Its that time of year again, when sweaty gallerists flock to art academy campuses, eager to snatch up the next big thing. Here’s a few choices from the exhibition of students from the sculpture department. Head of the department Sui Jianguo was in attendance, admiring the works while a swarm of his admirers hovered behind him. Sub-themes seemed to include creepy, horror film make-believe and the creative use of hair…

This igloo piece was hiding under a tree, it was made of spray foam used in construction, covered in a sheet, and holes were cut in the walls. It was made on location, and although it looked a little dubiously constructed, it was an anomaly as the only work deviating from figurative representations, shiny materials or nostalgic antiques and tropes. Read the rest of this entry »

In a CCTV documentary titled “798″, photographer Zhu Yan made the comment: “The factory workers displaced the farmers, the artists displaced the workers, and now…” but the director left out what should have followed, “… the tourists displaced the artists.”

Of course, the myth that 798 is a “cultural production zone” is perpetuated by the mainland media, and almost obsolete industrial patches across China look to the success of 798 as a model of “cultural industry”, a revival area preserving the remnants of an industrial past, but where creativity and commerce can meet to copulate and produce healthy economic offspring.

While that may be a lovely image, the fact is, there is some truth to it. The documentary is a rather sobering look at the quickly vanishing former life of “798″––Factory 718. In the 1950s it was a state of the art center of production, a place of national pride, and a household name that symbolized a better future. Workers were hand-picked for their class background, plucked from the fields and clad in blue to make radio electronics, among other classified military gear; they worked with some of the most “avant-garde” technologies of the day. Military components aside, none of this sounds unfamiliar with the tourist “cultural production zone” we know as 798.

Fifty years later, the changes are incredible. In the five-part documentary we meet laid-off former workers who are now janitorial staff, and the dwindling industrial staff (once more than 10,000, now less than 3000) tells stories of the past: homes of the newly-wed were furnished with a bed, a desk and a cabinet (many had never had their own bed), 8 hour shifts were followed by night school, and infants were picked up from an parking-lot sized nursery, while not-yet school aged children were locked in the one-room apartments while their parents “struggled” to build a strong China. “None of this was looked at as strange,” comments Ms. Gao, who still works in th ecomplex. Her last student, Ding Ding, a young worker and his very dour wife are filmed in their run-down apartment; his 700 RMB monthly salary is barely enough to feed them. I don’t think I can stomach buying a substandard 35 RMB coffee there ever again.

With nary a mention of contemporary art, the series is a historical and grimly patriotic portrait of a very different 798; it was filmed in late 2007/early 2008.  The CCTV site has photos and some historical background here. I thought of an article translated last year for the Timezone8 book “Beijing 798 Now” on the former incarnation of Factory 718. It is especially interesting to read how earthquake standards in construction had to be enforced by the East German engineering team. Its a long article, but has some interesting facts. For Chinese, switch languages on upper right.

From 718 to 798

Li Yang

Dashanzi: Beijing’s northeast corner

This district has already experienced two drastic turns of fate. First, fifty years ago, when the 718 was constructed and made a name for itself across China, and now, as the rise of the 798 Art District has brought a “renaissance” to the district, carrying its name overseas. Factory 718 was the celebrated former incarnation, and was one just short of legendary. During China’s “First Five Year plan” era, and with the support of the German Democratic Republic and Chinese national professionals, young people from all corners of the nation converged to build this northern Chinese state-owned factory for radio electronics—it was to be the birthplace of China’s electronics industry. In the beginning, Factory 798 was merely the third stage of the larger Factory 718 compound, and it lay on the outskirts of Beijing. However, this district has already been swallowed by the city’s growth, and become Chaoyang District’s first cultural industries zone, and yet still maintains its status as a center of production for Zhongguancun Electronics.

Today, the symbolic Bauhaus architectural complex still stands, the complex has been entrusted with the industrial history of a city. The transformation from 718 to 798 documents the course of urban industrial restructuring.

