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Posts tagged ‘艺术 art’

图片/image: Jeronimo Voss

幸存艺术

19:00—> 2013年10月19日

继今年四月对空间模式的热烈讨论之后,家作坊现在推出下一个议题:艺术家在北京(但不仅限于北京) 组织自己的“工作-生活”的不同方式。

 在中国(包括其他地方),艺术家的工作总被认为是自给自足、自己做主的,但它很少跟“自我决定”联系起来。因此我们想问:我们需要创造何种结构才能使自身的工作状态更加稳定呢?
参与者简介:
  • 生活工作在阿姆斯特丹的Maja Bekan 和 Angela Serino目前是北京IFP(Institute for Provocation)的驻地艺术家,她们的项目是“行动中的身体:文化工作者的未来会是怎样?”
    Maja Bekan是一名行为和视觉艺术家。她是艺术家鹿特丹艺术组织“论辩与艺术区”(ADA,Area for Debate and Art)的发起人与策划者。
    Angela Serino是生活工作在阿姆斯特丹的意大利策展人和作家,自2010年起出任荷兰艺术机构Kunsthuis SYB的项目策划委员会委员。
  • 方璐是一位生活和工作在北京的录像艺术家、录像局的发起人之一。录像局是设在北京和广州的独立录像档案资源库,主要致力于为录像艺术提供展览,组织和存档的平台。
  • 来自德国的访问艺术家Jeronimo Voss是艺术工作者联盟(Art Workers Coalition)的组织者之一。艺术工作者联盟主要研究职业艺术工作者的政治和组织可能性及其与其它社会运动之间更为广泛的联系,如他们的项目Philosophicum就以法兰克福住房短缺问题入手,向政府提议将一个废弃的大学校园建成住房合作社。
  • 在北京工作和生活的艺术家吴玉仁通过自己的装置与摄影作品阐释权力结构及其对个体的影响。2010年,吴先生参与组织了包括多名艺术家与当地民众在内的抵抗强拆活动。


Surviving Art

7:00 pm—> October 19th, 2013

In a followup to our lively discussion on different models of “spaces” in April, HomeShop hosts a discussion on the ways that artists organize their working lives, in Beijing and beyond.

In China (and elsewhere), while artistic work has often meant self-employment and being one’s own boss, it has not always translated as “self-determination.” We start this discussion from a common inquiry that unites a variety of positions: what structures can we create to endow our work with a little more stability?

Participants:

  • Amsterdam based Maja Bekan and Angela Serino are currently in residence at IFP in Beijing working on the project “BODIES AT WORK: What is the future of the cultural worker?”
    Maja Bekan is a performance and visual artist. She is a co-founder and developer of the Rotterdam based artists’ initiative ADA, Area for Debate and Art.
    Angela Serino is an independent curator and writer based in Amsterdam (NL). She is member of the Programming Committee of Kunsthuis SYB, artists in residency devoted to research, experimentation and new collaboration, and co-initiator of noalanguageschool, icw artist M.Al Solh.
  • Fang Lu is a Beijing-based artist working primarily in video. She is co-founder of Video Bureau, an independent video archive resource in Beijing and Guangzhou that aims to provide a platform to exhibit, organize and archive video art.
  • Visiting from Frankfurt, Germany, artist Jeronimo Voss talks about his experiences with artist self organization in Frankfurt am Main. Jeronimo will talk about new urban development plans in Frankfurt, Germany as well as ways of dealing with it, both artistically and on a self-organized daily life basis.
  • Beijing-based artist Wu Yuren represents power structures and their effects on individuals in his installations and photography. In 2010 Wu and a group of artists and residents in northeastern Beijing were involved in resistance against evictions.
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7 pm, August 29th, 2013
Caterina Riva
“Toothpick Geometries”

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“I will give some background context on the establishment of FormContent in London and speak of some of the curatorial projects we worked on in that capacity, in shifting situations, from a gallery to an art fair. The second part of the talk will touch upon my move to New Zealand in mid 2011 to take up the directorship of Artspace in Auckland and the challenges of moving to a new place, where different rules and a different audience are in place. A few selected projects from my time there will be presented and discussed.”

