Papers by Michael Ulfstjerne
Journal of Extreme Anthropology, Oct 1, 2020
Anthropological Quarterly, 2021
Berghahn Books, Dec 31, 2022
Berghahn Books, Dec 31, 2023
Structures of Protection?
Cameracronica Magazine #2 agosto • august 2013 italian and english texts Progettare in spazi fant... more Cameracronica Magazine #2 agosto • august 2013 italian and english texts Progettare in spazi fantasma designing in ghost spaces giacinto cerviere Progetto e rovina • Design anD ruin • studio marc museo della fucina • museum of the forge • rotor installazione a grinDbakken, gent • an exhibition at grinDbakken, gent • nik spatari & hiske maas musaba. furore antimimetico • musaba. anti-mimetic rage • marco casagrande ruin acaDemy a | at taiPei • michael alexander ulfstJerne un territorio creativo. orDos 100 • creative lanD PaD. the orDos 100 • giulia menzietti paesaggi in rovina. l'isola Di hashima • lanDscaPes in ruin. the islanD of hashima • sa.und.sa estia la stanza Del focolare • estia the hearth room • neri and hu the Watherhouse boutiQue hotel • michelangelo pugliese il giarDino Di DraPia • the garDen in DraPia
The Copenhagen Journal of Asian Studies, 2013
With the new magnitude for the relatively unhindered production and circulation of artworks, gall... more With the new magnitude for the relatively unhindered production and circulation of artworks, galleries and contemporary art museums are burgeoning across the larger cities of China. This article provides an empirical example of how contemporary and avant-garde art is produced and valuated in the art communities that thrive on the recent international recognition of Chinese artworks. It addresses some of the effects that occur when art production becomes mediated by cultural entrepreneurs and propelled by resourceful investors. Challenging notions of autonomy and independence in the sphere of aesthetics and contemporary art, the article addresses some of the ways in which art becomes co-opted, not only by commercial agents, but also by official ambitions. The commercialization of the cultural sphere reveals a paradigmatic shift, giving a stronger emphasis to the intangible notion of creativity as a new driving force for economic development in China.
The Journal of Asian Studies, 2016
This article examines how a resource bonanza in Ordos Municipality, Inner Mongolia Autonomous Reg... more This article examines how a resource bonanza in Ordos Municipality, Inner Mongolia Autonomous Region, in the 2000s translated into broad-based participation in informal lending networks and drove a remarkable, but short-lived, phase of urban expansion and private wealth accumulation. Local lending networks inflated enormous credit and property bubbles, which ultimately burst in 2011 with severe ramifications for Ordos's urban expansion and households' livelihoods. Based on fifteen months of ethnographic fieldwork in Ordos, the analysis advances the idea of “taking part” to explore the interconnected desires to participate in urban expansion and to seize for oneself a portion of the local bonanzas in natural resources, property, and finance. The socio-spatial impacts of the financialization of the everyday environment are discussed in relation to urban transformation, the production of a “ghost town,” and local authorities' opportunistic forms of deregulation. These were ...
With the new magnitude for the relatively unhindered production and circulation of artworks, gall... more With the new magnitude for the relatively unhindered production and circulation of artworks, galleries and contemporary art museums are bur-geoning across the larger cities of China. This article provides an empirical example of how contemporary and avant-garde art is produced and valu-ated in the art communities that thrive on the recent international recogni-tion of Chinese artworks. It addresses some of the effects that occur when art production becomes mediated by cultural entrepreneurs and propelled by resourceful investors. Challenging notions of autonomy and independence in the sphere of aesthetics and contemporary art, the article addresses some of the ways in which art becomes co-opted, not only by commercial agents, but also by official ambitions. The commercialization of the cultural sphere reveals a paradigmatic shift, giving a stronger emphasis to the intangible no-tion of creativity as a new driving force for economic development in China.
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Papers by Michael Ulfstjerne