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WaoBao

Spring Cleaning for International Give Your Stuff Away Day
国际“变废为宝”节

时间 date/time__2012 年5月12日,周六下午2点至6点
                        Saturday, May 12, 14.00-18.00
地点 location__家作坊 HomeShop,东城区交道口北二条8号 [地图]
                    Dongcheng District, Jiaodaokou Beiertiao 8 [map]
豆瓣同城活动 Douban event__www.douban.com/event/16419765/

五月十二号(星期六)来家作坊就不仅仅是打酱油啦,前来参加“献宝兑宝活动”。夏日炎炎,让您的居 室,柜橱,里里外外更宽敞明亮一些吧,五月十二号这一天把你家淘汰下来的物 品,如手机、衣服、箱包,旧家具及其它生活用品带到家作坊来,与需要它的人交换,使你的 闲置物品变成别人的宝贝,别人长期不用的东西成为你的最爱!除了交换闲置物品以外你也 可以交换服务和技能,如,用帮别人看孩子来交换网站设计、用一顿自家做的便饭来交换非限行号车辆的一日使用权,同时我们也会教你怎样旧物“再设计”改造, 还会播放如何把垃圾变废为宝的短片,十分有趣!带着你的朋友来跟我们一起玩吧,说不定你还会“交换”到一个新朋友带回家哦。还有免费饮料和小 吃提供,在本街道居住时间最长的家庭之一宋家,将教授我们如何再设计“后现代有种糖葫芦”!

从五月五号起家作坊开始接收你不需要的 闲置物品。请你快把不要的物品拿到交道口北二条8号来,我们会先给你一张“兑宝券”。你需要的宝贝在 等待你“赎”它回去…你“冷宫”里的宝贝也让我们垂涎三尺。取长补短,互利互助,皆大欢喜,何乐不为?!(也可于12日当天带来你将交换的物品!)

On Saturday, May 12th, come and do more than get the soy sauce at HomeShop’s “WaoBao Spring Cleaning” event! The purpose of the day is for you to gather everything you’ve left covered in dust in your closet and swap these things with other people who can make new use of them! Traders should bring everything from unwanted mobile phones to clothing and bicycles on trading day, and get ready to drive hard bargains. Money is no currency on this day, just bring your stuff and prepare your sharp and sparkly bargaining tongue! In addition to swapping stuff, you can also swap your skills and services, like trading babysitting time for a day’s use of a valid license plate on the right driving day, or a home-cooked meal in exchange for website design services. As well as the trading, mini-upcycling and DIY project workshops will take place on site, and we’ll be showing a few short films about how our consumer habits have created a big trash society and the few individuals who are trying to give new life to it. Free drinks and snacks will be on offer, and one of the oldest families on the block, the SONG family, will also be on hand to teach us how to upcycle the classic tanghulu candied fruit skewer into postmodern balls on sticks, WAO!

Get off of the internet and WaoBao the clutter in your life instead! Starting May 5th, we’ll begin accepting donated must-haves to develop a stockpile of treasures, so for those of you with the bounty and not the space but the desire to see things loved a second time, please drop by HomeShop during opening hours to bring items and get tickets redeemable for trade on Spring Cleaning Day. (You can also bring your stuff directly on the 12th!)

_____

“糖葫芦的后现代生活”工作坊又Carrot Design工作室与家作坊的何颖雅发起。WaoBao!献宝兑宝活动由Michael EDDY、何颖雅、Fotini LAZARIDOU-HATZIGOGA和曲一箴(家作坊)与林苏葳(ClearWorld Media)发起并组织.
The “Life of Postmodern Tanghulu” workshop is co-hosted by Been from Carrot Design and Elaine W. HO from HomeShop. WaoBao! Spring Cleaning is organised by Suvi RAUTIO (ClearWorld Media) with Michael EDDY, Elaine W. HO, Fotini LAZARIDOU-HATZIGOGA and Twist QU (HomeShop).

    

“茶” 
欧阳潇

“Tea”
by OUYANG XIAO

Get the Flash Player to see the wordTube Media Player.

The following is cross-posted from Petra JOHNSON’s original notes at 小卖部 Kiosk, first published on 9 April 2012. It is the beginning of a choreographic dialogue involving walking, gardening and “getting to know” along two parallel routes in Cologne and Beijing. You can view her route in Beijing here.

When you walk 600 strides from the North Exit of the central World Heritage Centre in both Cologne and Beijing you will find yourself at the locations shown below: The Cologne route leads diagonally over the forecourt of the main train station to the taxi rank, then it heads toward a ring road and there turns right into Marzellenstrasse. After 600 strides, you are just before a small enclave called Ursulaplatz on the opposite side of the road.

Ursulaplatz shelters one tree that hovers over a fast road and is hovered over by a railway line. The predominant sound is the droning of cars passing out of sight below, occasionally relieved by a passing train passing above.

