Site 10, August, 18-22 ¨Xichang Satellite Launcher Station,
Daliangshan Mountain, Sichuan Province

August 18
Clear
Liu Chengying arrived in Xichang just after 05:00 in the morning. Lu Jie and company arrived at 07:00. Zhan Wang and Qiu Zhijie moved toward the hotel, where they had a rendezvous with the rest of the marchers. At lunch, they met Yang Jie. They called a woman known as Ah Ji, whom people said was the leader of the Yi people in this part of Sichuan. Without her, they said one could get nothing done. Everyone dreamed of uniting with the Yi people in the style of original Long Marcher Liu Bocheng, but this woman still hadn't turned on her cell phone.

They called an art world friend introduced by painter Zhou Chunya, Ah Ge, looking to meet up. Ah Ge was very busy, just then installing the gate of the Nationalities Garden at nearby Daliang Mountain. They arranged to meet at noon, but the meeting was pushed back to two, and then four. At 16:30, they finally met Ah Ge at the gate of the Nationalities Garden, an ambitious and striking Yi youth, quiet by disposition. After hearing the Long Marchers out, he never offered to help or welcome the group, but just took out his cell phone and called the secretary of the Xichang Artists' Association. He had gone to Chongqing and would not return for a few days. The idea that he would help the Long March resolve its problems regarding exhibition venues had not seemed difficult before, but was now beginning to seem troublesome.

At the train station, Lu Jie met a man who worked at the Xichang Satellite Launch Station, and came to understand the predicament of some of the amateur painters who worked there. Still, they couldn't find the key leaders necessary for approval. He then called the station's propaganda department and arranged to meet the next morning.

The first day in Xichang, it seemed as if nothing was under control. Lisa's computer broke again. Qiu Zhijie tried to fix her computer all night, and Lisa and Lu Jie worked through the night as well. Yang Jie took care of treating everyone's illnesses. Jeff had caught a cold, Yao Ruizhong's stomach was upset, and Qiu Zhijie's teeth were aching. Yang Jie made sure that everyone paused in their work to take medicine every few hours.

Thinking of the difficulty of the projects that were to be completed the next day, the curators felt unprecedented pressure. The artists felt this pressure too, and without speaking it aloud, they felt the curators responsible for implementing their works, which made the atmosphere ever tenser. Lu Jie said to Zhan Wang in the elevator, "Your sculptures have left Beijing, and they're not going back." He wasn't lying, but still at dinner that night, no one had an appetite.

August 19
Clear
At breakfast, they saw some art-world friends who had come from Shanghai especially to check out the Long March. A French girl Wang Qile spouted out a few sentences, and then the soldiers took to two separate roads. Lu Jie and Zhan Wang, with the camera crew, made their initial assault on the satellite station, as Qiu Zhijie went to visit the director of the town Cultural Institute and the head of the Artists' Association to discuss the feasibility of Zhan Wang's proposal. Both were very difficult tasks. When they met for lunch, both Lu Jie and Qiu Zhijie had good news to share.

Lu Jie and Zhan Wang with camera crew had gone to the satellite station, which was stern and cold. Surveillance cameras were everywhere. Just as the camera crew began filming, the soldiers guarding the complex rushed out to stop them, inspecting their equipment, so the entire process was not filmed. (Two cameramen, Li Li and Xiaomin had shaved heads, which made them appear questionable.) But such techniques cannot scare off the truly confident, and just as they began to feel hopeless, Lu Jie moved the sentries with his description of the Long March, finally gaining access for himself, Zhan Wang, and Zhan Wang's assistant Xiao Zou.
They met with the deputy director of the propaganda department for the satellite station, whose answer was a resolute insistence that "there's no way you can shoot in here." The Long Marchers completely understood. Lu Jie explained that they had come to exchange ideas about the interactive relationship between culture and technology with the artists of the station, to call on their artistic colleagues, to discuss the feasibility and significance of completing works of art. Continuing on, he introduced Zhan Wang's proposal, entitled New Plan to Fill the Sky.

