[-empyre-] localized scenes, digital arts & education

Thu Nov 11 19:11:01 EST 2010

http://www.chinaawards.net/index-1.htm#
http://ad.tsinghua.edu.cn/qhmy/viewcontent.jsp?contentID=1080&columnID=127&pid=123
http://art.china.cn/tongzhi/2010-10/28/content_3797784.htm

there's a quite bit of media oriented trend in the art schools since after 2000, and many shows related to the issue of media/technology/design.....

http://bjartlab.com/read.php?247
this is something from the eARTS festival 2007-2009

MAAP 2000: http://maap.org.au/festivals/maap-2000-presence-and-place
MAAP 2002: http://maap.org.au/festivals/maap-2000-presence-and-place

2008: http://www.mediartchina.org/

and many more for your preference...

best

Li zhenhua | 李振华
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Marianne Burki Li / Li Zhenhua
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在 2010-11-10，下午3:22， Johannes Birringer 写道：

> dear all
> 
> thanks to all for an inspiring discussion, 
> there is much to learn, and i am still thinking of the initial question that was raised at the beginning:
> 
> //...looking at look at how (or how not)  
> exhibitions, symposia or publications decode across cultural, gender  
> and political bounds to both Chinese and Non-Chinese audiences...
> .... explore, amongst other topics, how digital practices operate  
> in a regulated exhibition system; and the emergences, frictions and  
> dialogues between artists and curators within contemporary Chinese  
> distributed and digital practices.//
> 
> what is meant when you mention regulated exhibition systems?
> how does this connect to the presence of international-run galleries
> which, i gathered, have opened up in Beijing and Shanghai (and other cities),
> and the market, and also the festival circuit  (China's increasingly strong
> presence at the Venice Biennale, or documenta for example);
> but then again, how do you discuss "new media arts" on 
> a very small local level, say, a particular gallery or performance space
> in the 798 factory district. 
> 
> can one in fact understand a larger picture by looking at a tiny fragment (Jian Wei Shi Shu)?
> 
> and what happened to small independent/alternative art galleries or performance spaces?
> 
> I remember visiting "Hart Cafe" , located on a small side street inside the 798 Dashanzi district,
> for an evening of french underground films and chinese electronic music, there was also a dance improvisation
> (duet between dancer and musician), we exchanged CDs,  drank wine, and there were many languages spoken
> in the cafe, just as if one were in london or new york.  this was in 2004. there were some video artists
> exhibiting, in some of the other galleries, there was a multimedia heavy metal performance one night,  
> there was body art, but i am not sure one could think yet of a digital art scene
> or come across networks organizing "digital practices" or building production infrastructures and facilities,
> but it had to happen, surely.  The Beijing Dance Academy had just built a TV / sound stage to begin to
> look at video dance & choreography for the camera. choreographers in Hong Kong had worked with media
> already in the early years of the new century, but there were probably no interdisciplinary time arts courses
> in the universities yet, and working with software composition in performance was not a tradition; but
> international work of this kind was shown in China, and the Olympic Games probably affected everything.
> it also probably is easy now to get hold of any and all softwares (for interactive design). Li Yifan from
> the School of Art Design (Beijing Institute of Graphic Communication) gave me several DVDs of student
> works that were quite interesting, so I guess we probably would like to know more about how graduate
> schools took on the "digital."  
> 
> I tried to look up the Hart Cafe online, now in 2010, and am impressed/surprised to see how it defines its range of practices now;
> 
> http://www.hart.com.cn/
> 
> ::Hart Production is a full-service production support company for international productions in Beijing.
>>> 
> We provide our clients with everything needed to shoot successfully in China, including: 
> 1. Government Permits 
> 2. Location Scouting 
> 3. Hiring Talented Local Crews 
> 4. Casting 
> 5. Renting Camera, Lighting, and Grip Equipment 
> 6. Purchasing Film/Tape Stock 
> 7. Processing Post Production 
> 8. All China Logistics (travel, hotels, catering, etc.) 
> 9. Transportation (trucks, vans, cars, picture vehicles, camera veh
>>> 
> 
> 
> what are the frictions and  
> dialogues between artists and curators within contemporary Chinese  
> distributed and digital practices (how to localize these?), and how are they owed (or not) to the international
> market interests (collectors interests, Biennial interests) on the one hand,
> and how are younger Chinese artists (working with a range of media and performance)
> perceiving/absorbing the dynamism that Melinda mentions, on the other, with artists from elsewhere flocking to Beijing and
> Shanghai "as they were moving to Berlin a decade or so ago"?  The market values of saleable art dropped in 2008, i thought,
> but our subject - new media arts - is not so sale-able, yes?   Is the maneuver that Cindy Zeng/ Lao Dan  and Hart Cafe undertook a logical one?
> 
> 
> regards
> Johannes Birringer
> London
> http://www.brunel.ac.uk/dap
> _______________________________________________
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> empyre at lists.cofa.unsw.edu.au
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