After months of hard work, I am happy to tell the world that this bilingual, not quite elfin, really more of a minor tome of a book is published. I feel honored to have been able to work with such talented and dedicate people. Everyone, from the editors to the designers to our London correspondent, were absolutely f*cking amazing and I hope this is the first of many more projects. Although I must admit, making a bilingual book when most of the creative team did not know the language was a major, and often frustrating challenge. We powered through, and here is it. The book, our red baby, in its press release form.
Internationally celebrated curator Hans Ulrich Obrist is often asked about the future of art. His answer is always that we have to listen to artists. Since 2005, Obrist has expanded this narrative to ask not only artists but also writers, architects, mathematicians, scientists, poets, photographers, designers, novelists, professors, lawyers, actors, and philosophers to complete the sentence, “The future will be…,” resulting in a range of different readings on what lies ahead. The first in a series of publications, the China Edition of The future will be… is a collection of answers to Obrist’s question from protagonists working in China, and encourages readers to delve into the futuristic imaginings of a profoundly complex society.
Co-published by the Pinacoteca Giovanni e Marella Agnelli and the Ullens Contemporary Center of Art, this bi-lingual publication will be launched during ART HK 12 in May at the Asia Society in Hong Kong.
The China Edition of The future will be… began in Turin in 2010, when the Pinacoteca Agnelli, as part of its programme of exhibiting private collections, invited the Astrup Fearnley Museum of Modern Art in Oslo to exhibit its collection of contemporary Chinese art by hosting the fourth iteration of China Power Station. Initially organised by the Serpentine Gallery in London in 2006, China Power Station was curated by Hans Ulrich Obrist, Julia Peyton-Jones, Director of the Serpentine Gallery in London, and Gunnar B. Kvaran, Director of the Astrup Fearnley Museum of Modern Art in Oslo.