Anyone want to have an exhibition in a major museum in China? Or maybe you'd like to perform for a Chinese audience? China’s OCT company is building entire towns, complete with museums and theatres... and Dutch artists are more than welcome. But can they create what they want or is censorship too fierce?

“Really inspirational,” says photographer and artist Edwin Zwakman about his projects in China. He’s worked there on a number of occasions over the past three years.

“What I’d first put down in a sketch book was standing in a public space in Shanghai within 12 months. It’s unbelievable how much dynamism and pace you can bring to things there, if you know the right people and have the right resources. The enthusiasm is infectious.”

Zwakman’s Tree Hugger was constructed in a park in 2010. The work winds upwards round a tree and, as intended, lots of people get onto it to make the climb.

“There are quite a lot of Western artists in China, but most are in a kind of bubble: the area where they meet other artists, far from society. That’s a shame.”

Expertise
Zwakman came into contact with Overseas Chinese Town (OCT) while he was working on his Tree Hugger project. It’s a semi-state-owned company which constructs and develops towns, including theatres and museums. He has been invited to stage a joint show with celebrated Chinese artist Liu Jianhua in Shandhai this autumn. The exhibition runs until 3 December in the large OCT museum in a Shanghai neighbourhood built by the company.

“This museum is in fact a kind of showroom in that enormous area they are developing. More than half of it is open-air, with works specially made for the location. They’ve got enormous in-house expertise. They also construct amusement parks, another place where you can display art objects."

Agreement
This summer, OCT signed a co-operation deal with the Dutch Centre for International Cultural Activities (SICA), which encourages cultural exchanges with other countries. China, with its ten major museums, makes OCT a very interesting partner for SICA, says project leader Monique Knapen.

“It’s extremely important for China that Western artists go there. Exchanges stimulate on all sorts of levels. OCT is serious. The museums are top of the bill. The OCT team understands art. I have every faith in partners who foot part of the bill. I don’t believe in just bringing art and money.”

Ms Knapen speaks Chinese and has been visiting China for two decades. The OCT team has travelled to Dutch museums and art institutions. OCT head Luan Qian explains:

“We also work with other countries, but co-operation with SICA is logical. We share a common concept and aim. Nowadays, culture is international, and has no borders.”

Censorship
There was special interest in the Netherlands at Beijing’s international Book Fair in September. Dutch writers went to meet their Chinese counterparts, but a number of the meetings were banned by the Chinese authorities, leading to fierce debate in the Netherlands. Commerce was said to be overshadowing principles.

Monique Knapen and Edwin Zwakman are aware of the censorship. “We have seen how China is open to our art,” says Zwakman, “but there are certain issues which remain sensitive – Tibet, porn, politics.”

Zwakman has worked in the past with galleries which were not linked to the government. He had to watch his step there, so as not to put his Chinese partners at risk.

“If you work for galleries, the censorship can often be really tough, it’s depressing. Censors are quick to say ‘no’, because they actually don’t understand art. They don’t want to take chances.”

Strangely enough, he has experienced more freedom working for the large – and government-linked – OCT, but he still has to take care. Monique Knapen remains hopeful:

“I’m for freedom and human rights. We’re trying to work as well as we can together with a partner who suits us. We’re providing a certain depth – slow change, step by step.”

(mw/ae)