02 Dec 22 | China, News and features
Acts of civil disobedience in the recent protests in China have been, unsurprisingly, swiftly suppressed by police. Even before this happened, protesters encoded their message through hidden symbols – tapping into a history of creative protest in China – in order to evade persecution and silencing. Here’s how citizens are currently saying no to being controlled, often by saying nothing at all.
The blank piece of paper has become the most widely recognised symbol of the protests. Many say it first emerged in Hong Kong in 2020, though the use of blank paper in China to highlight censorship stretches far back. Today it is a powerful sign of the government’s limits on free expression that avoids the language associated with protest being censored online. Taking the paper protest one step further, a video of a woman carrying the blank paper while walking through the street with chains around her wrists and duct tape covering her mouth went viral on Twitter.
Sadly online posts about blank pieces of paper are now disappearing on social media.
Other messages with more complex, hidden meanings began to emerge. Students at Tsinghua University in Beijing were pictured holding pieces of paper with the Friedmann equation written on them, a formula that outlines the expansion of the universe and whether it is open (expands forever) or closed (eventually reverses and everything goes back into a Big Crunch). Some have suggested the message is a play on the phrase “free man” while Twitter nerds have said it is more likely an analogy about whether Chinese society is open or closed.
Another protester held up paper with the sign that appears on WeChat – China’s instant messaging and social media app – when a message cannot be delivered, implying that their voices are unheard.
Some demonstrators made a powerful statement against control by doing exactly as they were told. One group chanted sarcastically in support of Xi’s policies, shouting “I want to do a Covid test” and calling for “more lockdowns”.
On Sunday, hundreds of people gathered on the banks of a river in Beijing and sang the national anthem. The song tells the story of China’s fight against foreign invaders and was chosen by the current regime as their Communist anthem. However, the lyrics “rise up!” and “march on!” have a revolutionary message that seemingly reflects the protesters’ ardour in their fight for freedom.
While Twitter is banned in China, many people have been circumventing blocks and posting to the international community using VPNs. As online censorship intensifies in response to the protests, users have employed creative methods to circumvent government technology such as applying filters and taking videos of other videos. The sheer number of posts going out online has also overwhelmed AI censorship by China’s Great Firewall and made it difficult for them to be taken down.
One woman even walked three alpacas down a road in Xinjiang, a reference to a meme that was created in 2009 in response to China’s growing internet censorship. Known as “the grass mud horse”, or cào nǐ mā, the creature – which is similar in appearance to an alpaca – is a homonym for the insult “fuck your mother”.
These individuals have taken great risks with their protests in Xi’s China but social media users have been demonstrating their solidarity with the protesters by posting repeated one word “Moments” on WeChat such as “support support support” and “okay okay okay”.
And Winnie the Pooh, a favourite internet meme in China if people want to dig at Xi, made a fleeting appearance. In this instance looking confusingly at a blank sheet of paper.
Isolated acts of protest over recent months have suggested that the Chinese people are weary of President Xi Jinping’s zero-Covid policy. In October, anti-zero-Covid slogans began to appear on the walls of public bathrooms and in various Chinese cities. Days before President Xi cemented his third term in power, a lone protester hung banners on an overpass in Beijing. They called for an end to zero Covid and Xi’s presidency. The protests have begun to pick up momentum in the past few days, but the likelihood of a change of president or government remains unlikely.
Public protest, while more common than people might assume, comes with huge risks in China, where the CCP has a stranglehold on dissent and freedom of expression. If people want to be seen and heard, protests must be clever and playful. In some instances this means not actually saying anything at all.
01 Dec 22 | China, Hong Kong, Tyrant of the Year 2022
Xi Jinping has excelled with his tyrant credentials this year. Earlier this year, a controversial United Nations‘ report said that “serious human rights violations” have been committed in Xinjiang while Xi’s government is behind moves to repress Uyghurs living in Europe.
Xi has also now started a third term in power, after a 2018 change to the country’s laws to end the previous two-term limit. Tyrants just love to rip up the rule book when it comes to clinging to power.
“My nomination for Tyrant of the Year 2022 goes to the man who somehow made us all feel sorry for Hu Jintao when he snubbed the former Chinese Communist Party leader back in October, a remarkable feat given that Hu isn’t exactly an ally when it comes to human rights and free speech,” says Index on Censorship’s editor-in-chief Jemimah Steinfeld.
Xi’s policies are increasingly being called into question.
“His Zero Covid policy is as barmy as it is draconian. It’s led to the deaths of many who have not been able to get urgent medical treatment, been locked in their apartments when they’ve caught fire, have taken their own lives out of desperation,” says Steinfeld.
The protests against his policy (and indeed his legitimacy) showed a kink in Xi’s armour but he responded in true autocratic style – arrests, arrests and more arrests (plus a raft of other silencing measures).
“The CCP’s unofficial promise to make people’s lives materially better in exchange for fewer political freedoms has been broken,” says Steinfeld. “Unemployment is high and people are miserable and yet his merciless reign shows no signs of getting easier.”
01 Dec 22 | Artistic Freedom, China, News and features, Press Releases
A new report from Index on Censorship published today (Thursday, December 1st) has laid bare the shocking extent to which Chinese Communist Party (CCP) activity is driving a new era of artistic censorship across Europe.
