This is the second of a series of posts detailing the bourgeois practices of nouveau-riche, communist-heritage pilgrims who possess expectations and consumer desires that seem at odd with the core ideologies of the founding fathers of the Chinese Revolution. Armed with cash and a new sense of leisure, most of these fledgling tourists first make their way to Shaoshan/韶山, the birthplace of Mao Zedong. A slew of “red” products and trinkets are available around every corner even in the face of sincere reverence for founding Chinese Communist Party leaders that borderlines on idolization. Elderly tourists kowtow to statues of Mao Zedong while company retreats sing “red” songs and pledge oaths. These blind followers make easy prey for egregious tourist traps such as the Shao Yue Palace Maoist Family History Show, where attendants usher punters into Mao Zedong veneration halls, hand out lucky ornaments, ask them to bow to a Mao Zedong statue three times and then try to charge them for the “blessed” ornaments. Some estimate the value of the entire “red” industry at $1.5 billion dollars and Mao Zedong’s hometown is at the epicenter. Also check out the last post in the series on “The Defense of Yan’an” reenactment.

I always like to brag about Beijing being the center of the music universe in China. It is rather hard to dispute. The only band that throws a wrench in my argument is Duck Fight Goose. Hailing from Shanghai, they are one of the best bands in China, hands down. Their new album Sports, recently released by Maybe Mars, should put them more on the map not only domestically but hopefully internationally. I love the math and prog rock influences and genuinely feel it could be a breakout album. Han Han, the lead singer and general impresario, is taking the band in a wide array of directions. Their live performances are also extremely tight – check out footage from the Sports album release party at D-22 below. So, onwards and upwards with Duck Fight Goose, and may they continue to instigate a renaissance of sorts in Shanghai.

It is with great pleasure to announce that a photograph from the Happy Magic Water Park series is in this month’s issue of National Geographic. I have been meeting with editors at the renowned magazine for over a year, and although it’s just a double-page spread, getting into National Geographic was one of those markers I set for myself a long time ago and definitely dreamed about as a kid. Hopefully it will lead to a full feature with them in the future. Also, fellow INSTITUTE photographer Richard Mosse has a spread from his amazing series Infra, which Aperture just published as a monograph. In celebration, I returned to my Happy Magic Water Park material and pulled out some photographs that I have never shown before. Check them out below.

I just completed a Domus Mixtape for Beijing. You can hear it over at Domus or on SoundCloud. I drew exclusively from Maybe Mars and Modern Sky for the music as well as a live recording of Zhang Shouwang/张守望 of White+ and Carsick Cars fame. There is a lot more music out there in China, of course, but this is definitely some of my favorite material. Sort of the soundtrack to my life over the past four years. Below is the accompanying text, track list and some portraits of the performers included on the mixtape from Sound Kapital:

The hardest part of the day in Beijing is getting out of bed. Gazing across a smoggy skyline and watching the hectic traffic below is reason enough to hide under the covers for a few more hours. It is a dystopia – maybe even a nightmare. That is why I embrace the night. The sky remains a muted black, and I can seek out sparks of life in the darker recesses of the city. Beijing’s mutating urban landscape can only be matched by its shifting artistic climate, especially in the realm of sound. Desperation breeds discontent, and voices are emerging to express it. Every weekend features full billings at a growing number of performance spaces across Beijing: dive bars near the universities, small coffee houses hidden amongst the hutongs, larger concert halls in defunct government buildings, or experimental enclaves adjoining fish farms on the outer edges of the city. Beijing’s erratic social landscape is now molded by the Internet and mobile phones instead of more closely controlled media channels such as television and radio. Those with idiosyncratic tastes readily connect with each other and access an exponentially broader realm of music from both home and abroad as they continue to pick apart the past fifty years of western pop, rock, jazz, punk, electronic, and experimental music with increased vigor. The performers on this mixtape constitute a formidable new wave of artists striving to expand their creative limits in an autonomous and compelling fashion. Even though it is too early to tell what may come of the innovative strides made by these musicians, there is no doubt that they will continue to break ground within Beijing’s nascent artistic landscape, helping to push the boundaries of an already expanding realm of independent thought and musical expression in China. In the end the city resists description. Outside the smoke-choked bars everything is layered in a fine coat of dust. Whole neighborhoods disappear and find their way deep into your lungs. That’s the problem. The city gets inside you – fills you to the brim – consumed by a monstrous flow of people and infrastructure. It’s savage but enticing. Six million people flocked here over the past ten years and half a million are expected each year for the foreseeable future. The implosion is just beginning. The nebulous heart of the middle kingdom skips along to ever irregular beats.