Caterina Riva has been the Director of Artspace NZ since 2011, her recent curated projects include Goldin+Senneby M&A and the upcoming solo show by Tahi Moore. 
Riva was co-director and curator of FormContent, a not for profit curatorial space she helped found in East London (2007-2011). After her studies in Italy, Riva received her MFA in Curating at Goldsmiths College, University of London. Between 2004 and 2008 she was the Coordinator of the Advanced Course in Visual Arts for Fondazione Ratti in Como, Northern Italy.

 

2013年8月29日下午7点
Caterina Riva
“牙签几何”

《我将就FormContent在伦敦创立的背景及其来龙去脉做一些介绍并谈一些在此名下策展的项目,情况各异,从画廊到博览会。第二部分将会谈及到2011年中期我们迁往新西兰并开始管理奥克兰艺术空间Artspace)的情况以及所遇到的挑战,不同的地点,不同的规则,不同的观众。我也将选择几个我在那期间的几个项目展示给大家并和大家讨论。》

从2011起Caterina Riva任ArtspaceNZ总监,她最近策划的项目包有Goldin+Senneby《M&A》以及即将举行的个展Tahi Moore。Riva历任FormContent的总监和策展人,FormContent是一个在她协助下创办于东伦敦的非营利的策展空间(2007-2011年)。在意大利攻读后,Riva在伦敦大学戈登史密斯学院(Goldsmiths College)获美术策展硕士学位。在2004年和2008年之间,Riva与他人合作在意大利北部的科摩为基金会Ratti主办视觉艺术高级课程。

  参与者召集

家作坊谨此宣布参与式艺术项目“一派胡言”正式启动。

在活动网页上获得跟多细节和例子 :
www.homeshopbeijing.org/partytime

参与者将被邀请注册自己的party,通过不同的平台构建与活动策略来探索自我组织的可能性。一派胡言对参加者的年龄、出身、诉求与组织方式都没有限制,你的party甚至可以穿越时间和地域,让你的想象成为你的领袖吧。无论如何,这都是是值得一试的,因为到目前为止,还没有任何人能玩通过这个游戏。

第一步:来到家作坊,填写派别登记表,或直接从网上下载登记表,填写完毕后电邮给我们。


第二步:设计party形象,我们将按照你的具体要求帮助你设计选举海报

第三步:party整体规划!通过设计party活动来积累人气,撰写新闻宣传稿,举办晚宴,与三教九流建立秘密盟友关系。

第四步:参与“一派胡言”的各种活动,为9月的选举做好准备。

如果你想具体了解一个party是如何建立起来的,你可以参考已经注册的party,希望它能给你一些启发,如果你有任何建议的话也欢迎联系。

 

  Call for participants!

Announcing the Party Time Project, a participatory campaign initiative of HomeShop, taking place in Beijing over the summer months of 2013.

See the project website for details and examples:
www.homeshopbeijing.org/partytime

Participants are invited to invent and register their own parties, to develop their platforms and campaign strategies that imagine a better possible world. The Party Time project sets no limits on age, place, era or political system—the Animal Rights Militia from Cold War Korea? Corporate Fascist Banana Plantations Party? Let your imagination be the leader! It’s worth a try, because obviously nothing attempted has yet worked!

Step one: Come to HomeShop to fill in your registration form, or download it and send it back to us.

Step Two: Develop your party image; we will help you design your election poster according to your specifications.

Step Three: Organize your party! Build morale with your own events: collect signatures, write a press release, host a dinner, shake hands on the street.

Step Four: Attend Party Time Project events, culminating in the elections in September!

For further information, to see registered parties, and for any questions get in touch or stop by!

Join in on the Party Time Project! Let’s make history!

