhibition in mainland China, "Soliloquies," at twocities.

Photo by Brad Guise

How did you get into the Nihonga technique?

I received a Japanese National Fellowship in 1987 and studied in Japan for 6 1/2 years.  I noted my interest in traditional Japanese painting, so they placed my at Tokyo University of Fine Arts Nihonga Department.  On the first day, when I saw the materials used, I felt right away that I had found materials that I had been searching for all my life.

 

What makes you most passionate about your work?

Being a bridge between the invisible reality and the visible; to spend time creating beauty.

 

What is a piece of advice you'd give to young artists?

Pursue your "first love" to create, rather than become what society, or your schooling, expect you or desire for you to become.  Create in love.

 

How do you contribute to building the "good city" in what you do?

Paintings are the maps of the good city.

 

If you could describe Shanghai in one word, what would it be? Why?

I call it "Wild East."  It's a fantastic cultural estuary.

 

Makoto gives a lecture on "New Nihonga" this Thursday at 7:30 pm. "Soliloquies" opens Saturday, with an opening reception from 4:00 to 6:00 pm.

 

 

Insight: Andrew Field

Historian, professor and music connoisseur Andrew Field celebrates the release of his first book, which delves into the world of dance halls and cabarets in Old Shanghai. Connecting this city's past with the present, Andrew shares with twocities about the research process and some of the gems discovered along the way.

What inspired you to research and write about this particular topic?

When I was in grad school thinking about a dissertation topic, something to do with China's encounters with the West in modern times, I heard some jazzy music from Shanghai in the 1930s and thought that it was a very interesting mix of Chinese and American pop music influences. I was inspired by the music to research that era more deeply, and that led me to the nightclubs of Old Shanghai.

Was there anything surprising that you came across during the research and writing process? What was it?

The entire process was a journey into the unknown. Nobody really knew much or had written much about the city's Jazz Age entertainment culture, at least not since it had died away in the 1940s and '50s. I had to read hundreds of newspapers and magazines, memoirs, novels, and other sources from the 1920s and '30s to put it all together. Not to mention all those archival and police files. I guess the most surprising and wonderful thing about the whole process was that it connected me very deeply not just with Old Shanghai, but with New Shanghai as well. I happened to start my research in an era when the city's reputation as an international metropolis was beginning to revive. Ultimately, the best thing about the process of researching and writing this book was the people I met along the way, some of whom--including my wife Zhang Mengxi--are acknowledged in the book.

What do you enjoy the most about what you do?

Hard to say what I enjoy most. For the most part I enjoy teaching, reading, and writing about Chinese history and culture and more broadly (or narrowly, depending on your perspective), global urban history and culture with a focus on entertainment and especially musical culture. I also love music and I love to dance, both of which I get to experience through my research. I think that music and dancing are a way to transcend cultures and bring people together to explore their common humanity and experience the joy of life. And that's a lovely thing, especially in an age when things can get so heavy. 

If you could describe Shanghai in one word, what would it be and why?

Kaleidoscopic. There's a constantly shifting, changing, growing-out-of and a boundless energy to the people and place. And people are always coming up with new ways to experience and interpret old things. Plus it's a very colorful, jumbly sort of place, full of wild juxtapositions of all shapes and sizes. Hard to find another place quite like it on this planet.

What's your next project?

James Farrer and I are working on a follow-up book to mine (and his) which will cover a century of nightlife in Shanghai, from 1910 to 2010. We've logged over 800 days of research in the clubs and bars over the years while working on this book, and interviewed over 100 people involved in one way or another in the revival of Shanghai's nightlife scene. It should be out in a year or two.

Join us this Sunday evening as Andrew presents a multimedia talk on "Was Shanghai really the Paris of the East?", followed by music, wine and dancing.

Insight: Earl Tai

Dedicated teacher, conscientious designer and "crazy" dad Earl Tai talks to twocities about his passion for design, advice for young designers, and life in Shanghai.

How did you end up working in design? 

I actually spent most of my childhood thinking I was going to be a brain surgeon because I enjoy activities involving detailed precision and I am fascinated by the human brain. But then in my senior year of high school I just had a sudden change of heart. I still am not quite sure why. I think I just felt it in my gut. In terms of approach, it was a perfect fit for me because the multi-disciplinary nature of design allowed me to pursue a diversity of interests. However, my real commitment to design was sealed when I was able to combine it with my interest in social responsibility.

What makes you most passionate about your work?

I like the idea that the things we do can have a lasting impact on people and on this world. If a project does not have this additional dimension of deeper social value, even if it is very lucrative, I get very bored.

On a more personal level, I like exploring materials, figuring out how things can fit together efficiently and poetically, and looking at the historical, cultural, philosophical, and ethical implications of a project. These activities give me joy.

My children were laughing at me recently because I came home very excited about locating just the right color and texture of linen for a chair I was designing. They say they can’t think of another crazy dad who gets so excited about building supplies, metal fabrication sites, recycled lumber yards, old bricks, and fabrics.

How would you describe yourself as a designer?

It is always awkward for a designer to self-identify because it can become quite self-conscious and egotistical, so let me talk about the kind of designer I would like to be. I want to be a person who works at the intersection of design practice, design theory, education, and social justice. I would like think that I am the type of designer who is an educator/provocateur, pushing my audience to think about a topic in a new way and encouraging them to act in this world humbly and responsibly.

What is a piece of advice you'd give to young designers just starting out?

First, try to read as much as you can and to stretch yourself to learn about a broad range of topics. Since the best design and art are about ideas, it is essential for designers and artists to be thoughtful and well-versed in ideas. Our job is to envision the world as it ought to be and to help to bridge the gap between existing reality and the ideal. Without new ideas constantly stimulating and challenging the way we think, we aren’t going to be very good at doing our job.

Second, try to retain integrity to yourself and to your highest beliefs. If you do too much compromising for the wrong reasons, one day you will wake up and realize you don’t like who you see in the mirror. Our world doesn’t need more hack designers and artists. We need people who are thoughtful about their work, people who challenge us through their art, and through how they do their art, to make the world a better place and to treat our fellow human beings with dignity.

If you could describe Shanghai in one word, what would it be? Why?

That is a hard one. There are so many words to describe this place, but I think I will choose “complex.”

I love Shanghai, but it is a very complex place with many dimensions. On one level, it is an impressive modern metropolis, especially with its astounding infrastructural improvements of recent years. Very impressive! On another level, it is still very much a young developing city lacking in social and cultural maturity. For example, I watch the way some local employers treat workers or the way some local residents treat people from other parts of China, and I sense that, while the city has embraced modern consumption, it has not fully embraced modern intellectual notions such as respect for all fellow humans regardless of background or economic status. Some in Shanghai fail to realize that modernity and Westernization are about a comprehensive system of cultural values, not just about purchasing modern goods, trying to look like an advertisement in a magazine, or hooking up with someone in a club.

On one hand Shanghai looks like a historic city due to its rich architectural fabric. On the other hand, the average denizen of this city seems to know and care little about Shanghai or China's history.

On one hand Shanghai can feel like any cold, fast-paced global city, on the other I have had the privilege to see some extraordinary acts of random kindness here.

While Shanghai is quite developed in consumer culture, it still has further to go in terms of intellectual and civic culture. There is a growing population of people who are thinking of things like intellectual and civic life, social responsibility, and giving back to society. That has been exciting to see. However, this group still remains a very small minority of the vast population.

Hear more from Earl at his lecture "Art and Equality" at twocities gallery tomorrow, from 1:00 to 2:30 pm.