Cantocore Import/Export Guangzhou Pamphlet

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    Justin Hoover Jon Phillips

    Pierre Picard

    () () Jon Phillips

    ()

    The Cantocore Import / Export exhibition is curated by Deer Fang, Justin Hoover,Jon Phillips and Woo Jay. It is a collaboration between Ping Pong Space and

    the Cantocore project group. The exhibition and publication concept is by Pierre

    Picard (Ping Pong Space). Exhibition text edited by Nikita Choi and Woo Jay

    (Ping Pong Space), Jon Phillips, and Deer Fang (Cantocore). Show materials

    designed by Sem (Ping Pong Space).

    http://cantocore.com

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    /

    /

    2030

    196840

    1969

    196812

    DVD

    Mission

    /

    Clark Buckner

    Mission 17

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    CANTOCORE IMPORT / EXPORT Jon Phillips

    The Cantocore Import / Export exhibition examines, through applied art practice, the

    relationship between import and export of culture between Guangzhou and San Francisco

    by asking a simple phrase: Are you Cantocore? Guangzhou, also called Canton, is the

    third most populous city in China. Its province, Guangdong, is a major manufacturer of

    textiles and electronics for export to the United States. San Francisco has the largest

    import of Chinese immigrants of any US city, primarily from the Guangdong province.

    Chinese immigrants also created the largest Chinatown in North America in San Francisco.

    However, understanding the conceptual framework of Cantocore is not limited to geo-

    graphic divisions, nor reductive dichotomies driven by post-colonial stereotypes suchas East vs. West, nor Olympic nationalism pridefully paramount in China vs. US non-

    political sports matches. Cantocore is the reality of life versus the theory set forth by

    jurisdictions where people live.

    Originally, the San Francisco-based Chinese-American band Say Bok Gwai, roughly

    translated dead white demon in Cantonese, coined the term Cantocore to describe

    their own musical genre that juxtaposes hardcore metal and punk with Cantonese vocals in

    blasted 30 second sonic increments. This rapid re short attention span is at the core of

    contemporary Cantonese culture. It doesnt dwell it does. People dont wait for roads

    to nish, or for the latest movie showing overseas to come to the cinema; they buy it.

    Workers dont look for a bed when its time to take a nap, or complain about the hot

    weather. Guys just take their shirts off, families play badminton in the streets for

    fun, or a mom will t all three of her kids onto a bicycle to get somewhere its faster

    that way! Cantocore is living around the guidelines set in place by some one.

    With the projected trajectory of Chinas GDP approximating the United States in year

    2030, there is rapid increase of international interest in the political, social and economic

    condition of China. It is impossible to understand the real effects of this growth and the

    black swans it will generate simply through the guise of economic analysis. Rather, tradi-

    tional analytical techniques must be augmented with qualitative research to attempt to

    understand what is happening with Chinas growth. This is already happening with large

    contemporary art exhibitions internal to China such as the upcoming 3rd Guangzhou

    Triennial and Shanghai Biennials dissecting the impact of globalization, Chinese identity,

    the evolution of political structures, and how this dynamic culture is changing. Similarly,

    the rise of post-industrial zones used by Chinese artists such as Beijings Da Shan Zi (798)

    and Shanghais Moganshan Lu then being commercialized by international galleries and

    local businesses are indicators of the rise of contemporary art, particularly in Northern

    China. Cantocore is a call for participation for practitioners internationally to directly

    investigate, through art practice, what is happening in the South of China in a way that is

    not clustered nor so easily commercialized-to-death, but is uniquely Cantocore.

