Fuchsia Dunlop, Austin Hu
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Language: English with Chinese Translation
Admission Free. Reservation is required.
Ms. Dunlop is widely acknowledged as the pre-eminent Western expert on Chinese food, a deft and lyrical interpreter of the mysteries of regional cuisines for Western food lovers and the Chinese diaspora alike.Incorporating various native flavors and ingredients in his dishes, Austin Hu of Madison in Shanghai aims to localize his style of American cuisine by co-operating with Chinese distributors as opposed to importing all his products.
All Tomorrow’s Parties: Summoning Creativity in Shanghai
A Series of Conversations
Shanghai Studies Symposium, Rockbund Art Museum and NYU Shanghai present a series of conversations exploring urban creativity in Shanghai. The free events will take place as part of 2012-2013 Night@RAM program. They will be held on Friday evenings between 7 and 9 and/or Saturday afternoons from 3 to 6 at the AssociateMission Building, 169 Yuanmingyuan Road, 1st Floor.
Dr. Anna Greenspan and Dr. Francesca Tarocco of NYU Shanghai, founders of the research initiative Shanghai Studies Symposium, will host the series. “As China’s largest, richest and most cosmopolitan city”, they say, “Shanghai envisions itself as the next great global cultural hub, a key site of China’s ‘soft power’.”... Read More
Fuchsia Dunlop, Austin Hu
=================
Language: English with Chinese Translation
Admission Free. Reservation is required.
Ms. Dunlop is widely acknowledged as the pre-eminent Western expert on Chinese food, a deft and lyrical interpreter of the mysteries of regional cuisines for Western food lovers and the Chinese diaspora alike.Incorporating various native flavors and ingredients in his dishes, Austin Hu of Madison in Shanghai aims to localize his style of American cuisine by co-operating with Chinese distributors as opposed to importing all his products.
All Tomorrow’s Parties: Summoning Creativity in Shanghai
A Series of Conversations
Shanghai Studies Symposium, Rockbund Art Museum and NYU Shanghai present a series of conversations exploring urban creativity in Shanghai. The free events will take place as part of 2012-2013 Night@RAM program. They will be held on Friday evenings between 7 and 9 and/or Saturday afternoons from 3 to 6 at the AssociateMission Building, 169 Yuanmingyuan Road, 1st Floor.
Dr. Anna Greenspan and Dr. Francesca Tarocco of NYU Shanghai, founders of the research initiative Shanghai Studies Symposium, will host the series. “As China’s largest, richest and most cosmopolitan city”, they say, “Shanghai envisions itself as the next great global cultural hub, a key site of China’s ‘soft power’.”
“Having fully embraced the discourse of the creative industries, the city is busy converting heritage buildings into offices, boutiques and coffee shops; there are now close to 200 so-called ‘creative clusters’ in Shanghai. These converted warehouses and factories pay homage to the city’s industrial past whilst recognizing that industrialization is no longer enough.” “China”, they contend, “seeks to move beyond its position as the world’s workshop. In the past decade, a remarkable amount of infrastructure devoted to culture has emerged. Along with the plethora of creative clusters, Shanghai is also building a whole host of new museums, concert halls and galleries.” “Yet, there is a deep ‘creative anxiety’ in Shanghai and a widespread awareness that the city’s creative content does not yet match its state-of-the-art infrastructure.” Shanghai, say Greenspan and Tarocco conforms to the common cliché, “it has the hardware but not the software.”
All Tomorrow’s Partiesexplores contemporary Shanghai’s intellectual and cultural currents in order to investigate questions such as: Can artistic creativity and technological innovation be programmed or planned? Is the current ‘cargo-cult’ approach to the creative sphere effective or is it destined to ultimately fail? What forms might Shanghai’s particular inventiveness take? Will it make manifest the city’s unique imprint? In which ways might it root itself in the locale so that it can become the singular product of this time and place? Do novel theories and practices engage with earlier cultural traditions? Can a neo-traditionalism emerge that is also avant-garde and modern (the ‘shock of the new’)?
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