Showing posts with label Karen Smith. Show all posts
Showing posts with label Karen Smith. Show all posts

Wednesday, April 21, 2010

My First (un)Fashion article, about my androgynous son of course + Shanghai, A History in Photographs, and other busy bees





Yessum- very long time no see. So much has happened. I am now, like always, gonna desperately try to kick-start my arse back into the blogspot... but then again my silence, has a lot of course has to do with my accessibility behind The Great Firewall of China which is only penetrable with this here vpn... but don't tell anyone. China will surely blast these vpn's into bits before you can say Facebook!

Anyway whilst I have the access:
Shaway Yeh the chief editor of  Modern Media's Modern Weekly (all very modern here)  ran into me at the launch of Shanghai, A History in Photographs- Penguin's new mammoth coffee table book by Karen Smith and Liu Heung Shing in which I have one beautiful photo (an excerpt from the billboard piece I did for Zendai's 366 ... why they chose this image is beyond me) ... and Shaway said "why don't you write a fashion article for us about: double breasted suits, military inspired fashion, androgyny , or sleeveless?" I said pardon moi but I don't know what you're talking about, ahem, despite my handsome Old Navy hat, I know nothing about fashion my dear.... she said well that's the point- we want something personal.. so I wrote about my son, Rui, of course. When she received it she said "its interesting...not what i expected..." So alas my foray into fashion criticism or journalism or autobiographicalism or... something unexpectedly interesting on the fashion front-below.

Stay Tuned for The Asian Art Archives epic 1980's project, The World Expo Sculpture Exhibition documentary film and everything else that's happened in the last half year.. including the birth of my other bee.. I mean son, I mean he's as busy as a

The New Androgynous Military or my cross dressing son

My two-year-old son is frequently mistaken for being a girl. At first I thought it was his longish hair. Since his birth we deliberately didn’t cut it, leaving him with a floppy mane of golden locks that gave him that 70’s surfer look, and revealed his true free spirit. Unfortunately his, over-protective, and less aesthetic obsessed, grandmother took it upon herself to redesign his fleece, in order, she justified, to keep it out of his eyes. The haggard bob that she sculpted from his once beautiful tresses horrified us into taking him to the barber for a real boy’s cut, which I thought would inevitably change people’s perception of him. But it didn’t. People still continue to mistake him for a girl. Now I tell him that he should just drop his drawers the next time a 老太太 pinches his cheek and calls him a 小妹妹.

My son’s hair and charismatic cherub-like lusciousness aside, he was almost always sporting at least one article of camouflage clothing during these confrontations. A pattern, I presumed, that would invariably signal a sense of belligerence, machismo, maleness, virility, and ultimately of being a BOY. Furthermore he has not one pink item in his wardrobe, a color that somehow, has become the international signifier of girl-ness. However you interpret basic dress codes between the sexes I was sure that camouflage and pink would stand at opposing ends of the spectrum. Yet, it’s curious to imagine that at the turn of the century in America this rule was flipped. The Ladies Home Journal of 1918 advocates that “pink, being bolder, is more suitable for the boy.” And certainly men have been wearing pink in surfeit since Miami Vice [1]made it masculine again, after a half-millennium hiatus, in the 1980s. So as I witness the indoctrination of my little son into socially prescribed, sexually–correct clothing conventions I realize that they are more than ever blurred, not only by the schizophrenic nature of history or the rapid and ultimately recurring cycles of fashion, but by a larger movement in society towards the unisex.

 

While I presumed my son’s camouflaged canvas shoes would keep him out of the girl’s room it has become increasingly difficult to decipher the boundary between men’s and women’s fashion. The overwhelming identification of China’s post-80 generation with Chaonv’s tomboy Li Yuchun seems to have signaled a developing sense of the androgynous in society. Boys and girls sport the same eye flap hairdo, pencil pants, sharp angled tops, and new wave accessories.  Along with attire, attitudes and physiques also veer towards the center. There is something post-sexual about it, perhaps zenlike, with Yoga and Pilates shaping the bodies and spirits of both sexes. It’d be interesting to see this widening of the boundary between sexes as an anti-marketing, anti-capital trend. A egalitarian way to snub the noses of fashion houses bent on making two separate lines of clothes, and campaigns to market them. But what exactly is the prescription inherent in this androgynous trend? Certainly my wife wears my sweaters, but how can I get into her summer dresses? Is the dynamic of androgyny a one-way road? Women become manlier but men can only become so feminine without stepping completely out of convention… for now. Either way, like my son - mistaken as daughter in camouflage, the recent trend of military inspired designs for women probes this movement towards the middle.