The report – Whom to Serve? How the CCP censors art in Europe – builds on in-depth interviews with more than 40 leading artists, curators, academics and experts from across Europe, and the findings of more than 35 Freedom of Information requests. It paints a worrying picture of the coordinated campaign by the CCP to undermine artistic freedoms.
Key findings include:
- Ruthless CCP techniques to limit the spread of critical art, including diplomatic pressure, direct threats to individuals and the propagation of pro-state art.
- A concerted drive to impose self-censorship on artists working in Europe, including surveillance, interrogations, graffiti and physical attacks.
- Threats made to those with family in China, Hong Kong and Taiwan.
- The spread of CCP soft power from visual arts into fine art, sculpture, graphic art, film, fashion and theatre.
- A murky network of extensive financial and non-financial ties between Chinese companies and state bodies, and European art institutions, the full scale of which is almost impossible to ascertain.
Jemimah Steinfeld, editor-in-chief at Index, said:
“With the kidnapping of a Hong Kong bookseller in Thailand nine years ago, we have long known that the CCP’s police state stretches beyond its own borders. But what this report shows in startling detail is just how far it stretches and how common aggressive tactics are.
“The scale of the CCP’s reach across the arts world is as staggering as its nature is coordinated. This is not a fringe pursuit or some dabbling at the margins – it is a new and growing weapon in China’s arsenal to burnish its image abroad, control how people both view it and discuss it, and to ruthlessly target those who create or curate art they class as dangerous.
“European art galleries and museums are relentlessly targeted by the CCP using a variety of tools. From diplomatic pressure aimed at European artistic institutions to cancel or forcibly change exhibitions, to the championing of a counter-narrative through artistic work that amplifies state propaganda, there is a battle being fought in institutions across Europe.
“With the recent re-entrenchment of Xi Jinping’s leadership and the growth of China as the 2nd largest art market, there are no signs of the CCP stopping.”
The report shows how the CCP targets dissident artists with overt censorship to prevent critical artwork from being made public, and self-censorship to dissuade artists and institutions from taking the risk of criticising both the party and the country. Fear of reprisals against both themselves and their family pushes many artists, even those living in Europe, to avoid sensitive topics.
While large-scale and coordinated, the report shows the CCP’s efforts to be only partially successful. While self-censorship is rife, attempts to pressure European governments to censor artists has largely failed, even in the face of financial hits to both private galleries or museums.
Nik Williams, policy and campaigns officer, Index on Censorship, added:
“With China one of the world’s largest and most rapidly expanding markets for contemporary art, there are also increasing connections between European art institutions and Chinese state linked firms or individuals sympathetic to the CCP.
“The difficulties we faced in tracking and tracing these connections, murky in their nature and opaque in their arrangements, is concerning in itself. We remain fearful of how these relationships could inform how institutions engage with dissident artists or sensitive topics.”
ENDS
NOTES TO EDITORS
- You can read the full report, “Whom to Serve?: How the CCP censors art in Europe”, here
- The report includes exclusive artwork from leading dissident artist, Badiucao, as well as pieces from Lumli Lumlong, Jens Galschiøt and Yang Weidong.
For press and broadcast interview requests, or for further information, please contact:
Luke Holland // [email protected] // +44 7447 008098
01 Dec 22 | Artistic Freedom, China
“If a painting can overthrow a government, then the government must be very fragile”
Since its inception, the Chinese Communist Party (CCP) has sought to exert influence over every component of Chinese society, including the world of art. Art is perceived by the CCP as a tool to legitimise its systems of government, not as an expression of human creativity. This project has taken on global relevance as the CCP has sought to utilise art and culture to counter international criticism on a range of topics including the state’s treatment of Uyghurs and Hong Kong’s independence, and assuage concerns about its growing influence in the world economy and international institutions.
The CCP sees itself as the single arbiter of Chinese culture. By the CCP’s definition, being “Chinese” encapsulates not only Chinese nationals but the entire global diaspora. As a result, even artists living in Europe but originally from mainland China, Tibet, Xinjiang, Hong Kong, Taiwan, and elsewhere can be subject to attempts at censorship if their art does not toe the party line. The tactics used to achieve this goal are diverse: from physical violence and the leveraging of financial ties over European galleries to the threatening of family members. Fear of repercussions for themselves or their families is enough to silence many artists even if they now live in Europe.
The extra-territorial nature of CCP censorship should concern anyone wishing to ensure artistic expression is protected. The perpetual threat of violence against artists and their family members in Europe is a stark reflection of the challenge to freedom of expression that the CCP poses across the world. The ability of the CCP to silence critics and curate conversations about themselves globally is unprecedented.
However, the CCP’s struggle against dissident artists also reflects its weakness. Lumli Lumlong, a Hong Kong painting duo based in the UK, told Index “We really want to expose the cruelty of the CCP. They are fragile, their hearts are made of glass.” While the CCP’s soft power operations in Europe have struggled to influence the artistic landscape in Europe, artists have played a crucial role in raising awareness in Europe of the CCP’s human rights abuses.
To investigate the current state of artistic freedom in Europe, and whether and how the CCP attempts to undermine it, Index on Censorship has submitted over 35 Freedom of Information requests and has conducted interviews with more than 40 artists, curators, academics and experts from 10 European countries. The report demonstrates how art can be used by states to extend the reach of censorship into cities across Europe, while also offering a powerful way for artists to challenge state power.
You can download the report here
