1130输出文件 画册最终版.indd 1 15-11-30 下午8:58 亚洲时间——首届亚洲双年展暨第五届广州三年展 第五届广州三年展办公室 ASIA TIME: THE 1st ASIA BIENNIAL AND THE 5th GUANGZHOU TRIENNIAL FIFTH GUANGZHOU TRIENNIAL OFFICE

业务指导：中华人民共和国文化部艺术司、外联局 广东省文化厅 项目统筹：张 芬 胡宇清 吕子华 Operation administrators: Project Managers: ZHANG Fen / HU Yuqing / Lyu Zihua The Art Department and Bureau for External Cultural Relations, Project Coordinators: HUANG Hairong / YUAN Zhao / Yaya Hu / JIANG Cui 主 办：广东美术馆 项目协调：黄海蓉 袁 钊 胡 也 蒋 翠 Ministry of Culture, the People’s Republic of China LIN Wei / ZHANG Fan / FENG Bi /ZHOU Shanyi/ LIAO Shani / 协 办：广东省立中山图书馆 林 薇 张 帆 廖沙泥 李若然 冯 碧 Department of Culture of Guangdong Province LI Ruoran / FENG Bi 行政助理：何 璐 刘苑婷 赵婉君 何惠玲 Administrative Assistants: HE Lu / LIU Wanting / ZHAO Wanjun / HE Huiling 总策展人：罗一平 推广协调：李姗姗 叶小青 刘丹妮 李诗媛 Organizer: Guangdong Museum of Art Media Coordinators: LI Shanshan / YE Xiaoqing / LIU Danni / LI Shiyuan 主策展人：张 晴 汉克·斯拉格 Co-organizer: Sun Yat-sen Library of Guangdong Province 策 展 人：金弘姬 乌特·梅塔·鲍尔 莎拉·威尔逊 主 编：罗一平

学术主持：孙 歌 副 主 编 ： 陈 建 宁 江 郁 之 邵 珊 Chairman: LUO Yiping Chief Editor: LUO Yiping

论坛主持：孙 歌 莎拉·威尔逊 执行编辑：胡宇清 廖沙泥 Chief Curators: ZHANG Qing / Henk SLAGER Vice Editors: CHEN Jianning/JIANG Yuzhi/SHAO Shan Curators: Hong-hee KIM / Ute Meta BAUER / Sarah WILSON Excutive Editors: HU Yuqing / LIAO Shani 策展研究员：吕子华 王佩琴 洪利知 编辑团队： 张 芬 吕子华 黄海蓉 袁 钊 胡 也 Academic Conductor: SUN Ge Editing Team: ZHANG Fen / Lyu Zihua / HUANG Hairong / YUAN Zhao 开幕时间：2015 年 12 月 11 日 蒋 翠 林 薇 张 帆 冯 碧 周善怡 蔡舒婷 Forum Moderators: Sun Ge / Sarah WILSON Yaya Hu / JIANG Cui / ZHANG Fan / CAI Shuting 展览时间：2015 年 12 月 11 日至 2016 年 4 月 10 日 翻 译：史亭玉 Research Curators: Lyu Zihua / ONG Puay Khim / Hong Leeji Translator: SHI Tingyu 展览地点：广东美术馆 广东省立中山图书馆 文字校对：胡宇清 张 芬 廖沙泥 冯 碧 周善仪 吕子华 黄海蓉 袁 钊 胡 也 Opening: 11 December 2015 Proof Readers: Hu Yuqing / Zhang Fen / LIAO Shani / FENG Bi/ZHOU Shanyi / Lyu Zihua/ 论坛时间：2015 年 12 月 12 日 蒋 翠 林 薇 路 易 Duration: 11 December 2015–10 April 2016 HUANG Hairong / YUAN Zhao / Yaya Hu / JIANG Cui / LIN Wei / Louis BERNEY 论坛地点：广东美术馆 平面设计：卢 珊 Venues: Guangdong Museum of Art,Sun Yat-sen Library of Guangdong Province Graphic Designer: LU Shan Symposium: 12 December 2015

首届亚洲双年展暨第五届广州三年展组织委员会 Symposium Venue: Guangdong Museum of Art

主 任：杨 树 Organizing Committee of ASIA TIME: The 1st Asia Biennial and the 5th 副 主 任 ： 于 万 东 李 再 炎 罗 一 平 Guangzhou Triennial 委 员：孙旭亮 李蔚荷 陈建宁 江郁之 邵 珊 郑永新 林潮雄 Chairman: YANG Shu 项目负责：张 芬 胡宇清 吕子华 Vice Chairmen: YU Wandong / LI Zaiyan / LUO Yiping 展务负责：陈建宁 郑永新 Committee members: SUN Xuliang / LI Weihe / CHEN Jianyu / JIANG Yuzhi / SHAO Shan / ZHENG Yongxin / 展场负责：李 熙 袁喜明 LIN Chaoxiong

出版和论坛：胡宇清 Curatorial Coordinators: ZHANG Fen / HU Yuqing / Lyu Zihua

对外事务：钟克珍 廖建芬 Exhibition Coordinators: CHEN Jianyu / ZHENG Yongxin Installation Directors: LI Xi / YUAN Ximing 推广负责：王 冰 Publishing and Symposium Coordinators: HU Yuqing 公教负责：刘端玲 史方方 External Affairs: ZHONG Kezhen / LIAO Jianfen 摄录负责：祝 明 Promotion Coordinator: WANG Bing 接待负责：涂晓庞 Education Program: LIU Ruiling / SHI Fangfang 后勤负责：林潮雄 李锦荣 Video Documentation: ZHU Ming 技术负责：陈荣辉 Guest Reception: TU Xiaopang

藏品负责：梁洁颖 郭 慧 黄浩星 Logistics: LIN Chaoxiong / LI Jinrong

财务负责：谢雪藩 Technical Support: CHEN Ronghui Collection Coordinators: LIANG Jieying / GUO Hui / HUANG Haoxing 保卫负责：黄敬华 Financial Coordinator: XIE Xuefan 设计总监：林 蕾 卢 珊 Security Coordinator: HUANG Jinghua 法律顾问：江有声 Design Directors: LIN Lei / LU Shan Legal Consultant: JIANG Yousheng

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1130输出文件 画册最终版.indd 6-7 15-11-30 下午8:58 1130输出文件 画册最终版.indd 8-9 15-11-30 下午8:58 1130输出文件 画册最终版.indd 10-11 15-11-30 下午8:58 总策展人 Chairman

罗一平：广东美术馆馆长 Luo Yiping: Director of Guangdong Museum of Art, Guangzhou

Chief Curators 主策展人 Zhang Qing: Head of the Curatorial and Research Department of 张晴：中国美术馆研究与策展部主任 the National Art Museum of China, Beijing 汉克·斯拉格：荷兰乌特勒支艺术学院院长 Henk Slager: Dean of MaHKU and Research Professor, University of the Arts, Utrecht 策展人 乌特·梅塔·鲍尔：新加坡南洋理工大学当代艺术中心创始人 Curators

金弘姬：韩国首尔美术馆馆长 Ute Meta Bauer: Founding Director of NTU, Singapore 莎拉·威尔逊：伦敦大学考陶尔德艺术学院现当代艺术史教授 Hong-Hee Kim: Director of Seoul Museum of Art, Seoul Sarah Wilson: Professor of Courtauld Institute, London

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骆佩珊 （英国） Susan pui san LOK (UK) 5 娜丝琳＋巴巴克 （伊朗 / 伊朗） Nasrin ＋ Babak (Iran/ Iran) 6 NC 小组 （中国） NC GROUP (China) 7 裴咏梅 （中国） PEI Yongmei (China) 萨利姆·阿里夫·夸德里 （英国） Saleem Arif QUADRI (UK) 8 艾兰·日得（奥地利） Ella RAIDEL (Austria) 9 阿德尔·阿比丁 （芬兰） Adel ABIDIN (Finland) 艾斯特·莎莱夫—格尔兹 （法国） Esther SHALEV-GERZ (France) 唐·安吉 （荷兰） Tiong ANG (Netherlands) 10 盐田千春 （日本） Chiharu SHIOTA (Japan) 北斗星 （中国） Big Dipper Group (China) 扬内克·西蒙 （波兰） Jan SIMON (Poland) 11 卜冰 （中国） BU Bing (China) 普拉尼特·索伊 （印度） Praneet SOI (India) 12 奥马·法斯特 （以色列 / 美国） Omer FAST (Israel/USA) 玛拉蒂·苏里约达摩 （印度尼西亚） Melati SURYODARMO (Indonesia) 傅文俊 （中国） FU Wenjun (China) 13 莎拉·施 （美国） Sarah SZE (USA) 娜塔莎·萨德尔 （德国） Natasha Sadr HAGHIHIAN (Germany) 健身计划小组 （芬兰 / 美国 / 法国） The BodyBuilding Project (Finland/USA/France) 14 灰野敬二 （日本） Keiji HAINO (Japan) 贾拉勒·托夫克 （伊拉克 ) ＋ Jalal TOUFIC (Iraq) ＋ 15 咸京我 （韩国） Kyungah HAM (Korea) 格拉齐耶拉·里兹卡拉·托夫克 （黎巴嫩） Graziella Rizkallah TOUFIC (Lebanon) 萨拉·范·德·海德（韩国 / 荷兰） Sara van der HEIDE （Korea/ Netherlands） 王维 （中国） WANG Wei (China) 16 胡项城 （中国） HU Xiangcheng (China) XML 工作室＋阿尔敏·林克 （荷兰 / 德国 / 意大利） XML ＋ Armin LINKE (Netherlands/ Germany/ Italy)

郑锦衡 （韩国） Geumhyung JEONG (Korea) 山城知佳子 （日本） Chikako YAMASHIRO (Japan) 18 郑恩瑛 （韩国） siren eun young jung (Korea) 余旭鸿 （中国） YU Xuhong (China) 扬·卡纳＋杰保·克努帝纳 （芬兰 / 芬兰） Jan KAILA ＋ Japo KNUUTILA (Finland/ Finland) 原弓 （中国） YUAN Gong (China) 19 姜爱兰 （韩国） Airan KANG (Korea) 岳敏君 （中国） YUE Minjun (China) 乔布·科里唯京 （荷兰） Job KOELEWIJIN （Netherlands） 张小涛（中国） ZHANG Xiaotao (China) 梁美萍 （中国香港） LEUNG Mee Ping (Hong Kong，China) 安雅·佐罗德 （俄罗斯） Anya ZHOLUD （Russia） 林宏璋 （中国台湾） LIN Hongjohn (Taiwan, China) 周滔 （中国） ZHOU Tao (China) 刘越 （中国） LIU Yue (China)

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一、缘起：我们为什么要做亚洲双年展？为什么要用亚洲视野 东美术馆举办首届亚洲双年展，首届亚双展的基本战略思路“亚洲问

校准世界时间？ 题全球表述”也在会议上得以确认。

“亚洲”是一个内涵丰富的时空概念。随着政治文化的多元发展、亚 另一个不容忽略的现实是，亚洲经济的快速崛起为中国带来了新的机

洲经济的崛起、艺术生态的开放，亚洲文化逐渐走向世界前台，亚洲 遇。二战后日本的复苏 ,“四小龙”的发展，西亚产油国的杠杆作用，

艺术也成为亚洲问题与亚洲意识的重要表征，与此同时，亚洲艺术的 1979 年中国的改革开放与 1990 年印度的改革都使得世界的经济重

现状与未来发展亦日益成为世界关注的焦点。 心开始逐渐转移，随着亚洲问题进入全球视野，“中国”概念亦慢

慢浮现出来。综合国力的提升使得中国的国际交往日益频繁，特别 “亚洲”作为一个概念，在 18 世纪或是更早期的时候，是欧美人在 是 20 世纪 80 年代以来，中国在地缘政治、经济贸易，乃至军事力 讨论远东地区时的地理名字，是被命名的“亚洲”。尽管近代以来整 量等方面都成为在亚洲起主导作用的重要力量。如何在与亚洲邻国的 个亚洲国家都在为亚洲文化、民族独立，乃至亚洲艺术在世界上的独 多种关系中，增大文化的影响力，扩大话语的主导权，成为中国对 立不懈努力，但在文化意义分享的过程中，话语的差异使得以欧美 外文化传播最亟需解决的重要命题之一。我认为，作为一个对亚洲、 为代表的西方和以亚洲为代表的东方长期以来发展并不平衡 , 亚洲本 对全球都举足轻重的国家，不能没有自己的亚洲双年展。作为亚洲的 土意识普遍缺乏。正如阿拉伯裔学者爱德华·萨义德在《东方主义》 重要一员，中国对亚洲当代艺术现状的梳理和未来的发展都应发挥更 一书中指出，西方视野中的所谓东方是西方人精心“虚构”且充满偏 多、更强的主导性作用。因为中国，不仅是世界文化图景不可或缺 见的产物。“西方”成为支配性力量的代名词。我们清醒地观察到， 的组成部分，更是撬动亚洲力量、校准世界时间的重要力量与平台。 目前欧美国家正主导着艺术双 / 三年展机制的话语权，国际诸多大型 由广东美术馆代表中国举办亚洲双年展，通过中国之于亚洲独特的位 艺术展如欧洲意大利的威尼斯双年展、亚洲韩国的光州双年展等都是 置和影响力来搭建文化沟通的平台，展现中国对于亚洲问题的关注， 这种话语权的产物，均以西方艺术观念为中心，以与西方艺术接轨为 对于全球化的回应，其意义就显得尤为重要。而将“亚洲问题全球表 标准。为突破当代艺术双 / 三年展机制的西方中心主义，彰显亚洲意 述”的战略思路与国家“一带一路”的战略构架紧密相连，将亚洲问 识，在本人策展的第四届广州三年展的“启动展”上，尝试开辟了“版 题的思考置于“一带一路”的大区域，则强化了全球语境中亚洲视野 图移动：东盟与中国 10+1 ”的专题板块，意在寻找一种既审视亚 的独特性。 洲自身又审视西方的亚洲视野。2012 年，在孟加拉首都达卡召开的

“第六届亚洲美术馆馆长论坛”上，我代表中国提出了 2013 年由广 二、“区域”和“知域”的重合与背离 开启亚洲意识与亚洲

东美术馆举办首届亚洲策展人论坛并于 2015 年举办首届亚洲当代艺 经验的新视野

术双年展的倡议，得到了与会国家美术馆长们的一致赞同。随即， 首届亚洲双年展暨第五届广州三年展以“亚洲时间”为主题，以“一 2013 年 9 月，在广州举办了以“亚洲意识与亚洲经验”为主题的首 带一路”为指导理念，其目的是要用亚洲视野校准世界时间。什么是 届亚洲策展人会议，与会亚洲 24 个国家、欧美 8 个国家的 80 多名 亚洲视野？这一追问涉及两个基本问题，即什么是亚洲？什么是亚洲 著名美术馆的馆长和著名策展人形成了“广州共识”，全体同意由广

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1130输出文件 画册最终版.indd 18-19 15-11-30 下午8:58 艺术？对这两个问题的回答，关系到亚洲各国策展人，如何认识亚洲 说重建一种分析机制，它用“亚洲”来命名，因为我们寻找的方向不 日知识共同体”，在亚洲研究领域享有盛誉。她邀请了数位中国学界 术策划和学术主持；展览版块由一个具有全球视野的策展团队担纲，

及亚洲艺术的现状和发展的趋势，以及如何通过展览呈现亚洲自身的 是来自那些既定的成见或已经被过度解读的亚洲。我们从历史记忆出 研究亚洲问题的著名学者，我邀请的 13 位欧美资深策展人举行联席会 由中国美术馆研究与策划部主任张晴、荷兰乌特勒支视觉艺术与设计

