Long March


Initiated in 1999, the Long March Project is a complex, multi-platform, international arts organization and ongoing art project, based in Beijing, that can be simultaneously considered a gallery space; a publishing house; a curatorial lab; an artistic collection; a meeting place; a consultancy; a commissioning and production atelier, artistic facilitator, and author. From a critical distance, all of these avenues of production aim to provocatively construct, and in turn renew, presumed action and thinking concerning ‘contemporary art’.

The ongoing journey of the Long March Project can be conceived as:

1. a process of movement through space, time, or thought without a fixed beginning or end, involving multiple transformations
2. a methodology which stresses adaptation to local and temporal circumstances, focused on artistic, social and educative activities that are designed to interrogate contemporary visual economies
3. an artistic intervention, operating on a national and international platform, in collaboration with artists and an increasing range of public, private and independent arts organizations and individuals.

China’s revolutionist Long March (1934-36) provides the beginning of a metaphorical framework and discursive line of enquiry for the creation of the series of different Long March Projects. The physical re-tracing of this monumental 6000 mile journey (2002), and the continual ongoing exploration by Long Marchers across various geographies, borders and boundaries today, discusses ideas of revolutionary memory in a local context, and collaborates with participants from around the world to reinterpret historical consciousness into new ways of perceiving reality. The Long March Project is a constantly changing, mobile entity that seeks to provide a departure point for discussion, as well as praxis for the reconstitution of new methodologies of practice. By challenging and moving beyond fixed definitions of artistic practice, local and international, individual and collective, new forms of production and consumption are allowed to interact.

In conjunction with Tomorrow they have initiated: Korea 2018, a platform for the speculation of a space and time when and where oppositional politics and historical spectacle concerning ideas of North and South, are no longer a given praxis of cultural, social or artistic engagement in Korea. A copy of the initiatives inaugural press release is here.


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