    San Francisco has developed in a parallel way in the United States like Guangzhou has

    in China. It is neither the heart of the art world like New York City, nor is it trendy

    with superat palm-tree powered artwork being pumped out as with Los Angeles. Like

    Guangzhou, San Francisco is situated as one of the commercial areas far from the seat

    of political power in the United States. This has helped it to be on the fringe of

    culture, legal precedent, and progressive commerce over the last 40 years since the

    revolutionary year of 1968. In San Francisco there were peace protests against the US

    militarys involvement in the Vietnam War which culturally prepared the city for the following

    Summer of Love. This pushed San Francisco even further to the most experimental edges

    of American Culture. During the same year in China, youth were still encouraged to be

    rebels until December of 1968 when Mao Zedong sent Chinese youth to be re-educated

    in the countryside in the Up to the mountains and down to the villages movement.

    Because of this upheaval, new waves of people from the south of China migrated to

    Western United States, taking culture and style with them. Cantocore is concerned withhow these different cultures have melted together.

    As a framework, Cantocore is the ow and change of imported and exported culture

    and materials globally from the Pearl River Delta region. With Guangzhous production

    emphasis and irregular enforcement of laws, the creative value of any one gesture is

    amplied or discarded in a Darwin-like way where styles are replicated and modied

    in blistering succession. Factories churn out various qualities of goods for both export

    and local sale allowing all income levels of people in the region to participate in global

    brands. Thus, people who live in Canton more easily adapt to new trends in technology

    and fashion. All forms of sales are available. From conventional brightly-lit malls with

    high-end pristine commodied temples to thousands of middle-grade shops surrounding

    the malls all the way down to street pirate DVD peddlers, if you want something you

    can get it.

    In San Francisco, if one wants the latest movies, or software, there are ample services,particularly online, to get whatever one wants. And, since San Francisco has such a large

    Chinatown and Mexican Mission district full of immigrant-owned shops, inexpensive

    Made-in-China goods are had alongside the international style that dominates the

    financial centers of the city.

    The artists in the Cantocore exhibition were tasked with creating projects which ex-

    plore import and export, materially and conceptually. Practically, how can ones artwork

    be actualized either through fabrication locally in Guangzhou or imported from San

    Francisco? Guidelines for the creation of the work were left alone since modern strate-

    gies for creating artwork such as remaking, remixing, interpreting, pirating, translating,

    copying, and appropriating content, already espouse the Cantocore style. After the

    proposals were received from invited artists, curation of works took place based upon

    the processes, scope, location of artists and available resources to constitute this rst

    dialogue.

    The Cantocore Guangzhou exhibition is divided into two parts: Import and Export.

    These two halves of the show highlight that import and export of culture, like material

    trade, is in a constant state of consumption and recirculation. This is the rst major

    exhibition of the Cantocore project and is opened up to critique and analysis during

    the show in order to inform the next version of this project planned for export to San

    Francisco in winter 2008.

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    1894

    AB C

    /

    /

    Misako Inaoka

    David O. Johnson

    ......

    Kathrine Worel The Big Lebowski

    Valie Export Guy Overfelt

    //

    Jon Phillips LED

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    X

    JD. Beltran

    /

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    20

    Justin Hoover

    staging

    -//

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    from India, uses her hand gestures to realize a conceptual conspiracy with the style of

    Valie Exports videos.

    Guy Overfelt fabricates some huge inatable smoke clouds which were virtually created

    from the burnout by his American muscle car. The sculpture, like a real body, is huge.The spectacle confuses people about its real weight. Is it light or heavy? Is it a spectacle or

    junk? These juxtaposed binary concepts make people realize the paradox of our

    consumer culture.

    The overow of Neo-liberal economies is one of the most important representations

    from the pursuit of productive prot changing into investment prot. From GDP to GNP

    to stock markets, we exist by ubiquitous abstract exponents. Jon Phillips LED sig nboard

    is full of these charts and strange abstract numbers that reflect how the array of

    nothingness invades our real life. Also, Lin Fangsuo and Zhou Tao, two Canton-based

    video artists, open the door of social criticism and activate the terminal consumer

    nightmare. In Lin Fangsuos Exploitation, the background music by Offenbach boils

    while tomatoes, pomegranates and pimientos are squeezed with a piece of glass pressed

    by ones ass or foot. The indignation for the bottom oppress bottom speaks for itself.

