Official and informal professional associations of artists in the contemporary art space of Russia and China

Din Zhiwei Postgraduate student, Department of Art History and Pedagogy of Art, A.I. Herzen Russian State Pedagogical University 191186, Russia, Saint Petersburg, nab. Sinks, 48, room 6, room 51 dingzhiwei@rambler.ru Other publications by this author

This article attempts to correlate the trends that occur in the environment of official and informal artistic associations of modern China and Russia. The development of cultural contacts, including cooperation between the artistic and creative circles of the two countries, determines the relevance of this kind of research. It is worth noting that attention to the relationship of the art worlds of modern Russia and China has already been undertaken in Russian science. So, among the researchers who disclose this issue, S. Lan ^[1], T. M. Martinovich ^[2], H. Zhang ^[3], S. M. Gracheva ^[4], L. Yujiu ^[5], C. Miaojing ^[6] and others should be mentioned. The activities of China's professional creative unions are put in the focus of attention within the framework of the study by Nizhen Xing, describing the activities of a number of major artistic associations of modern China ^[7]. Associations of artists in modern Russia are also included in the space of interest of many Russian researchers who study contemporary art. Since art processes do not stand still in the light of various socio-cultural changes, political and economic conditions, transformations also occur in the activities of artist communities, determining the relevance of their study, including at the present stage. In addition, the convergence of the art spaces of Russia and China requires the study of all possible "entry points", especially at the level of art communities.

The correlation of the structure and activities of the official and informal art associations of China and Russia is the subject of the study, and its object is the modern art associations of the two countries. The purpose is to analyze the specifics of the organization and ways of development of art associations in the conditions of modern art space. For this purpose, an overview of the largest communities of Russia and China is given; a description of their exhibition and other activities, methods of positioning concepts are proposed; common features are highlighted and differences are outlined. This is the scope of the publication's tasks. The significance of the research results is due to the fact that they will make it possible to more clearly define the boundaries of the artistic worlds of the two countries and at the same time identify entry points, see possible prospects for cooperation.

Currently, there are associations in the art world of Russia that have a long history, as well as relatively new art groups. The largest, authoritative and mass of them is the creative public organization "Union of Artists of Russia", which functions in the form of regional associations — its structural divisions. This organization was created in Soviet times with the aim of establishing a common artistic and creative line among authors; it united both artists and restorers, art historians and other artists. Now the members of the association, just as before, can receive workshops and orders, participate in various projects, exhibitions, conferences and festivals organized by the union itself or organizations interacting with it. At the same time, at present this association does not dictate to authors how their works should be created and what to talk about, on the contrary, it supports independent creative searches of venerable and young authors, the autonomy of their art. However, membership in the union and the right to exhibit at exhibitions, as a rule, are obtained by those authors who, to one degree or another, continue the artistic traditions of Russian art, including Soviet, pre-revolutionary. The exhibition materials are faithful to the principles of realism, but new forms, means, materials, images are also allowed. This helps to harmoniously enrich the art environment with innovations. Moreover, this process takes place with the obligatory consideration by the regional offices of the peculiarities of the local art space. For example, in the St. Petersburg Union of Artists, as art critic V. A. Ushakov notes, "the choice in favor of realism allowed us to preserve the traditions of genuine Russian realism and a magnificent art school with all the negative sides of ideological pressure" ^{[8, p. 7]}.

It is noteworthy that the most diverse in terms of artistic associations is the art space of St. Petersburg. This is probably due to the existence of a long tradition of organizing such unions within the city and its special position in the history and geography of Russian art. So, in addition to the regional branch of the Union of Artists, there is the St. Petersburg Creative Union of Artists (IFA). Its management and members consider themselves to be continuers of the traditions of the Leningrad City Committee of Graphic Artists ^[9]. In many ways, this position is due to the fact that the membership mainly includes representatives of the art of the late Soviet period, although there are many young authors. As A. K. Florkovskaya points out, this association combines features of pre-revolutionary institutions and "sociopolitical realities of the last Soviet decades" ^{[10, p. 181]}. In many ways, the community was created as an alternative to the Union of Artists of the USSR, since initially it included those artists who were not members of the first and did not want to follow the official line in art. In fact, both organizations have been acting as trade unions for a long time, on the one hand, for those who were loyal to the authorities, and, on the other hand, for those who advocated alternative and free creativity. However, now such a confrontation has leveled off, and both organizations have occupied their niches in the artistic life of St. Petersburg. Although, judging by the artistic material presented at the exhibitions, the St. Petersburg Creative Union of Artists is much more active in including art objects created with the help of modern computer and Internet technologies. No wonder it includes a section of "new media".

