Let a Thousand Flowers Bloom (Mei Xian Qiu)

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Let A Thousand Flowers Bloom

Let a Thousand Flowers Bloom; 8990

through December 2017

West Hollywood Park, parking structure ground floor

“Let a Thousand Flowers Bloom; 8990,” is one image from a series of photographs by the artist, portraying a Chinese takeover of the United States. The photograph uses familiar symbolism and historical dystopianism, but looks squarely to the future. Never forgetful of the past, this body of work engages the constitution of the future, affirmatively critical, specifically with respect to globalism, the identity of the self and self-views, the social landscape, post-colonialism, and that of the larger national body politic. 

In early 1956 Mao Zedong launched a campaign with a series of speeches to start what was seemingly an attempt for liberalization and intellectual freedom. The title of this artwork is a popular misquotation of a quote firmly associated with Mao, “Let a hundred flowers blossom, let a hundred schools of thought contend.” Taken from classical Chinese poetry, Mao used this slogan to proclaim a great society where arts, academia, and intellectuals were free to debate and flourish. As a result, artists and academics came out of hiding and there was a brief flowering of culture.

As the campaign began to gather pace, intellectuals began to criticize censorship, the Soviet economic model, and human rights abuses. Mao underestimated the amount of criticism and by July 1957 altered the speech to say that intellectual freedom was only valid when it contributed to strengthening communism, sending anyone who contradicted the campaign to labor camps.

In the artist’s photography series, suggestions of hidden political dangers are subsumed to the romance of “the beautiful idea.” The models for the imagery are Pan Asian American artists, and academics specializing in Chinese culture, the very group that would be at risk in the Hundred Flowers Movement. The costumes are discarded U.S. military uniforms, traditional Chinese dresses called cheongsams, and stylized Chinese mock ups taken from a Beijing photography studio, specializing in getups for foreign tourists to re-enact Cultural Revolution Propaganda imagery.

Mei Xian QiuABOUT THE ARTIST: Mei Xian Qiu is a Los Angeles based artist. She was born in the town of Pekalongan, on the island of Java, Indonesia, to third generation Chinese minority family. At birth, she was given various names in preparation for societal collapse and variant potential futures, a Chinese name, an American name and an Indonesian name given by her parents, as well as a Catholic name by the local priest. In the aftermath of the Chinese and Communist genocide, the family emigrated to the United States. She was moved back and forth several times between the two countries during her childhood – her parents’ initial reaction to what they perceived as the amorality of life in the West countered with the uncertainty of life in Java. Partially as a result of a growing sense of restlessness, her father joined the U.S. Air Force and the family lived throughout the country, sometimes staying in one place for just about a month at a time. She has also been based in Europe, China, and Indonesia as an adult. meixianqiu.com

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