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Posts tagged ‘文化交流 cultural exchange’

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This is a sound walk that 谢婷婷 Hailey Xie and i made in January, seven days after another big snow storm in Beijing. It was originally intended as material for the second issue of wear journal, but it felt a pity to turn all of these sounds into text-only format. We ended up leaving it out, though now in light of a recent conversation with Bruno and Hlynur in Buenos Aires, we could imagine the winter again.

I am walking with the ZOOM H4n digital recorder with built-in mics (now panned for left ear), Haxi is using a minidisc player and Sound Professionals in-ear binaural mics (now panned for right ear). If you listen carefully you’ll hear some things in a strangely layered effect, though i’m sorry though to say, i’ve destroyed the binaural in putting our tracks together. Here’s from the doorstep of HomeShop to the edge of the alleyway, before everything gets lively. Download the mp3 version [256kb/s, 11.4 mb] here.

When I was exporting the file for this, somehow the file became corrupted and time-stretched… Thought some of you might enjoy that, too.

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This issue and the second season of HomeShop are marked by a more cynical bent, whereby the pointedness of quotation marks, as in “cultural exchange”, invite investigation into the deeper multiplicities and ambivalence hidden within this overwrought term. Continuing its documentation of daily life in the hutong, WEAR number two intertwines HomeShop’s series of exercises in cultural exchange with commentary, imagery and special projects on the topic by contributors such as Carol Yinghua LU, RAQS Media Collective, Meiya LIN and Michael EDDY. A special 28-page insert has also been created especially for the journal by artist Reinaart VANHOE.

这期杂志以及 家作坊第二期都变得更加愤世嫉俗,凭着指向“文化交流”引号中的东西,展开了一些对这种过度形式中多样性与矛盾心理的深入调查。仍然维持对胡同生活的记 录,《穿》第二期纠结了一批家作坊关于文化交流的实践:评论,图像,和一些参与者(卢迎华、RAQS媒体小组、林美雅、Michael EDDY等)针对此话题做的特别项目。28页的别册也是艺术家海纳(Reinaart VANHOE)为本期杂志特别制作的。

第二期参加者 number 2 contributions by:
何京蕴 Anouchka van DRIEL (NL), Michael EDDY (CA/USA), 方丹敏 Barbara FANG, 飞雅 Beatrice Ferrari (CH), 高蓓 GAO Bei (CN), 何颖雅 Elaine W. HO (HK/USA), INSTANT HUTONG (IT), Fotini LAZARIDOU-HATZIGOGA (GR), 梁硕 LIANG Shuo (CN), 林美雅 Meiya LIN (CN), 卢迎华 Carol Yinghua LU (CN), 麦巅 MAI Dian (CN), 曲一箴 QU Yizhen (CN), RAQS Media Collective (IN), 陶醉 Claude TAO (CN), 海纳 Reinaart VANHOE (BE), 夏吉安 XIA Jian (CN), 颜腾 YAN Teng (CN)

Copies of WEAR are now available for purchase. They are on their way to bookstores around the world, but please contact us to order directly from HomeShop. Shipping costs vary; please contact us for an estimate.
E-mail lianxi@homeshop.org.cn or telephone +86 137 1855 6089. Online payment is currently accepted through bank deposit, PayPal and TaoBao.

E-mail lianxi@homeshop.org.cn 或者 电话 +86 137 1855 6089。网上交易也行,通过网上银行,PayPal淘 宝网。

*** Please help us cut down on shipping costs and distribute the journal to one of our carriers abroad. Receive a free copy of the journal plus other offers. Find out more about how to participate in our DIY distribution scheme.


网上Paypal订买,请按一下上面的“《穿》购买”,或者直接跟我们联系:lianxi [圈A] homeshop [点] org [点] cn


We snuck three copies of our forthcoming journal out of the factory, and sold two of them in one day! The remaining copy is on display at C-Space for the also space² exhibition. Drop by or wait until next week when the rest come out.

Click on the button above to order your copy through paypal or e-mail us at lianxi [at] homeshop [dot] org [dot] cn if you prefer a one-on-one. RMB 100 / EUR 15 / USD 20… We’re a bit tired now, but hope you’ll still like it.

