798 Art District No 4 Jiuxianqiao Rdto Tiannamen Plaza Beijing

The archway of the #798 Art Commune

798 Art Zone (Chinese: 798艺术区; pinyin: 798 Yìshùqū ), or Dashanzi Fine art District, is a complex of 50-year-old decommissioned military machine manufacturing plant buildings boasting a unique architectural mode that houses a thriving creative community in Dashanzi, Chaoyang District of Beijing. The area is frequently chosen the 798 Fine art District or Manufacturing plant 798 although technically, Manufactory #798 is only one of several structures inside the complex formerly known equally 718 Joint Factory. The buildings are within alleys number two and four on Jiǔxiānqiáo Lù (酒仙桥路), south of the Dàshānziqiáo flyover (大山子桥). The area is anchored by the UCCA Centre for Gimmicky Art, the largest and most visited venue in the area. In recent years, it has been the main venue for the annual Beijing Queer Motion-picture show Festival and Beijing Design Week.^[1]

Structure [edit]

798 Space gallery, January 2009. Quondam Maoist slogans are visible on the ceiling arches.

The Dashanzi mill complex began as an extension of the "Socialist Unification Plan" of military-industrial cooperation betwixt the Soviet Union and the newly formed Red china. By 1951, 156 "joint mill" projects had been realized under that agreement, part of the Chinese authorities'due south first Five-Year Programme. However, the People's Liberation Army still had a dire need of mod electronic components, which were produced in only two of the joint factories. The Russians were unwilling to undertake an additional project at the fourth dimension and suggested that the Chinese plough to East Deutschland where much of the Soviet Wedlock'due south electronics equipment was imported. So at the request of so-Premier Zhou Enlai, scientists and engineers joined the first Chinese trade delegation to East Germany in 1951, visiting a dozen factories. The project was light-green-lighted in early 1952 and a Chinese preparatory group was sent to Eastward Berlin to prepare design plans. This project, which was to exist the largest past East Federal republic of germany in Communist china, was then informally known as Project #157.

The architectural plans were left to the Germans, who chose a functional Bauhaus-influenced blueprint over the more ornamental Soviet style, triggering the showtime of many disputes between the German and Russian consultants on the projection. The plans, where form follows office, chosen for large indoor spaces designed to permit the maximum amount of natural light into the workplace. Curvation-supported sections of the ceiling would curve up then fall diagonally forth the loftier slanted banks or windows; this pattern would exist repeated several times in the larger rooms, giving the roof its characteristic sawtooth-like appearance. Despite Beijing'southward northern location, the windows were all to face north considering the calorie-free from that direction would cast fewer shadows.

The chosen location was a 640,000 foursquare meter expanse in Dashanzi, and then a low-lying patch of farmland northeast of Beijing. The complex was to occupy 500,000 foursquare meters, 370,000 of which were allocated to living quarters. It was officially named Joint Factory 718, following the Chinese government's method of naming military factories starting with the number 7. Fully funded by the Chinese side, the initial upkeep was enormous for the times: 9 1000000 rubles or approximately 140 1000000 RMB (US$17 million) at today's rates; actual costs were 147 million RMB.

Footing was broken in April 1954. Structure was marked by disagreements between the Chinese, Soviet and German experts, which led at one point to a six-month postponement of the project. The Germans' harshest critic was the Russian technology consultant in accuse of Beijing'due south two Soviet-built electronics factories (714 and 738), who was as well head consultant of the Radio Industrial Office of the 2nd Ministry building of Machine Building Manufacture. The disputes generally revolved effectually the Germans' high but expensive quality standards for buildings and machines, which were called "over-engineering" by the Russians. Amidst such points of contention was the Germans' insistence, historical seismic data in mitt, that the buildings be built to withstand earthquakes of magnitude eight on the Richter scale, whereas the Chinese and Russians wanted to settle for 7. Communications expert Wang Zheng, caput of Communications Industry in the Chinese Ministry of National Defense and supporter the East German bid from the offset, ruled in favor of the Germans for this particular factory.

