Beijing Design Week with the collaboration of Dontstop Architettura presented “Across Chinese Cities – Beijing” an investigation into the Chinese capital’s spatial transformations and its historical district Dashilar, as a Collateral Event of the 14th International Architecture Exhibition – la Biennale di Venezia. The exhibition expounds upon the complex architectural and social transformation of the city, looking at contemporary challenges between globalisation and localism, the processes of continuous adaptation and resilience found therein which remain paradigmatic for many contemporary cities like Beijing.
“Across Chinese Cities – Beijing” responds to the thesis set forth by Rem Koolhaas with “Absorbing Modernity” by looking at Beijing’s mutations in relation to Dashilar’s in two juxtaposed sections: “Across City Sections” and “Across Dashilar”. Dashilar, a city within the city, an historical and peculiar area situated southwest of Tian’anmen Square, becomes a prism to observe the whole city and the contemporary urban condition. Dashilar’s interwoven fabric of traditional courtyards and alleys (hutongs), the vibrant and dense urban and social ecosystem of crafts, specialized knowledge, infrastructures and historic buildings are taken here as experimental platforms for innovative pilot projects. Characterised by capillarity and porosity, its built forms and social condition offer themselves to a productive retooling and questioning of existing spatial devices: an engine for urban regeneration and reinvention.
“Across City Sections” consists of an installation composed by a map of the city and by a linear timeline of five city sections. Each scaled 1:500 along Beijing’s North-South axis they are temporally posited along five crucial moments: 1488: Foundation of Dashilar, 1914: Construction of experimental Xiang Chang District,1958: Inauguration of Tian’anmen Square,1992: Opening of Henderson Centre, first Shopping Mall, 2014: Beijing today, the global city. From within these spatial and temporal sections, the invariant core of the Forbidden City and the grand transformations of the urban fabric are set in contrast with the small-scale changes in Dashilar, attesting to its adaptive capacity across different historical thresholds.
Juxtaposed to the linear enunciation of “Across City Sections”, “Across Dashilar” draws a circular and explorative path across the socio-cultural dynamics, the economic and political factors which, since its foundation, have shaped Dashilar as a space of productive marginality. Originally founded outside the imperial city’s walls as an ‘outer city’ or external settlement, Dashilar evolved into a spatial dimension of autonomous alterity, where social and behavioural hierarchies were subverted. The historical mesh enveloping Dashilar unfolds into four historical moments (the Mongol Dynasty in the XV century, the Ming and Qing period, the end of the empire and the first Republican period, the foundation of the People’s Republic in 1949 until the economic reforms of the 1990s, the pre Olympic period and the XXI century), while being interpolated with various interdisciplinary projects realised in the last two years by a wide range of studios and creatives as a result of the cooperation established between Beijing Design Week and Dashilar Cutural Investment co Ltd. Part of a regeneration scheme aimed at mending the urban and social fabric of Dashilar by means of a nodal system founded on principles of social design, the selected projects are responsive to Dashilar’s endangered architectural infrastructural and communal ecosystem, so here becoming points of departure for historical and thematic explorations. In this section, architectural archetypes and construction types are presented and complemented by an anthropological journey into the literary and cultural history that made Dashilar the creative and commercial heart of the capital since the Ming Dynasty. Six pilot projects are contextualised within historical scenarios, refraining the effects of key historical and political transitions. The pilots are accompanied by a selection of works on various media ranging from photography, sound art, video, animation and interactive applications to co-design and collaborative projects with local residents and craftsmen.
A dedicated area hosts a film program ‘Beijing on FIlms – 1980s – 2000s) curated by Meng Xie (director of Public Programs UCCA, Beijing) so further expanding the investigation into related issues and selected topics.
A special Reader is presented as complementary to the exhibition, inclusive of a rich textual selection from original sources excerpted from existing historical and critical literature, fiction, journalism, blogs and articles, and it is edited by Beijing Design Week in collaboration with experts in related fields and the participants to the exhibition. A series of programs and workshops will also be organised in the opening weeks of the biennial.
The exhibition problematizes the assumption of a centripetal modernity which is here supplemented by a vision in which the interactions between an architecture of resilience and relationship are essential and pivotal in the evolution of a polycentric, porous and informal city.
Beijing Design Week
Michele Brunello (DONTSTOP architecture) and Beatrice Leanza (Beijing Design Week)
In collaboration with:
Dashilar Platform, SANS Practice (Neill Mclean Gaddes, Yijing Xu)
For “Across City Sections”:
For “Across Dashilar”:
Abitare China magazine, Approach Architecture, CAFA – Central Academy of Fine Arts, Matali Crasset, CYJO, Instant Hutong, Kenya Hara studio, LAVA design agency, Lumalu, Meta Hutongs, People Architecture Foundation, People’s Architecture Office, reMIX Architecture, SANS practice, Varvara Shavrova, Standardarchitecture, Studio Ramoprimo + MDDM Studio, The DaZhaLan Project (Cao Fei and Ou Ning), Jia Yong, MAD Architects, Michael Young, Hua Xinmin, Cui Yong
Making Community showcases a selection of ongoing initiatives rendering a generative grammar of creative engagement with the spatial and social context of the Chinese capital.