特点，从而推动亚洲艺术的发展。这成为我在策划首届亚洲双年展时 发，在从亚洲到全球的多种空间中，在当下问题和时代思想互为联系 议，在区域和知域的不确定性中发现亚洲问题的双重性乃至多重性， 研究生院院长汉克·斯拉格为主策展人，韩国首尔美术馆馆长金弘姬、

的元命题。 和互为反馈的关联和拷问中起航。 并为首届亚双展举办的系列学术讨论规定了“寻找亚洲”的主题。我 新加坡当代艺术中心 CCA 艺术总监乌特·梅塔·鲍尔以及英国考陶尔

们把这个起点看作是一个极具启发性的思想史“事件”，不仅因为它 德艺术学院教授莎拉·威尔逊为策展人。 首先要明确的是“亚洲”的概念。作为首届亚洲双年展的“亚洲”， 三、学理出发从“亚洲时间”追问亚洲原理 凸现当代艺术的可 孕育了丰富的可能性，更在于它暗示了亚洲需要以高度的理论想象力 是 20 世纪以来的地图划分清晰的亚洲？还是文化视野中的曾被理解为 能与想象 在同月进行的第一次策展人会议上明确了各个策展人的分工和总体预 加以呈现，而不仅仅是对一个地域性直观状态的模仿，这正与挑战人 多样的文化与各自独立的多个政治体叠加的亚洲？随着全球化的影响， 算，对展览结构、主题、参展艺术家数量做了初步讨论，并对经费的 亚洲双年展，作为一个艺术探索的主题，尤其凸现了当代艺术潜在的 类直观鉴赏习惯的当代艺术精神相契合。 亚洲各国都在短时间内进入了全球性的紧张关系之中，开始以各种复杂 可行性和额度达成初步共识，随后在广东美术馆召开了首届亚洲双年 可能性。由于现实的国际局势的调整和经济格局的变化，亚洲作为一 的形态进行交涉。如何让区域研究区域化，进而全球化，是当前亚洲 2014 年 5 月召开了第二次学术会议，亚洲六国 10 位策展人与国内一 展暨第五届广州三年展新闻发布会。这也是策展团队的首次公开集体 个相对独立的区域，如果说在现实格局中已经得到了确认，知识与思 研究无法回避的问题。无疑，亚洲作为“区域”，是展示社会行动范 线的亚洲学者展开对话和讨论，从亚洲自身的角度思考亚洲的“亚洲” 亮相。 想的认知，即“知域”却并未同时并进。亚洲作为一个话题，尽管近 围的空间概念，但其中一个被忽略的重要事实是，作为“知域”的亚洲， 在哪里，对亚洲当代的艺术现状进行了摸底，拟定了首届亚洲双年展 年来在学界方兴未艾，它的轮廓、内涵、表象与原理，尚未能得到有 2015 年 3 月的第二次策展人会议上，确定了首届亚洲双年展的主题为 也在自身的空间表现出独特的形态，蕴涵着丰富的多样性。特别是把 的目标、主题和学术架构。我们选择了黄埔村进行考察，因为它是中 效的确认，更没有产生明确的共识。人们使用“亚洲”这个词汇，只 “亚洲时间”（Asia Time），并以“一带一路”战略思想作为此次展 迄今为止围绕亚洲研究的对象和方法的持续讨论，包括围绕历史和思 国最早的连接世界的起点，即便它可能仅仅算得上是中国版图中一个 不过是在追认现实中已然兴起的“亚洲复兴”趋势而已，在思想上、 览的指导理念。“一带一路”清晰描述了地理上的“亚洲”在各个国 想的关系等长期关注的问题，放到从 19 世纪末到 20 世纪初的世纪之 非常边缘的位置，在水路版图中却是不可忽视的中心。在黄埔古村落 理论上，亚洲还没有得到主体性的论述和分析。或许正是由于这种状况， 家的链接点，明确了“亚洲时间”的坐标。“一带一路”并非一个实 交，来思考知识分子是怎样认识以及迈向变动的转型时代时，作为“知 所展现的传统和现代艺术的交融与碰撞，蕴含了亚洲的整体性与普遍 使得“亚洲”主题与当代艺术的结盟具有了特别的意义：当代艺术需 体和机制，而是一种合作发展的理念和倡导。展览将从“海上丝绸之路” 域”的亚洲则打开了一个新的展示社会认识范围的空间。如果再将作 性，实际上意味着亚洲双年展的展览架构将追溯广州通向亚洲、走向 要非直观的想象力，“亚洲”也同样是一个依靠直观感觉无法处理的 的历史出发，以亚洲为基点，以一带一路为区域，以亚洲问题为支撑， 为现实的亚洲和作为思想的亚洲的所谓二分法纳入同一范畴，就会发 世界的记忆。两次学术会议使包括欧美策展人在内的所有与会者认识 理论命题。 展开对亚洲时间的追寻，通过“亚洲时间”的主题，将“一带一路” 现，“区域”和“知域”的重合与背离，不仅开启了亚洲意识的新视野， 到，亚洲人的亚洲，不是欧美定义的亚洲，亚洲精神要求突破原有关 与世界的过去和当下的文化相联系。策展团队特别明确了有关亚洲意 而且成为亚洲意识与“亚洲时间”链接最为显著、最为重要的特征， 正因如此，自 2014 年 3 月以来，广东美术馆以“寻找亚洲”为主题， 于抽象普遍性的一元化想象，亚洲有其自身的定位和区域，需要重新 识和“一带一路”所处的区域和知域两大范畴，指出艺术家的选择在 也成为我在策划首届亚洲双年展、反思亚洲问题时的方法论。 先后组织了 4 次学术会议、3 次策展人会议，围绕“亚洲的历史与现状， 定义普遍性的多元内涵，这成为建立亚洲论述的关键，并把对亚洲的 “一带一路”的区域里进行，展览的问题点在亚洲的知域中展开，既 亚洲概念的梳理”“亚洲当代艺术的呈现”“亚洲想象的原理”“广 学理探讨推到一个新的高度。 方法即道路。“区域”和“知域”，不是一个概念，而是一种知识的 延续了学术会议在“寻找亚洲”主题下的探讨，又扩展到“一带一路” 州连接亚洲的历史渊源”“关于亚洲双年展的初步构想”“艺术的形 感觉和处理知识的方式。知识中的“知”和区域中的“域”结合起来， 2014 年 10 月的第三次学术研讨会，邀请了享誉国际学界的韩国学者 的区域中来，使得本次亚洲双年展借助“一带一路”成为全球性的参 状（亚洲当代艺术的发展现状与态势）”“‘华人’与‘亚洲’”和“关 一方面通过在区域的空间中划定出假设拥有知识的普遍性，来尝试加 白乐晴、日本学者滨下武志；活跃于东亚知识界的韩国重要学者白永瑞、 与行为，也使“亚洲问题 全球表述”这一我在 2013 年就提出的核心 于亚洲的‘知域’”等专题进行提案发言和讨论，从学理出发，试图 以限定或制约；另一方面，为了能够顺畅、全面、深入地讨论亚洲， 中国著名的哲学家陈嘉映等人文社科学者，力图推进前两次研讨会提 理念和展览新模式真正成为现实。 在多数亚洲国家组合起来的版图上，寻找那些可以让我们打开视野的 必须突破思维定势，尝试两者的往来，同时也要从区域的知识中脱离， 出的问题，强化对于亚洲命题的理论探讨，并从中找到了突破的线索， 媒介。 其后于 4 月举行了第四次学术研讨会，国内亚洲问题的一线学者就广 向外扩大来接受其他不同的知域。这样的框架就是“区域”和“知域” 即亚洲作为综合体，包含区域的亚洲和知域的亚洲两个组成部分，在 州与全球的历史与现状，与一带一路的关联展开了由个案到全体，由 的重合与背离。而恰恰是在这个意义上，能够把实体的地域和思想的 真实的问题总是由诸多再具体不过的细节构成。我带领广东美术馆走 对亚洲区域与知域的深度认识层面，寻找亚洲原理及问题的普遍性， 个性到普遍性的研究，将宏观的学理浓缩到广州与亚洲的链接。至此， 空间结合起来的这一对相互转化的概念，具有非常具体和明确的亚洲 进亚洲研究的思想流程。他者是建构自我的必备因素。2014 年 3 月， 展开亚洲的想象。事实上，通过对亚洲历史、现状的对比和讨论，开 第一次学术会议中提出的“亚洲问题 全球表述”形成了一个从“广州— 特征，比如开放、流动和具有全球视野等。这为首届亚洲双年展指引 广东美术馆召开了首次学术研讨会，首先关注欧美视野下的亚洲。我 启了把亚洲原理与普遍性的重新定义结合起来思考并建构相应理论的 中国—亚洲—世界—回到广州”的完整线路。7 月广东美术馆再次召集 了方向：区域的亚洲集中在展览呈现，而知域的亚洲集中在学理探讨。 邀请了中国社会科学院文学研究所研究员孙歌教授担任首届亚洲双年 可能性。 第三次策展人会议对首届亚双展的具体细节、可能存在的问题，做了 展的学术主持，并担纲第一次学术会议的主发言人。孙歌教授是日本 首届亚洲双年展，我要完成的并非是一个静态的亚洲知识构图和世界 经过了上述三次学术研讨会，我们最终确定首届亚洲双年展形成一个与 全面深入细致的讨论。 东京都立大学法学部政治学博士，在 20 世纪 90 年代末期曾经与日本 构图，因为只有排除了静态的、绝对化的起点和终点，对亚洲的重新 以往广州三年展不同的构成和推进方式，即分为学理和展览两大版块， 著名中国学家沟口雄三先生一起主导大型中日知识分子对话活动“中 两年的持续探索，使我们认识到亚洲不仅需要寻找，而且需要创造。“区 定位与寻找才有意义。我想展现一个过程，打开一种工作方式，或者 我作为总策展人，学理版块由中国社会科学院研究员孙歌教授担任学 域”和“知域”之间的重叠与背离关系为“亚洲时间”提供了新的启示。

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1130输出文件 画册最终版.indd 20-21 15-11-30 下午8:58 本次首届亚洲双年展暨第五届广州三年展期间，将同期举行学术论坛， 土视野对亚洲时间的理解，最终目的则是以亚洲视野重新校准现存的“世界 影响了亚洲艺术的发展，也塑造了亚洲艺术的品格。这一发现提示了三个可能， 度和更具耐心的等待，凝聚了广东美术馆对于亚洲思想之源的思辨与

