“硬核广州－进口／出口”由方鹿、Justin Hoover、Jon Phillips 和吴捷共同策划，

乒乓空间和硬核广州项目组共同发起。布展及出版物概念由 Pierre Picard

(乒乓空间) 负责，文字由蔡影茜 (乒乓空间) ， Jon Phillips 和方鹿负责，张明森
主持设计(乒乓空间) 。

The Cantocore Import / Export exhibition is curated by Deer Fang, Justin Hoover,
Jon Phillips and Woo Jay. It is a collaboration between Ping Pong Space and
the Cantocore project group. The exhibition and publication concept is by Pierre
Picard (Ping Pong Space). Exhibition text edited by Nikita Choi and Woo Jay
(Ping Pong Space), Jon Phillips, and Deer Fang (Cantocore). Show materials
designed by Sem (Ping Pong Space).
http://cantocore.com
硬核广州－进口/出口
方力中
“硬核广州－进口/出口”展览通过艺术实践检验广州和旧金山的进出
口文化联系，并提出这样的问题：你是硬核广州人吗？广东省是出口美国
纺织品和电子产品的主要生产地，同时旧金山是主要“进口”中国移民的美
国城市，这些移民也主要来自广东地区，中国移民在旧金山建立了北美最大
的唐人街。然而，理解“硬核广州”的概念框架不能仅仅局限于地理上的分
界，也不应做简单后殖民的分裂模式：东方和西方，或国家主义至上的奥林
匹克中的中国对美国，所谓“非政治化比赛”。“硬核广州”是生活的现实
与人们生活管辖区内理论的对抗。
“硬核广州”一词来源于旧金山华裔乐队“死白鬼”，他们创造了“硬
核广州”一名词来描述他们的音乐流派，他们用广东话演绎硬核摇滚和朋克
音乐，三十秒钟爆破式的的短曲。这种火爆和短暂注意力也是当代广州文化
的核心，它不在于持久，而在于行动。人们无须等待道路维修的最终完成，
或最新的电影在影院上演，到了午睡时刻工人们连床都不用找，大人小孩在
大街上打羽毛球，一个骑单车的大妈可以把三个小孩都载上车。硬核广州是
生活在规范线的左右两旁。
随着2030年中国国民总值将达到美国水平的预算轨道，中国的政治、
社会和经济状况越来越得到国际的关注，但是经济分析是无法真正理解这种
增长和增长所带来的不可预知性的，传统的分析技术必须加入大量的研究项
目来试图理解中国的发展。这已经发生在许多中国国内的大型当代艺术展，
如即将到来的第三届广州三年展和第七届上海双年展。这些展览剖析全球化
的影响，中国的身份，政治格局的演变和中国这一有活力的文化正在如何改
变。相似的后工业艺术区的兴起，北京的大山子和上海的莫干山路，这些先
由艺术家介入，后由国际画廊实现商业化的地区，是当代艺术特别是在中国
北方兴起的见证。硬核广州希望邀请国际文化实践者一同直接参与探讨中国
南方广东地区应该实现什么样的艺术发展模式，一种非轻易走向商业死路，
并且属于广州的一种模式。
旧金山在美国有着相似的发展道路，它不是像纽约一般的艺术心脏，
也不是像洛杉机一般的艺术时髦之地，更类似于广州。旧金山坐落于远离政
治权利中心的商业地区，这使它在1968年后的40年成为了文化的边缘地，立
法改革的先驱和先进的贸易地。1969年旧金山有过大型反对美军参与越南战
争的和平示威活动，这也孵化了把旧金山推向美国实验文化前沿的“夏日之
爱”聚会。同年于中国，年青人被鼓励成为造反者，直至1968年12月的上山
下乡再教育运动。由于中国几次兴起的运动，促成了新一批的中国南方移民
移居美国西部，这批移民也带着他们的文化、习惯和风格移居到了美国。硬
核广州项目关切的是这些不同的文化如何走到了一起，它们的相似和不同之处。
作为一个理论框架，硬核广州是关于来自珠三角地区的全球进出口文化
和物质的流向和改变。广州对制造业的强调性和执法的非常规性，致使任何
一个人的创造性姿态都得到了放大或达尔文式的被淘汰。各种风格像泡沫般
不断地复制和修改，工厂为出口和本地销售搅拌出不同质量的产品，同时这
也使地区中不同消费层次的人们参与到全球品牌中。因此居住在广州地区的
人们更容易适应科技和时尚的新潮流，各种形式的销售我们都可以找到，从
传统的灯火辉煌的大商场，售卖正牌的殿堂，到成千中等档次的大商场周边
的小店铺，到街上的DVD小贩，只要你想要的都能找到。
同样的在旧金山，那儿有充足的服务可以满足你得到最新电影和软件的
需求，而且旧金山的唐人街和墨西哥人为主的 Mission 区域密布了各种由移
民经营的商店，价格便宜的“中国制造”产品与城市金融中心的国际风格比
肩而立。
“硬核广州”展览中的艺术家从观念上和物质上探讨进/出口文化。如
何通过广州本地制作，或从旧金山进口来实现艺术计划。当代艺术策略中的
重做、重混、演绎，翻版、翻译、复制和挪用也充分体验了“硬核广州”的
风格。在我们收到邀请艺术家的计划书后，我们根据作品的实施过程、规模
和资源来构成这第一次的“硬核广州”对话。届时我们将会有Clark Buckner
策划的录像放映活动“星尘”。录像作品主要从 Mission 17 录像档案中挑选，
主要介绍与本次展览主题有关的旧金山艺术家录像作品。
这两部份的展览突出进出口文化，正如物质贸易正在持续地被消耗和
再循环。“硬核广州”希望通过展览发起更多的讨论和分析，并为接下来我
们“出口”到旧金山版本的展览提供参考。
CANTOCORE IMPORT / EXPORT
Jon Phillips
The Cantocore Import / Export exhibition examines, through applied art practice, the
relationship between import and export of culture between Guangzhou and San Francisco
by asking a simple phrase: Are you Cantocore? Guangzhou, also called Canton, is the
third most populous city in China. Its province, Guangdong, is a major manufacturer of
textiles and electronics for export to the United States. San Francisco has the largest
import of Chinese immigrants of any US city, primarily from the Guangdong province.
Chinese immigrants also created the largest Chinatown in North America in San Francisco.
However, understanding the conceptual framework of Cantocore is not limited to geo-
graphic divisions, nor reductive dichotomies driven by post-colonial stereotypes such
as East vs. West, nor Olympic nationalism pridefully paramount in China vs. US “non-
political” sports matches. Cantocore is the reality of life versus the theory set forth by
jurisdictions where people live.
Originally, the San Francisco-based Chinese-American band “Say Bok Gwai,” roughly
translated “dead white demon” in Cantonese, coined the term “Cantocore” to describe
their own musical genre that juxtaposes hardcore metal and punk with Cantonese vocals in
blasted 30 second sonic increments. This rapid fire short attention span is at the core of
contemporary Cantonese culture. It doesn’t dwell – it does. People don’t wait for roads
to finish, or for the latest movie showing overseas to come to the cinema; they buy it.
Workers don’t look for a bed when its time to take a nap, or complain about the hot
weather. Guys just take their shirts off, families play badminton in the streets for
fun, or a mom will fit all three of her kids onto a bicycle to get somewhere – its faster
that way! Cantocore is living around the guidelines set in place by some one.
With the projected trajectory of China’s GDP approximating the United States in year
2030, there is rapid increase of international interest in the political, social and economic
condition of China. It is impossible to understand the real effects of this growth and the
black swans it will generate simply through the guise of economic analysis. Rather, tradi-
tional analytical techniques must be augmented with qualitative research to attempt to
understand what is happening with China’s growth. This is already happening with large
contemporary art exhibitions internal to China such as the upcoming 3rd Guangzhou
Triennial and Shanghai Biennials dissecting the impact of globalization, Chinese identity,
the evolution of political structures, and how this dynamic culture is changing. Similarly,
the rise of post-industrial zones used by Chinese artists such as Beijing’s Da Shan Zi (798)
and Shanghai’s Moganshan Lu then being commercialized by international galleries and
local businesses are indicators of the rise of contemporary art, particularly in Northern
China. Cantocore is a call for participation for practitioners internationally to directly
investigate, through art practice, what is happening in the South of China in a way that is
not clustered nor so easily commercialized-to-death, but is uniquely Cantocore.
San Francisco has developed in a parallel way in the United States like Guangzhou has
