Urban China Magazine | Creative China #33

UC#33 | Creative China

During the past month MovingCities, Ned Rossiter and the Urban China team compiled, edited, discussed, translated and re-edited content and graphics for the 33rd issue of Urban China Magazine.

Entitled “Creative China – Counter-Mapping the Creative Industries”, this guest-edited publication is based on preliminary research during May-July 2007, when Ned Rossiter, Bert de Muynck and Mónica Carriço, coordinated the ‘Transdisciplinary Research on Creative Industries in Beijing – Mobile Research Laboratory’ (orgnets.net).

Production got underway in early 2008, and Hendrik-Jan Grievink was invited on board to provide a critical grammar of design.

UC#33 will be available from mid-December 2008 on, and will be partly bi-lingual CN/EN for international readership.

2007年5-6月,奈德·罗斯特、伯德孟与莫妮卡·卡瑞苏协作组织了“北京地区创意产业跨学科研究-移动研究实验室”(详见www.orgnets.net) 。本期的客座编辑工作从2008年年初启动,并邀请亨德里克-扬·格里芬克为此设计一套独特视觉语言。

Organised Networks | Beijing

bei-CI | Mobile Research Laboratory | May-July 2007

The “Urban China: Counter-Mapping Creative Industries Issue” text on orgnets.net gives a full background to the topic:

This issue of Urban China sets out to critique and redefine the idea and practice of ‘mapping’ the creative industries. Foregrounding the experimental process of collaborative constitution, we are interested in the multiple idioms of expression that make creative industries intelligible beyond the blandness of policy discourse. Activist researchers, artists and writers in Europe, Brazil and India have been particularly inventive in combining collaborative techniques of production with social-political critique via media of communication. We see this work as part of the prehistory and global dialogue around how to create new spaces and transdisciplinary knowledges able to negotiate the complexities and politics that attend the economization of culture.

In bringing the idea of counter-mapping to the creative industries in Beijing, the question and problematic of translation is quickly established. Understood as a social practice rather than search for linguistic equivalence, translation registers the conflictual dynamics of the encounter between different knowledge and social systems. Rather than adopting a defeatist logic, we instead see the conflictual processes of translation as constitutive of new social assemblages and knowledge systems.

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More than 30 contributors have each in their own way visualized and written about their experience, research, work and vision on what the Creative Industries still mean today in China and outside. Contributors include Shveta Sarda, Soenke Zehle, Michael Keane, Luka Frelih, Hao Dong+Binke Lenhardt/crossboundaries, Alex Pasternack, Elaine Wing-ah Ho/HomeShop, Xuefei Ren.

Overall, the magazine tries to grasp the interlocking layers of creativity, ecology, organized networks, real-estate speculation, cultural heritage, the music industry and many more.


Once the Urban China Magazine is out, movingcities/orgnets will publish the writings online. As for now the introduction text to the “Import Cultures & Export Innovations in Architecture and Urban design”-chapter:

An important and often overlooked aspect of today’s architecture is the concept of mediation. With an enormous range of possibilities for image making and the ubiquitous demand on architects to ‘make a difference’, it seems as though the work of mediatiation has been sidelined. Mediation gathers knowledge and experience through a process of transformation and adaptation. The culture of construction has became a commodity where one size fits all. This self-inflicted architectural amnesia among professionals has many surprising results –great buildings are erected and designed in absence of any cultural legitimation, providing architects a plethora of possibilities. This global euphoria with neo-internationalism has frequently been controversial for local inhabitants, producing a dynamic tension in which local creativity precipitates on a global scale.

UC#33 Creative China | Design

Fake for Real Memory Game | design by Hendrik-Jan Grievink

Hendrik-Jan Grievink, the guest-designer of this issue, was also the graphic-mind behind the MyCreativity-newspaper, a free accidental publication dedicated to the anonymous creative worker result of conference with the same name that took place in Amsterdam in 2006. More recently he designed the “Fake for Real Memory Game” and soon after got sued by Louis Vuitton over its graphical style:

The Fake for Real Memory Game – consisting of 60 cards that playfully visualize the classical theme of fake and real in our society – has temporarily been taken offline due to legal issues with a luxury leather luggage brand Louis Vuitton. (…) Although the Fake for Real memory game is not a handbag, suitcase or anywhere near the product range of Louis Vuitton and the FFR memory game is immediately recognizable as an artistic and educational take on the fake industry, lawyers of Louis Vuitton nevertheless found it necessary accuse the creators of the FFR game of copyright infringement.

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More updates about the Urban China magazine will follow. In the mean time,
Be Creative! Get Payed!

movingcities.org on architecture, China & the creative industries

UPDATE Urban China #33 on the new stands!

Vitamin creative space - The Shop (image:Jiang Jun) | Beijing, February 2009

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Urban China #33 | LINKS updated

2 Replies to “Urban China Magazine | Creative China #33”

  1. It may be possible to request copies throughout China and abroad (though the issue has sold rapidly and is in limited supply). For detailed information on how to purchase Urban China, see UC#33 OrgNets ordering page:

    Or contact the distributor directly:
    Zhou Shasha (CIBTC -China International Book Trading Corporation)

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