    Zhou Taos video work, One day, adopts a kind of translational motion by tactfully

    moving daily actions into a shopping mall. A shocking consumerism comes forth byreducing dramatic efforts greatly. And, JD Beltrans airplanes take off in image, but upon

    closer inspection are read as another clear remark on todays spectacle society.

    As a non-homogenous exhibion, we are not willing to show the audience an alternative

    illustrated manual about import/export with real things. Rather, the participating

    artists open up a discussion about the relationship of communities in different ways.

    Deer Fangs video installation reenacts three small news events which took place in

    public space. This six-channel video installation requires the audience to monitor three

    trivial daily events through staged reenactments. In another work, Huangpu Village, a

    collaborative project formed by Wang Ge, Deer Fang and more than 20 students from

    Sun Yat-sen University and Guangzhou Fine Arts Academy, the real Huang Pu Villages

    changing history is examined. The village used to be an import/export harbor a long

    time ago and now is just a simple community. Also, Justin Hoovers two channel video

    installation, is created from the live acting of 10 performances during the show opening.

    This staged scene reproduces the spirit of Bay Area experimental art in history and isrenewed as experimental art in Guangzhou.

    Cantocore Import/Export reconnects the two related regions, Guangzhou and San

    Francisco. This show sets aside the reporting forms, hassle from customs and the

    reviews by trade bureaus by using video, performance, shipping crates and cheap toys

    to reconsider the bountiful results from the business of trading.

    Reconsidering Daily ExperienceWoo Jay

    Globalization and pluralism as concepts are quickly becoming clichs. The Chinese

    contemporary art trend has developed so rapidly that it has almost caught up with its

    international counterparts much like the huge trade surplus in Sino-US trade. Why do

    we then still invite seven San Francisco-based artists to come to Canton and make a

    deficit trade through exchange? Since 1849, when the first batch of Mai Ju Chai(Contracted Labors) from Taishan, Siyi and Zhongshan landed in San Francisco, did any

    city in the world mean so much to Canton. At the same time, Bruce Lee and Chinatown,

    two of the biggest symbols of San Francisco Chinese ethnicity, had become the condensed

    imagination for Americans to conceptualize how a modern China might look.

    When my distant relatives from Zhongshan and Siyi talked about their cousins in San

    Francisco, it sounded just like neighborhood gossip. But, the Golden Bridge still seemed

    so unfamiliar and distant. Until I met and drank with a young ABC (American Born Chinese)

    at Xin Tiandi in Shanghai and listened to him use more standard Cantonese and English

    with a heavier cantonese accent than myself, did I catch a slight humid breath from San

    Francisco.

    Guangzhou and San Francisco are cities both well known for their openness and mixed

    styles. They are so far away, yet so close. They mirror each other as reected by their

    similar features. Cantocore Import/Export reconsiders the relationship between thesetwo regions with a seemingly clear-cut denition. The project tries to discover multi-

    dimensional meanings including political, cultural and social signicance from a two-

    dimensional economic pattern. Eleven artists and one project team show us their con-

    cepts from the source of their intuition and perception to create a legerity, portability

    and lightness. The projects are separated out from daily life, but beyond life experi-

    ences. They push us to reexamine our daily patterns and objects. How and to what

    degree are they generated, circulated and consumed in our economic and social systems

    in unknown ways?