At the height of the construction effort, more than 100 East German foreign experts worked on the projection. The resources of 22 of their factories supplied the construction; at the same time, supply delays were caused past the Soviet Red Ground forces'southward tremendous drain on East Germany's industrial production. The equipment was transported directly through the Soviet Matrimony via the Trans-Siberian railway, and a 15 km rail of railroad between Beijing railway station and Dongjiao Station was built particularly to service the manufacturing plant. Caltech-educated scientist Dr. Luo Peilin (罗沛霖), formerly caput of the preparatory grouping in 1951-1953, was Head Engineer of Joint Factory 718 during its construction phase. Dr. Luo, at present retired in Beijing, is remembered by his erstwhile colleagues equally a dedicated perfectionist whose commitment to the obstacle-strewn projection was a major factor of its eventual success.

Performance [edit]

Joint Factory 718 began production in 1957, among a grandiose opening ceremony and display of Communist alliance betwixt Communist china and East Germany, attended past high officials of both countries. The commencement director was Li Rui (李瑞), who had been involved in the early negotiations in Berlin.

The factory quickly established a reputation for itself as 1 of the best in China. Through its several danwei or "piece of work units", it offered considerable social benefits to its 10,000-20,000 workers, peculiarly considering the relative poverty of the country during such periods as the Peachy Leap Forward. The manufacturing plant boasted, amidst others:

• the best housing available to workers in Beijing, providing fully furnished rooms to whole families for less than i/30 of the workers' income;
• various extracurricular activities such as social and sporting events, dancing, swimming, and preparation classes;
• its own athletics, soccer, basketball and volleyball teams for men and women, ranked amid the best in inter-factory competitions;
• a brigade of German-fabricated motorcycles, performing races and stunt demonstrations;
• an orchestra that played non only revolutionary hymns merely as well German-influenced classical Western music;
• literary clubs and publications, and a library furnished with Chinese and foreign (German) books;
• Jiuxianqiao hospital, featuring German equipment and offering the most avant-garde dental facilities in China.

The manufacturing plant even had its own volunteer military reserves or jinweishi (近卫师), which numbered hundreds and were equipped with large-scale weapons and anti-aircraft guns.

Workers' skills were honed by frequent personnel exchanges, internships and training in cooperation with Due east Frg. Different incentives kept motivation loftier, such as rewards systems and "model worker" distinctions. At the same time, political activities such as Maoism study workshops kept the workers in line with Communist Party of Prc doctrine. During the Cultural revolution, propaganda slogans for Mao Zedong Idea were painted on the ceiling arches in bright ruby characters (where they remain today at the latter tenants' request).

Frequent VIP visits contributed to the festive atmosphere. Notable guests included Deng Xiaoping, Jiang Zemin, Liu Shaoqi, Zhu De, and Kim Il-Sung.

The Joint Factory produced a broad variety of military and civilian equipment. Civilian product included acoustic equipment for Beijing'due south Workers' Stadium and Not bad Hall of the People, every bit well every bit all the loudspeakers on Tiananmen Square and Chang'an Artery. Armed forces components were too exported to Red china'south Communist allies, and helped establish Democratic people's republic of korea'due south wireless electronics manufacture.

One of the old automobile tools in front of some contemporary art in Dec 2005

Afterward x years of performance, Joint Manufacturing plant 718 was dissever into more manageable components, such as sub-Factories 706, 707, 751, 761, 797 and 798. The first Head of sub-Factory 798 (the largest) was Co-operative Political party Secretarial assistant Fu Ke (傅克), who played a major function in recruiting skilled workers from southern Communist china and returned overseas Chinese.

However, the factory came under pressure during Deng Xiaoping's reforms of the 1980s. Deprived of governmental support like many state-owned enterprises, it underwent a gradual refuse and was somewhen rendered obsolete. By the late 1980s and early on 1990s, most sub-factories had ceased production, 60% of the workers had been laid off, and the remains of the management were reconstituted equally part of a real-manor operation called "Seven-Star Huadian Science and Engineering Group", charged with overseeing the industrial park and finding tenants for the abandoned buildings.

Creative rebirth [edit]

The Dashanzi factory complex was vacated at around the time when most of Beijing's contemporary artist community was looking for a new home. Advanced fine art was frowned upon past the government and the community had traditionally existed on the fringes of the metropolis. From 1984 to 1995, they worked in run-down houses virtually the Old Summertime Palace in northwestern Beijing, until their eviction. Many then moved to the eastern Tong County (now Tongzhou Commune), more than an hour'due south drive from the metropolis center.

Then in 1995, Beijing's Fundamental Academy of Fine Arts (CAFA), looking for storage and workshop space, gear up upward in the now defunct Factory 706.^[2] The temporary move became permanent and in 2000 Sui Jianguo, Dean of the Department of Sculpture, located his ain studio in the area. The chaotic sculpture workshops accept e'er remained open up for visitors to peek at the dozens of workers milling near.