In St. Petersburg, as in other cities of Soviet Russia, informal groups of artists began to be created. This process in the Leningrad art world began in the 1950s, but noticeably intensified in the 1980s in the wake of the general liberalization of culture. V. B. Krivulin points out that this process took place in connection with the desire of representatives of late non-conformism to "define the limits of intellectual freedom" ^[11]. Moreover, if Moscow conceptualists were inclined to individualize creative activity and break with traditions, then in the Leningrad-Petersburg environment there was a tendency to unite interests in small art circles and adherence to the principles of the local art school. It was these associations that were the first to enter the art market in the future, legalizing their status. Diverse communities interacted with each other, sometimes uniting around galleries and art spaces, such as the Pushkinskaya-10 center. Among such a circle should now be called the association "Creative Association "Mitki"" (1982), which gave rise to subculture and became part of the "urban folklore". For a long time Mitki collaborated with such groups as Inaki, Alipiy, Ostrov, New Artists, etc. Many of them have already ceased to exist or have been reborn into other communities. Often young authors create art groups, such as, for example, "Art World", consisting of graduates of the St. Petersburg Academy of Arts named after I. E. Repin, "Artika", "Nevsky Artists", "Art Cart", "Firewall", etc. However, due to the change in the creative interests of their members, they may disintegrate, and after them new small communities are formed, which are mainly created as spaces for communication and mutual assistance. It is worth noting that the artists included in them are often members of the Union of Artists and other associations. This practice is typical for other cities of the country.

The artistic life of modern China is a rather complex and contradictory phenomenon, which has a relatively small age. Since the founding of New China in the middle of the XX century, the work of local artists has been regulated in accordance with the political course and ideological positions. The semblance of Soviet socialist realism was everywhere asserted, but in a more romanticized way. Authors who did not agree with such an attitude were repressed or left the borders of the state. The harsh suppression of manifestations of dissent, and, moreover, attempts to organize any circles, groups did not allow the underground to develop until the end of the 1970s.

The Association of Artists of China (1949) became the conductor of the political and ideological course of the Government of the country in the literary and artistic sphere of society. It was the only art association in the country that accumulated artists and artists in its ranks, directing their creative forces to the implementation of state orders. Currently, the association remains the largest union of its kind in the country and retains many of its former functions, but implements them in new conditions. Its goal is to promote innovations in art, to hold major exhibitions, to form the image of China and its style reflecting the spirit of national culture ^[12]. To do this, meetings, seminars, lectures are constantly organized, exhibitions and competitions are held, which differ in scale.

Meanwhile, the modern art space of the country is an increasingly complex and constantly developing phenomenon. Understanding of this fact led the management of the association to the need for cooperation with other art groups of artists. The Association has set itself a difficult task to unite the widest range of authors, including representatives of informal associations. They can become members of the association, or they can, without being such, take part in the events of a specially created Center for Exhibitions and Promotion of New Literary and Artistic Groups, as well as a Center for Exhibitions and Promotion of Youth Art. These sites were opened in 2018 in order to identify, develop and promote contemporary artists and their communities. In many ways, the appeal to this sector of the Chinese art world is due to the desire to diversify the exhibition material, make it more interesting to the public, take into account the trends of modern art, which is difficult to do due to the appeal to the "classics". Another event that attracts young authors, including those who are not adherents of romantic or symbolic realism supported by the association, is the annual exhibition "Report to the People". Its space shows not epic paintings telling about the struggle of the Chinese people for freedom or the successes of socialist construction, but sketches from the lives of ordinary people, their everyday life, real problems facing the people. Of course, there is no opportunity to show non-classical art here, but adherents of realistic art can find a niche for themselves.