    Cantocore artist Misako Inaoka, remakes toys from China. Perhaps this behavior for her

    is only a pure personal experience as she said she observe[s] the physical and social

    environment in detail, to nd hidden beauty and peculiarity. But for the rest of us,

    it seems to open up an alternative fate for Chinese toys past the more recent trade

    war this year with the United States. David Johnsons California-shaped crate opened

    pandoras box about the true fate of commodities. The crate was opened before it ar-rived, but why are we still haunted by the muted light emanating from the crate? Huang

    Xiaopengs banner acts like his past huge propaganda posters. After the solemn multiple

    translations of printed words in his posters text, a pataphysics emerges. Inside Kathrine

    Worels photo and video installation, we nd gures who seems like characters from the

    movie The Big Lebowski. Kathrine leads us from a negative to a mutative level of the

    multicolored American dream. She presents to us how the Buddist deity Tara, imported

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    ( #11) LED2008 #11

    Stephen Dubner Steven Levitt

    LE D

    (Jon Phillips) 14

    2002

    Inkscape Open Clip Art Library

    Overlap.org Creative Commons

    CCCCMetrics

    CC+ Fabricatorz

    Special Economic Zone (Artonomics #11) LED screen installation, 2008Special Economic Zone, also known as Artonomics #11, investigates the rapidly changing

    Chinese economic condition by providing realtime calculations from live data about

    Chinese markets. This more cliched trendiness towards consumable economics, popu-

    larized by Stephen Dubner and Steven Levitts book, Freakonomics, is applied to stan-

    dard LED screen signage found in many hospitals and government buildings in China. The

    display is futuristic, raw, and a reminder of the huge scale differences China has with the

    rest of the world.

    BioJon Phillips is an artist, developer and entrepreneur with 14+ years of experience building

    communities and growing successful media projects. His work and research on Open

    Source communities is presented internationally. He helped launch Inkscape, an open

    source drawing tool in 2002, leads the Open Clip Art Library, and directs the experimen-tal media-arts community Overlap.org. For the last three years with Creative Commons

    (CC) he built the companies business development strategies, worked with hundreds of

    businesses, and managed the globally successful ccSalons, the Case Studies, Metrics,

    and CC+ projects. He lives between San Francisco and China and is building up the

    Fabricatorz production company.

    http://www.rejon.org

    Jon Phillips

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    Misako Inaoka

    , 2008 Misako Inaoka

    Inaoka

    Chimerismtoys installation, 2008

    This work rethinks the meaning of Made in America, China or any one place. Misako

    Inaoka creates hybrid creatures from Made in China products. Live during the opening,

    Inaoka will develop a new series of creations with available materials on-site. Inaoka is

    particularly interested in the reaction and recognizability of the object before and

    after the the transportation of objects to the space as well as the origin of creature/

    object. Chimerism also is open to community participation with the artist working

    with participants to extend this installation.

    BioMisako Inaoko says about her work that: [Her] interests arise from the boundary

    between what we call natural and articial. I observe the physical and social environment

    in detail, to nd hidden beauty and peculiarity-things such as a cell phone antenna in

    the shape of a pine tree, birds that are not native to the area, or moss growing in a crack

    of cement sidewalk. I emphasize these subtle details and exaggerate their illogicality

    to cultivate my own version of invented creatures. To arouse notions of existence andcoexistence, I construct environments that are rooted in the reality of vanishing species

    and mutating nature. My minuscule sculptures and site-specic installations force viewers to

    focus on small details and to take a harder look at their surroundings. My world is not a

    creation of total imagination, but is a hybrid of the articial and the actual.

    http://www.misakoinaoka.com

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    100 2008100 The Garage 100

    Justin Hoover

    Hoover

    Justin Hoover

    100 Performances performance and installation, 2008January 26th 2008, Justin Hoover, with artists from San Francisco, orchestrated 100

    site-specific performance artworks for a mechanics pit in the floor of the Garage;

    an alternative space. For Cantocore, Justin Hoover proposed to recreate these

    performances by hiring actors and actresses in Guangzhou.

