Walls of Dialogue in the Chinese Space

Abstract

Since the early 1980s, Beijing has been undergoing a period of phenomenal structural transformation and immense growth, as a consequence of the open door policy. The dramatic change of the Chinese capital has progressively forced its inhabitants to face the challenge of managing the fabric and culture of the urban environment in order to adapt to a new city, while burgeoning nationalism and the development of local and international tourism have constructed Beijing as a showcase for national identity. Day after day the traditional houses (siheyuan) and tiny alleyways (hutong) of Beijing are destroyed, neutralized, and rebuilt to turn the capital into an international metropolis. This article focuses on the graffiti and performance artworks of Beijing-based Zhang Dali — one of the artists most concerned with the transformation of the city. The human head profile that invaded the Beijing cityscape in the 1990s — often found inscribed on the walls and buildings demarcated for destruction (chai) — is called “Dialogue” (duihua). It is a figurative symbol that cannot escape attention. Investigating Zhang’s work through the lens of Foucault’s and Benjamin’s theoretical approaches to history, this article deals with the relationship between subjective representation and spatial transformation, and raises the critical question of artistic agency in public space.