In Beijing the route proceeds from the exit at the Northern End of the Imperial Palace just opposite Jinshang Park and turns right into the pathway along the moat. At the first junction it turns left into Jingshan West Street and runs through the small stretch of park outside the wall of Jingshan Park. Early in the morning, the predominant sound here is that of birds singing.

Elderly men have brought their pet birds contained in beautiful wooden cages for a bit if fresh air. The cages are hung on the trees and whilst the men chat amongst each other sitting on benches on the other side of the path, the birds sing in the privacy of trees, each sitting on a perch in their cage.

Last night (April, 10th) E and I compared notes. How many strides did it take to walk the respective routes? In Cologne, the route had been stretched just before I left in order to accommodate Mahira’s request to wind itself around the new mosque and the Jewish Community Centre, in Beijing the route has remained the same. I was concerned that the routes no longer matched in terms of length. Elaine had walked the Beijing route the previous night and counted 8093 strides, the Cologne route had taken me 8040 strides. There is a saying by the German writer Duerrenmatt: ‘The more careful you plan, the more opportunity you give to serendipity.” He clearly has a point. What rational explanation lies behind this surprising and pleasant discovery? I too had walked the route in Beijing and counted my strides. A quick mathematical calculation established that the ratio between our strides is 1:4.

So what seems long becomes short and the short becomes long yet everything is as it should be – as long as the planning is comprehensive and thorough. I had always thought that planning was there to prevent surprises, it turns out planning enables them.

春天近了,沙尘暴也随之而来。正值“尘土飞扬”的好时机,DUSTbar开始了它的新计划:Letters漫游。

“Letter”在英文中既有字母的意思,也指代信件。在DUSTbar的“字母表”中,每个字母代表一个人,他们曾经与DUSTbar相遇,并建立了友谊。比如,A代表“阿布”,B代表“本杰明”。在Google Maps的帮助下,上面的图片展示了DUSTbar的“关系地图”。更多细节:字母表

同时,信件往往蕴藏着寄信人与收信人之间的亲密关系。借着狂风,DUSTbar给“字母表”中的每个“字母”寄出了一封信。打开它,看看记忆和情绪在胶片与文字中留下了怎样的印迹。

“尘土”何时飞扬到你家?

Spring is approaching along with the sand storms. Now it’s exact the right time for flying dust, and DUSTbar starts its new plan: letters wandering.

“Letter” means either an alphabetic character or a mail. Here in the DUSTbar’s “Alphabet”, each letter stands for one person who has ever encountered DUSTbar and built up friendship with it. For example, A stands for “A Bu”, B stands for “Benjamin”. With the help of Google maps, the picture above shows the relation-map of DUSTbar. More details: Alphabet

Meanwhile, letters (mails) also hide the intimate relationship between two. As the sand storm blows, DUSTbar sends the letters to each letter on the “Alphabet”. Open it to see how the memories/emotions are left in photos/words.

When will the dust fly to your home? 



高灵
制作/by Gao Ling

《正月初五迎财神》

在中国,农历正月初五“接财神”的习俗,盛行于明清民国,迄今犹流传民间。传说中有六位财神掌管人间财物。
1.正财神:赵公明,掌管招宝、纳珍、招财、利市。
2.文财神:范蠡,掌管人间财帛、人世爵位。
3.武财神:关羽,忠诚信义,保护财产。
4.偏财神:刘海蟾,撒钱济贫。
5.南海财神:龙五爷,降瘟除魔。
6.晋商:白圭,治生之祖。
按抽签的方式,初五这天高灵请到了“正财神赵公明”到家作坊, 尘尘请到了“晋商白圭”到家作坊,WB请到了“文财神”到家作坊,CYK请到了“武财神”到家作坊。各路财神各显神通,大家祝福家作坊在新的一年里财源广进!

“Welcoming the Gods of Wealth on the Fifth Day”
In China there is a custom of welcoming the God of Wealth on the fifth day of the first Month on the lunar calendar. It was popular in the Ming and Qing Dynasties, as well as in the Republic of China, and it is still widely practiced in folk traditions. Legend has it, there are six gods in charge of earthly prosperity.
1. Central God of Wealth: Zhao Gongming, in charge of  attracting abundance of treasures, riches, valuables and money.
2. Civil God of Wealth: Fan Li, in charge of luxuries and positions of nobility.
3. Military God of Wealth: Guan Yu, loyal and faithful, protecting people’s prosperity.
4. Off-Center God of Wealth: Liu Haichan, spreading money to the poor.
5. South Sea God of Wealth: Long Wuye, casting out diseases and ghosts.
6. Shanxi Merchant: Bai Gui, governing the laws of commerce.
Drawing lots, in the 5th day of the first month, Gao Ling invited the Central God of Wealth to HomeShop, CC invited the Shanxi Merchant to HomeShop. WB ushered in the Civil God of Wealth, and CYK summoned the Military God of Wealth. Everyone supplicated to the gods to work effectively to attract a bounty of financial resources in the new year!
 


(非常感谢高源翻译的英文原版 Chinese translation of the original post in English thanks to 高源鸿!!! 谢谢!!!

