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TOFUD # Shenzen, urban installation @ OCAT, Shenzhen Hong Kong City Biennale 2011, Shenzhen

 

TOFUD # Shenzhen
urban installation
OCAT, Shenzhen, CN

6th OCAT International Art Residency 16-08 / 15-11-11 on invitation by SICA and Fonds BKVB

Exhibition Future Relevance a parallel programme as part of the 2011 Shenzhen and Hong Kong Bi City Biennale of Urbanism/Architecture 11-11-11 / 08-01-2012

Artist: Thomas Adebahr DE / Frank Havermans NL / Nika Oblak and Primoz Novak SL

Frank Havermans - Cycling the City

Catalog text by Paula Orrell, Curator, Plymouth Arts Centre

The realm of the everyday is in fact the most alive, vivid and dynamic terrain for invention and innovation. The street, the urban landscape becomes an immediate space where Frank Havermans occupies his engagement. Dominating powers execute their orders through modern urban planning and architectural forms, the dominated or marginalised communities respond with interventions and occupation. This is a globalised phenomenon, but it would seem a dominant preoccupation of Chinese urban planning. The cities are a mirror of a sci-fi film set; utopias in construct, corrupt with land reclamation and hanker after the modernist ideal. Where do these building want to reach to, where do they want to transcend to. What is the future of land occupation in China? The unique forms of installations presented by Frank Havermans consider the language of architecture, construction and urbanism. Formed through his observations and experience of urbanism in Shenzhen and greater area. He builds new urban models made by found and recycled materials and combines them in a new spatial installation TOFUD Shenzhen B10. This installation is based on the linear stretched urban city structure of Shenzhen in contrast with the highly dense urban villages coexisting in this city as another system within a system. Urban spaces turn into battlefields between different social groups that fight for their specific ideals of society. However, there is another language apparent in the work. The forms are reflective of engineering heritage. Clamped onto the outside of a building as temporary sculpture or wedged between two tress, a place of rest and contemplation. The sculptural language is a transfusion of this history and design in construction. Objects that once had a use but become a monument of an era.

To look down from a high rise, to experience the breadth of a city is the perfect bird eye view. The shapes, the drawings, the sculptural forms are dominant factors in the work. The two-dimensional layers become immersive and consuming sculptures. The chaos that is presented is the experience of cities now. What relevance does urban planning has in the future, as cities become the heart of economic source. The margins explode and within the context of such growth, where will the next spaces to occupy be.

TOFUD # Shenzen, urban installation @ OCAT, Shenzhen Hong Kong City Biennale 2011, Shenzhen

TOFUD # Shenzen, urban installation @ OCAT, Shenzhen Hong Kong City Biennale 2011, Shenzhen

TOFUD # Shenzen, urban installation @ OCAT, Shenzhen Hong Kong City Biennale 2011, Shenzhen

TOFUD # Shenzen, urban installation @ OCAT, Shenzhen Hong Kong City Biennale 2011, Shenzhen

TOFUD # Shenzen, urban installation @ OCAT, Shenzhen Hong Kong City Biennale 2011, Shenzhen

TOFUD # Shenzen, urban installation @ OCAT, Shenzhen Hong Kong City Biennale 2011, Shenzhen

TOFUD # Shenzhen B10 model 1, photo by Thomas Adebahr

TOFUD # Shenzhen B10 model 3, photo by Thomas Adebahr