Apple Gets Artsy in Chongqing

[Update at end]

Just over a week ago at the Jiefangbei pedestrian shopping area in Chongqing's Yuzhong district, you could see something was curiously hidden.

When I walked by yesterday, I saw this:

The cylindrical entrance for the new Apple Store which will open January 31 is now covered with a copy of a mural — the result of a collaboration by photographer Navid Baraty and artist YangYang Pan (潘阳阳). Apple posted a video about the artistic process on its Chinese retail website (HT MacRumors) and someone Apple has posted it on YouTube as well [link updated].

During the brief time I was there, the mural received a bit of attention from passersby.

For those in Chongqing who can't until Saturday to visit an Apple Store, there is already an option at the North City Paradise Walk shopping mall in Jiangbei district.

The store seemed to have a decent crowd yesterday for a Monday afternoon.

For those who can wait longer than Saturday, soon Chongqing will have the same number of Apple Stores as Hong Kong. A third store is under construction at the MixC shopping mall in Chongqing's Jiulongpo district. Only Beijing and Shanghai currently have more Apple Stores in China with four each. Single stores can be found in other cities in China — Chengdu, Hangzhou, Shenzhen, Wuxi, and Zhengzhou. The stores in Chongqing are indicative both of Apple's focus in China and the city's own impressive growth.




UPDATE: No need to rush to the Jiefangbei Apple Store if you want to see an art-covered cylinder. I walked by again this afternoon, and the outside art is now gone. Perhaps the lit up Apple logo works better under today's darker skies & wetter weather, and the original artwork will be on display inside when the store opens.

A Monday Contrast

Yesterday I went from traditional-style scenes being painted on a wall surrounding a demolished neighborhood . . .

. . . to the Sausage Paradise at Jingan Kerry Centre's temporary winter wonderland.

Despite their differences, both scenes capture some of the continued change in Shanghai.

In Streets We Photograph

Xingye Road at Xintiandi in Shanghai

In Art We Photograph

At the K11 Art Mall in Shanghai

Still Drawing

Over 5 years ago in Changsha, Hunan, I saw a group of children sitting on the sidewalk drawing traditional buildings.

Including a number of demolished neighborhoods and new shopping centers in the nearby area, much has changed in Changsha since I saw those children.

Recently in Shanghai, I saw another group of children similarly drawing the historical buildings at The Bund.

And it made me ponder how some things in China's rapidly growing cities change more slowly than others.

The Great Acceleration at the Taipei Fine Arts Museum

Two months ago I entered the Taipei Fine Arts Museum and paused for a few moments as I looked at the sign listing the current exhibitions:

Needless to say, I was both surprised and disappointed to learn that the vast majority of the museum was closed in order to install a new exhibition. My visit proved to be rather brief.

Fortunately, I recently was able to return and see the new exhibition "The Great Acceleration". Not only did my visit last much longer, but I needed a second day to make a first pass through everything. As described in Art Agenda:

“The Great Acceleration: Art in the Anthropocene,” curated by Nicolas Bourriaud, casts human subjects as both increasingly ghostly, stressing limitations and finitudes, as well more aligned with the organic, strange, and sensory. In other words: both more dead and more alive. These qualities have been thrown into relief by the ascendance of the machinic technologies and algorithmic logics that have come to condition much of our activity and attention. Expanding on these issues, the biennial, held solely at the Taipei Fine Arts Museum, features 52 artists and collectives, finely installed. As one might expect from Bourriaud, known for coining terms and corralling practices such as “relational aesthetics,” “postproduction,” and “altermodernism,” artistic approaches, rather than particular geographies, histories, or politics, connected the works in the exhibition.

And as described by exhibition curator Nicolas Bourriaud:

Human activity has been transforming the planet for millennia. All the ecosystems now bear the mark of human presence, but the scale and speed of change in the last 60 years, called by scientists The Great Acceleration, also led them to name anthropocene this new geological epoch — an era marked by the strong impact of human activities upon the atmospherical and geological evolution of planet earth.