Zhan Wang had brought along a complete set of news reports about his past works, including his stainless steel rocks, his stones made to float on the high seas. As soon as anyone asked him about the past, Zhan Wang patiently explained his earlier artistic thinking and ideas about his works, the connection he hoped they would bear to society, his wishes as to their public nature. Lu Jie changed his perspective and talked with his interlocutor about his understanding of the aeronautic profession: aeronautics was once built on mankind's curiosity about the world beyond, which drove people to explore. This sort of curiosity is quite similar to the artist's diligence in exploring the human soul; both come from a curiosity about the world unknown, and both require imagination. Aeronautics is a profession once replete with spirituality; it should not sink into a purely technological enterprise. Furthermore, the aeronautics industry can serve different purposes. It was founded on the hegemonic drives of global superpowers, used to construct military systems, and used to steal economic resources, but the result has been perhaps a wasting and damaging of resources. Could we not develop aeronautics peacefully? Could the space industry not serve to bring people together with each other, with nature? Could it not be used to resolve contradictions between nations and among ethnic groups, to push the world toward equality? Peacefully using outer space: this is another goal of Zhan Wang's New Plan to Fill the Sky.

The assistant department chief began to hesitate, and called Department Chief Li, head of the propaganda department. Lu Jie and Department Chief Li discussed the meaning of Zhan Wang's work, the peacemaking, constructive, and environmentally friendly aspects of the Chinese aerospace industry, and even the economic benefits the industry brings to the Chinese people. It is responsible for one-fifth of the world's population, and responsible for the survival and development of the entire world! The relationship between individual and society is similar: to fix oneself is also a contribution to society. Coincidentally, Long March artists have been attuned to this question of individual and society from the very outset, maintaining all along that creativity is to be cherished. Zhan Wang added by sharing his understanding of the Chinese idiom about the man haunted by a fear that the sky would fall, an idiom that ultimately means to "meet troubles halfway."

Department Chief Li suddenly became very interested in these new interpretations, and began to discuss his own understanding of the aerospace industry, giving the visitors a lesson in aerospace history.
Taking advantage of a good atmosphere, Lu Jie asked whether the satellite launching station had amateur painters, and if so, could he talk to them.

One round of conversation later, the form of the discussion had changed utterly. Department Chief Li stated that mentally, he could completely understand the originality and intention of Zhan Wang's work, that he appreciated the artist's bold imagination. Objectively speaking, he completely supported the proposal. "At present, our country is still not affluent, and such expensive technology as satellite launching must still be used only for economic development. Once we have achieved affluence, we may begin to use aeronautic technology to fulfill the deeper needs of man," he said. "In a satellite, every kilogram of weight, every centimeter of space is extremely valuable, each is used to place important equipment. To deliver a fake meteorite into space is actually a very expensive proposition."
Zhan Wang finally conceded: he would donate this fake meteorite to the satellite station, letting them wait until conditions were sufficient to launch it into space.

The two propaganda department chiefs agreed to look into this, saying they must first ask headquarters for approval.
Things were hopeful once more at the satellite station. Lu Jie breathed a sigh of discursive relief: In terms of debate and exchange, the Long March had already prevailed at Xichang.

Qiu Zhijie had met at eight that morning with the director of the on-site museum and vice-chairman of the artists' association Cao Hui. Together they visited Zhu Diquan, chairman of the artists' association. The museum was in the midst of renovation, and Chairman Zhu was crowded in a six or seven square meter studio in an old building, doing his landscape paintings. In a larger studio of around fifteen square meters, five or six students were drawing from plaster models. This led Qiu Zhijie to think of the poor careers of his high school art teachers, and he was filled with respect for Zhu. The two began to speak of the difficulties of supporting art education in such a small locality. Shortly thereafter, Ah Ge arrived, he and Cao Hui both former students of Chairman Zhu.
The topic of conversation slowly turned into the Long March project. But by this point everyone present already knew about the exhibition, thinking now over the tough question of where to hold a Long March exhibition. "Let's just have it in the museum," Zhu suggested, "we'll have them move the cultural artifacts for a moment, and empty out the cases and shelves inside." He continued, "I just have to see if that's OK." He muttered to himself about how to convene a conference of the artists' association, how to invite the leaders of the local propaganda department.

Ah Ge and Cao Hui at once accompanied Qiu Zhijie to visit the museum building. It was in the original gate of Xichang's former city walls. Immediately upon seeing it, Qiu Zhijie wanted to turn it into an exhibition space, it was simply too beautiful. He quickly calculated how to best use the space, and arranged with the management to return that afternoon and begin installation on the exhibition.
Everything today had been going perfectly, and at lunch the ranks were quite happy. Everyone took the medicines that Yang Jie provided, and their illnesses quickly vanished. That afternoon, Lu Jie and Lisa worked on their computers, Qiu Zhijie and Yang Jie went to work on installing the exhibition, and Zhan Wang felt good and went to tour the natural environs.