不仅是对前几次学术会议的延伸和总结，更将开启新的议题。我们将再 时间”基准。 即在西方化和抵制西方化的冲突和矛盾中，亚洲可能从俯视“他者”到从“他 创新。

次让人文、社会科学学者与当代艺术结盟，特别是借助于双年展的形式 者”的角度考虑跨文化传播的视角转换，可能在本土性和民族性中形成较 五、区域时空承载多元文化 亚洲视野校准“世界时间” 作为时间概念的“亚洲”，贯穿了多个世纪的人口流动性所产生的跨文化 把这些领域的研究成果与艺术展览结合，深度展现当代艺术的探索性格。 为强势的联盟，可能从区域向国际转型。 交流和各种文化之间的互动，它以“世界时间”为参照，将对于亚洲形态 颇富雄心的首届亚洲双年展策展计划早已在这一判断下起步。2013 年 9 月 四、全球化语境探寻亚洲意识的原点与记忆 中国话语引领亚洲艺 不能不回到广州这个生产亚洲论述的特别空间。以广州为中心的珠三角地区， 上的思考延伸至地理与人文概念之外。通过策展团队的提名推荐和严格筛 11 日至 13 日，为了检验自身在全球的影响力，广东美术馆成功举办了国际 术的自主出场和价值重塑 有艺术生长的特殊土壤。广州是中国海上丝绸之路的起点、两千多年长盛不 选，来自中国、韩国、印度、日本、新加坡、印尼、伊朗、伊拉克、黎巴嫩、 首届“亚洲美术策展人论坛”，为首届亚洲双年展提供了坚实的背景和资源。 衰的外贸口岸，也是 200 多年来西方文化传入中国的首接站。这个曾一度成 以色列、俄罗斯、波兰、奥地利、意大利、德国、法国、荷兰、英国、芬 那么，什么是亚洲艺术？与 20 世纪以来，西方艺术相对一致的艺术景观 这是广东美术馆针对亚洲艺术，面向世界在高层次场合发出的号召性声音， 为清朝中国唯一对外开放港口的城市，拥有相互重叠的多重历史记忆与历史 兰、美国等 20 个国家极具代表性的艺术家共计 47 名 / 组将参展，展出作 和逻辑明了的变化线索不同，亚洲国家宗教信仰和政治制度多元、经济 是自身对全球焦点的思考与回应；也体现了广东美术馆从本土向国际转型的 感觉。独特的百越文化底蕴和海洋文化特征，加上与中原文化、海外西方文 品涵盖装置、影像、绘画、摄影等多个艺术领域。展览将从农耕时代起步， 发展和文化根源的诸多差异，其艺术的实践形态必然不同，使得亚洲艺 学术思路。来自亚洲和欧美各国的顶级博物馆、美术馆和艺术机构的 80 多 化的不断交融，使广州在文化形态上呈现出多元化的特点，成为亚洲气质的 展现亚洲经历城市化，走向后现代和数字化、媒体化的历程，这构成“亚 术长期难以呈现清晰的自我面貌。这构成了此次亚洲双年展的一个背景。 位馆长及资深策展人就亚洲艺术发展问题展开了对话。参会的艺术机构包括 重要代表。在这里，借助于特定的历史空间，我们可以辨认内敛多种文化并 洲时间”的纵向维度。在横向维度上，展览探索中国与“一带一路”沿线 亚洲 24 个国家和地区的美术馆以及欧美 8 个国家，13 个重要的美术馆，如 从当下的历史情境来看，亚洲艺术的发展无疑处在由高到低的三个层次： 浓缩历史紧张的生活场域，追踪人们通向亚洲、走向世界的足迹。生长于岭 各国的关系，亚洲的身份认同、女性主义，种族、宗教、社区等核心命题， 英国泰特现代艺术博物馆、美国大都会艺术博物馆、纽约现代艺术博物馆等 经济的全球化、亚洲的认同、作为民族国家而存在各个独立国家的发展。 南艺术生态群落中的广东美术馆在中国改革开放 30 多年来急速的城市化进 将成为我们考察亚洲的根基，对这些问题历时性地呈现，显示了我们对于 堪称全球美术馆标杆的机构和英国伦敦大学考陶尔德艺术学院、俄罗斯列宾 但是从近几十年亚洲各国艺术展览的呈现来看，清晰地说明一个事实， 程的当代语境中，面对发展中的问题，自然而然地从本土联想到了亚洲—— 亚洲历史、现状与未来的基本判断。展览将以多媒介形式的综合运用为核心， 美术学院等。一些西亚、南亚、中亚等此前鲜与中国有艺术往来的国家，也 亚洲美术馆界和亚洲的策展人更关注第一个和第三个层次。没有以一个 共性的改变发生在亚洲的每一个角落。有鉴于此，本次展览的策展人和邀请 不仅实现多种媒介形式的混搭，还将从观众体验的角度出发，增强作品与 派出重要馆长或策展人出席论坛，共有 35 位代表在论坛上宣读了提案，82 感召力的概念去思考亚洲及亚洲艺术的问题，对内主要表现在亚洲人如 的艺术家并不局限于亚洲范围，而是在世界范围内吸纳了 20 个国家的 47 名 观众之间的互动。多维度可体验的展览定位，将会带领全球的人们走进生动、 位代表参与了圆桌讨论。这是建国以来亚洲艺术在中国本土面向世界的首次 何认识自身，进而亚洲当代艺术在题材、表现技巧和语言风格上如何表 / 组艺术家参与其中。为了让艺术家更有针对性地为“亚双展”进行创作，更 鲜活的亚洲艺术。我们努力寻找亚洲的落点，用“亚洲时间”把时代流动 集体发声。仅就参会代表在国际上的影响力和提交议题的质量两方面，已见 现出符合本国国情的价值主张、本体主张、程序主张和规范主张。对外 深入地挖掘广州本土元素，寻找广州、中国、亚洲与世界之间的特别关联， 的进程与“一带一路”国家自身文化的时间性，文化与意识形态的差异性 出本次论坛足以代表亚洲策展的最高学术水平。论坛以“亚洲意识与亚洲经 主要表现为亚洲当代艺术面对以欧美为中心的艺术价值体系，怎样摆脱 广东美术馆也特设了包括普拉尼特·索伊的《图样的迁徙》、“健身计划”（The 联系起来，并在差异中指出亚洲未来发展的方向。我们希望亚洲艺术能在 验”为议题，形成了《2013 亚洲美术策展人论坛之〈广州共识〉》，《共识》 西方模式而确立一个崭新的亚洲艺术形象。 Body Building Project）的《重置》（Reset）等在内的多个驻地项目。在 沟通与对话中，直面中西双方文化交流的历史与现实，探寻既有本土特色 强调了亚洲本土意识，强化了亚洲自身的艺术情境；根据亚洲本土文化的现状、 2015 年这个特殊的时间点，广东美术馆首次使亚洲双年展与广州三年展相 又有普遍共性的艺术文化特征和行为，真正开拓跨文化的公共空间。 基于此，策展团队共同指出，首届亚洲双年展的主题的“亚洲时间”， 丰富性、差异性，重新建立亚洲整体背景下的协调机制，探寻亚洲艺术生态 重合，展览作品将呈现亚洲文化、贸易、政治以及当代亚洲面临的问题，直 它真实呈现了本次亚洲双年展对于东西方内在冲突及相互依存关系的基 的新规则。也正是在这个纲领性的文件中，确立了 2015 年由广东美术馆代 我们相信，时间的积累必将产生力量，也将推动历史的指针。首届亚洲双 面亚洲的历史与现实，困惑与希望，通过和“一带一路”沿线国家美术馆和 本判断：一是西方的、全球视角的“世界时间”，二是与之相对的，以 表中国和亚洲，主办首届亚洲双年展。 年展呈现“一带一路”整体国家的文化面貌，不仅展现亚洲地区的“一带 策展人的通力合作，共同打造“亚洲问题 全球表述”的全新展览模式。这是 中国为主导的，多样化并存的亚洲时间。其中所蕴含的东西方矛盾或许 一路”文化的独特性，也在“亚洲时间”的主题下，在区域和知域的相互 从“亚洲人看亚洲”到“欧美人看亚洲”，再到“世界看亚洲”，是我力图 区别于亚洲其他国家举办的各届有关亚洲话题的双/三年展的最大不同之处。 带来了一种必需的竞争性刺激，而也正是在融合与碰撞、区域与全球、 转化中，通过“一带一路”展现全球的丰富性。 开启的思想路径，它打开了一个相对完整的视野，我们总是习惯回到历史的 传统与当代、个体与国家的博弈中，亚洲艺术和中国话语才能展开自身 正是在切身经历了走进历史和把握未来的探索与反思后，我们确定用 “亚洲 时空去探寻路径的原点，因为我们不能忘记在二战期间以及二战结束之后的 我们相信当代艺术是一个颇为立体的艺术门类。它不仅提供艺术想象的空 的塑造路径，并由此重塑当今亚洲对时间的发现与感知。一方面在中外 时间”这一看似近乎平和的主题，提倡一种与西方相区别的自我表达。这并 一段历史时期内，为了对抗欧洲与日本帝国主义的侵略，亚洲大部分地区掀 间，也提供理论思考的维度。更重要的是，它突破形式本身的约定俗成， 比较的视野中，展现亚洲视觉艺术多元化的结构，丰富的艺术表征及其 非要激情地呼唤“亚洲意识”的觉醒，也并不是简单地以本土话语对抗西方 起了民族独立和解放的热潮。在被殖民、被剥夺的意义上，亚洲人曾经共享 让想象力发挥到极限，把艺术的触角伸向了历史和社会。 在亚洲当代社会中所扮演的不同角色，另一方面突出中国当代艺术在全 话语，更不是亚洲艺术向外争取艺术价值的一种普通策略。如果说广东美术 过一段苦难的情感记忆。尽管这段记忆只是一段有限历史的产物，不足以取 球化语境和中国社会、历史、文化语境的自主出场和价值重塑。 馆在第四届广州三年展的启动展上关注的是全球语境下的亚洲人感到的焦虑、 我们相信，只有当亚洲成为多元的普遍性所产生的载体时，它才能够成为 代亚洲的多元性，却为我们提供了有效的想象。如果说在西方作为“他者” 彷徨和迷茫，2013 年主办的国际首届“亚洲美术策展人论坛”，看到了契 原理或规律性的认知。这或许是历史赋予亚洲的使命，而完成这个使命， 从这个角度出发，首届亚洲双年展暨第五届广州三年展希望能引起对现 仍然支配亚洲各国艺术发展这一点上，亚洲反而成为了一个共同体，那么当 机之外亚洲发展的共性问题，此次首届亚洲双年展暨第五届广州三年展则是 却不仅仅是亚洲人的任务，而是人类的共同课题。 今“世界时间”的反思，其目的并不在于以另一种时间形式取而代之， 我们从后殖民的语境来考察亚洲美术的话，就会发现亚洲的策展人在西方化 正视当代艺术的实验和人类文化的新观念都在“艺术双年展”的模式中潜移 而是要破除以自我中心、排他和扩张的逻辑。因此，展览主要着重于本 与抵制西方化的冲突和矛盾中所付出的巨大努力，而正是这种努力从整体上 默化地滋长，体现在了亚洲艺术家在艺术创造层面重新思考后更为理性的态

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1130输出文件 画册最终版.indd 22-23 15-11-30 下午8:58 should hold the 1st Asia Biennial; and the basic strategic initiative, which has strengthened the uniqueness of the Asian

thought, “Global Expression of Asian Issues,” was confirmed at perspective in the global context.

the conference. II. The Superposition and Deviation between Region and

Another noticeable reality is that the rapid growth of the Asian Perception Domain Unlocks a New Perspective of Asian

economy has presented new opportunities to China. After Consciousness and Asian Experience World War II, thanks to the Japanese economic recovery, the The 1st Asia Biennial and the 5th Guangzhou Triennial features booming development of the Four Little Dragons, the leverage a theme of “Asia Time.” Guided by the Road and Belt initiative, of oil-producing nations in West Asia, the reform and opening it aims to calibrate world time from an Asian perspective. by China in 1979, and the reforms of India in the 1990s, the What is the Asian perspective? This question is about two basic world economic gravity center began to shift gradually. With issues, namely, “What is Asia?” and “What are Asian arts?” The Asia’s issues entering the global context, the China concept answers to these two questions have something to do with the is as well gradually emerging. The growth of overall national curators from all the Asian nations, and how we understand strength allows China to involve itself more intensively in dominant power. We are acutely aware that nowadays European the status quo and development tendencies of Asia and Asian I. Origin: Why do we hold the Asian Biennial? Why should international exchanges. Particularly since the 1980s, China and American nations are dominating the power of discourse arts, as well as how we can present characterizations of Asia we calibrate world time from the Asian Perspective? has become an important power with dominant influence in of the art biennials and triennials. Many major art exhibitions, itself through exhibitions, so as to promote the development of The word “Asia” is a space-time concept with rich connotations. Asia in terms of geopolitics, economy and trade, and military such as the Venice Biennale in Italy of Europe, and the Gwangju Asian arts. This has become the primary proposition for me in With the pluralistic development of politics and culture and power. It has become one of the urgent key issues for China’s Biennale in South Korea of Asia, are outcomes in such a context. planning the 1st Asia Biennial. the economic rise in Asia, as well as the opening of its art external cultural communication to figure out how to increase They all feature the artistic ideas of Western centrism, and try community, Asian culture is gradually taking the center the nation’s cultural influence and power of discourse amid The first thing to do is to identify the concept of “Asia.” Is the to meet the standards of Western art. To achieve breakthroughs stage of the world, and Asian art has become an important the various types of relationships with the neighboring Asian “Asia” in the 1st Asia Biennial the continent of Asia divided with over the Western contemporary mechanisms of art biennials characterization of Asian issues and Asian consciousness, nations. I believe, as a nation of vital importance for Asia and clear boundaries in maps since the 1920s or the Asia which and triennials and manifest the Asian consciousness, in the whereas the status of Asian art and its future development is the globe, it is not reasonable not to have our own Asia Biennial. is understood from a cultural perspective as a combination of initiation exhibition of the 4th Guangzhou Triennial for which I increasingly becoming a focus in the world spotlight. As an important member of Asia, China ought to play a role with diverse cultures and multiple independent political entities? served as curator, I launched a feature section entitled Domain more and greater guiding influence in the work of exploring With the influence of globalization, all the Asian nations have As a concept, in the 18th century or earlier, Asia was the Movement: ASEAN and China 10+1, aiming to search for an the status quo of contemporary Asian arts and promoting their been cast into intensive global relationships in a short period of geographical name used by people in Europe and America when Asian perspective from which we could examine Asia itself future development, because China not only is an indispensable time, and they began to make negotiations in various complex discussing the Far East, which was named Asia. Since the days and the West. In 2012, at the 6th Asian Art Museum Directors’ component in the world cultural landscape, but also an forms. There are inevitable questions of Asian studies, such as of modernization, all the nations of Asia have been striving Forum held in Dhaka, the capital of Bangladesh, on behalf of important force and platform to exert the Asian power and how to regionalize regional studies for further globalization. with unremitting efforts for the independence of Asian cultures, China, I made a proposal that in 2013 the Guangdong Museum calibrate the world time. Thus, it is of particular significance Undoubtedly, as a “region,” Asia is a concept of space that nations and art. However, during the process of establishing of Art would organize the 1st Asian Art Curators’ Forum and the for the Guangdong Art Museum to hold the Asia Biennial on embodies a sphere of social action. However, there is one cultural meanings, the differences of linguistic contexts have 1st Asia Biennial of Contemporary Arts, which won unanimous behalf of China, to build a platform of cultural exchanges, taking important fact that is usually neglected, namely, that Asia as led to the imbalance between the West, which is represented agreement by art museum directors of participating nations. advantage of China’s unique geographical location and influence a perception domain, shows its unique state and contains rich by Europe and North American nations, and the East, In September of 2013, the 1st Asian Art Curators’ Forum, in Asia, and show the concerns on Asian issues by China as diversity in its own space. In particular, when we select the represented by Asia, where the lack of native consciousness themed “The Asian Consciousness and Experience,” was held a reply to globalization. And yet, the close association of the constant discussions regarding the objects and methods of Asian prevails. As Arab American scholar Edward Said has pointed in Guangzhou, where 80 prominent art museum directors and strategic thought of “Global Expression of Asian Issues” with the studies, especially those issues related to history and thoughts out in his treatise Orientalism, the so-called Oriental in the curators from 24 participating Asian nations and 8 European “Belt and Road” strategic framework has placed the pondering which enjoy long-term attention, to place them in the period western context is a biased outcome deliberately fabricated and American nations had reached the Guangzhou Consensus: on Asian issues into the greater picture of the “Belt and Road” between the end of the 19th century and the early 20th century, by westerners. The West has become synonymous with the All of them agreed on the idea that Guangdong Art Museum

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1130输出文件 画册最终版.indd 24-25 15-11-30 下午8:58 and think about how the intellectuals perceive and embrace or to re-establish a mechanism of analysis, which is named construction. In March 2014, the Guangdong Museum of Art discussion, and the theoretical debates were pushed to a new

the changes in an era of transition, Asia as the “perception with “Asia,” since the direction of our search is not about those held its first symposium that studied Asia from the European height.

domain” has opened a new space that demonstrates the social established stereotypes or the Asia which is over-interpreted. perspective. I invited Professor Sun Ge, a CASS literature In October 2014 we hosted the third symposium and invited cognition range. If we further include Asia existing as realities We start with historical memories, in various spaces of Asia researcher, to chair the symposium and be the moderator internationally renowned academic scholars including Paik and Asia existing as thoughts into one single scope through and the globe, amid the mutually reflective associations and for the first meeting. Professor Sun Ge got her Ph.D. degree Nak-chung, Takeshi Hamashita, Young-seo Baik, who was the method of dichotomy, we would find that the superposition questionings of the current issues and the zeitgeist. in Political Science from the Law Department of Tokyo quite active in East Asian studies, and Chen Jiaying, a famous and deviation of the “region” and “perception domain” have not Metropolitan University. In the late 1990s she co-organized the III. Question for the Asian Principle from the Perspective of philosopher in China. They tried to continue the discussions only opened a new vision of the Asian consciousness, but also intellectual debate, “China and Japan Knowledge Community,” Asia Time: Possibilities and Imaginations of Contemporary raised by the two previous seminars and looked for theoretical become the most evident and important characteristic of the together with Mizoguchi Kozo, a famous and influential Chinese Art propositions. They found clues to break through that Asia was link between the Asian consciousness and Asia Time, as well as studies scholar from Japan. She invited several well-known composed of the area and the perception domain. In the in- the methodology for me to plan the 1st Asia Biennial and reflect The Asian Biennale, as an artistic exploration, highlights the scholars on Asian studies from China, and I invited 13 senior depth understanding we needed to look for the Asian principle on Asian issues. potential possibilities of contemporary art. Due to changes in curators from Europe and America to attend the joint meetings. and the universality of the issues — that was the Asian the international situation and the economic structure, the Asian They discussed the dual nature and multiplicity of Asia Methodology is the way. Region and perception domain are imagination. In fact, the comparisons and discussions of the region as a relatively independent region has been confirmed. regarding uncertainty. We also set the theme, In Search of Asia, not the same concept, but a way of knowledge perception and past and present of Asia brought new opportunities to redefine Yet its awareness of knowledge and ideas did not match up. for the series of academic discussions of the Asian Biennale. handling. The perception of knowledge and the domain of region the Asian principle and universality. As a topic, Asia is popular in the academic community. Yet This starting point was very inspiring; it did not only gave birth are combined. On one hand, in the space of the region, through its outline, content, appearance and principle have yet to be to a wealth of possibilities, but also hinted at the need for After the above-mentioned three symposiums, we confirmed the identification of the presumed universality of existing confirmed. People use the term Asia only in response to the highly theoretical imagination instead of intuitive mimicking that the first Asian Biennale would be different from the knowledge, we can try to modify or regulate it. On the other, to Asian renaissance. In thought and theory, there is still lack of a regional state. This actually matches up with the spirit of previous Guangzhou Triennial in composition and progression. discuss Asia smoothly, comprehensively, with profundity, we of discussion and analysis. That is why the "Asian" theme contemporary art in challenging human visual appreciation We divided the exhibition into two major areas, the theoretical have to think out of the box and try to have exchanges between and contemporary art alliance are significant: contemporary habits. area and exhibition area. I acted as the Chief Curator and Sun the two concepts, and meanwhile we shall break away from art requires non-intuitive imagination, while "Asia" is also a Ge, a CASS researcher, chaired the academic planning. The the knowledge in the region for external expansion to embrace In May 2014 we hosted the second symposium. Ten curators theoretical topic that can not be processed by intuition. exhibition curatorial team was quite global, including Zhang the other different perception domains. Such a framework from six Asian countries had dialogues and discussion with Asian Qing, Director of Research and Planning, China Art Museum; means the superposition and deviation of the “region” and Since March 2014 the Guangdong Museum of Art has hosted scholars and searched for Asia from their own perspectives. Hank Slager, Director of the Utrecht Graduate School of Visual “perception domain.” And in this very meaning, this pair of four academic conferences and three curator meetings on They studied contemporary art in Asia and identified the goals, Art and Design; Kim Hong Hee, Curator of the Seoul Museum mutually transformational concepts combining the tangible the topic, “In Search of Asia.” The themes for the conferences themes and academic structure of the 1st Asian Biennale. We of Art; Ute Bauer, CCA Artistic Director of the Singapore region and the space of thought, is of very specific and obvious include Past and Present of Asia and Review of Asian Concepts, paid site visits to Whompa Ancient Village. It was the starting Contemporary Art Center; and Sarah Wilson, Professor of the Asian characteristics, such as openness, mobility, and global Asian Contemporary Art, Principles of Asian Imaginations, point of China's first connection to the world, and even though Courtauld Institute of Art. perspective, etc. This has offered a guiding direction for the Guangzhou’s Historical Connections to Asia, Brief Idea on geographically it was far from the centre on the map of China, it