This relational archipelago of interdisciplinary design practices is both premise and product of an evolving cultural predicament formulated by the mutually defining changes along the design-and-community nexus in the contemporary urban realm. Radically collaborative and open-ended, they are inherently shaped as metaphorical constructs of ‘speech and duration’ that reflect on the urgency for localized forms of intellectual and practical connectivity to amplify and enable solutions in the contested spaces of the city, for and with its constituencies. The exhibition is therefore not conceived as a static display of finished products, but as an ‘architecture of relationships’ informed by urban research and social agency engaged in the rethinking of existing topographies of knowledge production, and the creation of instruments for its dissemination.
A selection presented for the first time in an international context and originally featured during Beijing Design Week 2013, Making Community offers itself as a dynamic archive and a participatory device to open a conversational space around: design and cultural heritage, architectural preservation and urban revitalization, sustainability, up-cycling and environmental consumption, digital and artisanal fabrication, interactive and social design.The creative outputs range in open-source research platforms for urban innovation, digital and print publications, books, experiential apps, identity and branding, product co-design, documentaries and experimental videos, among others. Taken here as a case-study, BJDW plays out as a resounding system of creative communities, where territoriality and collectivity are continuous with its molecular formation as co-creation. It aims at forging a force field that can augment and expand professional perspectives into institutional agendas and public debate, to devise the tools and the awareness for ‘process’ to truly be emplaced as productive exchange on the micro-scale. As one of the core projects developing within BJDW urban ecology, the Dashilar Pilot project is here employed as a narrative dispositive of concrete solutions implemented through transcultural and cross-disciplinary interactions. Launched with the BJDW 2013 edition in close cooperation with the Dashilar Culture Investment, a governmental developer, it is an international call for ideas responsive to Dashilar historical area of densely populated alleys (hutongs), its aging infrastructure and endangered architectural and social landscape. An abridged presentation of resulting proposals serves here to contextualize the complexity of ‘transformation’ – a form of collective thinking involving the making of professional and social communities wired to institutional networking – as opposed to the complacency in political agendas of ‘change’. Textual and visual narratives caption each project with information about their initiators and contributors; relevant links to online platforms are provided for audiences to start forming an understanding of a Beijing-bound design landscape and part-take in an ever growing laboratory for innovation and self-engagement.
The exhibition set up and visual design are the work of SANS, a Beijing-based studio made of Neill Gaddes and Yijing Xu, who’s been involved in the development of the Dashilar Project since its inception, and contributed heavily in making the Dashilar Pilot series possible.
Participants and Projects:
Participants names refer to those of initiators, many of these projects are the result of multiple contributions which are credited in the documentation provided on site of the show.
A.M.I. (Appropriate, Mutate, Innovate), Audio Archecology & Concrete Flux (Tom Baxter and Solveig Suess), CYJO, Dashilar Pilot series: [Hutong Toilets (Michael Young), Pop-Up Canopy (Peoples Architecture Office), 2 Yangmeizhu (reMIX studio), Fringe Density (Urbanus), Rabbit Grandpa Zhan (metaLINGO), Modul’Hutong (Matali Crasset), Micro-Hutong (standardarchitecture studio), The Museum of Bicycle Parts (CAFA Visual Communication dpt), Scagnel (Luca Nichetto)], Design For the Real China, Hutopolis (Gianantonio Bongiorno, Eugenia Murialdo, Luis Aguirre Manso), Interactive Beijing (Fei Jun and Lulu Li), LAVA Design Studio, Meta-Hutong (Andy Bryant and Wang Shuo), MovingCities (Bert de Muynck and Mónica Carriço), SANS (Neill Gaddes and Yijing Xu), The Other Place, Wai Architecture Think Tank (Nathalie Frankowski and Cruz Garcia), Sander Wassink.
A selection of publication and books presented within the show will be also available at the CFCCA store: Concrete Flux magazine, LAVA Mobile Design Agency Newspaper, Hutopolis book, Abitare China HUTONG, special summer issue 2013, Pure Hardcore Icons publication.
May 24 – June 3, 2012
Museo Pietro Canonica in Villa Borghese | Rome, Italy
Organized by: qwatz – artist in residence program, Rome
Artists: Liang SHUO, Charles LIM, Koki TANAKA, Hong-kai WANG
Curator: Beatrice Leanza
The Human Factor is a research project featuring artists Liang Shuo (China), Charles Lim (Singapore), Koki Tanaka (Japan) and Wang Hong-kai (Taiwan) organized by qwatz artist in residence program – Rome, and curated by Beatrice Leanza. The artists’ two months residency (April-May 2012) informed an exhibition of both newly created and selected works as well as a unique book of commissioned essays and interviews published by cura.books in November 2012 [The Human Factor – Rethinking Relationality (or the artist as bricoleur)].
A meaningful cross-section of contemporary Asian art, the practices here presented subtend to strategies of perception and cognition of reality where oppositional paradigms between otherness and individuality, nature and culture, man and world are abandoned to make space for an architecture of knowledge intrinsically ‘transformational’, ‘ situationally interconnected’ and ‘relational’. Drawing upon an acentric universe of experiential nature mobilized by a phenomenology of “becoming” that offers itself supplementary to a more inherently western-made anthropology of “being”, they collectively conjure the hypothesis of a space of action and contemplation of the world deliberately removed from the political terminologies of a ‘dichotomous’ predicament, to propose instead a culturally asymmetrical thought of social and philosophical inclusiveness – an identification with change and situated relations.
