8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
1/23
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
2/23
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
3/23
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
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
4/23
/
/
2030
196840
1969
196812
DVD
Mission
/
Clark Buckner
Mission 17
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
5/23
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.
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
6/23
1894
AB C
/
/
Misako Inaoka
David O. Johnson
......
Kathrine Worel The Big Lebowski
Valie Export Guy Overfelt
//
Jon Phillips LED
GDPGNP
/
X
JD. Beltran
/
/
20
Justin Hoover
staging
-//
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
7/23
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
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
8/23
( #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
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
9/23
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
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
10/23
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
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
11/23
() 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
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
12/23
? , 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
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
13/23
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
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
14/23
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)
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
15/23
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
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
16/23
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.
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
17/23
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.
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
18/23
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.
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
19/23
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.
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
20/23
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
21/23
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.
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
22/23
: 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.
8/14/2019 Cantocore Import/Export Guangzhou Pamphlet
23/23
Top Related