1st Asia Biennial: Asia in terms of the region is intensively the Asian Biennale, Shape of Art(Asian contemporary art could not be ignored. The ancient village blended the traditional At the first curator meeting that month, we confirmed the

presented in the exhibition, while the Asia of perception domain development status and trend), Chinese and Asia, and Asian and modern art, the universality of Asia. The exhibition of the division of labor and overall budget of each curator. We had

is intensively discussed in academic studies. Domain Knowledge. Numerous proposals were brought up Asia Biennale would trace the memory of Guangzhou’s opening preliminary discussions on the exhibition structure, theme and

during the conferences. The participants tried to find the up to Asia and the rest of the world. In the two symposiums, number of participants. We also agreed on the feasibility and For the 1st Asia Biennial, my goal is not a still composition medium for us to broaden our academic vision on this map. the participants, including the European curators, realised the amount of funding. Then we held a press briefing on the 1st of Asian knowledge and one of the world, because only when that Asia should not be defined by westerners. The Asian Spirit Asian Biennale and the 5th Guangzhou Triennial. This was also the still and absolute starting and ending points have been The real question is always composed of specific details. I led needed to break the original unified image. Its universality and the debut of the curatorial team. excluded, the re-identification and search for Asia can have a the team of the Guangdong Museum of Art to the processes diversity needed to be redefined. This was crucial for the Asian meaning. I desire to unfold a process, unlock a way of working, of Asian Studies. Otherness is an essential factor for self- In the second curator meeting in March 2015, we confirmed

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1130输出文件 画册最终版.indd 26-27 15-11-30 下午8:58 the theme for the first Asian Biennale would be Asia Time, and exploring traits of contemporary art. the East and the West may bring about a kind of necessary, the forum involved art museums from 24 Asian countries and

Belt and Road would be the guiding principle for this exhibition. competitive stimulation, it is through the game between regions, 8 European countries, and 13 important art museums, IV. In the process of exploring the origin and memory of Belt and Road clearly stated the connecting points of the integration and collision, region and globe, tradition and including Tate Modern, Metropolitan Museum of Art, and The Asian consciousness in the global context, the Chinese countries and the position of Asia Time. Belt and Road is not modernity as well as individual and country that Asian art and Museum of Modern Art, which are models for art museums discourse leads Asian art to take the initiative in presenting an entity or mechanism, but a philosophy for co-development. Chinese discourse can embark on their own path of development in the world. Meanwhile, Courtauld lnstitute of Art and Repin itself and rebuilding its value. The exhibition starts from the history of the Maritime Silk Road, and thereby reshape contemporary Asian discovery and Academy of Fine Arts also attended the forum. Some countries

explores the Belt and Road area, centres on Asian issues and What is Asian art? Unlike Western art that features relatively perception of time. On the one hand, the exhibition showcases from West Asia, South Asia, and Central Asia that do not boast

begins the search for Asia Time. The theme will connect the consistent viewpoints of art and obvious clues of change, the diverse structure and the rich representations of Asian a close bond with China sent directors or leading curators for

world’s past and present with Belt and Road. The curatorial Asian art has been characterized by different practices of art, visual art and its different roles in contemporary Asian society. the forum, 35 of whom presented their proposals, and 82 of

team made clear the Asian consciousness and the region and justifiably due to the numerous differences in religion, political On the other hand, it emphasizes how Chinese contemporary whom participated in the round table discussion. It was the first

perception domain of Belt and Road. The artists’ choices would systems, economic development and cultural roots of Asian art takes the initiative in presenting itself and rebuilds its value collective voice that Asian art made to the world in China since

fall into those regions and the issues would be about Asia. This countries, thereby making it difficult for Asian art to present in the global context and in the social, historical and cultural the founding of the PRC. The forum represented the highest

is a continuation of the discussions in the symposiums and an itself clearly. This is the backdrop against which the Asian contexts of China. academic level of curation in Asia in terms of the global impact

expansion to the Belt and Road area. This Asian Biennale is a Biennale is being organized. of the representatives and the quality proposals they submitted. FFrom this perspective, in the hope of enabling reflections global participation in Belt and Road. Back in 2013 I brought up Centered on the theme, “Asian Sensibilities and Asian Viewed from the present historical landscape, the development on the present “World Time,” the 1st Asian Biennale/5th the idea of “analysing Asian issues from a global perspective” Experience,” the 2013 Asian Art Curators’ Forum Concludes of Asian art undoubtedly fits into three backgrounds from top Guangzhou Triennial is not aimed at replacing it with another and now it has become a reality. with Adoption of “Guangzhou Consensus” was formed, to bottom, i.e. economic globalization, Asian identification form of time but rather intends to turn against the logic of ego- emphasizing the native consciousness of Asia, and fortifying the In April we hosted four symposiums. The top scholars on Asian and the development of independent nations. However, art center, exclusiveness and expansion. Therefore, the exhibition Asian art atmosphere; it rebuilds the coordination mechanism issues researched the past and present of Guangzhou and exhibitions in Asia over the past several decades evidence the focuses on the local perception of Asian time so that the in the context of the whole Asia and explores new rules of Asian the world and its connections to Belt and Road. We analysed fact that Asian curators pay more attention to the first and third benchmark of “World Time” that exists today can be readjusted artistic ecology according to the current conditions and the individual cases and summarised the universality. We also background without coming up with an appealing concept on from the Asian perspective. abundance and diversity of Asian native culture. It was decided applied the theories to Guangzhou’s links to Asia. So the idea Asia itself and on Asian art. To propose one, internally, it should V. Regional Space-Time Carries Diversified Culture, and in the Consensus that the 1st Asia Biennial would be held by of “global expressions of Asian issues” brought up at the first be observed how Asians perceive themselves in a way that Asian Asian Horizon Calibrates World Time Guangdong Museum of Art on behalf of China and Asia in 2015. symposium now had a full framework: "Guangzhou - China - contemporary art can make use of themes, expression skills

Asia - World - Guangzhou.” In July the Guangdong Museum and language styles to reveal the values, subjectivity, protocol The ambitious exhibition planning program of The 1st Asia I endeavor to make a route of thoughts from Asia in the eyes

of Art summoned the curators for the 3rd symposium and and norms in line with national conditions. Externally, efforts Biennial has been started based on this judgment. During of Asians to that of Westerners and even of the world, which

discussed the specific issues and potential problems of the should be made to show how Asian contemporary art broke September 11 to 13, 2013, the Guangdong Museum of Art would open our minds to a relatively complete idea. We always

Asian Biennale. away from the western model and established a new Asian successfully held the first Asian Art Curators' Forum in the tend to explore an origin dating back into history, because it

image of art in the face of a value system of arts centering on world to test its global influence, which also provided a sound is impossible to forget the wave of national independence and Two years of exploration make us realise that we needed to seek Europe and America. basis and rich resources for The 1st Asia Biennial. In the liberation that rose in most Asian areas to fight European and and recreate Asia. The overlapping and conflicting relationships forum, the Guangdong Museum of Art speaks out aloud to the Japanese imperialist aggression during the Second World War between the region and the perception domain offered us Based on the above, the planning team for the exhibition world about Asian art, expresses its reflection and response and a certain historical period after the war. In the sense of new revelations on Asia Time. During the first Asian Biennale pointed out that the theme of the 1st Asian Biennale is “Asia to the global focus, and presents its academic ideas of the being colonized and exploited, Asians once shared a similar and the 5th Guangzhou Triennial we will also host academic Time,” which truly showcases the basic judgment on the local-to-global transformation. More than 80 directors and memory of misery. Although the memory is just a product of forums not only to summarise the previous conferences but internal conflict between the East and the West as well as their senior curators from leading museums, art museums and art a certain historical period, which is far from replacing the also to open new debates. We will let the humanities and social interdependency, namely “World Time” from the western and institutions in Asia, Europe and America talked about issues on diversity of Asia, it still offers us effective imagination. If Asia science scholars and contemporary artists work together and global perspective on the one hand and Asia Time on the other, the future development of Asian art. Art institutions attending becomes a community at the point where the West, as being combine their research results and art exhibitions and show the led by China and featuring diversity. While the conflicts between

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1130输出文件 画册最终版.indd 28-29 15-11-30 下午8:58 “others,” is still dominating the artistic development of Asian rather than an Asian one. The Guangdong Museum of Art also geography and humanity. Through nomination, recommendation the cognitive world under the theme of Asia Time.

countries, then in our observation of Asian art with post- established several field projects, including the Praneet Soi’s and rigorous selection by the curatorial team, 47 representative We believe that contemporary art is a category of art with colonial discourses we will find the great efforts that Asian “Migration of Patterns” and The Body Building Group’s “Reset,” artists or artist groups from 20 countries, including China, different layers. It provides artistic space for imagination as curators have made in the conflicts and contradictions between in order that the artists could create targeted works for the Korea, India, Japan, Singapore, Indonesia, Iran, Iraq, Lebanon, well as room for contemplation. More importantly, it transcends westernization and de-westernization. It is those efforts that Asia Biennial and have a better understanding of indigenous Israel, Russia, Poland, Austria, Italy, Germany, France, the the formality, gives the best play to imagination and extends the impacted the development of Asian art as a whole, while at elements, and then search for special connections between Netherlands, Britain, Finland and the United States, will scope of art to history and society. the same time shaped the artistic character of Asia. Three Guangzhou, China, Asia and the World. In 2015, a special year participate in the exhibition. Their works include devices,

possibilities are indicated by the discovery, that is, in the context when the Asia Biennial and Guangzhou Triennial will be co- videos, paintings and photography. The exhibition will display We believe that only when Asia becomes a carrier produced by

of the conflicts and contradictions between westernization and held, the exhibiting works will present Asia’s culture, trade, the entire history of Asia starting from the agrarian age, to the diversified universality, can it become a cognition of laws and

de-westernization, it is possible for Asia: to transform its visual politics and contemporary problems to unravel Asia’s history urbanization age and finally to the post-modern digitalization principles. This may be a mission for history. And it not only

angle of cross-cultural communication from looking down at and reality, as well as its confusions and hopes. The Guangdong and media age, which forms the vertical dimension of Asia falls on the Asians but entire humankind to fulfill this mission.

“others” to seeing from the angle of “others;” to form a strong Museum of Art will cooperate with art museums and curators of Time. In the horizontal dimension, the exhibition will explore

community with native and national characters; and to achieve Belt-and-Road countries, co-creating a new exhibiting pattern: the relations between China and “Belt and Road” countries.

regional-to-international transformation. “Asian Problems, Global Expressions.” It will be the biggest Core issues in Asia such as identity, feminism, race, religion

difference from all other relevant biennials or triennials by and community will become the basics for our examination of We have to come back to Guangzhou, a special city which other Asian countries. Asia. The diachronic presentation of these issues demonstrates produces different sayings of Asia. The Pearl River Delta our basic judgment on history, today and the future of Asia. The region, with Guangzhou as the center, was a special area With reflections on the past and exploration of the future, we exhibition will focus on using multimedia and try to facilitate for art development. Guangzhou was the starting point of determined to use a seemingly peaceful theme: Asia Time. interactions between the exhibits and the audience by mix China’s Maritime Silk Road, a port of trade with 2000 years of While it advocates a self-expression distinguished from that of and match among different forms of media. Positioned as a prosperity, and the first bridge for the entry of western culture western culture, it doesn’t aim to waken “Asian awareness” or multi-dimensional and experience-friendly exhibition, it will for more than 200 years. As the only city that was opened to to confront western discourses with local ones; still less it will lead the audience into the world of vivid and dynamic Asian foreign trade in the Qing Dynasty, it has complicated historical be Asian art’s strategy to strive for artistic value outwards. On art. We are trying to find the future of Asia, and connect the memories and sensations. The unique Baiyue Culture and the starting exhibition of the Fourth Guangzhou Triennial, the progress of time and the cultures of “Belt and Road” countries Maritime Culture, continually integrated with Central Plains Guangdong Museum of Art concentrated on Asians’ anxiety and with the differences of culture and ideology. We hope that Culture and western culture, have shaped a multicultural confusion. In the first “Asian Art Curators’ Forum” held in 2013, through communication and dialogues, Asian art can recognize Guangzhou. Therefore, Guangzhou became a significant it observed the common problems of Asia’s development. Yet the history and current development of cultural exchanges representative of Asian temperament. Over here, we could on the 1st Asia Biennial and the Fifth Guangzhou Triennial, it between China and the West and explore artistic and cultural depend on a certain historical space to identify living sites embodied its speculation and innovation for the source of Asia’s characteristics and behaviors with local uniqueness and of cultural diversity and historical tensions, and to trace the ideology. The experiment of contemporary art and new concepts universality so that the public place of cross-culture can be footprints of people stepping forward to Asia and the world. of human culture are also developing unconsciously in the expanded. Since reform and opening-up, China has entered into a period pattern of “Art Biennial,” which indicates that Asian artists are

of 30 years’ rapid urbanization. Under such a context, the more rational and patient after reconsideration for art creation. We believe that the accumulation of time will generate power

Guangdong Museum of Art, which grew among Lingnan art and tick the clock of history. The 1st Asia Biennial displays the Asia, in the sense of time, has run through cross-cultural communities, naturally shifts its developing focus from “local” cultures of countries included in the “Belt and Road” initiatives. communications generated by population flow in several to “Asian” – changes of the same nature are happening at every It not only demonstrates the cultural uniqueness of the “Belt centuries and interactions among different cultures. Compared corner of Asia. As a result, the exhibition of this year invited and Road” culture in Asia, but also shows global diversity with World Time, it extends the contemplation on Asia beyond 47 (groups of) artists from 20 countries on a world-wide basis through the conversion between area of the physical world and

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1130输出文件 画册最终版.indd 30-31 15-11-30 下午8:58 主策展人 亚洲时间

亚洲——以苏伊士运河和乌拉尔山脉、高加索山脉、里海、黑海为边 从十九世纪至今，几乎所有的亚洲及其时间话语都与这三个中心主题

界分别隔开非洲与欧洲，在地理上很容易得以清晰描述。然而亚洲从 和关键概念发生着这样的或那样的联系。但是这一内在于欧洲现代性

来不仅仅是一个地缘与人文概念，还是一个时间概念。 的普遍主义叙述中的亚洲时间话语，简化和忽略着亚洲内部的高度分

化——不仅文化、宗教和习俗复杂多样性，各个国家和民族的现代化 什么是亚洲时间？ 进程和社会体制上也都有差异，很难构成一个整体性的”时间”和“区

在很长的历史时期中，“亚洲”意味着民族关系含混、专制主义、非 域 "；同时，在欧洲的对比框架和话语体系中，亚洲内部的差异性、

民族国家的、前现代的、无历史的等与“世界时间”相反的一系列” 特殊性以及历史和传统不可能得到充分表达或恰切描述。

时间停滞”的社会特征。但是，从历史的角度来看，不仅亚洲的地理 从 19 世纪以来长达 200 多年的历史过程中，随着亚洲的形成及其 版图是伴随着近代欧洲殖民主义的地理不断扩张才逐渐形成的，作为 自治、民族独立，再到亚洲经济与贸易的自身发展，形成了国际政治 概念的“亚洲”及其“时间”也并不来源于自身内部，而是一个以“世 上的地位与作用，亚洲时间开始逐步从世界时间被动的设置转变到本 界时间”为基准的观念。从时间史上看，19 世纪以前，亚洲人对自 土自我时间的确立和认同。这是亚洲知识界的集体自觉，构成了文化 身归属亚洲的概念是模糊不清的，甚至在有了亚洲的观念以后，并不 上的“亚洲革命”。亚洲几代知识分子从“寻找亚洲”作为开端，到 热心于此认同。“亚洲”及其“时间”与其说描述了自身，不如说是 尝试界定亚洲，进而发现亚洲内部不同的“亚洲时间”的历史与现实。 欧洲或西方对不同时间和空间的定义，是一种用于肯定和区别自身的

