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Posts tagged ‘跟踪 tracing’

家作坊的房东和市政府的反击战!
the danwei and the government strike back!  (but the date tree is still standing…)

   交道口北二条8号 Jiaodaokou Beiertiao 8, 2017年7月

798见鬼啦…… Sighting in 798! 

由艺术工作者们运作的空间“家作坊” 关门已近一年。此次参与「不在图像中行动」群展,是为了对其五年半的工作和玩乐经历进行一次回溯性寻析。自2008年 这个协作式项目成立,其自我组织与进程性的空间、参与者和活动,无不显示出多样性和互动性;而这些特性,既无法用某单一视角进行统辖,也 无可能完整复原其 具体情状。此次回顾因此是矛盾的、主观的、也是对话式的。

 也因此,「我的负能量是你的正能量,or,或者,The Grin Without The Cat」项目,毋宁说是在短暂回忆以及残留印记中进行的一次“采样”。它们来自日常生活、组织结构、诸多的可能性和死胡同、从未存在之物 事,也来自一些幽 灵。归档于此的这100多个物件便是此次采样成果。家作坊还特地制作了视频对话,印制了导览册,为您提供陪同与注解,以方便您在其间游 历;它们详载的历史 所能引发的叙事之旅,不一而足。回溯是生产;是一种出没于这一系列旧物件中的“精灵”;也是一种马后炮协作。  “玩儿”的时间不再有了!

Almost one year after artist-run space HomeShop closed its doors, its participation in the group exhibition Unlived by What is Seen is an attempt to retrospectively address five-and-a-half years of work and play. The multiplicity and dynamics that defined this collaborative project since its inception in 2008—including its spaces, people and activities, self-organized and processual—do not necessarily add up to a singular viewpoint, nor can they be easily mapped. Retrospection is paradoxical. Subjective. Dialogical.

「我的负能量是你的正能量,or,或者,The Grin Without The Cat」thus appears here as a sampling of ephemera and residuals—from daily life, from the structures of organization, from other possibilities and deadends, from things that never were, and, from a few ghosts. Specially prepared video dialogues and printed guides shall serve as your escorts and annotations to the more than 100 items included in this archive; the history they recount may lead you on any number of narrative journeys. Retrospection is production. A spirit attending a series of old objects. A kind of collaboration postmortem. There’s no more time to play!

「我的负能量是你的正能量,or,或者,The Grin Without The Cat」项目的构思者和实施者包括:小欧、Michael EDDY、何穎雅、Fotini LAZARIDOU-HATZIGOGA和曲一箴.

「我的负能量是你的正能量,or,或者,The Grin Without The Cat」has been conceived and carried out by Orianna CACCHIONE, Michael EDDY, Elaine W. HO, Fotini LAZARIDOU-HATZIGOGA and Twist QU.

“不在图像中行动 Unlived by What is Seen” 
Curators:
Sun Yuan & Peng Yu, Cui Cancan
策展人:孙原&彭禹 崔灿灿

展览时间:
2014年12月13日 – 2015年3月15日
Dates: December 13, 2014 — March 15, 2015
地点:常青画廊,佩斯北京,当代唐人艺术中心
Venues: Galleria Continua, Pace Beijing, Tang Contemporary Art

展厅局部 installation view
展厅局部 installation view

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展厅局部 installation view

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家作坊档案的局部图,包括以下物件:#11拒绝某人成为家作坊成员(未实现的倡议,电子邮件,2012年);#28与小李交流的手迹(纸上铅笔,2009–2013年);#43WaoBao!被子(针线活、混合材质,2013年);7屏播放家作坊组织者之间的对话纪录中的其中一屏
Detailed view of HomeShop archive with the following objects: #11 Not Including Someone as HomeShop Member (non-realized initiative, e-mail, 2012); #28 Handwritten Notes Exchanged with Xiao Li (paper, 2009 – 2013); #43 WaoBao! Quilt (hand-stitched fabrics [mixed], 2013); and one of seven screens playing recorded dialogues between HomeShop organizers.

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家作坊档案的局部图,包括以下物件:#89各种图标(胶皮印章、贴纸,2009–2013年);#49白瓷砖(陶瓷,2010–2013年);#53:“众口难调”(盐、食用油,2011年);#10:电梯游说(未实现的倡议,2012年);#84扣锁钥匙(铝,2010年);和#69家作坊前厅日志(手工制作笔记本,A5纸,60页, 2012年)
Detailed view of HomeShop archive with the following objects: #89 Various Logos (rubber stamps, sticker paper, 2009 – 2013) ; #49 White Tile (ceramic, 2010 – 2013) ; #53: “It is hard to please all” (salt, cooking oil, 2011) ; #10: Elevator Pitch (non-realized initiative, 2012); #84 Padlock Key (aluminum, 2010); and #69 Front Space Notebook (handmade A5-sized notebook, 60 pages, 2012).