Taipei Biennial 2014 uses this image in order to examine how contemporary art adresses this new contract between human beings, animals, vegetals, machines, products and objects. How does today’s art define and represent our space-time ? The exhibition will highlight the way artists focus on links, chainings, connections and mutations : how they envision planet earth as a huge network, where new states of matter and new forms of relations appear…

See the above links for more on the exhibition.

If you are in Taipei before the exhibition ends on January 4, 2015, I highly recommend spending at least an afternoon there. Below I will share photos of just a few of the installations along with excerpts of descriptions provided by the museum. The photos are not intended to be fully representative of the pieces and don't show any of the art videos. But they do provide a hint of the incredible diversity of artistic expression on display.

Formasa Decelerator — Opavivará! (Brazil)

Opavivará! is an art collective from Rio de Janeiro, which develops actions in public places of the city, galleries and cultural institutions, proposing inversions in the use of urban space, through the creation of relational devices that provide collective experiences.

Specially conceived for the Taipei Biennale 2014, Formosa Decelarator is also contaminated by local Brazilian traditions, rituals and tea ceremonies. . . .

The idea revolves around a sort of temple of idleness, an invitation to inactivity, a space that worships the non-productive and non-active and that stands as a counter-proposition to our accelerated, superficial and volatile times. It aims to evoke a collective ambience based on sharing and on the relationships that arise through the interaction of the public, a tool to transform the challenge of living together into a vibrant and pulsating exercise of pleasure, congregation and creative idleness.

Yucca Invest Trading Plant — Ola Pehrson (Sweden)

Every plant is in itself a perfectly economical system, with a minimum of waste, with its own resources, something which certainly can’t be said of many companies. A yucca palm tree has been chosen as a representative of a typical plant for a young urban businessman. The plant has been exposed to six months of intensive market education, during which it has been fed with stock market rates encoded into electric currents, combined with an index-related conditioning diet of either rich or meagre rations of water and sunlight. This is an attempt to stimulate a market-adapted habitus, similar to that which years of financial transactions develop in the experienced stock brokers’ nervous system.

Zoo — Ching-Hui Chou (Taiwan)

Zoo is a space full of imagination and conflict. It symbolizes a time of joy (for visitors), yet it also symbolizes a time of confinement and segregation (for animals). It symbolizes the convenience and marvels of modern life (a collection of rare animals from all over the world), and it also suggests a hint of the apocalyptic salvation of Noah’s Ark (protecting species on the verge of extinction). Cages in zoos are used as an allusion to modern people’s lives in cages.

Mobile Phone and Stone Tool — Shimabuku (Japan)

A mobile phone is one of the newest devices of humankind, and a stone tool is the oldest. Actually, they are similar in some aspects. Firstly, the size is similar. When held in a person’s hand, some of them feel very much alike. Stone tools also have “memory” just like mobile phones. You could imagine “calling” or “taking a photo” with a stone tool.

Dangerous Computer Virus — Abu-Bakarr Mansaray (Sierra Leone/Netherlands)

Mansaray’s creations particularly focus on unusual yet sophisticated drawings and machines based on his scientific background. His preparatory drawings, created by pencil, ballpoint pen or crayons, seem to be blueprints, but they can be regarded as the characteristics of his artwork, as evidenced in the works shown at the Taipei Biennial 2014. There is no doubt that the conflicting, warring circumstances of Sierra Leone play an influential role in shaping Mansaray’s creative imagination and futuristic point of view. Even though his works, to some extent, bear witness to the horrors of war, it is still evident that Mansaray attempts to express the power of creation.

Decriminalization of Taiwanese Indigenous Hunting Rifles — En-Man Chang (Taiwan)

The term “decriminalization” refers to a situation where a previously illegal activity or action is designated legal. When legal behavior is suddenly reclassified as illegal, that is called “criminalization.” In a civilized society, how is it that the traditional hunting of indigenous peoples results in them being subject to the legal system of a different culture? In the past, hunters were the pride of the tribe, but they are now labeled criminals by the legal system because the prevailing political-economic system declines to respect cultural diversity.