 

“In defence of… Gentrification”
By Igor Rogelja

My first doubts and concerns over how the term gentrification is used didn’t arise so much from a discussion on the applicability of the term in different socio-economic contexts. Neither were they stoked by the oft-cited misuse of the term by social observers, or by a desire to go against the grain of critical urban geography’s canon of work.  While these are all issues I’ve worked with, the first time I actually, physically, flinched was when a city official from Kaohsiung, a Taiwanese port city, used the term in an overwhelmingly positive way, leaving no doubt that such a spatial restructuring was desirable: gentrification as a tool for development. There are of course several possible explanations – maybe the term was simply misused. Perhaps it is a rare and naïve display of candour that city bigwigs in most Western cities have long since learned to avoid, using instead either vacuous terms produced by PR departments or hiding behind complicated urban planning argot. Or both.

And yet, the notion of gentrification as a function of urban development opens new insights into the ways in which cities (especially in rapidly industrializing and developing countries) are being altered, with municipalities increasingly mimicking the input required to set off a gentrifying chain of event which, presumably, result in pleasant streets populated by attractive coffee-drinking people. In a manner that is both real estate-driven and top-down (and thus markedly different from real estate-led gentrification in New York, or the gentrification ground-zero of London’s Islington, where Ruth Glass first coined the term), it is as much a modernist state project, as well as a distinctly free-market driven process. Within the tension between these two loaded terms, project vs. process, I however see no inherent contradiction. Indeed, one finds an analogous shift within the mode of governmentality1 of the contemporary state, where broad societal visions (the project) are being complemented by a web of communities, stakeholders and interests, often reinterpreting the work of the state into a facilitator of personal (and corporate) aspiration, i.e. facilitating the process. Within this new city, whether we call it neoliberal or late-capitalist, gentrification has come to be seen as a central process (or culprit) by which spatial restructuring takes place and by which dilapidated housing stock is replaced, rejuvenated or otherwise shifts from the poor to the aspirational – often with at least the tacit support of the planning authority. Detected all over the globe and discussed in different academic fields, it is no surprise the term is both over-used (spurring Loretta Lees (2003) to upgrade it to ‘super-gentrification’), as well as maligned for its lack of clarity and tendency to obfuscate other important issues – a case which Julie Ren makes in a previous post about Beijing on this blog.

If we however suppose that the radical spatial restructuring in Asian cities is ‘something else,’ especially in the time since the idea of the creative city travelled there via epistemic networks in the late ’90s and 2000s, this requires a back to basics approach. My intention is to try to vindicate the use of the term even in contexts as varied as Beijing, Bangkok or Kaohsiung by looking at gentrification as a function of a late-capitalist spatial restructuring, especially when symbolic capital (Ren Xuefei, 2011) is taken into consideration and the producers of the symbolic meaning, Florida’s ‘creative class,’ become important actors in the field. What this means in practice is that gentrification by culture has become the dominant trend in Greater China, though it can be broken down further to identify both state, commercial and independent actors. Whereas ‘galleries, cafés and artists’ was a well-known gentrification cocktail in the West, these are now joined by an entrepreneurial state, advised by an epistemic community of planners and businessmen, and often following pre-existing templates.  While examples ranging from Beijing’s hutong chic to Shanghai’s Xintiandi have been variously termed as commercialization, preservation, adaptive re-use and gentrification, they have in common a transition from being a place of local (and often marginal) meaning to (replicable) places of consumption and source of pride for the city authorities. Such also, is an example of Kaohsiung’s Park Road, once a messy stretch of hardware shops which has recently been redeveloped, as the jargon goes, into an artsy park as part of a city-wide effort to catch the creativity bandwagon.