in China. It is neither the heart of the art world like New York City, nor is it trendy
with superflat palm-tree powered artwork being pumped out as with Los Angeles. Like
Guangzhou, San Francisco is situated as one of the commercial areas far from the seat
of political power in the United States. This has helped it to be on the fringe of
culture, legal precedent, and progressive commerce over the last 40 years since the
revolutionary year of 1968. In San Francisco there were peace protests against the US
military’s involvement in the Vietnam War which culturally prepared the city for the following
Summer of Love. This pushed San Francisco even further to the most experimental edges
of American Culture. During the same year in China, youth were still encouraged to be
rebels until December of 1968 when Mao Zedong sent Chinese youth to be re-educated
in the countryside in the “Up to the mountains and down to the villages” movement.
Because of this upheaval, new waves of people from the south of China migrated to
Western United States, taking culture and style with them. Cantocore is concerned with
how these different cultures have melted together.
As a framework, Cantocore is the flow and change of imported and exported culture
and materials globally from the Pearl River Delta region. With Guangzhou’s production
emphasis and irregular enforcement of laws, the creative value of any one gesture is
amplified or discarded in a Darwin-like way where styles are replicated and modified
in blistering succession. Factories churn out various qualities of goods for both export
and local sale allowing all income levels of people in the region to participate in global
brands. Thus, people who live in Canton more easily adapt to new trends in technology
and fashion. All forms of sales are available. From conventional brightly-lit malls with
high-end pristine commodified temples to thousands of middle-grade shops surrounding
the malls all the way down to street pirate DVD peddlers, if you want something you
can get it.
In San Francisco, if one wants the latest movies, or software, there are ample services,
particularly online, to get whatever one wants. And, since San Francisco has such a large
Chinatown and Mexican Mission district full of immigrant-owned shops, inexpensive
Made-in-China goods are had alongside the international style that dominates the
financial centers of the city.
The artists in the Cantocore exhibition were tasked with creating projects which ex-
plore import and export, materially and conceptually. Practically, how can one’s artwork
be actualized either through fabrication locally in Guangzhou or imported from San
Francisco? Guidelines for the creation of the work were left alone since modern strate-
gies for creating artwork such as remaking, remixing, interpreting, pirating, translating,
copying, and appropriating content, already espouse the Cantocore style. After the
proposals were received from invited artists, curation of works took place based upon
the processes, scope, location of artists and available resources to constitute this first
dialogue.
The Cantocore Guangzhou exhibition is divided into two parts: Import and Export.
These two halves of the show highlight that import and export of culture, like material
trade, is in a constant state of consumption and recirculation. This is the first major
exhibition of the Cantocore project and is opened up to critique and analysis during
the show in order to inform the next version of this project planned for export to San
Francisco in winter 2008.
日常经验的重新审视
吴捷
在全球化、多元主义这些概念快成陈词滥调，中国当代艺术的走向，迅猛
得都快赶上中美贸易领域的巨大顺差时，我们为什么还要邀请七位旧金山的艺
术家来中国做一次“逆差型”的交流呢？自第一批台山、四邑和中山的“卖猪
仔”在1894 年登陆三藩市以来，全世界也许没有哪一座城市和广东如此咫尺天
涯。而旧金山的李小龙和唐人街也成为了美国对于现代中国的浓缩想象。当我
那些中山和四邑来的远亲，讲述着他们的旧金山表亲时，口气轻松得仿佛只是
家长里短，而大洋彼岸的金门桥对我来说，却依然陌生而又遥远。直到有天在
上海新天地和一个来自旧金山的年轻ABC 喝酒，听着他用比我更标准的粤语，
和更更标准的带着粤语口音的英语聊天时，我才突然捕捉到了一丝真正从旧金
山飘来的湿濡气息。
广州 / 旧金山，两座同样以开放和混合风格著称的城市，既远且近，它们互
为镜像般折射着各自的容貌。进口/出口要在一个主题貌似明确的定义中，重新
考量两个区域间的关联，在双向度的经济格局中寻找出多维度的政治、文化和
社会意义，十一位艺术家和一个项目团队的作品向我们呈现了一种从直觉和自
我感受出发的创作理念：轻巧、便携、不凝重，从日常出发，却又超越日常经
验。让我们在毫无准备的情况下，重新审视日常物件以及它们的变体是在何种
程度和如何在我们的经济和社会体系中产生、流通和被最终使用的。
Misako Inaoka 将中国出口美国的玩具进行重组的行为，对她来讲，也许
只是一次“仔细观察物质和社会环境，以发掘中间隐藏的美与奇异之处”的纯
粹个人体验过程，但在我们看来，却像是在告示之前发生的中国玩具出口贸易
事件中玩具们的另类命运。David O. Johnson 设计的加州地形板条箱，打开了
一个关于商品命运真相的潘多拉之盒，箱子在抵达之前已被开启，然而隐约的
霓虹蓝光何以仍然让人心驰神迷？黄小鹏的标语一如既往，“由于帝国的，扩
充......”，貌似庄重肃穆的标语文本，在多重转译之后，露出了皇帝新装似的无
稽和可笑。Kathrine Worel 那些仿似“The Big Lebowski ”般的人物造型，带
着我们穿越底片，进入斑斓美国梦的变异层面，让我们看到从印度进口的度母
手势是如何神秘地与 Valie Export 式的影像风格达成观念的共谋。Guy Overfelt“中
国制造”的充气汽车尾气烟雾，体型巨大，以至无法让人感知它的真正重量，
轻/重，景观/无用，这些并置而又相反的概念让人意识到消费文化怪诞的二律悖
论。新自由主义经济主张的全面扩张，其中重要的一项表现就是通过对生产性
利润的追求，转向对投资性利润的追求，随处可见的就是我们对股市行情、证
券交易以及五花八门的抽象指数的关注，Jon Phillips 的LED 二级管显示牌布满
各种图表和指数，从GDP 到GNP ，从股价到汇率，反映了无物之阵是如何开始
实体性地入侵我们的日常生活。控诉性的表达则来自林芳所和周滔，两位来自
广东的视频/录像艺术家用各自不同的视野打开社会学批判和终端消费的梦魇之
门。林芳所的“剥削”用玻璃板、屁股或是穿着凉鞋的脚，在奥芬巴赫雄壮的
音乐声中，狠命踏碎一个个画着笑脸的番茄、石榴和圆椒，一种“底层压迫底
层”激愤不言而喻。周滔的影像作品“某一天”，采用一种完全平移的手法，
将每日的吃喝拉撒挪到某家“好X 多”，对戏剧性的极度消减，却反而获得一幅
令人震惊消费图景。而 JD. Beltran 的飞机起降特写，则是我们今天消费“景观
社会”的另一个清晰注解。
作为一个并不同质化的展览，我们不想提供一本关于进/出口贸易，伴有另
类实物图解说明的参观手册，参与展览的艺术家还以各自不同的手法展开关于
社团/组群之间人与人关系的探讨。方鹿的录像装置是在公共空间重做了三件新
闻中的小情节，以“重做”为创作语言，六频道的电视的装置让观众“监控”
了三件无关紧要的事件。另外在“黄埔村录像”项目中，由王铬、方鹿和20多
名中山大学和广州美院学生组成的工作组，采用了田野作业的方法考察了古进
出口贸易港口村黄埔的变迁历史，和其中的社区生存状况。而Justin Hoover 的
双频录象装置则采用了一种更为 staging 的手法来再现美国湾区实验艺术文化
精神和今天广州实验艺术的两厢对照。
“硬核广州-进口/出口”重新连接广州/旧金山两个关联区域，抛开来自海
关或贸易局的报表数据，用影像、行为、被打开的板条箱和廉价玩具，重新评
估商业领域的累累硕果。
Reconsidering Daily Experience
Woo Jay
Globalization and pluralism as concepts are quickly becoming clichés. The Chinese
contemporary art trend has developed so rapidly that it has almost caught up with its
international counterparts much like the huge trade surplus in Sino-US trade. Why do
we then still invite seven San Francisco-based artists to come to Canton and make a