Keep Soothe and Carry On — David Douard (France)

The installation Keep Soothe and Carry On, made in 2014, is an installation that takes its starting point in its title, which Douard got from the classic English slogan “Keep Calm and Carry On.” Reflecting present-day reality, this installation is represented in the form of a marketing slogan, with the launch of several derived objects (cups, T-shirts, posters…). That is why Douard has retained the R of a trademark, serving as a powerful symbol in the installation.

He decided to use this advertisement as a tranquilizer in society. The rest of the installation serves as elements of a disordered society which the slogan addresses

Buk — Harold Ancart (Belgium)

Buk is a plastic bucket holding a smart phone that plays “The Ultimate Very Best of Elvis” on a loop. The bucket serves as a soundbox for the smart phone as it amplifies the sound of the music released through the speaker of the phone. This anticipative sculpture witnesses a fictional lifestyle improvement for homeless people in the future. No longer subject to cold, for they will all carry electronic warming systems incorporated into their jackets, the homeless people will reunite and party around Buk rather than metallic trash cans set on fire.

The Deluge – Noah’s Ark — Hung-Chih Peng (Taiwan)

Reflecting ferry disasters, floods and other recent ecological crises, Peng’s work The Deluge – Noah’s Ark attempts to show the impotence of human beings in the face of uncontrollable catastrophic challenges. The rapid acceleration in the Anthropocene era causes climate change, environmental pollution, and ecological crises. All the measures to control these problems seem to be in vain. Human beings are unable to return to the unspoiled living environment of the past, and have become victims of their own endeavors. This work serves as a metaphor exposing the collision between Mother Nature and the accelerated development of industrialized civilization.

*Correction: an earlier version of this post mistakenly referred to the Taipei Fine Arts Museum as the Taipei Museum for the Fine Arts.

Pumpkins and Murals

During the last full day of a recent trip covering several regions of the US, I saw pumpkins at the Dallas Arboretum.

During the first full day after returning to Asia, I saw murals at Taipei's Dalongdong Baoan Temple.

On that note, I am back in Taiwan, although soon I will be headed elsewhere — a place that probably has more religious-themed murals than pumpkin-covered buildings.

Graffiti Cat

Been reading and thinking a lot about Hong Kong lately—most of it rather heavy. For now, though, something lighter I saw in Hong Kong earlier this year:

Gazing in Taiwan

Two views from the center of Gaze—an installation work by Taiwanese artist Hwang Buh-Ching portraying a "loving gaze and silent emotion" between Hwang and his wife:

Birds at a Hengyang Restaurant

On a wall at a restaurant in Hengyang, Hunan:

The Best Design on a Car in Hengyang

A design with a message I saw tonight in Hengyang, Hunan:

More on the designs people add to the exterior of their cars later. Not everyone wants their car to look like Chinese porcelain.

A Reason to Support Beijing's Winter Olympics Bid

I can't say I have felt much enthusiasm over Beijing's bid for the 2022 Winter Olympics. In fact, I had hoped another location would be chosen. I will refrain from detailing the reasons, because I might have had a change of heart after seeing a potential logo for the games if they take place in Beijing. The image conveys with great clarity the feelings of its creator and evoked such strong emotions from myself that tears nearly poured out of my eyes.

Without further hesitation, I present Anthony Tao's transcendent piece of art:



I look forward with great anticipation to seeing Tao's design for the mascot.

An Easy-to-Identify Knockoff Chanel Shirt in China

Knockoffs of well-known international clothing brands are a far more common sight in China than imitations of well-known international hotel brands. Just how common is not simple to pin down though. Depending on the degree and quality of the imitation, it can be challenging to identify knockoffs based purely on their appearance, especially if one is not familiar with the brands. For example, today in Hengyang, Hunan province, I saw someone wearing what appeared to be a Chanel shirt.

After a quick check of Chanel's website, I now see that the shape of the two interlocked letters in the logo seems less circular than the interlocked letters in Chanel's standard logo, but I am still not sure whether the shirt is a knockoff or not. I would not be surprised if Chanel could provide a very quick answer.