The Birth of 718

In April of 1951 the second round of Sino-Soviet summit talks were held in Moscow, China’s request for Soviet aid in the building of 156 major projects was on the table for discussion. However, the Soviets felt that China’s request to help establish the foundations for a new radio electronics industry was too unexpected.

Read the rest of this entry »

Recently in conversation, a friend asked “Who is Ai Weiwei?” Impossible. You know him, unconsciously. He has masterminded some of the most powerful icons of today: the National Stadium, the “Han Dynasty Urn with Coca Cola Logo,” and his unpretentious, minimalist building style of grey-brick has revolutionized contemporary Chinese architecture.

Whether it is through the man himself, his legendary blog, his architecture, or his iconic works of contemporary art, Ai Weiwei is the artist you already know. Below are some of his most often reproduced images, found in monographs, on catalogue and book covers, in newspapers, online. Before we can begin to talk about Ai Weiwei the iconoclast, the following are a brief introduction (in pictures) of some of his most renowned works.

Han Dynasty Urn with Coca-cola Logo (1994)

Dropping a Han Dynasty Urn (1995) pictured here is the middle panel of a triptych Read the rest of this entry »

Recently re-reading Yin Jinan’s two critical responses to the Chinese art world, “Knocking on the door alone” (1993) and “Step-motherism” (2000), two books that should be noted for their critical response and theoretical interpretations on the world of Chinese contemporary art. Both books are published by Sanlian Bookstore, are in their 4th and 2nd printing respectively, and have received much attention from the Chinese-reading world.

Yin Jinan wrote “Knocking on the door alone” as a response to the urgings of many who thought that his position as chair of the Central Academy of Fine Art’s art history department and as a “close-up” observer, warranted a publication.  The second book “Post-motherism” (will follow in separate review) is a compilation of years of art criticism published in his column in duzhe magazine 《读者》also entitled “knocking”, duzikoumen “独自叩门”. The implied meaning of this title is: when we look at art we are always seeking a personal interpretation, and our individual experiences inform our reading.

The essays range from 1988, in an essay on the joint exhibition of Lu Shengzhong and Xu Bing at the National Museum of Art, “新潮美术的转折点” (The turning point of the New Wave), to 1992 (in dialogue with Sui Jianguo). Yin’s connections with art are very influenced by his proximity to the art academy, and to many artists who were making important names, such as Liu Xiaodong and Yu Hong, Wang Guangyi, Huang Yongping,  Sun Xinping and a host of other young painters whom he calls the “New Generation Painters.” These were the emerging generation of artists who were establishing a new POV, moving away from the collectivism of the 1970s and 1980s and depicting personal experiences. Yin’s style is clear and dry, funny at times but aggressively confident when critical.

The book also includes ample writing on Xu Bing,  the outrageously well-attended first nude oil painting exhibition in early 1989, and writings on the China / Avantgarde exhibition in 1989, on Chinese modernism and more. Posted below is an essay from this book on “New Generation Artists”, it was translated for a forthcoming publication on Chinese contemporary art from the Museum of Modern Art.  To read Chinese version, please switch languages on the upper right hand.
NEW GENERATION AND CLOSE UP ARTISTS

Yin Jinan

Modern Chinese art in the early Nineties is endowed with a certain temporal significance. In the moment when our historical imagination collides with actual landscapes, anyone is able to intuitively identify the fundamental elements belonging to the scope of art history. The literary world’s “age of prose” is precisely coincident with the art world’s period of realism without an artistic manifesto, and settling into their peaceful lifestyles, these artists have created an enormous cultural rift from the maddening infatuation with the explosive and dysphoric concepts that before them. This re-examination and questioning of traditional artistic values and art of the New Wave firstly did not arise from within the theoretical world, but from the creative one. A few stirring solo and group art exhibitions that took place in 1990 and 1991 silently expressed a very confident artistic attitude, a group of young artists born in the 1960s thus emerged onto the scene.

Read the rest of this entry »

Now on display at the National Museum of Art is a rare glimpse of the museum’s folk art collection, the gifts of the devoted folk art researcher Wang Shucun, who carefully preserved and hid these items throughout many turbulent years of history. The exhibition only runs until April 14, but is highly recommended.