Featuring installations inclusive of photography, sculpture, video, sound and performance, the exhibition infiltrated the private rooms and studio spaces part of Museo Pietro Canonica in Villa Borghese by way of subtle strategies of juxtaposition and substitution, played out throughout the interlocking rooms with the rich collection of paraphernalia, furnishings and art objects found wherein. Spotted by means of a color-coded parkour the works were carefully interspersed inside Canonica’s domestic landscape of personal grandeur and monumental formality so creating a diachronic configuration of affinities among diverse life paths and experiences, the artists’ and Pietro Canonica’s (1869 – 1959). Canonica was an Italian academic and mannerist artist from the first half of the 20th century, whose diplomatic savoir-faire earned him the favors of ruling classes and conservative elites of foreign governments (from Russia to Thailand) where he often travelled as a political and cultural mediator – a proponent of classicism and high-culture that distanced himself from the conceptual and formal upheaval brought about by the historical avant-gardes. The works in “The Human Factor” operated with knowing irony aside the dignified art that surrounded them, bringing it back to a transformed social context in the present times.
Like the complementary publication, the show highlights the four distinctive practices as focused critical explorations into the human mechanics of the architecture of knowledge (a ‘rethinking of relationality’) across four central modes of envisioning and creating the perimeters of its structure: that is, in the sonic space of speaking and listening (Musical Memory/Wang Hong-kai), in the sensorial and affective relationship with things and people (Situational Objects/Koki Tanaka), in the social and aesthetic process of inhabiting (Beautiful Evidence/Liang Shuo), in the construction of narrative dispositives mapping real and imaginary territories (Neutral Spaces/Charles Lim).
The project THE HUMAN FACTOR is made possible by the generous contribution of various supporters and sponsors:
Ines Musumeci Greco; Agi Verona; Japan Foundation; Cultural Affair Department, New Taipei City Government; FARE in collaboration with Open Care and with the support of Fondazione Cariplo, NABA – Nuova Accademia di Belle Arti, GAI – Associazione Circuito Giovani Artisti Italiani; O’A.I.R.; ArchiviAzioni; ROMA CAPITALE, Museo Pietro Canonica in Villa Borghese – musei in Comune, in collaboration with Acea, BNL, Unicredit, Monte dei Paschi di Siena, Acqua Claudia, Finmeccanica, Lotto, Vodafone, with the support of Atac, la Repubblica.
September 24 – October 3, 2011
BJDW – Beijing International Design Week 2011
Design HOP | Dashilan’r, Beijing
The project takes cue from Naihan LI’s latest series of design works titled “The Crates”. Inspired by the volatile and exuberant spirit of a contemporary urban habitat like Beijing’s and its epic detournement of building construction, decay and regeneration, LI’s mobile creations accommodate with poetic comfort the moody impracticality of globe-trotting, ready-to-move lifestyles. Sofas, beds, bookshelves, workstations, and foosball tables pop out of their own shipping shell to form a unique spatial language which is whole with a ‘total’ concept of dwelling. Wooden crates become carapaces to contain the body, objects and the memories we carry with them. Situational freeplay and sculptural abstraction blend here to make room for a design practice which is intrinsically relational and open-ended.
On this occasion a brand new all-in-one Media Box was presented, including its mini-cinema, DJ deck, lights, karaoke equipment, multimedia screens and seating area.
Concierge is a curatorial inspiration developing from this design ensamble: the installation built inside one of Dashilanr’s old factory complexes materialized an inexistent part of the actual building dubbed “The House of Leaves“, a semi-private/semi-public residence located on the edge of the Fifth Ring Road in Caochangdi village (also home to BAO Atelier offices). Drawn upon an intimate image of both action and reflection, this serendipitous space represents an antechamber of no definite time or spatial confines, a public retreat and an interior garden activated by a politics otherwise known as ‘meeting’. Daily talk-shops, happenings and presentations are accompanied by impromptu performances and informal gatherings, with cocktail making sessions and live music. Events included among others: a scribbling, scrawling and mixing afternoon with WEN Ling (aka Ziboy), graffiti artist HE Cong and Leo (86/33 link); workshops organized in collaboration with the British Council, such as “Domestic Super Objects”, an experiment with everyday domestic objects to reveal their creative potential by designer Nelly BEN HAYOUN, and “Nuclear Tea Party You” by designer Zoe PAPADOPOULOU.
This is the first institutional exhibition dedicated to the work of the Xijing Men collective, the unique collaborative team composed by artists CHEN Shaoxiong (China), OZAWA Tsuyoshi (Japan) and GIMhongsok (South Korea). Hosted in the Foundation’s main site in Piazza San Marco, the show is a quixotic journey through the creative universe of Xijing—a life-world of encounters, places and compounded narratives awakened by the thereof named collective since 2007.