Tracks:

01. My Great Location - Rebuilding the Rights of Statues/重塑雕像的权利

02. Some Surprises Come Too Soon - P.K. 14

03. No. 6 Space Ship - AV Okubo/AV大久保

04. Sand Hammer - Hedgehog/刺猬

05. Sunday Girl - Ourself Beside Me

06. Flu - Snapline

07. You Can Listen You Can Talk - Carsick Cars

08. Golden Gate - Duck Fight Goose/鸭打鹅乐队

09. This Side Down - The Offset Spectacle/憬观：像同叠

10. To Die - Soviet Pop/苏维埃·波普

11. The Earthquake - 24 Hour/24小时

12. Hospital - Guai Li/怪力

13. Beijing is Not My Home - Demerit/过失

14. Intro/Outro/Transitions - Zhang Shouwang/张守望 live at D-22 on November 22, 2011

A few weeks ago I had the pleasure of visiting Ai Weiwei in his studio to take portraits for Foreign Policy’s Top 100 Global Thinkers list where he appeared at #18 in the rankings. He was very amiable and open to me directing him about his compound where I posed him with some of his favorite cats. Ai Weiwei is all over the news again. After a short period of silence following an 81-day incarceration, he continues to lash out at authorities and decry the trumped-up charges of tax evasion brought against him in an attempt to silence his outspoken criticisms. A recent Newsweek piece he penned where he related Beijing to a “nightmare” was especially noteworthy. This renewed vigor and boldness seem in large part due to the outpouring of support shown by anonymous Chinese donors who rallied behind him to raise $1.4 million to challenge his huge tax bill which he refers to as ransom money. Other admirers are finding more brazen outlets to show support by posting nude photos of themselves online in defense of other spurious pornography charges brought against Ai Weiwei for a set of revealing self portraits released on the Internet. To make things even more controversial, high profile figures are weighing in on the situation, including Taiwan’s president Ma Ying-jeou who visited his current exhibition at the Taipei Fine Arts Museum. It’s all quite a mess, but I am sure Ai Weiwei is pleased with himself for creating an even larger fuss than before his arrest – another great case of censorship backfiring in the face of the Chinese state.

In a crazy sense I think the political space in China has truly transformed Ai Weiwei’s life into an interdisciplinary work of art or a “social performance” as he calls it. His invocation of the Chinese state’s ire came through a combination of critical sculptures, writings, photographs, videos and installations. While these separate pieces might not be interdisciplinary in nature, they have brought about a dynamic where every action or utterance of Ai Weiwei becomes performative in nature and open to intense analysis by journalists, officials, police and, increasingly so, the general public. His identity remains at the center and activates all of these mediums of expression, especially through the Internet which exponentially magnifies his impact. In a statistical sense, Ai Weiwei is not well known in China. Still, he is making waves where it counts and China’s intelligentsia is taking note. These are the people fashioning the new China, and his stand against censorship and political suppression is singular. By tapping into a populist sentiment with his donation drive, he is putting officials even more on edge. It’s a very crucial moment for Ai Weiwei right now. There is still a very distinct possibility he might disappear again.

In other Ai Weiwei news, my friend Alison Klayman’s documentary, Ai Weiwei: Never Sorry, is set to premiere at the Sundance Festival in January. Check out the trailer and her appearance on the Colbert Report. It is very timely and should be a great film.

The Creators Project is one of the best live multimedia events to come to Beijing. Curated by Vice through an unlikely Intel partnership, this year’s second installment took over UCCA with massive art installations along with an evening of performances from an impressive roster of bands and solo acts. The Creators Project really provides an important platform for international interchange between artists, designers and musicians. Their dedication to the Beijing scene is also growing every year and helped arrange New Pants’ appearance at Coachella and also flew out Queen Sea Big Shark for the Creators Project event in New York City. The video below features installation pieces by Mick Rock and Barney Clay, Joao Vasco Paiva, United Visual Artists and Tatsuo Miyajima. I am already looking forward to next year.