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-courtesy of the Overseas project, September 2009

[originally posted 31 December 2009 by HappyFriendsReadingClub 欢乐读者俱乐部 at Our Vitamin: 交叉小径的花园 Garden of Forking Paths]

temp_space_in_motionArchitect daucle‘s installation at HomeShop contracted or expanded between planes of public and private, opening up varying usages of space according to daucle’s working hours. On the left, daucle is at home; on the right, daucle is at work.

Happy Friends Reading Club met at HomeShop in Xiaojingchang Hutong at 8pm on December 14th. A convertible stretcher and canvas installation by architect Claude Tao provided a setting for dialogue, which from outside on the street resembled a shallow-depth stage for a chamber drama. A small round table loaded with bottles of beer held the center; the fluorescent tubes above flattened the off-white cube: TV space.

The reading was a substantial passage from David Harvey’s The Condition of Postmodernity from 1990. Written on the other side of the postmodernism hump, Harvey had much material to go over, and many interpretations to play off each other. As the observations of a geographer, Harvey’s book puts space in a central role. But one of the most intensely-felt accomplishments of the postmodern age is the twisting of space and time around each other, annhilating their former understandings. Harvey points out that earlier theoretical formulations of postmodernism, such as those of Fredric Jameson (Postmodernism or, The Cultural Logic of Late Capitalism, first published 1984) in which he called for a program of “cognitive mapping” in the midst of the disorienting effects of late-capitalism, neglected to examine in-depth the received conceptions of space and time, and their variations under varying regimes of time-space use.


Harvey therefore sets to the task of describing several of them, from the (gendered) cycles of peasant lives to the more recent mastery over space by processes of “flexible accumulation” (flexibility with respect to labour processes, labour markets, products and patterns of consumption). He outlines a tripartite diagram of spaces (with diagrams themselves as a category contributing a significant position in a spectrum of spaces) and presents a typology of social times as assembled by Georges Gurvich.

He refers to the theorists who have tried to define time and space in historical and phenomonological terms: space marking social reproduction and control (Foucault); space produced through use and necessity (de Certeau); time memorialized not as flow but as still memories, and history as poetry (Bachelard); the social practices that produce space and time mediated by a “durably installed generative principle of regulated improvisations”– by social formation, or “habitus” (Bourdieu).

Harvey’s discussion measures all of these attempts at grasping definitions of time and space against the ever-mutating capitalist determinations and uses that structure the world at large. For instance, Harvey plays “place” off against “space,” the former (place) marking the limits that revolutionary or worker movements are able to effect; the latter (space) falling more and more, through technologies and social and political crises, under the control of capital–workers can occupy a factory, but not the distribution or transport networks, nor the distances in between the financial centers and the developing nations to which their jobs are being shifted.

Through the terms of geography, Harvey’s critique points out that “the ‘othernesses’ and ‘regional disturbances’ that postmodernist politics emphasize can flourish in a particular place. But they are all too often subject to the power of capital over the coordination of universal fragmented space and the march of capitalism’s global hisorical time that lies outside the purview of any one of them.”

The members of Happy Friends who were present for the discussion agreed that Harvey’s text, written in 1990, seemed remarkably apt at describing the current crisis-ridden moment accompanying the deterritorialization of the internet and political and social changes that occurred in the 20 years since the text was written. Harvey’s observations were uncannily prescient. For that reason, it is unsurprising that they have been almost entirely subverted in the last 2 years. Space has been digitally re-imaged such that the crevasses formerly separating places are so miniscule as to require decades of travel before one’s limbs are fatigued by the traverse. The flattening imposed on space and time by their masters (cartographic satellites, information engineers and, above all, transportation-communication industry) has progressed neither unidirectionally nor fractally. Control of invisible space can be used to localize as much as to globalize, to connect as to disconnect. Whether one is in Beijing or Urumqi or Asia, space is predicated on will and place is a dialectic between space and the individual. To quote the author, “If there are limits to the accumulation and turnover of physical goods…then it makes sense for capitalists to turn to the provision of very ephemeral services in consumption.” The question is how to limit infinitude.

One late-arriving participant made a meta-observation on the group that had been discussing, trying to identify the positions of those sitting around the round table: the Foucauldian, the Marxist, the Eastern philosopher… those appointed squirmed uncomfortably.