After hanging the paintings, they found a piece of red cloth in the conference room that could be made into a banner, and sent Yang Jie to the streets looking for a store that could computer-print the banner. She returned with a banner bearing "Mind and Matter: Contemporary Art Exhibition and Conference" which was hung from the battlements of the city gate. Everyone descended the stairs, went out the door, and looked up at the banner hanging from the simple, majestic gate. They felt confident that the bright characters would attract participants from the street to visit the exhibition, and everyone was satisfied.

At nightfall, Wang Qile hurried away to catch the night train after a meal of hot-pot. She had stayed only a day and seen the Long March only in its preparatory mode. She did not see any formal events in Xichang, but still she was happy and felt her journey worthwhile, saying that without coming to the scene, she never would have understood the Long March. This line actually startled Lu Jie, who thought back and realized that the Long March's triplicate function as "manifesto, seeding-machine, and propaganda team" (as per Mao's famous quote) was now out of balance.

August 20
Clear
That morning, while visiting the satellite base, this time enjoying VIP treatment, a group of people entered, holding cameras and full of confidence. Zhan Wang carried his large bag.
The station arranged for two amateur calligraphers to meet with the Long March delegation. The meeting was set for the first floor of the exhibition center, in a room full of pool and ping-pong tables that doubled as a conference center. Zhan Wang and the Long Marchers sat side by side and began talking.

Song Jundou is a classic army painter. His work generally fuses traditional landscape painting and military subject matter. Department Chief Li explained his nickname, "Grape" Song, because he had studied in Chengdu under a master painter most famous for his images of grapes. When they asked to see his work, he answered that these were only to give away to people. What he meant by this was that he wasn't diligent in the grape-painting art. What he personally believed to be important was thematic painting. In one landscape painting, he would paint a cliff in many layers, imposing and unsophisticated. The bottom right corner of the scroll he left blank, and a truck hauled a Long March rocket across the center of the scroll. His works had won prizes in PLA art exhibitions, and the Long Marchers grew quite interested in works that fused traditional techniques with military subject matter.

Old Man Song told everyone about the earliest instance of the Long March rocket launcher appearing in art, it was during the Cultural Revolution in a print made by a group of people, which proved that even during that perilous time, rocket science research never stopped, but was praised by the art of the period. Evidently Deng Xiaoping's slogan "Development is the only Hard Reason" was even then on people's minds, if not their lips. Army calligrapher Liu was most interested in how calligraphy might integrate with modern life.
Zhan Wang opened his large bag, and the stainless steel rocks shone brightly before all. It was much easier to interact with these army artists than with the bureaucrats. As they talked, the chief of the propaganda department entered, bearing good news: the leaders of the base had agreed to Zhan Wang's plan, they would accept his gift of a sculpture, and they would include it in a room of the soon-to-open museum entitled "Spaceflight View" (this is a pun, as the Chinese for "view" is the same two characters as the artist's name), along with a written explanation of his plan. The donation ceremony was set for 3:00 that afternoon. The commander of the base would be unable to attend, but Chairman Zhang of the political department was named to represent him. Zhan Wang was thrilled. "When the Party Secretary comes to visit," he exclaimed, "you must take him to see this rock!"

At three that afternoon, in the upstairs display room among all sizes of models of the Long March rocket launcher, the donation ceremony for New Plan to Fill the Sky began. Lu Jie read an explanation of the project, and Zhan Wang himself removed a sheet of dark red cloth from the meteorite. Chairman Zhang spoke on behalf of the base, expressing support and thanks for the Long March project and the creative work of Zhan Wang. Zhan Wang also presented a limited-edition silkscreen print that showed the meteorite being shot into outer space.

The propaganda department chief told everyone, because some of the materials on display on the walls of the exhibition hall were secret, this was the first time it had been opened to contemporary art. Unexpectedly, Chairman Zhang presented Zhan Wang with a formal certificate of collection, and affixed the official seal of the Xichang Satellite Launch Center. Zhang also gave him a set of commemorative coins and CDs. Zhan Wang was visibly excited, and the two curators were envious. One after another, they said, "Artists are so cool! Why can't I be an artist?"

A group of people came diligently from the station. It was a beautiful moment. From here to the time when the meteorite would actually be launched back into space was still a Long March, but there had at least been a beginning.