    BioJustin Hoover is a San Francisco Bay Area artist, curator, and writer. His artistic practice

    examines time using video, performance, and photography to examine time in its re-

    sidual forms. The roots of his curatorial practice stems from a history of coordinating

    happenings, spectacles and ar t events in alternative contexts.

    http://www.justinhoover.com

    Justin Hoover

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    () 2008Guy Overfelt Overfelt

    Paul McCarthy

    Guy Overfelt

    1977Smokey Bandit Trans AM. Overflet

    Untitled (up in smoke) inatable nylon installation, 2008Guy Overfelt furthers his obsession with American muscle cars. This time the inatable

    Smoke is fabricated in Guangzhou, factory direct. Beyond Paul McCarthy-like reductive

    shapes coming off the assembly line or the Chinese Olympic team leaving the others

    in the dust, the simple shape raises questions about what these factories are pumping

    out in Guangzhou.

    BioGuy Overfelt is a San Francisco an artist whose work has been exhibited internationally.

    With humor and a mystic hammering, Overfelt furthers the conceptual art movement by

    mediating the inuence of contemporaneous sociopolitical, cultural and economic condi-

    tions embodied by his 1977 Smokey and the Bandit Trans-AM muscle car. Overfelt

    plays with laughable notions of American-ness. Through a convergence of artisticpractices, Overfelt re-imagines by-products of desire. He modies his iconic Hollywood

    styled, Detroit-powered ideas to create mono-prints, peel-out paintings and a life-

    sized inflatable Trans-AM. His high performance actions shift cultural objects from

    the familiar to a more obscure metaphoric output.

    http://www.thinkcontext.com

    Guy Overfelt

    1998 -2008PVC

    Below: Untitled (life sized inflatable Trans AM),1998 - 2008, inated pvc nylon, paint, electronics

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    ? , 2008

    What does Globalization means to you ? banner installation, 2008

    BioHuang Xiaopeng is a video/installation artist. Currently lives and works in

    Guangzhou.

    Huang Xiaopeng

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    Deer Fang

    (6) 2008

    ......

    News Reenactment Video Installation (6 channels) , 2008This video is based on social news in China. The videos are recordings of small happenings in

    public environments such as where a girl slaps her kneeling boyfriend, a driver attacks a

    security guard on the street and a group of men wearing motorbike helmets burn re-

    works in a village. Through various daily social irregularities implied in these indirectly

    related videos, the project attempts to construct micro-narratives composing Chinese

    contemporary society.

    Bio

    Deer Fang is a video artist working in San Francisco and Guangzhou. Her earlier projects

    investigate the condition of video in art making and dynamics within the production

    process through participation, improvisation, real-time and socialization. Her current

    work uses common formats from popular culture such as news, reality TV shows, music

    videos, and online media to understand cultural and political meanings in everyday life.

    http://www.deerfang.org

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    David O. Johnson

    2008David Johnson

    ,

    David Johnson

    Johnson

    Johnson 2004

    2001 Hastings

    ArtweekVisualcodecThe Examiner Flavorpill

    Made in China Installation, 2008David Johnsons piece, while shaped like the state of California, is actually Made in

    China This project points to the hilarity of slogans stating the location of authenticity

    of goods through global brands like Wal-Mart, Ikea, and Carrefour. Many want the surrogate

    American dream through Californication globally, but often do not realize the articiality

    of California with its imported water, palm trees, goods, and people. Since the project

    building plans have been imported for fabrication in Guangzhou, the metaphoric

    continuation of the project (and state) is dependent upon each person placing their

    own Californian dreams into this crate for export.

    Bio

    David Johnson is a San Francisco-based sculptor who uses construction materials to create

    objects that defy their own nature. By utilizing neon and concrete, Johnson forms a synergy

    between both materials. The delicacy of neon and gritty concrete become seamlessly in-

    tertwined in many of his projects. Johnson received an MFA from San Francisco Art Ins titu te

    in 2004 and a BA from Hastings College in 2001. His works are shown internationally

    most recently in San Francisco and Paris.

    http://www.davidojohnson.com

    2003

    Unidentied Object2003, Installation (neon, Cardboard box, Styrofoam peanuts)