In contrast, there are other shirts I feel confident labeling as knockoffs even without checking a website or consulting a fashion expert. For example, also today in Hengyang, I saw someone wearing a shirt with what is clearly only an imitation of Chanel's brand.

As everyone knows, the interlocked letters in Chanel's logo don't have rounded ends. Sometimes it is so easy.

Starbucks Gangnam Style Arrives Before Starbucks in Zhanjiang

According to an outdoor promotional video at a new mall under construction, the first Starbucks in Zhanjiang, Guangdong province, will soon open. But already one can see signs of Starbucks here.

Possibly inspired by a modified cup, this Gangnam Style Starbucks shirt isn't sold at Starbucks, even in China. However, like the girl in the photo, you can buy it on Taobao. After a quick search, the lowest price I saw is 9.9 RMB (about U.S. $1.60), though a more typical price seems to be around 20 RMB.

With disappointment in her voice, the girl told me she has never been to a Starbucks. She perked up when I told her about the soon-to-open store. I wonder if she knows her Starbucks drink might cost more than her shirt.

A Chinese Porcelain Car in Zhanjiang

In many parts of China, I have seen cars with added designs, sometimes elaborate, on their exterior. For example, in a post several years ago I shared a photo of a "Counter-Strike car". I have also seen a number of cars fully covered in a Hello Kitty design.

Typically the designs reflect current popular culture. However, today in Zhanjiang, Guangdong province, I saw a car with a more traditional design.

I don't recall seeing a car which reminded me of Chinese porcelain before. I wonder if the owner has considered putting on matching wheel covers.

Ephemeral Laughs from Yue Minjun and Roger Angell

Earlier today I saw the steel sculptures of laughing people created in 2009 by Chinese artist Yue Minjun now outside the Macao Museum of Art. After briefly considering them, I read an informational card and learned they share the title "The Laugh that can be Laughed is not the Eternal Laugh".

After a few moments pondering the possible meaning of the title, I found humor in it and laughed. Then, listening to my laughter, I broke into a louder laugh finding humor in the idea that my laugh could not be an "Eternal Laugh".

I suddenly went silent. Recursion. Absurdity. Eternity. For a seemingly timeless period, my mind floated.

And then I walked away to find something to eat.

Due to an unrelated recommendation, in the evening I read "This Old Man" by American essayist Roger Angell in The New Yorker. The topic of laughter appeared again, this time in Angell's personal reflections on life, death, and growing old:

I get along. Now and then it comes to me that I appear to have more energy and hope than some of my coevals, but I take no credit for this. I don’t belong to a book club or a bridge club; I’m not taking up Mandarin or practicing the viola. In a sporadic effort to keep my brain from moldering, I’ve begun to memorize shorter poems—by Auden, Donne, Ogden Nash, and more—which I recite to myself some nights while walking my dog, Harry’s successor fox terrier, Andy. I’ve also become a blogger, and enjoy the ease and freedom of the form: it’s a bit like making a paper airplane and then watching it take wing below your window. But shouldn’t I have something more scholarly or complex than this put away by now—late paragraphs of accomplishments, good works, some weightier op cits? I’m afraid not. The thoughts of age are short, short thoughts. I don’t read Scripture and cling to no life precepts, except perhaps to Walter Cronkite’s rules for old men, which he did not deliver over the air: Never trust a fart. Never pass up a drink. Never ignore an erection.

I count on jokes, even jokes about death.

Angell follows with a joke he's been told 4th graders will appreciate, and then he shares another joke:

A man and his wife tried and tried to have a baby, but without success. Years went by and they went on trying, but no luck. They liked each other, so the work was always a pleasure, but they grew a bit sad along the way. Finally, she got pregnant, was very careful, and gave birth to a beautiful eight-pound-two-ounce baby boy. The couple were beside themselves with happiness. At the hospital that night, she told her husband to stop by the local newspaper and arrange for a birth announcement, to tell all their friends the good news. First thing next morning, she asked if he’d done the errand.

“Yes, I did,” he said, “but I had no idea those little notices in the paper were so expensive.”

“Expensive?” she said. “How much was it?”