Xijing—the capital of the West—exists upon a fictive geopolitical axis created in correspondence to the real cities of 北京 Beijing (capital of the North), 南京 Nanjing (capital of the South) and 东京 Dongjing/Tokyo (capital of the East). Conceived since its inception as progressive exploration in five open-ended chapters, the Xijing project departs from the literary exercises of fictional geography and imaginative mapping, to voyage instead through the ‘enactment’ of a symbolic territory where the connections between spatiality and identity are continuous with its collective production. Developed over the course of the past five years in different geographical and institutional contexts (Asian, European, of museums, galleries, alternative art spaces, biennials etc.) the eventuation of Xijing is informed by an artistic practice comprehensive of a variety of media and formats conceived to make the process of ‘situating’ Xijing a participatory and productively unstable experience. All of the chapters so far created (Do you know Xijing?, Welcome to Xijing, This is Xijing and I Love Xijing) are constituted via performative interventions into the phenomenal world of politics and institutions – of art, history and society. Flipping between dark humor and existential eccentricity, these abridged scripts are devised to render Xijing as the immanent other site/side of things human, be it of memory or mythology, literature or tradition, the foundation of urbanity, the conception of citizenship, the formation of power and authority.
The show is accompanied by a comprehensive publication designed by Tokyo-based Hironori Oooka Office; functioning as a complementary tool to navigate the Venice chapter it includes illustrations and descriptions of all the previous projects since 2007.
The Xijing Men collective is CHEN Shaoxiong, OZAWA Tsuyoshi and GIMhongsok. The group’s work has been featured, among others, at the First Aichi Triennial (2010), the 10th Lyon Biennale (2010), the 4th Fukuoka Asian Triennial (2009), Tate Liverpool (2009), Art Sonje Center (2008) and Platform Seoul (2008).
April 12–17, 2011
Salone Int’l del Mobile – Milan Design Week
Pasticceria (Via Tortona) | Milano, IT
CDM – China Design Market returned to Salone del Mobile in Zona Tortona for the fourth year in a row, featuring a brand new exhibition sporting the creative research of China-based designers and studios as inspired by the different yet unique urban cultures of two of its greatest cities, Beijing and Shanghai (see WoYou – Beijing & Shanghai Travelogues in Design). The show is accompanied by a thematic showcase presenting the latest lines of products in casa Lenovo, long supporter of CDM together with Rizzoli Beijing and BIDC (Beijing Industrial Design Centre). This installation was designed by LI Naihan to present Lenovo’s newly released Le Phones and Le Pads, and was conceived as an abstract environment inspired by vintage video games (eg., PacMan and Super Mario Brothers).
Art direction included curating, concept and editing of the catalogue as well as the media kit.
promoted by :: Beijing Municipal Science and Technology Commission
main organizer :: BIDC (Beijing Industrial Design Centre)
supported by :: Beijing International Design Week & Lenovo
co-organizer :: Rizzoli Beijing (RCS Media Group)
art direction :: BAO Atelier
April 12 – 17, 2011
Salone Internazionale del Mobile – Milan Design Week
Pasticceria (Via Tortona 28) | Milano, IT
Presented in CDM 2011 the exhibition takes the two international Chinese metropolises as backdrop for an imaginific journey through the quixotic and the ordinary, depicting imaginaries supplementary to those that widely circulated via the spectacles of the 2008 Olympics or the 2010 Expo. “WòYóu 卧游” is an expression that came to popular use in the end of the 19th century when a culture of new images, goods and attitudes entered Chinese cities therefore designing new meanings for urban realities. It refers literally to the habit of reading while reclined on a sofa or a bed [wò 卧], indulging into a private moment of creative leisure.
While the word 游 yóu translates generally as ‘traveling’— it is also often associated to the act of ‘playing’— it figuratively recalls the act of ‘travelling with your mind’, daydreaming of new worlds and adventures, and finds its origin in the ancient arts of traditional painters and literati, their extraordinary capacity to evoke distant geographies as popularized by the rich genres of travel literature throughout the centuries.
Acute observers and insiders alike, the 10 designers presented in the exhibition all live and work in China sharing the spirit of mercurial travellers – archeologists, spelunkers, innovative makers they traffic between past and present, their visual repositories and aesthetic languages to translate them into objects and forms inspired by a contemporary spirit of exuberant nomadism, where geographical and cultural confines blur and intersect.
The exhibition is articulated through a modular system of customized hexagonal units called The Beehive ©, at the same time archival and display structure. This lightweight sculptural body creates an abstract landscape through which 10 stories, like 10 chapters in an open-ended book, unfold in a series of individual stage-sets where products and projects covering a diversified range of design practices (from furniture to fashion) are accompanied by documentation in the form of sketches, texts, photos or videos providing an in-depth vision of the design process and context of work.
participating designers :: Monica BERTINI, Jovana BOGDANOVIC (INNOVO Design), INSTANT HUTONG (Marcella CAMPA & Stefano AVESANI), LI Naihan (NAIHANLI&CO), LI Yongling, LIU Feng (FUN Living), WOLFS & JUNG (Emmanuel WOLFS & Boyoung JUNG), WANG Hao, XIAO Tianyu, Danful YANG (XYZ Design), ZHANG Da
promoted by :: Beijing Municipal Science and Technology Commission
main organizer :: BIDC (Beijing Industrial Design Centre)
supported by:: Beijing Intl’ Design Week, Lenovo
co-organizer :: Rizzoli Beijing (RCS Media Group)
Museum on Paper: Xijing Letters
March 2011 issue of Art & Investment Magazine (CN)
The Chinese contemporary art magazine Art & Investment hosts a special curatorial project dubbed “Museum on Paper” which, published 6 times per year, features an 18 pages, custom designed insert dedicated to the work of one artist or specific project.