“deficit trade” through exchange? Since 1849, when the first batch of “Mai Ju Chai”
(Contracted Labors) from Taishan, Siyi and Zhongshan landed in San Francisco, did any
city in the world mean so much to Canton. At the same time, Bruce Lee and Chinatown,
two of the biggest symbols of San Francisco Chinese ethnicity, had become the condensed
imagination for Americans to conceptualize how a modern China might look.
When my distant relatives from Zhongshan and Siyi talked about their cousins in San
Francisco, it sounded just like neighborhood gossip. But, the Golden Bridge still seemed
so unfamiliar and distant. Until I met and drank with a young ABC (American Born Chinese)
at Xin Tiandi in Shanghai and listened to him use more standard Cantonese and English
with a heavier cantonese accent than myself, did I catch a slight humid breath from San
Francisco.
Guangzhou and San Francisco are cities both well known for their openness and mixed
styles. They are so far away, yet so close. They mirror each other as reflected by their
similar features. Cantocore Import/Export reconsiders the relationship between these
two regions with a seemingly clear-cut definition. The project tries to discover multi-
dimensional meanings including political, cultural and social significance from a two-
dimensional economic pattern. Eleven artists and one project team show us their con-
cepts from the source of their intuition and perception to create a legerity, portability
and lightness. The projects are separated out from daily life, but beyond life experi-
ences. They push us to reexamine our daily patterns and objects. How and to what
degree are they generated, circulated and consumed in our economic and social systems
in unknown ways?
Cantocore artist Misako Inaoka, remakes toys from China. Perhaps this behavior for her
is only a pure personal experience as she said she “observe[s] the physical and social
environment in detail, to find hidden beauty and peculiarity.” But for the rest of us,
it seems to open up an alternative fate for Chinese toys past the more recent trade
war this year with the United States. David Johnson’s California-shaped crate opened
pandora’s box about the true fate of commodities. The crate was opened before it ar-
rived, but why are we still haunted by the muted light emanating from the crate? Huang
Xiaopeng’s banner acts like his past huge propaganda posters. After the solemn multiple
translations of printed words in his posters’ text, a pataphysics emerges. Inside Kathrine
Worel’s photo and video installation, we find figures who seems like characters from the
movie “The Big Lebowski.” Kathrine leads us from a negative to a mutative level of the
multicolored American dream. She presents to us how the Buddist deity Tara, imported
from India, uses her hand gestures to realize a conceptual conspiracy with the style of
Valie Export’s videos.
Guy Overfelt fabricates some huge inflatable smoke clouds which were virtually created
from the burnout by his American muscle car. The sculpture, like a real body, is huge.
The spectacle confuses people about its real weight. Is it light or heavy? Is it a spectacle or
junk? These juxtaposed binary concepts make people realize the paradox of our
consumer culture.
The overflow of Neo-liberal economies is one of the most important representations
from the pursuit of productive profit changing into investment profit. From GDP to GNP
to stock markets, we exist by ubiquitous abstract exponents. Jon Phillips’ LED signboard
is full of these charts and strange abstract numbers that reflect how the array of
nothingness invades our real life. Also, Lin Fangsuo and Zhou Tao, two Canton-based
video artists, open the door of social criticism and activate the terminal consumer
nightmare. In Lin Fangsuo’s “Exploitation,” the background music by Offenbach boils
while tomatoes, pomegranates and pimientos are squeezed with a piece of glass pressed
by one’s ass or foot. The indignation for “the bottom oppress bottom” speaks for itself.
Zhou Tao’s video work, “One day,” adopts a kind of “translational motion” by tactfully
moving daily actions into a shopping mall. A shocking consumerism comes forth by
reducing dramatic efforts greatly. And, JD Beltran’s airplanes take off in image, but upon
closer inspection are read as another clear remark on today’s “spectacle society.”
As a non-homogenous exhibion, we are not willing to show the audience an alternative
illustrated manual about import/export with real things. Rather, the participating
artists open up a discussion about the relationship of communities in different ways.
Deer Fang’s video installation reenacts three small news events which took place in
public space. This six-channel video installation requires the audience to monitor three
trivial daily events through staged reenactments. In another work, “Huangpu Village,” a
collaborative project formed by Wang Ge, Deer Fang and more than 20 students from
Sun Yat-sen University and Guangzhou Fine Arts Academy, the real Huang Pu Village’s
changing history is examined. The village used to be an import/export harbor a long
time ago and now is just a simple community. Also, Justin Hoover’s two channel video
installation, is created from the live acting of 10 performances during the show opening.
This staged scene reproduces the spirit of Bay Area experimental art in history and is
renewed as experimental art in Guangzhou.
Cantocore Import/Export reconnects the two related regions, Guangzhou and San
Francisco. This show sets aside the reporting forms, hassle from customs and the
reviews by trade bureaus by using video, performance, shipping crates and cheap toys
to reconsider the bountiful results from the business of trading.
 Jon Phillips 方力中