 

Writing this I cannot help but think of the never-ending controversy in America of gays in the military. It was never a question of how to be feminine while wearing a uniform. A female officer, and moreover one holding a rifle, evokes a strong sexual charge.  But it’s peculiar that this current surge in military informed fashion comes at what may be the most peaceful time in recorded human history. Certainly the hippies of the 1960s would wear army clothes in protest of armed conflict. But then again, is this current trend, in some psycho-obsessed way, a manifestation of desire for armed conflict or at least the signification thereof? Or maybe it’s the excess of information in our media obsessed times that makes the presence of violence, military violence, echo from every corner of the planet; seeping into our subconscious and channeled into our fashions. The winner of this year’s Oscar, Hurt Locker might be the next cue for fashionistas worldwide. Watch out next winter for ballooning, bomb squad, jump suits for women. Certainly my son will be wearing one. 

 

 

 

 


[1] Miami Vice  a TV show popular in the US in the 1980s

Friday, September 21, 2007

SHContemporary (better late than never?): The art experience as flea market






The SHContemporary fair came and went like a wave of refreshing artness in this otherwise culturally deprived megalopolis. Apologies for not writing anything sooner but I figured the real media kept you abreast of all the hoopla and my cynical comments would just be an unwelcome diatribe next to the hard driving fluff that makes good reporting on art fairs. If you haven’t yet heard the fair news please check out Phil Tanari in artforum.com, and Karen Smith for Bloomberg (where she says the richest people in the world will get their only dose of art news), artnet, Art in America (courtesy of our lovely Lisa Movius) etc., also reported. All in all SHContemporary was a fine event: good parties, mix of people, art, weather, nicely dressed security guards, great pretenses to charitable giving, one or two actually interesting installations, BUT not so many sales (except James Cohan's whopping Nam June Paik and Bill Viola sale- we won’t mention any names but we will say it was an Asian collector which is a good indication that there is a market out here for Western contemporary (and hopefully reason for J.Cohan to stick around in Asia), and maybe that Damien Hirst purchase by the same restaurant mogul that captured the world’s attention with her 2.3 million $ purchase earlier this year for Liu Xiaodong’s very large and mediocre painting of a bunch of very poor migrant workers (ala Courbet), then there was Thomas Erben who sold 40% of his booth on opening night to a bunch of Floridians, even Erna Hecey Gallery sold some small Johan Grimonprez drawings to Huang Liaoyuan and Aura Gallery’s William Zhang both under the table to avoid the ridiculous 33% tax imposed on sales at the sale)

But everything has to do with sales. Does it or does it? Can an art fair be like a game of chess where all the moves override the result? Probably not. Art is a business and this is a sales convention. Our foreign guests- galleries from Europe, India, America, Korea, Japan, Taiwan, Thailand, Australia, New Zealand, etc. seemed to have a splendid time and (besides talk of dire sales) they will come back if they know what’s good for them because you need to invest as a business.

Overall what we learned from the fair is that today we look at art in fairs and auctions (if not mammoth Biennales which are like fairs in museums) – the experience of art going has been reduced to a the flea market effect- a labyrinth of stalls toting art goods to be consumed in the 30sec-2min time it will take to browse each of the 130 booths (somehow K.Smith listed it as 100 – it was originally to be 100 (100 of the best and brightest galleries) but somewhere along the way Pierre Huber (who made speeches at every occasion and at every occasion lost the battle with his English – think an intoxicated Kermit the Frog with a thick Swiss accent) and Zhou Tiehai (artist businessman turned artfair businessman) gave in to the huge demand and opened up the upstairs level of the building).

A note on art and architecture: The sophisticated mood and look of the fair had everything to do with the grand architecture of the Shanghai exhibition Center – apparently a gift of Stalin back in the heyday of cross Siberian pinko love ins. It was originally known as the Hall of Sino-Soviet Friendship and was built with Soviet help in the late 1950s to commemorate the 10th anniversary of the Chinese communist victory in 1949. At night, the spire is often lit up with garish pink and lime green lights. A nice departure from the cubbied, wholesale halls of the usual art fairs, and here a nice example of art and architecture being happily married.

Further note: Liu Jianhua’s mammoth exhibition of 10 tons of illegally imported foreign electronic garbage at 3 on the Bund, which opened during the fair, is a mutherload of post-colonial, late-capital, global-market, environmentally abusive shit and will be the subject of my first review for Art Forum (which was banned from the fair because an Ai Weiwei photo offended the authorities- see artforum.com) … but you have to wait till November. Just like this report - tardy to the max.