Formerly, the area was known as Hardware Street (Wujinjie) and was very much a proxy for the city’s economic history – Taiwan’s dirty, sweaty port city where ships were disassembled, sugar exported and naphtha cracked. It is also a uniquely diverse city, as the rapid industrialisation pulled in large numbers of rural workers into the city – unusual for Taiwan’s otherwise rather tame rural migration. Since the late 1990s however, and for reasons deeply connected to Taiwan’s two party system (Kaohsiung is traditionally the bastion of the pro-independence Democratic Progressive Party), the city has embarked on an ambitious plan to rebrand itself from cultural desert to cultural hub. In itself, this is nothing remarkable; Manchester, Liverpool, Bilbao, Detroit have all had such turns in urban policy, successful or not. Rather, what is of interest in this case is the micro-level to which the city was engaged in the project of beautification and revitalization of the ailing blue-collar neighbourhood through which Hardware Street cuts. With its cluttered shop floors, oil slicks and loud noise of clunking metal, the street had been earmarked for ‘beautification’ in the run up to the World Games in 2009 in order to create a tourist corridor towards the Pier-2 Art Centre (a reused set of warehouses housing a municipal modern art complex) and to complete a bicycle lane network across the Yancheng neighbourhood (another strategy to attract the ‘creative class’). The demolition was divided in four stages, with the first one beginning in 2007 and the last one completed in 2011. Though the land is publicly owned and a park had been loosely envisaged in the area for decades, the issue here is not so much of legality – in any case the Taiwanese 1998 Urban Renewal Act grants municipal authorities ample powers to reconstruct urban areas, especially on publicly owned land.

Rather, the motivation for the decision is the key to understanding the way in which a gentrified ‘creative Kaohsiung’ is being constructed, not only as a physical space, but also as a space of identity and a new authenticity for Kaohsiung – a city of industrial heritage and a creative future. In this case, the radical restructuring of the abstract space of the plan caused the demolition of over 400 shops and adjacent living quarters and the forced historicization of what was very much a living industry. Thus, shops selling and repairing machine parts were replaced by public art and street furniture constructed out of the very parts which were the hardware shops’ livelihood, commissioned by the municipality and produced by local artists, many of whom have been intimately involved with the setting up of the nearby art centre as well. The area is now a showcase of Kaohsiung’s authenticity, its gritty industrial character now cleaned up for public consumption.

Faced with questions of identity and the allocation of space, the ‘authenticity’ of the area fragmented, as Sharon Zukin has shown on the case of New York’s gentrifying neighbourhoods (2010). In this case, the lived authenticity of the chaotic metalworking shops and the illegible network of unmapped lanes and gaps in the organically (illegally) grown neighbourhood is substituted by a planned authenticity of a different kind – in itself an important trait of gentrification. The industrial character of the area is translated through the instrument of public art into a dizzying array of street furniture and installations, all of which explicitly reference the history of the area – the irony is not lost on the remaining shopkeepers: ‘They took the things that kept us alive and made them dead,’ noted Mr. Bai, a hardware shop owner, while an elderly resident took things one step further, calling the park a place for dogs to shit where rich people can jog around, adding she has no time for such leisurely activities.

Though not explicitly expressed in city planning documents, the notion of authenticity is crucial to this neighbourhood from an economic standpoint and explains the effort to gentrify the area, rather than raze it completely or simply build a new part of town. Not only is the city government promoting mass tourism in the area, but a planned creative industry park also relies on the area’s authenticity to attract investment – most recently a large Hollywood digital effect firm. The firm, Rhythm&Hues, was initially being groomed by the municipal economic development office to occupy a suburban software industry park, but decided to base itself in an old warehouse instead, embracing the industrial feel of the building, which was inaugurated by Ang Lee in November 2012. The area thus gained a new role as a creative park and tourist attraction, though many residents are demonstrably cool towards the weekend crowds, and have moreover found alternative uses for some of the artwork as chairs or even places to dry laundry.

While property-owning residents might financially benefit from the long-term revitalization of the area, the displacement of poorer residents by wealthier newcomers is of course never a total or complete process.2 What is striking is that what had occurred in Kaohsiung has all the outer marks of gentrification, with old shops closing and giving ways to design boutiques and artisanal coffee shops, followed by a 30% increase in real estate prices. And yet, this was a top-down initiative with clearly stated goals, an agreed timeline and due process in the city’s council. It was a project that relied from the outset on the collaboration of the city’s artist community, as well as the approval of the construction businesses, which were granted permissions to construct taller residential buildings in the area.
Gentrification by fiat, if you will.