Its not rare to see “folk arts” in Beijing, dreams of tourist dollars inspire the same kitschy souvenir-style junk that is available all over the nation. But before the internet, the tourist dollar, television, industrial printing, and before the Cultural Revolution, the Nianhua was a very unique form of folk art developed in China. Nianhua are colorful pictures hung in homes to celebrate the new year, tiehua, the practice of “hanging pictures” was once an integral holiday custom. People still hang posters, but the hand printed and painted art form of nianhua is near obsolete. However, in a pre-industrial society, the incredible production speeds, line assembly, and low production costs of nianhua could have been called a “Chinese characteristic,” indeed the production mode of contemporary art from China has also become a new trend in critical analysis.

China’s common folk have been producing printed nianhua on an ever increasing scale since the Song dynasty, the practice fell out of fashion with industrial printing techniques and was abruptly put to an end during political campaigns of the last century. These block printing methods developed in China evolved into personality cults in Japan, evidenced in print artists like Hiroshige; however in China, entire towns became famous for their different production methods and distinctive styles, sometimes varying by only the colors available. These styles are evidenced in excellent surviving examples of work, and those displayed here encompass the most important nianhua production zones from across China. Read the rest of this entry »

Chinese independent cinema confronts a long list of unique problems, lack of funding, intolerance for many issues deemed sensitive on the mainland, lack of distribution channels and theatres, and a discombobulated audience. At lastm consider these last two problems on the way to being solved, the opening of the “Chinese Independent Film Archive” at the Iberia Center for Contemporary Art has provided venue, and enthusiastically audiences pack into their screenings.

The establishment of the CIFA was celebrated on March 29th, with the opening of the poster exhibition “What Has Happened Here? / 这里发生了什么？” and a film festival that will run through April 19th.

There are screenings from film submissions of the Chinese Independent Film Invitational, featuring both young and established directors from across China, a DV Films retrospective that that brings classic films from Chinese directors to the screen, and international selections from Korea, Malaysia and Israel, among others.

Most films are subtitled in English, and there is a “film subtitling machine” reminiscent of Peking Opera performances at the Chang’an Theatre.  Admission is free, seating on first come basis (you are recommended to come early).

A download a complete schedule and read more about the films here

Wang Guangle @ Beijing Commune
until May 14

According to tradition in his hometown, elderly people will paint their coffins with one layer each year. Wang Guangle has adopted this to the canvas, in remarkably more colorful layers than we might see on anything to be buried underground. As always, his work reveals time, patience, and the somewhat unexpected results of turning concept into canvas.

The artist himself is extremely popular among Chinese collectors and has a great reputation among artists, but many “outsider” viewers  (Laowai) fail to see the appeal. Unfortunately, this show does not reflect what I consider some of Wang’s best works, those (I’m judging by what I saw on the gallery website) which are now represented by Beijing Commune.

His early works, realist canvases featuring afternoon light hitting the terrazzo floor, reveal ideas essential to the artist’s development; they were not on show at the opening. Later works where he grinds thick layers of dried paint into what looks like actual terrazzo on the canvas were neither on display, nor were photographs of his legendary performance in his Suojiacun studio (read more below). The terrazzo pattern and coffin paint series are his trademarks. A more detailed description is below, in a short artist introduction written for “Looking for Me” (2008)

WANG Guangle
王光乐 Read the rest of this entry »

Today marks the inauguration of the “China-DPRK Friendship Year,” which also coincides with the 60th anniversary of bilateral diplomatic relations.  Surely this will be the DPRK’s only chance at a “friendship year,” so, to mark the beginning of what will be a long, nauseating year in public relations coverage, I examine the aesthetic features of some DPRK photography sanctioned by the Korean Central News Agency (KCNA); these have all been released on Xinhua.com, China’s media equivalent. Stark, almost Brutalist qualities mark these photos, recalling the regime that created them.

Click on each photo for related Xinhua article.

