Artists living and working in China illustrate their views on the past embodied by tradition, the future embodied by progress, and the present. Utopia Nowhere aims to show how such concepts relate to one another in the context of culture and society at both global and local levels. Through a variety of visual art mediums, the exhibition is presented in three approaches; attitudes towards social and environmental progress in China, reflections on Chinese culture and tradition, and ‘contemporary nostalgia.’

Sleep / Restart / Shut Down

Diana Freundl

Utopia Nowhere: Views of Progress and Nostalgia is not an exhibition about the problems of urban development per se; it’s about where civilization is heading. For a long time I have wanted to examine the variety of opinions surrounding the “progress” debate, ranging from advancements in Internet communication to gentrification of residential neighborhoods.

“Progress,” “utopia” and most importantly “civilization” are the parameters outlining the research, artwork and approach to viewing this exhibition. A definition of civilization is borrowed from author and eco-activist Derek Jensen who describes it as, “a culture — a complex of stories, institutions, and artifacts —that both leads to and emerges from the growth of cities; with cities being defined as people living more or less permanently in one place in densities high enough to require the routine importation of food and other necessities of life,” [Jensen, D. (2006). Endgame Volume l p. 17; New York, USA: Seven Stories Press].

Throughout the exhibition progress is understood as an ideal of civilized achievement, which requires developments in technology, science, and social organization that produce an improvement in the human condition. As difficult as it is to define, progress is more problematic to evaluate, but nearly all movement is in the direction of an ideal state of the world; a progress towards some form of utopia.

Utopias range from religious or afterlife scenarios, to more science-based fiction, where humanity reaches a harmonious monoculture or the eventual colonization of a new planet. A more conservative usage of contemporary utopia is referred to as revealed preference, which says countries have progressed if people, who have a choice, move to them and adopt its ways [Gray, J. (2007). Black Mass; London, England: Penguin Books Ltd].

In the pursuit of utopia we confront its antonym, dystopia; civilization in the quest for progress inadvertently introduces problems it does not have the resources to solve, thus inciting social collapse. Dystopian views are often warnings to society, forecasting destruction due to the tendencies of the present. Similarly, most utopian narratives also envision an apocalyptic transition before reaching the ideal state.

Many local and international artists question the development of modern civilization, including South African artist Kendell Geers’s solo exhibit, Fin de Partie, at Galleria Continua (Beijing, March 2011), which addressed contemporary progress with a dystopic view of society. Based on the endgame — when few pieces are left and each move might result in bringing the game to an end — Geers created a post-utopian view that questions the political, social and economic prowess of capitalist society.

Bypassing an apocalyptic purgatory, Alicia Framis took the idea of progress to its scientific conclusion in her ongoing Moonlife project, which invites astro-scientists, artists, architects, and designers to prepare for life on the moon. Through workshops, lectures, exhibitions, dialogues and eventually collaborations of moon commodities, Framis prepares for what many know but are afraid to admit, humanity needs to find a new resource base.

Although Geers and Framis are vastly different in their approaches, both start from a similar premise — one most would agree with — contemporary living is unsustainable. Civilization (according to the earlier definition) exists on the basis of nonrenewable resources and substituting depleted ones with new ones. This system will be sustained until the last resource and then what will be left?

Our generation is a product of previous generations and accusing the present way of life, or technology, entails blaming the history of civilization, from the Stone Age onward. This provides the premise for eco-revolutionaries who claim progress is achievable only through an eco-war in which the present-day environment apocalypse is overcome by removing civilization [Jensen, D. (2006). Endgame Volume l; New York, USA: Seven Stories Press]. Less messianic are environmental pacifists who share a similar criticism of progress, but who believe cities and its habitants can find ways to co-exist alongside nature.

Whether we visualize it as an end, a new beginning, or even a cycle, views of progress often retreat to a narrative of redemption in which the growth of knowledge enables humanity to advance and improve its condition. Even dystopian stories are intended to help humans realize the errors of their ways and, hopefully, change.

The problem with civilization and progress, and a question to viewers of this exhibition, is whether or not humanity is an entity with a collective purpose; are we not ephemeral individuals (or animals), each struggling to find direction? Human knowledge may increase but humanity doesn’t necessarily become more civilized (or capable of advancement) as a result.

Nothing is more threatening than the realization we have no purpose, and therefore, whether positive or negative, we are compelled to create meaning through a narrative, one that encompasses all of humanity. And, in creating these narratives, we construct our culture, traditions and notions of progress, in all their varieties.

Twelve artists illustrate their views throughout the exhibition, tackling issues of the past embodied by tradition, the future embodied by progress and, the present. Utopia Nowhere aims to illustrate how such concepts relate to one another in the context of culture and society, at both global and local levels. Through a variety of visual art mediums, the exhibition is presented in three approaches; attitudes toward social and environmental progress in China, reflections on Chinese culture and tradition, and contemporary nostalgia.

Participating Artists:
Luca Forcucci, Emma Fordham, Francesca Galeazzi, Maya Kramer, Li Wenfeng, Tony Ng, Shi Zhiying, Tamen, Mora Wang, Zhang Lehua
Curator: Diana Freundl
Assistant Curator: Pierre Depaz
Assistant Curator: Lucine Yu