bashizhou, may 20, 2016, dusk

Baishizhou in the early evening: buying vegetables, walking home, waiting for the demolition of the old industrial area, which will begin after the elementary schools have closed and children relocated…

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Propitiation (Liu Wei, Chen Haoyu, [Colin Siyuan Chinnery])

Digging a Hole in China

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.

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administrative shenzhen, circa 2015

Today, I’m translating a recent update from the Shenzhen Government online–Shenzhen administrative divisions. For those interested in who belongs where, it is an amazingly useful collection of maps. It also introduces the ongoing administrative history of Shenzhen, providing key dates in administrative restructuring. This translation interests as much for what it includes as what it does not; Shekou is notably absent from the administrative history of Shenzhen and this particular version of municipal historiography. Moreover, although this historiography shows when the government apparatus has made grabs to regulate and standardize local production, its unclear what happened in the outer districts when all this inner re-districting was going on. In other words, the official historiography of Shenzhen’s administrative history seems a straight-forward and uncomplicated process. Continue reading


let’s dance


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at the edge of something new

Shenzhen abruptly arrives at the edge of something new, some palatable, pulsing readiness that has been growing beneath our feet, and launches us into unanticipated desires. Or so it seems today. Continue reading


this also happened…

A strange week that hasn’t coalesced into a statement so much as it has become fragments in search of glue; thinking as pastiche, and underneath it all a throbbing fear. Continue reading


thoughts on “of a piece”

My thoughts on “of a piece”. Like Zhang Kaiqin’s thoughts, this essay was originally published in Chinese and was written for our WeChat public forum.

最近在东湖的深圳美术馆举办的名为“温度”艺术展上,“握手302”策展团队受邀创作和展出了一个作品“还没定”。这个作品是以“握手302”一贯的创作策略,用社交的方式请所有愿意参与的朋友共同完成创作,我们用带来的废弃旧衣物,配以东门布料城清货的辅料与饰品,用手工编织缝制出心仪的布艺。这一次我们策展团队唯一给出的限制原则就是,不能碰工作台上还未制成的半成品,但对在墙壁上展示的已制成品,任何人任何时候都可以拿下来再加工。这听起来很像是“自由软件”的“开放源代码”的挪用。但是当有人这么问我们时,我们的回答通常是“不,这个作品不是你想的那样,也不是我想的那样。它还没定呢!” /For its recent invitational exhibition, ThermoMatter, the Shenzhen Art Museum commissioned Handshake 302 create the freeform quilt Of A Piece. Its fabrication incorporated Handshake 302’s commitment to bringing as many people as possible into the creative proccess. We used discarded clothing, accessories and trimmings from the Dongmen Fabric Market, and simple sewing tools to make individual “patches” for the quilt. The rules of engagement were simple: don’t touch a patch that is on the table, but any other patch, piece of clothing, and accessory could be picked up and used in a new patch, or could be sewn together to create larger sections. In a sense, the project was an exercise in “repurposing open access materials” or “fashion making”. However, when asked what the project was about, we simply answered, “That’s still up for grabs!” Continue reading