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

Fri Nov 12 11:25:04 EST 2010

http://chenyaowen.blshe.com/post/943/128187
for your preference, I have read a bit about Xu's personal history, and I like the way he found those image from real historical people, but still for me this is just not enough, just touching is not enough.....

*do you know Han dongfang? the person highly involved in the recent revolution: http://en.wikipedia.org/wiki/Han_Dongfang

I understand art can not do much to change things, but people can, sometime no need to do art to be creative or critical, it's a natural born rights and skill...

Li zhenhua | 李振华
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http://www.bjartlab.com 
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bjartlab at gmail.com
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+86 13321191731
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中国北京市朝阳区王四营乡白鹿司农机仓库3号库 100121
No.3 Warehouse, Nong Ji Cang Ku, Bai Lu Si, Wang Si Ying Xiang, Chaoyang District, Beijing, China 100121
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Marianne Burki Li / Li Zhenhua
Lindenbachstrasse 21, CH-8006 Zürich
Switzerland 瑞士

0041 7862 00996 M
0041 4334 31348 H

在 2010-11-11，下午9:59， Stephanie Donald 写道：

> hi Li
> 
> Can you give me a sense of what you think of the remaining hyper realists in the system? I am currently writing about Xu Weixin's wen ge intervention in his historical figures series, and am trying to locate it as a work of personal justice and pedagogy rather than a work of art per se. I have become aware that there is significant disdain for his efforts amongst quite a few in the artistic community and especially in the Stateside diaspora, but nevertheless I find Xu to be genuine in his search for making a worthwhile statement about history and equivalence. 
> 
> You may not know him at all, in which case ignore my request for your thoughts, but it would be helpful to get a more impartial view?
> 
> Thanks so much
> Stephi Donald
> 
> Www.stephaniedonald.info  
> 
> Sent from my iPad
> 
> On 11/11/2010, at 7:11 PM, lab <bjartlab at gmail.com> wrote:
> 
>> 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
>> ---------------
>> http://www.bjartlab.com 
>> ---------------
>> bjartlab at gmail.com
>> ---------------
>> +86 13321191731
>> ---------------
>> 中国北京市朝阳区王四营乡白鹿司农机仓库3号库 100121
>> No.3 Warehouse, Nong Ji Cang Ku, Bai Lu Si, Wang Si Ying Xiang, Chaoyang District, Beijing, China 100121
>> ---------------
>> Marianne Burki Li / Li Zhenhua
>> Lindenbachstrasse 21, CH-8006 Zürich
>> Switzerland 瑞士
>> 
>> 0041 7862 00996 M
>> 0041 4334 31348 H
>> 
>> 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
>>> _______________________________________________
>>> empyre forum
>>> empyre at lists.cofa.unsw.edu.au
>>> http://www.subtle.net/empyre
>> 
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