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展览手册3号入口,家作坊的流浪猫
exhibition guidebook entry number 3, the runaway cats of HomeShop

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策展⼈人提供的家作坊介绍 description of HomeShop provided by the curators
这段短⽂文贴在紧邻我们装置的墙⾯面上,出现在开幕前两天,惊到了我们所有⼈人。它把家作坊概括成追求“绝对平等式民主”的“精神化”⼩小组,我们中的⼤大多数⼈人显然对此感到荒诞,或者它也反映出“该如何将家作坊塞进展览的策展理念”这样⼀一种粗暴的误解。⽽而与此同时,我们中却也有⼈人挺喜欢他们这个“⾼高级⿊黑”的。
This wall text appeared next to our installation two days before the opening, surprising us all with its framing of HomeShop as a “spiritual” project pursuing “absolute equal-democracy”. Most of us felt this was patently absurd or simply reflected a gross misunderstanding as to how HomeShop fit within the curatorial direction of the exhibition—while certain others among us were quite pleased by its lofty exaggerations.

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展厅局部 installation view

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展厅局部 installation view

作为《我的负能量是你的正能量,or,或者,The Grin Without The Cat》展览的一部分,家作坊印制了自己的册子,用导览手册的形式对所有展示的档案物进行了编号叙述。以下这篇是1号入口:

《我的负能量是你的正能量,or,或者,The Grin Without The Cat》
档案,包括102不同尺⼨寸和媒介的物件
2014年

不参加群展《不在图像中⾏行动》也是选项之⼀一,并且的确被认真地考虑过。把家作坊的实践带进798艺术区,将引发“转译”问题,尤其是在情境关系敏感性与批判性⽅方⾯面。另外⼀一个问题涉及⾃自主性,这是来⾃自不同领域的个体共处时所共有的⼀一个愿望。在⼀一个艺术区内,这不太可能再被复制,⽽而在实践确实发⽣生过后则更不会再出现。

但,邀请者所设定的条件⾜足够开放,且释放出⼀一种挑战,即,到底如何定义回顾的阶段。我们已不再是“家作坊”,这将我们置⼊入了⼀一种⾝身份困境——我们是谁,是什么——尽管如此,因为它⾜足够有趣,我们达成⼀一致,决定再次共同⼯工作。不过,虽然这个特别的⼩小组是因过去之所是⽽而再次聚合,却并不意味着,他们的⺫⽬目的仅仅是对过去之所是进⾏行重现。此外,此次集合也不是为了来party,作此声明,是因为有⼈人或许会这样以为。

历史究竟由谁书写?这批档案是对这⼀一问题进⾏行的⼀一次先发制⼈人的回应。家作坊这类空间始于⾃自我倡导,在其存在时它或只能游移于艺术界边缘——不管将来是否会被重新发现——但必然有为⾃自⼰己发声的必要,即便已息声了。

作为⼯工具,档案有助于回溯,但它永远都不可能囊括所有。这些物件⾃自不同领域和地⽅方搜集⽽而来,包括可⻅见的、物质制造出来的物品,⾛走失了或未被实现的物事,也包括它们之间动态的相互关系。我们希望,这些物件能够成为⼀一种激发潜能的器具,或有助于研究的案例,同时,提醒⼤大家留意历史化过程中那些迷失了的元素以及卷⼊入其中的⽭矛盾。

As part of 《我的负能量是你的正能量,or,或者,The Grin Without The Cat, HomeShop published its own catalogue in the form of a guidebook with numbered descriptions of all items included in the exhibited archive. The following prologue is entry number 1:

《我的负能量是你的正能量,or,或者,The Grin Without The Cat》
archive, 102 items of various sizes and media
2014

The choice not to participate in the group show Unlived by What is Seen could also have been valid, and was certainly honestly considered. Bringing the practices of HomeShop to the 798 art district brought up translation problems, with contextual sensitivity and criticality, and desires for autonomy being what held together an interdisciplinary mix of individuals. This most likely could not be reproduced in the art district, and certainly not posthumously.

