French photographer and graphic designer François Prost has a new photo series out that I thought I would share with you today. It’s called “Paris Syndrome” and I discovered it via CityLab.
What the series does is visually compare Paris to a housing estate in Hangzhou, China called Tianducheng, which was designed to be a replica of Paris. Tianducheng even has its own Eiffel Tower, though this Chinese version is only 108m tall and the French original is 324m.
Still, in many of François’ photos, you may find it difficult to distinguish between the two (provided you ignore the Chinese people and the Chinese signs). The neighborhood was initially a ghost town, but apparently it’s now starting to fill up.
The reason I mention this photo series is because it reminded me of the day that I spent in Macau last week. I’m not much for gambling – and Macau is firmly the gambling capital of the world with revenues that greatly exceed Las Vegas – but I was curious to see it.
Similar to Hong Kong, Macau is a Chinese Special Administrative Region with a lot of autonomy. But from 1557 to 1999 it was under Portuguese administration. And so historically it has been home to this very unique Eurasian culture spanning everything from food to language.
I say “historically” because the Macanese and their Patuá language – which is supposedly a blend of Portuguese, Cantonese and Malay – seem to be on the brink of extinction.
Today it’s all about the casinos. And the demand is firmly coming from mainland China. In 2016, 90% of Macau’s 31 million tourists came from there.
I fully appreciate the demand drivers, but I struggle to understand the allure of replicating and bastardizing attractions from other places. Macau also has an Eiffel Tower, as well as a Venetian (like Las Vegas). You can go for gondola rides in its canals.
The more interesting part for me was the historic center of Macau with its Portuguese paving on the sidewalks. But maybe that’s just me.
Image: François Prost
This month is the 50th year anniversary of the Jacques Tati film, Playtime. Initially released in December 1967, Playtime is a French comedy that is often considered to be director Tati’s most notable work. Apparently it was commercially unsuccessful at the time of its release. But it has since become recognized, at least by some, as one of the greatest films ever made.
The film is a satire of modern society. And so it’s also a funny critique on modern architecture and the prevailing ideologies at the time. Watch the trailer below and you’ll very clearly see this relationship: a Frenchman lost in a new, modern Paris. I remember watching one of his earlier movies – Mon Oncle – in one of my undergraduate architecture classes.
If you can’t see the trailer below, click here:
[youtube https://www.youtube.com/watch?v=zrYB8hgyq4s&w=560&h=315]
Kickstarter has just relaunched a subscription service for artists and creators called Drip. It is an acquisition that Kickstarter made a few years ago and so that’s why it’s a relaunch. Here is the blog post announcement.
The simplest way to describe Drip is as follows: “Kickstarter is for projects, Drip is for people.” In other words, instead of backing a specific project, you back the human for, say, $10 a month. It’s a tool for people to fund creators so that they have the freedom to make their work.
Now compare this model to that of the 19th century Salon in Paris. Arguably the greatest art event in the Western world during its prime, getting exhibited at the Salon was basically a right of passage for artists.
But the Salon had specific criteria for what it considered to be good and acceptable art. Perhaps most famously, 19th century Impressionism – which some would call the first truly modern art movement in painting – was not considered acceptable.
The Impressionists routinely had their work refused by the Salon, which is why they ended up having to organize their own shows. Good for them.
So when I see something like Drip, I think about how amazing it is that we now have platforms where artists and creators have the freedom to make what they want to make and the market – instead of a stuffy institution – can decide what is good and worth supporting.
Check out Shantell Martin if you’re looking to explore Drip. I recently discovered her work and I’m a fan.