I know, you’re asking yourself: how is it already 2019? The date pounds like a migraine because once again we’re in the middle of a China-history countdown: 70th anniversary of the founding of the PRC, 60th anniversary of the start of the great leap forward famine, 50th anniversary of the Sino-Soviet border conflict, 40th anniversary of the “First Blast” of Reform and Opening chez Shekou, 30th anniversary of the Tian’anmen democracy movement, 20th anniversary of the crackdown against Falungong, and the 10th anniversary of Shenzhen’s decision to upgrade its “dirty, chaotic, and substandard (脏乱差)” urban villages. Continue reading
Several days ago, I walked from Coastal City (海岸城) to Shenzhen Talent Park (深圳人才公园). Previous walks–now long ago and far away, and besides that was a different city–had me wandering the reclaimed land behind Coastal City. However, the new coastline is as firmly in place as anything on shifting sands. What’s more, its a popular destination for families and this popularity deserves comment. After all, people are walking from the old new coastline (at roughly Houhaibin Road) to its newest coastline, a walk that takes at least fifteen minutes one way. Below are images that give a sense of the layout of the new park. In the maps, the purple line is Houhaibin Road, the approximate old new coastline. Continue reading
Anyone else following the musical choices of the plaza dancing aunties? This year, in my compound its suddenly Beijing opera, complete with drums, high pitched arias, and flowing sleeves. I had accustomed myself to the forgettable blandness of “my little apple.” And now, abruptly I learn that Beijing opera plaza dancing has been a thing for at least a year!
In Shenzhen, the ongoing transformation of a rural periphery into a mega-city is the latest chapter in global grabs to control local significance. Located just north of Hong Kong, the Shenzhen area has comprised the Sino-British border since July 1, 1898, when the Convention for the Extension of Hong Kong Territory came into effect. Once upon a time, the Sino-Bbeen accomplished through a logic of practical means to endlessly churned out desires and there has been something cut and pastiche about the construction of Shenzhen. What, for example, to make of this advertisement for real east developer Vanke’s East Coast development in Yantian District? What kind of space is implied by the figure of Lifestyle Leading the People?
Why Singleton Lunch? Why invite someone to Handshake 302, have them prepare a meal, share it with a group of friends and strangers, and call it “art”? What’s the difference between a Singleton Lunch meal and more traditional forms of art like painting or theater or even a happening?
The Myriad Transformations comprises sixty-four images that I created using photographs taken between 2002 and 2010. These dates are arbitrary but not random, marking the purchase of my first digital camera (August 2002) and the decision to my rudimentary photoshop skills to create a project to commemorate the thirtieth anniversary of the establishment of the Shenzhen Special Economic Zone (during an artist residency at the Sitka Center for Art and Ecology, December 2008-January 2009). I finished the images in 2010. In the process of saving and transferring these files to smaller drives with larger storage capacity, many of the original photoshop files were lost. What remains as a complete set are the files I created to print photographs of the images in 2011 or 2012. I reopened one of these files in January 2019 and realized they were more interesting in retrospect than they had been when I made them precisely because over the past decade (2010-2020), Shenzhen has re-invented itself yet again, and suddenly, abruptly, we see the latent structure of today in images that once upon a time seemed definitive, eternal even. Continue reading
A ten-year retrospective of Sui Jianguo (隋建国)’s work, System is currently on display at the OCAT Art Terminal. Across the street, Hua Museum, has showcased Miao Xiaochun (缪晓春)’s work in the solo exhibition, Simulations. Both artists have played with scale and method, calling attention to the material practice of creating in an era of digitalized mass production. However, where Sui Jianguo has interrogated the relationship between the human body, clay and its digitalized transformations, Miao Xiaochun has turned his attention to the relationships between digital simulations, imagined futures, and the resulting landscapes.