“It was eight hundred and thirty-seven dollars. I have the receipt.”

“Eight hundred and thirty-seven dollars!” she cried. “But that’s impossible. You must have made some mistake. Tell me exactly what happened.”

“There was a young lady behind a counter at the paper, who gave me the form to fill out,” he said. “I put in your name and my name and little Teddy’s name and weight, and when we’d be home again and, you know, ready to see friends. I handed it back to her and she counted up the words and said, ‘How many insertions?’ I said twice a week for fourteen years, and she gave me the bill. O.K.?”

As Angel reacted when he first heard the joke more than fifty years ago, I laughed and was surprised to hear the joke in the particular context it was shared.

What does Angell, at the age of 93, believing jokes to be so important mean? What does the "The Laugh that can be Laughed is not the Eternal Laugh" mean? I'm still not sure, but where these questions lead and how they relate fascinates me.

And that I noticed a connection between Yue Minjun's sculptures in Macau and Roger Angell's essay from New York City ...

... makes part of me laugh.

A Chinese New Year Holiday Spent Atop Shanghai

I previously shared a photo from near the top of what was then Shanghai's tallest building. Vadim Makhorov went higher. Much higher. And there is not an elevator to where he went.

He recently wrote:

I dreamed to visit Shanghai for a while. One of the main sights for us was Shanghai tower, a huge skyscraper in the city center, which currently is under construction. The height of it will be 632 meters. When the construction will be completed, the tower will become the highest building in China and world’s second high building after Burj Khalifa (if not to mention TV tower in Tokyo, which is only 2 meters higher).

Ten days ago, during the celebration of Chinese New Year, the entire country was resting – all the people had vacations, so as the builders. Everybody was squibbing in their neighborhoods and enjoying the holidays. For us, it was perfect time to climb the tower and a crane jib above it (the highest point is about 650 meters).

That many people were away for the holidays is key. According to his video, Makhorov did not take a conventional route into the building.




And he did not take conventional photos.

Photo by Vadim Makharov from here

See Makharov's posts here (HT to Evan Osnos) and here (HT to Andrew Webster) for more of his story and photos. The dramatic video is worth watching in HD.

Two Big Circles in China

In a post on The Guardian's "Architecture and Design Blog", Oliver Wainwright took a look at "Architecture's trend for cutting holes in buildings". Of the 9 examples he shared, I've seen two in person--both in China. One is Shanghai's World Financial Center. The other is the Guangzhou Circle, which I happened to notice while looking out of a window last November on the second leg of high-speed rail trip from Zhuhai to Changsha. Here's Wainwright's description of the building:

As if a giant cable reel had rolled into town and come to rest on the banks of the Pearl River, the newly completed Guangzhou Circle towers 138m above southern China's largest city like a great copper spool. Housing the world's largest stock exchange for raw plastic material, it is the work of Italian architect Joseph di Pasquale, who says the form “will be immediately perceived as a native Chinese landmark.” Because it's big and brash and dressed in a spangly Christmas jumper? Maybe, but also because it is “inspired by the strong iconic value of jade discs and numerological tradition of feng shui.” How so? Because not only does the 50m-wide hole punched through the centre make it look like an ancient Chinese coin, but when the building is reflected in the river it forms the lucky number eight. And an infinity symbol. And the insignia of ancient dynasty that reigned in this area 2,000 years ago.

And here is a cropped version of a photo I took from a train:

The Guangzhou Circle is off in the distance on the left side of the white pole. Even though it was far away and I wasn't expecting to see it, my eyes were drawn to its unusual shape and color. It reminded me of another building, also based on ancient Chinese coins, in Shenyang. When I arrived in Shenyang over 3 years ago, the Fang Yuan Building was one of the first buildings I saw after leaving the bus station. I had seen photos of it before, but seeing it in person was ... special. I passed much closer to it than the Guangzhou Circle:

Alas, it couldn't have made Wainwright's post since the square center is not a hole. I hope they put the square to good use.

