It seems four weeks in southern China have gotten into my blood. Here in Beijing, I’m so excited every time I see a foreigner that I grab Gretchen’s arm and whisper ‘waigoren!‘ (foreigner!), just as the Chinese in waigoren-poor Dongguan used to do. We visit the hip 798 Art District and I hardly know what to order from the western-style restaurants. No lotus? No chicken’s feet? What is this thing called ‘fettucine’?
798 is one of the cleverer trousit traps designed by the Beijing Olympic Committee. It masquerades as an organic art community a la Brooklyn or East London: bleak warehouses repurposed as art galleries, a place for rich kids to produce Warholian Mao portrains and call themselves cutting edge. Unlike so many places in Beijing, there is money here, and lots of waigoren.
We stumbled upon a gallery opening down an alleyway. The first person I noticed was a barefoot Asian girl straddling a tree. A machine was blowing inky bubbles at her as an insect-skinny white man took her picture through a large window.
I asked one of the artists if he could explain what he was trying to get at and he replied ‘I’m Canadian.’
I ate some free hors d’oeuvres and made up my own theories – the artist had already taken care of all the free booze.
We end up splitting a cab to Sanlitun, Beijing’s club district, with Matt Hope, a British sculptor with a refreshing lack of pretension. I’m intrigued by anyone who can make a living as an artist, and I peppered him with questions: Why Beijing? (because he has his sculptures built in Chinese factories) Why Chinese factories? (because they’re cheap and willing to do limited-run, even one-off productions) What are the factoires like? (the fieriest stage of the Industrial Revolution: he describes a town outside of Dongguan known as Metal city, not to be confused with Leather city and Plastic city, where laborers turn metal in shells of buildings and the furnaces blast onto the street). I couldn’t help thinking it sounded like hell.
‘No,’ said Matt, ‘it’s just modernisation.’