一系列设定。 但是，今天亚洲时间最核心的问题是：“亚洲时间”本身就是个悖论，

没有世界时间就没有亚洲时间，但亚洲时间的主体性又建立在反世界 一方面，十八、十九世纪，历史语言学、种族理论和近代地理学等 时间、去西方时间的基础上。从今天亚洲的现状与发展趋势看，亚洲 现代知识体系的出现，为欧洲和欧洲人的自我意识提供了知识的支 内部本身已形成了紧张的现实。亚洲人今天有勇气来讨论“亚洲时间” 持和论述；另一方面，16 世纪以降，随着资本主义生产方式的发展， 的问题就意味着面临冲突、矛盾及挑衅。正因为如此，“亚洲时间” 开始以西北欧为中心，形成世界性经济体系，即资本主义的世界经济 是产于“亚洲重塑时间”的主体意志基础上的追问与实践。可以说， 体。资本主义从一开始就不是在单个国家内孤立地出现的，而是作为 亚洲正在进入一个重新拨动时针的时代。 一个世界性的体系出现的，它是以世界范围内的劳动分工为基础而

建立的，必然制造着世界中心和边缘、先进（时间）和落后（时间） “亚洲时间”对于我们来说是什么？

的划分。欧洲近代资本主义既是欧洲社会内部生产关系变动的结果， 新的亚洲时间认识和想象、对亚洲主体性的探求，会深入内部具体性、 也是在与亚洲的关系中诞生的。因此，代表着先进的文明的“世界” 历史与现实，植根于我们对各自社会的新的自我认识之中，并不以建 时间与落后的“亚洲”时间都是同一知识和经济建构过程的产物。 构内在整体性为目的。亚洲及其时间概念从来就不是一种自我规定，

在与世界时间的对比中建立起来，作为衍生性的亚洲时间话语，为欧 而是与世界（欧洲、西方）及其时间不断地发生互动的结果，所以，

洲知识分子、亚洲革命者和改革者以及历史学家提供了描述世界历史 对世界时间的质疑目的不在于确立于一种所谓的相反的（亚洲）时间，

和亚洲社会，制定革命与改革方略、以及勾画亚洲的过去与未来提供 而是要破除那种自我中心的、排他主义的和扩张主义的支配逻辑。我

了基本的框架。西方殖民者和亚洲革命者制定他们的截然相反的历史 们需要在一种广泛的全球联系之中展开亚洲时间论述和区域时间实

蓝图，却使用着相近的叙述框架。这个框架的三个中心主题和关键概 践—既从其他区域时间的视野出发来发展亚洲时间的论述，也通过展

念是帝国、民族——国家和资本主义（市场经济）。 开亚洲时间视野来重新理解新的世界时间。 32 33

1130输出文件 画册最终版.indd 32-33 15-11-30 下午8:58 新的亚洲时间认识和想象，不是止于了解亚洲，不旨在建立事无巨细、 注入了强劲的新动力，对推动亚洲基础设施的投资与亚洲经济的增 琐碎的亚洲学，或努力发明独异于欧洲的所谓的亚洲性，其目标不在 长、弥补亚洲发展中国家在基础设施投资领域存在的巨大缺口、减少 Asia Time 亚洲内部，而是以亚洲时间为方法。这意味着，不是用世界时间的基 亚洲区内资金外流、 增强全球经济的稳定性均具有深远意义和影响。

准来审量亚洲时间，而是把亚洲时间视为构成世界时间的要素之一。 亚洲基础设施投资银行不仅仅是“修桥”、“造路”的机构，更是构

在多元性、体系性的视角下，把世界时间和亚洲时间同时相对化，把 建亚洲金融新地位、增强亚洲的国际经济话语权与引发改变国际经济

我们的知识结构和观念悬置、历史化，既有超越民族国家、抗拒新 新格局的强劲引擎。 Asia can be a clear geographical concept. Asia is separated and division of advanced and backward time. European modern from Europe and Africa by the Suez Canal, the Ural Mountains, capitalism stemmed from the changes in social relations in 自由主义帝国的视野，又不对保护性的主权范畴进行简单否定，而 在这样的理解框架下，我们应如何重新思考这片大陆的复杂性并将其 the Caucasus, the Caspian Sea and the Black Sea. Yet it is much Europe and its relationship with Asia. Therefore World Time 是在当代全球主义和民族主义相并而行的情境中，探讨“亚洲时间” 进一步问题化？如何包含它的多样性，避免本质化定义的风险？我 more than a geopolitical and human concept. It is also concept (modern and advanced civilisation) and Asia Time are products 所蕴含的可能性。 们又应该怎样界定它的区域时间、多种族分化、语言以及颇具争议 of time. of knowledge and economic projects.

所谓亚洲时间，意味着对亚洲的想象指向世界之创造本身。亚洲想象 的历史？我们是否可以接受和传达多元而矛盾的观点？首届亚洲双 What is Asia Time? In contrast with World Time, Asia Time provides a strategy for 历史地包含了对于殖民主义和资本主义现代性的批判性思考，既是对 年展为此提供了切入点，我们试图从实际的层面触摸“亚洲时间”， revolution and interprets world history and Asian society for For a long historical period, the idea "Asia" meant complex 于西方中心主义的批判，更是对资本主义发展及其危机的应对和思 因此，“亚洲时间”的策展思路是探索起源于丝绸之路的各种贸易 European intellectuals, Asian revolutionaries and reformers as ethnic relations, despotism, non—nation—state, pre— 考。所以，今天提出来的“亚洲时间”不仅是亚洲的问题，而且是” 历史；殖民与后殖民事件；古代和现代的移民和侨民线路，并带出相 well as historians. It is also the basic framework to outline the modern, etc. Contrary to the "World Time,” the Asia Time was 世界时间 " 的问题。对 " 亚洲时间 " 的再思考既是对十九世纪欧洲 " 关研究——古代丝绸之路与当下贸易和交流新路线之间的关系。在探 past and the future of Asia. The Western colonizers and Asian in stagnation. However, from a historical point of view, the 世界时间 " 的重构，也是突破二十一世纪 " 新帝国 " 秩序及其逻辑的 讨和了解亚洲的复杂性问题上，我们尝试以历史、地区、民族国家 revolutionaries developed opposite historical blueprints but geographical territory of Asia shaped by modern European adopted similar narrative frameworks. Three central themes 尝试。 及其宗教多种视角作为观察点，这包括：侨民的文化和流散的生活； colonialism and geographical expansion, the idea of “Asia” and are key to the framework: the empire, the nation—state and 唐人街、小印度、泰国城是如何构建“家”的文化；“外国人”与“移 “time” does not come from within. It is based on the benchmark 我们的思考 capitalism (market economy). 民”的社区；悠久的宗教交流历史和先进的文化等。这些都将协助我 of "World Time.” Before the 19th century, the Asian people’s

贯穿多个世纪的运动和流动性所产生的跨文化交流和各种文化之间 们来理解、触摸“亚洲时间”。 idea of identity was ambiguous and no one was enthusiastic From the 19th century to the present, almost all the discourse 的互动，影响和构成着今天“亚洲时间”的概念，并使其在今天的 about this recognition. "Asia" and "time" don't describe about Asia has been somewhat related to the three themes. Yet 由此， 在时间、空间、经济、政治还有文化力量的潜在紧张局势中， 崭新现实中得以重新连接建构。当下，中国提出了“一带一路”（the themselves. It is actually the European and Western definitions this expression, originated from European modernity and Asian 连绵不断的亚洲再次协商与联结，并主动携起整个世界，绘制出一幅 of different time and space and a series of self affirmation and universalism, simplified and ignored the high differentiation Silk Road Economic Belt and the 21st—Century Maritime Silk 具有前瞻性、多样性和丰富性的新地图，更新着“亚洲时间”内涵， distinction. within Asia, not only the cultural and religious diversity and Road，简称 the Belt and Road）的构想，这是贯穿亚欧非大陆， 其实质就是更新了“世界时间”。当人们面对着“时间更新”的现实， complex customs. Each country and ethnic group is different 依托国际大通道，以沿线中心城市为支撑、以经贸产业园区为合作 On the one hand, in the 18th and 19th centuries, historical “亚洲时间”的必然性、世界性和未来性，则呼之欲出。 in modernisation and social institutions. It is difficult to shape 平台，囊括了“一带一路”经济发展潜力巨大的广大腹地国家，连接 linguistics and racial theories of modern geography enmerged a holistic "time" and “region.” Compared to the European and provided intellectual support and discussion for European 起东亚经济圈与欧洲经济圈这活跃的两极。沿线各国发展的对接与耦 广州作为一个主要的贸易港口，以其坚实的政治、经济和文化基础在 framework and discourse system, the internal differences in self—awareness. On the other hand, in the 16th century, with 合、区域内市场潜力的挖掘、经济投资与消费的巨大需求、沿线各国 南中国扮演着重要角色。鉴于广州的历史和当前的战略地位，本次展 Asia in history and tradition cannot be fully expressed or aptly the development of the capitalist mode of production, Northwest 文化和各民族文化的互鉴与交融，都使得“亚洲时间”的含义被推向 览以其“海上丝绸之路”的历史作为出发点，同时这座城市的参与性 described. Europe became the centre and shaped the global economic 一个政治互信、经济融合、文化包容的新型架构之中。 还通过多种形式得到体现。展览的理念与语言是开放的，以更流畅和 system, a capitalist world economy. From the beginning, Since the 19th century, Asia has taken shape, sought its 直观的方式为本地的观众提供一个十分重要的文化讨论与艺术实验 同时，亚洲的经济仍然以空前的增长速度膨胀，全球的重心正转向亚 capitalism was not isolated within a single country, it emerged autonomy and national independence, Asia's own economic 场，更有助于所有关心亚洲、关心世界的我们从不同但非常有价值的 as a worldwide system based on the world—wide division of development and trade flourished and Asia got its own status 洲，它已成为本世纪的新震源。此时，亚洲基础设施投资银行（Asian 角度来研究当代亚洲。 labour. Therefore it created the centre and edges of the world Infrastructure Investment Bank）的建立与推进又为这一新震源

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1130输出文件 画册最终版.indd 34-35 15-11-30 下午8:58 and role in international politics. Asia Time changed from the relativized. Our knowledge structure and ideas are suspended. up the developing countries’s infrastructure, reduce the The ideas and language are open—minded and provide cultural

passive setting of World Time to the establishment of self The perspective transcends the nation—state, resists the neo— outflow of funds in Asia and enhance the stability of the global discussions and artistic experiments in a direct way. They will

and identity. This is the collective consciousness of the Asian liberal vision of the empire and does not deny the protection of economy. The impact is far—reaching. The Asian Infrastructure help everyone who cares about Asia and the world to study

intelligentsia and can be regarded as an "Asian revolution” in sovereignty. As globalism and nationalism continue, we explore Investment Bank does not just build bridges and roads. It will be modern Asia from a different but very valuable perspective.

culture. The generations of intellectuals started from “Searching the possibility of Asia Time. a strong engine to reshape the Asian financial layout, enhance

for Asia,” tried to define Asia and found a different history and Asia’s role in the world and change the pattern of international So—called Asia Time means that the imagination of Asia points reality within "Asia time.” economics. to the creation of the world. The Asian imaginations include

The core problem today is Asia Time is in itself a paradox. There critical thinking for colonialism and capitalist modernity critical In this framework, how should we rethink the complexity of

is no Asia Time without World Time. Yet the subjectivity of Asia thinking. It is a critique to the Western centrism and reflections this continent and ask further questions? How to avoid the

Time relies on anti—World Time. In the current situation and on responding to capitalist development and crisis. When we risk of defining its diversity? How should we define its regional

development trend in Asia, Asia has become a tense reality. bring up the idea of the Asia Time today we are actually thinking time, multi—ethnic differentiation, language and controversial

The fact that the Asians have the courage to discuss "Asia time" about World Time. It is rethinking about Asia Time as well as history? Can we accept and convey diverse and conflicting

means they are facing problems of conflict, contradiction and World Time from 19th century Europe. It is also an attempt to views? The first Asian Biennale aimed to provide a starting

provocation. Asia Time is a question and practice of “reshaping break the 21st century “new empires” order. point. We tried to touch upon "Asia Time" from a practical level.

Asia Time.” We can say that Asia is now setting the clock. So the curatorial idea is to explore the origins of the Silk Road Our Thoughts in the history of trade, the colonial and post colonial events, the What does Asia Time mean for us? The mobility over the centuries has brought up cross—cultural ancient and modern immigrant and expatriate routes and the

The recognition and imagination of the new Asia Time and the exchange and interactions. They are shaping the idea of Asia relevant studies: the relationship between the ancient Silk Road

search for Asian subjectivity will focus on specific matters, Time today and reconnect construction in today’s reality. China trade and the modern routes. To understand the complexity of

history and reality. This is rooted in our new self—awareness of put forward the Silk Road Economic Belt and the 21st—Century Asia, we tried to observe from history, regional, ethnic, religious

the society instead of building internal integrity. Asia Time has Maritime Silk Road (referred to as the Belt and Road) vision. and national perspectives, including the culture and diaspora

never been self—imposed. It is the interaction with the rest of The initiative went throughout Asia, Europe and Africa, relied of the living nationals, the culture of family in Chinatown,

the world (Europe and the West). So the question for World Time on the international channels and was supported by the central Little India, Thai Town, the "foreigners" and "immigrants"

does not intend to establish a so—called reverse (Asian) time, cities and economic and trade cooperation industrial parks. Belt communities and the history of religious exchange and advanced

but to get rid of the self—centered, exclusive logic domination and Road includes the majority of the hinterland countries with culture. These will help us to understand and touch upon "Asia

and expansionism. We need a broad global discussion and huge potential and connects the East Asian Economic Circle and Time." practice of Asia Time. We can discuss it from the perspective of European economic circles. The national development of the In the tensions of time, space, economy, politics, and cultural other regional time zones and re—understand World Time from countries, the tapping of market potential, the huge economic forces, Asia created a forward—looking and rich new map the vision of Asia Time. investment and consumption demand, the national and cultural with the rest of the world and updated Asia Time. Essentially mutual learning and integration have put "Asia Time" to a new The new understanding and imagination of Asia Time goes World Time is updated. As people face the "time update,” the structure based on political trust, economic integration and beyond the understanding of Asia. It is not intended to build all— inevitability of Asia Time and the future of the world are ready to cultural inclusion. mannered and trivial Asian studies or try to invent so—called come out. independence of Asia different from Europe. Its target is not Asia's economy is still expanding at an unprecedented rate. The As a major trading port, Guangzhou plays an important role within Asia, but using the Asia Time as a method. This means global center is pivoting to Asia and it has become the new focal in South China because of its solid political, economic and that Asia Time is not a reference to the World Time. Instead, point of the century. The Asian Infrastructure Investment Bank cultural base. Given the history and current strategic position Asia Time will be part of World Time. From a diversified has injected a new source of vitality to the promotion of Asian of Guangzhou, this exhibition starts from the history of and systematic perspective, World Time and Asia Time are infrastructure investment and economic growth in Asia, will fill the"Maritime Silk Road” and reflects the participation of the city.