几个月之前,有位在2011光州设计双年展(主题为图可图非常图)非定名设计单元工作的朋友介绍了几位她的同事给我认识。他们在对祭奠用品进行研究, 大概这些用品是他们非定名设计的研究对象。我的朋友知道,我在和附近寿衣店的邻居有交流,制作了一些纸质物件,所以她研究祭奠用品的这几个同事想知道,这些店在哪儿。我给他们发了几张我制作的纸件和研究的照片,但其实我都没有给寿衣店内部拍过照。不过,我确实故意没告诉他们这些店的具体位置(其实就在我们工作室的正对面)。

这听着有点傻,但是我想声明一下,我这么做并不是因为想独占我周边的文化资源。我只是想研究这些小店同时不影响它们的真实性。这些小店从一开始,就笼罩在一片神秘之中。一年之前,我们在准备北二条小报第一期的时候,老萧和我特地去和问过开寿衣店的山东母子,要不要在我们的报纸上打个免费广告。两人拒绝了我们的提议,理由是做这种“迷信”的广告是不吉利的。政府对这种迷信产业进行着严格的监管,而同时又垄断着殡葬业。比如, 从我们对门邻居店里购买的骨灰盒,是不能进入公墓的,因为我们的邻居没有官方的批准。我想,这可能和他们本身不稳定的处境有关。他们在回答问题时,彬彬有礼而小心谨慎。所以,我们写了一篇短文,发在北二条小报上,仅向英语读者介绍这一现象。

不过,这篇短文的标题上用中文写了“寿衣”二字。所以在我们这份杂七杂八的报纸创刊号发行的第二天,就遭到了一些邻居的责怪,认为我们不应该提及这方面的内容。从他们的反应当中我感受到的是,不仅对门寿衣店与政府的关系难以说清,连关于人们离世后的仪式也是不可轻启的话题。

11月的时候,我们看了Brendan McGetrick的演讲,他本人是“未定名设计”的馆长之一。他以让人耳目一新的方式,向我们呈现出了各种创意与作品。他运用简单质朴的日常物件,科技产品,甚至社会现象来扩展设计的定义。比如:“政治抗议手册,DNA条码,死刑执行程序,跨洲货币体系”等等。那么这些如何成为设计的范例呢?McGetrick写到:“本次展会的目的,就是对“设计”进行重新的定义。设计是满足人类需求的各种战略解决方案,不是艺术家为了标榜自我而造出的主观产物”。

祭奠用品的设计可谓是McGetrick理念的反义词。这些用品悉数列举了日常生活的所有物件,通常涵盖我们文化当中的奢侈商品,比如:钱、汽车、高档衣服、手机和大楼。这些用品并非照搬物品原来的样子 ,也不是按照“山寨”的理念进行的。在某种程度上说,山寨好于原装产品,有的时候山寨机还会微妙而幽默地改变原机的功能。决定祭奠用品的外形的还有另外一个实际原因:为了便于焚烧,它们是用纸做的。因为这样的最终目的,设计当中的其他元素往往不被考虑在内。制造材料一定要能够充分燃烧,这样才能尽快进入地府——虽然几乎任何材料都是可燃的。曾几何时,人们在提供祭品的时候更加慷慨。但现在人们有着当代的理解,往往选择更普通的方式祭奠过世的爱人或祖先。 现在人人都可进行祭奠活动,所以祭奠也变得不在神圣,趋于理性。但是毕竟,相比于Georges Bataille提出的,用文字寄托哀思,或Jacques Attali倡导的,寄悲情于当代音乐,烧纸钱、烧祭物,显然还是更加直接的祭奠方式。然而这些用品必须做到能物尽其用同时价格低廉。所以,与现代社会的其他产品一样,祭奠用品也是大规模的现成制品。一套九件的祭奠品仅售15元。如果钱不是问题的话,还可以定做娃娃屋大小的别墅,或者等离子电视。在北京的小店里你可以在列着上百条物件的清单上订货,然后河北的制造者就会发货过来。不过,一般来说,卖的最好的还是成捆的通胀率极高的冥币,价格十分公道。

但是让我不解的是,如果祭奠用品的意义在于让死者在地府活得体面,那为什么还用最便宜的材料给他们做各种物件的复制品呢?是因为在这“纯粹的交换”中,最普通的商品,也是最合适的替代品吗?如果可以用仿冒品的话(比如,生前死后都可使用的双SIM卡手机;印着玉皇大帝的冥币),那么为什么还要买那些卖家的赝品,而不去自己制作一些适合自己情况和价值观的用品呢?这样不是能更好的阐释我们去已故亲人的关系吗?

