Attention for “production” first originated from Marxist traditions. Since then, “production” has been given amore diversifying meanings: knowledge production in the cultural field, desire production in the spiritual field, power production in the political field – all making the society a huge production system. In a sense, “production” has become a keyword to analyze and diagnose the contemporary society. And French philosopher Jean Baudrillard also calls the Marxist productivism the “The Mirror of Production”, arguing that the post-modern society is consumption based, with consumption replacing production to become the society’s most dynamic driving power, and consumption being the mirror image of production in today’s society. As one of Shanghai’s most trendy shopping and art centers, the K11 Art Space is striving to achieve the transition of social driving power between consumption and production with art as a platform. It is also seeking to dismantle barriers between private and public spaces by using artworks’ aesthetic experiences and shopping mall’s trendy atmospheres.
Sitting on a core location along Huaihai Road, the K11 Art Space takes “Art·Humanity·Nature” as the three major elements of its core values. And by planting artistic experiences into shopping spaces, it has hosted high quality art exhibitions such as Master of Impressionism – Claude Monet, and is hoping to create the city’s biggest interactive art park, the most stylish shopping experiences as well as the most fashionable community hub for diversified cultures. It allows unified yet subtle interaction between art appreciation, human experiences, natural landscape as well as shopping and consumption, to provide never-seen-before sensual pleasure to all visitors and city residents.
Part of the “City Pavilions” program co-hosted with the Shanghai Biennale, The Mirror of Production at the K11 Art Space continues the location’s cultural mission to value fashion and support art, and enhances the biennale’s pursuits of seeking roots from local cultures and presenting the most pioneering artworks. Projects at The Mirror of Production will mostly feature public art and interactive installations. For public art projects, Spring Dream by Wang Hui and Claudio Colucci echoes the glamorous shopping atmosphere with a dream-like idea; Xu Bachi’s Magic Theater converts waste home appliances into artworks, to explore the relations between commodity consumption and artistic reconstruction. For interactive installation projects, Offline Eye by Wu Juehui initiates a conversation about visual consumption between contemporary art and modern technologies through the application of Wi-Fi technologies for remote viewing experiences; A Window by BUS the public communication committee introduces contemporary art forms including sound art and action performances to shopping windows, to simulate display of commodities and allow viewers and customers to experience contemporary art projects at close range; and Lu Tao’s Visual Diary will take advantage of the Social Factory calendar, to penetrate commercial public spaces with expressions of wall paintings, posters, advertisements, missing person announcements, and diaries.
An essential part of the “City Pavilions” program, the K11 Art Space is just like a multi-way mirror reflecting on production/consumption, culture/trend, and appreciation/interaction, to shed colorful yet artistic lights on one of Shanghai’s premium shopping destinations.