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1130输出文件 画册最终版.indd 36-37 15-11-30 下午8:58 主策展人 适时的沉思

为了进一步阐明“亚洲时间”——首届亚洲双年展暨第五届广州三年 思”的概念联系起来，“沉思”这个概念现在拥有浓厚的亚洲色彩：

展策展视角的特殊性和史实性，让我们回顾一下 19 世纪末的时代思 静思，思维方式和超越工具性视角的心境。

潮运动：时间观念在那个时代首次登上了历史舞台中心。那时德国哲 “适时”和“沉思”两词的结合实际上包含了一个悖论：首届亚洲双 学家弗里德里希·尼采在其开创性散文集《不合时宜的沉思》中强调 年展暨第五届广州三年展的策展理念试图探讨或描绘“适时”（西式， 道，在历史思维统治半个世纪和历史学学科成立之后，我们迫切需要 全球化或“世界时间”：加速、速度、能见度、疲惫、逾矩 / 激进现 重新考虑所有相关的文化价值观以及历史构建和理解所起的修辞作 代性、超资本主义、知识生产和经济）和“沉思”（亚洲时间：静思、 用。但他也很清楚当时自己的时机不对。 专注、现代性的另一种模式、另外一套价值观、智慧）。换句话说，

在 19 世纪，欧洲精神体现为世界精神，那个时代欧洲中心主义盛行， 新广州三年展阐明了一个东西方悖论——矛盾、内在冲突、缺少任何

完全忽视亚洲等其他大洲的价值观和特质。在接下来的 20 世纪，一 一方都不能存在，还有或有必要的竞争挑衅——这个悖论当下正在塑

种全球化的时间观念在新的组织结构中体现出来，如民族国家、帝国 造或重塑亚洲对时间的理解和体验。

和资本主义。这些结构形成统一的力量，对同时期另一种不同的时间 最近韩国哲学家韩秉珠（Byung—Chul Han）将这些思想写入了他 观念和主体性在亚洲的发展却置若罔闻。 所讨论的热门话题的文化哲学文集《疲劳社会》。韩秉珠认为当前全

第三届广州三年展（2008）所倡导的研究正是基于这种全球化思维 球化的世界普遍呈现为一个以成就为导向的社会，特点是积极性泛

与殖民思想碰撞的情况而产生的。第三届广州三年展主题为“与后殖 滥，从无处不在的生产过剩、过度表现和过度交流上可见一斑。 从

民说再见”，它关注贸易、金融、制造、投资、劳务移民和企业全 而产生了一个异常活跃的世界，这样的世界认为一心多用和重点的快

球化催生的知识经济等新兴关系。第三届广州三年展的策展人给自 速转移是举足轻重的博弈和社会媒体的内在特点。因此，出现了一种

己提出了这样的疑问：新兴的知识经济在塑造新的全球环境中起了 越来越肤浅的关注形式，但文化需要的却是高度集中、有所反思的关

什么作用？ 亚洲多年展——如亚洲双年展广州三年展——该如何创 注。韩秉珠称尼采早已预见这种不尽人意的情况，并在《偶像的黄昏》

造另一种知识形式——这种知识形式是否将预示以欧洲为中心的权 中提出了警告：“如果禁止所有冥想形式，世界将会在过度活跃中灭

威地位和判断观会分崩离析？这些实验平台能否率先揭示后殖民主 亡。”韩秉珠强调道，为此我们要恢复谨慎的犹豫、否定中断以及体

义和多元文化话语是如何促进艺术发展又阻碍其创造力的？换言之， 验“两者间的时间”，这就迫切需要重新训练我们的眼睛，培养高度

有可能也很有必要创造想象世界的新模式，而展现这种可能性和必要 集中、有所反思的关注。

性正迫在眉睫。 从类似的角度和考虑出发，首届亚洲双年展暨第五届广州三年展希

然而，时间观念的特殊性仍然“未见”。因此，首届亚洲双年展暨第 望成为一个重要的催化剂，帮助探明当前“世界时间标准”的情况，

五届广州三年展的策展人觉得迫切需要通过艺术来探讨亚洲时间观 但这样做不是为了用另一种时间形式来代替世界时间标准，而是为了

念的特殊性。与尼采不同，首届亚洲双年展暨第五届广州三年展的策 终结那种与其内在相连以自我为中心、排外和膨胀的逻辑。因此目

展视角的时机比较好，确切地说，时机刚刚好。作为策展项目，该展 的，本次亚洲双年展暨第五届广州三年展主要关注当地对亚洲时间的

特意包含了“适时”这个词的全部含义：该年展与时间相关，举办得 理解，最终目的是从亚洲的视角出发重新调整当前的“世界时间”。

适时，并表达了紧迫性。此外，该展似乎还把对迫切议题的意识与“沉 思考时间的新方式——来自艺术的方式——可能给当前的危机带来

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1130输出文件 画册最终版.indd 38-39 15-11-30 下午8:58 解决方案，当前这场危机与全球化的时间观念和资本主义的各种相关 们理解自己在世界中地位的方式，并展现了在新兴的通信环境下使用 览。观众也可以在一个专门的试听箱里听这些磁带。乔布·科里唯 主题公园不再是一个模型，而是取代了现实，甚至让现实变得多余？

形式有关。 视频、摄影、雕塑和装置作品进行的看法交换。《成双》的中心是 京说，这个作品说明机械行为并不一定会让人变得麻木，也可能让 不管怎么说，我们都可以得出这样的结论：公共空间几乎完全全球 两位哲学家间的对话，黎巴嫩的罗拉·尤尼斯和法国哲学家雅克·朗 人——就像很多东方思考技巧展示的那样——开展不同的、更聚精会 在当代资本主义的中心，也就是纽约的时代广场——媒体化现实性 化了。XML 和阿尔敏·林克（Armin Linke）在他们合作的作品《议 西埃，在对话中两位都据理力争他们与世界的关系和对世界的看法是 神的培养洞察力、积累知识和智慧的形式。 的全球焦点， 阿德尔·阿比丁（Adel Abidin）的视频《迈克尔》展 会》中指出，可以从用于集体决策的代表性空间的建造中看出这一点。 至关重要且可发展壮大的。 示了一个可以撼动历史基础的事件：让我们直观地看到媒体偶像迈 人类行为的徒劳，我们所有行动的脆弱和稍纵即逝——即使目标是建 作为一个案例研究，他们分析了一些位于新丝路上的议会大厦。他们

克尔·杰克逊超越时间的存在。在一次脱口秀——现代传媒文化的 以上所提到的作品说明无法达成普遍的时间观念。那么我们又能做什 立复杂的系统，这是非常深刻的认识，特别是从物质的永恒性特点 提出下列问题：空间模型能多适应某种集体行动和决策模式？现代技

祭坛——的现场，名人文化的典范杰克逊解答了时下困扰着广大市 么呢？我们怎样才能摈弃主导的线性时间观念？奥马·法斯特（Omer 来看。这种对稍纵即逝的认知是莎拉·施（Sarah Sze）的《日历 术和媒体如何融入这些几乎全为 19 世纪的建筑中去的？这种源于启

民的存在性问题。从“看看我们对世界做了什么”这样的结论到“我 Fast）的作品《连续性》提出了一个有趣的答案。电影中“连续性” 系列》作品的灵感来源。她的装置作品展示了 92 张《纽约时报》头 蒙运动思想的代表性空间是否因为这些新的技术变得千篇一律？

们想要让世界变得更美好”的信条，杰克逊积极发出浅薄且未经深思 指用不同镜头创造线性时间感的过程：使用不同的时间和空间技术来 版，在这些版面中，新闻图片被换成了自然景观：雪景、海景和岩貌。 扬·卡纳（Jan Kaila）和杰保·克努帝纳（Japo Knuutila）在他 的宣告，这是媒体人物的典型做法：以传播看法和思想来模糊现代人 缓解故事构建材料固有的不连续性。奥马·法斯特在作品中展示了一 每张图片都有一块岩石或是一个形状的黏土碎片，这些景物都是永恒 们的电影《诗意考古学》中描述了把一个论证反转成其极端对立面的 对反思的态度。 部战死在阿富汗的士兵的故事，显示了线性和失落哀伤之间的联系， 且不可改变的，在其中一张图片中，一件羽绒服变成了一朵花。该作 风险，也就是启蒙运动辩证法的风险。这部公路电影展示了中欧的景 通过不同的角度重复讲述了一个故事，但他没有带给我们相关的宽慰 品向观众传递了这样一种感觉：单一事件与无限无关，以及地球作为 媒体形象的运作原理也是唐·安吉（Tiong Ang）跨领域装置艺术 色，这些景色由记忆和失忆复杂交叠在一起。因此，艺术家面临这么 或宣泄。 一个自给自足的系统与宇宙的其余部分相距甚远。 作品《共性（思想的礼仪和欲望）》的中心思想。这个艺术作品如迷 一个问题：那些景色是否迫使我们把现代性和后历史化的时间感植入

宫般，用与其他艺术家（亚历杭桑罗·拉米雷斯、罗伯特·维滕德尔普、 贾拉勒· 托夫克（Jalal Toufic）和格拉齐耶拉·里兹卡拉·托夫克 尽管如此，我们生活环境的物质性需要我们关注和负责。热门环境问 到另一种更为诗意的观念里——这种观念能够在景色和时间观念之

柳熙京和李东永）合作创作的各种投影、工艺作品和海报将整个博物 （Graziella Rizkallah Toufic）的影像《啊，伊斯坦布尔》中提出 题和全球紧急情况迫使我们在应对现实的时候采用不同的方式。为 间建立新的联系？

馆展厅都布置得满满当当，试图营造一种电视演播室的感觉，在这里 了另外一种线性思维，把亨利·柏格森“绵延性”与道教的“气”的 此萨拉·汉诺拉（Saara Hannula）的作品《健身计划》发明了一 然而，有时我们需要利用考古手段寻找隐藏在全球化景观下更深层 观众都沉浸在交错重叠的片段、思想、沉思和冥想中。这种气氛强 概念连接起来：即使不同场景之间有切割，也不会被打断。他们用这 个当代“绵延做法”，包含了一系列的行动性活动，这些活动是萨 的意义。因此，在作品《斯利那加》中，普拉尼特·索伊（Praneet 调我们需要一种不同的感性——这种感性必须与以大众和分工为特 种方式，通过密集的镜头向我们展示了伊斯坦布尔这座令人心旷神怡 拉在驻场期间潜心研究的成果，也是与驻场艺术家和当地居民讨论 Soi）研究了史上的丝绸之路，正因为有了丝绸之路，中印才开始贸 征的时代契合——和相应的用来应对和破坏通用时间和普遍性等概 的城市——一直被视为中西交锋之地：一切都是原貌，超越了所有延 新暂时性的结果。讨论的内容包括化学工程材料的寿命和腐蚀情况， 易往来。中印间的交流不仅促成了佛教的传播，也促成了古老工艺技 念的意识。毕竟，如果为了全球跨文化话语，普遍性需要不断妥协， 展性。观众只看到了部分参考图像，这些图像鼓励观众对这个世界恢 以及重工业长期对河口（如珠江）的影响。 术和视觉语法的重要交流。通过“标记法”，普拉尼特·索伊将视觉 那有什么真正意义？ 复信心。 萨拉·汉诺拉不是唯一把广州作为创作出发点的艺术家。广州是史上 迁移转化成了一种新的当代符号图的解法，这套图解法是他在传统瓷

这场危机，抑或普遍性的不可能，也是萨拉·范·德·海德（Sara 骆佩珊（Susan Puisan Lok）的剧场装置作品《金色》关注一种不 著名的丝绸之路的重镇，对超现代化的亚洲经济也起着重要作用。娜 器作坊驻场的那几个月间发明出来的。这套图解法的基础是工匠们代

van der Heide）作品《歌德学院德语信息图书馆，平壤》的核心要 同的时间观念。该作品营造出了 20 世纪 60 年代的往昔氛围：在那 塔莎·萨德尔·哈尼吉安（Natascha Sadr Haghihian）在作品《脚步》 代相传在绘制瓷瓦时使用的词汇。普拉尼特·索伊将会在 50 片瓷瓦

义。该项目分析了歌德学院大约十年前在朝鲜首都平壤临时设立的分 个时代西方流行音乐首次影响中国，不仅在舞厅里播放，还被翻唱成 中建立起了地区环境和全球发展之间的重要联系。她用了两件在全 上加上带有广州市容特色的图案。这些新图案不仅能展示当地的微观

机构发展起来的文化政治。这个学院以歌德（他可能是史上最后一 粤语流行曲。这个装置作品可以被看作是一个具有渗透性的临时划 世界居住环境中随处可见的物品来体现这种联系：行李箱和塑料瓶。 历史，还可以提供反思的动力，让人们思考如何发展超越工具性视角

位文艺复兴名人）为名，希望向访客介绍普遍的观点和价值观。萨 分：观众一边听着“适合跳舞和幻想的旋律的即兴串烧”，一边重新 在展览中，这两种物品成了当地事迹、历史和问题（如饮用水现状、 的专注和思考新形式，这也是此次首届亚洲双年展暨第五届广州三年

拉·范·德·海德的这个作品与约翰尼斯·施瓦兹和汉斯·哈克合作 思考时间，把特殊时刻升华为黄金时刻。 塑料的生产和生存环境等问题）的“脚注”。 展所倡导的。

完成，是在广州中山图书馆完成的一个干预性项目，该作品不应只被 乔布·科里唯京（Job Koelewijn）的作品《释放》邀请我们体会一 事实上，改善人类居住环境依旧牵动着全球的想象力。有时为了 视为历史的重建，而作为以价值观的相对性和历史性为出发点进行批 种更需深思的时间感。自 2006 年以来，乔布·科里唯京每天的开始 达到这种目的，人们会利用西方的异国情调。艾兰·日得（Ella 判性反思而展开想象空间的作品。 都要朗读东西方思想史重要文献 45 分钟。其中包括彼得·斯劳特戴 Raidel）的电影《双喜》展示了广州附近一个上仿奥地利风格的村

艾斯特·莎莱夫—格尔兹（Esther Shalev—Gerz）的作品《成双》 克（Peter Sloterdijk）《犬儒理性批判》和《易经》，此外他还把 庄是如何建立起来的。艾兰·日得称，全球化、电影化的想象和无

侧重于解构身份与历史和记忆的时空结构相关的方面。艾斯特质疑我 自己的朗读录下来。并将这几百个磁带在广州以书架的形式进行展 处不在的视觉文化最终将决定我们所有的生活条件和对现实的观念。