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    2008 (1-7)2008Katherine

    Worel

    Worel Prada

    Worel

    Worel

    Domestic Bliss single channel video, 2008

    Untitled photo series (numbers 1 7), 2008Besides exploring the melding of art, advertising and appropriation of the surface trap-

    pings of exotic cultures and religions, both of Katherine Worels pieces, Domestic

    Bliss and the Untitled photo series, celebrate unexpected manifestations of the di-

    vine in everyday life. While creating the Domestic Bliss video, Worel created photos

    inspired by the discovery of Prada yoga mats and a quote from 9th centaury Buddhist

    monk Lin Chi stating, You meet the Buddha on the road, k ill him. The Domestic Bliss

    video shows sewing , the archaic domestic ritual, that like knitting, has become fashion-

    able among women with spare time and income. However, what is a leisurely activity

    for some, is a daily necessity for others. The performative gesture of sewing oneself

    together, besides referencing historical body art performances, speaks to repairing, x-

    ing and making a permanent connection. It represents xing a state of bliss by taking a

    humble, homey approach to achieving a transcendental state.

    Bio

    Kathrine Worel is a cross media artist whose most recent work explores the idea ofsurface Worels practice as an artist and curator is deeply inuenced by her desire to

    discover and create connectionspersonal, visual and metaphorical. Kathrine currently

    lives and works in Oakland, California where she and her husband split their time be-

    tween studio and a sustainable urban farmette which they fondly call Ghettopia.

    http://www.gopretty.com/kathrine

    Kathrine Worel

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    Zhou Tao

    122007

    2006

    One Day single channel video, 12 , 2007Based on my daily activit at home, I lived in a mall for one day and used different

    commodities from the mall. I actively used these commodities before taking them tomy private space.

    BioZhou Tao born in Chang Sha China and now lives in Guangzhou. He graduated from

    Guangzhou Academy of Fine Arts with an MFA degree in 2006. He works with video and

    mixed media.

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    JD. Beltran

    200816

    4018

    Beltran

    JD Beltran

    Downtown Mirror Video Installation, 2008Downtown Mirror [Airplanes] is a stylized 16 mm lm of the ubiquitious airplanes that

    inhabit the downtown San Jose California area. It has been screened as a 40 foot long

    by 18 foot high projection on the side of a building. Although the projection is largely

    silent, in this instance, Beltran uses innovative audio spotlight technology for sound

    viewers in certain spots can hear the roar of the airplanes ying by.

    BioJD Beltran is a West Coast based artist and lmmaker whose work pushes the language

    of po rtraiture. From traditional representational painting to costumed dolls to video

    installations reecting hidden secrets, her works explore persona using various media.

    Using the concept of the portrait as a starting point, she synthesizes new and old imag-

    ery and media to arrive at a combination of tradition and innovation.

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    Lin Fangsuo

    2122007 () ()

    Exploitation video Installation 212 , 2007

    The work Exploitation uses pressure of a hard (exterior) force against a soft (fruit)

    force to express the by-products of fragile individuals under the dual ideological

    machines of authority and consumption. The products under such machines are

    sarcasm, anger and cynicism.

    BioLin Fangsuo is a conceptual artist. He select a medium based upon his concept. He is

    interested in the social problems of the current Chinese transitional period. He consid-

    ers video art as a weapon to intervene in the society. Recently he used video, instal-

    lation, image and mixed media to investigate social problems arising in the Chinese

    commercial ux.

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    1600

    (1757)

    22

    ,

    Huang Pu Village Project

    The Huang Pu Village Project uses series of videos to portray the Huang Pu Villages geo-

    graphical, cultural and historical characters. It further investigate the villages present

    condition and possible futures. These videos engage the local Huang Pu Village commu-

    nity with villagers living environments and traditional and cultural activities. It activate

    grass-root participation in the issues of urbanization. Meanwhile this project also at-

    tempts to arouse re-examination from urban residents the disappearing traditional local

    culture from rapid urban expansion.

