META 展讯|基建礼赞

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潘律、王博、周昕 共同项目

开幕时间:10月29日(周六)6 - 8pm




时间:10月30号( 周日)4 - 6pm

地址:META 项目空间庭院

A Project by Pan Lu, Bo Wang, and Zhou Xin

@ META Project Space, Shanghai

Address: Building 7, Lane 212, Wu Yuan Street, Xu Hui District, Shanghai.

Opening: October 29, 6-8pm

Panel Discussion

October 30 4-6pm @ META

Speakers: Pan Lu, Bo Wang, Zhou Xin,  Li Juchuan, Jiang Hongsheng

Moderator: Yuan Yajing


基建是否需要被赞美?经验上它代表着机械的、理性的、朝向未来的速度。这种功能性的系统如何变成一种美学,为什么需要化身为崇高之物让人民赞美,是这个项目首先的问题。当敬献哈达的西藏平民面向的并不是作为领袖的符号或者是还未被去魅的自然,而是群山中穿过的青藏列车时, 这是一种怎样的自然,还是文化?也许我们是要像唐娜·哈拉维将苔藓地衣都赋予能动性一样来宣称:我们就是基建。









1. Susan Leigh Star, “The Ethnography of Infrastructure,” American Behavior Scientist, November 1999 vol. 43 no.3, 377-391.

2. 賀照田, “當中國深入世界…” 《當中國深入世界 - 东亚视角下的『中国崛起』》, 鈴木將久編, 亞際書院, 2016.

3. Ravi Sunduram, “Post post-colonial Sensory Infrastructure,” e-flux Journal 64,


4. Brian Larkin, “The Politics and Poetics of Infrastructure,” Annual Review of Anthropology, Vol. 42:327-343, 2013.

Ode to Infrastructure


Is infrastructure something to be praised? Empirically, it represents the mechanical, the rational, and the velocity of the future. But how does this functional system become a kind of aesthetics, and why is it to be lauded as the embodiment of some sublime subject? These are the initial questions of this research project. When the Tibetan khata is offered not towards the iconic leadership, nor the awe-inspiring nature, but rather to the high-speed train across the Qinghai-Tibet plateau, what kind of nature, or culture, is it? Perhaps, we should proclaim that we too are infrastructures, just like how Donna Haraway restored agency back to lichens.

Our interest in infrastructure does not align simply with what SL Star characterizes as the “boring things,” nor on the(in)visibility of them. [1] As large-scale technical systems, infrastructuresare passages for the means of production such as energy, water, and waste, but also the material forms that mediate digital flow in the contemporary information world. As physical and networked structures, they determine the nature of networks, as well as the speed and direction of movement. Noticeably in the case of China, the current government has initiated a series of large-scale infrastructure projects across the Indian Ocean, such as the Bandung-Jakarta high-speed railway; and else where, with the acquisition of the Gwadar Port in Pakistan, such projects reflect the government’s way to “enter deeply into the world,” [2] and to form regional trade partnerships with non-Western countries across Eurasia.


However, we hope to set aside the current obsession with immaterial and speculative projections, as well as the emerging interest in “new materialism” in contemporary anthropology and media studies.We instead look back at some historical images and their contemporary variables, and think about the ways that matter and energy enter into the power structure. The discussion of infrastructure can obviously refer to thedialectical relations between base and superstructure in Marxist philosophy,and certainly tons of official images produced in the early stage of the PRC were heavily influenced by this particular ideology. Images of shadows with large industrial structures in the background, along with those of laboring bodies and their gaze towards the future, have repeatedly appeared in Renmin Huabao, a state-published pictorial for mostly foreign reference. It reveals something that is the opposite of what is commonly known as instrumental rationality, that is, how infrastructure produces, rather than reduces the 魅惑, or “the enchantment.”


If the word 魅, in Chinese language, refers to a continuation of the haunting past, in English, the word “enchantment” rather signals the religious lyricism of the ode. With a loose reference to the Japanese novelist Juni’ichiro Tanizaki’s classic text In Praise of Shadows, the title of this project also reflects our interest in a new kind of architecture of shadows. [3] To put it simply, this is a preliminary research effort on the politics and poetics of infrastructure. [4]




1. Susan Leigh Star, “The Ethnography of Infrastructure,” American Behavior Scientist, November 1999 vol. 43 no.3,377-391.

2. He Zhaotian, “When China Enters Deeply intothe World…” When China Enters Deeply into the World: The Rise of China from theView of East Asia. Ed. SUZUKI Masahisa. Inter-Asia School, 2016.

3. Ravi Sunduram, “Post post-colonial Sensory Infrastructure,” e-flux Journal 64.


4. Brian Larkin, “The Politics and Poetics of Infrastructure,” Annual Review of Anthropology, Vol. 42: 327-343, 2013.




潘律,现任香港理工大学中国文化学系助理教授。潘律是德国拜罗伊特大学跨文化研究硕士和香港大学比较文学系博士。她曾在柏林科技大学(2008-2009)和哈佛燕京学社(2011-2012)担任访问学者,并在日本福冈亚洲美术馆担任驻场研究员(2016)。她是两本英语专著 In Visible Palimpsest: Memory, Space and Modernity in Berlin and Shanghai (Bern: Peter Lang, 2016) 和Aestheticizing Public Space: Street Visual Politics in East Asian Cities (Bristol and Chicago: Intellect/University of Chicago Press, 2015) 的作者。她参与创作的作品曾在第十届上海双年展『城市客厅』单元展出。她和王博共同执导的影片Traces of an Invisible City於2016年9月进入韩国DMZ纪录片电影节亚洲竞赛单元。2016年底,她將赴德国柏林的 Center for Art and Urbanistics 担任为期二个月的驻场艺术家。

