The Future of Art Issue

March/April, 2022

In this issue, we take a deep dive into China’s contemporary art scenes, from “trend art” and NFTs to middle class collectors and art’s role in rural revitalization. Elsewhere, we unpack China’s overpackaging problem; talk to social workers struggling to make an impact; investigate the woes of Chinese horror films; and more.

当艺术不再“高冷”，美术馆成了拍照打卡胜地，青年中产爱上“潮流艺术”收藏，NFT艺术崭露头角。都市之外，艺术家用创造力在乡村探索新的可能性。当代艺术正在悄悄进入我们的生活。

Cover Story | 封面故事 

State of the Art

当艺术不再“高冷”

Thirty years ago, most Chinese had never seen an art exhibition, but today, even malls host private art galleries and artists share digital works online. Yet without a museum-going culture, exhibitions struggle to find an audience without pandering to influencers and online trends. Meanwhile, rural villages look to art to boost their cultural prestige, and the art market is adapting to the rise of middle-class buyers and NFTs—all trends that we explore in this cover story on the future of art in China.

Features | 主题故事 

A Social Crisis

做职业社工是怎样一种体验？

Started in the 1980s to tackle problems created by urbanization, the field of social work is set to play a big role in serving China’s aging population. But without autonomy from the government or access to the most marginalized, young social workers wonder if they can make a real difference.

Twilight Love

相亲公园里的寻爱老人们

While young singles bemoan the lack of time and money to find a mate, Beijing’s Changpuhe Park hosts a different group of lonely hearts: retirees who’ve fulfilled their family duties, want company and mutual care in their old age, and hold some surprising views on love and relationships.

Kaleidoscope | 镜像中国 

Walking on Fire

“上刀山下火海”：福建武平独特的民俗绝技

The harvest is a time of thanksgiving all around rural China, but the villagers of Zhongtuan, Fujian province, prefer to show gratitude in a peculiar way: by performing dangerous acrobatics of ancient origins, such as walking barefoot on hot coals and climbing up a ladder of swords, all of which pay tribute to their ancestors’ hardships and leave the performers miraculously unhurt. How do they do it? That’s a secret the villagers will never tell.

Dragon’s Digest | 三味书屋 

The Dark Room Problem

陈楸帆短篇小说《黑屋问题》

One of China’s leading new sci-fi voices, Chen Qiufan is known for writing about social alienation in high-tech versions of the real world. His recent short story “The Dark Room Problem” takes a metaphysical dive into how technology manipulates our consciousness.

Gallery | 水墨丹青

The Art of Influencing

网红画家赵小黎：影响力的艺术

Hurling oil paint onto canvas with not a hair out of place, Zhao Xiaoli has amassed millions of online followers with short videos of her violent creative process. We sit down for a frank chat with the 1990-born artist-influencer who started a firestorm in the industry about the definition of art.

Saving China | 美丽中国

Package Deal

过度包装，瘦身不易

Fruits in individual bags. Meters of bubble wrap for one roll of correction tape. Overpackaging is a persistent annoyance in China’s growing consumer economy, creating a trash crisis that’s only been made worse by e-commerce. We unpack the reasons behind China’s love of packaging, and the possible solutions.

On the Road | 在路上 

Where Empires Meet

大连旅顺游：不只是打卡景点

Formerly a seaport contested by three empires, Lüshunkou is now a district of Dalian boasting century-old colonial architecture. But as the photogenic buildings become staples of travel vlogs, tourists and historians alike confront difficult questions about how to enjoy the beauty of a place with a brutal history.

Bookmark | 好书有笺 

Where Is China’s “Brothers Grimm”?

中国有“格林童话”吗？

Gathered from around the country by a group of folklorists in the early 20th century, the “Lin Lan Fairytales” are a collection of Chinese legends and fables that played a huge role in Chinese children’s literature and culture movements of the time. So why has no one heard of them?

Zoetrope | 视听空间

A Chinese Horror Story

中国特色恐怖片

On rating platforms, China’s top-ranked horror movie dates from 1935, while neighbors like Japan and Korea have become powerhouses in the genre. What’s spooked China’s homegrown horror market, and can it ever make an original, culturally distinct, and truly terrifying film?

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