I’m sorry I’m so late with posting these clippings, but I have been traveling a lot recently. Last month Time Magazine featured my photographs from The Ordos Real Estate Bubble: An Empty Chinese Metropolis series in a piece on China’s precarious real estate market. Property prices have been skyrocketing over the past three years thanks to mass speculation by developers and government support of infrastructure development. For some time it was easily one of the best investments in the country and people would camp out on streets in order to buy apartments in especially hot markets in Shanghai and Sanya. Now it seems like the tide is finally going to turn. The real question is whether or not there is going to be a soft or hard landing for property prices. The China real estate sector might be most important financial market in the global economy, and a sudden pop would send international markets into a downward spiral. I don’t think this is going to happen, but people are starting to wake up and realize how overheated housing and commercial markets are in major urban centers. Many of these newfangled luxury developments remain empty and prices are starting to drop. It’s going to be interesting to see how this story unfolds over the next few months.

After a four-year, $380 million refurbishment, the National Museum of China finally opened its doors to the public as the largest exhibition space on the planet, beating out both the Louvre in Paris and the Hermitage in St. Petersburg. Even though now touted as one of the world’s premiere cultural institutions, it has failed to impress either international or domestic visitors with it’s shrill depiction of the history of the Chinese Communist Party in its centerpiece “The Road of Rejuvenation” exhibition. Key epochs such as the Great Leap Forward and Cultural Revolution are left out of its glossy displays and poorly translated placards. Still, such a propagandistic history of modern China was expected in the first place. What really shocked many visitors was the blatant commercialization of the National Museum of China within its first two design exhibitions: “Louis Vuitton Voyages” and “Bulgari: 125 Years of Italian Magnificence.” Museum directors claim such exhibitions are revitalizing interest in the space, but it is more a sellout at the heart of the nation a stone’s throw from Mao Zedong’s tomb. Critics remain baffled as to how such a key cultural institution could blatantly promote such crass consumerism, especially surrounding the 90th anniversary of the Chinese Communist Party which was also linked to an exhibition of historical paintings adjacent to vintage Louis Vuitton trunks and sparkling Bulgari jewels. Such opulent items stand counter to the core ideologies of the founding fathers of the Chinese Communist Party celebrated a short distance away, as well as the core mission of the museum itself that is purportedly dedicated to promoting Chinese culture instead of foreign luxury brands. These photographs juxtapose the “The Road of Rejuvenation” and “Masterpieces of Modern Chinese Fine Arts” exhibitions advocating the socialist roots of the Chinese Communist Party with the champagne-fueled openings of the “Louis Vuitton Voyages” and “Bulgari: 125 Years of Italian Magnificence” exhibitions. Such paradoxes stand at the center of the Chinese Communist Party’s attempts to rectify its embrace of rampant free-market consumerism with its socialist heritage.

I was very fortunate to be approached by fellow MFA student, and established artist, Mathias Kessler to participate in a group show celebrating the opening of ME Contemporary‘s new and expanded space in Copenhagen. He was looking to pair up his Cueva de Charles Brewer photographs with some of my own for the exhibition. After some consideration it became apparent that my Happy Magic Water Park series would work particularly well, not just because of its artificial cave nature, but also because it reacts well with the beautiful orange hues of Mathias’ prints. Here is what the gallery had to say:

“Mathias Kessler has, in recent years, been using his camera to record nature from remote areas the average person rarely reaches. By relating to modern man’s domination over nature, the artist portrays areas that in the media are doomed to be infinitesimal: the icebergs, and areas where no man, certainly not modern, have actually been and where nature in its own right is far superior. In one such instance, lie these giant caves whose only access is from Mount Tepui’s vertical hillside. As a counterpart to these enormous, almost mythical caves, Kessler has invited photographer Matthew Niederhauser, whose recent projects investigate modern China, to exhibit photos of the Happy Magic Water Cube, Beijing Water Cube Water Park. The meeting between the artificially staged water park with its eerie blue color and Kessler´s earth-colored cave photos creates a new reality that in an interesting and unintentional manner serves to reinforce their own story.”

I really wish I could be out there to see the exhibit. Apparently one of our sets already sold. If you are anywhere near Copenhagen please check it out and let me know what you think. Thanks again to Mathias for including me as well. Hopefully it will be the first of more collaborations.

This place is well documented, but fits into my Counterfeit Paradises series as Shanghai remains one of the fastest growing cities on the planet. In order to keep up with demand, the municipal government must supply housing for up to 400,000 new residents every year. In an effort to provide a bit of flash and diversity to the monotony of Chinese urban sprawl, developers broke ground on Songjiang New City which included nine satellite villages utilizing design elements from various European countries. Thames Town, modeled after quaint English hamlets, was the centerpiece and eventually the largest debacle after failing to attract permanent residents. The English-themed restaurants and stores remain shuttered while the streets only see the passing of young couples posing for wedding photographs. Far from the hustle and bustle of downtown Shanghai, the Thames Town Church seems poised to continue without a congregation for the foreseeable future.

