This was one of my most intimidating assignments to date: a portrait of three of the richest females in China along with Amy Chua, the author of Battle Hymn of the Tiger Mother, in less than ten minutes before their power dinner. It really was a Tigress Tycoons showdown. The leader of the streak, in my eyes, was Zhang Xin/张欣 (far right). Her company, SOHO China, is easily one of the top real estate developers in China, building some of the most daring (and sometimes dastardly) megablocks in the country. These properties reshaped Beijing’s skyline and netted her about $2.7 billion. Forbes and the Financial Times consistently list Zhang Xin as a top businesswomen in Asia. Her biography is also staggering. She saved up money working in Hong Kong garment sweatshops before moving to England to study at Cambridge and on to New York City to work at Goldman Sachs. Amazing. Next to Zhang Xin is Yang Lan/杨澜, also know as the “Oprah of China” thanks to her massive television presence and media empire. While not a rags to riches story like Zhang Xin, Yang Lan hit it big on Chinese domestic television, sometimes garnering viewing audiences in the hundreds of millions. She was one of the first talk show hosts in mainland China who really spoke her mind and cofounded Sun Television Cybernetworks.

Last and certainly not least of the Tigress Tycoons is Zhang Yan/张兰 (far left). She founded the popular South Beauty restaurants with now boasts over forty locations throughout the country. Known for their opulent settings, they also serve up extremely tasty Sichuan fair. Zhang Yan completed the female power trifecta. Amy Chua is nothing to scoff at of course, but fits into a different category with her academic and literary accolades. Her book promoting the “Tiger Mother” parenting method  sent waves around the world, especially in mainland China. There is even now an “Eagle Dad” spinoff category. Anyway, it was a bit tense at first getting all the ladies together, but thanks to the antics of Zhang Xin’s husband, Pan Shiyi, who decided to take photos along with me, the ten minutes passed without a hitch. Be sure to check out Amy Chua’s accompanying profile of the Tigress Tycoons.

This is a bit of an oddity. I would go so far as to call it an accidental music video. Last September I ended up on The Bund at dawn in Shanghai. This should happen at least once in your lifetime. Ostensibly I was there to photograph a performance by the talented and capable Olek, whose crocheted work I first encountered in New York City this past summer. After she failed to initiate a crocheting enterprise, thanks to the Shanghai Public Security Bureau, I stuck around and watched the sun rise in all its glory over the imposing Pudong skyline. Slowly but surely the entire city awoke around me. My favorite part are the old guys walking backwards for exercise. I find their physicality a strangely fitting metaphor for the urban development occurring around them. It was a beautiful sight. I mashed up the video from that morning with a live performance of White+ recorded at the now defunct D-22. Check out the results below.

Macau looms large on the iniquitous edges of Asia. It is a city of sin: filled with casinos, prostitutes and any other vice or luxury one could imagine. In many ways this is business as usual. Trafficking of women and general skullduggery date back to the earliest days of the Portuguese colony at the turn of the 16th century. Now the stakes are much higher though, and for many visitors, money is not an object. Macau currently draws the biggest “whales” in the world and most of these high rollers come straight out of mainland China. The increase in gambling revenues in Macau is unprecedented. Galaxy Entertainment tripled its profits during 2011, and the entire casino industry is already up 20% in the first quarter of this year compared to last. Macau outperforms the Las Vegas Strip nearly six times over and there is no end in sight.

The already outrageous revenues posted by Macau casinos also appear to be the tip of the iceberg. It is largely acknowledged that a massive amount of cash moves through V.I.P. gambling rooms where high-stake bets are off the books. No one knows how deep that well goes. Money laundering and connections to triads run rampant through the “junkets” who shuttle wealthy mainland Chinese gamblers into Macau and collect their debts elsewhere in order to bypass currency limitations at the border. Macau is riding the tails of China’s economic boom and catering to the extravagant tastes of the Chinese nouveau riche looking to flex their often illicit financial muscles.