What then about this example from one Asian marginal city is relevant to the rehabilitation of ‘gentrification’ as a useful term in describing the changes befalling Asian cities? Is it not simply a project of demolition, an Haussmannian echo of sorts? The simple answer is yes, that is precisely what it is, but within it lies the idea that art and creativity can and will change urban space, and beyond that, that they will change it in a way that accommodates ‘Soho-style living,’ as the city’s urban plan bluntly puts it. The legacy of a gentrifying New York or London does not necessarily live unchanged as an endless repetition of successive waves of real-estate price hikes and demographic changes. It manifests itself also in the ordered representations of space of the urban plan. But when aimed at working class neighbourhoods, it is (and always has been) a deproletarization of space; pausing on whether it is ‘planned’ (slum-clearance) or ‘organic’ (gentrification) is in many cases distracting from the point that the displacement typical of gentrification is not only the displacement of people, but in a Lefebvrian way, of the lived space of a neighbourhood for financial and political gain of established elites. To reiterate, the imposition of new conceptual space upon the city is not a natural or spontaneous process. Seeing such changes outside of the social and spatial context is not only incomplete, but also conservative in that it perpetuates neoclassical economists’ insistence on the emergent qualities of gentrification or slum-clearance, endowing urban restructuring with an air of unavoidable, organic change – precisely what Kaohsiung’s municipality tried to convey by consigning to history and artistic representation the living, clunking workshops of its waterfront.

Going back to gentrification as function of development, I suggest the baggage with which the term is burdened is what gives it the critical punch needed to make sense of the spatial transformations in Asian cities, where expectations of development clearly exhibit a tendency to create both the disinvestment needed to create ‘gentrifiable’ areas, as well as a pool of gentrifiers. While the debate between production-side and consumption-side explanations of gentrification thankfully no longer rages, we will be well served to remember that both explanations agree that gentrification as a phenomenon is essentially conditioned by a late-capitalist system. In China especially, where a retreating state has left municipal authorities dependent on land-dealing and thus with a clear interest in rising (or raising) land values, a race towards ever greater exploitation of urban space may manifest itself as either commercialization, gentrification or simply urban development, all of which are apparent not only in the physical space, but in the abstract, conceived space which seeks to impose itself on the city. Viewed in this light, the opening of a café or gallery may not be as serious a sign of gentrification as the commitment of district chiefs to pursue creative policies, though how far the market-driven side will progress remains to be seen. In Kaohsiung certainly, gentrification by culture remains a tool in the arsenal of urban policy.

1) Miller and Rose’s “Governing the Present” (2008) is a great look at the questions of governmentality in advanced liberal democracies, though many nuances equally apply to non-democratic states in advanced stages of development. 

2) While the displacement of working class residents with middle class newcomers is the usual hallmark of gentrification, I reject notions that this substitution must be complete. Vast stretches of London’s Hackney or Islington still remain predominately working class, while in other cases, such as on Broadway Market in Hackney, the mainly Turkish immigrant landlords have benefitted from rising commercial rents. Despite this, both areas remain clear-cut cases of gentrification.

Igor Rogelja is a PhD candidate at the School of Oriental and African Studies, University of London. His research is focused on the role of creative city theory and art in urban redevelopment in Taiwan and China.

真和假第二期 True and False 2
家作坊@北京有机农夫市集
HomeShop @ Beijing Farmers’ Market

7月27日周六上午11点到16点在颐堤港购物中心将举办“真和假”活动第二期。家作坊再次现身农夫市集并推出两项活动。

On Saturday July 27th, from 11:00 to 16:00 at INDIGO mall HomeShop will hold its second edition of True and False as part of the Beijing Farmers’ Market and Country Fair, hosting  two activities.