Both nations have a history of enforcing civic and aesthetic harmony. Wen Jiabao stands here with his DPRK counterpart, Kim Yong Il. What a patriotic name Mr. Kim has! There is something very “progressive” about this photo, note that instead of posing with a traditional painting as backdrop, we are treated to red and yellow color combination (Chinese flag? Olympic opening ceremony 西红柿炒鸡蛋 anyone?).

Ah… that’s more like it. You can’t help but notice the turbulent ocean waves depicted in this classical backdrop, and the matching key-lime, flowered carpet, Kim sits so perfectly in-between those blossoms, with his feet just dusting the petals of each. In DPRK history, the stones that are breaking those waves surely have some courageous, patriotic symbolism. Note to woman in turquoise: there’s only one person who should be standing out in this photo (nice beige jumper). Read the rest of this entry »

Huang Liang until April 19 @ Platform China project space
“Look Deeper” until May 17 @ Platform China

In Platform China’s project space, Huang Liang small solo show offers a morbid encounter with illness. Misdiagnosed with cancer in his early adulthood, cool shades of clinical gray seem to still haunt his memory. Although Huang Liang’s tactile painting style of oil on canvas is nothing new, or unfamiliar from academic artists, Huang shows talent with paints.

Small, unframed and unmounted canvases of hospital scenes are arranged across the wall like snapshots, juxtaposed with enormous canvases depicting X-rays.

Next door, 12 person exhibition “Look Deeper” is a fairly sparse selection of young artists, Read the rest of this entry »

CHINA: MUSEUMS
Scala, 384 pages, Feb 2009

Miriam Clifford, Cathy Giangrande and Antony White, all with backgrounds in art history and archeology, have reportedly spent four years combing through China’s hundreds of museums in a search for the most appealing. The result is this in-depth guide to China’s museums that opens up new territories for English-speaking audiences, presumably Western travelers, but for that special, more adventuresome set interested in witnessing China’s cultural growth from a multifaceted perspective. “China: Museums” includes major players, such as the Forbidden City, as well as Chinese equivalents of what could be called “Roadside museums.” Imagine the Squished Penny Museum of Washington DC, translate that into the Beijing Tap Water Museum for an idea of the scale of the many museums referenced here; but then again, our authors have carefully weeded through the deep waters of China’s bowuguan (“museum,” a term that could also be literally broken down to mean an “establishment of ample objects”) to bring us the very best, most socially relevant and worthy selection of China’s ancient memorials, monuments and culturally revealing sites. They prove that lurking behind the Chinglish placards of hundreds of museums across China, there is much to be learned.

With site culled through our authors’ trained, and scrutinizing eyes, “China Museums” is not only a portrait of a nation’s burgeoning museum culture, but a sketchy outline of the earnest efforts of China’s curators or enthusiasts, and a semblance of an infrastructure where we might have assumed there was none. Of course, many Western readers cannot help but judge on appearances when confronted with the widespread curatorial practices Xerox copies glued to walls, or shabby facades and dust-laden velvet curtains, even the sci-fi inspired architecture of modern China can be a turn off. Read the rest of this entry »

Yang Fan’s <Spring>
until April 6 @ Star Gallery

In a drastic departure from her works on canvas, Yang Fan has produced a carpet of colorful poof-balls that she culled from the storerooms of clothing and toy factories in her native Guangdong. Yang Fan is formerly known for her series of paintings of young women in fashion plate style, the series, ever popular with Asian collectors, did not resonate with Western audiences.

When she began working on the project last year, she mentioned that the idea came to her while visiting clothing factories in China’s south. In what might have evolved from more “crafty” origins, this work culminates in her scouring of southern factories for unwanted bits and bobs, a new representation of the stories behind the cast-offs, and timely with the massive layoffs in the south.

An essay accompanying the catalogue is presented below. I translated it, but also enjoyed it for some valuable insights on her early works. Read the rest of this entry »

Recently, while reviewing Wang Gongxin’s installation piece at the Arrow Factory, I thought I would publish here all the additional thoughts that wouldn’t fit into the print version (but please keep an eye out for April’s ArtForum). The Arrow Factory is a small storefront space located in the “arrow” hutong near the Confucius Temple at Guozijian, it was founded by the artists Raina Ho, Wang Wei, Weng Wei and curator / critic Pauline J. Yao.

