October 31st, 2016

Fan Yang on fakes, pirates and shanzhai culture

By: Fan Yang, Jeremy Goldkorn and Kaiser Kuo    Source: Sinica Podcast      Date: 22/9/2016


Fakes, knockoffs, pirate goods, counterfeits: China is notorious as the global manufacturing center of all things ersatz. But in the first decade after the People’s Republic joined the World Trade Organization in 2001, a particular kind of knockoff began to capture the public imagination: products that imitate but do not completely replicate the designs, functions, technology, logos and names of existing branded products. An old Chinese word meaning “mountain fortress” — shanzhai — was repurposed to describe this type of knockoff.

Chinese internet users began to use the word shanzhai with a degree of approval. This was partly because shanzhai products, though aping the designs and names of established brands, often add innovations that the originals lack. This is particularly notable with mobile phones, the shanzhai versions of which were among the first to feature more than one camera lens and the capacity to use two SIM cards from different networks. Starting around 2008, the creativity and speed of release of such knockoff products began to be discussed as a type of innovation with Chinese characteristics and a creative approach suited to a poor country developing at breakneck speed.

This episode of Sinica is a conversation about shanzhai and the whole universe of Chinese knockoff culture with Fan Yang, an assistant professor in the Department of Media and Communication Studies at the University of Maryland, Baltimore County, and the author of the book Faked in China: Nation Branding, Counterfeit Culture, and Globalization. You can read the SupChina backgrounder here.

Oxford Seminar on Visual Culture in Modern and Contemporary China

This year the University of Oxford China Centre will be hosting a seminar series that focuses on visual culture in modern and contemporary China. Convened by Prof. Margaret Hillenbrand, the seminars will bring together a diverse range of scholars to discuss topics including visual culture in Maoist China, the films of Jia Zhangke, Photography and Privacy in China and Contemporary Chinese Performance (to name but a few). The full list of speakers and topics is listed below and the seminars are open to the public. I will be presenting some new research next May in a talk entitled ‘Modelling Marx: Technologies of Engagement and Automation in Contemporary Art’.


October 13th, 2016

Getting digi with it: why new media art still hasn’t fully gone mainstream

As new technology is increasingly adopted by artists, can curators and collectors keep up?

By: Jane Morris           Source: The Art Newspaper    Date: 7/10/2016

Getting digi with it: why new media art still hasn't fully gone mainstream

James Bridle’s Cloud Index (2016) uses satellite weather data to predict polling outcomes. Courtest the artist and booktwo.org
Artists working in “new” media have never been so widely admired—a generation of artists in their 20s and 30s, including Amalia Ulman, Neil Beloufa, Ian Cheng, Jon Rafman and Cécile B. Evans, are now shown internationally. Exhibitions have also moved beyond specialist kunsthallen such as ZKM in Karlsruhe, V2 in Rotterdam and YCam in Yamaguchi, Japan. Digital art was the subject of a major show, Electronic Superhighway, at the Whitechapel Gallery in London this spring, and the focus of this summer’s Berlin Biennale. Meanwhile, the New Museum in New York, which has digital art specialists Rhizome in residence, is working with the Hong Kong-based K11 Art Foundation on an exhibition on art and technology, due to be shown in China next year.

Yet a quarter of a century after the emergence of digital art, it continues to raise challenges for museums, galleries and collectors. As the Serpentine Galleries in London reveal their third digital commission, James Bridle’s Cloud Index, we look at some of the reasons why digital art is still not fully in the mainstream.

Rafael Lozano-Hemmer

Rafael Lozano-Hemmer

The artist: Rafael Lozano-Hemmer

Rafael Lozano-Hemmer believes that artists must professionalise their practice. Collectors worry about how to value a work that can be copied multiple times, and how to deal with works built using software that effectively disappears subsequently because of rapid updating. Lozano-Hemmer has become a powerful advocate for addressing these issues before a work is sold. “When you acquire one of my works you get a bill of materials, and it says this work is made out of this screen, this motor, this software and so on, and it tells you if this is replaceable, and if yes, what are the constraints.” He regularly attends conservation conferences, has drafted best-practice guidelines for artists, and is developing business models to encourage studios to offer conservation support for their own work.

