Freitag, 10. Februar 2012
Forstwärts: Der Film
youjia, 14:05h
Stadt und Wald sind die beiden Hauptakteure in unserem „Forstwärts"-Film zur Reihe „Forstwärts" in Beijing anlässlich des „Internationalen Jahrs der Wälder 2011". Hier im Film finden sie zusammen. Gefördert wurde „Forstwärts" durch die Deutsche Botschaft Peking, unterstützt durch die GIZ, die Chinesische State Forrest Administration, das Forstamt Beijing sowie die Deutsche Botschaftsschule Peking. Realisiert wurde „Forstwärts" durch „Kulturgut 文化财富", der Plattform freischaffender Kreativer in Beijing.
Filmformat
Konzeptionell mit Filmstills, Animationen, Musik und Grafiken arbeitend, überwiegend mit statischer Kamera gedreht und geschnitten, liest sich der Film wie ein Bilderbuch, in dem in den einzelnen Szenen Wälder und Stadt agieren. Um international verstanden zu werden, haben wir komplett auf die Erzählstimme verzichtet. Die Geschichte erzählt sich selbst. Neben der Bildebene über Grafiken und wenige Begriffe sowie über Musik und Vertonung.
Filminhalt
1. Wie funktioniert ein Wald? Was tut er für uns?
2. Diorama Miyun
3. Detailbetrachtungen
a. Wasser
b. Landwirtschaft
c. Erholung
4. Was tun wir für den Wald?
Die Elemente Sonne, Wasser, Wald und Mensch sind durch die Farben Gelb, Blau, Grün und Rot repräsentiert -- die aufgrund unserer Verschwendung Grau werden bzw. mit achtsamer Handlung wieder ihre Farbe annehmen. Den Raubbau, den wir mit unserer Natur betreiben, stellen wir als Farbenklau dar, den wir an uns selbst vollziehen.
Unsere Botschaft: Noch besteht die Chance, unsere bunte Welt zu erhalten, wenn wir alle zusammen ökonomisch und ökologisch handeln. Unsere Hauptdarstellerin Tongtong, ein 11-jähriges Mädchen aus Beijing, symbolisiert mit ihrem roten Schirm uns alle, die Menschen. Und sie führt uns, die Zuschauer, von der Stadt in den Wald und wieder zurück.
Über den gesamten Film hinweg wurde dem Zuschauer Tongtongs Gesicht nicht gezeigt. Ganz am Schluss dreht sie sich vollformatig in die Kamera -- denn jetzt müssen wir Gesicht zeigen. Jetzt sind wir gemeinsam an der Reihe!
进军森林：电影
城市和森林是我们值"2011国际森林年"之际在北京举办的"进军森林"系列活动中的"进军森林"电影里的两个主角。在影片中它们聚集到了一起。此次"进军森林"活动由北京德国大使馆出资赞助，由GIZ和中国国家森林机构，北京森林局及北京德国使馆学校协助大力支持。最终由在北京创意自由职业平台的"文化财富"执行完成。
影片形式
从构思理念上由静态拍摄，动画，音乐和版画来运作。大部分由静态摄影机来拍摄和剪接编辑完成。影片就如同在阅读一本图画书，其中的每一个场景都由森林和城市来表演。 为了使影片更能被国际化理解，我们完全放弃了叙事的旁白声音。故事在版画和一些概念以及音乐和配乐的图像平面辅助下，由它自身来进行叙述。
电影内容
1． 森林是怎样运作地？它为我们做什么？
2． 密云综览
3． 详尽观察探索
a） 水资源
b） 农业
c） 休闲娱乐
4． 我们为森林做什么？
太阳，水，森林和人类这四种元素由黄，蓝，绿和红四种颜色来代表－由于我们的浪费将变为灰色，通过我们的行动继而又再此变回到它们本身的颜色。我们在这里用鲜明的颜色来将由我们自身所造成地对大自然滥用和过分损耗表达出来。我们的通告：如果我们大家都一起来节约和采取行动，那么还是由机会来获得彩色的世界。我们片中的主演彤彤是一名11岁的北京小女孩。她用一把红伞代表这我们全人类。同时，她带领着观众们在城市和森林之间往返穿越。