这个模仿奥地利风格村庄的故事提出了许多重要的问题。我们可否说

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1130输出文件 画册最终版.indd 40-41 15-11-30 下午8:58 These are ideas the Korean philosopher Byung—Chul Han of universal celebrity culture answers the pressing existential

recently incorporated in his topical cultural—philosophical questions that afflict the general public nowadays. Starting Timely Meditations reflection, The Exhausted Society. Han argues that the current, from the observation, “Look what we have done to the world,” globalized world universally presents itself as an achievement— and the conviction, “We wanna make the world a better place,”

oriented society characterized by an abundance of positivity that Jackson actively engages in the shallow and non—contemplative In order to further articulate the specificity and historicity of experimental platforms take the lead in making visible how is expressed in ubiquitous overproduction, overperformance, proclamation of truths, so typical for media personalities: the curatorial narrative of the 5th Guangzhou Triennial/1st the discourse of post—colonialism and multi—culturalism and overcommunication. This leads to a hyperactive world that spreading opinions and ideas that obscure modern man’s Asia Biennial, let us go back to the Zeitgeist at the end of the contributed to the development of art but at the same time considers multitasking and the fast—paced change of focus perspective on reflection. nineteenth century: a period where, for the first time in history, hindered its creativity? That is, underline that it is by now inherent to gaming and social media of great importance. the awareness of time took centre stage. At that moment, extremely urgent to show that new modes of imaginative worlds The workings of media images are also central to Tiong Ang’s As a consequence, an increasingly shallow form of attention the German philosopher Friedrich Nietzsche stressed in his are both possible and necessary. multi—disciplinary installation, Universality as Decorum emerges whereas culture is specifically in need of an intense, groundbreaking essay, Untimely Meditations, that – after half a of Thought and Desire. This labyrinthine presentation fills However, the specificity of the sense of time remained “unseen.” contemplative attention. An undesirable situation, which, century of historical thinking and the invention of the discipline an entire museum room with various projections, artifacts Therefore, the curators of the current edition of the Guangzhou Byung—Chul Han states, Nietzsche already foresaw and named ‘history’– it was exceedingly urgent to reconsider and posters realized in collaboration with other artists (e.q. Triennial/Asia Biennial find it highly urgent to pose – through art prophetically warned against in Götzen—Dämmerung (Twilight all related cultural values and the rhetoric role of historical Alejandro Ramirez, Robert Wittendorp, Heekyung Ryu and – the question of the specificity of an Asian sense of time. Unlike of Idols): “If all forms of contemplation are banned, the world constructs and understanding. He was, however, very well Dongyoung Lee), and evoking the sense of a corporate television Nietzsche’s publication, the narrative of this new perennial will perish in fatal hyperactivity.” Han stresses, therefore, that aware of his wrong timing. studio where the visitor is submerged in an atmosphere of has a better sense of timing: it is actually well timed. As a a retraining of the eye for intense and contemplative attention partially overlapping fragments, thoughts, musings, and The nineteenth century was the era when the European spirit curatorial project it deliberately follows all the connotations is urgently needed restoring cautious hesitation, the negation of meditations. An atmosphere that emphatically demands manifested itself as a World Spirit, an era also of a Eurocentric of the word, ‘timely’: it is time related, it is just in time, and it interruption, and experience of “in—between time.” a different kind of sensibility – one that goes with an era attitude completely overlooking the values and qualities of other expresses a certain urgency. In addition, it seems to connect an Starting from similar perspectives and considerations, the 5th characterized by multitude and division – and a corresponding continents such as Asia. In the following century, a globalizing awareness of urgent topics with the concept of “Meditation.” A Guangzhou Triennial/1st Asia Biennial wants to be a critical awareness addressing and disrupting notions such as universal thinking about time would manifest itself in new organizational concept that nowadays has a strong Asian connotation: restful catalyst for querying the current situation of the “World Time time and universality. After all, what authentic meaning is left if, structures such as the nation—state, empire, and capitalism: contemplation, a way of thinking, and a state of mind beyond standard,” not for the sake of replacing it with another form of for the sake of a global, transcultural discourse, compromises unifying forces that would pay little attention to how a different instrumental perspectives. time but with the view of ending the self—centered, exclusive of universality have to be met over and over again? sense of time and subjectivity further developed meanwhile in The combination of these two words, “Timely” and “Meditation,” and expansionistic logic that seems to be intrinsically linked to Asia. The crisis, or rather the impossibility of universality, is actually incarnates the paradox that the curatorial concept it. To that end the new Guangzhou perennial mainly focuses on also at the core of Sara van der Heide’s project, Deutsches This globalizing thinking and the related situation of colonial of this new edition of the Guangzhou Triennial/Asia Biennial a local understanding of Asian time, the ultimate goal being to Informationsbibliothek Pjongjang. The project analyses the reason were the starting point for the research advocated by intends to explore or map: Timely (Western, global or recalibrate the current “World Time” from an Asian perspective. cultural politics developed by the Goethe Institute on the the 3rd Guangzhou Triennial (2008). This Triennial, entitled “World Time”: acceleration, speed, visibility, exhaustion, A new way of thinking about time that – coming from the arts – basis of its temporary branch opened about ten years ago in Farewell to Postcolonialism, focused on the emerging relations a transgressive/progressive modernity, ultra—capitalism, may lead to an answer to the crisis that is currently unfolding in the North—Korean capital. In the name of Goethe – who was of trade, finance, manufacture, investment, labor migrations, knowledge production and economy) versus Meditation (Asian relation to the globalist notion of time and the related forms of probably the last homo universalis history has known – the and the knowledge economy that corporate globalization put time: tranquil reflection, concentration, another mode of capitalism. institute wanted to introduce visitors to perspectives and values into play. Its curators asked themselves: What is the role of modernity, another set of values, wisdom). In other words, the From the heart of contemporary capitalism, that is to say, presented as universal. Van der Heide’s project realized in this emerging knowledge economy in shaping new, global current Triennial/Biennial articulates the West—East paradox – Times Square in New York – the global focus of mediatized collaboration with, among others, Johnannes Schwartz and conditions of creativity? And how could Asian perennials – such the contradiction, the inner conflict, the impossibility of existing actuality – Adel Abidin’s video, Michael, shows an event that Hans Haacke as an intervention in the local Sun Yat Sen Library, as the Guangzhou Triennial – generate an alternative form of without each other, and perhaps also a necessary agonistic will shake history’s foundations: a direct vision of media—icon should not only be viewed as a historical reconstruction, but knowledge that, as it were, prefigures the dissolution of the provocation – that nowadays shapes, or reshapes, Asian Michael Jackson’s continued existence beyond time. In a live above all as a space for critical reflection and imagination taking primacy of Eurocentric authority and judgment? Could these understanding and experience of time. talk show —– the altar of modern media culture – this paragon the relativity and historicity of all values as its starting point.

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1130输出文件 画册最终版.indd 42-43 15-11-30 下午8:58 In the work, On Two, Esther Shalev—Gerz focuses on deconstructing can be seen as a temporary, permeable demarcation: a place where are the lifespans of chemically engineered materials, rotting, and the uniformizing image?

aspects of identity related to temporal constructs of history and the visitor, while listening to a “makeshift medley of melodies for influence of the presence of heavy manufacturing on an estuary (such The danger of a reason reversing into its extreme opposite – the memory. The artist questions how we understand our place in dancing and dreaming," is invited to re—think time and to upgrade as the Pearl River) over time. danger of the dialectics of Enlightenment – is depicted by Jan Kaila the world and presents an exchange of ideas emerging from special moments to gold. Saara Hannula is not the only artist to take the specific context of and Japo Knuutila in their project, Poetic Archeology. This road communication situations through the use of video, photography, Job Koelewijn’s work, Relief, invites us to a more meditative sense Guangzhou – a location that played a crucial role in the historic movie shows images of a Middle—European landscape characterized sculpture, and installation. Central to On Two is a dialogue between of time. Since 2006 the artist starts every day by reading out loud Silk Road, but also plays a significant role in the current ultra— by a complex layering of memory and amnesia. With that, the two philosophers, Rola Younes from Lebanon and the French crucial texts from the history of both eastern and western thinking modern Asian economy – as starting point. Also the recent edition of following question intrudes upon the artists: Does this landscape philosopher Jacques Rancière, in which both of them strive to for forty—five minutes. So not just Peter Sloterdijk’s Critique of Natascha Sadr Haghihian’s project, De Paso, creates a meaningful force us to place modernity and a post—historical sense of time in sustain their relationships to and perceptions of the world as vital Cynical Reason, but also The I Ching – The Book of Changes, and connection between local circumstances and global developments. another, more poetic perspective, a perspective able to bring about a and regenerative. he records this on audio—tape. The outcome – hundreds of tapes For this purpose she uses two objects that are omnipresent in our new connection between landscape and the awareness of time?

The projects mentioned above emphasize the impossibility of a – is presented in Guangzhou in a bookshelf—like installation. The global living environment: the suitcase and the plastic water bottle. However, sometimes it is necessary to further implement the universal sense of time. But what can we offer instead? How can we tapes can also be listened to in a special listening booth. According In the exhibition these are linked in the form of “footnotes” to local archeological method and to search for the deeper layers of end the dominance of a linear understanding of time? Omer Fast to the artist, the work makes clear that a mechanical act does resonances, histories, and problems such as the situation of drinking meaning hiding under the surface of the globalized landscape. offers an intriguing answer in his work, Continuity. In cinema the not necessarily have to be benumbing, it can also lead – as many water, the production of plastic, and the living environment in general. Thus, in his project, Guangzhou Diary, Praneet Soi explores the concept of “continuity” is used to denote the process of creating a eastern techniques of thinking demonstrate – to different and more Indeed, improving the living environment continues to capture our historic Silk Road that made cultural exchange between India and sense of linear time based on disparate shots: different temporal concentrated forms of insight, knowledge, and wisdom. global imagination. Sometimes forms of western exoticism are China possible. That not only led to the spreading of Buddhism, but and spatial techniques are used to smooth over the inherent The futility of human behaviour, the fragility and transience of all our deployed for this purpose. also to a structural exchange of age—old craft technologies and discontinuity of the material from which a story is constructed. Omer actions, even if they are aimed at building complex systems, is such visual grammars. Through a “notational methodology,” Praneet Soi Fast’s movie about a soldier who was killed in Afghanistan shows Ella Raidel’s movie, Double Happiness, shows how, not far from an insight – especially seen in the light of eternity characterizing translates visual migrations into a new, contemporary iconography the link between linearity and a sense of loss and mourning, but by Guangzhou, a replica of an upper—Austrian village is being built. matter. This awareness of the ephemeral is the starting point for of punctuation to be developed by him during a residency period of telling the story over and over again from different perspectives, he This is, according to her, the outcome of a globalizing cinematic Sarah Sze’s Calendar Series. Her installation shows ninety—two several months in a traditional porcelain workshop. The starting denies us the associated closure or catharsis. imagination and an omnipresent visual culture that ultimately will front pages of the New York Times where news images have been point is the passed—down vocabulary artisans use when painting determine all our conditions of life and notions of reality. The specific As an alternative for linear thinking Jalal Toufic’s and Graziella replaced with images of the natural world: snowscapes, seascapes porcelain tiles. To fifty of these tiles Praneet Soi will add drawings story about the Austrian village raises many critical questions. Can we Rizkallah Toufic’s video essay, Ah Istanbul, connects Bergson’s and rockscapes. On each one is a rock or a clay fragment of a shape, of the urban nature of the city of Guangzhou. Thus new images will claim that the theme park is no longer a model but instead replaces concept of “duration” with the Taoist notion of “chi”: not being eternal, immutable, and in one case, a down jacket becoming a emerge not only articulating topical micro—histories, but above all reality and possibly even renders it superfluous? interrupted, even when there are, exceptionally, cuts, for example flower. The work pervades the public with a sense of the single providing an impetus to reflection on how to develop novel forms

between different scenes. In this manner, with concentrated shots, event’s irrelevance to the infinite, but also with the gigantic distance In any case, we can conclude that public space has by now been almost of concentration and contemplation going beyond instrumental

they show us the city of Istanbul – which has long been seen as the between the earth as a self—contained system and the rest of the fully globalized. This can even be detected, XML and Armin Linke note perspectives, as advocated by the new Guangzhou perennial.

location where the spheres of influence of East and West meet – in universe. in their collaborative project, Parliaments, in how today representative

contemplative wonder: things are as they are, elevated above all spaces for collective decision—making are architecturally shaped. As Nonetheless, the materiality of our living environment demands malleability. The viewer sees only parts of the referential image and a case study they analyze a number of parliament buildings situated reflexive attention and responsibility. Topical environmental issues is thus invited to restore faith in this world. on the new Silk Road. They ask the following questions: To what extent and planetary urgencies force us to adopt a different approach to does the spatial model accommodate a certain mode of collective Susan Pui San Lok’s theatrical installation, Golden Hour, also reality. For this purpose Saara Hannula’s Body Group develops action and decision—making? How have modern technology and media centres on a different sense of time. The work evokes the a contemporary “durational practice.” It consists of a series of been incorporated in these mostly nineteenth century buildings? atmosphere of a bygone era, that of the 1960s: a period where, for performative activities as outcome of careful research during a And is it because of these new developments that this representative the first time, influences from western pop music were admitted in residency period and as result of discussions of new temporalities space, rooted as it is in enlightenment ideals, has become a China and manifested in ballrooms and Cantopop. The installation with residency participants and local inhabitants. Examples of this

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1130输出文件 画册最终版.indd 44-45 15-11-30 下午8:58 策展人 东亚女性主义：亚洲幻想

一、 亚洲·女性·幻想 制促使非西方国家开始自觉或不自觉地强调自身的独特性以及与大

众的相异性。但是，过分强调相异性也可能导致艺术陷入被歧视的窘 由广东美术馆策划的“亚洲时间”——首届亚洲双年展暨第五届广州 境，例如被归类为“东方主义”或“异国风味”。差异政治虽然是挑战， 三年展将于 2015 年 12 月对外开放，展览主题为“亚洲时间”。如 但也对亚洲艺术有益，可以推动东方和西方二分法的废除，促进全 果将“亚洲时间”认定为西方时间的对立面，或是西方时间所代表 球共生关系的建立。全球共生关系的建立，需要人们积极提出疑问， 的世界时间的对立面，那么“亚洲时间”也可被解读为东方的思考， 质疑那些被大众认定为“真相”的假设是否成立。 停顿的美学以及非进化论者的智慧回归。亚洲时间的优点与非二分

法情感密切相关，这种情感重视边缘而非中心，重视无形之感而非 亚洲女性艺术展可以将视野放宽至女性主义，并将地方差异甚至是性

有形之物，重视其他的一切而非自己本身。不可见性和相异性是多 别差异赋予政治意义。我提出将“幻想”作为亚洲女性艺术在地方和

级二分法分支下最主要的概念。例如，在文化与自然、西方与东方、 性别上政治化的原理和概念。幻想符合亚洲和女性的特质：无形性、

视觉和触觉、精神和肉体以及男性与女性这五组对比中，每一组的后 相异性以及破坏性。另外，幻想也是对亚洲和女性这两个群体的比喻，

者都体现了不可见性和相异性。在这些分支中，象征东方的亚洲和 给她们的以上三个特质建立了比喻意义。

象征第二性别的女性被认为是不可见的异者，因为从西方历史和男 由此看来，我提出“亚洲幻想（FANTasia）”这一概念，由“亚 权社会来看，亚洲和女性都是未经认同的未知领域。然而，亚洲和 洲”和“幻想”两部分组成，是“亚洲时间”展览的其中一个主题。 女性天生的未知性赋予了她们摧毁二分法的破坏力量。这是二元论、 说到幻想，人们可能会联想到“幻想曲”这个音乐术语。在音乐界， 矛盾论和两义性的力量，远远超过单一性和特定性的力量。由此可见， 幻想曲指的是即兴表演的音乐作品，运用自由组合的音乐技巧而非正 亚洲和女性在概念和分类上的本质是相同的。 式的格式类表现虚幻的情感和浪漫的幻想。“亚洲幻想”也象征着女

亚洲和女性表现出的政治性来源于其不可见性、相异性和破坏性，这 性艺术家突破西方传统而采用的自由不定的艺术表现形式，进一步发

也为我们分析亚洲女性的艺术提供了不同的视角。在当代艺术的话语 展为突破男权统治下的艺术形式。

中，全球主义和地方主义贯穿彼此，性别和表现手法的话题成了全球 心理学里的“幻想”是指人类认知发展早期阶段的精神状态，而在艺 的关注，亚洲女性的艺术也成为女性主义批评的主题，因为他们认为 术流派或艺术媒介的层面上，“幻想”一词指的是在叙事、主题和 亚洲女性的艺术在地缘政治学和性别上都已经具有政治性。作为首届 设定中引入魔幻或超自然现象的小说类别。天真的幻想类似前语言 亚洲双年展暨第五届广州三年展的策展人之一，我希望把亚洲女性的 时期的婴儿，现实与想象之间毫无差别，通过电影、视觉艺术和电 艺术作为其中一个主题，并从女性主义的角度对其进行解析。这个主 子游戏等不同媒介所表达的幻想，为人们提供了想象的虚拟现实并 题将充分凸显亚洲时间的主旨概念，为不同的策展人提供实验场所。 构建了科幻情节，这些想象和情节旨在获取人类大脑无意识的幻想，