Benjamin Weil. Photo: Sergio Redruello

Benjamin Weil. Photo: Sergio Redruello

The museum director: Benjamin Weil

Benjamin Weil, the artistic director at the Botín Centre in Santander, Spain, argues that the issues surrounding new media art are not fundamentally different from the problems of conceptual art. Museums have been left with problems because they acquired works in the past without establishing with artists how to deal with decay and obsolescence—combined with institutions’ ingrained resistance “to accepting sometimes you have to let a work die”. The crucial issue now, Weil says, is that contemporary artists do not compound the situation. “Artists using technology can’t say, ‘It’s not our responsibility to take care of the work, it’s yours.’ We in museums have to say, ‘We can’t look after the work without you: we want to be sure that whatever decision we are going to make will not betray you.’”

Ben Vickers. Photo: courtesy of Serpentine Gallery

Ben Vickers. Photo: courtesy of Serpentine Gallery

The digital commissioner: Ben Vickers

Ben Vickers is the curator of digital at the Serpentine Galleries in London, which has just launched its latest commission, a complex work on the nature of the cloud and voting patterns by the journalist, writer and artist James Bridle. Vickers says that digital commissions present particular challenges. Curators with “a comprehensive understanding” of technology are rare, which can add extra risk to projects. “This gallery has years of experience of making exhibitions. But when you are working with an artist and they need someone who knows about epigenetics and can also write code, that’s not something that most art museums know how to deal with. Digital curators have to build their own networks with the tech world and universities to find the help they need.”

Steven Sacks © Michael Clinard Photography 2015.

Steven Sacks © Michael Clinard Photography 2015.

The commercial gallery: Steven Sacks

Steven Sacks is the founder of bitforms gallery, one of the earliest to specialise in new media. He says that although work by top digital artists still fetches lower prices than pieces by equivalent painters in traditional media (“which are exponentially more expensive”), it can also represent an opportunity. “Computational, screen-based, interactive media is the most exciting development in the past five to ten years,” he says. “It is still a challenge because the market for this work is smaller than for traditional work: but it is the next big leap forward in the way artists can present their ideas.” He also says the emergence of high quality yet more affordable 4K screens is proving attractive to collectors.

Lisa Schiff, art advisor, Schiff Fine Art

Lisa Schiff, art advisor, Schiff Fine Art

The art adviser: Lisa Schiff

Lisa Schiff is a New York- and Los Angeles-based art adviser with a strong interest in digital art. She is sanguine about looking after the work, as long as artists provide good documentation. “It’s not like scraping a painting, which—although you have to repair it—is forever tarnished. If there is a glitch with a digital work, working on the mechanics doesn’t affect the value.” She says that there is a strong primary market for Cory Arcangel, Ian Cheng and others, but she has only two collectors acquiring this kind of work in depth. The issue, she says, is that “there isn’t really a secondary market”. But, she says, “It took 150 years for there to be a market for photography. It might be hard for us to get our heads around it now, but it won’t always be this way.”

Anita Zabludowicz with artwork by Kelley Walker. London. Picture: David Bebber

Anita Zabludowicz with artwork by Kelley Walker. London. Picture: David Bebber

The collector: Anita Zabludowicz

The British collector Anita Zabludowicz (who calls the dedicated German collector Julia Stoschek her “digital sister”) has mounted a number of digital shows, including this year’s Emotional Supply Chains at the Zabludowicz Collection in London. She began collecting the work of Pipilotti Rist in the 1990s and more recently has focused on artists such as Jon Rafman, Cécile B. Evans, Ed Atkins and Rachel Maclean. Museums have not, she believes, paid enough attention to digital “because not all curators have recognised the full potential of the virtual world as an art form”. She supports Daata Editions, which commissions digital works and then sells them in larger editions than the art gallery norm, meaning prices start at as little as $100. “We hope to change the mentality of the art lover,” she says, “encouraging people to use their smart electronic devices to seek out digital art in the same way they would seek out new music or TV.”