Recently, new associations have begun to emerge in China, in particular the Chinese Association of Contemporary Artists. Its history began in 1996, but it received official status only in 2004. Now it consists of more than two thousand members, as well as almost a thousand applicants for this status. It is an official non-profit organization created on the initiative of the country's artistic circles seeking integration into the global art process. It has emerged as a new, dynamic and authoritative group focused on cultural exchanges in the field of painting and calligraphy. In recent years, the Chinese Association of Contemporary Artists has opened its branches in Yunnan, Shanxi, Shandong and other parts of the country.

It is important to emphasize that, like any official association in China, in its activities there is no hint of provocation or disagreement with the existing policy, as well as the ideological line in art. Unlike the main Association, which focuses on the internal art process, it is focused on positioning the achievements of the culture of the Celestial Empire in the world. To do this, a mandatory part of her work is to conduct theoretical research in the field of art and art criticism, the results of which are published in other countries. To this end, the organization promotes the participation of Chinese specialists in international cultural projects, competitions, conferences. In addition, its platform organizes academic research and events related to cooperation with different regions, including the connections of mainland Chinese artists with representatives of the art world of Hong Kong, Macau, Taiwan and abroad. This is necessary to raise the level of artists, as well as to promote Chinese art abroad.

The activities of the organization in question have their own nuances. First of all, its members are those artists who belong to other art associations. Within their framework, they "work" for the local artistic life, and the association helps to "go" beyond it, including on the world stage. Moreover, educational and scientific institutions engaged in training in artistic specialties and art studies also participate in the events organized by it. Anyone who studies or creates art related to national specifics, has an art education and has a creative or pedagogical work experience of at least fifteen years can become a member of the Chinese Association of Contemporary Artists. Currently, its activities are focused on organizing large-scale events in different parts of the country and abroad, in which painters and calligraphers take part. These are, first of all, exhibition projects, festivals, master classes.

The Association of Folk Artists is one of the largest and most influential art groups in China, which was formed by theorists and practitioners of ethnic art. In the wake of the search for the "Chinese style" in society, science, and art, interest in everything related to ethnocultural features has increased. In addition, works of Chinese folk art, many crafts have become commercially successful projects. All this became the basis for the organization at the beginning of the XXI century of a National congress in the field of such creativity, at which it was decided to create this organization. The Association helps folk artists, cultural and art figures through craft research, monuments, information exchange and training, which helps to preserve and transmit the cultural traditions of the country to new generations, and also cooperates with similar international art organizations.

Since 2012, the Association of Chinese Women Artists has been working in the art world of China under the auspices of the Ministry of Culture and the All-China Federation of Women. It is a non-profit public organization, which includes artists, art historians, experts and scientists who are interested in promoting Chinese art, united by gender. The creation of this association was due to the desire for cooperation of many informal creative unions of women artists who existed in different parts of the country. Together, they had the opportunity to build a communication platform, organize and conduct exhibition projects together at the official level, initiate research and creative projects related to women's self-realization and the problems that face it. According to the chairman of the association, Kung Tzu, the goal of the organization is to help women artists from all over China create spaces to demonstrate their achievements and improve, develop ties and exchanges with women artists from different countries in the field of culture and art ^[13].

In modern China, there are a significant number of public non-profit associations of artists with an official status. So, in addition to those mentioned above, there is also the Association of Celebrities of Chinese Painting and Calligraphy, the Association of Calligraphy and Painting of the Elderly, the Overseas Association of Chinese Artists, the Hong Kong Association of Chinese Artists, etc. Literally in every niche occupied by representatives of creative professions, there are certain associations that have quite an official status. The existence of such organizations, their recognition by the authorities, testifies both to the rich art life, which is becoming more complicated day by day, and to the fact that the relationship of contemporary artists with society in China is not fully regulated. For this reason, the art community is in dire need of some kind of intermediaries who would represent the interests of artists in relation to colleagues, the state, the art world outside the country, etc. They also act as spaces for communication and exchange of ideas, experience, and learning, which in other conditions would be difficult for masters living in different provinces of China, often difficult to access, as well as those who work abroad.

