Made in Shanghai@ island6 Arts Center
Made in Shanghai, a digital experience by Island6 Arts Center. From Paris to Shanghai, European and Chinese artists gathered in this exceptional exhibition.
Shanghai Vibe (上海环境) - island6 Arts Center
Shanghai Vibe is the uncensored version of China Vibe. In an antique mirror from the Concession period, Local Shanghai model Moxin Yuan (莫欣媛) sleeps completely nude, a mistress tossed aside reminiscent of Du Yuesheng (杜月笙)'s many concubines and wives who lay bored at home while their man was out running the Green Gang (青帮) in the streets of 1930s Shanghai. Du's four-story villa is now the comfy Donghu Hotel (东湖宾馆), filled with the ghosts of these neglected vixens, stretched out on their shikumen beds and dreaming of a titillating touch. A phone number looms in the black abyss, scrawled in lipstick like traces of meetings full of glances along the Suzhou Creek, dates full of touches at the Grand Theater on the Bund, and nights full of dancing in the nightclubs of Fuxing Lu, with her man, in the flesh.
But where are we now? With people all over the globe shielded from each other by computers and phones, island6 mimics the historical world of Shanghai and the virtual world we pour emotions into and extract satisfaction from. When the number is called, the nude welcomes the vibrations in her phone as a substitute for lovers lost and friends far away. Shanghai Vibe is a demonstration of simulations of stimulation and imitations of intimacy.
Shanghai Twins (上海双城) - island6 Arts Center
Like Hongkou Flashers, Shanghai Twins is about the modern Chinese woman's constant battle between her sexuality and identity on one hand and the entrapment of society's perceptions and expectations on the other. This duality of existence takes physical form in local model Nathalie Lin 孙茉莉 who appears in twin image wearing a seductive qipao with a charming traditional sandalwood hand fan. She sways shyly, yet coquettishly, a vision of Oriental allure, and at the same time, a portrayal of hesitation and reserve, seemingly uncertain about her future. As modern Chinese society evolves, with rapidly increasing rates of literacy and education, Chinese women have found themselves at the cusp of a new era in which they can strive for new roles, new responsibilities and new identities. And yet, as the recent furore over a list circulated on the internet has indicated, in which the virtues of the ideal modern Chinese woman were detailed as being presentable enough to be seen in the living room alongside being able to afford a nice house and car and being sexually attractive enough to stop her man from straying, the perceptions of the role of the 21st Chinese woman are still steeped in confusion and contradiction. Are women to be valued for their enhanced earning powers and greater education as well as her ability to flatteringly complement her man?
The role of the Chinese woman has been quietly evolving throughout time, particularly in the realm of arts and culture. From the first Chinese feminist, the famous courtesan and poet Su Xiaoxiao, who lived in the Southern Qi Dynasty, to the controversial and fiercely strong-minded artists of the present day like Xiao Lu, who notoriously fired a pellet gun at her own sculpture in the National Art Gallery, the journey has been long and fraught with tribulations. However, the question of what space women are meant to occupy in China is far from being completely or satisfactorily answered. Shanghai Twins seeks to capture the essence of this question. As the twin images of the qipao-clad model move in and out of the frame, one is reminded of the struggle many Chinese women faced, and still face, in their quest to assert their identities and find themselves.
Made in China@ island6 Arts Center
Setting up a new exhibition in Island6 Arts Center. Discover what September 2007 looked like in Moganshan Lu, Shanghai.
1996 Taxi ride through Hongkou and Zhabei districts Shanghai
From DongDaming / Haimen Lu to Shanghai railway station, 1996.
While the inanimate scenery has changed dramatically since then, the organised chaos of people movement has not.
5th Zhongguo Feng Penjing Exhibition, china part 7
#vtvbonsaithieuhau #warriorsbonsai
Cảm ơn bạn ghé thăm! Hãy ủng hộ kênh mình bằng cách nhấn vào nút đăng ký, like, share và để lại nhận xét góp ý giúp mình làm tốt hơn! Mình sẽ ghé thăm và ủng hộ kênh của các bạn! Xin chân thành cảm ơn!