Returning to the hotel, the group didn't even pause before boarding the bus, immediately moving sixty kilometers to the satellite launch station. The idea was to realize Liu Chengying's kite work before dark. Seeing Zhan Wang so accomplished, Liu Chengying had no way to restrain himself.

At 18:00 they reached the satellite launch site, where a massive launching pad stood upright on a distant mountain ridge. They tested the wind in several different locations, and then decided to realize the work on a wide riverbank.

Liu Chengying had refined his kite plan long before; he would use string, sticks of bamboo, and silk that he had prepared earlier. He worked to assemble these quickly, and in a short while, a kite inscribed Thought Must Be Liberated appeared before everyone's eyes.

Making a kite is easy; flying a kite depends on the sky. The day's wind was insufficient, and after trying a few times, the kite fell from the sky. Liu Chengying immediately adjusted the kite's structure and center of gravity, as everyone gathered around to tease him. "It looks like thought can't be liberated," they joked.

The kite finally wobbled into the sky, and the seven characters for "Thought Must Be Liberated" floated through the interminable vastness of the twilight, the satellite launching pad hovering in the background. Romantic and poetic, it called up many more historical memories.

August 21
Clear
Army painter Song Jundou also participated in the conference held along with the exhibition Spirit and Material at the Datong Building. At 9:30, the directors and members of the Xichang Artists' Association were already seated around the conference table.
This meeting site was also an exhibition hall, and on one wall had been posted ink paintings by Wang Jinsong and others. These used the traditional conventions of literati painting to render worthwhile phenomena from everyday life. On another wall were sketches for Cloning the Long March by Shu Congrong and Ma Limei, a couple of Chinese scientists studying biological engineering in Columbia. This work raised constructive doubts about the line between science and art.

In another exhibition hall, two sets of materials were on display: one was reproductions of the different currencies used in the Chinese Soviets of the 20s and 30s; this showed the importance of basic needs, even during the revolution.

The second included images of works by contemporary artists that involve currency, for example Wang Qiang's World Currency series and Sun Ping's Stocks series. These works reveal the profound impact of economic life on contemporary visual culture. At the conference, Zhan Wang first showed an animated film about his New Plan to Fill the Sky, and introduced to the artists' association his previous two days of work. He continued to introduce his own works and those of Song Jundou. Although they were both painters, and both in Xichang, because of differences imposed by the system, they had no way to get connected.
The curators introduced the ideas behind the several works on display at the Datong Building. Lu Jie stood in front of a large printed image of the Long March Gene by Yu Congrong and Ma Limei, explaining in detail the process and results of their research. This work uses a strict scientific method illustrated by scientific drawings to analyze how the Red Army's victory over the Nationalist Army might be a result of genetic predisposition. The scientists created this pseudo-scientific work under an alias. The work's display method and way of thinking is similar to the currently popular ironic artistic style. The question of whether the work represents fake science or fake art is food for thought-just like the question of the relationship between the Long March and art. The painters entered into an intense debate in their thick dialect. Their question was at what level of economic development such lofty and conceptual creation might become a realistic option. They were quite interested in the prices of Zhan Wang's sculptures.

That afternoon at a Yi restaurant, the artists' association invited the Long Marchers to eat lunch. Drinking plum wine, the secretary general gave some signs of intoxication, saying that the annual budget for the association was only RMB 500 (US 72), so that meals like this one were actually paid for from a fund supported privately by the members. The members, in turn, used hard and soft tactics to solicit artists' association funds from their various work units. In this way, they could support the association. The artists here had virtually no opportunity to sell their works, and Xichang's "satellite travel" plans had yet to get off the ground, leaving them without even the opportunity to sell a few little ethnic trinkets to make money. Everyone found their own way to keep on going, using the artists' association as a place to keep their dreams of becoming painters alive. Artists' association chairman Zhu Diquan had been the teacher of nearly everyone present. He said: "We're still painting because we must paint; we like it too much."

That afternoon, the Xichang Satellite Launching Station committee sent Song Jundou to accompany the Marchers, along with a car that would take them and Zhan Wang into the base for a private tour. The artists' association painters heard that the Long March was getting special privileges, and several members moved ahead with the car to see what was up.
The group visited the control station, the launching pad, and the Long March Rocket Launcher. Yao Ruizhong took the opportunity to continue his work Turning the World Upside Down.
Zhan Wang left for Beijing at 19:00; Liu Chengying had left at midnight the night before.

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