Social Food: Emi Uemura interview

Emi Uemura is a Japanese artist currently living in Beijing. This weekend she held the “Country Fair” at the shop at Vitamin Creative Space in Caochangdi. Country Fair brought together farmers, community activists and artists in a friendly, festive space where information, experience and perhaps most importantly, food, was shared. Emi’s “daily activities” have worked to bridge a gap between art practice and sustainable development in the world primarily by using food as a starting point for discussions about the social issues it impacts upon. This interview took place while she was preparing for the Country Fair and gives a little background to her overall working process and how she sees her activities fitting together – both with the artworld and with people who have no connection to art.

Japan, Canada

Edward Sanderson: Can you give me your background? You were born in Japan? How did you end up in China?

Emi Uemura: I was born in Japan and grew up there, going to College in Sapporo to study English Literature for two years and then transferring to the University in Halifax, Canada,

I went to Halifax to study spoken English first of all, and while at the University I took Cultural and Linguistic Anthropology, which still influences my thinking. Around that time, I started to meet students from NSCAD (Nova Scotia College of Art and Design) and began engaging with art, social activities and changing eating habits, After graduating from the University, I went back to Japan, worked for a year, then went to Frankfurt, Germany.

Germany, China

ES: What was Germany for?

EU: At this time, a couple of my friends attended Städelschule, a school in Frankfurt, so I was simply curious to experience living in Germany with a group of friends. I was not an official student at the school, but I sneaked around and attended their lectures, film screenings and especially their cooking classes. And did some small projects while I was there.

ES: When would that have been?

EU: 2005–2007, for two and half years. And I think that was the time I was really influenced by the relations between space and food. Even though it was a small school they had a chef and a huge cafeteria where the students and teachers sat together and eat. I found that quality interesting, that in front of food people are very open and have discussions. I think from that point on I wanted to be working with food.

Then I went back to Japan again for two years and I consciously worked with food. The artist Fuyuka Shindo and I had a collaboration unit called DUET♪. We started catering and organizing food events and projects. At this time, I was working with the Sapporo Artist in Residence programme, and I learned the importance of long-term processes for producing work and engaging with people. I’ve now been in Beijing since the end of last year, because a friend of mine is living here and again, I’m looking forward to experiencing a different culture.

Seed Bombing

ES: Maybe you can talk about some of the things that you’ve done, like the Bento boxes, the Chain Letter Dinner at “also space”, and the seed bombing. I’d also like to ask about your work with Elaine Ho’s HomeShop. There’s an informal group of people around that, and you work together on certain things. Perhaps saying you work together is too much of a structure – it’s an informal, friendship thing, so the seed bombing, for instance, is a kind of joint effort.

Continue reading

Alternatives: HomeShop interview

An interview with Elaine W. Ho and Fotini Lazaridou-Hatzigoga at HomeShop.

HomeShop, Beijing

Edward Sanderson: Elaine, you’ve been here three years, how did HomeShop start? Have you and Fotini been working together the whole time?

Fotini Lazaridou-Hatzigoga: I’ve been to China a few times now, and we have collaborated on several projects, but it’s only at this moment that I’m joining in, as we are trying to think about HomeShop’s future. Elaine will be able to tell you more about what she’s been doing so far.

Elaine W. Ho: I think HomeShop really came out of my experience of living in China and my fascination with the juxtapositions between public space and private space here, which I think a lot of people notice or are intrigued by when they come here. A lot of the work that I do involves the public space and looking at alternative settings with which one is interfaced with an idea or a “work”, and because of that particular interest in negotiating a public space and a private space—not only on a spatial level but also on a social, economic level—this idea came to me: let’s play with the commercial space and see what we can do with that. So this was how it originally came about, and all the projects we’ve done here are based around this environment and the people here and are determined to a great extent by the architecture and the way that this space in particular relates to the community.

Continue reading

Chinese art market confidence

ArtTactic, Chinese Art Market Confidence Survey, Dec 2009

If anyone has a copy of this report, I would be very interested in taking a look (I might even cook you dinner). It would be fascinating to know what their criteria are for measuring “sentiment.” The report appears to look at a good range of artists1, so each one’s comparative results would be interesting to see. I’ve been hearing (mainly from auction results, so that’s pretty selective) that established names are recovering quickly, but the market for younger, less established artists is struggling (as one would expect). Most people I’ve talked to about this subject see these periodic downturns as, by and large, a “good” thing. I’m not denying the pain involved, but it’s a time in which everyone is forced to re-focus on their core strengths and if these aren’t sustainable then, perhaps, it’s time to move on.