In any case, the terms of the invitation seemed open enough, and signaled the challenges of what can be called a retrospective phase. We agreed this was of enough interest to work together, despite the dilemma of who and what we are—because we are not HomeShop.This particular group bound by what was, is not trying to be everything that was. And contrary to what some might have thought, this gathering isn’t in order to have a party!

This archive is a pre-emptive response to the question of who writes history. Especially in the case of self-initiated and discontinued projects that, like HomeShop, may have existed at the edges of an art scene—to be rediscovered later or not—there is a task to speak for oneself, despite the contradictory loss of voice.

An archive is a tool toward retrospection but can never be truly complete. Among those items gathered from across this and other worlds, this archive includes a range not only from what had been successfully produced in visible and material forms, but also that which may have gone wrong or was never realized, as well as the dynamics of their relations and mediations.We hope these function in part as potential tools or case studies for others, while calling to mind the missing elements and contradictions involved in any historicization.


“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。

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即兴MV:White Hinterland乐队的“Vessels” (或者叫“家作坊的冬天”)
“Vessels” by White Hinterland, an instant music video (or, HomeShop in winter)

This comes in the after effects of our reading group discussing Claire Bishop today, a contestable figure in the realm of participatory art practices today, we fall in and out of line. We discussed quite a bit about the different politics of maker/audience relations, the possibilities and limitations of criticism (or the lack thereof) amidst the alternating roles of curator, artist and audience. Whether it’s about critique or pure naiveté, what necessarily emerges in this triangulation is the question of community. Who is speaking to whom, and does that relationship generate community, make it elitist, or raise propositions to completely unpredictable others? We move from the Argentinians who use socially engaged art to motivate participants to push forward in the realm of the socio-political, to the Eastern Europeans and Russians who evade the directly political for a meta-political alter-realm of the sensible, to ourselves. Dialogue evinces a form of self-reflexivity that cannot conceptualize self without other, a 对方. Is that 对 antagonistic, or, like the best love letter i ever received, simply… “Yes.”? 对 Duì, in that Chinese sensibility, pragmatic, like its ‘寸 hand’ on the right and in the traditional 對, where on the left 业 industry stands over 王 rulership. Our being in place is oppositional, but insofar that we do in order to be relative to others (power). And if those power struggles are not finite, we have a form of agonism that does not value one way over an other, but in its perpetual instability, the way itself. This ‘way‘ is meta-politics, it is aesthetics, and perhaps, it is from here the beginning of a research into style. Style here cannot be separately conceived from its actors or audiences, and perhaps, it may be one of the last remaining realms where the spectator possesses the most valuable rights of critique towards an author who does not see him/herself (is that democratic?). So who is the curator here? The media, the mob, or the system itself? That which cannot be critiqued in and of itself is power, is the stampede sparked by inadvertent incident, where action supersedes any one intention or attempt to communicate. Style is only manifestation, it is the superficialness of the masses, it is a form of representation that both critiques (bitchy) and evades critique (inessential). So to go from there, it seems possible to start from two cultural forms of analysis: one, fashion and semiotics, starting from Barthes and moving forward, and then, translation as a mediator of meaning. Maybe thereafter, something more spiritually or politically charged, but that will come upon further introspection of what that “we” really meantUntil then…

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森林(Céline)拍的即兴教育短片:吴思远学英语,小欧学汉语(“家作坊,现代的巴别塔,在那里,在学习对方的语言的积极性,新奇特生命形式的语言出现……”)
“Ray studies English, Orianna studies Chinese”, an instant educational video by Céline LAMÉE (“HomeShop, a contemporary tower of Babel, where, in the enthusiasm of learning each other’s languages, strange new lifeforms of languages emerge…“)

 

一个周六的北京城217.6公里狂走送货上门纪录:
material captured during our Saturday deliveries of WEAR journal in Beijing city, otherwise known as 217.6 km later…:

 

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早上 9:30 AM | 吴思远 Ray & 高灵 Ling | 菊儿胡同 Ju’er Hutong、左家庄 Zuojiazhuang、汉庭酒店(东直门外分店)HanTing Express Hotel (Dongzhimen Outer branch)

 

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早上 10:00 AM | 何颖雅 Elaine & 小欧 Orianna | 清华大学美院 Tsinghua University, Fine Arts Department

 

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早上 11:00 AM | 天汲 Tianji & 左罗 Zoro | 东直门外大街 Dongzhimen Outer Street

 

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中午 12:00 PM | 王尘尘 Cici & 王大川 River | 东四八条 Dongsi8tiao、地安门 Dianmen、旧宫地铁站 Jiu Gong subway station

