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.

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.

After three years of photographing and months of preparation, my first monograph, Sound Kapital, finally launched at the powerHouse Arena in New York this past Thursday. Hundreds of people showed up and the prints looked wonderful in the large space. The guests of honor, though, were the Chinese bands who flew in from Beijing to kick off their first USA tour. I could not have been more honored to get P.K. 14, Carsick Cars, and Xiao He to play short sets at the opening. These performers provided a great deal of inspiration to commit to the Sound Kapital portrait series. They are easily making some of the best music coming out of China. You can see some video of their performance thanks to Punkcast.