Once you have a house on the beach, what do you do there? You play. And where were the toys once made? In factories built along the old new coastline. Continue reading
So romancing the ocean, or is it oceans of romance? At any rate, once we’ve cordoned off and sold the coastline, it seems that all we’re left with romantic sunsets, looking toward the horizon that we’ll never reach. Poetic. Deliciously melancholy, even. And I do like looking off into the sunset. It’s just that the reduction of the coastline to commodified views distresses me. I keep wondering, what about the other senses? In Shenzhen it is incredibly difficult to smell fishing nets, feel of water rippling over our toes, listen to seabirds diving for crabs, and taste a gritty ocean breeze because we have been reduced to a pair of eyes in bodies that do not move beyond high rise window sills. Continue reading
So one of the ongoing transformation in Shenzhen has been the transvaluation of the coastline from a space of production and transportation to a space of consumption and international logistics. In practical terms, it means that Shenzhen residents have been “landlocked” despite having a 162 mile (260 km) coastline. Inquiring minds want to know: how did that happen? Continue reading
Here’s the thing about innovation and copy-catting; our focus on individuals and copyrights makes it difficult to see that what happened in Shenzhen was a re-invention of capitalism. “Shenzhen Speed” is the name we give to the accelerated pace of accumulation and concomitant disruptions that have defined the past 40 years in Shenzhen (counting from 1979). Now, when we focus on objects like household electronics, oil paintings, and graphic design, it is easy to overlook how this acceleration reorganized capitalism as we knew it. But that’s the point. In Shenzhen, innovation has pretty consistently taken place at the structural level——reorganizing populations, restructuring factories, and remaking landscapes. Continue reading
The next installment in the Myriad Transformations, “City on the Fill” is a series of riffs on land reclamation, both as an important feature of Shenzhen’s cultural ecology and as a metaphor for the replacement of southern Chinese culture with northern norms.
“Cut and Pastiche” has played with the logic of montage in order to tease out the experiences and logics that comprised the Special Zone. Montage helps us understand the process because “Shenzhen” comprises diverse elements–factories and work units, migrants and locals, tradition and IT, brackish water and containers–which were already in the world, but needed to be reorganized in order for China to achieve its goal to modernize. Quickly.
I have been used to thinking of the Cultural Revolution as the immediate backdrop to the ideological transformations initiated by the establishment of Shenzhen. However, as I was reacquainting myself with the cultural geography of Huaqiangbei I came across the Zhenhua Industries sign on Zhenxing Road. The logo is a throwback to Third Front industrialization, when futurist aesthetics still informed nationalist dreams. But what actually caught my eye was Jiang Zenmin’s calligraphy; by providing the calligraphy (题词) for this enterprise, the former General Secretary showed explicit support for the manufacturing company. After all, the most famous example of Jiang Zemin’s calligraphy in Shenzhen was written for Window of the World in 1994, as part of Overseas Chinese Town’s transition to leisure and tourism. So I was curious: when and how did he actively support Zhen Hua specifically and the construction of the Shangbu Industrial Zone more generally?