带着这些想法,我自己制作了一些纸件并拿到对门的寿衣店,想知道能不能卖出去。我们的邻居并不吝惜对设计本身的评价,却坦承觉得这卖不出去。我向他们说明,他们可以自己定价,卖出去的钱完全归他们所有,他们也不断地问是否真的不需要给我任何钱。我唯一的要求就是请他们告诉我人们的反应。在我们的坚持下,他们同意拿几个看看。我本以为,手工制作可能对人们更有吸引力。然而店主却说,有人倒是买了一件,不管是以什么价格出售的,此人却打算留着我做的纸件而不是用于焚烧。这对我来说有些有趣,也有些让人失望。这并不是我的预期目标,也不是我最初保密的目的。不管怎么说,我还是觉得有机会的:接下来的几周,我路过对门,发现我的彩色小车摆在他们的玻璃柜台里。过了一段时间小车不见了,我却知道原因不是卖出去了。他们就是无法再忍受我的掺合,不想摆在柜台里了。而我们也觉得很尴尬,不敢旧事重提。

对亡者的纪念全世界都有,而我所知的祭奠方式相较这种简单很多。对很多人来说,谈到死亡,往往会谈宗教;而不信教的人,在说到死亡的时候,也会谈谈宗教,因为,没人谁真的知道死亡是怎样的一种体验,只能通过宗教来解释。我还记得参加过的几次亲戚的葬礼,感觉与其他重要场合没有什么特别大的区别,只是气氛凝重些。有的人相信天堂,我并不相信。在这点上,我与很多人包括亲属朋友是不同的。(我母亲是犹太人,她的文化身份可能更明显,而我其他亲戚的观点更集中于现世,引用我一个叔叔Alex在邮件中的原话,他说“等到陨石撞了地球,一切灰飞烟灭,一切都是浮云”)。如果说我们这个例子里,还依稀可见传统的影子的话,那么最多也只是说,这些传统时不时的扰乱了迥然不同的生活。

从某种程度上说,对死者的纪念,是人们用一种宗教,或者文化的方式,对抗着对于当代社会(流于物质)的失望,这种设计,可以说是存在于我们的内心深处根深蒂固的本能,或至少是,一种行之有效的对抗方式。牧师的动作,犹太拉比的语言或者在街边烧纸钱妇女的做法在一定意义上都是他们所在的环境的设计。而对于烧纸钱的妇女来说,这种设计其实是以象征的方式,重新构建了中国传统家庭相互依靠的体系,而让这些理念不因生命的终止而结束。但其实,即使焚烧的物件可能会变,这种习俗仍是在试图同精神世界建立一种连接,虽然表现形式是物质的,但实质并不全是。

我是站在一个不了解内情的人的角度上发表的观点,很难深入从人类学、社会学或宗教理论上进行分析。也就是在此,理论和信仰似乎分裂成了自相矛盾的境地。如果我们对待鬼魂的方式如此功利,我们如何能够真正进入灵魂的世界呢?带着这样的问题,我不禁自忖,是否现在已为时太晚?围绕真正的信仰问题,各种阐释与误解将我们对待灵魂的方式定调为艺术,但何为真相,何为误解,我们的路程在发现与怀疑的相反方向上,渐行渐远。毕竟,扪心自问,我们能说,扫墓者在祭奠先人时,所希望获得的,也是我们所期待的这种近距离的心灵体验吗?这些纪念本身是否已经稀释成了一种约定俗成的仪式?那么,个人与习俗的真正关系又是什么呢,我作为外来者是否就本不应该介入呢?

我们周边其实有很多家寿衣店。我决定去接触临近医院的一家更为“正规”的寿衣店。和我家附近的几家寿衣店差不多,这家店也是24小时开放的。毕竟,当生命走到尽头的时候,说不好什么时候,寿衣就派上用场了。一个晚上,我和陈陈一起去了这家寿衣店,他们比我想象的更愿意谈这个话题,我本以为他们会对此缄默无言。与我交谈的女士不认为寿衣店有任何不同,她也不认为所谓的私人处购买骨灰盒不可进入公墓的说法是真的。她给出的理由是,我邻居不像他们是本地人,入行时间短,所以在与当地顾客交谈时更为敏感。这位女士还对我拿去的纸件做出了批评意见。一个星期后我拿着改进过的纸件又去找她,这次纸件上有了手绘的细节。她问我,其他的像冰箱、洗衣机、衣柜床的物件在什么地方。正是她的态度导致了我的变节,让我觉得,之前的谨慎低调都是不必要的。祭奠,本是很个人的行为;但若仅仅因为质疑这一活动的纯粹性,便以此为题,公开讨论,是会让人感觉,多少有些尴尬。(你真相信灵魂吗?)说实话,对于这一精神世界的论断,我们无可稽考;而未来人们将以何种方式祭奠先人,我们也不得而知。我们把一种行为冠以“设计”之名的那一刻,其实就已经表明,这已不再是种信仰。因为,我们看到的,不再是真相,而是某个具体的物件,被赋予了具体的用途,被视作为满足人类需求而设计的一整套战略解决方案。这不禁让我想起了Vilem Flusser的名言:“设计者都是攻于心计,巧设陷阱的算计者。但如果通过讨论,我们可以获得另外一个视角,学会在思考的时候,不只局限于融合、利用、或强行引入某种文化元素,那么,也许在这时,我们可以说,自己真正实现了外国习俗与自身艺术的水乳交融。艺术作品不是人类征服精神世界的工具;不是对逝者简单粗暴的讽刺;相反,艺术作品可以是纯粹的;但真正的艺术来不得半点匆忙。

