Years of stringent zero-Covid lockdowns, a tough political climate, and rapid urban redevelopment displaced many artists and galleries from Beijing’s once-thriving art scene. However, Beijing is now making strides to revive its cultural heartbeat. Craig Yee, founder of Ink Studio, notes that two decades ago, Beijing was the epicenter of Chinese contemporary art. Recently, with local government backing, the annual Gallery Weekend Beijing (GWBJ) coincided with the Beijing Dangdai Art Fair and JingArt, marking May as the city’s unofficial “art month.”
The 798 Art District, aiming to be “The Global Art Destination,” hosted these events, reflecting a renewed vigor in Beijing’s art community. The city’s art scene, once isolated, is reconnecting with the global art community, says Li Ning, chief editor of the Art-Ba-Ba portal. During the pandemic, beloved non-profit spaces like Arrow Factory and The Bunker closed, and artists faced displacement, notably with Ai Weiwei’s studio demolition in 2018. Despite these challenges, a new wave of young collectors and private foundations is supporting diverse and non-traditional mediums, breathing life back into the scene.
Noteworthy exhibitions have surfaced, such as Zhou Yan’s “Cloud 9” at Spurs Gallery, which features pandemic-inspired installations. At Tabula Rasa Gallery, Li Tao’s work reflects the constraints experienced during Covid quarantine, with installations like an unpredictable automatic door symbolizing loss of control.
Magician Space showcases Liu Ding’s “Room of Boundlessness,” borrowing its name from a Tang dynasty poem to express contemporary social frustrations. A central piece features a mannequin dressed as a food delivery rider, highlighting the plight and invisibility of these workers within society.
The revival is partly due to a management overhaul at 798 Art District in 2022, with new leadership under Aria Yang, who also co-founded The Soil Collection, a private art foundation. The buzz of GWBJ attracted visitors from beyond Beijing, including from Hong Kong and Taiwan, drawing notable figures such as Billy Tang of Parasite Hong Kong.
The sales at the art fairs were mixed, but the intellectual ambiance of Beijing remained evident. Censorship, however, still posed challenges, with some artworks being removed or altered due to sensitive content.
Despite these obstacles, the 8th edition of GWBJ saw over 30 exhibitions by galleries and institutions across the city, signaling a hopeful resurgence. The city’s art community is optimistic, hoping that Beijing’s revival will draw interest from Shanghai and beyond, as the tide of creative energy shifts once again.
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