经济特区 (艺术经济学 #11) LED 屏幕装置，2008

“经济特区”又称“艺术经济学 #11” ，通过提供中国市场的实时数据来探讨中国
经济快速变化的状况。这个关于可消费经济俗套的时髦，在 Stephen Dubner 和
Steven Levitt 的《魔鬼经济学》一书中得到普及，作品把这个概念运用在中国
医院和政府大楼常见的LED 屏幕显示器上。显示方式是未来的、粗糙的，并提
醒着中国与世界其它地方的不同之处。

简历
方力中 (Jon Phillips) 是开放源代码开发者、艺术家和企业家。他有14 年建立社
群和媒体项目的经验，他的开放源作品和研究项目经常在国际上展示。2002年，
他帮助开发了 Inkscape ，一个开放源绘图工具；带领 Open Clip Art Library ；指
导实验媒体社群 Overlap.org 。过去三年中他为 Creative Commons 建立企业
发展策略，与百余家企业合作，并成功主持了CC 沙龙，CC 案例学习，Metrics
和CC+ 项目。目前他居住在美国旧金山和中国，并正着力于创建 Fabricatorz 制
作公司。

Special Economic Zone (Artonomics #11) LED screen installation, 2008

Special Economic Zone, also known as Artonomics #11, investigates the rapidly changing
Chinese economic condition by providing realtime calculations from live data about
Chinese markets. This more cliched trendiness towards consumable economics, popu-
larized by Stephen Dubner and Steven Levitt’s book, Freakonomics, is applied to stan-
dard LED screen signage found in many hospitals and government buildings in China. The
display is futuristic, raw, and a reminder of the huge scale differences China has with the
rest of the world.

Bio
Jon Phillips is an artist, developer and entrepreneur with 14+ years of experience building
communities and growing successful media projects. His work and research on Open
Source communities is presented internationally. He helped launch Inkscape, an open
source drawing tool in 2002, leads the Open Clip Art Library, and directs the experimen-
tal media-arts community Overlap.org. For the last three years with Creative Commons
(CC) he built the companies business development strategies, worked with hundreds of
businesses, and managed the globally successful ccSalons, the Case Studies, Metrics,
and CC+ projects. He lives between San Francisco and China and is building up the
Fabricatorz production company.
http://www.rejon.org
 Misako Inaoka 美早子

嵌合体 玩具装置, 2008

这组作品重新思考“美国制造”和“中国制造”的意义。Misako Inaoka 用中国
制造的产品创造混合物体。在开幕期间，Inaoka 用就地可取的材料发展出一个
新的系列作品。她特别感兴趣的是物体在运输前后和在中国或在其它发源地内
外的反映性和可辨认性。作品“嵌合体”也将鼓励观众参与到艺术家的工作中
来，共同延伸这个装置作品的意义。

简历
美早子出生于日本京都，现在生活和工作于美国旧金山。关于她的作品，这位
艺术家这么说道：“我的研究兴趣形成于我们称之为自然的与人工的这两者间
的分界线。我通过仔细观察自然与社会环境，来发掘隐藏的美与奇异现象——
像一个拥有松树形的手机天线，一种不属于本土的鸟类，或者是水泥人行道缝
隙间的苔藓。我着重这些微妙的细节并且夸大这些不合理性，建立我自己的虚
拟生物。为了唤起存在与共存的概念，我构想了一个环境，这个环境植根于物
种消逝和自然转变的现实中。我的微型雕塑与特定场域装置强迫观众关注微小
细节并且进一步观察他们周围的环境。我的世界不是一个纯粹想像的创造，而
是一个人工与现实结合的混合体。”

Chimerism toys installation, 2008

This work rethinks the meaning of Made in America, China or any one place. Misako
Inaoka creates hybrid creatures from “Made in China” products. Live during the opening,
Inaoka will develop a new series of creations with available materials on-site. Inaoka is
particularly interested in the reaction and recognizability of the “object” before and
after the the transportation of objects to the space as well as the origin of creature/
object. “Chimerism” also is open to community participation with the artist working
with participants to extend this installation.

Bio
Misako Inaoko says about her work that: “[Her] interests arise from the boundary
between what we call natural and artificial. I observe the physical and social environment
in detail, to find hidden beauty and peculiarity-things such as a cell phone antenna in
the shape of a pine tree, birds that are not native to the area, or moss growing in a crack
of cement sidewalk. I emphasize these subtle details and exaggerate their illogicality
to cultivate my own version of invented creatures. To arouse notions of existence and
coexistence, I construct environments that are rooted in the reality of vanishing species
and mutating nature. My minuscule sculptures and site-specific installations force viewers to
focus on small details and to take a harder look at their surroundings. My world is not a
creation of total imagination, but is a hybrid of the artificial and the actual.”

http://www.misakoinaoka.com
 Justin Hoover

100个行为 行为和装置，2008
“100 个行为”围绕 The Garage 艺术空间的一个机械维修坑，组织了100个特定
场域的两分钟行为表演。这个过程体现了美国加州湾区实验艺术文化的时代精
神。在“硬核广州”，Justin Hoover 将在乒乓空间对旧金山表演中的部分表演进
行再创作。与在旧金山期间不同的是，Hoover 在广州将聘请当地演员来作为行为
演绎者。

简历
Justin Hoover 是一位居住和工作在美国旧金山的艺术家、策展人和作家。他用
影像和行为测试时间，并用摄影纪录时间的残留形式，他的策展实践起源于非
主流艺术背景下的行为艺术和艺术活动。

100 Performances performance and installation, 2008

January 26th 2008, Justin Hoover, with artists from San Francisco, orchestrated 100
site-specific performance artworks for a mechanics pit in the floor of the Garage;
an alternative space. For Cantocore, Justin Hoover proposed to recreate these
performances by hiring actors and actresses in Guangzhou.  

