Flying Bird from Samantha Culp on Vimeo.

She works hard for a living…

Link to set on Flickr.

SHORT STAYS / 暂停
3 Short Films by / 三个短片
Zhao Ye / Liu Jiayin / Peng Lei
赵晔、刘伽茵、彭磊

Title: “’Pawnshop’ at The Shop, Beijing”
Publication: Housevibe, the Opposite House Blog
Date: Sep 2009
Article Link
Full Text Below

What is a piece of art worth? Is it based on age? The value of the materials used? The reputation of the artist? Or something far more mysterious? In these recent years that have seen the art market in China and elsewhere bubble up and then burst, the timeless debate seems more relevant than ever. The new exhibition “Pawnshop” in Beijing is the perfect place to consider this question, with a playful twist.

This month, Vitamin Creative Space’s experimental art-space in Jianwai Soho has transformed into a “Pawnshop” for artists. Underneath a beaming neon sign, the normally open-plan gallery now has a wooden shop-front and glass cases with items by over 60 international artists on display. Some are clearly “art works,” others simple “objects” that demand we look closer and understand their significance in this new context. All were “pawned” by the artists in the traditional manner: they exchanged their pieces for cash ($99 RMB) and a claim ticket. If the artist chooses to reclaim their object within 30 days, they need to pay back the loan with interest. If not, the piece will go on sale to the public.

Whereas a real pawnshop just wants to turn a profit, “Pawnshop”’s goals are more complex. (And all profits of this project will go to charity, by the way.) By adopting this commercial framework, the organizers hope to start a dialogue about the nature of art, exchange, consumption, and money itself.

“Pawnshop” is the brainchild of e-flux founders Anton Vidokle and Julieta Aranda, New York artists and curators who successfully launched the experiment in a Lower East Side shopfront last year. Now transplanted to China, this new edition features more artists from Beijing and greater China alongside an edgy selection of emerging and established international names.

Some objects on offer are highly conceptual: New York-based artist Rene Gabri has pawned one hour of his time (represented by a small slip of paper, with the words “One hour of my time”). Others are humorous – Beijing’s own Cao Fei exchanged a cockroach trap entitled “Cockroach House from Cao Fei’s House.” Singapore’s Ming Wong contributes a vintage Chinese opera record, and Hong Kong’s Doris Wong Wai-Yin a 1960s pocketbook; each investigating the link between object and memory. The legendary Martha Rosler, American pioneer of both feminist and conceptual art, came to Beijing for the opening and panel discussion, and appears to have left behind one of her suitcases (a duffel bag filled with airport paperbacks and tagged with airline stickers).

And 50 unscratched lottery tickets supplied by Rutherford Chang could be seen as either a potential big win, or just colorful paper – a direct comment on the “gamble” of art collecting.

As so much of China’s contemporary art exists on an epic scale, the smallness and intimacy of “Pawnshop” are a delight. It’s easy to spend an hour crouched down next to the glass cases, examining all the objects on display, and contemplating which might make for a good purchase – as long as the artist doesn’t reclaim it first.

“Pawnshop” will be at The Shop September 16-November 16 2009; keep up with its transformations on Vitamin’s blog

The Shop (by Vitamin Creative Space)
+86108059004374
B1-1503, Building15, Jianwai SOHO, 39 East 3rd-Ring Rd,
Chaoyang District, Beijing, 100020, China
http://www.vitamincreativespace.com
http://www.e-flux.com/shows/view/7178

Taken from the window of a passing taxi a few weeks ago. Near impossible to believe, but somehow I had never passed it since moving to Beijing last summer (there was the requisite tourist visit years ago, of course). I kept expecting it to happen on some gloriously mundane day, and by the time it did, I had almost forgotten. But suddenly one evening, I looked up and was struck by a sight so familiar, so unreal, that I knew what it was before I knew.

It still seems stuck inside my mother’s little pink TV on the kitchen counter that summer. Like all things from the past, tiny and infinite at once.

Just in case you weren’t aware, it is not possible to enter Chaoyang Park at West Gate 1 and walk north to West Gate 3 within the park. Well, it is possible, but only if you are willing to scale chain-link fences and sneak through restricted horse stables and climb over the padlocked metal gates at either end of a decommissioned bridge…

Words of wisdom from the Carrefour check-out girl. With my abysmal Chinese, I was unable to ascertain whether she had written the slogan on her register herself, or it was someone else’s graffiti… pretty great regardless.

Oh well – still nice to support an actual music shop, and made an additional purchase of some Cui Zi’en (崔子恩) DVDs I haven’t seen around before. A few years ago at HKIFF, Thai director Pen-ek Ratanaruang described to me his first exposure to Cui’s films as something like this: “I put on the tape, and was watching it until I felt I had to turn it off, but then I couldn’t turn it off… it’s so bad that it’s fascinating, and then it becomes interesting.” Intense paraphrasing going on there, but it sticks in my mind as fairly apt. The weird, self-conscious crappiness in the aesthetic and tone of “Withered in the Blooming Season” is kind of amazing.

The Hedgehog and Ourself Beside Me albums are available for streaming and download below. (Legally! Though the concept of something that is both “digital” and “legal” in China is still confusing to me.) I’m still making my way through them…

Ourself Beside Me “Ourself Beside Me”
(Loving the Rundgren/Barrett-by-way-of-Lisa-Frank cover art; also I’m amazed that they actually did use ‘Ourself Beside Me’ as the official name on it – they had barely decided it while my THEME article on them was going to press)

Hedgehog “Blue Day Dreaming”
(I wish time machines existed just so that Hedgehog could travel back to 1993 to appear on 120 Minutes, and we could now watch it on grainy Youtube VHS capture…)