    The Huang Pu Village is a 1600 year old ancient village that has played an important role

    in the history of overseas trading in China. Since the establishment of Yue (short for

    Guangdong) Customs in Qing dynasty, the Huang Pu village became a registration spot

    and products terminal. In Qianlong 22 years (1757), Yue Custom was the only foreign

    trading customs for China, which has led Huang Pu village into years of prosperity. The

    village witnessed much Chinese foreign trading history. With the changing of political

    structure after the Opium War and the changing of geographic environment caused by

    siltation of sand, Yue Custom was moved out of the Huang Pu Village. After this Huang

    Pu harbors economy drastically slid from a trading economy to an agriculture, natural

    economy. This former prosperous village declined to being an ordinary village.

    Today, with the building of the Guangzhou Convention Center, Pa Zhou district, where

    the Huang Pu Village is located, is on the axis of the the central business district for the

    new Guangzhou downtown. It is planned to be developed into an information harbor

    for Guangzhou in the near future. Huang Pu villages special geographic location and

    historical value aroused many debates for its future in Guangzhou urban development.

    The case of local villages struggling in Guangzhou city expansion is not rare as happened

    with Yang Ji Village, Xian Village, Lie De Village and Shi Pai Village. Some media describes

    these urban villages as the tumors of a city, and exaggerating their dark sides but ne-

    glect how they provide shelters for city migrants workers and low income families. This

    exaggeration also neglects the history and local cultures these villages carry.

    For our project group, the Huang Pu village provides a model of learning and thinking

    about urbanization. We use video to record this rapidly changing local history and use

    video screenings and exhibitions to receive larger feedback from villagers and urban

    citizens on this social issue.

    The Huang Pu Village Project is a research group led by Wang Ge and Deer Fang. Primary

    members include: Li Yuxin, Luo Junhui, Fu Chuanwei, Wei Yanfang, Su Hui, He Huansheng,

    Chen Zhanpeng, Zhang Boyang, Pan Yizhou, Wenzhuo, Lin Zhujun, Zeng Yunshi, ZhengYufei, Sang Ni, Li Jinrong, Deng Jianhui, Lu Shengxi and Ran Xiaoran.

    Wang Ge received a BFA degree from Guangzhou Academy of Fine Arts and is an MFA

    candidate in the Architecture and Environment Design Department. He is the main

    designer of Wu Xiang Design Studio in Guangzhou Academy of Fine Arts where his

    practice involves space-related design and artistic activities.

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    The M17 Clark Buckner

    MISSION 17

    MISSION 17

    Clark Buckner

    MISSION 17

    Mission 17 Clark Buckner

    11

    Clark Buckner MISSION 17

    Mills College

    Art ReviewBomb Maga-

    zine Art Journal The Journal of Aesthetics and Art Criticism 2005

    Vanderbilt

    Screening Program

    Stardusted, 4 44

    Dave Sanchez

    Freedom, 13 21

    Matthew Boyko

    Groundbreaking, 6 00

    Michael Zheng

    745 Seventh Ave, 11 00

    Ch Vuoi

    The Wizard of Os, 13 57

    Ryan Alexiev

    Straight Outta HK, 4 00

    Deer Fang

    Problemlessness, 21 00

    David Sanchez

    Book, 14 5

    Michael Trigilio

    Spectre A., 614

    Paul Kyle

    Center of Europe, 046

    Michael Zheng

    Somethign to Remind Me, 12 00

    Scott Kildall

    Stardusted, Video Screening Night

    The M17 Video Archive is a curated collection of contemporary, single-channel video art,

    maintained by Clark Buckner and housed at MISSION 17 in San Francisco. The archive provides

    an on-going platform for artists and other video producers to exhibit their work, and a way

    for Bay Area audiences to access videos from throughout the world. Visitors to the gallery are

    invited to watch videos from the collection on-demand. MISSION 17 maintains a program of

    works drawn from the archive, which are presented in conjunction with the gallerys regular

    exhibitions. Buckner draws from the archive to curate screenings at other outlets. MISSION 17is a San Francisco based, none prot center for visual culture, which exhibits and supports the

    work of emerging and mid-career artists, with its particular emphasis is on experimental art

    forms and the opportunities they present for social and psychological reection.