第一章节分为三部分，它首先将两大主题森林和城市导入。在此之上，给"森林的作用"加注不同色彩，同时借助水资源的循环和森林之地面作用的动画图像来阐述。随后影片将我们带到今年森林年中德学生活动主场密云饮用水水库。
Produktion 制作人员
Regie und Produktion 编辑制作: Stefanie Thiedig 由甲 | Julia Odenstein
Kamera 拍摄: Stefanie Thiedig 由甲 | Julia Odenstein
Grafikdesign 美术设计: Julia Hofmann
Animation 动画: Peter Jänichen
Schnitt 剪辑: Wan-Ho Got | Kevin Fritz
Sound 配乐、声音: Terry Tu 涂灏
Übersetzung 翻译: Xie Kaijin 解开缙
Darsteller 演员
Dai Yuntong 戴昀彤, Tongtong 彤彤
Martin Brandes, Martin 马平
Gefördert von 赞助
Deutsche Botschaft Peking 德国驻华大使馆
Beijing im November 2011, © Kulturgut, Stefanie Thiedig
2011年11月北京，©文化财富，由甲
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Mittwoch, 13. Juli 2011
[cíqì 瓷器] Private Beach Party, July 9.-10.
youjia, 20:03h
What a party, thanks everyone for coming and enjoying the beach and vibes with us. Here some impressions:
Photo by Charlotte Hirsch
Following photos by Liu Mingche 刘明彻:
Photos by myself:
Photos by Laodu 老杜:
Byebye until next time!
Photo by Charlotte Hirsch
Following photos by Liu Mingche 刘明彻:
Photos by myself:
Photos by Laodu 老杜:
Byebye until next time!
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Montag, 4. Juli 2011
Nandaihe in July｜7月份在南戴河
youjia, 14:47h
Cíqìs, look at this beach!
瓷器们：看看沙滩！
Here will be the stage.
这边有DJ台。
See you next weekend! 周末见！
瓷器们：看看沙滩！
Here will be the stage.
这边有DJ台。
See you next weekend! 周末见！
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Sonntag, 26. Juni 2011
[cíqì 瓷器] Private Beach Party｜瓷器潮汐私人派对 July 9.-10.
youjia, 23:55h
The sun over our heads in Beijing is turning the heat on – not yet as badly as in past years, but this is only the beginning …
也许你仍未体会到烈日当头时的感觉？慢慢来，北京盛夏才刚刚拉开序幕……
Have you already heard about our going to the beach? There will be music all day and night, you can bring your kids and dogs, the sand is white and the sea as blue as it gets in China, the beer is cold, your can relax and chill and dance.
听说过吗：这个7月北京，和你的密友在一片私人蓝天碧海白沙滩中，手握沁凉的啤酒放空身心，伴随着全天候的绝妙音乐，我们，以“瓷器”之名欢聚在南戴河海滩！
Join us! Contact via:
过来一起玩儿吧！练习我们：
ciqiparty@gmail.com
也许你仍未体会到烈日当头时的感觉？慢慢来，北京盛夏才刚刚拉开序幕……
Have you already heard about our going to the beach? There will be music all day and night, you can bring your kids and dogs, the sand is white and the sea as blue as it gets in China, the beer is cold, your can relax and chill and dance.
听说过吗：这个7月北京，和你的密友在一片私人蓝天碧海白沙滩中，手握沁凉的啤酒放空身心，伴随着全天候的绝妙音乐，我们，以“瓷器”之名欢聚在南戴河海滩！
Join us! Contact via:
过来一起玩儿吧！练习我们：
ciqiparty@gmail.com
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Samstag, 27. November 2010
The Launch – Impressions
youjia, 09:02h
Thank you all for coming to the booklaunch on Thursday, November 25th 2010, 7:30 pm at the Bookworm in Beijing of
Culturescapes China: Chinas Kulturszene ab 2000.
