10,897 research outputs found
Cao Fei : Utopia
No full textPublished on the occasion of the exhibition 'Cao Fei : Utopia' held at Institute of Modern Art, Brisbane (2 May-27 June 2009)
ARTSPACE, Auckland (11 July-22 August 2009)
TheNewDowse, Lower Hutt, NZ (26 September 2009-31 January 2010)
Dunedin Public Art Gallery, NZ (13 February-18 May 2010).
A joint project by the Institute of Modern Art and ARTSPACE
Cao Fei: Rethinking the global/local discourse
No full textCao Fei (b. 1978) was born and raised in the southern Chinese city of Guangzhou by the Pearl River Delta (PRD), ‘the factory of the world’, as the artist defined it. Working with multimedia, primarily video, photography and machinima, her practice engages with popular culture,
regional trends and globalized fashions. With an early official participation at the China Pavilion of the Venice Biennale in 2007, Cao Fei is one of the most renowned Chinese artists of the post-Cultural Revolution ‘new new human beings’ (xinxin renlei), and one of the few women
artists from the People’s Republic of China who has been recognized and collected internationally by art establishments such as the Tate Collection in Britain, the Centre Pompidou in Paris and MoMA in New York. This article proposes to use Cao Fei’s work to explore the limitations
of the global/local discourse and offer a more nuanced and complex understanding of this dichotomy in Chinese contemporary art.</jats:p
Cao Fei, artista del futuro e della memoria
No full textLa mostra Supernova, inaugurata nel dicembre 2021 al MAXXI di Roma, espone una selezione di opere di Cao Fei proponendo le riflessioni dell'artista sul presente e sul prossimo futuro della Cina e di tutta l'umanità
Dreams of the South: Watermelons and Memory in Cao Fei's Haze and Fog
No full textCritical appraisal of some of the literary and visual motives in the work of the Chinese contemporary artist Cao Fe
Name of Candidate Fei Cao.
No full textWeb Services (WS) have emerged as a new component-based software develop-ment paradigm in a network-centric environment based on the Service-Oriented Architec-ture (SOA), the XML open standard description language, and HTTP transportation pro-tocol. Legacy software systems can incorporate WS technology in order to be reused and integrated in a distributed environment across heterogeneous platforms. While WS is gaining its momentum toward wide adoption in the software industry, there are two criti-cal issues yet to be addressed before its power is fully realized: (1) the migration of leg-acy distributed software systems toward WS applications and (2) the innovation of new infrastructures and languages in support of WS application development. The contribu-tion of this dissertation is in these two directions. First, a comprehensive, systematic, automatable, and language-neutral approach is presented toward reengineering legacy software systems to WS applications, rather than rewriting the whole legacy software system from scratch in an ad hoc, language-specific manner. It is noteworthy that this approach is not specific to reengineering WS applica-tions but can be generalized to reengineering legacy software systems to other applica
The politics of aesthetics, space and community: An analysis of Same Old, Brand New by Cao Fei
No full textThis article analyses the site-specific video artwork Same Old, Brand New by Chinese artist Cao Fei, which was exhibited in Hong Kong during Art Basel 2015. Set in the context of the Umbrella Revolution, it is argued that although the work by Chinese artists who became known in the 2000s may seem apolitical, artists such as Cao Fei have found subtle ways to create political art, to engage the public with politics, to disrupt political hegemony, to go beyond the boundaries of art institutions and to produce ungovernable communities that may evade identity politics. In its intervention in public space and its reworking of popular culture Same Old, Brand New has helped to temporarily constitute a politically engaged public. Using theories by Jacques Rancière, Henri Lefebvre and Jean-Luc Nancy, this study shows how Same Old, Brand New disrupts the distribution of the sensible and the hegemonic production of space and produces a sense of ‘being-in-common’
Parameter identification for chaotic system with random noise by differential evolution algorithm
No full text
CaO-Promoted Lattice Oxygen Activation and Antichlorine Poisoning over Mullite for Catalytic Chlorobenzene Combustion
No full textThe degradation of chlorine-containing
volatile organic
compounds
(Cl–VOCs) utilizing catalytic combustion technology is subject
to the paradox of toxic byproduct formation and catalyst chlorine
poisoning. Herein, a CaO-assisted strategy is proposed to resolve
the awkward stuff for improving the catalytic combustion performance
of chlorobenzene on SmMn2O5. The CaO-collaborated
SmMn2O5 exhibits a significant decrease in T90 by 142 and 125 °C compared with unmodified
and inert SiO2-composited SmMn2O5, respectively. The integrated characterization results confirm that
CaO collaboration causes electron transfer from CaO to SmMn2O5, resulting in a reduction of the orbital overlap between
Mn and O atoms to activate lattice oxygen (Olatt). The
activated Olatt enables chlorobenzene to combust completely
at a lower temperature of 275 °C at which toxic byproducts are
not generated. Furthermore, the switching of the dechlorination site
from SmMn2O5 to CaO avoids chlorine poisoning
of active sites on SmMn2O5 and thus endows CaO-collaborated
SmMn2O5 with prominent stability
Whose Utopia von Cao Fei und das Versprechen der Utopie
No full textDas Video Whose Utopia der chinesischen Künstlerin Cao Fei entstand 2006 in der Osram Lichtfabrik in Foshan, China im Rahmen des dort realisierten Projektes Utopia Factory. Innerhalb von sechs Monaten organisierte die Künstlerin vor Ort verschiedene Workshops mit Fabrikarbeiter_innen, die in Bezug zur Osram Fabrik, aber auch zu den Wünschen und Träumen der Arbeiter_innen standen. Im Anschluss an eine auf Michel Foucault zurückgehende Auffassung von (Körper-) Utopien als imaginäre Figurationen, die "aus dem Körper hervorgegangen" sind, möchte ich am Beispiel von Whose Utopia weniger Entwürfe einer in der Zukunft liegenden Vision, sondern Konstruktionen utopischer Körper sowie deren mediale Bedingungen und Formen der imaginären Verwirklichung im Alltag betrachten. Die Performances der Arbeiter_innen treten als utopische Körper hervor, wobei diese im Video außerhalb der weiterlaufenden Produktionsprozesse als Raumzeiten des anderen Denkens und Wahrnehmens ausgestellt werden. Whose Utopia verdeutlicht die Durchkreuzung von Alltagsutopien und utopischen Körpern und offenbart damit auch ein Streben der Akteure nach sozial-politischen Utopien. Diese mikro-utopischen Entwürfe der Visionen des Alltags können zugleich als Abgesang der großen gesellschaftlichen Visionen des Utopischen verstanden werden, wobei im Video parallele Raumzeiten entworfen werden, in denen sich das Utopische entfaltet und schließlich wieder verworfen wird
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