12:00 pm — 酒仙桥艺术之旅 Jiuxianqiao Art Tour

艺术的转基因作用,被转基因后的艺术。假作真来,真亦假。真作假来,假亦真…与 “见”赏大师一起去发现有机艺术…

This tour of the new international art works in the Jiuxianqiao area addresses the transgenetic function of  art, and the genetically modified art: When the false is considered true, the true is the false, when the true is considered false, the false is the true… Let’s find organic art together…

全天 all day — 蔬菜洗礼仪式 Vegetable Purification Ceremony

修女艾丽萨 安妮 玛丽 玛丽亚 主持的蔬菜祝福服务主持。
为了保证口味十足,带你的农产品来接受祝福。

Led by Sister Eliza-Annie-Mary-Maria
Bring your produce for a ritual blessing. Guaranteed to enhance taste. 


“无形” non-visible videostills

non-visible
a project by Asako Iwama and Derrick Wang
June 21-23
家作坊 HomeShop

The “non-visible” project has evolved from a series of video interviews with various practitioners in Europe and China with experiences or familiarity working with non-visible energy, or ‘qi’. Interviewees have included dancers, cognitive scientists, Feng Shui and I Ching masters, psychics, traditional medicine doctors and physicists. 

How can the non-visible be made visible and/or comprehensible? We would suggest that we are constantly swinging between the two poles of subjective and objective reality. Through the process of our interviews, we have attempted to find points of connection between the various practices we have encountered, while acknowledging our own groundlessness in terms of having to constantly transform our perceptions and expectations of the people we have met. 

In a film installation and series of events organized during the June solstice and under the full moon (June 21-23), we hope that some of the hidden layers contained in our interactions and recordings will become visible to or felt by those who participate, and that a new understanding of the non-visible may emerge.

Friday June 21
18:00-20:00 reading and discussion with the Happy Friends Reading Group (download reading material)
20:00-22:00 film installation

Saturday June 22
18:00-20:00 book reading and discussion with Du Shun Gie Laoshi (Feng Shui master), Zhang Li Rem Laoshi (Yijing master), Eva Bergwall (eurythmy teacher and healer), Hartmut Walter (acoustic and vibration engineer), Zhu Feng (Qi Gong master) and other guests
20:00-22:00 film installation

Sunday June 23
19:00 dinner prepared by Emi Uemura and Asako Iwama and open discussion (organic & vegetarian dinner, cost 88RMB, reservation required; please email lianxi@homeshop.org.cn)
20:00-22:00 film installation

Asako Iwama (born in Tokyo, Japan) is an artist and cook, who lives and works in Berlin, Germany. Asako Iwama’s practice has developed around the idea of the ontology of eating. Referring to the social aspects of eating as a metaphor of our relation to nature, Iwama seeks to transform the perception of nourishment, both aesthetically and epistemologically within her practice and work.

Derrick Wang (born in Montreal, Canada) is a second generation Chinese from Canada who has a background in architecture, and is currently working as a filmmaker in Beijing, China.

in collaboration with HomeShop / Emi Uemura, Michael Eddy, Qu Yizhen, Tan Zhengjie, Fotini Lazaridou-Hatzigoga

 

“无形”
项目发起人:岩間朝子,Derrick Wang
6月21-23日
家作坊 HomeShop

“无形(non-visible)”项目采访了许多生活在欧洲和中国的人,这些人或拥有运用无形能量(或“气”)的能力,或拥有这样的体验,他们的职业各式各样,其中包括舞者、认知科学家、风水先生、易经大师、通灵者、中医师和物理学家等等。

如何让无形的、不可见的能量可见或被理解?我们不断地在主观和客观现实的两极之间摇摆。在采访的过程中,我们试图找到这其中的共通点,然而,遇到的人不断地改变我们的看法和对他们的期望,我们也不得不承认自己的局限性。

在夏至和月满之际,我们将在6月21-23日这三日间,运用影像装置等一些列活动呈现该项目,希望我们的互动和记录中所包含的内容能让参与的人“看见”这些能量,并对其有新的认识。