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Art and China after 1989: New Perspectives


This Friday I will be presenting a talk at a symposium organised by the Guggenheim Museum NY, and the NYU Department of Media, Culture, and Communication. Unfortunately I won’t be able to deliver the talk in person but Dr. Wenny Teo, of the Courtauld Institute of Art, has kindly agreed to read the paper on my behalf. The symposium is part of a larger programme of events which will coincide with a major exhibition of contemporary art from China which is slated to open next Autumn at the Guggenheim.

The symposium features an impressive lineup of emerging scholars, curators and museum professionals and tackles issues ranging from public art in the 1990s to consumer culture in Shanghai, institutional critique to contemporary Chinese art history in a global age. My talk will focus on a series of photographic works by the artist Liu Gang 刘刚 (b. 1983) entitled ‘Paper Dreams.’ I have a chapter devoted to these works in my book manuscript, but in this talk I will be focusing specifically on their portrayal of new consumer identities and increasingly globalised patterns of consumption, examining how these developments are amplifying the exchange of visual aesthetics across national and cultural boundaries.

I have included the full symposium programme below, apparently the event is currently sold out, although it may be possible to gain entrance on the day.


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UCL Press launches a series of free ebooks that explore the uses and consequences of social media around the world


UCL Press has just launched a great series of eleven free open access volumes of ethnographic research based on the ‘Why we Post’ project, a global anthropological research project on the uses and consequences of social media. Most of the books are available for download in pdf format, on epub or as paperback or hardback options.

For more information on the project, visit ucl.ac.uk/why-we-post For an overview, take a look at the comparative book ‘How the World Changed Social Media’. For those with a particular interest in social media and China, Xinyuan Wang’s ‘Social Media in Industrial China’ shown below, contains fascinating chapters on ‘Visual Material on Social Media’ and ‘The Social Media Landscape in China’. Tom McDonald’s ‘Social Media in Rural China’ also has a great section on ‘Visual postings: Idealising family- love, marriage and ‘little treasures’. A full list of the titles in the series is shown below.

Why We Post

Why do we post on social media? Is it true that we are replacing face-to-face relationships with on-screen life? Are we becoming more narcissistic with the rise of selfies? Does social media create or suppress political action, destroy privacy or become the only way to sell something? And are these claims equally true for a factory worker in China and an IT professional in India? With these questions in mind, nine anthropologists each spent 15 months living in communities in China, Brazil, Turkey, Chile, India, England, Italy and Trinidad. They studied not only platforms but the content of social media to understand both why we post and the consequences of social media on our lives. Their findings indicate that social media is more than communication – it is also a place where we now live.

This series explores and compares the results in a collection of ground-breaking and accessible ethnographic studies. As with all UCL Press titles, they will be available as free PDF downloads, and a in low-cost print.

Recently Published

How the World Changed Social Media

How the World Changed Social Media

 A summary of the findings of ethnographic research undertaken in eight countries around the world.

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Social Media in Industrial China

Groundbreaking ethnographic study that examines social media usage in a factory town in southeast China.

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Social Media in Rural China

Absorbing ethnographic study by Tom McDonald that examines social media use in a small rural Chinese community.

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Titles in the Why We Post series include:

September 12th, 2016

More Than Ever

By: Colin Siyuan Chinnery            Date: 7/9/2016         Source: Frieze.com

Despite years of sexual inequality in China a positive gender-shift seems to be taking place in the art world.


Upon being asked to recommend five or six shows in Beijing for another section of this website, there was one editorial criterion that was all but impossible to fulfill: finding a balance between exhibitions by male and female artists. It reminded me of a common complaint of visiting Western curators to China: that I and other local curators do not introduce them to enough female artists. I share their frustration. (Although they probably suspect us of sexist gatekeeping, given that most curators in China are also male). An examination of the gender breakdown of artists represented by China’s best-known commercial galleries illustrates the current situation: Long March Space (Beijing) represents 14 male artists and three female artists (of which one is a deceased shaman and another is part of a partnership with a male artist); ShanghART (Beijing and Shanghai) works with 46 male artists and two female artists (one of whom is part of an artist-duo, the other half of which is a man); and Vitamin Creative Space (Guangzhou) shows 19 male artists and three female artists. Shanghai’s hippest new galleries don’t fare much better: Aike-Dellarco’s male-female balance is 14–2, Antenna Space 7–2 (plus one genderqueer artist), Leo Gallery 13–3 and Leo Xu Projects 10–2.