Bio
Justin Hoover is a San Francisco Bay Area artist, curator, and writer. His artistic practice
examines time using video, performance, and photography to examine time in its re-
sidual forms. The roots of his curatorial practice stems from a history of coordinating
happenings, spectacles and art events in alternative contexts.

http://www.justinhoover.com

下图：无题 （原大充气跑车），
1998 -2008，充气PVC尼龙，油漆，电子
Below: Untitled (life sized inflatable Trans AM),
1998 - 2008, inflated pvc nylon, paint, electronics
Guy Overfelt
无题 (烟雾中) 充气尼龙装置，2008
Guy Overfelt 进一步推进他对美国肌肉车的狂热，这次 Overfelt 在广州本地工厂制作
了可充气的汽车烟雾。除了无数像 Paul McCarthy 式的从生产线来的复制形状和中
国奥运队给其他国家运动员留下的一骑绝尘，这个简单的雕塑形式向我们提出
的问题是这些工厂在广州的空气中排放了什么。
简历
Guy Overfelt 是一名美国旧金山艺术家，作品多次在国际上展出。他以幽默和
神秘的方式，通过调停社会政治、文化和经济的同构性影响，深化观念艺术。
这一理念包涵在他1977 年创作的肌肉车Smokey 和 Bandit Trans AM. Overflet
以可笑的美国主义式见解，通过聚合的艺术实践，重新想像欲望的副产品。他
改变好莱坞式的明星风格，用底特律的方式创作单色版画、剥画和实物尺寸的
充气跑车。他高强度的行为作品把文化物品从熟悉转变为含糊和富于寓意。
Untitled (up in smoke) inflatable nylon installation, 2008
Guy Overfelt furthers his obsession with American muscle cars. This time the inflatable
Smoke is fabricated in Guangzhou, factory direct. Beyond Paul McCarthy-like reductive
shapes coming off the assembly line or the Chinese Olympic team leaving the others’
in the dust, the simple shape raises questions about what these factories are pumping
out in Guangzhou.
Bio
Guy Overfelt is a San Francisco an artist whose work has been exhibited internationally.
With humor and a mystic hammering, Overfelt furthers the conceptual art movement by
mediating the influence of contemporaneous sociopolitical, cultural and economic condi-
tions embodied by his 1977 “Smokey and the Bandit” Trans-AM muscle car. Overfelt
plays with laughable notions of American-ness. Through a convergence of artistic
practices, Overfelt re-imagines by-products of desire. He modifies his iconic Hollywood
styled, Detroit-powered ideas to create mono-prints, peel-out paintings and a life-
sized inflatable Trans-AM. His high performance actions shift cultural objects from
the familiar to a more obscure metaphoric output.
http://www.thinkcontext.com
 Huang Xiaopeng 黄小鹏

“全球化”对你意味着什么? 横幅装置, 2008

简历
录像／装置艺术家。现生活和工作于广州。

What does “Globalization” means to you ? banner installation, 2008

Bio
Huang Xiaopeng is a video/installation artist. Currently lives and works in
Guangzhou.
 Deer Fang 方鹿

新闻重演 录像装置 (6 频道) ，2008

根据在中国发生的社会新闻重新创作而成，这个录像装置搜集并重新拍摄
了在公共场所发生的微型事件。一个女孩对跪在自己跟前的男朋友打耳
光；一个司机在街上追打保安；三个头戴摩托车头盔的男子在村里烧鞭
炮...... 这些录像暗示了社会生活中各种非常规现象，但并没有直接的关联。
这个作品试图建构一个中国当代社会的微型叙述。

简历
方鹿是以录像为主要媒体的当代艺术工作者，现工作与居住在美国旧金山
与中国广州。她的早期艺术项目通过制作过程的参与性、实时性、社交性
和即兴表演，探索影像在艺术制作中的状况和其推动性。她近期的作品运
用流行文化中的通俗形式来作为文化容器，如真人秀、音乐录像和网络媒
体等，去理解我们日常生活和媒体中文化与政治的意义。

News Reenactment Video Installation (6 channels) , 2008

This video is based on social news in China. The videos are recordings of small happenings in
public environments such as where a girl slaps her kneeling boyfriend, a driver attacks a
security guard on the street and a group of men wearing motorbike helmets burn fire-
works in a village. Through various daily social irregularities implied in these indirectly
related videos, the project attempts to construct micro-narratives composing Chinese
contemporary society.

Bio
Deer Fang is a video artist working in San Francisco and Guangzhou. Her earlier projects
investigate the condition of video in art making and dynamics within the production
process through participation, improvisation, real-time and socialization. Her current
work uses common formats from popular culture such as news, reality TV shows, music
videos, and online media to understand cultural and political meanings in everyday life.

http://www.deerfang.org
 David O. Johnson

中国制造 装置，2008
David Johnson 的作品“中国制造”是一个形状如加州地图的运输箱。这个
作品讽刺了沃尔玛、宜家、家乐福等国际连锁店中商品的真正生产地。许
多人追求美国的加州梦，但却没有认识到加州梦是由进口水、棕榄树、各
种进口商品和移民构成的。此作品通过美国寄来图纸，在广州加工完成, 其
中的隐喻意义在整个制作过程中得到延续。

简历
David Johnson 是一位旧金山的雕塑家，主要运用霓虹灯和水泥等建筑材料
来创造对抗材料本质的物体。Johnson 构造了两种材料的合成体，霓虹灯
的脆弱和水泥的坚硬被完美地结合在一起。Johnson 于 2004 年在旧金山艺
术学院获硕士学位，2001年在 Hastings 学院获学士学位。他的作品曾在国
际上展出，并于《Artweek》、《Visualcodec》、《The Examiner》和 《 Flavorpill 》
上发表。

Made in China Installation, 2008

David Johnson’s piece, while shaped like the state of California, is actually “Made in
China” This project points to the hilarity of slogans stating the location of authenticity
of goods through global brands like Wal-Mart, Ikea, and Carrefour. Many want the surrogate
American dream through Californication globally, but often do not realize the artificiality
of California with its imported water, palm trees, goods, and people. Since the project
building plans have been imported for fabrication in Guangzhou, the metaphoric
continuation of the project (and state) is dependent upon each person placing their
own Californian dreams into this crate for export.