See Wainwright's post here for a closer view of the Guangzhou Circle and to see his other eight selections. The one I'd be most interested to visit is the proposed TEK Center in Taiwan. In the meantime, maybe I should return to the Fang Yuan Building to see what's inside the square section.

In Memory of Changsha's Beizheng Street

Last month as I walked past and through the remnants of many demolished buildings around Beizheng Street in Changsha, Hunan province, I considered China's large number of forced evictions and the constant change so easily found in its rapidly developing cities. In the previous two posts I shared photos of what I saw around Beizheng Street and made several direct comparisons to what I saw there last year. In many ways, the area was similar to other demolished neighborhoods I have seen in China. But one scene included something remarkable I had not seen before--a creation arising from the rubble itself.

For about 10 minutes I watched several people working on the brick sculpture. I then headed off to explore more of the neighborhood knowing I would pass by again before leaving.

When I returned, they were putting on the finishing touches. Boldly standing out was the Chinese word "记忆" (jìyì) which translates to "memory".

I soon met with several of the artists who created the sculpture.

While I was there, many people passed by without stopping, but some paused for a few moments to look at the new sight. A few curious schoolgirls took a close look and were invited to be photographed with two of the artists.

All of the artists had grown up around Beizheng Street and now worked in the advertising industry in Guangzhou, about 8 hours away from Changsha by car. They had returned to build the sculpture, which symbolized all that would be left of the Beizheng Street they had known. When I asked one artist how he now felt looking at his old neighborhood he replied, "Angry."

New structures will rise in the future, but how many of them will retain something of the old Beizheng Street? I imagined the sculpture remaining, maybe in a small park, as one small sign of the past. That's probably just a fantasy though. Like much else which could recently be found at Beizheng Street, the "memory" itself may already only be a memory. The artists guessed it would last for at most 3 weeks, perhaps a fitting existence. Regardless, what matters most is not whether their sculpture remains standing. What matters is that they built it at all.

Imitation, Creativity, and a Right-Hander's Dream in Chinese Mobile Phones

As I have mentioned many times before (most recently here), a broad variety of mobile phones are designed, made, and sold in China. During a recent visit to Zhuhai's Jida subdistrict, I took a closer look at a store selling phones not made by better known Chinese brands such as BBK, Oppo, Xiaomi, and Gionee. Although some of the phones imitate other brands, some include "micro-innovations" and some can be rather distinctive from phones commonly available in markets outside of China such as the U.S.

Below, I will share four examples of what I found. My intent is simply to stimulate some thought about the mobile phone domain in China.

The iPoone above on the left obviously fits into the "inspired-by-Apple" category--a category in which I regularly spot new designs. The "Think Different" phone I saw in Guangzhou and the iPncne phone I saw in Ningxia also fit in this category.

The phone above on the right has no obvious Apple influence and is just one of the many small clamshell phones available with various images.

The yellow phone on the above right offers a butterfly light show. The shopkeeper made sure I noticed the digital clock on the outside.

The "Dlor" phone on the above left is what most caught my eye that day, so I will provide a few more details about it. These words are above the image of the two hands:

I'm not left-hander
幸福在我的左边
可是........
却不是个左撇子
抓不住你

Numerous instances of the same image with almost exactly the same words can be found on a number of Chinese online sites. However, I was not able to pin down the original source.

One reasonable translation of the Chinese is "Happiness is on my left, but I can't catch you since I'm not left-handed".

If you're now puzzled by the poem or wondering why hands with an extra finger were used (did you notice?), you're not alone. Any Chinese friends I have asked expressed some confusion, and examples of confusion can be found online (in Chinese) as well.

Yes, there are many questions to ask. And all of the above phones raise more general questions such as "What motivated the design?" and "Why would somebody purchase this phone?" The answers to these questions could guide the design of new phones, whether they look like the above phones or not, for people in China and in other markets as well. As I first suggested after seeing the Think Different phone in Guangzhou, even when there are imitations, such phones can be a potential source of valuable insight or inspiration for global mobile phone brands.

Finally, there is one question I will answer now. No, despite it fascinating me, I did not buy the Dlor phone. After all, it doesn't suit me since I'm a left-hander.