 

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下午 1:00 PM | 高蓓 GAO Bei & 七朵云 Pilar | 苹果派社区 (东5和6环之间) Apple Pie Estates (between the 5th and 6th East Ring Roads)

 

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下午 1:30 PM | 王若思 Rose & 森林 Céline | 望京 Wangjing、草厂地 Caochangdi

 

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下午 2:00 PM | 欧阳潇 Xiao & 小欧 Orianna | 幸福西里 Xingfu Xili、东直门内 Dongzhimen Inner Street

 

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下午 3:00 PM | 曲一箴 Twist & Katharina | 鼓楼西大街 Drum Tower West、鼓楼后面 Drum Tower North、鼓楼东大街 Drum Tower East

 

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下午 3:00 PM | 张献民 Frank & 何颖雅 Elaine | 卢沟桥 Marco Polo Bridge、东五道口 Wudaokou、奥林匹克公园北门 North Gate of Olympic Park

 

制作已花费了很长时间,我们一直在努力将已有的资源整合并分享,现在是收获的季节 啦:
www.homeshop.org.cn 或者 www.homeshopbeijing.org 。
由于网站包含众多内容,访问时请耐心等待…

点击链接访问家作坊的新网站之后,您可在四周活动一圈,做下伸展运动或者泡杯茶,网站正在加载中——慢工出细活——需要时间…

最后,站在兔年的尾巴上,家作坊祝大家龙年“张牙舞爪”!

It’s been a long time in the making, but here we are, an attempt to gather together and share some of what we do:
www.homeshop.org.cn or www.homeshopbeijing.org.
There’s a lot of space in-between; please visit and stick around…

Go ahead and click on the link to visit HomeShop’s brand new website, then take a small walk around the room, do some stretching exercises or make tea; this website is a work-in-progress, and—like all good things—takes time…

But don’t let that stop us from multi-tasking——Michael, 何颖雅 Elaine, Fotini, 欧阳潇 Xiao, 曲一箴 Twist, 植村 絵美 Emi and 王尘尘 Cici at HomeShop wish you all fierce flights and a happy Dragon year.

 

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!

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

all photos by 曲一箴 Twist QU*

If we had not been able to come closer to an understanding of affect at the reading club meeting, it came to me again in a recent text by another Brian (“The half-life of disaster“), where somehow the descriptive traversing of scales felt familiar, and of course it can hit us with as much impact as watching a slow-motion montage of the year in review, or Olympic triumphs, or yes, the touching moments and heroes of disaster. We should be immune already perhaps, cynical viewers whose forms of belief have decayed parallel to these half-lives, and yet even at standstill, reduced to its barest linguistic denominators, it could still be possible to induce a notion of affective scales on a billboard covering an urban construction site: “Grandpa lazing in the sun. Boys dancing hip-hop. Businessman checking e-mail. Woman carrying shopping bag.” She was kind of pissed off about this, about all that it left out or pinned down too characteristically in succinct world view, but it seemed also something more than ‘trace’ in a collective reading on media. This is an affect of the kind that Michael mentions, “understood as the embodiment of certain codes, to be read and embodied by a particular community”. Such embodiment is a continuous training, like watching these disasters in constant cycle, like urbanity itself. We learn to traverse the levels, moving from horror and shock at grand scale to human warmth and its accompaniments in the everyday heroes and miniature miracles that soothe a constant, half-toned fear.

Taking distance can occur in both directions, towards macro-scale world views or into the safety of the small moments in a day to day. What Massumi claims as a ‘trace-form anticipation’ singularly and collectively describes this back and forth motion; it is a kind of subjective being-in-motion that typifies our here and now condition. To make a hero of our friend A W W abroad stresses the silence nearby, it casts scales of individual activism helplessly against nameless foreboding forces at the state realm, naïvely paralleled by his name being coded “Love the future”. Larger and stronger pursuits of activism in the last years (in education, in the art world, the Middle East, the mid-West…) echo, or are symptomatic of such “affective conversion circuits”, but there remains to be seen what “alter-” could possibly step out of it. Should affect move out of affect? What lies outside of scale itself? The movements seem to encompass everything already, like fantastic ideas kept to oneself, like capitalism’s neverending ever in sight, like half-lives in decay.

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* there was a thought at the beginning of writing this post that these photos bore some relation to the things i was going to say, but the distancing ended up there. there is a lot of ambivalent feeling in their transmission, but they speak of a relation…

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