Bio
David Johnson is a San Francisco-based sculptor who uses construction materials to create
objects that defy their own nature. By utilizing neon and concrete, Johnson forms a synergy
between both materials. The delicacy of neon and gritty concrete become seamlessly in-
tertwined in many of his projects. Johnson received an MFA from San Francisco Art Institute
in 2004 and a BA from Hastings College in 2001. His works are shown internationally
不可辨认的物体
2003， 装置 （霓虹，纸箱，塑料泡沫） most recently in San Francisco and Paris.

Unidentified Object http://www.davidojohnson.com

2003, Installation (neon, Cardboard box, Styrofoam peanuts)
 Kathrine Worel

家庭福佑 单频道录像，2008
无题 照片系列 (1-7) ，2008
除了探讨艺术和广告的融合，和对表面的异国情调文化和宗教的挪用，Katherine
Worel 的“家庭福佑”和“无题”照片系列颂扬了神灵在日常生活和情境中无法
预知的显现。在创作“家庭福佑”录像时，Worel 受 Prada 的名牌瑜珈垫和九世纪
佛教名僧临济的一句话“逢佛杀佛，逢祖杀祖”的启发，创作了“无题”照片系列。
“家庭福佑”展示了刺绣这老式的家庭仪式，如编织一样，现在这一活动已成为有闲
余和有钱妇女的时髦活动。虽然对于某些人来说这是个休闲活动，但是对于另一些
人来说却是每日的必须。这个把自己缝起来的行为姿势，除了参考艺术史中的身体
艺术，同时也是一个关于维修和建造永久联系的描述。在这个背景下，这个作品希望
再现和“维修”一个幸福的状态，用谦逊和家庭式的途径来成就一个超越的境界。

简历
Worel 作为一位艺术家和策展人，她的艺术实践源于她从视觉上或象征意义上对发
现和建立人与人之间联系的渴望。Worel 现在居住并工作于美国加州奥克兰，她
和她的丈夫一半时间在他们的工作室，一半时间在他们的可持续性城市“小农
场”，他们也亲切地把它称之为“贫民乌托邦”。

Domestic Bliss single channel video, 2008

Untitled photo series (numbers 1 – 7), 2008
Besides exploring the melding of art, advertising and appropriation of the surface trap-
pings of “exotic” cultures and religions, both of Katherine Worel’s pieces, “Domestic
Bliss” and the “Untitled” photo series, celebrate unexpected manifestations of the di-
vine in everyday life. While creating the “Domestic Bliss” video, Worel created photos
inspired by the discovery of Prada yoga mats and a quote from 9th centaury Buddhist
monk Lin Chi stating, “You meet the Buddha on the road, kill him.” The “Domestic Bliss”
video shows sewing , the archaic domestic ritual, that like knitting, has become fashion-
able among women with spare time and income. However, what is a leisurely activity
for some, is a daily necessity for others. The performative gesture of sewing oneself
together, besides referencing historical body art performances, speaks to repairing, fix-
ing and making a permanent connection. It represents “fixing” a state of bliss by taking a
humble, homey approach to achieving a transcendental state.

Bio
Kathrine Worel is a cross media artist whose most recent work explores the idea of
surface Worel’s practice as an artist and curator is deeply influenced by her desire to
discover and create connections—personal, visual and metaphorical. Kathrine currently
lives and works in Oakland, California where she and her husband split their time be-
tween studio and a sustainable urban “farmette” which they fondly call Ghettopia.

http://www.gopretty.com/kathrine
 Zhou Tao 周滔

某一天 单频道录像，12 ’，2007

依照我在家中一天的各项日常生活条目，在商场生活一天，并使用商场的各种
物品。在这些物品未进入我私人生活空间之前，我主动去使用它们。

简历
周滔出生于中国长沙，现生活在广州。2006 年毕业于广州美术学院获美术硕士
学位，主要从事录象艺术及综合媒体艺术创作。

One Day single channel video, 12’ , 2007

Based on my daily activit at home, I lived in a mall for one day and used different
commodities from the mall. I actively used these commodities before taking them to
my private space.

Bio
Zhou Tao born in Chang Sha China and now lives in Guangzhou. He graduated from
Guangzhou Academy of Fine Arts with an MFA degree in 2006. He works with video and
mixed media.
 JD. Beltran

城市镜 录像装置，2008
“城市镜”是一个关于普通飞机的 16 毫米电影。这个作品曾安置在圣河西的商
业区，它曾被投影在一座楼房的侧墙，投影面积40 尺长，18 尺高。虽然投影是
无声的，但 Beltran 运用了声音聚光灯的技术，观众可以在特定的地点听到飞机呼
啸而过的声音。

简历
JD Beltran 是一个定居于美国西岸，探索肖像语言的媒体艺术家和电影人。她的
作品用多媒体探讨人格角色，包括从传统的写实主义油画，特别制作的玩偶，
到映射隐藏秘密的装置。以肖像概念作为一个起点，她综合了新旧图像和媒体
技术，实现了传统和创新的结合。

Downtown Mirror Video Installation, 2008

Downtown Mirror [Airplanes] is a stylized 16 mm film of the ubiquitious airplanes that
inhabit the downtown San Jose California area.  It has been screened as a 40 foot long
by 18 foot high projection on the side of a building. Although the projection is largely
silent, in this instance, Beltran uses innovative audio spotlight technology for sound
viewers in certain spots can hear the roar of the airplanes flying by.  

Bio
JD Beltran is a West Coast based artist and filmmaker whose work pushes the language
of portraiture. From traditional representational painting to costumed dolls to video
installations reflecting hidden secrets, her works explore persona using various media.
Using the concept of the portrait as a starting point, she synthesizes new and old imag-
ery and media to arrive at a combination of tradition and innovation.
 Lin Fangsuo 林芳所

剥削 录像装置 2’12” ，2007

作品通过硬 (外力) 对软 (水果) 的压力，表现出脆弱个体在威权文化和消费资本
双重意识形态机器的压制下，产生的热嘲冷讽、愤懑、无奈和玩世不恭。

简历
林芳所是一位观念艺术家。他灵活的根据自己的想法来选择适合的媒介，他关
注中国转型期的社会问题，并认为录像艺术应该是插入社会的利器。近来他运
用录像、装置、图片等综合媒介对当下商业大潮所派生的社会问题进行了探讨。

Exploitation video Installation 2’12” , 2007

The work “Exploitation” uses pressure of a hard (exterior) force against a soft (fruit)
force to express the by-products of fragile individuals under the dual ideological
machines of authority and consumption. The products under such machines are
sarcasm, anger and cynicism.