周五6月21日
18:00-20:00 乐友读书会及讨论(阅读内容在此下载
20:00-22:00 影像装置 

周六6月22日
18:00-20:00 读书会及与风水大师杜顺杰、易经大师张力壬、音语舞老师治疗师Eva Bergwall、声学和振动的物理工程师Hartmut Walter、气功大师朱峰等特邀嘉宾进行讨论
20:00-22:00 影像装置

周日6月23日
19:00 晚餐及公开讨论(有机素食,88元/人,由植村絵美和岩間朝子掌厨,请邮件预定:lianxi@homeshop.org.cn
20:00-22:00 影像装置

岩間朝子(出生于日本东京),艺术家及厨师,生活和工作在德国柏林。岩間的实践和研究主要围绕于“吃”的本体论。鉴于“吃”作为某种社会文化现象所隐喻的人类与自然关系, 岩間旨在于美学和认识论上转换人对饮食的认知。

Derrick Wang(出生于加拿大蒙特利尔),加拿大华人第二代,拥有建筑学背景,目前作为导演在北京工作。

合作者:家作坊/ 植村絵美, Michael Eddy, 曲一箴, 谭争劼, Fotini Lazaridou-Hatzigoga

 

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Supported by ifa – Institut für Auslandbeziehungen e.V.
“无形”特由ifa支持。


A Constructed World, Hospitality, 2001 (presented by Anna Hess, 2011)

For the following meeting of Happy Friends we will meet on Sunday June 9th at 5 pm to discuss texts from “Speech Object” (2011) by Australian artist group A Constructed World (Geoff Lowe and Jacqueline Riva). They will be present via Skype thanks to Guo Hao. When the question came out: what is this about? the following gentle suggestion was made by Geoff:

Re: speech object- how to consume?
Hey Hao

well I think maybe the best way is to read these 2 short texts
…try this at home p27
speech objects p73
both are very short
-or a bit longer
a new role or repertoire… p32

the idea is to begin to track how the audience may be involved in a work even before it is made

to think away  from creation and expression ( where an art work appears from nothing)
to translation and diffusion

so with the audience rather than thinking they don’t-know ( stupid public who have to be educated)
begin to think about how any work of art may have origins in its audience.

its a prompt its not a manual
the book rose out of an exhibition in 4 parts that attempted to chart how a work and its reception could move around in space and time

hope this helps a bit!
XXGeoff

Please leave a comment to receive a link to the pdf.

 

II:回归周口店之旅将在5月1日早6点在北京协和医院东门口正式启动。自计划公布以来,我们已经收到了很多十分有趣的项目题案,当然题案征集仍在继续,请想跟我们一起去但尚未取得联系的同志抓紧了!

请参与者尽量选择舒适合脚的鞋,带上所有出行必备的物品并想办法将行走过程以不同方式记录下来。不计划行走全程的参与者可以在途中与我们相遇。沿途沟通请致电15001127304(英)18910792649(中)。如果你想在周口店过夜,请在4月28日之前与我们取得联系,统一订房,费用由个人承担。第二天,我们可以一起“参观”周口店猿人遗址公园,呵呵。一路顺风

The journey back to Zhoukoudian starts by meeting at 6 am on May 1st at Xiehe Hospital.
A number of participants have signed up with their contributions to the story, but participation is still open to all!
Please consider footwear and clothing carefully and any equipment necessary for your participation. Also consider methods of documentation.

Participants can also join at other points along the way if not for the whole walk. Please call 15001127304 (EN) 18910792649 (中文) to find out the progress of the walk and possible meeting points.

If you wish to stay overnight with the group, please let us know by April 29th so that we can make a reservation at a local hotel (costs covered by individuals).
The next day, we will proceed on to the Peking Man site at Zhoukoudian where we will make some collective actions.
Bon voyage!

