If you didn’t get enough qipao in the Shanghai exhibition (it is a broad survey, after all), I recommend you see what Softfilm was up to at the Hong Kong Museum of History. Nearly 300 examples of the classic dress are on view and not one that can be tried on–talk about heaven and hell.
Many thanks to Dave for the great photos!
We get a lot of crazy questions in the museum store, like “How much is that?” Ordinarily this is not an unusual question, given the nature of our endeavors, but in this instance patrons are pointing out Jian-Jun Zhang’s installation, Vestiges of a Process: Shanghai Garden.
Even those who don’t follow the art market know that major Chinese contemporary art is priced out of the the means of most apartment-dwelling San Franciscans, so the question “How much is it?” is a question not asked casually.
tilt-shifting courtesy of TC
If you’ve seen the Shanghai exhibition, Zhang’s work is the one comprised of bricks from dismantled shikumen, as well as life-sized silicon rubber scholar’s rocks and an unsettlingly flesh-hued vessel. For those of you who require a little more background, see this earlier post.
Happy news for those of us who like to buy art and afford lunch, as Zhang has proven in a multiple charting the disappearance of old Shanghai. His Vestiges of a Process: Shanghai Shikumen, consists of an enevelope of nine photographs of the rapidly disintegrating past and a wee paper boat to help you travel the waters of memory. Both the folded boat and envelope are fashioned out of a painted composite map of Shanghai showing the restlessness of the landscape. The best part? This artist’s work is $15.
(very not-to-scale)
There’s little chance that I’ll ever be able to buy anything that we exhibit in the museum–minus what’s in the museum store. I’ll take what I can get, until someone wants to gift me one of the great rubber scholars rocks.
I have just discovered the only reason to want an iPhone. This impetus, strangely enough, comes from the V&A Museum’s Tipu’s iTiger App.
If you’re not up on the history of colonial inequity, let me explain. The life-sized wooden and mechanical tiger mauling a European unsubtly summarized the Sultan of Mysore’s feelings for East India Company. For the Tipu, the imagery of the great beast was an essential psychological trope in defeating the infidel British. He utilized the tiger motif in many facets of his rule, from the uniforms and weaponry of his “tiger soldiers” to coinage and standards.
After Tipu was killed defending his capital in the fourth and final Anglo-Mysore War in 1799, the automaton was taken as a sort of trophy by the East India Company and displayed in their India Museum for the next fifty years. Visitors were allowed to “play” the mechanism, which produced the sounds of a man being ravaged by a beast. Now in the collection of the V&A Museum, visitors are no longer allowed to play organ grinder. Obviously their staff had grown tired of requests to turn the tiger’s crank, hence the clever introduction of the iTiger.
The catalyst for this story, you wonder? My most recent score at a thrift store.
It's not a tchotchke--it's history.
It’s amazing what one finds when cleaning out the closet–even when that closet happens to be a photo-hosting site.
Since I’m at nearly 7000 images and can’t seem to find anything when I look for it, it’s time to do some tagging. A bit tedious, but a reasonable way to spend a slow Sunday morning, especially given my selective memory. The best part about going back in time? Discoveries like this picture I’d taken of a friend’s photograph from a trip to Indonesia (so meta!).
Whereas traditional wayang kulit (shadow theatre) is based on the great Hindu epics, the Ramayana and Mahabarata, this is wayang wahyu, a form that allowed the Jesuits to spread their word through a means more familiar to their Indonesian audiences. The piece to the right at first looks as though it is the usual kayonan (tree of life) or gunungan (holy mountain) , but look closely and you’ll discover some non-native imagery.
This is definitely not something you’ll see in our upcoming Bali exhibition, but a fascinating aspect of acculturation. I know a few readers have traveled in Asia–what are your favorite moments of cultural disparity?
If I hadn’t committed myself to pressing matters of civic pride, I’d be at the Mechanics’ Institute on Wednesday to see William Dalrymple talk about his new book, Nine Lives.
Fascinated as we are with the way in which much of spiritual Asia has rocketed to the fore of economics and technology, the well-respected India hand seeks to explain the transformation with his usual elegance. The event starts at 6, find more information here
(If anyone goes, please fill me in)
photo courtesy of Bunky's Pickle © used with permission
Although 1940s Shanghai had lost considerable luster courtesy of occupation, war, and revolution, another Shanghai was angling to take its place. In the same fashion that Hollywood had been responsible for inspiring glamor the world over, nightclubs in search of their own golden era underwent a certain Shanghai-ification. The city offered a powerful syllogism, an invocation that promised delight and unparalleled decadence. Even pre-Castro Cuba with its tropical, imperialist-friendly allure was home to a theater christened “The Shanghai.”
And then there was Oakland.
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I got into Project Runway when I caught the mother of all colds last year. Cable television, in its infinite wisdom, was catching up late-to-the-gamers with an entire season’s worth of shows in a single day and me, being soft in the head, fell hard. While I don’t stay home to watch it nowadays, I still like to keep an eye on the action, especially given that SF-based Jay Nicholas Sario is in the running this season.
Why am I writing about this on our blog? Because Sario’s ten fashion week looks were based on last Summer’s Lords of the Samurai exhibition. Since this combines both work and pleasure, I’m calling for an emergency meeting at my house Thursday night. Who’s with me?
THIS is what is going on in Shanghai right now. And this. But my favorite has to be this. These days I’m just as likely to click on Shanghaiist as I am SFist. It isn’t enough that I have to keep up with what’s going on in San Francisco; I have to take our sister city arrangement very seriously.
While there’s plenty of excitement in all this potential energy, I’m actually more interested in what will remain after the Shanghai Expo. We seemed to make out alright, didn’t we?
PS good job Shanghaiist! We look forward to your reportage over the coming months.
I would sum up my fear about the future in one word: boring. And that’s my one fear: that everything has happened; nothing exciting or new or interesting is ever going to happen again… the future is just going to be a vast, conforming suburb of the soul.
–JG Ballard
The way I see it, there are two ways to go: either wear yourself out hitting every event, every screening, and every talk for the SFIAAFF (um, cloning option, please?), or, just deal and hope that the shorts program isn’t as good as it looks. I may be reasonably motivated as far as film goes, but give me one night to see something and chances are I’ll keep my fingers crossed for good distribution luck.
Perhaps for this reason I am grateful for longer-running exhibitions, not the least because I’m lazy, but because I’m a glutton for return visits–especially if they involve something that can be done during my lunch hour.
This afternoon I was watching the final touches being put on the Main Library‘s Korean Comics exhibition. U.C. Berkeley’s Dr. Sung Lim Kim curated the show in the Jewett Gallery, which runs through June 13. Trina Robbins–who will be at the Asian Art Museum for an exciting lecture this June–will be part of an esteemed panel on Manwha for girls on April 8th.
While you’re at the museum, take the elevator up to the third floor to visit the Chinese Center, a drool-worthy collection of books rivaled only by the excellent Shanghai embroideries on view there until May 31st.
It’s no mystery why I rarely leave the neighborhood.
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