If you are interested in government approved daily updates on what’s happening with the coronavirus in Shenzhen, you could do worse than visiting EYESHENZHEN, which provides translations of city briefings. The site also includes a comprehensive introduction to the city’s mainstream art scene.
Friday August 25, 2017 I had the honor of participating in the closing meeting of the second edition of the “Shenzhen Oral History” project. It was a high level and exciting cultural event that commemorated the people who contributed to Shenzhen’s second decade, 1992-2002. A week later on Friday September 1, I attended the salon for Wu Xingyu and Zhong Yuxiao’s art project “Demolition.” Continue reading
Yesterday, I visited the two-day exhibition that Xu Lan (徐岚) put up in a one-bedroom apartment (2,400 / month) in Tangtou Block 6, Baishizhou. The exhibition took place over two days (Jan 8 and 9, 2017) and comprised mountain and water sketches / illustrations from a week-long stay (previous) in Baishizhou. The series itself is part of an ongoing project of travelling and documenting those travels. The inspiration for the exhibition (as narrated by Xu Lan) was random (偶然). He was thinking of the painter Qi Baishi (齐白石) and painted his own “Baishizhou” and then decided to show the works in Baishizhou, Shenzhen because he remembered having been here once.
Yesterday, Marco taught “enlargement” at the P+V Art Sprouts program. The class itself had four components: a warm-up (taking pictures of each other jumping), a critique of last week’s photos, a treasure hunt for details that Marco had taken of objects around the P+V, and a lesson in enlarging images, including photos. Observing the class, I remembered how difficult it is to see clearly because we manipulate images–scale and intensity–in order to create responses in an audience. Sometimes, we’re going for “beauty,” but at other times we’re aiming for disgust and fear, lust and laughter. Confusion? Continue reading
Last week, I participated in the “真空” art week. 真空 means emptied out or true emptiness. The curatorial statement (translated below) emphasizes how urban renewal is “emptying out” the villages and what remains is neither this, nor that. Almost buddhist, except we’re still yearning and true emptiness alludes us. Continue reading
This afternoon I had the pleasure of attending the opening of the Digging a Hole in China (事件的地貌) exhibition, curated by Venus Lau. the exhibition features a range of works that were produced from the mid-1990s forward, roughly a decade after the idea of land art had been picked up by Chinese artists and only a few years after Deng Xiaoping’s 1992 Southern Tour, where he confirmed that China would continue to liberalize its economy. The stated goal of the exhibition, which positions itself between China and the West is,
[T]o expose and analyze the discrepancies between this genre of work and ‘conventional’ land art understood in the Western-centric art historical context, thereby probing the potential of ‘land’–as a cultural and political concept–in artistic practice.
Happy happy to have been part of the wonderful exhibit, Art+Village+City. Margaret Crawford and Winnie Wong curated the exhibition. Featuring the work of the Art+Village+City Research Studio, SHIMURAbros (as researchers at Studio Olafur Eliasson), Sascha Pohle, Jing Wen, and José Figueroa. The exhibition is on in Berkeley and Shanghai; those in either area, check out the challenges and opportunities that urban(izing) villages in Hong Kong, Shenzhen, and Guangzhou present.
Wurster Gallery, Wurster Hall, UC Berkeley
October 13-November 14
Shanghai West Bund Biennale/Urban Art Space Season
West Bund Cultural Center, Shanghai
October 1-December 31, 2015