Xijing Letters is an exploration of Xijing world by means of 27 keywords selected by the artists as related to their unique collaborative practice. Each of the keyword is illustrated by visual or written inserts as excerpted by videos, interviews, curatorial texts and the artists’ own drawings. The irregular size of the pages exposes the different background colors used for each of the keywords.
The idea came from research on an hypothetical book structure (Xijing Zaji: Miscellaneous Records of the Western Capital) conceived to resemble the anthological character of traditional historiographical literature: generally complied at different moments in dynastic times in the form of collected works. Inclusive of eminent biographies, geographical records and factual accounts, literary and artistic genres, myths and folklore) this type of encyclopedic formats are known to be of extravagant nature and of relative scientific value. Organized in alphabetical order and structured along a selection of key-words and epistemological categories embedded in the work of the collective, the book would aim at contaminating discourse and critique with its deviant humor and disarming digressions.
November 11, 2010 – January 24, 2011
Platform China Contemporary Art Institute | Beijing, CN
curator :: Beatrice LEANZA
And what would art have to do with this? What would it give to be seen? Cause to be seen? Let us see? Let us cause to be seen? Or let itself be shown?
Jacques DERRIDA, The Truth in Painting
The Third Party is an exhibition conceived to unfold in three consecutive sessions in Platform China project space. Each approximately lasting twenty days, the three moments of this show are devised to disclose their conceptual and thematic associations as in a chain‐reaction, where the individual frameworks are determined by the critical inputs presented within a preceding one. The Third Party explores the shaping relationships between narrative and aesthetic objects to foreground an inquiry in the realm of the ‘ordinary’ specific to the Chinese context. It does so by mobilizing overarching frames of reference and critique currently at play, be those aesthetic or historical, through three analytical environments tackling respectively issues of self-historicization, witnessing/archiving and collaboration. The progressive movement of the show somehow attends to the patterns of identification inherent in the day‐to‐day business of learning and communicating of and through our bodies, spaces, feelings as we build an understanding of reality and ultimately our position within it. The Third Party therefore concerns itself with matters of mapping, the tracing of patterns of both presence and absence and the ideological constitution of subjects.
The Third Party was chosen as “Best of 2011″ in ArtForum, December 2011.
ACT 1. How to Be Alone (or Nowhere else am I safe from the question: why here?) | November 11 – 30, 2010
ACT 2. The Stranger | December 9 – 27, 2010
ACT 3. The Third Party – A Group Celebration! | January 7 – 24, 2011
September 10-13, 2010
Shanghai Rockbund Museum | Shanghai, CN
The exhibition was originally presented within the framework of China Design Market 2010 jointly organized by Rizzoli Beijing and BIDC (Beijing Industrial Design Centre) as an official event of Milano Salone Internazionale del Mobile (Milan Design Week). It introduced for the first time on an international stage the work of a young generation of 30 Chinese independent designers, artists and studios. (see SUPERnatural! Salone Internazionale del Mobile Milano)
On the occasion of the 3rd anniversary of Rizzoli Beijing, SUPERnatural! will be featured anew as part of the celebration event hosted in the stunning architectural framework of Shanghai’s Rockbund Museum. With the aim of recreating a connection to their original context of provenience, the exhibition transforms one of the rooms in Rockbund’s YWCA Building into a compact museum of domestic urban scenarios. Showcased in three life-sized dioramas, these symbolic remakes juxtapose selected pieces by 13 artists and designers into a wondrous stage-set of private interiors onto a unique backdrop illustrated by artist CHEN Shaoxiong. By gazing through these windows visitors are taken into a filmic detour into the personal life and visual histories behind the designers to discover the minutiae of everyday worlds in continuous change, while accompanied by a customized selection of vintage tunes and ambient sounds assembled by Leo de B. & Thomas S. A sonic voyage through different decades, the compilation blends Chinese pop songs from 1930s and 1980s, with original western tunes ranging from vintage movie soundtracks to avant-garde pieces of yesterday and today.
The selected pieces include furniture, lights and products by Danful YANG, 多相工作室 DUOXIANG Studio, 姜晶 JIANG Jing, 李永玲 LI Yongling, NAIHANLI & CO, 林菁 LIN Jing, LING & COMMA, OHO-OHO, 湃设计 PEP Design, 萨日娜 SARINA, 石川设计 TOM SHI Design, 肖天宇 XIAO Tianyu and a special series of costumes by young fashion designer 张丹丹 ZHANG Dandan
April 14 – 19, 2010
Salone Internazionale del Mobile – Milan Design Week
Design Library | Milano, IT
China Design Market (CDM) has been born out of the collaborative efforts of Rizzoli Beijing/Abitare China magazine and BIDC (Beijing Industrial Design Center), with the support of the Lenovo Group. It was launched in 2008 as a cooperative platform for the promotion and enhancement of strategic synergies between the international design world and China. CDM 2010 included three main projects, including an exhibition, a special project realized in collaboration with Alessi (curated by Gary CHAN) and a showcase of the homegrown Chinese Red Star Award dedicated to industrial design.