Queen Sea Big Shark/后海大鲨鱼 is so, like, HOT right now. I mean, for real. This past year they were featured in both V Magazine and the Vogue September issue where Mario Testino cued up on them for a big spread. Lead singer, Fu Han/付菡, is now the electronic dance rock fashion diva of China. During her packed show at Tango in Beijing earlier this month, she went through at least four different outfits in the course of the evening. More power to her. I still have a big soft spot for Queen Sea Big Shark, even if I’m not the biggest fan of the haute couture pop direction she is taking with the band. They still rock it out, and their early surf rock influences make an appearance here and there. I luckily caught Fuhan at UCCA during the Creators Project where I took a few photos and video footage for fun. Check the video below for some recent concert material as well. They are getting into very elaborate stage setups for the big concerts. Otherwise, here are some recent music videos for Let’s Play, Glow in the Dark and an awesome promotional video for their sophomore album Wave.

I am definitely late in publicizing this, but Time Magazine used a bunch of photographs from my Red China Rising series in a recent article on red culture and Maoist thought promotion in China for the 90th anniversary of the Chinese Communist Party. The foreign and domestic media frenzy surrounding the promotion of red songs and Mao quotes seems to have subsided now, but it certainly doesn’t mean old people won’t keep gathering in public parks to belt out “The East is Red” and other Cultural Revolution favorites. The whole campaign sort of turned into a joke by the end, and certainly never really caught on amongst the youth. The only real impact I could see is that couples dressing up for cheesy romantic portait sessions now like to don People’s Liberation Army garb covered in red stars. Intentional irony or not, march on!

Over the past few years, I have obsessively explored and photographed theme parks all over China. These are some of my favorite places to investigate changing notions of leisure and other trappings of “modern” lifestyles now enjoyed by the country’s nouveau riche. I also fancy myself a bit of a fashion photographer, so I was most pleased when I was approached by Dominick Hill, a friend and famed founder of Plastered 8 T-Shirts, to shoot some photographs at the Beijing World Park alongside Ren Hang, an up-and-coming Chinese photographer with amazing model friends. The theme was ennui. The Beijing World Park is a most unique and amazing place – a shabbier northern cousin of the Windows on the World theme park in Shenzhen. Hundreds of small-scale models of famous monuments, buildings and natural wonders from around the world are spread over expansive grounds. It is a wonderful place to spend an odd afternoon. Here are some of the results.

As the Chinese Communist Party celebrates it’s 90th anniversary this year, nationalistic tourists are flocking in droves to communist heritage sites across China. Shaoshan, the birthplace of Mao Zedong, and Yan’an, the cradle of the Chinese Revolution where the Long March ended, now cater to millions of tourists every year. This is going to be the first of a series of posts detailing the bourgeois leisure practices of these nouveau riche pilgrims who possess expectations and consumer desires that seem at odd with the core ideologies of the founding fathers of the Chinese Revolution. The most elaborate attraction in the country is the extremely popular “The Defense of Yan’an” battle reenactment. This spectacle became all the rage thanks to a special twist: for an extra fee observers can don soldier fatigues and participate in the fray. Not only can you observe a pseudo-historical reenactment that spends an inordinate amount of time praising the leadership of Mao, vilifying the KMT and demonstrating the harmonious integration of Shaanxi folk life with communist principles, but you can also tote around guns, get close to the explosions and run wildly around a makeshift village in the name of celebrating revolutionary heritage. The theater of history plays out every afternoon with extra matinees on weekends.

The arid landscape around Ordos was never a forgiving place. Its remoteness and lack of ground water always kept growth in check. Now the Inner Mongolian mining center produces a third of China’s coal and the municipal government decided to use the extra revenues to literally build an entire new city. Located 25 kilometers west of the old town, the Kangbashi/康巴什 new district sports a museum, opera house, library, cultural center, sculpture parks, malls and endless rows of megablock housing. Designed to accomodate a population upwards to a million people, only 30,000 have decided to make the move into the newfangled developments. For now the strange new city that popped out of the sands remains largely deserted. Only a handful of locals walk amidst the abstract shapes and glass-covered malls of Kangbashi. It is one of many locations in China that point to a real estate bubble just waiting to pop.