According to Pauline in a recent phone interview, they were looking to create a counter-dialogue to “art with a capital ‘A’” and to “engage in a different way with audiences”.

The Arrow Factory’s central location indeed is a deviation from the norm. Beijing’s exhibition spaces and galleries are mostly clustered far from the city center and often in factory ruins, they run from enormous to mind-bogglingly huge in size. The distance we travel to see them can put the average viewer at a disadvantage, and perhaps endows the act of viewing art with an unnecessary pretension or the element of a “castle on the hill”. Likewise, the enormity of these spaces presents the inevitable problem of filling them. Art, in tandem to the growing size of these colossal spaces, has also become monumental in size, scope, and this has become an incorrect signifier of implied importance. Thus, the mission of the Arrow Factory is apropos to our times. Read the rest of this entry »

This NYT article briefly touching on the fate of the Nicolae Ceausescu collection of propaganda paintings was an inspiration. Part of this collection of oils, dating from the 1970s onward, are on display at the Romanian National Museum of Contemporary Art, where the curator hung these propaganda works upside-down and crooked to clearly note that this was not an homage to the personality cult of the Romanian dictator and his wife Elena. They were Communist Romania’s quintessential propaganda duo, and faced a dramatic ending in 1989, when the two were executed by firing squad after the Romanian revolution.

Not to draw conclusions about the similarities of the regimes (similarities notwithstanding) but I really liked the exhibition method  of these crooked paintings. Nearly twenty years after the revolution, the decision to display these works is one step in coming to terms with a past, healing wounds and moving on––something that would obviously benefit China and the fragmented trajectory of contemporary Chinese art history. While this chapter in history is not completely suppressed, it still emerges as an underbelly of coded references in contemporary art, or as campy, consumer culture. The official art channels of “modern China” still turn a blind eye to the historical value of such works. Similar treatment of China’s propaganda art would be a step forward.

until April 18 @ Three Shadows Photography Art Center

Read the rest of this entry »

Artist Lu Hao and curator Zhao Li were announced earlier this month as the curator of the China Pavillion at the 53rd Venice Biennale. The 40 yr old artist has participated before in the Venezia Biennale as artist, as well as the San Paolo and Busan Biennale.  Lu Hao told reporters in while in France that he wanted to confront Italians with more challenging problems, and discussed mirroring the walls and projecting images from various corners of the pavilion, to create a “gaudy and grotesque site”. Read the rest of this entry »

The filming of a new “trendy television drama” PANDAMEN was announced in Beijing yesterday, as was the design for the new superhero’s costume. Jay Chou, who directed and starred in his first feature film “Secret” (2006), will challenge himself with this first attempt at a television drama.

Trendy things, television dramas, and Jay Chou are all staples of China’s pop culture landscape－－even Pandas are tolerated on a good day. But in the shadow of “Kung Fu Panda” and the diplomatic insanity of “Tuantuan & Yuanyuan”, is this a lack of creativity on Chou’s part, or a pandering to the low-brow tastes of the general audiences?

Will “Pandamen” bring a new home-bred cultural hero to this nation? Who knows. I think many Chinese believe the idea of panda as the only “native” symbol to be exploited is insulting, the panda itself is a lazy, docile animal. But its amazing how leather pants transform anyone, even though that scarf is too trendy a fashion accessory for a futuristic superhero. Perhaps Pandaman’s over the shoulder bookbag, or pea coat will be announced in later episodes.

Still, with no small amount of hope, the entire production will far exceed previous hero-creating attempts (anyone who’s seen 2008’s tv hit the Bruce Lee story will agree).

Read about “Pandamen” on sina
A brief report in English on Crienglish

February 14 - April 5 @ Urs Meile

Read the rest of this entry »

In honor of new discussions between Taiwan’s National Palace Museum and Beijing’s Palace Museum that might result in a loan of Qing dynasty historical objects to that “renegade” museum across the straight (read NYT article here), check out the cultural resources readily available in Beijing on Sinopop’s new museum guide: Museums in Beijing.