Several months ago a friend working for the “Un-Named Design” section of the 2011 Gwangju Design Biennale (titled “Design is not Design is Design”) put me in touch with some of her colleagues researching paraphernalia associated with death rituals, presumably as examples of un-named design. My friend was aware of the paper objects I have been making in dialogue with the neighborhood Shouyi, so the researchers asked where they could find these shops. I sent them some images of my objects and research, as I hadn’t even taken images of the insides of the Shouyi stores. But I deliberately refrained from telling them where our neighbors’ store is (it’s directly across from us in the alleyway).


In the summer one of our turtles stopped moving. We buried its body under the shrub by the gates. 夏天的时候,我们养的四只乌龟中有一只死了,我们将它埋在门口的灌木丛里。

This sounds silly now, but in my defense, I swear it wasn’t because I wanted to be the only cultural poacher in the neighborhood. I was simply trying to remain as true as possible to the subject I am following, which from the outset of my acquaintance seemed shrouded in secrecy. When we were preparing the first Beiertiao Leaks a year ago, Xiao and I went over to ask if the Shandong-bred mother-son business team living and working there would place an advertisement free-of-charge in our small newspaper. They refused on the grounds that it was bad luck to publicize as a profession dealing in “superstition.” They didn’t want publicity and wouldn’t allow any pictures or direct mentions of their store printed. Being a sector based on spirituality and superstition, it is kept a close eye on by authorities, and we were told that the government has a monopoly on the funerary industry. Apparently, if one were to buy an urn from our neighbors, it couldn’t be buried in an official cemetery, as they aren’t officially sanctioned. We suspected part of the issue was the instability of their own personal situation. They cagily but politely answered our inquiries, though, so we prepared a short article introducing the phenomenon only to the English-speaking readership.

The title of this brief piece had the Chinese characters “寿衣“ in it though, so the day after distributing the scrappy new copies of the first edition of Beiertiao Leaks we received reprimands from some of the neighbors for even broaching the subject. It seemed from their reactions that, aside from this little shop’s ambiguous relation to the state, as an area of human activity addressing the mysteries of what happens after you die, one shouldn’t speak openly about these rituals.


We had never given it a name, so in order to wish it well, we decided on one: 龟龟 (Gui Gui). 我们的乌龟生前没有名字,但为了祝福它,我们决定叫它龟龟。

Watching a presentation in November by Brendan McGetrick, one of the curators of “Un-Named Design,” we saw an inspiring methodology in organizing a wide range of ideas and artifacts. Toward this, there was a thoughtful attempt to broaden the definition of design to examples of rustic and simple but effective uses of everyday items, scientific innovations and even protocols of action and social situations: “a political protest manual, DNA barcodes, execution procedures, a transcontinental monetary system.” So what made these diverse examples design? McGetrick wrote: “The goal of this theme is to reframe design as a set of strategic solutions to human needs, rather than an ego-driven pursuit of subjective beauty.”

Shouyi goods draw from the design world in the most flagrant sense that McGetrick was reacting against, as they itemize the essential commodities of our lives, and more often consist of the most luxurious fetishes that our cultures share, like money, cars, fancy clothes, mobile phones, and mansions. Their production process rarely results in direct copies, of course. Neither are they really intended to function like shanzhai products, which are in a sense copies better than the original, though they often include subtle and sometimes humorous twists and references to their repurposing. A simple question of materiality determines the boxy appearance of Shouyi goods: they are made of paper and intended to be burnt. The indifference of fire determines a certain indifference of production where other definitions of design come in. The material must adequately combust, thereby expeditiously crossing from the world of the living to that of the dead—but almost anything burns. Having understood this in a peculiarly modern sense, as compared with the more elaborate offerings and sacrifices of bygone times, many people normally opt for rather indifferent forms of tribute to their deceased loved ones or ancestors. The modern sense of sacrifice is that with its democratization has come its effective desacralization and rationalization. However, the ritual of burning Shouyi goods is obviously intended more directly as sacrifice than its substitution with literature (Georges Bataille) or its resonance in all modern music forms (Jacques Attali). It fulfills its function but it must be cheap. Therefore, like all aspects of the modern world, it is conventionally mass-produced and readymade. An average full household set of the nine necessary amenities costs only 15 yuan. If money is no object, one can order the larger dollhouse-size villas or 3/4-scale plasma screens, from a catalogue of hundreds of choices, as the small shops in Beijing usually have them delivered from Hebei manufacturers on request. But logically, as money is an object, the most popular sales are bundles of extremely inflated denominations of “Hell Money,” a very good value-for-your-dollar deal.


What can a turtle do with a car, they questioned. 他们在琢磨,一直乌龟要辆车做什么呢.