章节…… Chapters:
蓝T恤 The Blue Shirts ……………………………………………. Adam Chapluski
地形与地层 Landscape Stratoscape …………………………. Patrick Conway
砖头到水泥再归来 from bricks to concrete and back …  François Dey
当穴居人碰上太空人 Caveman Meets Spaceman ………. Michael Eddy
北京人拉松 Pekingathon ………………………………………… Gordon Laurin
丽莎 LISA …………………………………………………………….. 李丽莎 Lisa Li
留 Remains ………………………………………………………….. 欧阳潇 Ouyang Xiao
北京人,你是谁?Peking Man, who are you?……………. 植村絵美 Emi Uemura

…………………………………………和其他勇敢的冒险者…. And other brave adventurers

……………………………………………. 包括 ….. including …. 曲一镇 Qu Yizhen, Alessandro Rolandi, Orianna Cacchione, 王大船家 Wang Dachuan and family

Get the Flash Player to see the wordTube Media Player.

 

《高山流水》赵天汲

High Mountain, Flowing Water by ZHAO Tianji

(声音装置 / sound installation)

HomeShop recently participated in the exhibition Green Box - Remapping — The Space of Media Reality (organized by School of Intermedia Art of China Art Academy at Media City Research Center 11–29 January, 2013) with a just-in-time newspaper about the other works in the show, silkscreen-printed on-site in the exhibition space.

近期,家作坊参与了展览《绿盒子-重绘形貌-媒体现实的空间》(由中国美术学院媒体城市研究中心举办,于2013年1月11-29日展出),作品为一份关于本次展览中其他作品的即时报纸,在展览现场进行丝网印刷。

两年以来,家作坊通过报纸的形式对公共性与本地性的“内”与“外”进行持续研究,包括《黄边日报》与《北二条小报》。我们意在通过时效性媒介来发表一个具有复调空间的宣言。从时间与空间上来说,报纸的截稿时间给内容强加了一种特定的紧迫感。 

作为这些表演性新闻报道的延续,《绿盒子阜利通》将现身《绿盒子:重绘形貌-媒体现实的空间》群展,并展开探索。家作坊小分队会对其他参展者进行纪录、注解、批评,搜集大量数据、真相抑或流言,以及深入幕后的主观诠释,这些将以红墨印制,在开幕时供人取阅。在个别情况下,参展者可选择自我批判,而不是让作品任由《绿盒子阜利通》支配。最后,我们的社论不仅是指向自我的检视,渗入自身实践的诸多边界,而且是向普遍意义上的展览批评提出质询。

For the past two years, HomeShop has been investigating the ins and outs of publicness and locality through the form of newspapers, including The YellowSide Daily and Beiertiao Leaks. The intention has been to form a multi-vocal space of statement through a medium of urgency. The newspapers’ deadline forces a certain immediacy of content, in both time and place.

Greenbox Leaks is a followup on these exercises in the performance of journalism, turned toward the exploration of the context of the group exhibition in which it will appear. A team dispatched from HomeShop will document, annotate and critique the contributions by all other participants in the show, gathering meta-data, truth & rumour, and subjective interpretation into a special behind-the-scenes critical feuilleton to be printed in red ink and available for the opening. In some cases, the other participants will be offered the choice to self-critique instead of having their work subjected to the treatment of Greenbox Leaks team. Finally, our editorial comprises a self-criticism that not only infiltrates the boundaries inherent to our own undertaking, but also problematizes all future criticisms around the exhibition as a whole.

Printing past the deadline at the opening. 开幕之后的现场印刷


Fellow artist in Green Box, Liu Guoqiang, takes his criticism with admirable humour. 另一位参展艺术家刘国强带着崇拜式的幽默阅读关于他的作品的批评



The presentation also included previous editions of Beiertiao Leaks, YellowSide Daily, and 《穿》Wear journals (now available in Hangzhou while supplies last!). 展览的作品也包括前期的《北二条小报》《黄边日报》《穿》

Counting the hot cakes profits (1 yuan x 66 copies sold = 66 yuan!) 清点我们的收获!(1元*66份=66元!)

     

Read Greenbox Leaks here
在此阅读《绿盒子阜利通》

See more here: 更多信息 http://weibo.com/u/3205118847?topnav=1&wvr=5&topsug=1