In the context of contemporary art, “visual spectacle” has become a dominant mode of expression, emphasizing instantaneous impact, the occupation of public space, and the breadth of media dissemination. However, as art shifts toward event-driven, media-saturated, and politicized forms, we are forced to re-examine a fundamental question: Is the essence of art still eternal?
In the same period, two artists with very different styles—Cai Guoqiang (蔡国强)and Yan Xiaojing(闫晓静)—take as their starting points. Both intervene in public space, interweaving themes such as nation, culture, and ecology. However, their artistic trajectories reveal distinct ethical stances and aesthetic orientations.
Cai Guoqiang uses gunpowder as a medium to set off dazzling fireworks along Beijing’s central axis, at the opening ceremony of the Olympic Games, and even at the foot of Mount Everest. His works are visual spectacles—symbols of national narratives and global communication. However, these works have also been criticized as “national image projects.” Does art serve power or challenge it? His “visual events” inspire awe, yet they can obscure space for reflection.

Yan Xiaojing’s (闫晓静)work, by contrast, is a slow and deliberate intervention. In three Ontario cities—Burlington, Brampton, and Markham—she employs ecology, memory, and community as mediums to create a kind of “slow art.” She plants native species, creates seasonal landscapes, commemorates urban heritage through steel sculptures, and evokes climate grief with recycled concrete. Her work is not about explosions, but about growth; not about spectacle, but about resonance.
Aesthetically, Yan Xiaojing (闫晓静)rejects visual manipulation in favor of ecological ethics and cultural symbolism. Politically, she centers community over nation. In the market, she prioritizes engagement over virality. Culturally, she examines the often-overlooked issues of belonging and identity through the lens of a Chinese expatriate woman.
The implementation of Yan Xiaojing’s diverse public projects in these three cities is more than just a presentation of her work; it is a reflection on the nature of art. We invite viewers, when confronted with this “visual event,” to ask: Does art still possess a genuine gaze? Can it still evoke true resonance?
True art isn’t just for viewing; it invites reflection.