Watch out: China might become the next Japan

Political activism in the arts can prevent China becoming a 'Japanese' materialist society

Ai Weiwei: wants China to follow its own destiny - not a globalized/Japanese path.

Ai Weiwei has made a big splash in both artistic and political circles in the UK recently, following his Sunflower Seed exhibition at the Tate Modern. His significance has been further accentuated by the British government's 'trade mission' to China, where the issue of human rights was believed to have been raised. There is no doubt that the British are lagging behind in terms of trade partnerships with China - Germany for one has become a valuable partner for the Chinese both in terms of investment, exports, innovation and knowledge. But this masks the political and human concerns which have been expressed by many in the British media and also by  the likes of Ai and the Swedish Academy.

Liu Xiabo - Nobel Peace Prize Winner: probably does not know that the UK trades more with the Republic of Ireland than all of the BRIC countries put together.

 China's relations with the outside world is predominantly looked at from a political economy point of view, and the effect of modernisation on China's society, and in essence its psyche, has been frequently overlooked. The debate has been particularly skewed by the US v China contest which leaves the intellectuals in the humanities - especially in Europe - grasping at straws. Aside from currency rates, trade deficits and globalised capital, one must look further into where China is heading socially.

The Sunflower Seeds exhibition has an overtly political message.

This is where artists such as Ai Weiwei become significant in his standing as a social critic for China. It has been argued that the next stage for China's economic development is domestic consumption - but what will that mean for Chinese society - we are not talking about Porsche's sales revenue being propped up in China despite disappointing sales in the rest of the world.

For neighbouring Japan, Ai Weiwei's political message seems explicit, harsh, rude and somewhat anachronistic. But despite the differences in their recent histories, it is evident that China will follow Japan's footsteps towards a materialistic, consumerist society. A shallow one where Deng Xiaoping's words will ring true: 'to become rich is glorious'.

The Tiananmen Square 'Incident' in 1989 is now just a small blip with regards to the overarching upwards curve of China's progress to a world superpower. It seems nothing has been learnt about their cries of Science and Democracy - however excessively 'Westernized' those views were. These values matter now because Ai and Liu Xiabo recognise that the Chinese population are sliding into becoming a mass of 'docile bodies' - entranced by a materialist lifestyle; unable to escape the shallow life which accompanies the hoarding/ownership of things.

This is why I have some reservation about the works of the celebrated Japanese artist, Takashi Murakami. There is some validity in his reaction against the traditional styles of Japanese art which are still celebrated by the West - the Kuniyoshis and Hokusais of this world; but he is embracing the strange and wonderful that is the product of Japan's docile-ness. The otaku culture which he explores is a cultural phenomenon unique to Japan, but despite its sense of playfulness, it illustrates the shallow, closed nature of Japanese society.

Now that's what I call juxtaposition: Japanese pop art inside the symbol of the French establishment

Murakami's current exhibition in the Versailles Palace, France, is certainly provocative - the conservative strand of the French artistic establishment are certainly not happy - but perhaps this reflects the French perception of Japanese culture as embodying an esoteric civility. Furthermore, Murakami's close links with fashion and the marketing of his 'brand' is one which reflects the modern world, rather than commentating on it.

Consumerism is fast becoming king for the affluent Chinese. Is this a sign of an emerging society which is ultimately shallow and vacuous?

Of course the political instability in the China of today can be contrasted with that of the Japan's relatively peaceful, post-WWII rise shepherded by the US, but the political and social commentary of many Chinese avant-garde artists should not be lost. Progress and prosperity in the material sense should be no excuse for activism and critique to be wholly replaced by reflection and humour.

If China wants to develop its national identity distinct from the current Japanese one, it must recognise the value of its rich cultural heritage and encourage its arts to evolve freely. Germany has the Goethe Institute but also has the modern dynamism of cities such as Berlin. China has the Confucius Institute but no shining beacon of modern art  which is celebrated by the wider population - just the 'commercialised' 798 art district in Beijing and Monganshan Road in Shanghai. It is clear that the recent astronomical sales of Qi Baishi's works do not bode well for the future development of modern Chinese art.* Thus Ai Weiwei and others like him feel a sense of responsibility to preserve and develop the Chinese psyche by engaging with the population at a higher philosophical level. This needs to be further encouraged.

The one-dimensional economic perspective of China in the West is too pervasive and not exactly helpful.

We should look beyond the stark economic figures when assessing a nation's progress. Even India - another one of the BRICS - is embracing modern art (as seen at the Saatchi Gallery earlier this year). Most of the exhibiting artists did have a socio-political message - which sometimes too explicit - showed a concern for the effects of rapid economic development in other human spheres.

The art world, let alone the world in general, does not need a Chinese version of Murakami in the future. Not only would this reflect the glory of the global market in all its manifestations, but it would be rather uninteresting too.

* Qi Baishi was third last year in terms of worldwide sales behind Warhol and Picasso.

See relevant links:
BBC: Cult of Less
Takashi Murakami at the Palace of Versailles
Saatchi Gallery: The Empire Strikes Back - Indian Art Today
798 Art District in Beijing
BBC iPlayer (for UK only): Imagine - documentary on Ai Weiwei
Telegraph: Obscure Chinese painter Qi Baishi is third top earning artist