"Another reason why we insist on doing so, is that the current status of China's development is unique," she continues.
"Over the years, along with the booming second-tier cities, many newly-launched commercial real estate entities that are related to the new image of the city have become a priority for the government. This means that Chengdu does not really want to copy the Left Bank in Paris, but it does want greater international exposure. In order to achieve this goal, cultural exchange is an effective method," she says.
Zhao Mi does not oppose to commercial involvement. "Now Chinese artists are experiencing the initial stage of commercialization, while the government has also started to promote a large number of cultural and creative industries," he notes, "it shows that the space for the growth of artists and art institutions is getting bigger."
While building the art installation on the square, most of the people passing by, who were curious enough to ask him were mostly French. "There are a lot of Chinese in the area, but I have found that they barely lifted their heads. They all went straight to Louis Vuitton. This is not a criticism, it takes time," he laments. "It may not be this generation though."
The integration of art is an emerging business. Today's urban development has entered the age of urban aesthetics. However, at present, "Chinese people's sensitivity to art has not yet reached that level," Christina Hau adds, noting that this road still has a long way to go.
That journey will begin in earnest in September this year, when Chengdu IFS will host Parcours Chengdu, introducing the concept and spirit of Parcours Saint-Germain to the people of China. Following their maiden voyage to Paris, both Zhao Mi and Chen Weicai are pragmatic but hopeful, concluding: "the seed has been planted, but it takes time to bear fruit."