PAN Lu is Assistant Professor in the Department of Chinese Culture at The Hong Kong Polytechnic University. Pan Lu studied in Shanghai, Bayreuth and Hong Kong. She was visiting scholar and visiting fellow at the Technical University of Berlin(2008 and 2009), the Harvard Yenching Institute (2011-2012), as well as researcher in residence at the Fukuoka Asian Art Museum (2016). Her art work appeared in Urban Living Room, the 10th Shanghai Biennale and her film project“Traces of an Invisible City” entered Asian Competition section at DMZ International Documentary Film Festival, South Korea in 2016. She has also been selected as artist in residence at Center for Art and  Urbanistics, Berlin, Germany (Oct- Dec, 2016). Pan is author of two monographs in English: In-Visible Palimpsest: Memory, Space and Modernity in Berlin and Shanghai (Bern: Peter Lang, 2016) and Aestheticizing Public Space: Street Visual Politics in East Asian Cities (Bristol and Chicago: Intellect/University of Chicago Press, 2015).



Bo WANG is an artist and filmmaker based in Brooklyn, New York. His works have been exhibited internationally, including venues like MoMA in New York, CPH: DOX in Copenhagen, Shanghai Biennale, Times Art Museum in Guangzhou, Asia Society Texas Center, DMZ Docs in South Korea, DOKU. ARTS at German Historical Museum in Berlin, among many others. He was artist in residency at NTU CCA Singapore in 2016, fellow at the Robert Flaherty Film Seminar in 2013 and attended the Berlinale Talents programme at Berlin International Film Festival in 2014. He is also a faculty member at the Visual and Critical Studies program at the School of Visual Arts, New York.


周昕,生于苏州,纽约大学电影学系硕士,目前居住在香港和纽约。日常工作包括有关广泛的影像研究和策划,以及亚洲范围内的档案理论、基础建设和替代型艺术实践研究。他曾在波士顿当代艺术中心, 卡彭特视觉艺术中心 (麻省剑桥), 哈佛电影资料馆 (麻省剑桥), Anthology Film Archives (纽约), 表演车间 (纽约) 和UnionDocs 纪录艺术中心 (布鲁克林) 策划过系列影像放映系列或公共项目。近期项目是今年五月在波士顿当代艺术中心的放映单元《季风、祈祷者和新的路径:印度洋周围的城市伊斯兰》。此前他的文章和访问发表于《社会工厂:第十届上海双年展》展览图册、《电影评论 Film Comment》、《布鲁克林评论 The Brooklyn Rail》以及《艺术论坛》中文网。他曾担任2014年第二届深圳独立动画双年展客习策展,同时自2016年9月起任香港理工大学中国文化学系副研究员。

Xin ZHOU is a researcher, writer and curator based in Hong Kong and New York. He has curated public programs and film series at Anthology Film Archives (NYC), Carpenter Center for the Visual Arts (Boston), Institute of Contemporary Art/Boston,UnionDocs Center for Documentary Art (Brooklyn), OCT Loft (Shenzhen), The Performing Garage (NYC), and else where. Recent project is Monsoon, Prayers, New Routes: Urban Across the Indian Oceanat the Institute of Contemporary Art/Boston. His writing has appeared in Artforum (China), The Brooklyn Rail, FilmComment, Indiewire, Social Factory: 10th Shanghai Biennale exhibition catalogue, and elsewhere. He has a MA in Cinema Studies from NewYork University, and is currently a Research Associate in the Department of Chinese Culture at the Hong Kong Polytechnic University.





JIANG Hongsheng (b. 1972, Chaling, PRC) is an Associate Professor in theChinese Department at Peking University. He has a PhD in Literature from Duke University. Jiang’s research interests include cultural history, critical theory, comparative literature, and the inter-East-Asian historical, cultural and political studies. He has published many journal articles, including“Jacques Ranciere's Regimes of Art and Contemporary Political Art,” “Michel Foucault’s Archeology of Knowledge and Its Discontents,” “Fredric Jameson’s Studies of Utopia and His Anti-anti-Utopianism,” etc. In 2014, he published abook titled La Commune de Shanghai et la Commune de Paris (préface d’Alain Badiou, Paris: La Fabrique).



LI Juchuan (b.1964, Shashi, Hubei) is an architect and artist based in Wuhan, China. 1986, he graduated from Department of Urban Planning of Wuhan Urban Construction Institute.1986-2006, he worked as an architecture teacher in Department of Architecture in Wuhan Technology University and in Graduate School of Architecture of Nanjing University. Since 1990s he has been applying himself to the architectural practice, which utilizes performance,video,photo, and on-site installation. Meanwhile, he has been involved in articles, lectures, and exhibitions.

META 项目空间简介:

META 项目空间成立于二零一四年。从二零一六年开始,META将只进行非盈利展览项目,并持续推进室内外特定场域的艺术实验项目。装置及影像艺术是我们主要关注的,同时我们也关注研究式艺术项目和组织相应的交流和小型会议。


About  META  Project Space

Founded in 2014, META  Project Space will only host not-for-profit projects starting from 2016. META Project Space will continue its site-specific experimental series. Focusing its attention primarily on installation and moving image, META also sponsors research-based projects and small symposiums on related topics.


META Project Space




+86 21 52401225

Building 7, Lane 212, Wu Yuan Street, Xu Hui District, Shanghai.

Opening Time : 10:30 am - 6 pm, Wednesday to Sunday


Li Zhang

T: +86 18801623526


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