    Curated by director of Mission 17 Clark Buckner, Stardusted is a video screening event taking

    place during the second part of the Cantocore exhibition. The event features experimental

    video art work from 11 California based artists, followed by audience discussion.

    Event Curator Bio

    Clark Buckner works as Director and Curator at MISSION 17, a not-for-prot center for

    visual culture in San Francisco. He teaches both graduate and undergraduate courses on

    video, contemporary art, and critical theory at The San Francisco Art Institute. Previ-

    ously, he taught as a Visiting Assistant Professor in the Philosophy Department at Mills

    College. He has published articles on contemporary art and critical theory in both pop-ular and academic journals, including in Art Review (UK), Bomb Magazine, Art Journal,

    and The Journal of Aesthetics and Art Criticism. In 2005, he co-edited a volume of es-

    says on problems in Continental Philosophy titled Styles of Piety: Practicing Philosophy

    After the Death of God (Fordham U.P.). He holds a PhD in Philosophy from Vanderbilt

    University.

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    : 60

    : 020-28296300

    www.pingpongspace.com

    : 60

    Ping Pong Space

    Add: #60 Xian Lie Dong Heng Lu, Guangzhou

    Tel: 020-28296300

    www.pingpongspace.com

    Supported by: Starhouse 60

    AnnaWill Hoover

    JD BeltranJustin HooverDavid

    JohnsonGuy Overfelt Jon PhillipsKathrine Worel

    Mission 17 Clark BucknerDave Sanchez

    Michael TrigilioMichael ZhengMatthew BoykoDavid SanchezPaul

    KyleScott KildallMichael ZhengCh Vuoiand Ryan Alexiev

    The Cantocore Project would like to rst and foremost thank, the entire Ping Pong

    Space crew including Wu Jie, Pierre Picard, Nikita Choi, Qiu Qiu, Sem and staff.

    Without their daily devotion to this project, it would not be possible. Massive thanksto Anna and Will Hoover for their support of this project and hosting the Cantocore

    Home Concert Preview which enabled the printing of this booklet.

    Extra special thanks to all participating artists: JD Beltran, Deer Fang, Justin Hoover,

    Huang Xiaopeng, Misako Inaoka, David Johnson, Lin Fang Suo, Guy Overfelt, Jon Phillips,

    Wang Ge, Kathrine Worel and Zhou Tao. And thanks to Clark Buckner from Mission

    17 and all video artists he selected for the Stardusted video screening: Dave Sanchez,

    Deer Fang, Michael Trigilio, Michael Zheng, Matthew Boyko, David Sanchez, Paul Kyle,

    Scott Kildall, Ch Vuoi, and Ryan Alexiev.

    Special thanks as well to all those who supported this project by contributing to

    the project or attending the Cantocore Home Concert Preview including Elizabeth

    and Roy Eisenhardt, William Ming-Sing Lee, Hanna Regev, Bing and Terry Shen, Bob

    Kozma and Shari Malone, Jennifer Kincaid, Heather Sparks, Kathryn E. Beyrer, Paul Kos

    and Isabelle Sorel, Berin Golonu, Jim Melchert, Michelle Morby, Ellen Zweig, CherylMeeker, JD Beltran and Scott Minneman, Dulce Santos, Dorothy Santos, Dan and Mia

    Bloomquist, Dong Ling, Terri Cohn, Charis Briley, and Roland Kniese.

    Furthermore, thank you to all the artists who supported this project in their efforts

    including Tom Borden, Patrick Wilson, Luther Thie, Christopher Willits, Ma Jie and

    Krishna Khalsa.

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