Thanks for watching and supporting my channel! Please like share leave a comment to help me do better at next time!
SĐT: 0934607171
face:
“Shanghai’s Belle Époque” (上海的美好年代) - island6 Arts Center
BLURB: Between the 1920s and the 1940s, Shanghai was the center of modern culture in Asia. Colonization by the British Empire, France, the US and Japan resulted in a vibrant multicultural environment. It was the first city in Asia with street lights and cars. Being a commercial hub, the city had become as luxurious as New York or Paris. But what made Shanghai so characteristic and appealing to a greatly diverse group of people from fearless revolutionaries to bohemian artists? What’s the first thing you will see on a postcard about Shanghai? It is two words that can describe a whole era: Art Deco. The appearance of a city hugely defines its spirit, especially in China where “face” is everything. The sharp motifs, the bright colors and the geometry of Art Deco conveyed one message that was understandable to everybody: modernity. Robert Fan’s Majestic Theatre, Lu Qianshou’s Bank of China Building, Laszlo Hudec’s Park Hotel were radiant symbols of a new life. In Shanghai, everyone felt that something had changed and here you had the opportunity to change everything. It’s just that everybody had a different idea about what should come next.
For more information, please message to: liudao@island6.org
MEDIA: RGB LED display, acrylic painting, paper collage, teakwood frame
EDITION: Unique, Made in island6, Shanghai 2016
SIZE: 47(W)×66.5(H)×5.5(D) cm | 1′7″(W)×2′2″(H)×0′2″(D) inches
CREDITS: Ryan Nimmo (painting) • Thomas Charvériat (art direction, animation & technical guidance) • Yeung Sin Ching 杨倩菁 (production supervisor) • Andras Gal (documentation)
Shanghai Itch (上海之痒) - island6 Arts Center
LED display, one-way glass, stainless steel frame
Unique, made in island6, Shanghai 2011
60(W)×60(H)×9(D) cm | 23.7(W)×23.7(H)×3.6(D) inches
Exhibited in SHContemporary 2011, Far Beyond the Firewall & AHAF HK 12
Nikky Xu (Performance) • Yeung Sin Ching 杨倩菁 (production assistant) • Pete Bradt (video assistant) • Loo Ching Ling 吕晶琳 (video) • Zhang Leihua 张雷华 (production coordination) • Thomas Charvériat (art direction & technical guidance)
For more information:
The Shanghai Lady, the famous metaphor for the Chinese metropolis, is remodeled in Shanghai Itch wherein the familiar figure, who once decorated the walls of pre-WWII Shanghai in posters selling Western products, has evolved into her own Marilyn Monroe. The iconic scene of Billy Wilder's 1955 classic The Seven Year Itch once signaled a newer American society, and similarly, Shanghai moves freely and flirts with the Yangtze River winds of change in the way Tom Ewell's character once flirted with Monroe's. For, hiding under Shanghai's silky lingerie-like exterior, lies a world full of deception, debauchery, innovation and cunning technology. The LED figure poses, standing as a beacon for the rest of China and luring all into the unexplored territories of her city.
Island 6 electronic art Shanghai
Qipao still in vogue
When Hong Kong director Wong Kar-wai's movie In the Mood for Love was screened in 2000, the 20-odd pieces of qipao worn by the lead actress Maggie Cheung stole the scene. The Beijing Ruifuxiang Silk Store, founded in 1893 and known for its high quality, fair prices and the best qipao tailoring service in Beijing, is seeing a revival with the qipao.