Bio
Lin Fangsuo is a conceptual artist. He select a medium based upon his concept. He is
interested in the social problems of the current Chinese transitional period. He consid-
ers video art as a weapon to intervene in the society. Recently he used video, instal-
lation, image and mixed media to investigate social problems arising in the Chinese
commercial flux.
黄埔村录像计划
“黄埔村录像计划”以一系列的录像短片直观地展现黄埔村多方面的地
理、文化和历史特征，探讨其现状与未来，从而调动当地村民对自身居住环境
与传统文化活动的关注，以及自发地对城市变迁问题的参与。同时这个项目也
试图在更大范围内唤起城市居民对在今天城市化飞速发展的进程中逐渐消逝的
传统地域文化的重新审视。
黄埔村是个 1600 年历史的古村落，自古便在海外贸易中扮演着重要的角
色。在清初随着粤海关的建立，黄埔村成为挂号口和产品集散地。至乾隆二十
二年 (1757年) 实行全国“一口通商”，只保留粤海关后，更是让其中唯一受益者
黄埔村进入了其最为辉煌的年代。它见证了整个近代中国的对外贸易史。然而
时过境迁，鸦片战争后政治格局的变动和河沙淤积导致的地理环境的变迁，粤
海关移走。随后，黄埔古港的经济类型由港口贸易经济转向农业自然经济，由
昔日繁华的市镇沦为一般的村庄。而今由于会展中心的建设，黄埔村所处的琶
洲地区成为广州新城市中轴线的核心地块，并将成为未来广州的信息港。它特
殊的地理位置和历史价值使其发展去向成为了广州城市建设的一大争论点。地
域村落在快速城市膨胀中生存的博弈之案例在广州已屡见不鲜，例如杨箕村、
冼村、猎德村和石牌村。一些社会舆论把这些沦为“城中村”的地区视为藏污
纳垢的城市毒瘤，以夸大其阴暗面来掩饰城中村为城市外来人口和城市低收入
者提供了在城市中立足之地的功能，以及其承载的历史和地域文化。
对于参加到这次录像计划的22位创作者和研究者来说，黄埔村是一个学习
思考城市进程的典型案例，我们希望试图通过“录像”这一媒体，来帮助记载
这一快速变迁的民间历史，并以放映和展览的形式来得到村民和城市居民对此
社会问题的反馈。
黄埔村录像组是一个由王铬和方鹿发起的研究小组，主要成员有：黎宇欣、
罗俊辉、傅传威、魏艳芳、苏慧、何焕生、陈展鹏、张博阳、潘怡舟、文卓、
林竹君、曾赟诗、郑宇菲、桑妮、李锦荣、邓健辉、陆盛曦、冉晓染。
王铬, 广州美术学院建筑与环境艺术设计本科、硕士研究生、广州美术学院
无象设计工作室主笔设计师。长期从事与空间相关设计与艺术活动。
Huang Pu Village Project
The Huang Pu Village Project uses series of videos to portray the Huang Pu Village’s geo-
graphical, cultural and historical characters. It further investigate the village’s present
condition and possible futures. These videos engage the local Huang Pu Village commu-
nity with villagers living environments and traditional and cultural activities. It activate
grass-root participation in the issues of urbanization. Meanwhile this project also at-
tempts to arouse re-examination from urban residents the disappearing traditional local
culture from rapid urban expansion.
The Huang Pu Village is a 1600 year old ancient village that has played an important role
in the history of overseas trading in China. Since the establishment of Yue (short for
Guangdong) Customs in Qing dynasty, the Huang Pu village became a registration spot
and products terminal. In Qianlong 22 years (1757), Yue Custom was the only foreign
trading customs for China, which has led Huang Pu village into years of prosperity. The
village witnessed much Chinese foreign trading history. With the changing of political
structure after the Opium War and the changing of geographic environment caused by
siltation of sand, Yue Custom was moved out of the Huang Pu Village. After this Huang
Pu harbor’s economy drastically slid from a trading economy to an agriculture, natural
economy. This former prosperous village declined to being an ordinary village.
Today, with the building of the Guangzhou Convention Center, Pa Zhou district, where
the Huang Pu Village is located, is on the axis of the the central business district for the
new Guangzhou downtown. It is planned to be developed into an information harbor
for Guangzhou in the near future. Huang Pu village’s special geographic location and
historical value aroused many debates for its future in Guangzhou urban development.
The case of local villages struggling in Guangzhou city expansion is not rare as happened
with Yang Ji Village, Xian Village, Lie De Village and Shi Pai Village. Some media describes
these “urban villages” as the tumors of a city, and exaggerating their dark sides but ne-
glect how they provide shelters for city migrants workers and low income families. This
exaggeration also neglects the history and local cultures these villages carry.
For our project group, the Huang Pu village provides a model of learning and thinking
about urbanization. We use video to record this rapidly changing local history and use
video screenings and exhibitions to receive larger feedback from villagers and urban
citizens on this social issue.
The Huang Pu Village Project is a research group led by Wang Ge and Deer Fang. Primary
members include: Li Yuxin, Luo Junhui, Fu Chuanwei, Wei Yanfang, Su Hui, He Huansheng,
Chen Zhanpeng, Zhang Boyang, Pan Yizhou, Wenzhuo, Lin Zhujun, Zeng Yunshi, Zheng
Yufei, Sang Ni, Li Jinrong, Deng Jianhui, Lu Shengxi and Ran Xiaoran.
Wang Ge received a BFA degree from Guangzhou Academy of Fine Arts and is an MFA
candidate in the Architecture and Environment Design Department. He is the main
designer of Wu Xiang Design Studio in Guangzhou Academy of Fine Arts where his
practice involves space-related design and artistic activities.
星尘，录像展映项目 Stardusted, Video Screening Night

The M17 影像档案注重对当代单频录像艺术的收集，由 Clark Buckner 管 The M17 Video Archive is a curated collection of contemporary, single-channel video art,
理，此录像档案目前存于美国旧金山 MISSION 17 艺术空间内。这个影像档案 maintained by Clark Buckner and housed at MISSION 17 in San Francisco. The archive provides
给艺术家与其他影像制作人提供了一个持续展示他们作品的平台，同时它也给 an on-going platform for artists and other video producers to exhibit their work, and a way
for Bay Area audiences to access videos from throughout the world. Visitors to the gallery are
美国加州湾区观众提供了接触来自世界各地影像作品的通道。艺术中心的访问
invited to watch videos from the collection “on-demand.” MISSION 17 maintains a program of
者可从收藏中选择观看影像，MISSION 17 也从档案中挑选作品，主持与空间展
works drawn from the archive, which are presented in conjunction with the gallerys regular
览配合的放映活动，策展人 Clark Buckner 也使用档案资源在其它展览空间策划
exhibitions. Buckner draws from the archive to curate screenings at other outlets. MISSION 17
展映活动。MISSION 17 是一个非牟利性视觉文化中心，这里展示并支持从新进
is a San Francisco based, none profit center for visual culture, which exhibits and supports the
到成熟艺术家的艺术创作，着重于实验性艺术形式以及这些形式给社会和心理 work of emerging and mid-career artists, with its particular emphasis is on experimental art
折射带来的机会。 forms and the opportunities they present for social and psychological reflection.