But why, I wondered, should this be logical? If Shouyi is about venerating the dead and trying to make their afterlives more dignified, then why are we satisfied with the most cheaply-produced replicas? Is it that the most generic commodities are the most ready stand-in for “pure exchange”? And yet if there is the allowance of kitsch (for instance, pagers and mobile phones that boast of dual-band SIM cards functioning both on Earth and in Heaven, or Renminbi with the face of a god in place of Mao Zedong) then why do we have to buy these sham-brand-name goods from dealers instead of making our own or customizing them to suit our personalities, affections and values? Does it say something about our relationships with our relatives?

With this line of questioning in mind, I produced some very basic paper objects and brought them over to the shop to see if they would accept them to sell. Turning them over, our neighbors commented on the design but confessed they wouldn’t be able to sell them. They were free to set the price and to keep the money, I assured them, while the mother asked dubiously again and again whether they needed to pay me. My only request was to report to us how people perceived them. On our insistence, they said they were willing to take a couple of them, though, just to see what would happen. In my mind, I thought perhaps that at least the sign of the object being made by hand might make a difference to someone. The shop owners said that in the unlikely event someone bought one of them, no matter the price, they were more likely to put them on their shelves and hold onto them rather than set fire to them. This was interesting but still a frustrating compromise; it neatly avoided the problematic desire for real engagement that is the intention of my work, and which determined the relative secrecy and modest scale of my project. In any case, the possibility was there: passing the doors for the next couple of weeks, I was pleased to see my colorful car on the glass counter. After some time it disappeared, though I know it was never sold. They had simply tolerated my meddling enough and couldn’t justify the use of space. We were awkward enough to never again address the topic.


A boy was asked by his mother where Gui Gui is now, and he pointed up toward the dark sky. 一个小男孩问他妈妈,龟龟去了哪里,于是他的妈妈指向夜空.

Rituals surrounding death are a commonality among almost all peoples of the world, though the manner in which I grew up included fairly few practices comparable to Shouyi. For many, death is where religion is concentrated or re-emerges, as it is one of the only unaccounted-for parts of humans’ experience, otherwise always supposed to be understood. I remember funerals of my relatives seeming rather like any other momentous occasion, though blacker in mood. Some believe in heaven, but I don’t. In this, I may differ from other members even of my own family or those close to me (though on my mother’s side, which is Jewish and so the more distinct cultural identity, you could say there is a thoroughly secular tendency among sections of my relatives: in my uncle Alex’s words in an email, “An asteroid will hit the earth and it will all eventually end. It’s all bullshit.”). Traditions, if they can be said, fragilely, to exist in our case, do so only insofar as they punctuate our disparate lives.

In a way, this is the design of culture if not religion, hard-wired or useful enough to withstand all the dissolutions of the modern world. The gestures of a priest, the words of a rabbi or the rites of a woman burning paper money on the street are in some ways designs of community. In the latter case, perhaps it is the design that recreates in symbolic form a familial system of interdependency and debt that structures the lives of the living in China, and acknowledges its extending beyond. The custom of burning paper replicas might be seen to re-establish connections that can never be referred to exclusively as material, even as the designs of the objects themselves are periodically updated or added to.

As I am speaking from a rather uninformed perspective, it is hard to go much further into what might be anthropological, sociological or religious theories of action and belief, and it is also here where theories and beliefs splinter into seemingly contradictory positions. How can we really commune with ghosts if we sympathize with their presence in so utilitarian a manner? This question raised, am I already too late? A whole slew of understandings and misunderstandings of what is real belief underpins its approach as art, pulling in the contradictory directions of doubt and identification. After all, how can we say for sure that this intimacy desired is something actually shared with the people who burn the paper objects for their loved ones? Has the ritual itself not become something “diluted” into expected tradition? And therefore, what is the relation of individuals to their customs; as the outsider, isn’t it simply not my place to enter?

There are in fact many Shouyi shops in our neighborhood. I decided that it was time to approach one of the more “official” shops near the hospital. Like our neighbors they are open all hours, to match the contingency of schedule that moderates the ending of a life. One evening I went over with Chenchen and found that they were much more forthcoming in discussing the topic, rather than more closed as I had assumed. The woman there didn’t think there was actually a difference in the level of legitimacy of Shouyi shops, and she dismissed the idea that urns of so-called unofficial origin wouldn’t be acceptable in official graveyards. The explanation that she instead provided for the difference between the shops was that her family, made up of Beijing natives, did not come from away and had been in the business a long time, so they could be more sensitive in their counsel to local customers. The woman gave me criticisms of the objects I brought her. I returned a week later with a new version of a paper car, this time with hand-painted details, and she asked me where the other items were, the refrigerator, washing machine, wardrobe, bed, and so on. Her attitude was what finally lead me to this betrayal, to loosen my hold on the discretion I felt necessary for real engagement. Activity that operates on rather personal levels sits awkwardly when shifted to a discussion that could be called public, as I am doing now, namely for the reason that doubts arise about the genuineness of the engagement. (Are you a real believer?) This can’t be proven either way, in the end, and the future of this engagement cannot be predicted. Classifying a practice as design is a sign of the removal of belief, as one sees the ends an object is put to, its actualization “as a set of strategic solutions to human needs,” rather than as truth itself (a suspicion that recalls Vilém Flusser’s assertion: “A designer is a cunning plotter laying his traps.”) But if opening up the discussion allows us to see another perspective and to extend the idea beyond fitting in, exploiting or imposing, then that may be when this external custom is made into our own ritual. Rather than reining in spirits for instrumental ends or liquidating everything into the irony that glazes the oblivion lying behind our modern world, artwork can make moves toward becoming authentic—it cannot arrive there too hastily.