Culturescapes China: China’s Cultural Scene Since 2000.
Katharina Schneider-Roos and Stefanie Thiedig (eds.)
Basel: Christoph Merian 2010.
After a short introduction about the origins of the book and an overview about the content, we had three special guests on the podium: Martin Brandes, Li Yinan and Barbara Münch – who gave more details about their special disciplines. A presentation in the background was showing all the authors' article titles and the pictures inside the book.
The origins
After Katharina Schneider-Roos and I first met in February 2009, the publication project is now concluded on November 2010. Our starting point was that the art scene in China and especially Beijing as the centre of culture and art was and still is on the verge of a change. We wanted to show a special perspective of the art scene through people who are actively involved, who witness the scene and participate in it – so we gathered almost thirty authors taking a ten years retrospective in the different disciplines of fine arts, film and photography, literature and theatre, music, and architecture. Our approach was commemoration – we believe that a time of reflection started and we wanted to take this to reflect ourselves, to remember the 2000s – in our own way: subjective and selective. What we were looking for was an overall structure of art works and working in the arts, and of form and content.
Thank you!
Katharina and I would like to express our deepest gratitude to our authors and all other contributors – we all worked for free, because we wanted to share our experiences.
Many authors also contributed photos – thank you very much! A very special photo-contribution-thank-you goes to:
- Katharina Hesse
- Shu Yang
- Uli Sigg and staff
- Doro Adam and Barbara Münch
Thank you also Cathrine Lutz and Eva Lüdi for your great translations and Johannes Schneider and your company Webducation for sponsoring 16 extra pages of color print!
My special thanks goes to Katharina who wishes us all the best regards and says hello from Basel!
Content overview, introduction
Contemporary Chinese art has experienced a rapid hype – art and commerce approached each other, and so did the official side with the independent scene.
From 1950 until the end of the Cultural Revolution, there was no connection with the outside world in China. In the late 1970s after Deng Xiaoping’s Open Door policy, cultural basic work had to be done, where after the 1980s was a time of great social openness. Starting from universities and connected with the demand of change, everything was absorbed, which was available after China’s long isolation. A cultural fiver broke out – the New Wave.
The shock of 1989 was a relapse into the underground, followed by an inside and outside emigration in the 1990s. While many artists went abroad, those who stayed still did find a way to express themselves: the first artist's communes started, Beijing East Village and Yuanmingyuan, exhibitions in apartments of friends, experimental spaces for painting, performance art, lyrics, music and theatre in China.
In the first years of the new century, artists came out of the isolation and started to become part of the establishment. Fine arts are the prime example of the change the contemporary art scene went through: from a sub-culture in the 1990s to a cultural industry in the 2000s.
The noughties were a time of commercialisation and globalisation of apparently boundless possibilities. The time of collective exchange of thoughts and working inside groups was over, the perception of Chinese artists as individuals in the international scene had begun – away from the transfiguration of exotic romanticism.
Discussions if the beginning of commercialisation is the death of avant-garde and how prices and quality affect the work of artists are now replaced by questions of the function of art in China, of the Chinese self-consciousness, the communicated values and public education.
Panel discussion
According to the order of the articles in our book, we first spoke to Martin Brandes, who wrote the article about Chinese film economy. Martin lives in Beijing since 2001. Since 1975, he has been working in film distribution and in cinema and TV production, as well as writing articles for film economy magazines and his own film scripts. Martin is a script evaluator of the Pro 7/ Sat1-group, a China correspondent of various magazines, and the senior advisor of the national China Documentary Film Commission in Beijing.
Chinese film went a long way during the past ten years. The sole status of being a propaganda instrument from the official side blurred and film became a commercial good. China is now number 3 of the film producing countries. Martin described how the commercial film market work, how strict censorship is, and what role SARFT plays. He also said a few words to how does the illegal market works. In his article, Martin describes the Chinese film economy going through massive changes in structure and focus – at the launch, he stood question and answer about figures and tendencies and also answered how the WTO accession 2001 has changed the Chinese film economy.
