Guy Overfelt's "Untitled (Up in Smoke)"

Our sister project, Fabricatorz, is launching Cantocore Import/Export in Guangzhou on September 5th. Here is a re-sample of the press release:

GUANGZHOU, CHINA & SAN FRANCISCO, USA – August 20, 2008

Today the Cantocore Project and Ping Pong Space announced the upcoming contemporary art show, Cantocore: Import/Export in Guangzhou, China during September 2008. This initial show features contemporary artists from San Francisco and Guangzhou producing artwork around the more detailed relationship between import and export of culture and materials between Guangzhou, China and San Francisco. This first part of the Cantocore exhibition, Import, begins with an opening on Friday, September 5 from 8 PM at the brand new Ping Pong Space in Guangzhou, China. The show continues until Tuesday, September 16 with gallery hours of 2:00 PM until 10:00 PM daily. The second part of the show, Export, opens Sunday, September 21 at 8 PM until 10 PM when a special video screening developed by San Francisco’s Mission 17 titled “Stardusted” will be presented at the Ping Pong Bar from 10 PM until 11PM. The second half, Export, continues daily until Saturday, October 4 with daily hours from 2:00 PM to 10:00 PM.

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 and 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 geographic divisions, nor reductive dichotomies driven by post-colonial stereotypes such as 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.

The artists in the Cantocore exhibition were tasked with creating projects which explore import and export, materially and conceptually. Practically, how can one’s 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 strategies 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 first Cantocore dialogue.

Curation for this show has been a group effort by Deer Fang, Justin Hoover, and Jon Phillips from the Cantocore Project and Wu Jay from Ping Pong Space (PPS). Layout and Design for the show is done by Pierre Picard (PPS) while wordsmithing has been handled by Nikita Choi (PPS), Jon Phillips and Deer Fang.

Exhibition Venue

#60 Xian Lie Dong Heng Lu Ping Pong Space, Guangzhou

Cantocore Import
September 6th – 26th, 2008
Opening: Friday, September 5th, 8PM – 10 PM.
Drinks after at Ping Pong Bar.

Cantocore Export
September 22nd – October 2nd, 2008
Opening: Sunday, September 21st, 8PM – 10PM

Video Screening “Stardusted” at Ping Pong Bar

September 21st 2008, 10PM – 11PM

Regular Gallery Hours
Tuesday – Sunday 2 PM – 10 PM
Gallery Closed on Monday

Ping Pong Bar Open Everyday

硬核广州
2008年8月20日于广州和旧金山发布

今天硬核广州项目和乒乓空间宣布当代艺术展 “硬核广州：进口/出口” 将在2008年9月到10月在广州乒乓空间展出。这个展览主要展出来自旧金山和广州两地当代艺术家的作品，这些作品将围绕进出口的文化和物质关系而创作。 整个展览分为两部份：2008年9月5日－9月26日为“进口”部分，开幕式为9月5日晚上8点；2008年9月21日－10月2日为“出口”部分，开幕式为9月21日晚上8点；晚上10点到11点，还将在乒乓酒吧举行由旧金山MISSION17策划的《星尘》录像作品的放映活动。

“硬核广州 进口/出口”展览通过艺术实践检验联系着广州和旧金山的进出口文化， 并提出这样的问题：你是硬核广州人吗？ 广州是中国第三大人口城市，其省会广东省是主要出口美国纺织品和电子产品的生产地。同时旧金山是主要“进口”中国移民的美国城市。这些移民也主要来自广东地区。中国移民在旧金山建立了北美最大的唐人街。然而，理解“硬核广州”的概念框架不能仅仅局限于地理上的分界，也不应做简单后殖民的分裂模式：东方和西方，或国家主义至上的奥林匹克中的中国对美国，即所谓“非政治化的比赛”。“硬核广州”是生活的现实与人们生活管辖区内理论的对抗。

