2011 sz-hk biennale thoughts

Shenzhen photographer, Gu Yun (谷韵) has taken lovingly poetic images of Biennale exhibits. I appreciate these images for their intimacy. The biennale has presented massive projects at a scale that seems analytic and abstract; in contrast, Gu Yun’s images reveal her steps to engage individual works close up and personal, as we sometimes say. Indeed, Gu Yun has me thinking about the revealingly personal work of viewing, digesting, and appropriating objects. Enjoy.

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Awkward Encounters: Urban Planning, Historic Preservation, and the Persistence of Rural Forms in Shenzhen

I participated in the “Learning from Shenzhen” Symposium on Dec 10, 2011, which was part of the biennale. For the curious, I’ve uploaded o’donnell-awkward encounters, a pdf file of images and arguments from the paper I gave.

after thoughts…

The biennale opening week has come and gone; I’m still standing.

What have I learned in all the rush?

1. If I don’t take the time to think, I don’t.

2. Serious distance between Chinese and Western values continue to destabilize these large events.

3. It really is about identity creation and maintenance.

 

Boom! Press

Links to sites with images of Boom (and copy from the Biennale website). I also appear in a picture or two. 深圳新闻网, 文化大视野 晶报网雕塑中国

BOOM! Shenzhen in process

We finish installing Boom! tomorrow. Through the process of designing, building, and installing the pieces, I have become increasingly aware of the labor necessary to make such a project. In fact, I’ve found it humbling to realize how little I have contributed in the face of my collaborators’ and workers’ skills and willingness to get it right; yes, this kind of artistic production begs Marxist critique. Below, impressions of folks who have worked hard to make Boom! possible. The tag Boom! Shenzhen will bring up other posts from the show.

BOOM! opens 9:00 pm, December 8 in OCT, B-10 venue. Please come.

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What is the purpose of cross cultural art exchanges?

This has been a season of cross cultural art because I’m participating in the SZHK Biennale and have been translating for the OCAT International Artists Residency Program. I have had opportunities to talk with artists not only from the United States, but also Europe and heard questions and comments that are interestingly different from those of Western academics and business people, until recently my usual non-Chinese interlocutors.

Other than the fact that good, deep cross cultural artistic collaboration takes time and patience and a willingness to let go of preconceptions and even values, what have I learned?

Short answer: philosophically, we’re all of us still carrying way too much baggage and practically, translators are seriously underpaid for the work we do facilitating communication despite break downs therein.

Long answer: As a form of social praxis and value structure, art functions very differently in China and the West. I have written about these differences with respect to theater (here and here). Briefly, in the West, artistic praxis has been a means of overcoming four forms of capitalist alienation (as identified by Marx): Continue reading

lecture notes – SCUT

Yesterday, I participated in a Biennale event at 华南理工大学 (South China University of Technology campus slideshow, below).  The event was organized into three sections: SZHK Biennale 2011 Main Venue; SCUT professors who had participated in SZHK Biennale 2009; and a SZHK Biennale 2011 sub venue event, the Enning Road Transformation Study Group (恩宁路改造学术关注组), an alliance of students and residents to voice concerns about Guangzhou’s plans to raze this historically important part of the city.

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Now, visiting Guangzhou, especially with Guangzhou people is pleasurable because they love their city. They also love to compare their city to Shenzhen, which is interesting for what it tells us about the different ways we create a sense of belonging to “our” cities. The conversations I had highlighted important differences between the creation of urban identities in Guangdong Province’s two most important cities. Continue reading

roundtable in guangzhou

For those in Guangzhou, this Weds, Sept 28, I’ll be participating in a biennale roundtable at Huanan Ligong. Please join us:

Time: 6:00-8:35 pm, 28 September 2011

Place: Multimedia Room, Building 27, School of Architecture, Huanan Ligong

时间:2011年9月28日18:00—20:35
地点:华南理工大学建筑学院27号楼一楼多媒体教室

thinking food: images from the houhai overpass, 2002-2010

this post is a brief contextualiztion of  china lab’s  landgrab city exhibition for the shenzhen-hong kong biennale 2009. the exhibit draws attention to the the ways that cities are imagined without reference to the countryside and food production. it also usefully brings china into international conversations about urbanization.

The countryside is a vital but frequently overlooked category in the contemporary discourse around spatial policy, and its role with respect to the future of urbanism is more often than not neglected. Landgrab City is an attempt to visually represent the broader spatial identity of the 21st century metropolis; it proposes a new spatial definition of the city and thereby a more complex understanding of urbanism, one that no longer considers city limits as the boundary of its remit, but instead looks beyond – even across international borders – to the spatial, social, economic and political implications of the planet’s rapid urbanization.

i support efforts to think about food – its production, distribution, unequal consumption – are all critical to how shenzhen is imagined, experienced, and reproduced. nevertheless, this exhibition disturbs me because it discusses shenzhen as if the city were one wealthy enclave, rather than an amalgamation of enclaves -rich, poor, and destitute, which abut and constantly disrupt one another.

shenzhen has sold itself and reform in precisely the terms that china lab uses to describe the city’s “reality”. unfortunately, by taking shenzhen’s self-promotion as fact, rather than promotional fantasy, china lab overlooks  how rural migrants inhabit and  transform shenzhen. this silence distresses me because the spatial, social, economic, and political consequences of shenzhen’s modernization are not implied; they are facts of life for many migrants.

so a very simple point:

In reality, of course, these agricultural territories are not actually clustered around Shenzhen, as in the installation, but scattered across China and contiguous regions.

counter point: a five minute walk from the land grab project, agrarian squatters have persistantly grabbed, evacuated, and reoccupied  a portion of the houhai land reclamation area to grow food, which they eat and sell. the differences between overpass then and now are now are instructive because they illustrate both the persistance of shenzhen’s rural poor as well as their increasing destitution.

the map below locates the land grab project with respect to several generations of agricultural squatters at the houhai overpass.  pictures of the squatters and their gardens, here.

the houhai overpass is located at the intersection of houhai and binhai roads. in the map, the squatter areas are located in the southeast quadrant of the intersection, coastal city in the southwest, and the land grab in the northwest. these areas are roughly a five minute walk from each other. in the map, the blue areas used to be underwater; the brown areas were not.

the wizard of sz

Participants in the Shenzhen-Hong Kong Biennial will

Explore the possibility of large-scale effective social mobilization in a time that lacks centralized force, spiritual solidarity and practical organization – Ou Ning, Biennial Curator.

In the context of Shenzhen’s thirty year history, the word “mobilization” resonates ironically. In 1966, Mao Zedong began the Cultural Revolution by mobilizing Chinese youth to prevent the restoration of capitalism through ongoing class struggle. In 1978, Deng Xiaoping initiated Reform and Opening by mobilizing the national engineering corps, architects, and reform-mind cadres to plan and build a Special Economic Zone, where elements of capitalism would be deployed to finance modernization projects throughout China. In other words, the construction of Shenzhen was a countermeasure to large-scale social mobilization during the Cultural Revolution and the city itself is the product of effective social mobilization under the auspices of modernization. Juxtaposed with the stated aims of the Biennial, Shenzhen’s history thus begs the question, “Why mobilization? Why now?”

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