—- 国民党税多，共产党会多 (“The KMT has high taxes and the CPC has many meetings” was popular description of the difference between the Nationalists and the Communists during the War Against Japan. )
On the morning of September 27, 2018, I attended the ten (!) keynote addresses of the International Think Tank Forum in Commemoration of the 40th Anniversary of China’s Reform and Opening-up (and yes, as far as I can tell, Shenzhen has shifted its translation of “reform and opening” to “reform and opening-up”). The Counsellor’s Office of the State Council and the Shenzhen Municipal Committee of the CPC and the Shenzhen Municipal People’s Government hosted the event, which was organized by the Development Research Center of the Shenzhen Municipal People’s Government. So a big deal. And there I was in the midst of all those policy advisors wondering, what’s actually going on here? Continue reading
So here’s a story about a young Chinese man in Angola. I heard it from a 30-something deliveryman, who currently makes his living delivering express letters and packages in and around Shenzhen. He is dissatisfied with this job because although he is the number one deliveryman in his unit, he feels that his potential is being wasted. He said that after facing down gunmen three (!) times in the streets of Luanda, delivering packages in a rainstorm, which many other deliverymen refuse to do is child’s play, implying, of course, that what he really wants to do is play with the big boys. Continue reading
This year I was in the Chinese northland during the first week of the Trump presidency, a fact which had me thinking about national geographies of opportunity and despair. (Honestly, how could I resist when we were celebrating the Year of the Cock?!) Of note? The pride and resentment, wellbeing and jealousy that I encountered in the Chinese interior resonated with my experience of the American heartland, where my parents were born, even as the valuation of Shenzhen and other southern cities seemed much like American valuations of the progressive northeast, where I was raised.
100 rmb notes and US C notes go together like boy and girl, like modernity and tradition, like Mao Zedong and Benjamin Franklin, like officialdom (guanfang) and society (minjian), like yang and yin. I was thinking about how in Shenzhen du jour tradition is being (re)constituted through economic reform–specifically, I was thinking about how tradition has become the vehicle that naturalizes the demolition of (unnatural) urbanized villages in a city long described as “lacking history,” and this matched New Years set shows up on the entrance to my apartment building. As with many symbols of Chimerica, gender suggests the multiple forms of power that create particular subject positions, especially in the figuring of ideal relationships, where even if the male, head-of-house holds money that is ostensibly worth less than the female, nevertheless, in Chimerica East the primacy of renminbi makes sense (cents) precisely because “tradition” keeps us in place.
In 2010, when many of the 90s kids where applying for college, they were encouraged to become economically independent. Shame was also deployed, and recent college graduates who couldn’t find a job and continued to live at home were accused of “gnawing on the old folks (啃老)”. Of course, these were the same kids who were also accused of “being too rich for their own good (富二代)”. 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.