Toàn dân xây dựng nông thôn mới

china (bắt chước nhật bản những năm 1990s) đang làm vậy, để thúc đẩy kinh tế...

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Welcome to Art Field Nanhai. A relatively recent innovation, art fields first captured the public imagination in 1990s Japan, as artists and curators like Fram Kitagawa saw in them a way to rebuild urban residents’ emotional ties with the countryside and reclaim the latter’s prosperity, which was threatened by industrialization and economic recession.

Now, contemporary Chinese curators — and local governments eager to boost rural incomes — are embracing the concept. Sponsored by the government of Foshan, a mid-size city outside Guangzhou, and featuring an all-star team of consultants, directors, and curators, including Kitagawa himself, Art Field Nanhai — the name comes from Foshan’s Nanhai District — represents the latest attempt to bring this internationally successful model to rural China. Covering an area of 176 square kilometers and featuring 73 art projects in total, it’s the largest art field in China to date.

The works on display invite visitors to explore the lost stories of Nanhai’s once-vibrant (một thời sôi động) business and cultural scenes. The architect Ma Yansong’s “Timeless Beacon,” for instance, is located atop an abandoned building in Taiping Hui, a once prosperous rural marketplace during the 1980s and 1990s. Consisting of a glowing, beacon-like lamppost surrounded by colored nets and reflective materials, the installation showcases (trưng bày) the old street’s beauty.

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