“硬核广州”展览中的艺术家创作的作品从观念上和物质上探讨进/出口文化。如何通过广州本地制作，或从旧金山进口来实现艺术计划。当代艺术策略中的重做，重混，演绎，翻版，翻译，复制和挪用也充分体验了“硬核广州”的风格。在收到邀请艺术家的计划书后，我们根据作品的实施过程、规模和资源来构成第一次的“硬核广州”对话。

此展览是方鹿，Justin Hoover, Jon Phillips和乒乓空间吴捷的集体协作的成果。展览和出版由Pierre Picard （乒乓空间）设计，文字由蔡影茜（乒乓空间），Jon Phillips和方鹿负责。

展出地点：广州市天河区先烈东横路60号乒乓空间

“硬核广州－进口”
展期： 2008年9月6日－9月26日
开幕：2008年9月5日 （星期五）晚上8点到10点

“硬核广州－出口”
展期：2008年9月22日－ 10月2日

开幕： 2008年9月21日（星期天） 晚上8点到10点

《星尘》展映及交流
2008年9月21日（星期天） 晚上10点到11点
地点：乒乓酒吧

乒乓空间开放时间：星期二到星期天，下午2点到晚上10点
乒乓空间逢周一休息，乒乓酒吧全年无休

List of Artists in Cantocore Import
“硬核广州- 进口”艺术家名单

Deer Fang 方鹿
Justin Hoover
Huang Xiaopeng 黄小鹏
Misako Inaoka
Guy Overfelt
Jon Phillips

List of Artists in Cantocore Export
“硬核广州- 出口”艺术家名单

JD. Beltran

Lin Fang Suo 林芳所
Huang Pu Village Video Group 黄埔村项目小组
Kathrine Worel
Zhou Tao 周滔
David Johnson

Links 链结

Cantocore Exhibition and Research Site
硬核广州展览和研究网站
http://cantocore.com

Ping Pong Space
乒乓空间
Ping Pong Space at www.facebook.com

About Cantocore

Garage Biennale and the Fabricatorz bring you Cantocore, a research project investigating contemporary art and culture between Canton (Guangzhou) and cities around the world. The initial project is a contemporary art exhibition with two different versions of the same show initially in Guangzhou, China and then in San Francisco, USA.

关于硬核广州

一个探讨广州和世界其它城市在当代艺术和文化联系的研究项目，由Garage双年展和制作者工作组共同发起。第一个项目是分别在广州和旧金山举行的同一主题不同版本的两个展览。

http://cantocore.com
http://garagebiennale.com

http://fabricatorz.com

About Ping Pong Space

What is Ping Pong? 乒乓是什么？

一个面向公众，致力艺术与创意文化推广和中西交流的综合艺术空间，充当城市文化的核心推动力和交流平台，探索全球化和本土城市文化蓬勃发展的背景之下，创作者和城市文化消费者、文化艺术活动和观众的全新关系。

A public oriented multifunction space, which aims at promoting art and creative culture while strengthen cultural exchange. It functions as a communication and dynamic platform for urban culture movement, and will explore a new relationship between creators and consumers, artistic events and audiences in the context of globalization and rapid local culture development.

Ping Pong Strategy 乒乓的策略

乒乓的策略是通过从物质到观念的各种创造性形式，以开放性态度容纳并探讨艺术与创意文化的多样类别。（这些跨领域的活动在媒介上体现为：影像、装置、架上、表演艺术、设计、雕塑和出版）。

From material to conception all these creative forms, we accept a wide range categories in art and creative culture with openness. (These events encompass the full spectrum of contemporary media: video and image, installation, contemporary paintings, stage and performance, sculpture and publishing.)

Press Contacts

Guangzhou
Nikita Choi
Ping Pong Space
+86 20 2829 6300
nikitachoi@126.com

San Francisco
Justin Hoover
+1 (415) 425-1647
info@cantocore.com

Press Kit

http://cantocore.com/press

###

Cantocore Guangzhou Press as PDF file

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I’ve blogged about Cantocore launching on rejon.org, mediaexperiment.org and of course, cantocore.com. Please help us by spreading the news about the project to all your friends!