In China, in addition to official associations operating from positions approved by the authorities, there are also independent art groups that do not have an official status. Their history began in the 1970s, when a number of authors, in particular Zhao Wenliang, Yang Yushu, Shi Zhenyu and other young artists who advocated the creation of "art for art's sake", and not to support a political course, began to unite in groups such as the "Wu Ming Painting Group", "School Yuuantan Painting", "Star Painting Group", "Unknown Painting Group", etc. They also began to exhibit their works first in private galleries, mainly created by owners from the West, and then at exhibitions of contemporary art in art museums of various levels. Artists refused state support, experimented with traditions, enriching their artistic language with new forms, techniques, materials, including media, installations, videos, preferences, etc. Thus, "Scar Painting", "Rustic Realism", "New Wave", etc. appeared ^{[14, p. 7]}. However, the activities of these communities were not of an aggressive provocative nature, but focused on experiments with the art form within the framework of the modernist line in Chinese art. In fact, such groups were founded in order to generate the autonomy of the artistic process. At the first stages, they had no platforms for positioning their creativity, since the system of galleries and museums "worked" for official art, familiar to the masses. In addition, even after the exhibition of contemporary art at the National Art Museum of China in 1989, many exhibitions of such art continued to be sharply criticized. Later, these associations, even after becoming in demand, disintegrated, and the masters were realized by joining official associations, being recognized as "classics", or left their homeland.

At the beginning of the XXI century, representatives of the part of the Chinese art community that advocates the assertion of the autonomy of art, and especially in the light of the rapid rise of the art market, began to focus on creating their own platforms for exhibiting and communication. First of all, galleries, exhibition centers, art spaces and private museums began to be built around foreign collectors and curators, which became the basis for the organization of informal art associations ^{[15, p. 89]}. The authors participating in them no longer sought to find recognition in official institutions, including in associations of artists supported by the authorities. Such galleries carefully select the circle of their authors, help them, paying special attention to the quality of exhibition materials. If earlier art groups specialized in installations, video art, and all kinds of art objects, now they create exhibitions that show works related to classical genres and types of art. Art galleries in Shanghai and Beijing, as well as some other cities in China, are implementing programs to support young artists, providing them with institutional assistance to preserve their creative independence. For example, the Rockbound Gallery in Shanghai organizes a competition for the Hugo Boss Asia Art Award, OCAT Shanghai and the Pierre Hubert Award in the field of video art, and PSA implements a training program for young curators.

So, in the art world of China, there are official associations associated with state structures that allow regulating the relations of loyal authors with the authorities, society, colleagues, and foreign institutions in the field of art. There are also unofficial art groups inside the country, which more closely resemble "circles of communication" between authors. They accumulate around galleries, exhibition grounds, art centers, and their members are connected by common views on art, as well as the desire to preserve their independence. Since such associations are not formal organizations, it has no leadership, defined goals, rules, a well-structured model of behavior of participants and the boundaries of their demarcation with those who are not considered such. Often they are connected by informal ties with public associations and even conscientiously participate in projects, organize them. In addition to artists, such communities include curators and art critics who help artists enter the art market.

Similar processes are taking place in the artistic life of modern Russia. An example of this is the fact that since the end of the XX century, associations of artists began to be created, alternative to the activities of the Union of Artists. At the beginning of the XXI century, such communities either acquire an official status, becoming major regulators of processes in the art world of a particular city, or remain at the level of the circle of authors, which exists until such time as joint exhibition activities and sale of works are possible, it is necessary to position their vision in the cultural space of the city. Unlike in China, where informal groups mostly line up around art galleries, in Russia they are formed around workshops and creative teams, in a circle of acquaintances, fellow students, teachers of art universities.

In Russia and China, large official associations are distinguished by polyfunctionality in terms of the composition of participants and areas of activity, while young informal groups are, as a rule, circles of authors who are close in creative interests. The latter are created and function in those creative environments where there is a need for their activities. Moreover, their appearance has a rapid impact on the degree of saturation and meaningful life of the regions, while the influence of official unions is designed for long-term effects and is focused on interaction with various institutions. Both of them help artists in both countries to convey their images to the viewer. The former prefer classical forms, while the latter seek to show their understanding of contemporary art, including rethinking and interpreting the trends that exist in the global art process.