Art direction included curating and coordination of all projects, concept & editing of the catalogue and media kit.
main organizers :: Rizzoli Beijing (RCS Media Group), BIDC (Beijing Industrial Design Centre)
in collaboration with :: Lenovo & Alessi
art direction :: BAO Atelier
April 14 – 19, 2010
Salone Internazionale del Mobile – Milan Design Week | project of CDM 2010
Design Library | Milano, IT
Introduced within the framework of CDM 2010, the exhibition is conceived as a wondrous journey into contemporary object-scapes through the creative processes of a young generation of 30 Chinese independent designers, artists and studios as a way to explore both formally and conceptually the micro-fields of everyday life. This curatorial approach wishes to expose the multiple outreaches of design processes and research into a variety of crossdisciplinary practices and how these speak of a perception of the world and contemporary life, stretched into a continuous experimentation with its visual and material currency. The works and projects featured in the exhibition – ranging from products, furniture and lights to clothing, publication/illustration, sound and art objects, intend to inform of the shaping relationships between visual strategies in art, architecture and design and their implication with material processes of production that take the realm of the ‘ordinary’ as an ideal environment to continuously reinvent the cultural outfit of personal history into a process of performative innovation. The show highlights how these selected creative practices engage forms via strategies of subtle sabotage, appropriation, assemblage, where found shapes, materials and objects of everyday use are remoulded into a geography of whimsical ambiguity and disarming über-reality.
A selected series of books, artists’ catalogues and independent publications by Chinese graphic designers and studios are included as part of the exhibition.
featuring :: ACF, BANMOO, CENG Hong, CHEN Ke, Design MVW, DUAN Jianyu, DUOXIANG Studio, HC28, HOMESHOP, JIANG Jin, SHAN Lin by LEE Yao Studio, Naihan LI & CO, LIANG Yuanwei, LI Yonglin, LING & COMMA, MADE-IN / LEAP, MEWE Design, MORE LESS, OHO-OHO, PAPER WORKS by Jethro CHAN, PEP Art + Design, RAINBOW, Tom SHI Design, SUBjam, WANG Bin, WANG Yifan, XIAOmage + CHENGzi, XIE Dong, XYZ Design, YAANG by WANG Yang, YANG Jun, ZHANG Dandan, ZHENG Guogu, ZIZAOSHE by SONG Tao
main organizers :: Rizzoli Beijing (RCS Media Group), BIDC (Beijing Industrial Design Centre)
in collaboration with :: Lenovo & Alessi
art direction :: BAO Atelier
Screening program and public presentation
November 13, 2009
Salon of MoCAb – Museum of Contemporary Art Belgrade
in collaboration :: Jelena VESIC
November 18, 2009
Galeria Nova | Zagreb, CR
support :: WHW Collective
artists :: CHEN Xiaoyun (1971, lives and works in Hangzhou), GAO Shiqiang (1971, lives and works in Hangzhou), LU Chunsheng (1968, Shanghai), QIU Anxiong (1972, Sichuan province; lives and works in Shanghai), SHI Qing (1969, Inner Mongolia; lives and works in Beijing), SUN Xun (1980, Fuxin; lives and works in Beijing), ZHANG Ding (1980, Gansu; lives and works in Shanghai)
Much of the literature compiled around the popularity of Chinese contemporary art is generally concerned with its commitment to an aesthetic modernization process that satisfies international exhibitions’ agenda by translating the social and economic implications of an increasingly globalized country into the critical achievements sustained by its creative miracle. While such form of discourse is motivated by transformative notions of urban growth, social development, economic differentiation, and is largely interpreted via a secular portraiture of changing credos and mentalities, not much of it seems to engage with the less manifest phenomena informing the shifting nature of private and public spatiality as culturally and subjectively constructed processes.
In recasting attention to the processes of spatial voyage and memory formation through the filmic experiments of these artists – be those documentary evidence, fictive journey or personal diary — subtle commentaries of self-disclosure reappear into a totally new feature of change which no longer inhabits the vestiges of the past – its symbols, iconographies and idols, but sits on the ruins of the present by eliciting mental, psychological and spatial associations of contemporary ‘inner landscapes’ . By articulating intimate writings into the architectural peripatetics of moving pictures, these artists’ works make use of an elliptic emphasis on subjectivity, mnemonics and imaging, so that the viewing product comes into being as a space of collective recollection where social fundaments and behavioural schema are readjusted into the artists’ contemplation of interpersonal dependencies and historical loci.
Public Viewings thus represents an attempt to elucidate theoretically and aesthetically on the changing psyche and processes of identity formation in contemporary China through their aesthetic re-enactment in cinematic space. In the wake of critical historical changes defined by forms of transcultural regionalism and denationalization in place in the Asian continent, a dive into the representational apparatus of the Self in the reality of globalizing China is a necessary exercise for anyone interested in venturing inside a yet un-coded domain of public culture where networked societies and a-political subjectivities are shaping new sociological mainstays.
November 4 – December 8, 2009
Museo della Scienza e Tecnologia Leonardo da Vinci | Milano, IT
artists :: AHN Doojin, Ahn Kanghyun, AN Jungju, BAE Young Whan, BIRDHEAD (SONG Tao & JI Weiyu), GAO Shiqiang, HASHIMOTO Satoshi, Elaine W. HO for HOMESHOP, JUNG Yeondoo, Kim GISOO , KIM Sangdon, LEE Wooyeon, LI Naihan, Liang Shuo, MATSUBARA Megumi, MIN Ji Ae, NI Haifeng/Arrow Factory, NIWA Yotaro, QIU Xiaofei, Siren EUN Young Jung, TANAKA Koki, MICHIKAZU Matsune/The SHOP, XIJING MEN (GIM Hongsok, CHEN Shaoxiong & OZAWA Tsuyoshi), YAN Jun, YANG Jun, KIMURA Yuki, KIMURA Taiyo.
