Imagination meets destruction

The artists form a defensive wall with their bodies in front of a studio slated for demolition.

They wrap themselves in quilts to seal out the bitter winter winds as they stand in formation, ready to protect their turf.

The scene is part of the performance Resolution in 008 Art Zone. The area is the second stop of the Warm Winter project, a touring art exchange among 20 of Beijing's art zones. It's intended to unite artists in the battle against unjust forced demolitions and encourage them to stand up for their lawful rights.

More than 10 art zones in Chaoyang district have received eviction notices from property developers since last August. These include Dongying, Zhengyang Creative, 008, Xiedaoxi, Beigao and Suojiacun. The demolitions impact more than 1,000 artists in the capital.

Without presenting official documentation or providing compensation, developers have harassed and threatened artists. They have cut off water and electricity to the art zones, and forcefully demolished the studios.

Zhengyang and 008 were mostly leveled within a week after the eviction notices' issuances.

Liu Yi, an early settler in 008 Art Zone, is one of the few "nail residents" refusing to budge.

His studio, which stands out among the rubble by virtue of still standing at all, has become the zone's main showroom for Warm Winter.

While the building's first floor is full of placards and artworks, the second level is nearly vacant. His packed-up books are heaped on the floor.

"I haven't yet made any plans for the future," the modern ink painter and furniture designer says.

The 46-year-old, who signed a 30-year contract with 008 Art Zone's developer, smiles bitterly. "I thought I could spend my rest of life here," he says.

Since the Yuanmingyuan Artist Village was cleared in the early 1990s, it has become common for artists to often be forced to relocate.

Engraving and installation artist Li Qiang, who came to Beijing in 2008, has moved from 008 to Xiedaoxi and then to Huantie Art Zone in less than two years.

"I've practically become a professional studio decorator," the 44-year-old jokes.

Li started paying attention to China's urbanization in 1999. He monitored not only the development of rural villages but also of those within metropolises.

Since last year, he's made it the focus of a performance art project. Li uses water drills filled with red liquid to blast holes into ruins and demolition sites.

"The water looks like blood dripping out of the holes," he says.

He recently staged a performance in 008 as part of Warm Winter.

"Resident artists' studios are extensions of their lives," Li says. "Walls also bleed and feel pain when they're hurt."

Demolitions have forced Han Bing, a Jiangsu artist who has lived in Beijing for 12 years, to move among six art zones. He first set up shop in Xibajianfang before moving to Songzhuang, Binghexiaoqu, 798, Cuigezhuang and then Heiqiao.

"Demolitions are the main reason," Han says. "Poor management and environments bothered me, too."

The 36-year-old, who has been in Heiqiao Art Zone since 2007, spent more than 100,000 yuan ($14,600) to open his second studio there.

Han hasn't received an eviction notice yet, but the authorities have measured the property, he says.

"It's routine for artists to start up, move out, start over and move out again," Han says.

There are two questions Han constantly asks himself after living in the capital for more than a decade: "Where is tomorrow? And where is home?"

The Warm Winter project's main initiator Zhang Wei, who stayed in 798 for 10 years and moved to Zhengyang two years ago, says it's getting tougher to concentrate on creating art.

Artists from various zones are wielding legal weapons. Many are suing their developers for wrongful demolitions.

"We support the government's policy," Zhang says. "But we also need reasonable compensation and relocation assistance to maintain normal lives."

He said he hopes the government would recognize artists' value and designate centralized art zones. These could exist on different price tiers to accommodate the wealth gap between emerging and established artists.

"Let the rich buy, and the poor can rent," Zhang says.

Warm Winter cofounder Xiao Ge believes artists' advantage is their powers of expression.

"Art is our tool for speaking out."