 

已经到了一年两期《北二条小报》印刷的最后期限,新一期即将出炉!借着家作坊入住交道口北二条一年的良机,新闻工作人员将对我们驻地媒体传播者的角色进行反思,这种反思是微型群体与城市的对话,艺术界的内部八卦,或一种试图理解和过滤当代地缘政治的尝试。

诚邀你参与我们这项带有北京胡同风格、对媒体和交流进行的调查,你可以以记者、编辑或撰稿人的身份参加。在市政府出台了一系列市场调控政策之后,哪里是安定门最热闹最隐蔽的地方?什么是堵塞交通或占领胡同内公共空间的最创新方案?为什么范老师不再对着墙壁打乒乓球了?

这周五中午12点之后来家作坊逛逛,与我们一起参与这份特别的本地报纸出版工作,大功告成后与我们的出版团队共饮。DUST bar 是家作坊的内部酒吧,提供威士忌及概念性故事游戏,以保证我们的新闻工作者们能够高效地运转。

概念青年旅舍[再现17岁]将组织有趣的饮酒游戏和“真实经历”交换活动。最佳故事讲解员将获得免费鸡尾酒一杯及其他惊喜。

出版工作室开放时间为12月23日(周五),从中午12点至晚上8点。DUST bar 开放时间为晚上8点至深夜。所有收入将用于家作坊的后续公共活动。非常感谢你的支持!

我们将利用周末两天时间完成报纸得制作与印刷,欢迎 任何对丝网印刷的基本技巧感兴趣的朋友在此期间加入我们。 第三期《北二条小报》将于12月25日之后发行,别着急!

 

BEIERTIAO LEAKS has reached its impromptu biannual print deadline——time for a new edition! Coinciding with the one-year anniversary of HomeShop’s residency at Jiaodaokou Beiertiao, news staff are taking this opportunity to make a critical reflection of our role as embedded media purveyors both in and outside of the local scene, whether that encompasses a small community in Beijing, art world gossip, or an attempt to understand and filter contemporary geopolitics as a concurrent reality.

You are invited to participate as reporter, editor and copywriter for our ongoing investigation into media and communications in Beijing hutong style. Where is the hottest hidden property in Andingmen after the stern hand of market control takes hold over Beijing? What are the latest creative schemes to block traffic and usurp public space in the alleyways? Why doesn’t FAN laoshi play ping-pong against the wall anymore?

Drop by HomeShop this Friday anytime after 12 pm to participate in the production of this unique local newspaper, and stick around after work hours for a drink with the press team. The DUST bar is embedded in-house for maximum efficiency, with whiskey and conceptual storytelling to keep our newshound teeth sharp and hungry.

The Conceptual Youth Hostel [Prototype 17] will play host to fine drinking games and “real experience” exchange, with free drinks and a round of other surprises to the journalist-narrators with the juiciest LEAKS.

The pressroom is open on FRIDAY, 23 DECEMBER from 12 NOON to 20.00. The DUST bar opens from 20.00 until late.  All proceeds go toward supporting the public activities of HomeShop; your support is greatly appreciated!

Presses will run all weekend at HomeShop, and anyone interested to learn basic silkscreening processes is welcome to join. This third edition of BEIERTIAO LEAKS will be available for pick up and delivery after the 25 December, easy going!

张爱玲说过,“降到尘埃, 开出花来”
虽然是小到如一粒尘埃般的酒吧, 但精华自在其中
每月穿越一次,找到 DUST bar…

Get the Flash Player to see the wordTube Media Player.

11月的DUST,Edvard Munch的画、Paul Celan 的诗 和 李增辉的音乐 有怎样的联系? For our initial installment, find dark autumn companionship with Edvard Munch, Paul Celan and LI Zenghui.

Eileen Chang once said, “Step down onto dust and a flower will bloom.” Even if this is only a small as dust kind of bar, find yourself a bit freer in its midst. Beginning November, drop by HomeShop once a month for the DUST bar project.

请于11月4日中午之前预约,发邮件至lianxi@homeshop.org.cn或私信至@HomeShop新浪微博。

A film screening, poetry and spontaneous outbursts will accompany the ten whiskeys/cocktails/beers served to you from the HomeShop menu of favourites.