By 2003, an creative community of over xxx artists, designers, and publishers had developed. The first creatives to take residence in the district included artist Xu Yong, designer artist Huang Rui, publisher Robert Bernell, painter Li Songsong, and Beijing Tokyo Art Projects' Tabata Yukihito.^{[3] [2]}

One of the get-go exhibition spaces, Beijing Tokyo Art Projects (BTAP, 北京东京艺术工程), was opened by Tabata Yukihito of Japan's Tokyo Gallery.^[4] Inside a 400-m² sectionalization of Factory 798's primary area, this was the showtime renovated infinite featuring the high arched ceilings that would become synonymous with the Art District. BTAP'south 2002 opening exhibition "Beijing Adrift" (curator: Feng Boyi), drew a crowd of over 1,000 people and marked the beginning of the popular infatuation with the area.

In 2002, Huang Rui (黄锐) and hutong photographer Xu Yong (徐勇) prepare upwardly the 798 Space gallery (时态空间) next to BTAP.^[4] With its cavernous 1200-mⁱⁱ floor and multiple-arched ceilings at the center of Manufactory 798, it was and nonetheless is the symbolic center of the whole district. (Huang and Xu since designed at least vii spaces in the expanse and became the prime movers and de facto spokespersons of the District.) A drinking glass-fronted café was set up upwardly in the former office section at the back of the 798 space, opening into a back alley now lined with studios and restaurants such as Huang'southward own At Café, and Cang Xin's #vi Sichuan restaurant, the area'southward "bottle".

American Robert Bernell was the get-go foreigner to movement in and brought his Timezone viii Art Books bookshop, gallery and publishing office to a former manufacturing plant canteen. I of Timezone 8's early employees was mode designer Xiao Li, who along with her hubby, performance artist Cang Xin, and Bernell, helped artists secure and rent spaces in the area.

Through discussion-of-oral cavity, artists and designers started trickling in, attracted to the vast cathedral-similar spaces. Despite the lack of any conscious artful in the Bauhaus-inspired style, which grounded architectural beauty in practical, industrial part, the swooping arcs and soaring chimneys had an uplifting event on mod eyes, a sort of post-industrial chichi. At the artists' requests, workers renovating the spaces preserved the prominent Maoist slogans on the arches, adding a touch of ironic "Mao kitsch" to the place.

In 2003, Lu Jie (卢杰) set upward the Long March Foundation, an ongoing project for creative re-interpretation of the historical Long March, inside the 25,000 Li Cultural Transmission Heart (二万五千里文化传播中心). Around that time, Singapore-endemic Prc Fine art Seasons (北京季节画廊) opened for display for pan-Asian art, and was one of several new galleries setting upward at that time.

The UCCA Centre for Contemporary Art was ready up shortly thereafter in ane of the largest factories in the complex, and after recent renovations, serves every bit the anchor institution and most prominent, and virtually visited, art landmarks in the expanse.

Notable exhibitions [edit]

Several exhibitions of notation took place in 2003. In March 2004, "Transborder Linguistic communication", office of the Offset Dashanzhi International Art Festival, (curators: Huang Rui and Thomas J. Berghuis) combined poetry installation and performance art. "Blue Sky Exposure" was held outdoors in southern Beijing and then relocated to the Art District. On Apr thirteen, despite widespread fear of public gatherings during SARS, the exhibitions "Reconstruction 798" (798 space) and "Operation Ink Freedom" (25,000 Li Cultural Transmission Center) drew crowds of v,000 and definitely confirmed the surface area's widespread appeal.

In July, with Beijing in full structure nail, Wang Wei's "Temporary Infinite" (curator: Philip Tinari) featured workers completely enclosing an area of the exhibition with a brick wall and then removing the bricks one by 1. In September, "Left Hand - Right Hand" (curator: Feng Boyi) showcased Chinese and German sculptors at 798 Space and Daoyaolu Workshop A. Among the works was Sui Jianguo's enormous concrete sculpture "Mao'due south Right Hand", which is but what the name suggests, and an example of modern Chinese fine art's ironic reflections on history.