Our second guest was Li Yinan 李亦男, who wrote about independent theatre in Beijing. Li Yinan, who has studied German Literature, Dramatics and Sinology in Beijing, New York and Hamburg, works as a dramaturge in Beijing. She lived in Munich from 2003 working as a theatre and art critic, since 2005 she lectures in Chinese Theatre at the University of Munich, the University of Frankfurt and the Central Academy of Drama in Beijing. Since 2007, she is director of Theatre Arts in Beijing.
Yinan writes about young theatre people trying to find their own voice and described the current status quo and gave a quick overview about how education had changed over the last decade and what still needs to be done. There are young people coming from all over China to Beijing to see and play theatre. All they know, she says, is the few DVDs by Lin Zhaohua and Meng Jinghui. Li Yinan tells us how Beijing sticks out in being the capital for independent theatre. She has organised workshops and the new dramaturgy program at the Central Academy of Drama attempting to bring a change to the Chinese theatre scene, which she introduced to the audience.
Barbara Münch as our final guest author on the podium wrote about the contemporary architectural scene in China. Barbara studied Architecture, Economics and Engineering. Since 2000, she lectures architecture at universities in Berlin and Beijing. She is a researcher and writer about architecture and city development in China and works as an independent architect.
In the last couple of years, architecture has made its step from being a handicraft towards a discipline of art; exciting architecture can be found in China … Barbara talked about the still omnipresent clichee of prestige buildings by famous Western architects, described the change happening in Chinese architecture. She also spoke about how architecture helps creating a unique environment for the people – in big cities and what is going on in the suburbs and the hinterland. Moreover, she described the historic circumstances of architecture, the different views in protection of heritage: in a structural sense of how Chinese architects work in Local Design Institutes (LDIs) and independent bureaus; and in form and content if there is a Chinese architectural language.
Once again, thanks to everyone present for coming. I hope, you enjoyed the evening and went home with a few new impressions. The book is available at Amazon or contact Katharina or me directly.
Photo provided by Katharina Schneider-Roos.
That's me, Stefanie Thiedig aka 由甲.
All pictures except the last one of Katharina were taken by Julia Odenstein.
Culturescapes China: Chinas Kulturszene ab 2000.
Culturescapes China: China’s Cultural Scene Since 2000.
Katharina Schneider-Roos and Stefanie Thiedig (eds.)
Basel: Christoph Merian 2010.
After a short introduction about the origins of the book and an overview about the content, we had three special guests on the podium: Martin Brandes, Li Yinan and Barbara Münch – who gave more details about their special disciplines. A presentation in the background was showing all the authors' article titles and the pictures inside the book.
The origins
After Katharina Schneider-Roos and I first met in February 2009, the publication project is now concluded on November 2010. Our starting point was that the art scene in China and especially Beijing as the centre of culture and art was and still is on the verge of a change. We wanted to show a special perspective of the art scene through people who are actively involved, who witness the scene and participate in it – so we gathered almost thirty authors taking a ten years retrospective in the different disciplines of fine arts, film and photography, literature and theatre, music, and architecture. Our approach was commemoration – we believe that a time of reflection started and we wanted to take this to reflect ourselves, to remember the 2000s – in our own way: subjective and selective. What we were looking for was an overall structure of art works and working in the arts, and of form and content.
Thank you!
Katharina and I would like to express our deepest gratitude to our authors and all other contributors – we all worked for free, because we wanted to share our experiences.
Many authors also contributed photos – thank you very much! A very special photo-contribution-thank-you goes to:
- Katharina Hesse
- Shu Yang
- Uli Sigg and staff
- Doro Adam and Barbara Münch
Thank you also Cathrine Lutz and Eva Lüdi for your great translations and Johannes Schneider and your company Webducation for sponsoring 16 extra pages of color print!
My special thanks goes to Katharina who wishes us all the best regards and says hello from Basel!
Content overview, introduction
Contemporary Chinese art has experienced a rapid hype – art and commerce approached each other, and so did the official side with the independent scene.