Last week we did a press barrage for the upcoming Cantocore show in Guangzhou, China! I know a lot of you are spread all throughout the globe, but nonetheless, I hope that anyone in the region can make it for the big September 5th Opening! It will be fantastic.

I wrote the exhibition text, have been coordinating fabrication, and somewhere in the midst trying to finish my project for the exhibition. We are up late right now finishing some projects and the publication is coming along nicely for the last minute print deadline for tomorrow Here is a sampling of the press text which you can read in full at cantocore.com:

Today the Cantocore Project and Ping Pong Space announced the upcoming contemporary art show, Cantocore: Import/Export in Guangzhou, China during September 2008. This initial show features contemporary artists from San Francisco and Guangzhou producing artwork around the more detailed relationship between import and export of culture and materials between Guangzhou, China and San Francisco. This first part of the Cantocore exhibition, Import, begins with an opening on Friday, September 5 from 8 PM at the brand new Ping Pong Space in Guangzhou, China. The show continues until Tuesday, September 16 with gallery hours of 2:00 PM until 10:00 PM daily. The second part of the show, Export, opens Sunday, September 21 at 8 PM until 10 PM when a special video screening developed by San Francisco’s Mission 17 titled “Stardusted” will be presented at the Ping Pong Bar from 10 PM until 11PM. The second half, Export, continues daily until Saturday, October 4 with daily hours from 2:00 PM to 10:00 PM.

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 and 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 geographic divisions, nor reductive dichotomies driven by post-colonial stereotypes such as 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.

The artists in the Cantocore exhibition were tasked with creating projects which explore import and export, materially and conceptually. Practically, how can one’s 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 strategies 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 first Cantocore dialogue.

Curation for this show has been a group effort by Deer Fang, Justin Hoover, and Jon Phillips from the Cantocore Project and Wu Jay from Ping Pong Space (PPS). Layout and Design for the show is done by Pierre Picard (PPS) while wordsmithing has been handled by Nikita Choi (PPS), Jon Phillips and Deer Fang.

Exhibition Venue

#60 Xian Lie Dong Heng Lu Ping Pong Space, Guangzhou

Cantocore Import
September 6th – 26th, 2008
Opening: Friday, September 5th, 8PM – 10 PM.
Drinks after at Ping Pong Bar.

Cantocore Export
September 22nd – October 2nd, 2008
Opening: Sunday, September 21st, 8PM – 10PM

Video Screening “Stardusted” at Ping Pong Bar

September 21st 2008, 10PM – 11PM

Regular Gallery Hours
Tuesday – Sunday 2 PM – 10 PM
Gallery Closed on Monday

Ping Pong Bar Open Everyday

Also, we just updated some images of works for the show. Here is a sampling of the full post over at Cantocore.com.

For all you needing images out there, we have just up pushed out images for David Johnson who will be exhibiting a work titled “Made in China” and Guy Overfelt who is getting some magic smoke fabricated.

Guy Overfelt's Untitled (Up in Smoke) Sketch

Please check out the press section to help blog and promote this show!