The first Beijing Biennale was held on September 18, 2003 at the Art District and featured 14 exhibitions. "Tui-Transfiguration" (curator: Wu Hung; tui here roughly means moult) featured photographs by Eastward Village chronicler Rong Rong (荣荣) and his married woman, Nihon-built-in Inri (映里). Their works notably featured their own naked bodies in diverse foreign locales, and were generally well-received despite existence criticized by some every bit typical of the self-centered nature of much art in the area.

The commencement Dashanzi International Art Festival, directed by the ever-present Huang Rui, was held from April 24 to May 23, 2004. This first edition, named Radiance and Resonance/Signals of Time (光•音 / 光阴), was beset by logistical issues arising from landowner 7-Star Grouping'due south increasing irritation with the fine art community. Equally such, the festival became as much a public protest against the surface area's upcoming devastation that a showcase of art itself.

The environmental performance artist Blood brother Nut installed his project, "Nongfu Spring Market," in 798 Art Zone in 2018. A commentary on pollution in China, this project received international attention including an article in The New York Times.^[v] 1 of the most (in)famous displays at the Festival was functioning artist He Yunchang having himself cemented close in a wooden box with only 2 pipes for ventilation, and staying there for 24 hours before beingness chiseled out, prompting the proverbial "Is information technology fine art?" questionings. "Shock" exhibitions take go increasingly common in the Fine art District.^{[half dozen]}

In 2008 in that location were notable exhibitions of foreign artists from Italian republic ("Rabarama. Italian Shape", AnniArt Gallery 798,^[7]): Rabarama and Cesare Berlingeri.

Gentrification [edit]

The district's popularity has exploded since the opening of BTAP and 798 Infinite in 2002, with scores of galleries, lofts, publishing firms, blueprint companies, high-end tailor shops, and cafés and fancy restaurants setting upwards. In 2003, around 30 artists and organizations had set up studios or offices in the area, with 200 more reportedly on the waiting list to move in.

Stylish clubs also sprang upwardly such equally Zhou Ying'southward "Vibes", known for its fetish nights. A former factory cafeteria became Yan Lodge^[8] (仁俱乐部), owned past well-known Beijing socialite and writer Li Xuebing or "Bing Bing" (冰冰), as well possessor of Sanlitun's Jam Business firm. Notable performers at Yan included Morcheeba in March 2003.

In keeping with the area's "community spirit", most galleries and spaces in Dashanzi do not charge either exhibitors or visitors. Instead, they generally sustain themselves past hosting assisting mode shows and corporate events; amid others, Sony had a product launch gala at 798 space, and watchmaker Omega presented a way testify at Yan Social club. Others include Christian Dior, Royal Dutch Shell and Toyota; supermodel Cindy Crawford also fabricated an appearance. Even Li Ka-shing's Cheung Kong Holdings held an upshot in the commune, which some^{[ who? ]} institute unsettling given the real-manor industry'south designs on the land it sits on.

Equally such, Dashanzi is now a center of Beijing'south nascent "BoBo" (conservative-bohemian) community. Huang Rui and Xu Yong are good representatives of the type. A local guru of sorts is artist/curator/architect Ai Weiwei (艾未未), whose self-designed house in Caochangdi just outside the factory complex was a trend-setter.

In the absenteeism of whatsoever hire control, tenants' costs have escalated. In 2000–2001, rents were 0.8 RMB per foursquare metre per day (24 RMB or U.s.$2.90/thousand²/month, or about US$0.27/sq.foot/month). They increased slightly to thirty RMB/m²/month in 2003, and and then doubled to sixty RMB/m²/month (United states$0.67/sq.foot/month) in 2004. Total costs can be quite high considering the average 200–400 k^two expanse of the spaces, and the overhead of renovating and retrofitting the rooms to use modern appliances.

Another sign of creeping gentrification is the increasing number of luxury cars parked well-nigh the galleries; local artist Zhao Bandi purchased the offset Alfa Romeo convertible in Beijing. Some (but non all) of the resident artists and their patrons are quite rich compared to other occupants of the area, the remaining manufactory workers. Some of the workshops are still operational on a small scale, mostly doing motorcar repair or industrial laundry.

Some local artists such as Zhang Zhaohui, a New York-trained art critic and curator, and architect Zhu Jun, a new Dashanzi resident, take criticized the Art Commune every bit being less most art and more about show. Says Zhang: "Few of the artists come to seriously practice fine art. About of them just come for opportunities to exhibit and sell works or just accept parties and gatherings." (Mainland china Daily)^[9] On the other mitt, young artists similar Zhang Yue discover this atmosphere particularly conducive to establishing one'due south career. In the form of 1 summer, Dashanzi Art District'due south Platform Red china Gimmicky Art Institute and Unlimited Fine art Gallery afforded this rising creative person two well-received solo shows.