From 1950 until the end of the Cultural Revolution, there was no connection with the outside world in China. In the late 1970s after Deng Xiaoping’s Open Door policy, cultural basic work had to be done, where after the 1980s was a time of great social openness. Starting from universities and connected with the demand of change, everything was absorbed, which was available after China’s long isolation. A cultural fiver broke out – the New Wave.
The shock of 1989 was a relapse into the underground, followed by an inside and outside emigration in the 1990s. While many artists went abroad, those who stayed still did find a way to express themselves: the first artist's communes started, Beijing East Village and Yuanmingyuan, exhibitions in apartments of friends, experimental spaces for painting, performance art, lyrics, music and theatre in China.
In the first years of the new century, artists came out of the isolation and started to become part of the establishment. Fine arts are the prime example of the change the contemporary art scene went through: from a sub-culture in the 1990s to a cultural industry in the 2000s.
The noughties were a time of commercialisation and globalisation of apparently boundless possibilities. The time of collective exchange of thoughts and working inside groups was over, the perception of Chinese artists as individuals in the international scene had begun – away from the transfiguration of exotic romanticism.
Discussions if the beginning of commercialisation is the death of avant-garde and how prices and quality affect the work of artists are now replaced by questions of the function of art in China, of the Chinese self-consciousness, the communicated values and public education.
Panel discussion
According to the order of the articles in our book, we first spoke to Martin Brandes, who wrote the article about Chinese film economy. Martin lives in Beijing since 2001. Since 1975, he has been working in film distribution and in cinema and TV production, as well as writing articles for film economy magazines and his own film scripts. Martin is a script evaluator of the Pro 7/ Sat1-group, a China correspondent of various magazines, and the senior advisor of the national China Documentary Film Commission in Beijing.
Chinese film went a long way during the past ten years. The sole status of being a propaganda instrument from the official side blurred and film became a commercial good. China is now number 3 of the film producing countries. Martin described how the commercial film market work, how strict censorship is, and what role SARFT plays. He also said a few words to how does the illegal market works. In his article, Martin describes the Chinese film economy going through massive changes in structure and focus – at the launch, he stood question and answer about figures and tendencies and also answered how the WTO accession 2001 has changed the Chinese film economy.
Our second guest was Li Yinan 李亦男, who wrote about independent theatre in Beijing. Li Yinan, who has studied German Literature, Dramatics and Sinology in Beijing, New York and Hamburg, works as a dramaturge in Beijing. She lived in Munich from 2003 working as a theatre and art critic, since 2005 she lectures in Chinese Theatre at the University of Munich, the University of Frankfurt and the Central Academy of Drama in Beijing. Since 2007, she is director of Theatre Arts in Beijing.
Yinan writes about young theatre people trying to find their own voice and described the current status quo and gave a quick overview about how education had changed over the last decade and what still needs to be done. There are young people coming from all over China to Beijing to see and play theatre. All they know, she says, is the few DVDs by Lin Zhaohua and Meng Jinghui. Li Yinan tells us how Beijing sticks out in being the capital for independent theatre. She has organised workshops and the new dramaturgy program at the Central Academy of Drama attempting to bring a change to the Chinese theatre scene, which she introduced to the audience.
Barbara Münch as our final guest author on the podium wrote about the contemporary architectural scene in China. Barbara studied Architecture, Economics and Engineering. Since 2000, she lectures architecture at universities in Berlin and Beijing. She is a researcher and writer about architecture and city development in China and works as an independent architect.
In the last couple of years, architecture has made its step from being a handicraft towards a discipline of art; exciting architecture can be found in China … Barbara talked about the still omnipresent clichee of prestige buildings by famous Western architects, described the change happening in Chinese architecture. She also spoke about how architecture helps creating a unique environment for the people – in big cities and what is going on in the suburbs and the hinterland. Moreover, she described the historic circumstances of architecture, the different views in protection of heritage: in a structural sense of how Chinese architects work in Local Design Institutes (LDIs) and independent bureaus; and in form and content if there is a Chinese architectural language.