Presented for the first time in Milan, the exhibition features the works of 27 artists from China, Japan and South Korea. The project sets forth an investigation of multidisciplinary artistic practices which implicate new formal and conceptual relationships with the space of the contemporary and the habitat of the everyday, by introducing a heterogeneous group of artists, art collectives and independently-run art spaces with backgrounds in art, design, sound and architecture.
The projects included in this exhibition manifest an intrinsic connection with the spatial and social conventions of their original contexts, and intend to provide an understanding of the way younger generations are formulating new ways to deal with the space of art and social action by assuming a position of open, dynamic marginality. The tentative, incomplete quality of these, for the large part, installation-based works (featuring photography, video, drawing, architectural interventions, publications, performances, sculpture) comes into being as a product of intimate negotiation and continuous readjustment with the immediate environment and its social implications by forging aesthetic assemblages that subtend re-invented symbolisms and meanings for the contemporary.
The aesthetic order framed within this exhibition inhabits the episodic nature of reality by reconnecting to its fragmented, scattered, precarious objects via subtle strategies of self-design, where fragile materials of everyday use and familiar forms are reassembled into new spatial relationships.
The abandoned, discarded and cheap materials which are often employed in these works are recollected and brought into new relations of force, so to expand the field of vision beyond their contingent materiality. In this sense the relationship kindled between the viewer and the work is ever reformulated onto an ambiguous, non-deterministic territory, where consciousness and recognition are negated a manifest environment and rather accommodated in an unstable, non-representational space enforced by a rhetoric of the unexpressed.
The show included opening performances and new site specific installations by five artists.
promoted by :: Regione Lombardia
with the support of :: BMP Sas (Milano), The Nomura Cultural Foundation (Tokyo), Unione del Commercio, del Turismo, dei Servizi e delle Professioni della Provincia di Milano.
technical Sponsor :: Hantarex, Electronic Systems, Milano
supported by :: Consulate General of the People’s Republic of China in Milano, The General Consulate of Japan in Milano, The General Consulate of the Republic of Korea
Emporium was selected for best exhibition design in ADI – Design Index 2010 as finalist for the Compasso D’Oro Award.
September 8 – October 20, 2009
140 sqm Gallery | Shanghai, CN
…all about a kind of door. To envision us approaching and pounding on this door, increasingly hard, pounding and pounding, not just wanting admission but needing it; we don’t know what it is but we can feel it, this total desperation to enter, pounding and ramming and kicking. That, finally, the door opens, and it opens outward — we’ve been inside what we wanted all along. Das ist komisch.
David Foster Wallace
The Shape of Things to Come is an experimental project bringing together four artists and one curator to test the ground of contemporary art in a time ‘other than’ the present. Conceived in reminiscence of a Wunderkammer, or Cabinet of Curiosity, the exhibition engages the task of exposing the status of artistic objects to scientific self-inspection. It does so by stretching the visual narratives and spatial extents of the creative process past its extinction, into the realm of a possible future. As the Cabinet contained an object-ified reservoir of history, this project deliberately captures itself and the works toward a latent new aesthetic order. Written in 1933 at the peak of the Great Depression, the novel by H.G. WELLS from which this exhibition takes its name provides an account of world history up to 2105; in a disastrous unraveling of ominous predictions towards global collapse, Well’s imagination purges the traces of the present with no regret for its oblivious passing away. What then, if we were able to test-drive the deflagration of our aesthetic universe? Manufactured in the conceptual size of a table-game, what parcels of history, relics of the contemporary, would be left as a visual repository of our present times, and in what new semiotic order would they re-awaken so that by way of an exhilarating expansion, stretched between experience and premonition, they’d frame the possibility of a hopeful artistic prophecy beyond its predictable end. Such is seemingly the quest of the current age. How to jump start history? Can we avoid a critical conflation of artistic paradigms, that is, a totalizing erasure of things past, their identity and difference, and still break through a concrete future? The project’s participants use the site and economics of the exhibition to play out such a fantastic threat. Site-specifically devised for the 140sqm Gallery, the show presents a series of interlocking installations and textual interventions where boundaries continue to be tested and stripped down.
Borderline Moving Images – Shanghai edition (unrealized project)
Special Edition within the framework of INTRUDE – Art & Life (Zendai Museum)
Shanghai & Beijing, CN
Borderline-Shanghai will be featured under the subjective spell of an anonymous yet controversial singularity: figure of dismay and contingency, timing itself between estrangement and familiarity, between the soliloquy and the public arringa, it survives complacently in the anti-systemic organism of the network, swerving from unexpected change, to shock and displacement, the Opportunist is an emotional personality that runs the flexible tides of communal life in the global spectacle of the post-fordist multitude. By appropriating this contentious tonality of contemporary life (an attributive image framed by philosopher Paolo VIRNO within the labor regime of new capitalism) and its transnational modalities of unmediated performance, Borderline orchestrates while investigating the topography of loosened hierarchies and modes of subjectivation, to interrogate the diffused reengagement of art in sociopolitical concerns against the locality of present Shanghai.