At the top of the pyramid are two of the world’s richest men: Steve Wynn and Sheldon Adelson (also the largest contributor to Newt Gingrich’s campaign efforts). Both are in heated competition to rule Macau as their fortunes continue to skyrocket despite serious allegations of corruption and a spotty track record. A WikiLeaks spinoff called CasinoLeaks – Macau offers up condemning fare based on collected public records. Be sure to read Evan Osnos’ article in The New Yorker that features my photography. He does an amazing job navigating this intricate web of sordidness. More photographs that didn’t make the cut can be seen below.

Check out my newest creation. This incarnation of Visions of Modernity examines the “harmonious” transformation of Beijing by recreating propaganda banners espousing “modern” and “civilized” lifestyles. Unfortunately such optimistic rhetoric does not always reflect the current state of urban planning. Megablocks dominate infrastructure surrounding Beijing’s medieval core. Huge swaths of land are handed over to developers and fashioned into towering residential high-rises interwoven with retail and public spaces. The photographs on the tarps depict some of the largest developments in the city. Once constructed, megablocks form distinct urban islands, bounded by grand avenues and further hemmed in by ring roads. Any sense of fluidity within the urban fabric is lost. Entire districts are laid out and rebuilt in such a fashion – like cogs in a machine switched out for newer parts.

As the imposing and monotonous facades of megablocks become the norm, they also reshape the manner in which people live and consume by encouraging social atomization in Western-style apartments. Global commerce immediately took notice of this elaborate transformation of cultural identity. With an increasingly materialistic China in its sights, Ikea opened in Beijing what was at the time its single largest outlet in the world. The compartmentalized lifestyles Ikea put on sale catalyzed a new range of communal practices that are represented in the photographic dioramas attached to the tarps. These Ikea showroom interiors perfectly fit the megablock mold even when unsustainable in nature if implemented throughout the rest of China. There is now a substantial gap between the “modern” and “civilized” vision of Beijing found on banners plastered around the city and how it is actually manifesting in daily practice. Any sense of harmony remains elusive in the midst of this developmental explosion.

For this installation I strung together tarps measuring up to ten meters in length to create photographic corridors of urban landscapes emblazoned with actual propaganda messages used by the Beijing municipal government. Small holes are then cut into particular buildings on the tarps that reveal photographic dioramas of Ikea lit by a single bulb. The size of the installation can be adapted to fit almost any space. In the future I would like it to cover entire buildings. All photographs were taken in Beijing. Check out the video below for a better feel.

One of my photographs from the amazingly ridiculous Kangbashi district in Ordos was featured in Conde Nast Traveler this past month. The building shown is the Ordos Museum designed by MAD architects, one of the preeminent Chinese architecture firms founded by Ma Yansong who previously toiled as a project designer for Zaha Hadid Architects. The building itself remains a wonder to behold as its irregular shape clashes with the geometrical grid that binds the rest of the newfangled district. Whether or not it will see any use is the real question now that it finally opened. The municipal government can barely get people to stay put in the Kangbashi residential developments, let alone consistently fill up over 40,000 square meters of exhibition space. The flagship cultural center of Ordos will probably accumulate more sand from the Gobi desert than actual visitors. Anyway, I will be featuring more photographs of MAD buildings in the near future thanks to my first assignment with The New York Times Magazine. In the meantime, you can check out some extra photographs I took of the unfinished interior.

I am getting onto a plane for Australia in a few hours. This is my first time heading down under – very excited. This Friday evening Carriageworks, a huge art and cultural center in Sydney, is going to present a program on my Sound Kapital project. I am giving a short talk around 6PM followed by a performance at 8PM by three amazing bands from Beijing: Nova Heart, AV Okubo/AV大久保, and Xiao He/小河. An extended selection of my work documenting the underground music scene in Beijing will also be projected during the concert. It should be an awesome evening all around. Check out the links to Carriageworks above for ticket information and videos below for previews of the bands.

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