我们同时供应来自“家作 坊最爱名单”上的10不同威士忌 / 鸡 尾酒 / 啤酒。
Make your reservations before 12.00 pm, November 4th by sending an e-mail to lianxi@homeshop.org.cn or private message to @HomeShop on Sina Weibo.

时间 TIME:11月4 日,周五晚上 20:00- 你想回家的时候
  /  Friday, 4 November, from 20:00
地点 LOCATION:家作坊(北 京东城区交道口北二条8号)
电话 TELEPHONE:010-8403 0952

所有DUST bar的收 入将用于支持家作坊未来更丰富的活动。谢谢你的支持!
All proceeds from the DUST bar project go towards sustaining great future activities at HomeShop. Thank you for your support!

photos taken by GB, ME and ES along their daily route.

参与方式即在http://beijing.re-place.info提交你的路线。Participate now by submitting your own route online at http://beijing.re-place.info.

生活的仪式每天都在街道和建筑中沿着固定的轨迹运行,将建成环境中虚虚实实的空间整理成各种故事与街区形态的组合。因为被记忆和社会仪式复杂化,我们所体验到的城市变成了一个动态的场所,一个公共表演的舞台和各种私密的悲剧,变成了许多有意义的时刻和不可理喻的世俗。各种习惯、仪式、人们的行为和生活经验把城市定义成了一种总处于当下的、保持不变的和随机的运动。

延续了PROGRAM和Transit Lounge在2007年发起的rePLACE柏林项目,北京的活动开始于一个公共的邀请,目的是去重新认识 作为一个与日常生活经验息息相关的,对时间与场所的动态记录的城市。

你的参与应该是一个个体的贡献,最终组成对整体城市直白又隐晦的摆动方式的理解,以及对那些与本土的、个人知识、故事、记忆、神话相似或者不同的路的理解。

任何人,只要是在北京,都可以通过标出一条每天经常走的路,并记录下沿途的固定场景或者特定时刻参与进来。只需要根据提示上传你的路线和你途中观察发现所记录下的文字、图像、视频以及/或者录音。 你也可以参与别人准备好的”组团旅行”,只需要下载任何已经上传好的PDF地图并重新体验别人每天的固定路线。

通过项目的不同阶段,rePLACE希望提供一个了解城市的方式,不仅通过它的建成环境,而且通过城市居民每天与它进行的互动——我们遵循的那些路径,以及它们相交、叠加、平行或相切的每个时刻。这最初这是一个对历史和图像制造超出我们传统解读的部分的重新思考,也就是各种形式的遗产保护可以超越被动的被历史化,从而形成一个积极歌颂变化的城市的鲜活过程。

The rituals of everyday life trace regular paths along streets and through buildings, organising the solids and voids of the built environment into narratives and patterns of association. Complicated by memory and social rituals, our experience of the city is of a dynamic place, a stage for public performances and private tragedies, of significant moments and the incredibly mundane. The habits, rituals, and actions of its population, the lived experiences within the city define it as something that is always current, always in constant, random movement.

rePLACE BEIJING begins by a public invitation to reconsider the city as an active process of documenting time and place inseparable from our everyday, lived experience. Your participation is requested as a singular contribution towards an alternative, collective understanding of how the city both literally and metaphorically vibrates, or where ‘the beaten track’ runs rich with/counter to personal knowledge, memory and cultural myth.

Please join rePLACE by mapping out a frequent route from your day-to-day life. Record the regular patterns and particular moments associated with your journey, then simply follow the instructions to upload your route as well as text, images, video and/or sound documenting observations and discoveries made along the way.

Through the various stages of the project, rePLACE seeks to provide a way to understand the city, not only through its built spaces, but in the ways its residents are interacting with it in their daily lives — the routes we follow and the moments where these routes cross, overlap or run tangent to each other. This is foremost a reconsideration of history and image-making outside of our traditional understandings of these terms, where forms of heritage preservation can go beyond passive historicisation and generate living processes to actively celebrate the city-in-flux.

rePLACE柏林是一个由PROGRAMTransit Lounge于2007年发起的项目。 2011年的rePLACE由Daniel Berndt、何颖雅与Fotini Lazaridou-Hatzigoga组织。rePLACE柏林和rePLACE贝鲁特由Anna Lindh欧洲-地中海文化交流基金会、 阿拉伯图片基金研究中心以PROGRAM支持。rePLACE北京由家作坊支持。 更多的信息请e-mail联系: mail[圈A]re-place[点]info
rePLACE is a project initiated in 2007 by PROGRAM and Transit Lounge. rePLACE in 2011 is organized by Daniel Berndt, Elaine W. Ho and Fotini Lazaridou-Hatzigoga. rePLACE BERLIN and rePLACE BEIRUT are supported by the Anna Lindh Foundation, Prince Claus Fund for Culture and Development, the Arab Image Foundation and PROGRAM. rePLACE BEIJING is supported by HomeShop and PROGRAM. For more information please contact: mail[at]re-place[dot]info