In the one dimensional time of the Opportunist work and leisure have no longer fixed separation, sociality has become a cognitive and behavioral technicality, information a form of art. Regardless of where and when you are, discarding the notion of mediation as a programmatic agenda for collective thinking, the Opportunist gathers the anomalies of disinformation, indifference and delusion to forge instead hospitality, awareness and solidarity. While believing in the power of self-expression, the Opportunist challenges its contemporary understanding as a form of strategic survival within the governance of the artistic spectacle and its power structures. By entering what Gerald RAUNIG has defined the “paradox of creativity as self-government”, this free-flow of subjective views will be drawn together in an ephemeral structure of open-signification to produce a collective engagement for thoughts and optimism. Sensitive to the fluid nature of the city, Borderline will intrude the specificity of its fast paced life by deploying art in a full-time assault into a continuous 100 hours programation among critique, provocation, poetry and entertainment.
The Opportunist is designed as an information network revolving around a broadcasting unit, it is an experiential tool for motivating an alternative experience of space by way of time. With a total of 100 hours of programmation (ie., 4 days + 4 hours) The Opportunist will take up different forms of public interventions in both physical sites, “on air” sessions and the web.
A project for the Second Shenzhen Biennale of Architecture and Urbanism
artists // 宋琨 SONG Kun (artist; Beijing, CN), 洪启乐 HONG Qile (sound artist/musician; Hangzhou, CN), Can ALTAY & Asli KALINOGLU (architect & artist; Ankara, TR), Patrick TUTTOFUOCO (artist; Milano, IT), PROGRAM initiative for art + architecture/Carson CHAN & Fotini LAZARIDOU-HATZIGOGA (architecture & design; Berlin, DE)
DeadEnd is predicated on the disconcerting experience of urban destinations as increasingly orchestrated spectacles, dissimulating participation, observation and accumulation in “pictorialized time/space” resorts (M. Christine BOYER). This form of programmed anticipation, widely deployed in strategies of city marketing, tourism enterprise and cultural entertainment, is one that appropriates the concept of termination not as an end in space but an end in experience, which disposes of the cultural mediation of difference by severing the city from its possible (multiple) reconstructions. Five new works have been commissioned by BAO Atelier as tour guides/mental scapes for pedicab journeys from the main Biennale venue into greater Shenzhen. Under the urgency of a city of expiration, each work and its concordant route is assigned one of five pedicabs to be stationed at the exit of the primary exhibition hall of the biennial at the DeadEnd station.
Dashanzi Art District | Nike Energy Space
January – October 2007
Nike & Beijing 08 Olympics | Golden Team
January – October 2007
Nike & Beijing ’08 Olympics | Golden Team Manga Series
June 23 – July 1, 2007
various locations | Beijing, CN
An experimental urban platform unfolding over the course of nine days, it takes as its area of investigation the interconnection between visual production and contemporary urban culture with a focus on video art and its multidisciplinary accounts. Conceived as a continuous narrative, the event moved every day into a new location within different areas of Beijing city, networked through public and private institutions, commercial and educational spaces including universities, galleries and art venues.
It featured an international program of both exhibitions and public programs such as talks, workshops, screenings, and live performances bridging perspectives from installation, short film, documentary, animation, performance and music, sound art, architecture and design.
Borderline‘s structure included three overarching sections: 2 thematic exhibitions, 6 days of Mobile Lab and night events. Full content on all events can be viewed at www.borderlinefestival.org.
Soho Shangdu Underground Parking Lot | Opening exhibition of Borderline Moving Images 2007
participating artists :: Fikret ATAY, Johanna BILLING, Candice BREITZ, Mircea CANTOR, Calin DAN, Claire FONTAINE, GAO Shiqiang (高世强), Clarisse HAHN, Teresa HUBBARD & Alexander BIRCHLER, Jesper JUST, Mathieu LAURETTE, Melik OHANIAN, OU Ning & CAO Fei (欧宁 & 曹斐), SHI Qing (石青), Ulla Von BRANDEMBURG, WU Wenguang (吴文光), ZHANG Peili (张培力).
A constructed story-telling portrayed by the experiments of 17 international artists, Seduction is a theory-fiction inspired by the homonymous book by French philosopher Jean Baudrillard, featuring diverse video installations, including documentary, experimental video, and footage appropriated from personal and public archival material, CCTVs, mass media, pop culture video-clips, cinema repertory, etc.
“On the backdrop of modernization and the inspirational economic leverage incited by the countdown to the Olympics, the changing relationship between politics and culture articulates within a process of experimentation which interrogates locality and its historicity against, on a side, the products of global consumerist culture, and on the other, the convergence of new models of spatial thinking and occupation, popular culture, social ‘neo-neo-tribalism’, corporate branding, viral marketing and hybrid libidinal economies. The perpetual nature of this predominantly visual production giving rise to new urban imaginaries speaks to the paradigmatic quality of fluid social networks, where communication is situational, metaphorically consumed in the digital time of internet and experienced in the superficial flux of moving images. Indeed the synthesis of global connectivity is not only challenging our sense of space, but also that of human presence within; while displacing the time of history in a one-dimensional media flow, it furthers brings into questions that of its immanent possibilities and “invisible” modes of existence. It is thus in the spatial convergence of our mental vocabulary/memory, one of compound narrativity and filmic character, and the digital tempo of contemporary hyper-production that opens up the measure for art to forge critical distance and innovative models of counter-representation.”