Closure averted [edit]

In the days of Joint Mill 718, Dashanzi was called for its peripheral position well exterior the city center. The artists who later moved in that location were attracted from the fringes of the city as well. However, the area today sits correct on the strategic corridor between the Majuscule Drome and downtown Beijing along the Airport Expressway. In the context of People's republic of china's current real estate bubble, the district is highly probable to exist demolished in the nigh hereafter. Hints of development are already appearing with the western entrances of the complex flanked by the Jiuxian and Hongyuan luxury flat towers. In that location are all the current government projects which call for the expansion of the neighboring industrial park to plough all of Dashanzi into a high-tech evolution zone like to Zhongguancun. Landowner Vii-Star Grouping thus hopes to re-employ some of the 10,000 laid-off workers it is still responsible for.

Influential members of the artist community and architects are lobbying various regime instances to persuade them to let the old buildings to remain, to assistance grow organically a cultural eye that Beijing otherwise lacks. In 2003, International Architects Salon roped in architects from various international architectural associations and renowned architects like Bernard Tschumi and Coop Himmelblau's Wolf Prix to help emphasize how important attractive spaces like Factory 798 are to the international blueprint customs. They point out that such communities are important if Beijing, and Communist china, is to become a major source of artistic design instead of mere low cost low value-added manufacturing. (This issue has far-reaching implications in the domain of intellectual holding protection in China - some experts believe that the local IP laws will outset to be enforced only when China becomes a source of its own intellectual property.)

Patrons stroll through the 798 Fine art Zone, Beijing, April 2009

A crucial participant in the lobbying effort is resident sculptor Li Xiangqun, professor at the Academy of Arts and Design^[10] of Tsinghua University, who was elected deputy of the 12th National People'due south Congress in 2004. Li presented the municipal authorities with a formal bill in February, requesting the interruption of the destruction plans and preservation of the buildings every bit part of an Olympic-caliber cultural center.

Professors from architecture schools such every bit Beijing's Central Academy of Fine Arts and the Southern California Institute of Compages have proposed diverse development plans for the area that involve preserving the buildings, although those do not announced especially profitable financially.

Meanwhile, attempts have been made to appeal to the developers' sense of economics by pointing out similarities with New York's Greenwich Hamlet and SoHo, where the high profitability of real manor is due partly to the presence of quondam mail service-industrial artists' dwellings. Those arguments have so far been ignored.

In 2004, Seven-Star Group froze the rental of new spaces and prohibited all renewals. Tenants resorted to subdividing and subleasing their spaces, to which the Group responded by attempting to forbid subleasing to cultural organizations or to foreigners, hoping to bulldoze out the artists. Tenants, despite some of them having leases still valid for several years, were given the ultimatum of December 31, 2005 to vacate the bounds.^[11]

By 2006, public outcry was relentless, and prominent cultural organizations from around the world spoke upward. An unlikely duo including SevenStar, a government-led consortium acting every bit stewards of a alimony fund for quondam factory workers, and Guy Ullens, a Belgian philanthropist who had amassed the earth's largest drove of gimmicky Chinese fine art, commissioned Boston-based blueprint firm Sasaki Associates to produce a vision plan which sought to re-purpose the commune into a stable source of revenue while providing a much-needed destination for China'southward burgeoning arts scene.^[12] The plan needed to inspire multiple stakeholders with frequently divergent interests. First, the city government in Beijing wanted to ensure that the district would a visible and acclaimed destination. 2nd, the state-holder, SevenStar Group, needed to generate a sustainable revenue stream to endow the pension fund of old factory workers. Tertiary, international and Chinese non-profit cultural institutions investing in 798 such as the UCCA Centre for Contemporary Art wanted to focus on culture and protecting the district's distinctive grapheme. Finally, residents of adjacent neighborhoods were vocal about the need for community parks, recreation, and task opportunities.