由 Mission 17 主持人 Clark Buckner 策划的 “星尘”是“硬核广州”展览期 Curated by director of Mission 17 Clark Buckner, “Stardusted” is a video screening event taking
间举行的录像展映项目，这个活动展示了来自美国加州地区的11 名艺术家的录像 place during the second part of the Cantocore exhibition. The event features experimental
作品，并附有观众讨论环节。 video art work from 11 California based artists, followed by audience discussion.

放映项目策划人简历 Event Curator Bio

Clark Buckner works as Director and Curator at MISSION 17, a not-for-profit center for
Clark Buckner ，是美国旧金山一个非牟利性视觉文化中心 MISSION 17 的主
visual culture in San Francisco. He teaches both graduate and undergraduate courses on
任与策展人。他同时在旧金山艺术学院本科和研究学院任教，课程主要包括录
video, contemporary art, and critical theory at The San Francisco Art Institute. Previ-
像、当代艺术和批评理论，在此之前他曾是 Mills College 哲学系的访问教授。
ously, he taught as a Visiting Assistant Professor in the Philosophy Department at Mills
他曾在各类流行和学术刊物上发表文章，包括《Art Review 》、《Bomb Maga- College. He has published articles on contemporary art and critical theory in both pop-
zine》、《 Art Journal》和 《The Journal of Aesthetics and Art Criticism》。 2005 年 ular and academic journals, including in Art Review (UK), Bomb Magazine, Art Journal,
他作为联合编辑出版了一系列关于大陆哲学的论文集，名为《虔诚的风格：在 and The Journal of Aesthetics and Art Criticism. In 2005, he co-edited a volume of es-
上帝死亡后实践哲学》。他在Vanderbilt 大学获得哲学博士学位。 says on problems in Continental Philosophy titled “Styles of Piety: Practicing Philosophy
After the Death of God (Fordham U.P.).” He holds a PhD in Philosophy from Vanderbilt
University.
放映节目表
Screening Program

Stardusted, 4’ 44” Problemlessness, 21’ 00” The Wizard of O’s, 13’ 57”
Dave Sanchez David Sanchez Ryan Alexiev

Straight Outta HK, 4’ 00” Spectre A., 6’14”

Deer Fang Paul Kyle

Book, 14’ 5” Somethign to Remind Me, 12’ 00”

Michael Trigilio Scott Kildall

Center of Europe, 0’46” Groundbreaking, 6’ 00”

Michael Zheng Michael Zheng

Freedom, 13’ 21” 745 Seventh Ave, 11’ 00”

Matthew Boyko Ché Vuoi
“硬核广州”项目首先要感谢乒乓空间的全体工作人员：吴捷、石头、蔡影茜、
邱丘、张明森，这个项目是在他们的辛勤工作中实现的。非常感谢 Anna 和 WillHoover
对整个项目和预展音乐会的支持，促成了这本小册子的印刷。

感谢所有参与的艺术家，包括 JD Beltran、方鹿、Justin Hoover、黄小鹏、美早子、David

Johnson、林芳所、Guy Overfelt、Jon Phillips、王铬、Kathrine Worel 和周滔。感谢
Mission 17 的 Clark Buckner，和所有参与录像放映活动的艺术家：Dave Sanchez、
方鹿、Michael Trigilio、Michael Zheng、Matthew Boyko、David Sanchez、Paul
Kyle、Scott Kildall、Michael Zheng、Ché Vuoi、and Ryan Alexiev。

最后感谢所有出席“硬核广州”预展音乐会的观众。

The Cantocore Project would like to first and foremost thank, the entire Ping Pong
Space crew including Wu Jie, Pierre Picard, Nikita Choi, Qiu Qiu, Sem and staff.
Without their daily devotion to this project, it would not be possible. Massive thanks
to Anna and Will Hoover for their support of this project and hosting the Cantocore
Home Concert Preview which enabled the printing of this booklet.

Extra special thanks to all participating artists: JD Beltran, Deer Fang, Justin Hoover,
Huang Xiaopeng, Misako Inaoka, David Johnson, Lin Fang Suo, Guy Overfelt, Jon Phillips,
Wang Ge, Kathrine Worel and Zhou Tao. And thanks to Clark Buckner from Mission
17 and all video artists he selected for the Stardusted video screening: Dave Sanchez,
Deer Fang, Michael Trigilio, Michael Zheng, Matthew Boyko, David Sanchez, Paul Kyle,
Scott Kildall, Ché Vuoi, and Ryan Alexiev.

Special thanks as well to all those who supported this project by contributing to
the project or attending the Cantocore Home Concert Preview including Elizabeth
and Roy Eisenhardt, William Ming-Sing Lee, Hanna Regev, Bing and Terry Shen, Bob
Kozma and Shari Malone, Jennifer Kincaid, Heather Sparks, Kathryn E. Beyrer, Paul Kos
and Isabelle Sorel, Berin Golonu, Jim Melchert, Michelle Morby, Ellen Zweig, Cheryl
乒乓空间 Ping Pong Space
Meeker, JD Beltran and Scott Minneman, Dulce Santos, Dorothy Santos, Dan and Mia
地址: 广州市天河区先烈东横路60号 Add: #60 Xian Lie Dong Heng Lu, Guangzhou
Bloomquist, Dong Ling, Terri Cohn, Charis Briley, and Roland Kniese.
电话: 020-28296300 Tel: 020-28296300
Furthermore, thank you to all the artists who supported this project in their efforts www.pingpongspace.com www.pingpongspace.com
including Tom Borden, Patrick Wilson, Luther Thie, Christopher Willits, Ma Jie and
Krishna Khalsa. 项目支持: 星坊60 Supported by: Starhouse 60
http://cantocore.com