Bund Queueing (外滩队列) - island6 Arts Center
1928 - At the opening of the Grand Theater on Nanjing Lu, everyone was there. It was a cold night to stand outside but they didn't feel it when cuddled up within the velvet ropes and still warm from the brandy and cognac they'd been drinking in the smoky bars before heading over to the theater. The British scholar of Chinese gardens took a break from her research through the provinces to reroute herself through Shanghai to be there, and Henry Morris Jr., he newspaper magnate, didn't even need to be dragged by his wife. All the European diplomats brought their favorite of favorite girlfriends. Even though these prominent figures reduced everyone else to queuing status, something about standing under the Art Deco facades and classic columns of the Bund once in awhile put everything in perspective for the night owls of Shanghai in the late 1920s. They were in the Orient, as far away from home as possible, eating exotic food and meeting unordinary people, learning from the Chinese, watching the world develop, and through all the meals, shows and drinks, doing it together. Smoking and laughing in the freezing cold at the Bund, it was the same crowd at the nightclub on Fuxing Lu last night, and watching Buck Clayton and his band play blues the night before. The recurring friends turned the glorious architecture of the Golden Mile and the rest of Shanghai into a home away from home.
Bund Queueing is a Liu Dao work that isolates a single glimpse from an entire lifetime and glorifies it for eternity by turning the 20 seconds of footage into an LED animation that loops continuously. The happiness of a girl out from the crowds is illuminated through pixels that show her waiting but still lit up and enjoying life as she knows it.
Island 6 Art Center (Shanghai, 2007)
A light look at Eastern and Western artists in the urban landscape and cultural climate of modern China.
A Pain In The Reel Production TV item for Neon/Finnish Broadcasting Company. first aired 11.3.2007. (original length 12.40min)
Directed and produced by Karin Tötterman, camera and edit by Oskar Silén.
Chai (拆) - island6 Arts Center
LED display, Chinese papercut (Jian Zhi 剪紙), stainless steel frame
Unique, made in island6, Shanghai 2010
106(W)×106(H)×9(D) cm | 42(W)×42(H)×3.5(D) inches
Exhibited in Absolute 0:00 at island6 Shanghai
Tang Dashi 汤大师 (Chinese paper cutting 剪紙) • Tony Argueta (animation) • Thomas Charvériat (art direction & technical guidance) • Zane Mellupe (production coordination) • Guan Yan 官彦 (production coordination)
For more information:
Two worlds, two milieus, two eras. One is the world of your Shanghai history in the intimate Lilong lanes of Shikumen housing, a turn of the Century style of East-meets-West terraced housing unique to the city. You step through the inconspicuous entrance to the Lane of Longevity, and the cacophonous maze you grew up in stretches before you like the glittering body of a dragon. This is that creature made familiar through generations of living and loving in a tightly woven community. Each cobblestone has been smoothed into glass by the heels of your grandparents, their dozen neighbors, and the nephew of Chen Yeye whose first kiss you stole under a cascade of glowing purple-pink bedsheets. His mother and her Gang of Four are still riotously sliding click-clack mahjong tiles around on their table. The other world has no room for these memories at all.
身边的中山3 Mao Suit or Zhongshan Suit (Zhongshan by my Side: Episode 3)
A fun show hosted by me and produced by Guangdong TV in China, to commemorate Sun Yat-sen's 150th birthday.
This episode deals with the Zhongshan Suit, which many Western people attribute to Chairman Mao.
Beijing Penjing (北京盆景) - island6 Arts Center
LED display, Chinese papercut (Jian Zhi 剪紙), paper collage, teakwood frame
Unique, made in island6, Shanghai 2011
108(W)×108(H)×9(H) cm | 42.5(W)×42.5(H)×3.5(D) inches
Exhibited in HK Art Fair 2011 (via Red Gate Gallery )
Yeung Sin Ching 杨倩菁 (performance) • Thomas Charvériat (art direction & technical guidance) • Zhang Leihua 张雷华 (collage & production coordination)
For more information:
In Beijing Penjing, a young woman—youthful and shimmering as if in the twilight, composed of programmed LEDs glowing through a layer of acrylic—swings freely from the branches of a penjing tree. Like a toy or doll, she is smaller than the dwarfed tree within a fantastical world like Lewis Carroll's Wonderland. This shrunken girl is the protagonist of her own adventure, but advanced: the rabbit hole through which performer Yeung Sin Ching 杨倩菁 falls is one where her image is recorded on video, uploaded onto computer software, translated into pixilated representation, and finally transferred onto a computer chip to be displayed in a world of shrunken trees and oversized birds. Dressed in the uniform of revolutionaries, the young girl represents the unparalleled nature of island6's groundbreaking new media style.