Zhu Tian, 600 RMB A Go, video still, 2015. Courtesy: the artist and Leo Gallery, Shanghai


Zhu Tian, 600 RMB A Go, video still, 2015. Courtesy: the artist and Leo Gallery, Shanghai.


However, a number of current group shows suggest that a new narrative is developing. A major international group show of female artists, ‘She’, is on show at Shanghai’s Long Museum until the end of October, while across town, at Leo Gallery, there is a smaller all-women group show titled ‘Instant Image’. Pace Beijing’s summer show, ‘Not Early Not Late’, features video works by nine female artists and the art museum at Central Academy of Fine Arts, Beijing (CAFA) has co-organized ‘Fire Within: A New Generation of Chinese Women Artists’, which opened in late August at the Eli and Edythe Broad Museum at Michigan State University. Curators seem to be noticing a new phenomenon: more and more women artists are emerging from Chinese art schools and coming back from studying abroad. This spring, when Shanghai’s MadeIn Gallery organized ‘Extravagant Imagination, the Wonder of Idleness’ – a show of the youngest generation of artists to emerge from art school – they invited curator Lu Mingjun to organize the exhibition. Six of the seven participating artists were women. The gallery claimed to be exasperated by the lack of male talent. Lu, who teaches at the Sichuan Academy of Art, said that two-thirds of his students are female and that this has been a trend for some years now. We appear to be on the cusp of a major change in the Chinese art world. Why is this?

The most obvious approach is to look at issues relating to sexual equality in China. However, these alone cannot explain the positive gender-shift taking place in the art world. In fact, there are indications that women are becoming worse off as conservative government policies are reviving traditional values in all levels of Chinese society. Mao Zedong had sexual equality written into the constitution and stated that women ‘hold up half the sky’ but, in the mid-2000s, President Hu Jintao’s government borrowed from Confucian political theory to develop its idea of ‘harmonious society’, embracing a patriarchal view of society and politics. Xi Jinping may have a new slogan, but the expansion of Confucian Institutes all over the world demonstrates his commitment to this ideology. The World Economic Forum also reports a drop in women’s equality at the work place, with China dropping from 61st out of 134 countries in 2010 to 91st out of 145 in 2015. China’s arrest, last year, of five women’s rights activists for trying to start a campaign against sexual harassment on public transportation also confirms this worrying trend. On the other hand, depending on whose statistics you believe, China has one of the highest ratios of women CEOs in the world, ahead of the US and EU.

Liu Qianyi, Post-work Epoch, 2015, video still. Courtesy: the artist

Liu Qianyi, Post-work Epoch, 2015, video still. Courtesy: the artist.


How directly these figures relate to the status of women artists is difficult to gauge. Artists in China are often defined by their generation in a way that doesn’t necessarily apply to their Western counterparts. This is because the political movements of recent Chinese history have affected every level of Chinese society. The Cultural Revolution of 1966–76 attempted to eradicate traditional culture; in 1978, Deng Xiaoping’s policies opened the country’s doors to the outside world for the first time since 1949; and further reform during the 1990s launched China’s ‘economic miracle’.

The reason for the current surge in the number of female artists is closely related to government policy decisions made decades ago: specifically the one-child policy introduced between 1978–80 and the economic reforms of the 1990s. While is it arguable whether the one-child policy, which began to be formally phased out last year, did, in fact, limit the rise of China’s massive population, its social consequences have been huge. Millions of people born since the policy came into effect have grown up without siblings, giving them special status in the family and resulting in the much-discussed ‘little emperor syndrome’. While there is a plethora of research and literature criticizing the effects of this phenomenon, there have also been positive reverberations, especially with regard to the status of women. In the past, the traditional multi-child family often allocated a disproportionate amount of family resources to boys over girls; the one-child family, on the other hand, faces no such dilemma. Girls, at last, have been able to have their way – and many of them have decided to study art. That being an artist has become a viable profession for so many is largely down to the economic reforms of the 1990s, which have enabled people to earn far more money than ever before, fuelling the explosion of the Chinese art scene and market in the past decade.