大众文化是以工业社会的发展为背景，经技术革命特别是传播技术革命而出现的一种文化。 大众文化不同于高级文化，因为高级文化具有明显的阶层性；它也不同于乡土文化和群众文化，因为后者具有明显的自发性。大众文化的特点是：①商品性：即它伴随着文化产品大量生产和大量销售，大众文化活动属于一种伴随商品买卖关系的消费行为；②通俗性，即大众文化不是特定阶层的文化，而是为社会上散在的众多“一般个人”的文化；③流行性，即大众文化是一种时尚文化，呈忽起忽落的变化趋势；④娱乐性；⑤大众传媒的依赖性，即大众文化主要是在大众传媒的引导下发生、发展和变化的，没有大众传媒，也就没有大众文化。在这个意义上，大众文化也是一种传媒文化。
大众文化理论滋养的土壤是现代工业社会高度发达的市场经济，伴随高科技生产而呈现纷繁的物质文化消费。文化消费是现象，不是文化本身；文化是精神产品，不是具体的物质。工业化生产解决的是人类生存的基本需要，即提供丰富的生活物质，文化解决的是人类生存的高级需求，即精神提升和美的建构，亦即人类如何实现自身价值、发掘自身潜力、实现对人性的终极关怀。大众文化的倡导者显然忽略了这个简单的事实。社会生产所追求的是物质的丰富性和多样性，并尽可能为人类提供纷繁复杂的消费构成。大众文化的平面化、批量复制是以消解文化个性和创造性为目的的，物质追求的丰富多样性与文化追求的简单标准化显然构成了一个人类生存的悖论。从某种意义上说，西方大众文化思潮是一场反叛主流意识形态的思想运动。它是建立在西方经济高度发达的基础之上，工业文明发展到一定进程，大众的自由意识、思想解放达到某种高度之后产生的。
中国的大众文化崛起于20世纪后半叶。它伴随着改革开放春风的吹拂而觉醒，植根于市场经济的沃土而成长，在短短的不到20年的时间里，便迅速壮大为与来自官方的主流文化、来自学界的精英文化并驾齐驱、三足鼎立的社会主干性文化形态。它的发展壮大从根本上改变了中国文化的传统格局，积极影响了国民人格塑造和社会发展面貌，但也引发了多重社会效应和多种不同的评价和议论，这促使人们不得不去思考它的价值、效应及其发展控制问题。
大众文化从实质上说是在现代工业社会产生、与市场经济发展相适应的一种市民文化。它一方面是同与其共时态的官方主流文化、学界精英文化相互区别和对应的，另一方面也是同传统自然农业经济社会里的各种民间文化、通俗文化有着一些原则差异的，商业性、流行性、娱乐性和普及性可以说是其最主要的基本特征。中国21世纪大众文化的发展方向主要是：
人文化发展方向。大众文化在本质上是一种以最广大人民群众的生存、享受、发展需要为出发点、归宿点和最高价值目标的人文文化形态。综观其发生发展过程可以发现，大众文化自始至终都体现着一种人文本质和人文精神、蕴涵着一种人文目标和昭示着人文价值理性。随着人类的物质文明的不断进化和主体意识的日益觉醒，大众文化作为人民自己的文化在21世纪将更加鲜明地凸现其人文本质、人文理性和人文精神。体现和反映21世纪中国大众文化人文化发展方向的基本内容和要求就是：人类精神文化的发展必须贴近大众文化生活、满足大众文化需要、尊重大众文化权利、反映大众文化理想和提升大众文化人格。
科学化发展方向。21世纪是知识经济世纪，科学技术越来越成为决定生产力、文化力和综合国力的关键因素。大众文化作为一种精神文化形态要跟上时代步伐、获得持续发展动力，就必须不断地吸纳新的科学知识、运用先进科学方法和整合当代科学精神，从而使自身呈现出一种科学化发展方向。否则，就有可能是虚妄和病态的，甚至有可能误入歧途。
国际化发展方向。21世纪是全球经济文化一体化的世纪，每一个国家和民族要保持生机、活力和先进性，都必须与整个世界保持全面开放、充分交流状态，广泛、及时地学习和吸收一切优秀的文化成果，与国际文化主潮流相接轨、与国际文化新进展相协同。具体到最贴近百姓生活、最能影响民众精神的大众文化来说，它要有效地发挥引导大众追求、促进大众发展的积极作用，同样需要通过广泛及时地吸收和借鉴国外的有益文化成果来丰富自己的文化内容和创新其表现形式。不断提高自己的文化品位和水准，这样才能更好地做到以高尚的精神塑造人、以优秀的作品鼓舞人。
民族化发展方向。大众文化在当代中国的发展不是中国传统文化的中断，而是中国传统文化的发展。植根于民族传统文化土壤、反映民族文化思想、体现民族文化风格、优化民族文化人格和展示民族文化精华，这是确立中华民族的国际文化地位的基本要求和使中华民族自立于世界最先进民族之林的基本方略，也应当是21世纪中国大众文化发展的基本方向。