Mao suit Chinese tunic suit Zhongshan/Mao suit
Chinese tunic suit is a style of male attire traditionally known in China as the Zhongshan suit.
Eastern counterpart to the Western business suit. The name Mao suit comes from Chinese leader Mao Zedong's fondness for wearing them in public, so that the garment became closely associated with him and with Chinese communism in general in the Western imagination.
Although they fell into disuse among the general public in the 1990s due to increasing Western influences, they are still commonly worn by Chinese leaders during important state ceremonies and functions.
【裝身特急】Shanghai Tang 摩登中式時尚 - RoadShow 路訊網
近年時裝界崇尚中國風，將刺繡技術、圖騰、剪裁糅合現代的設計，令傳統的東方美添上另一番風味。擅長革新唐裝及旗袍剪裁的Shanghai Tang，今季注入大量潮流元素，創作出一系列時尚、具東方美學的男女秋冬服裝。
即睇 :
網站：
Facebook 專頁：
微博：
Qipao(旗袍) - island6 Arts Center
LED display, paper collage, black stained yellow willow woodframe
Unique,Made in island6, Shanghai 2009
107×107×8 cm | 42×42×3 inches
Exhibited in Pi
Li Lingxi 李翎溪 (performance) • Zane Mellupe (art direction) • Thomas Charvériat (art direction & technical guidance) • Cai Duobao 蔡多宝 (video animation)
The classic silk Qipao dress is automatically associated with traditions which complement Chinese women's virtue. Exquisite and simple, their elegance and sensual design is aesthetically tailored and often embroidered with delicate patterns of flora and fauna, real or mythical. In this work, a simple performance is recorded and revealed in an identical cycle which reflects the themes inherent in the dress which the artist has assumed for the role. She walks slowly away from the fore, turns in a step and approaches the viewer with a dynamic and gentle flourish, leaping high into the air with the phosphorescent patterns and colours of the Qipao tracing her movement. An instance breaks with tradition, especially the modesty accorded to women of China, when the descent allows for her dress to lift up and reveal her underpants. The accident is coy, funny and poignant. The dancer betrayed the necessity of a costume to conform to physical movement, not to the moral code of a society. That instance where the boundaries of etiquette, traditional associations and taste are broken leads to a visual brief- no pun intended- on the contradictions which society bestows on the modern woman. Familial and societal, patriarchal, expectations of uniformity of comportment, dress and modes of behavior are ruptured with the need to adapt to the demands and logistics of international systems-the spheres of contemporary art and performance , economic independence and evolutions in the societal context dictate expediential change- which prove to be constituents of the paradoxical plight of the modern China women. Qipao enacts upon the theme of this same plight, in a moment, an amplification of the era wherein societal convention expects traditional representations of beauty, where global conformism insists on their transformation, independance lessens the importance of a women being decorative and, essentially, where artistic creation may reveal more than the expected. As to whether or not what is revealed is truly subject for moral condemnation, personal indignation or believed to be playful liberation is for the audience to reflect upon.
For more information:
fashiontv | FTV.com - LXF Liu Mens Wear S/S 2011 Beijing
LXF Liu Mens Wear S/S 2011 fashion show in Beijing.
Music Info:
Performer: Unknown
Title: Aopokka
20151002《这里是北京》：中山装——衣服上的中国
北京电视台（英文缩写为“BTV”），成立于1979年5月16日，2001年6月原北京电视台与原北京市有线广播电视台合并，成为中国最具影响力和竞争力的主流媒体之一，节目覆盖国内、北美、和亚洲地区，国内总覆盖人口超过2.5亿。