Listed are some of the largest, funniest, overall the most worthy day trips for museum-going fans and families. The old, the new, the kitsch and breathtaking. Beijing’s bars are overrated––check out some of these gems, especially now, when most of these museums are free!

Two nights ago was the end of the Spring festival in China, at the celebration called the “Lantern Festival” where people let off their final blammo of fireworks, Beijing’s new pride and joy — the new symbolic CCTV tower by Rem Koolhaas/OMA — was engulfed in flames! It was an incredible fire, in a few hours it made a shell of the production studios, the Mandarin Oriental hotel, that was in the adjunct building next to the more symbolic “Mobius strip”. With an estimated  5 billion in losses–so much for this vanity project of the government propaganda machine!
What is the estimated cause? (Aside from these battling felines of good and evil?): “CCTV hired staff from a fireworks company to ignite several hundred large festive firecrackers in an open space outside the nearly-completed Mandarin Oriental Hotel, which is part of the iconic CCTV tower complex, said Luo Yuan, spokesman and deputy chief of Beijing Fire Control Bureau.”

“… these fireworks were much more powerful and explosive than what was available at roadside stalls during the Spring Festival and therefore needed approval from the municipal government before being allowed in the downtown areas.”

“Owners of the property ignored police warnings that such fireworks were not allowed.” from the China Daily: CCTV Hotel Fire Caused By Fireworks

This year marked only the fourth year that they were allowed after a more than 10 year prohibition. See more doctored images at Mop.com

“Fucking Beautiful #3″, Liang Shuo’s recent work displayed at the Arario Gallery’s “The Game Is Not Over - Young Chinese Artist Group Exhibition” (游戏没有结束) was a beautiful elegy on all things kitsch and native to China. Its Chinese name, “臭美” translates roughly to something like “self-admiration”, “indulging in vanity”–– the work is a culmination of the artist’s exploration into the world surrounding him, and perhaps a more objective interpretation of “aesthetics” than what we usually see.

Last year, graduates from CAFA’s sculpture department held a rogue exhibition  (titled “掉队”) in the art studios by Crab Island (蟹岛). Among the works there, Liang Shuo’s “Shopping at the Temple Fair” (描绘购物) left me giddy, it has proven to be a work in which he honed this vocabulary of bright, flashy and gaudy that appears in “Fucking Beautiful #3″.

Although then still a work in process, “Temple Fair” was clearly a work with roots in rural and folk traditions, as well as an almost encyclopedic examination of the uniqueness of the “made FOR China” market–not only were these objects inexpensive, they were reflective of the dreams, preferences and practicalities of living in rural places. Like the “migrant labor” figurative sculptures that he became well known for from 2000-2004, “Temple Fair” also reflected a consciousness or state of living unique to China. Read the rest of this entry »

The Heilbrunn Timeline is a joint project between the Heilbrunn Foundation and the Metropolitan Museum of Art, it is an art history database, timeline and academic resource illustrated by the Met’s collection. The Heilbrunn Timeline of Art is possibly the most comprehensive online Art History resource––and it includes great articles on all aspects of traditional Chinese art, from the Neolithic to the modern era. Hundreds of scholar-authored, yet highly readable articles await!

Link to the Heilbrunn Timeline here.

Also, check out the new Sinopop page “Museum Collections” for links to the best museum collections of Chinese art around the world (but outside of China).

[This project grew out of a paper prepared for Prof. Murck’s Fall 2008 class at CAFA  美国博物馆所藏中国书画  “Chinese Painting and Calligraphy in American Collections” －－thanks to Prof. Murck for the inspiration. Hopefully it proves a useful resource to readers!]

Beijing art hipsters oddly deny a fascination with the “post-wave” punk band New Pants, its something like New Yorkers who won’t own up to “Gossip Girl” addictions.

