798: Space for Art’s Sake

By LI YUE

FORMERLY a 1950s-built industrial electronics area in the northeastern suburbs of Beijing, Jiuxianqiao’s expanse of tall, airy factory is now regarded as Beijing’s own SOHO.

Jiuxianqiao is site of China’s earliest electronic products manufacturing center, and as such thrived for more than 30 years until the late 1980s to early 1900s when it and many other factories fell into disuse. Either because they held good memories for some, or because they did not attract investor attention, deserted factories in the Jiuxianqiao escaped demolition and are in as good repair as they ever were. These days they contribute the most strikingly avant-garde art studio complex in Beijing, and provide artists with the space and freedom of movement they need to be creative.

The 798 complex came into being in 1995, upon the Central Academy of Fine Arts’ renting of old factory number 798 for use as a sculpture workshop. These days known as the sculpture factory, it is still thriving and since its inception an increasing number of sculptors have come to set up their own workshop within these tall, spacious factories.

In the year 2000, American Robert, an active figure in Beijing’s art circles, came to the area, since which time 798 has had an official representative. Robert is an expert on Chinese contemporary art and is instrumental in bringing it to the world. Robert changed the factory dinning hall into an art bookstore, which has since become the haunt of local artists. Upon Robert’s recommendation, more and more people came to 798 to set up art workshops, exhibition halls and galleries. He, in effect, introduced factory 798 to the world.

By 2002, all the large factory buildings, some above 1,000 square meters, had been rented to individual and groups of artists. Since 798’s first large-scale art exhibition in October 2002, a wider scope of tenants has gradually been drawn to it. At first, a few bands came here to perform, then bars, restaurants, avant-garde boutiques, and even magazine press houses opened. By 2003 there were more than 40 business organizations and 30 art workshops in the area.

At present, there are 20,000 square meters of art studio in the 798 complex, all acting as venues for a broad scope of exhibitions and seminars. “Settlers” here often compare it to the SOHO district of New York, in which, as recalled by the New York Times, factories were also preserved in their primary state.

The project to construct an electronics industry area in Jiuxianqiao with former Soviet Union aid was completed during the 1950s, its design and construction having been carried out by then Democratic Republic of Germany engineers. Thanks to German meticulousness, the industrial area was strongly reminiscent of European industry. Factories were, in military style, numbered. In addition to 798 were factories 718, 706, 707, 751. They were all grouped together under the generic “798 Union Factory”. The complex’ historically exotic architectural style is a strong draw to the artists who have brought a new connotation to it. Beijing appeared on the annual Newsweek world cities list of 2003 by virtue of the 798 arts complex and in tribute to 798’s existence and development. Articles in Newsweek and the New York Times about 798 have brought many intrigued foreign artists and interested businessmen to Beijing to have a look for themselves.

In May 2004, China’s first non-governmental arts festival was held at factory 798, and more than 30 art activities were conducted that month. Among them were influential avant-garde concepts such as visionary and audio art, along with live concerts, dance, drama, performance art, architecture and design exhibitions. There were also four individual film festivals and eight photographic exhibitions. During this merry month more than 200 well-known artists from home and abroad came to exhibit their works at 798. It was in May 2004 that China’s contemporary art stopped being a mere indulgence in self-admiration and bared its honest bones to an international audience.

Artists that have been residing and working at 798 already miss its ambience of tranquil remoteness. It wasn’t their idea to open to the public; they only did so in order to contribute towards the factory’s survival.

This former suburban industrial area’s value has escalated in tandem with its development into an up and coming area of the city and is now believed to be worth billions of RMB. Artists originally rented spaces here very cheaply, but since the area began to thrive, property owners have raised their rents. Also, Beijing is considering building a new electronics industrial area that will encompass factory 798. Either way, whether it becomes a real estate project or a new industrial electronics area, property owners stand to clean up. Most rental contracts are due next year, which will cast a cloud over 798 as many currently resident artists will have no choice but to leave.

Huang Rui, recently returned from Japan, is as part of “a group of people” about to publish the picture album 798 in Beijing. Each artist living at 798 has participated in this common call to preserve the factory complex. The “group” has also set up a coordinating team that includes Robert, whose function is to liaise with property owners.

One boutique owner is confident that the arts area will not be dismantled. “The Olympic Games is coming soon, and Beijing should have artistic venues in which to exhibit examples of Chinese contemporary art and culture. Anyone who tries to demolish this area will be remembered through history as a criminal.” She continues, “People living here feel bound to do something towards preserving factory 798.”

But some artists can do nothing. Couple Sun Yuan and Peng Yu were among the earliest to rent a workshop here. It has an area of 100 square meters and a height of 10 meters that is divided into living and work spaces. This is what factory 798 means to them -- a place to live and work, yet almost every day journalists and passersby knock on their door asking to take a closer look. Says Peng Yu, “I don’t know what they expect to see or why they imagine our life is in the public domain.”

The couple is preparing for an exhibition in Brussels at the end of the year. When the topic of the possibility of the arts area either being dismantled or its rents shooting sky-high was raised, Sun was pragmatic, saying that they are just sojourners and can soon find another place.

Part of the dismantling work has already been carried out at factory 798, but work is believed to have been suspended by government order. Says Huang Rui, “I shan’t leave the place until bulldozers arrive to knock it down,” a remark that conveys the sentiments of the majority of artists resident at 798.