Considering these voices equally, the Sasaki Assembly master plan for 798 endeavored to reach consensus with a long-game approach to redevelopment. Leading with clear principles and detailed guidelines, the plan was an opportunity to codify the values of the commune. To address the city's concerns, connections from nearby transit stations were strengthened, historic buildings were cataloged, and guidelines for their preservation and adaptive reuse were outlined. Next, a long-term strategy for obtaining revenue from new building leases was realized. A proposed arts school, artist-in-residence programme, and requirements that tenants are involved in a creative industry provided cultural institutions with a sense that 798 would attract new talent and ideas. Terminal, multiple parks and plazas responded to community desire for more than public open infinite.

By the end of 2007, it was decided that the area would go along in its current format of a special fine art zone. In 2009, the expanse has been refurbished and is thriving. 798's abandoned factory buildings accept been transformed into new museums, galleries, and cafes. Fallow fields and one time hidden courtyards take reemerged as settings for outdoor sculpture, mode shows, and other cultural events. The roads accept been repaved, new galleries take opened, and a buffet civilization is emerging. What began equally a small collection of imperceptible studios and other workspaces has become the third most visited destination in Beijing, after the Forbidden City and the Swell Wall.^[thirteen]

See also [edit]

• 50 Moganshan Road

Book references [edit]

• Huang Rui (黄锐), editor (2004). Beijing 798: Reflections on Fine art, Architecture and Society in China (798工厂：创造北京的新艺术街、建筑、社会). Hong Kong: Timezone 8 / Thinking Hands (现代书店艺术书屋 / 思想手设计). ISBN 988-97262-iii-8.
• Zhu Yan, with contributions past Yin Jinan and Li Jiangshu (2004). 798: A Photographic Journal.. Hong Kong: Timezone 8. ISBN 988-97262-seven-0.
• Ye Ying (叶滢), Transmutation 798《窑变798》, New Star Press, Beijing, 2010. ISBN 978-seven-80225-946-1

References [edit]

1. ^ Patrick Brzeski (1 July 2013). "China'southward Beijing Queer Film Festival Concludes Without Government Interference". The Hollywood Reporter . Retrieved 12 February 2016.
2. ^ ^{a b} Edward Fifty. Davis (2009). Encyclopedia of Gimmicky Chinese Culture. Taylor & Francis. p. 731. ISBN978-0-415-77716-2.
3. ^ "China Daily Print Edition". www.chinadaily.com.cn.
4. ^ ^{a b} Helmut Chiliad Anheier; Yudhishthir Raj Isar (21 January 2010). Cultures and Globalization: Cultural Expression, Creativity and Innovation. SAGE Publications. pp. 168–169. ISBN978-0-85702-657-six.
5. ^ Ryan, Olivia Mitchell; Mou, Zoe (13 July 2018). "With nine,000 Bottles of Dirty 'Spring Water,' a Chinese Artist Gets Results" – via NYTimes.com.
6. ^ "The avant-garde art goes too far?". www.chinadaily.com.cn . Retrieved 2019-06-24 .
7. ^ "502 Bad Gateway". www.anniart.com.
8. ^ "abode page". 31 May 2005. Archived from the original on 31 May 2005.
9. ^ "Artists Find New Oasis". www.china.org.cn.
10. ^ "Welcome to Academy of Arts and Design, Tsinghua Academy". 22 October 2004. Archived from the original on 22 October 2004.
11. ^ "Archived copy". Archived from the original on 2004-ten-xiv. Retrieved 2004-09-15 . {{cite web}}: CS1 maint: archived copy every bit title (link)
12. ^ American Planning Association (28 March 2018). "798 Arts District".
13. ^ Jamila Trindle (seven August 2008). "Finding Beijing's Not-And then-Hidden Fine art Treasure". NPR.

External links [edit]

• Official website of 798 Art Zone
• Website of 798 Art District
• Xiao Changyan (July 5, 2004). End of an era? Red china Daily.
• Tang Yuankai (June ten, 2004). 798: Beijing'south Art Community. Beijing Review 47 (23).
• Artists find new haven (Apr 2003). China Daily.
• Beijing'southward Art Scene (July 2008).
• 北京公社 (BEIJING COMMUNE) at 798
• Adam Lindeman, "Betting on Mainland china" in The New York Observer (June nine, 2010)
• CCII International Design Centre in 798 Art Zone
• Tanja Barnes (Dec, 2015). "Virtual Tour of 798 Art Zone in Virtual Reality" Roundme

Coordinates: 39°59′21″N 116°29′17″Due east  /  39.989057°N 116.48793°E  / 39.989057; 116.48793

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Source: https://en.wikipedia.org/wiki/798_Art_Zone

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