The confidence in the Chinese Contemporary art market has strengthened significantly since February 2009, and is now back above the 50 level. The ArtTactic Confidence Indicator has increased from 16 in February 2009, to 57 in November 2009. The current level signals that there is more positive than negative sentiment in the art market. This is the first contemporary art market that ArtTactic has surveyed since the downturn, in which the Confidence Indicator has come in above the 50 level, which implies that the Chinese art market could be one of the quickest to recover.2

  1. Ai Weiwei, Cai Guoqiang, Cao Fei, Chen Wenbo, Fang Lijun, Feng Mengbo, Feng Zhengjie, Gu Dexin, Gu Wenda, He Duoling, He Yunchang, Hong Hao, Li Shan, Li Songsong, Liang Shaoji, Lin Tianmiao, Ling Jian, Liu Wei (B. 1972), Liu Xiaodong, Liu Ye, Lv Shenzhong, Mao Yan, Nie Mu, Qiu Zhijie, Shi Jinsong, Song Dong, Sui Jianguo, Tan Ping, Wang Gongxin, Wang Guangyi, Wang Jianwei, Wang Qingsong, Wang Wei, Wang Xingwei, Wu Shanzhuan, Xu Bing, Xu Zhen, Yang Fudong, Yang Shaobin, Yin Xiuzhen, Yu Hong, Yue Minjun, Zeng Fanzhi, Zhan Wang, Zhang Dali, Zhang Huan, Zhang Peili, Zhang Xiaogang, Zhong Biao, Zhou Tiehai, Zhou Xiaohu.
  2. ArtTactic (2009), Chinese Art Market Confidence Survey, Dec 2009. Retrieved from http://www.arttactic.com/view-report.php?type=reports&id=23 on 12 January 2010.

Adam Smith and World Trade

I’m currently reading David Harvey’s Spaces of Hope, which was inspired by the reading material for Vitamin Creative Space’s reading group.

Within a discussion of the realisation of “spaces of utopia” Harvey quotes eighteenth-century economist Adam Smith proposing the global effects of a free market:

[B]y uniting, in some measure, the most distant parts of the world, by enabling them to relieve one another’s wants, to increase one another’s enjoyments, and to encourage one another’s industry, their general tendency would seem to be beneficial. To the natives, however, both of the East and West Indies, all the commercial benefits which can have resulted from these events have been sunk and lost in the dreadful misfortunes which they have occasioned. These misfortunes, however, seem to have arisen rather from accident than from any thing in the nature of those events themselves. At the particular time when these discoveries were made, the superiority of force happened to be so great on the side of the Europeans, that they were enabled to commit with impunity every sort of injustice in those remote countries. Hereafter, perhaps, the natives of those countries may grow stronger, or those of Europe may grow weaker, and the inhabitants of all the different quarters of the world may arrive at that equality of courage and force which, by inspiring mutual fear, can alone overawe the injustice of independent nations into some sort of respect for the rights of one another. But nothing seems more likely to establish this equality of force than that mutual communication of knowledge and of all sorts of improvements which an extensive commerce from all countries to all countries naturally, or rather necessarily, carries along with it.1

The situation is now similar to that predicted by Adam Smith, but rather than the “East and West Indies” being in the ascendant relative to Europe, we have China taking their place against the perceived Euro-American block. But Smith’s utopian vision of “natural,” or “necessary” commerce, which will work towards an equality, when we look at the Chinese implementations seems to have hit on some uneven developments on the ground.

I think this unevenness is part and parcel of David Harvey’s “uneven geographical developments,” and is one of the reasons why, I think, capitalism will never stabilise – local conditions will always adjust the expected ideals into their realities, in this case realities “with Chinese characteristics.” For one thing you can’t say China practices a “free” market, but it partakes in the WTO who expect certain definitions of freedom (of trade) which, as I understand it, are very unevenly applied between China and the rest of the world.

I’m no apologist for the way things are, just commenting on the way things develop, and as such it’s unfair of me to single out China, as the trade relations between countries are never “free” but are practical realisations of idealised structures: “…the purity of any utopianism of process inevitably gets upset by its manner of spatialization. In exactly the same way that materializations of spatial utopias run afoul of the particularities of the temporal process mobilized to produce them, so the utopianism of process runs afoul of the spatial framings and the particularities of place construction necessary to its materialization.”2

  1. Adam Smith, quoted in Harvey, David (2000), Spaces of Hope, Edinburgh: Edinburgh University Press, p.179 (originally cited in Arrighi, G. (1994) The Long Twentieth Century, London, p.19)
  2. Harvey, David (2000), ibid.