Lei Feng - culturally appropriate

Artist development classes always suggest that besides a resume and a bio an artist should have what is called an “elevator pitch” - a prepared 30 second description of your artistic practice. My pitch (even though no one has ever asked what I do whilst in an elevator) states in part that my work revolves around deconstructing cultural narratives. In China, that narrative has involved Lei Feng, hero of the Cultural Revolution.

Lei Feng (1940-1962) posthumously became the poster boy for the Chinese Communist Party when in 1963 Mao declared that all should learn from Comrade Lei Feng. His diary was published, photos of him performing good deeds appeared (complete with harsh stage lighting) and school children sang songs about him. He was the perfect Hero minted for turbulent times. He was an orphan, available for every mother to desire and protect as her own. His cupid's bow lips made every schoolgirl swoon, his work as a mechanic driving a truck in the People's Liberation Army was the envy of every schoolboy. He had the rare combination of both compassion and political fervor. He extolled the virtues of Mao and the Communist Party and he darned his comrade's socks and helped old ladies in the rain. Like all good Heroes, he died young before the cynicism of old age set in – although his death was a bit unusual... He was directing a truck to back up which hit a telephone pole that fell upon his  head and killed him. 

"I Want To Be A Rustless Screw"  (Lei Feng diary entry) 
Christopher Pelley  temporary installation  Beijing

One of the earliest images of China I remember was back in the late 60's, early 70's, when China was always referred to as Red China. It was a photo in the local newspaper of a low brick building covered with sheets of paper with large Chinese characters written on them. This was the height of the terror that was the Cultural Revolution and these were public denunciations. Memories of that grainy newspaper image stirred when I ended up in a village outside of Beijing in 2014 seeing buildings of a style reminiscent of that old photo. So began the journey connecting my youthful impressions of Red China with the modern country existing within the not-to-be-mentioned long shadow of the cultural revolution. Lei Feng became the protagonist, the vehicle to unravel what I saw.

The image and message of the good deeds and fealty of Lei Feng has been revived by the Communist Party leadership may times over the intervening half century. The public views the little soldier either negatively as a top down heavy handed production of the propaganda machine or he is embraced in the enduring allure of the hero myth. I appropriated not only his image but also the propaganda tropes and used culturally significant materials to navigate my Chinese experience.

      

advert for exhibition at 東西projects       

In an old building in Shangyuan Village, Beijing I opened 東西projects, a curatorial projects space where I freely referenced the imagery of the Cultural Revolution

東西projects space, Beijing

Christopher Pelley  "Lei Feng Coal Dust"

Christopher Pelley  "Chinese Characteristics #3"

oil/canvas, string

Christopher Pelley  "Red Star w/ Rice Sparrow"

spent fire cracker papers, rice

As I write this blog post I am in Rome, surrounded by the debris that informed my Catholic youth. Everywhere is the imagery of hands pointing accusingly up to heaven or down to hell. The martyrs, whose lives were snuffed out by the most brutal of means – burnings, beheadings, fed to wild beasts – are portrayed in graphic detail on ceilings and walls at every turn. As a boy I would have much preferred dreaming of a young man, not much older than myself, working on motors and driving trucks than contemplating the psycho-sadistic terrors brought upon the christian faithful. But that, dear reader, is another narrative to be deconstructed.

Learning from Lei Feng

Lei Feng (1940-1962) was a soldier in the Peoples Liberation Army, who, post-mortem, was singled out and promoted as a role model by no less than Mao Zedong himself.  His near mythic acts of selflessness (he darned his comrades' socks!  he sewed quilts for others!  he hauled heavy loads of manure!) earned him a feast day on the Chinese calendar.   March 5 is now known as Learn From Lei Feng Day.  The 5 months I was in Beijing, I learned that just about every one has a strong feeling about Lei Feng.  He is seen as either the uncomplaining young man who helped old ladies cross the street, or as a propaganda tool minted for the darkest times of recent Chinese history - the Cultural Revolution.  His cult has been revived in part to combat the excessive selfishness that has emerged with the get rich at any cost mentality.  Like any myth or legend, I believe he falls somewhere in between.

And like any myth or legend, there is an accumulation of imagery that is available to explore.  Inexplicably there are photos of Lei Feng worthy of a Hollywood studio.  High wattage light drenching the scene with hard cast shadows replaced earlier, humbler depictions of his actions.  But it is his cherubic face with his eyes gazing straight out that I zeroed in on.

The China of Lei Feng has changed beyond recognition; the analog has been superseded by the digital.  Thrift is ignored as consumerism is encouraged.  In the village of Shangyuan, about 30km  north of Beijing, I installed a hand painted lo-rez image of Lei Feng.  Each 'pixel' is a 4cm x 4cm square of painted paper. Confusing up close, Lei Feng is only seen from a distance.

Christopher Pelley,  Lei Feng From a Distance   2014

Everything is made in China and in quantities beyond comprehension, feeding the world's appetite for cheap goods and the domestic consumption of 1.4 billion people.  Who mends  a pair of socks today? This lo-rez image of Lei Feng was made from over 600 pairs.

Christopher Pelley,  He Darned His Comrades' Socks   2014

The propaganda department during the years of the Cultural Revolution wove the narrative of this fine young soldier's devotion to the welfare of others with his devotion to the words of Mao.  It was these years that saw the Great Leap Forward result in the deaths of millions of peasants as their farm implements were melted to satisfy iron production quotas set by the central government.  I began painting the image of Lei Feng on shovels.  When asked by a visiting guest if these works were political, I could only reply that all works and all decisions are in some way political.....

Christopher Pelley,  Shoveling Dung  2014

Every good hero dies at the end of the story.  Lei Feng was killed at age 22 when, while directing a fellow soldier backing up a truck, a telephone pole was struck and fell on our comrade.