Once again, thanks to everyone present for coming. I hope, you enjoyed the evening and went home with a few new impressions. The book is available at Amazon or contact Katharina or me directly.
Photo provided by Katharina Schneider-Roos.
That's me, Stefanie Thiedig aka 由甲.
All pictures except the last one of Katharina were taken by Julia Odenstein.
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Sonntag, 19. September 2010
Mo., Sept. 20, "Meet & Greet"
youjia, 14:49h
If you happen to be in Shanghai on Monday and want to know about the "Future of Creative Industry", check this out, 7 pm at MoCA:
Please register via: vivianyutianzheng@gmail.com.
Please register via: vivianyutianzheng@gmail.com.
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Montag, 10. Mai 2010
Double Infinity: “The Last Two Decades Revisited”
youjia, 16:25h
Double Infinity: “The Last Two Decades Revisited”
Saturday 15 May (11am - 5pm) and Sunday 16 May 2010 (11am – 5pm) Dutch Cultural Centre at 800 Chang De Lu at Changping Lu Shanghai
《双倍无限：过去二十年回顾》
2010年5月15日（周六，11点至17点）和5月16日（周日，11点至17点）, 荷兰文化中心,上海常德路800号（近昌平路）
With participants:
Chen Tong, Li Zhenhua, Alexander Brandt, Hu Jieming, Song Haidong, Carol Yinghua Lu, Jin Shan, Georg Schöllhammer, Zhang Peili, Hyunjin Kim, Dr. Pieter van Wesemael, 毕月, Tsuyoshi Ozawa (of Xijing Men), Dr. Paul Gladston, Dr. Gao Shiming, and more. Curators Charles Esche, Defne Ayas, Davide Quadrio, as well as Carol Yinghua Lu, will moderate. During this period, a film screening by Asia Art Achive and performances by Surasi Kusolwong and Julika Rudelius will also take place.
参与者：
陈侗、李振华、飞苹果、胡介鸣、宋海东、卢迎华、靳山、Georg Schöllhammer、刘建华、张培力、Hyunjin Kim、Georg Schöllhammer ,Paul Gladstone, Pieter van Wesemael、 高士明, 毕月、小泽刚（西京人组合成员）等。策展人Charles Esche、Defne Ayas、乐大豆以及卢迎华将主持会议。在此期间，还将举行亚洲艺术文献库的影片放映活动以及Surasi Kusolwong和Julika Rudelius的行为艺术项目。
Translation will be provided.
现场将提供翻译服务。
More information on www.arthubasia.org
详细信息，请登录www.arthubasia.org
Saturday 15 May (11am - 5pm) and Sunday 16 May 2010 (11am – 5pm) Dutch Cultural Centre at 800 Chang De Lu at Changping Lu Shanghai
《双倍无限：过去二十年回顾》
2010年5月15日（周六，11点至17点）和5月16日（周日，11点至17点）, 荷兰文化中心,上海常德路800号（近昌平路）
With participants:
Chen Tong, Li Zhenhua, Alexander Brandt, Hu Jieming, Song Haidong, Carol Yinghua Lu, Jin Shan, Georg Schöllhammer, Zhang Peili, Hyunjin Kim, Dr. Pieter van Wesemael, 毕月, Tsuyoshi Ozawa (of Xijing Men), Dr. Paul Gladston, Dr. Gao Shiming, and more. Curators Charles Esche, Defne Ayas, Davide Quadrio, as well as Carol Yinghua Lu, will moderate. During this period, a film screening by Asia Art Achive and performances by Surasi Kusolwong and Julika Rudelius will also take place.
参与者：
陈侗、李振华、飞苹果、胡介鸣、宋海东、卢迎华、靳山、Georg Schöllhammer、刘建华、张培力、Hyunjin Kim、Georg Schöllhammer ,Paul Gladstone, Pieter van Wesemael、 高士明, 毕月、小泽刚（西京人组合成员）等。策展人Charles Esche、Defne Ayas、乐大豆以及卢迎华将主持会议。在此期间，还将举行亚洲艺术文献库的影片放映活动以及Surasi Kusolwong和Julika Rudelius的行为艺术项目。
Translation will be provided.
