Talking about migrant workers in China (and throughout the world’s booming mega-cities) usually means “rural to urban migration”. However, this is not the case in Shenzhen, where “urban to urban immigration” has been as fundamental to the city’s success and growth. Indeed, the diversity of Shenzhen’s migrant population complicates easy understanding of what it means to be a Shenzhener, let alone academic debates about urban belonging and ideologies of exclusion. Continue reading
When I was young, I heard Johnny Cash singing about John Henry–the American version of man versus machine. However, an informercial about the Shandong style noodle-bot (below) reminds us that we’re talking about the social organization and reproduction of skilled labor. Continue reading
Yesterday, Handshake 302 won the first annual Shenzhen Creative Design Award in the category of creative synthesis. The other five categories included: architecture/space; product development; fashion; visual communication, and; interactive design. The awards recognized social design as an important element of design in general. The overall winners for “special contribution” included the Shenzhen based Ancient Village Network that provides technical and other support for village preservation and the OCT market, which provides young designers and artists a rent-free stalls to sell their products on weekends. Continue reading
Almost one year ago, I posted on the development of Jiaochangwei, which is probably best understood as Atlantic City or Coney Island on speed, Shenzhen speed. Continue reading
Over the past 11 years, photographer Ma Hongjie’s (马宏杰) has been photographing Chinese families and all their possessions, like the image of a Home on the Yellow River, Huayuankou Town, Zhengzhou City, Henan Province, above. On his blog, Ma said that an album of this work, titled The Family Belongings of Chinese People will be available the end of his month. The blog is primarily in Chinese, but the images–mostly from rural areas and the west of China–speak for themselves. For example, his photo-essays on monkey trainers and their monkeys, or on how Guo Fucheng makes calligraphy brushes.
When I first saw the above advertisement for DJI, one of the world’s leading producers of drones, I balked. It seemed to me to be a picture that celebrated spying on the private and unaccessible mansions of the all-too-rich. So, given the unreliability of my American gut reactions in China, I asked the young women standing next to me, “What do you see in that advertisement?” She responded, “a pretty landscape.” I was like, “What about the dock? The big mansion? The coastline that resembles Newport’s?” She looked at the advert again, nodded, and then tentatively added, “We see things differently because of cultural difference.” Continue reading
Today I joined the opening for the Atron Art Centre, which boasts the largest book collection / book display in the world. Still under construction, the building glitters, as do Atron’s ambitions to promote and propagate knowledge and culture. Impressions, below.
In order to grasp the moralities and consequences of social non-existence, and incidentally to demonstrate that non-existence partially registered in American understandings of its Cold War conundrums, especially our self-envisioned role in Asia, one could do worse than a close reading of Horton Hears a Who, which was published in 1954, roughly a decade after Theodor “Dr. Seuss” Geisel had transitioned from drawing editorial cartoons to writing politically charged children’s books. Continue reading
So. Today, Handshake 302 extended its reach and joined hands with the Dalang Street Office to curate the first annual Dalang Graffiti Culture Festival. It rained, so not much painting happened. Nevertheless, we had a great time with balloons, handprints, and a short “WeChat” play. I made the emoji box masks!
Impressions of event, below.
On Friday, May 7, the performance artist 坚果兄弟 (nut brothers) spoke at Handshake 302 about his recent piece, “30 Occupations”. 坚果兄弟 specializes in extended performances of absurd situations. He especially enjoys (and yes, the word is “enjoys”) creating pieces that blur the boundaries between art and everyday and thus highlight the delicate balance required to maintain plausible fictions such as “work is meaningful” or “art is special”. Thus, he tends to work with none artists in everyday spaces, where the “audience” that gathers may or may not realize it is a performance piece. Continue reading
Shenzhen Noted 