There were other attempts at vocabularies to describe the differences between postmodernism and modernism. Using one of the paper cups as an object-diagram of time, one participant pointed at the lip and the space that it contained; this was an argument for space-as-place.

about description and understanding

Information is over-visualized, which means everything is too specific today. Specific means clear, means shortening the time of understanding, means efficiency, means capitalism. On every billboard, a man is a man, a hamburger is a hamburger, a man eating a hamburger is a man eating a hamburger, a man feels happy when eating a hamburger is a man feels happy when eating a hamburger. It’s a kind of over-description. We enjoy description, because every complete description makes us feel that ‘we are right’. But description can make everything right. A disadvantage of description is, it truly lowers people’s capability of understanding. I consider understanding as of the same importance as description, a profitable communication is based on the balance of description and understanding. Brother Qu said modern art is hard to understand but classic art seems much easier to understand. The answer is Yes if we consider classic art is a kind of advertisement.

The object lesson dissipated to the interstices of the discussion; one participant commented that this is what most Taoist interjections do. Other labels for the promiscuous and not mutually exclusive dichotomies of space/time, post/modernism, included: pleasure, usefulness, efficiency, recycling.





temp_space x time_plot_ratio continues next week by hosting a cross-bred meeting of the Happy Friends Reading Club and the Beijing Critical Theory group. The reading is from a section of David Harvey’s The Condition of Postmodernity, a chunk of “The experience of space and time” [download PDF here], self-consciously to be reviewed:

HomeShop, Tuesday 15 December, 18.00-20.00

All are welcome~  For directions or more information, call: 131 2133 8508


CUI_temp_space崔师傅无敌 Master Cui is invincible

daucle_temp_space来自daucle temp_space by daucle

back_temp_space后面 back side

from daucle@Atelier ClaudeveretT:


“Discard Space” refers to the total space occupied in the twelve hour timespan from eight in the morning when I leave HomeShop until eight in the evening when I return. At the same time it refers to the two week period in which Elaine W. Ho leaves Beijing, whereby if I had not entered HomeShop, it could be deemed as such “discard space”. During this period of time, the effective capacity of this space is zero. But it is a temporary space. Just as my residency within the space creates a use value for it, as it resolves the possibility of my residency elsewhere, this space is full of possibilities.

If we take such possibilities (without a violation of basic rights) and divide them temporally, then there exists a segmented but equally non-violable use of space, and these are what we call temp_spaces. To face the use value of temp_space signifies allowing its users to make such use of space and access the latent potential for communication and exchange made possible by the null space of office hours.

As such, within this two-week period we make a discussion of the time_plot_ratio of residency time (temp_space). My residency fulfills one part of this, but during office hours from Monday to Friday, there remains a “discard space”. We would like for the time_plot_ratio of HomeShop’s temp_space to achieve its greatest possible potential.

HomeShop is divided into two primary spaces, one which is used as a bedroom, the other as a studio. Because the bedroom serves as a private space in which personal articles are stored and the routines of personal hygiene are not usually shared, the general public does not usually have the possibility to enter the space. But with the studio space as temp_space, therefore, its use can be made open and shared under agreement of deed. This space with its open front facing the hutong alleyway and moveable screen can be made multifunctional (commercial, display, etc.). Users have the possibility to open space or close it by the moveable screen. Given the size parameters of the space and that which opens it onto the public street, the screen serves as a crucial determinant of the space.

temp_space x time_plot_ratio will take place from 8-11 December and 14-15 December at HomeShop from 8:00 until 20:00

In order to participate, please fill in the temp_space deed [download WORD doc or PDF] and send it by e-mail to claudeverett [at] gmail [dot] com or directly contact by phone at 13811418056.

There are no fees involved, the only requirement is that at the end of each day the space must be returned to the original condition when entered.

douban event page: http://www.douban.com/event/11328214/

In the end we may discover, resolving space is not necessarily a return to something natural, but in fact a manner by which the rich man resolves the seat in his car. Resolving space may mean the new architecture that suddenly springs from the earth, or that’s the architect’s scheme, anyway. Space is a rich man, time is a poor man.

“home” is whoever stays in.









临时空间的开放时间: 2009年12月8日-2009年12月11日,每天的早上8点至晚上8点
预订方式: 契约将在报名后收到,将契约填好 [下载 WORD 文件 或者 PDF] 并发至claudeverett [圈a] gmail [点] com等待回复或直接联系13811418056。对此空间的使用无需支付任何费用。



daucle@Atelier ClaudeveretT