Yin Xiuzhen, Silent, 2013, video still. Courtesy: the artist and Pace, Beijing

Yin Xiuzhen, Silent, 2013, video still. Courtesy: the artist and Pace, Beijing.


If there is one issue that has typically held back female artists in China, it’s conservative social values, which have meant that many women artists gave up their careers in order to build families. It is too soon to tell whether this still holds true for the more confident new generation, many of who have been educated in the art schools of London and New York and, as a result, have a different outlook to their predecessors. What is certain is that China’s contemporary art landscape is changing and perhaps, in a few years, I’ll still have a problem reporting on Beijing’s exhibition scene: not enough shows by male artists to recommend.

Lead image: Zhu Tian, Cling To A Curator, video still, 2015

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September 8th, 2016

青年圆桌会议徵文 | 第一届網絡社會年会 ─ “网络化的力量”

Call for Papers of Youth Round Table | The First Annual Conference of Network Society “Forces of Reticulation”

(English language version below- this might be an interesting conference to attend, especially as it’s open to young artists and aims to address the ‘aesthetic’ aspects of networked societies). Hosted by the China Academy of Arts in Hangzhou.


主办:中国美院跨媒体学院 网络社会研究所



The Internet as Global Usage: 2009 (left), 2011, 2013 (right). The dots are websites and the lines represent the existence of significant traffic overlap between them. These show that global Web usage clusters itself into many communities of websites based on shared traffic. What the member websites of these clusters have in common with each other allows us to identify them as expressions of online regional cultures (see legend).



年会除了理论主题演讲外,另筹划了青年圆桌论坛,以研究交流与艺术实践观摩为主。在微信用户高达5.7亿,支付宝成为日常经济工具,小米手环成为智能穿戴市场的中国第一,世界第二的现实条件下,我们应该有新的研究来指出既有之网络理论的不足,事实是:没有含括中国网络现实的研究是不可能成为网络理论的。没有比这个时刻更需要我们自己的经验研究了。我们需要浸泡在中国网络环境中的青年学者来交流自己的田野观察和批判;我们需要年青艺术家来超越理论术语的限制,带来希望与创造性破坏。这是国内首次有关网络社会实践之青年的圆桌会议,是国内首次“数码原住民”(digital nativism)火炬晚会,是创新交流聚会和思想实践之电子舞会。现在你唯一要作的事情,就是跟参加舞会前的准备一样,物色对象与装扮自己。 Continue reading

August 13th, 2016

Cao Fei’s Fantastical Take on China’s Sociopolitical Climate

By: Monica Uszerowicz     Source: Hyperallergic   Date:11/8/2016


In Italo Calvino’s novel Invisible Cities, Marco Polo regales Kublai Khan with tales of his travels, musing about the strange poetry of each city and their intersections with memory and selfhood. These cities, in actuality, are not quite real, and whether we are to suspend our disbelief is not clear. As Marco Polo would have it, it’s the space between fantasy and reality from which one gleans the most insight. Regarding the city of Penthesilea, he asks, “Outside of Penthesilea, does an outside exist? Or, no matter how far you go from the city, will you only pass from one limbo to another, never managing to leave it?”

The artist Cao Fei has cited Invisible Cities as a reference point for her short film, “La Town,” which surveys a mysterious city in the throes of post-apocalyptic destitution. La Town is an amalgamation of many places, with its German grocery store, bombed-out McDonalds, and supernatural creatures: a giant octopus appears to have made its way through a window; Santa’s reindeer lay prone on a set of train tracks. The city is built of tiny plastic toys and models, scuffed and bloodied until they lose the inherent charm of being miniature. Two invisible narrators argue back and forth — in French — about the reality of experience, recalling the dialogue between the protagonists of the Alain Resnais 1959 film, Hiroshima Mon Amour, whose memories may or may not be founded in truth. “The illusion, quite simply, is so, so perfect,” says a woman’s voice in Cao’s film. “You saw nothing in La Town,” a man’s voice replies. “Nothing.” Continue reading