现场将提供翻译服务。
More information on www.arthubasia.org
详细信息，请登录www.arthubasia.org
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Dienstag, 23. März 2010
Saving Gulou from Demolition: Special Public Event on March, 27th - 为了钟鼓楼的明天更美好——北京文化遗产保护中心钟鼓楼街区保护专题研讨会
youjia, 13:59h
Announcement: Beijing Cultural Heritage Protection Center’s (CHP) crucial public forum on the planned redevelopment of Gulou is being held this Saturday 27 March at Contempio. CHP is urging everyone to attend to help protect this unique neighbourhood for future generations to enjoy.
Multiple sources have indicated that a 5 billion RMB budget has been allocated to convert 12.5 hectares of the Drum and Bell Tower area into a ‘Beijing Time Cultural City’ – putting the neighborhood in serious danger. Such a massive scale development will include large infrastructures like public squares and a museum. As a result, there will be extensive evictions, demolition, and construction in this ancient area, and gone will be the traditional courtyards, hutongs, and local residents.
Date: Saturday 27 March, 2010
Time: 2.30-5.30pm
Venue: Contempio No.4 Zhangwang Hutong ｜ 北京市东城区旧鼓楼大街张旺胡同4号
Language: Chinese
This event is free. No pre-registration is required.
Featuring:
He Shuzhong | CHP Founder and Chairman, cultural heritage legal expert,
Wang Jun | Xinhua Senior Reporter, author of Chengji,
Dominic Johnson-Hill | Plastered T-Shirts founder,
Bian Lanchun | Architecture professor at Tsinghua University.
For more about the event and the redevelopment plan, see: Beijing CHP.
Multiple sources have indicated that a 5 billion RMB budget has been allocated to convert 12.5 hectares of the Drum and Bell Tower area into a ‘Beijing Time Cultural City’ – putting the neighborhood in serious danger. Such a massive scale development will include large infrastructures like public squares and a museum. As a result, there will be extensive evictions, demolition, and construction in this ancient area, and gone will be the traditional courtyards, hutongs, and local residents.
Date: Saturday 27 March, 2010
Time: 2.30-5.30pm
Venue: Contempio No.4 Zhangwang Hutong ｜ 北京市东城区旧鼓楼大街张旺胡同4号
Language: Chinese
This event is free. No pre-registration is required.
Featuring:
He Shuzhong | CHP Founder and Chairman, cultural heritage legal expert,
Wang Jun | Xinhua Senior Reporter, author of Chengji,
Dominic Johnson-Hill | Plastered T-Shirts founder,
Bian Lanchun | Architecture professor at Tsinghua University.
For more about the event and the redevelopment plan, see: Beijing CHP.
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Sonntag, 29. November 2009
On Tour: Lesereise "Provinzglück" mit George Lindt
youjia, 16:23h
Eine Lese-Was ...?
China präsentiert sich dieses Jahr in Deutschland – und wir haben ein in China unbekanntes Format von der Frankfurter Buchmesse mit nach China gebracht: Die Lesereise.
„Provinzglück“ von George Lindt
George Lindts Roman „Provinzglück“ vom S. Fischer Verlag ist Ende Oktober als „Guixiang silu“ (归乡思路) beim New Star Verlag (新星出版社) auf Chinesisch erschienen und die ersten zwei Novemberwochen auf Lesereise durch China getourt – die Kulturgut-Statistik spricht von 10 Städten in 14 Tagen und zurückgelegten 5340 km.
Aus der Provinz hinaus ins Glück der Großstadt – und wie einen die Heimatstadt trotzdem nicht loslässt. Ein globales Phänomen als Trendwende? Großstädter und Provinzmenschen wurden zusammengebracht und haben sich bei diesem gemeinsamen Erlebnis gegenseitig entdeckt.