Despite the fact that the band’s front men, Peng Lei, is an artist with some repute (and proprietor of a vintage toy boutique), his much more successful band receives nary a mention in Beijing’s art world. This fan was literally sneered at in 798’s “sugar jar records” when she asked if their album was available––instead I purchased a recording that was nowhere near as brilliant as “Dragon Tiger Panacea”, but still labeled itself as ‘punk new wave’. Is the “fine art” myth surrounding 798 purposefully trying to distance itself from the commercial success of Peng Lei and New Pants?

Their new video, 《野人也有爱》 [savages can love too] is a nod to Beijing’s heavy metal heritage. The video is an homage to classic metal bands of the 1990s like Tang Dynasty (or Dou Wei’s Hei Bao), and a jibe at the “primitive” nature of the grubby, long-haired metal hippies that still thrash in the Beijing night.

If you know the references, or have ever experienced an authentic Beijing metal session,  you can appreciate the fine art direction: awesome nappy hair (and fine handling of it), cut off jeans, motorcycles and on-site locations featuring the National Art Gallery, Forbidden City and a sweet pile of rubble.

Its clear that Peng Lei’s’ “artistic direction” helped the band take off, and even though there are a few lapses into videos with a mass-market appeal, the lo-fi, self-depreciating absurdity of “savages can love too” convinced me that there were some more good things to come.

In the video below,  see a great use of montage in 《爱带我回家》[love take me home], some unforgettable dancing moves by keyboardist Pang Kuan, unresolved Village People references and a superb “circle of slapping”.

More New Pants classics:
Dragon Tiger Panacea, Bye Bye Disco, She is Automatic

Click here for an interview with Peng Lei in Wallpaper magazine
see more works from his 2007 solo exhibition at Arario Beijing 

Long March Space, Beijing
1 - 30 November

originally posted on artreview.com

If I had a drunk uncle, Xu Zhen would be him – he would show up on Thanksgiving in sweatpants and a tie, and would embarrass the family with tasteless jokes about Senator Clinton or President-elect Obama. However, Xu is only 31, and already a certified Chinese art star, with his provocative and manipulative videos, installations and photographs.

An exhibition title appropriated from Adidas’s advertising campaign tricks us into believing that Xu Zhen, Shanghai’s ‘merry prankster’ of the arts, was going to play with consumer tendencies (the exhibition’s Chinese name is The First Possibility). But the show, a series of large and detailed installations, has its own lifeless and one-dimensional marketing, setting up boring binaries like limits vs. boundaries, living in reality vs. living under observation, and historical facts vs. media-filtered facts.

The first work we see in the Long March Space is titled Decoration. It’s a model of a space station suspended about two meters from the ground in a darkened space; we are unable to see inside its shell, but one bright light shines from its singular window out onto a painted globe. In the next room we see observational video of two “cosmonauts” apparently inside the space pod; we assume this by the prominent digital clock on the wall, and the same globe is visible on screen just outside their window.

The set in the next room rivals any Universal Studios backlot, but pushes Xu Zhen’s repertoire of politically incorrect, controversial work into the realm of poor taste. Read the rest of this entry »

In a hidden corner in 798, lies a surprise awaiting fans of minimalist fashion, playful irony and small, independent fashion labels …

I was baffled on first site, and walked the full circumference of the “white cube” before realizing… 

Inside the clever white elastic “cube” are six more partitions,  all filled with Zhang Da’s designs for his 2008 line. These simple designs are flattering on many body types, and a refreshingly original take on androgny; he takes the non-differentiation of sexes to a new level–up can be down, inside can be out. It can all be comfortably stylish (and affordable, the few price tags spotted were below 500 RMB).

Zhang Da has pioneered the response to the “T” Shirt: the O Shirt. You can see the O Shirt and other designs at this temporary store. (Keeping you in suspense…) Information and photos below  >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>  Read the rest of this entry »

Who said that temporary shelters can’t be attractive? Japanese architect Shigeru Ban’s research studio banlab built these temporary schools for children in Cheng Du last September, and PingMag features them in an interview with the project director, Wataru Inoue. See more photos of the design and installation process on the Ping Mag site, and enjoy the friendly cooperation between Japanese and Chinese architects and students.

Read the interview and see more images here

For more PingMag architectural “MADness,” read an interview with MAD’s Ma Yansong