White Paper Manifesto

(aka On the Aesthetic of Delayed Production and Indefinite Planning)

Sheung Yiu

Description of work

White Paper Manifesto (aka On the Aesthetic of Delayed Production and Indefinite Planning) is an artwork in the form of an online white paper. The white paper exists as an ongoing google document, open to comment, ready for further edits and constantly updated. The artwork outlines planning as an artistic approach and situates artists in the current ever-hostile socio-political climate characterized by late capitalism, network culture, institutional failure, and the climate crisis. The white paper rethinks the logic of exhibiting and art production in this day and age. The white paper views proposal, as opposed to art production, as a valid artistic practice to navigate the current calcified art institutions and a starting point to imagine new economic systems for artists.

Adopting a metamodernist position (a concept coined by Luke Turner), the white paper oscillates between the grandiose statement of manifestos and the boring clauses in corporate annual reports. It appropriates the bureaucratic language of government agencies to speculate on a new mode of doing art. The idea describes will be ever-changing, in perpetual influx, never coming into conclusion nor fruition.

More than an institutional critique on the contemporary Culture Industry, it advocates for an ecosystem that accommodates emerging forms of art - 'the art of delayed production and indefinite planning'. The project argues that planning exemplifies the oscillation between pure imagination and corporeal production, between jaded cynicism and fresh-eyed hopefulness. By drifting away from art production, the white paper speculates on a value system based on planning as opposed to producing - the aesthetic of delayed production.


Sheung Yiu is a Hong-Kong-born, image-centered artist and independent researcher, based in Helsinki. His research interests concern the increasing complexity and agency of computer-generated imagery (CGI) in contemporary digital culture. Investigating cultural ideas and technical apparatuses beyond the pictorial surface, he problematizes the representational understanding of photography. He seeks to expand the image discourse by formulating the connections between photography theories and new forms of realism, object-oriented ontology, cybernetics, computational theory, and post-internet thinking. Engaging with artistic practice and multi-disciplinary collaboration as a mode of research, his works examine the production, aesthetics, poetics, and politics of CGI, such as computer vision, photogrammetry, remote sensing, and computer simulation. He is also interested in alternative artistic practices that minimize our reliance on traditional institutions, which he elaborated in White Paper Manifesto. You can support the White Paper Manifesto and the artists via Patreon.