Die Tour
Mit einer Reise durch das Land, durch große und mittelgroße Städte, und mit Provinzglück im Gepäck, rückte George Lindt eine Diskussion ins Bewusstsein, die Fragen nach der lokalen Herkunft und ihren Bezugspunkte eröffnete, nach Annährung und Verständigung zwischen einheimischen Städtern und Hinzugezogenen, zwischen 本地人 und 外地人, nach dem Fremdsein und der Besinnung auf eigene regionale Besonderheiten, nach Parallelen zwischen Deutschland und China.
In Sprache und Blickwinkel tourten wir mit freundlicher Unterstützung des Goethe-Instituts (China) und dessen Sprachlernzentren auf Deutsch und Chinesisch durch:
1. Wuhan – Startpunkt
2. Nanjing
3. Shanghai
4. Guangzhou
5. Hong Kong
6. Chongqing
7. Chengdu
8. Xi'an
9. Tianjin
10. Beijing – Finalpunkt
Presse: siehe etwa CRI und 女友.
Das Buch (Chinesisch – Deutsch)
Wie sehen die Folgen der Völkerwanderung nach Berlin und äquivalent nach Beijing für jeden einzelnen aus? Wie lassen sich die Fragen nach Zielen und Wünschen für ein erfülltes Leben beantworten?
„In Provinzglück erfährst du alles darüber, warum man aus der Provinz abhauen muss und doch nicht von ihr loskommt. Ein Roman für Großstädter und Provinzmenschen: Den einen geht ein Licht auf, die anderen werden seufzend nicken.“ (Thomas Brussig)
Der Autor
George Lindt, 1971 in Marburg geboren, wohnhaft in Berlin, dreht Dokumentationen, produziert Hörspiele, arbeitet als Musikjournalist und betreibt ein Plattenlabel. In China produzierte er u. a. „Beijing Bubbles“ – eine Filmdokumentation über Jugendkulturen und alternative Lebensentwürfe in China.
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Sonntag, 15. November 2009
Beijing: Finale Veranstaltung der Lesereise "Provinzglück"
youjia, 03:40h
14.11.: ... und schließlich endet die Lesereise, wie sie begonnen hat - nach Schneegestöber begrüßt uns heute strahlender Sonnenschein unter blauem Himmel! Meine Anfrage an die Wettermanipulationsabteilung der Regierung hat endlich Früchte getragen.
Es ist soweit: Die finale Veranstaltung der "Provinzglück"-Lesereise findet ab 18 Uhr im Café Zarah in der Gulou Dongdajie statt.
Geplant war, den Gewinner des Lesewettbewerbes aus Tianjin in unserer Abschlussveranstaltung auftreten und das chinesische Provinzglück lesen zu lassen - damit wir die verpasste Station doch noch integrieren können. Aber wie es so ist mit den Plänen zwischen Tianjin und uns, wurde auch dieser erneut durchkreuzt. Wir waren wirklich sehr gespannt auf den Vorleser - nicht nur wegen der Tianjiner Luft, die er mitbringen sollte, sondern vor allem auch wegen der besonderen, aufpolierten chinesischen Version der Romanausschnitte, die er und seine Kommilitonen in Vorbereitung auf die Lesung erarbeitet hatten. Gegen halb eins klingelte heute Mittag mein Telefon: Leider hat unsere Verbindung zu Tianjin den Schweinegrippen-Temperaturmess-Pistolentest nicht bestanden und durfte den Bahnhof in Tianjin wegen leicht erhöhter Gradzahl gar nicht erst betreten.
Zum ersten Mal vor vorwiegend deutschem Publikum, liest George heute mit Malvis (rechts), der eingesprungenen Vorleserin des chinesischen Textes, und wird in der Übersetzung bei seinen Anekdoten und Erzählungen erneut von Tian Chenchen begleitet.
Wir freuen uns sehr über die nette, größtenteils bekannte Runde - Heimspiel: ein wunderbarer Abschluss, danke euch allen!
Hier noch ein paar Fotos von Julia Hofmann mit Profi-Kamera und -Blick:
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