姓名：黄麟

学号：06354027

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日本动画的艺术特点。概括的来看日本动画片，一般分两类主题,一类比较突显团结就是力量这一主题,会以个人奋斗为线索以达到一个很高的目标，而另外一类呢,则表达了成年人对于社会压力的抗争,希望回到为所欲为的小时侯. 圣斗士星矢，灌篮高手，火影忍者等就体现了团队的力量，而蜡笔小新则是后者的体现。这样也就使日本的动画题材包罗万象、层出不穷。有冒险、神化类型，亦有校园生活类型，亦有悬疑推理类型，亦有以欧洲为背景的类型.也由于这样的原因，日本动画的年龄分差很大，有各种适合各个年龄段和各人性格特点的动画，但因为色情暴力或哲理等特点单一鲜明的突出，这样就缺乏适合全民观看的片子。当然也有偏向文学性的题材，这类才是值得推崇的经典，很多作品都包含了很积极的现实意义和日本式的人文关怀。日本动画更多地体现了东方民族隐忍、含蓄的特征。某种程度上甚至比我们中国人还更讲究简练与写意的风采。他们对动画角色的二维处理，多少反映了对于国画技巧的承袭：要的就是那样的意境！那些角色的设计看似简单，和真实世界相差甚远，但创作人员一般通过出色的观察力赋予角色以鲜明的活力，使得那些平面的人物看起来是那么的有生命力，以至于观众根本不会在乎其视觉上“立体”与否，和整个画面的配合，寥寥几笔就能让观众感受到剧情想要传达的感受。宫崎骏作品《龙猫》中有个叫“小米”的4岁小女孩，是超级顽皮+初生牛犊不怕虎型的性格，在视觉呈现上一个是简单的二维图像，可观众却从中感受到无限快乐的童趣，并且在心里留下深刻的美好回忆。日本动画人物的心理刻画上是非常细腻的。但在人物造型上以作者的个人风格作为明显的外部特征。如宫崎骏的影片中，一张似曾相识的脸，在《风之谷》中娜乌西卡，在《天空之城》中则是希塔，《魔女宅急便》中的淇淇，《龙猫》中的嗥月。又如手冢治虫，《阿童木》和《大都会》其中的主要人物的造型也有相似之处等等。

美国动画以主流动画为主，有较强的主流化倾向。在美国，动画的对象是儿童。动画题材单一，主要强调影片的教育作用和民族文化，在任何情况下都必须遵循公认的社会准则和道德规范。美国主流动画严格禁忌不同种族之间的婚恋，杀人，复仇。反面人物总是被冥冥中的上帝惩罚，而不是某一具体的人，如《美女与野兽》中，野蛮的猎手加斯顿失手掉下深渊，《钟楼怪人》弗罗洛主教从巴黎圣母院的顶楼坠落等。同时美国动画注重个人主义,崇尚自由, 狮子王，蜘蛛侠，绿巨人等等，大都反应了个人英雄主义的主题。在画面人物设计上，好莱坞的3D动画电影在追求“外观”真实性的同时，也并没有丧失角色塑造的趣味性：那些3D角色在细节无限追求“逼真”的同时，整体形象设计上又具有传神的夸张性，往往能将角色最突出的特点表现得淋漓尽致。《怪物史莱客》、《汽车总动员》等创造造型怪趣而细腻的3D动画了便是其典范。

提到中国动画，最经典的莫过于中国动画学院派。主题强调内容的健康性，动画片突出了中国文化的优良传统。画风上坚持民族绘画传统，创造了别开生面的水墨动画艺术。《铁扇公主》《大闹天宫》是其中的代表者。中国动画优美凝练的任务造型、行云流水的动态效果、戏曲音乐的完美结合，充满灵气与浪漫想象的细节处理在《大闹天宫》上得到了淋漓尽致的体现。中国动画追求意境、神韵、风骨和气势。技术细节和形式得不到重视，这成了中国传统动画的短板。

06354027-黄麟

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