对展览策划的思考源于策展人的自我提问：作为一个生活在全球化环 如梦境和欲望。（总的来说，在英语和韩语中，幻想和心理层面的“幻

境中的亚洲韩国的策展人，我应该如何创造区别于西方的艺术？亚洲 想”在使用上并没有区分，只是在本文中作出区别。）

双年展自 1990 年起就盛行于非西方地区，也是试验并实践这种独特 正如茨维坦·托多罗夫（1939——）在《幻想主义：文学体裁的结 的亚洲艺术的场所之一。 构方法》（1973）中主张的：当现实与超现实之间的界限变得模糊

双年展的竞争机制旨在通过全球化和地方化实现文化主导权，这种机 时，幻想就出现了。尽管幻想仍然存在于两者的界限之间，但人们很

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1130输出文件 画册最终版.indd 46-47 15-11-30 下午8:58 难去解释和定义，所以幻想是既迷人又危险的存在，它催生了人类 表现性欲或性别特征，第二种是批判社会制度和现实，强调女性的现 异，故事的抨击矛头直指社会暴力的真实场景。影片最后，所有女人 视频里她的身体被类似人体血管的管子捆绑在一起。人类依靠血管

的各种疑问。“幻”这个词的意思是把无形的变为有形的。幻想拥 状以及在男权社会中面临的压力。尽管如此，这两种类别共有的艺术 团结起来，在治疗所共同修复自己的血肉之躯，这个治疗所其实是洞 供血存活，所以血管也可看作是人类的生命线。同时，血管也代表

有极大的破坏能力，通过暴露人或事内在来煽动内心。换言之，幻 表现特征。在一些情况中，艺术家的作品可能同时适用于这两个类别。 穴的比喻。来自地下的水流净化并解放了女主角，表达了未来主义者 男女之间的爱情羁绊和将家庭、国家、宗教团体团结在一起的母体。

想跟巴赫金的狂欢理论相似，巴赫金的狂欢理论指的是一场在圣父 这两种艺术既离心力又是向心力，同时作用于女性的内心和外在。“亚 对女性身体和存在的愿景，即女性不会灭绝，而是会不断再生。 但是，当血管或网的连接被切断时，我与别人，男人与女人也被分离

名义之外充满非法活动且没有界限的狂欢，它是对地域边缘的反叛， 洲幻想”这个展览融合了幻想的概念，通过这两种艺术得到了 了，中间犹如隔着一堵高墙。在这个作品中，作者对比了人们对两种 山城知佳子的作品《我为你发声》（2009），将在首届亚洲双年展 也意味着无意识的回归。 完美诠释。 事物的恐惧，一种是足以分割和孤立一切的墙，另一种是血管被切 及第五届广州三年展中展出，替代《肉铺中的女人》（2012）。 断导致的死亡，由此告诫观众，缠绕自身的血管可以是人的生命线， 幻想是基于叙事概念的存在，同时又具有危险性和破坏性，因此在政 姜爱兰曾经运用不同的 LED 灯光技术，虚拟图书和电子图书设备来 咸京我的作品运用雕塑、设备、影像和表演等多种媒介及体裁，对表 也可以变为威胁他人生命的武器。 治化的女性主义作品或女性叙事作品中的作用显著。另外，幻想也 制作多媒体图书，本次展览，她将引入新的多媒体装置作品来阐述 现方式和性别提出质疑，表现了对人类文明的批评。咸京我的创作态 是亚洲题材的正当形式。具体来说，当代亚洲可以通过幻想的概念 慰安妇的问题。姜爱兰收集了慰安妇暴力和牺牲事件的证人和证据， 郑恩瑛的作品主题丰富，大多与女性主义有关，作品常向男权表现和 度不亚于实验室的科学家，她调查了全球因战争、暴力以及权力争夺 进行解读，亚洲现在正处于变化和发展的状态，不断前进扩大却没 跨越韩国和其他亚洲国家，并以档案、文字、纪录影片和声音的形式 性别角色提出质疑。在她最近的作品中，郑恩瑛着重分析并解构唱剧 对人类历史造成的灾难。但是她的批评角度大多来源于个人情感和 有一个固定的身份，因此无法定义自身的实质、精华和分类，这种 展现给观众，观众必须进入一个仿真的洞穴里观看这些资料。她建造 和盘索里等韩国传统戏剧中一成不变的女性形象，开拓了女性主义艺 回忆。这也造就了一种独特的多元艺术世界，虽然注重深思和冥想， 状态跟幻想非常相似。换言之，亚洲并不止步于当今世界眼中的“亚 了一个异位的洞穴作为通感的空间，在这里所有视听材料会产生强 术的新领域。在这次展览中，郑恩瑛将引入新的作品《潇湘八景》， 但仍然非常迷人。咸京我把自己的素描图寄给朝鲜的女性工匠，然后 洲”。亚洲更是作为一种痕迹，一种信号象征，不断迸发新的幻想， 烈复杂的回音，最后引起人的感觉混乱。这个洞穴参照塞班岛和菲 以韩国现存五首盘索里之一的《沈清歌》为主题。《沈清歌》原本的 由她们按照素描制作刺绣品。这既是对朝韩分裂的无声职责，也是交 蔓延到全世界。 律宾一些曾用作慰安妇集中营的天然洞穴制作而成。洞穴的地理特 故事是一个叫沈清的女孩为了治愈父亲的眼睛甘愿投身大海做祭品。 流和沟通的实践。更深层次来说，参与这次刺绣工作的女性其实是参 征是阴暗且深藏地下，常被用于比喻女性的子宫，也有人从洞穴阴 寺庙僧人需要 300 石大米作为治愈父亲眼睛的酬劳，刚好有商人为 但是，亚洲无疑拥有亚洲的精神和文化根源。例如，亚洲东北部的国 与了一次治愈的行动。在这次的展览前，咸京我告知朝鲜女工匠按照 暗枯燥的环境联想到地狱。慰安妇的存在扭曲了洞穴的概念和寓意， 求平安渡海需要女子作为祭品投入大海，于是沈清答应商人，把获得 家都拥有相同的文化传统，包括中国的汉字、水墨画、禅、儒家思想 达芬奇的《蒙娜丽莎和来自北方的其他人》制作刺绣，现在可以确定 使之由属于女性和母亲的空间变为男性犯罪的场所。无论是洞穴的女 的大米交给僧人，求其治愈父亲的失明之症。《沈清歌》塑造的是儒 和自然论，同时经历过殖民统治和现代化进程。这些因素共同构建了 共有十一幅不同的刺绣作品展出，尽管都是参考同一幅画，这些作品 性寓意与男权压迫史的界线，超现实与现实的界线，还是未来的希望 家思想价值观中典型的弱女子的形象。郑恩瑛的作品不止步于揭露 亚洲的两种面貌：第一种是基于地理位置和文化传统的来定义的“地 在颜色和形状上却差异巨大。在这个作品中，咸京我运用模仿的寓意 和过去的创伤之间的界线，姜爱兰似乎都在用灵异的媒介缓缓叙述治 沈清被美化成“尽孝心”的悲惨命运，而是将关注重点扩展到沈清 方性亚洲”，第二种是超越种族和民族界限的“世界性亚洲”。这两 阐明了蒙娜丽莎的形象，解释了西方艺术史极其男权主义的表现。 愈的幻想。 跳江的地点——印堂水，这正是中国湖南省的真实景观“潇湘八景” 种面貌都代表了当代的亚洲。若想构建新的亚洲幻想，那么亚洲要慢 女性自发的性欲和生命力一贯被视为禁忌，在郑锦衡的表演中，她把 的位置。在中国和韩国的概念风景画中，潇湘八景被认为是最理性、 慢变为改革和运动主体，同时兼具地方性和世界性。这种亚洲幻想不 山城知佳子的影片为《肉铺的女人》，主要描述在冲绳普遍存在的 这一禁忌光明正大地表现出来。在后现代身体文化的基础上，郑锦衡 最美丽的景观。然而，郑恩瑛对潇湘八景提出了疑问：难道这里不是 是异端幻想，不是寄生于西方想象的伪造空壳，而是在集体无意识的 黑市、失业、裁员、环境破坏和压迫女性等阴暗的社会问题。影片 将自身性欲——无需人类伴侣完成的性体验具体化、形象化。她表演 以“虽死犹荣”之名强迫一位女子放弃生命的案发现场吗？ 层面上运作的破坏性幻想，这种幻想表面上难以察觉，向外界传递的 通过三个渠道来表现三个地方的社会背景：第一个是位于冲绳县中 了一出自给自足且自恋的性心理剧，运用拟人的手法将跑步机和按摩 是内爆型的能量。 心一个黑市内的肉铺，附近是美军基地；第二个是靠近市场的海边， 玛拉蒂·苏里约达摩 2012 年创作的作品备受关注，表演中她在展览 机等健身器材当作性伴侣的替身。对她来说，锻炼比喻人的性欲，而 附近有一条在建的公路；第三个是代表其他地方的石灰岩洞穴。叙事 大厅中用 12 个小时将 200 公斤煤挤烂磨碎。通过磨碎煤这种自我 二、亚洲幻想 健身比喻性欲的节制，这和马修·巴尼早期的艺术实践有异曲同工之 的主角是一个肉铺的女人。一群毫无生机的工人从海边建筑工地走向 转化和能量转化的方式，苏里约达摩不仅在精神上得到发泄，更希望 妙。在健身器材上完成性体验的锻炼，其实比喻极端和狂热的性幻想， 我邀请了七位来自东亚国家的女性艺术家，分别为来自韩国的姜爱 她的肉铺，他们把肉放在铁钩上烤过后马上开始狼吞虎咽。影片中 将复活另一种由零开始不断产生的能量。在这次的展览中，苏里约达 通过这个表演郑锦衡将性的表现升华为身体的表演。 兰、郑锦衡、郑恩瑛和咸京我，来自日本的盐田千春和山城知佳子， 的肉铺的女人代表了 12 个女人，她从肉铺离开，穿过洞穴，到达海 摩将展示一个名为《黄昏》的影像作品。影片中的她将无声地表现各 以及来自印度尼西亚的玛拉蒂·苏里约达摩。展览将采纳多种艺术形 盐田千春的作品以细线悬挂物品闻名。她常常用细线将不同的物品悬 边，移动到海水下方。这时，她已经在肉铺女人的身体里完成了转生。 种诗意的动作，由此比喻沉默无声是人体能量转化的途径。苏里约达 式和媒介，如表演、影像、多媒体装置、摄影、绘画和雕塑。参与“亚 挂在空中，形成不规则的网状图案，通过多根细线把与女性梦想和欲 在这个作品里，幻想、现实和想象同时存在，正常行为与表演行为之 摩认识到沉默无声是作者与观众之间的交流空间，是连通过去的回忆 洲幻想”的艺术家作品不是局限于女性主义的单一概念，而是能传达 望相关的物品串联起来，包括床、衣服和鞋子。尽管悬挂的物品会在 间的界线变得模糊，女主角也多次转生为另一个人。在这个逻辑不一 与现在的经历的通道，而且人们可以在沉默无声中获取巨大的生命 出女性主义的多种内涵。 空中轻微摇摆，但这些物品实际上被各种黑线捆绑，正如一群被俘虏 致的叙述中，肉铺的女人把身体交给了狼吞虎咽的建筑工人。除去自 力和创造力。对苏里约达摩来说，表演是传达诗歌意义的诗意动作。 的囚犯。她的作品既表现了女性的梦想和欲望，又揭示了社会对女性 尽管这七位艺术家的展示涵盖了多种艺术体裁、媒介和风格，她们的 己的身份，这个女人是冲绳县社会政治现状的象征。在这个故事里， 在表演时，艺术家把自己和表演者及观众连在一起，通过沉默中蕴含 的无视和压迫。在这次展览中，盐田千春将展示一个单频道视频作品， 作品大致可以归类为以下两个类别：第一种是以女性为中心和主题， 殖民压迫施加于一个女子的身上，冲绳县被认为与这位女子毫无差 的能量，解读、翻译并传达一首诗歌，从而唤醒观众的意识。

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1130输出文件 画册最终版.indd 48-49 15-11-30 下午8:58 invisible, otherized, and subversive as with Asia and women. In or the women’s narrative art. At the same time, fantasy is also a valid

addition, it functions as a metaphor of Asia and women, thus bringing form as an Asian genre. In specific, the contemporary Asia can be

into existence a metaphorical identification of the three elements. read through the notion of fantasy since it is in the process of change

and development, ceaselessly moving forward and expanding without Under this context, I propose FANTasia – a compound of fantasy any fixed identity, which makes it ineligible for defining its substance, and Asia – as the theme that is to be part of curating the exhibition, essence, or category. In other words, Asia does not stay at being Asia. Asia Time. FANTasia is also intended to remind of its homonym, I. Asia. Women. Fantasy would like to take women’s art in East Asia as a topic, examining it It becomes a trace and a signifier symbol, roaming around the world ‘fantasia’, as a musical term. As the musical term fantasia describes from the perspective of feminism. I think it is an ample subject that as it produces new fantasies about itself. Organized by the Guangdong Museum of Art, the inaugural Asia an improvisational musical piece that employs liberal techniques to highlights the thematic notion of Asia Time and provides a ground Biennale opens its door to the public in December 2015 under the express visional emotions and romantic fantasies without any formal Nevertheless, Asia has an undeniably Asian spirit and cultural root. to experiment with the curatorial difference. title, Asia Time. If Asia Time is proposed as a contrasting concept limitation, FANTasia can indicate a formless form of art by women In specific, the Northeast Asian countries have the homogeneous

to the Western time that is represented as world time, it can be The thoughts on the curatorial difference start from a self— artists, free from the Western tradition, which further advances to cultural heritage of Chinese characters, Oriental painting, Zen,

interpreted as Eastern contemplation, aesthetics of pause, and the questioning of how one shall create a difference that is free itself from the limitation of patriarchal formalism. Confucianism, and naturalism, and share the experience of

wisdom of non—evolutionist return. Such virtues of Asia Time are distinguished from the West, as a Korean or Asian curator who colonialism and modernization. All these lead to the two faces of Different from the notion of psychological ‘phantasy’ that describes connected to the non—dichotomous sensibility in which one puts lives in the globalized world. One of the stages to experiment with Asia: a local Asia based on geographical and cultural homogeneity a mental state in the early stage of cognitive development, the idea importance on periphery against the center, invisible against the and practice such curatorial difference is the biennale, which has and the cosmopolitan Asia that transgresses the boundaries of race of fantasy as the concept of an artistic genre or medium indicates visible, and the Other against oneself. been flourishing in the non—Western regions since the 1990s. and nationality. These two faces represent the contemporary Asia. A a fiction that employs magical or supernatural phenomena in its Biennale enables cultural globalism through an international new Asian fantasy is constructed from the Asia that is becoming the Invisibility and otherness are major concepts shared in sub— narrative, subject, or setting. While there is no distinction between networking while at the same time functioning as an effective change and movement itself, and the Asia that is local and global at categories within the hierarchal dichotomy of culture/nature, the the reality and imagination in the childlike fantasy as a pre—linguistic institutional apparatus that spreads national, regional localism the same time. It is not an otherized fantasy that inhabits the Western West/the East, vision/tactility, spirit/body, and men/women, such state, the fantasies in different media such as cinema, visual arts, based on the characteristics and authenticity of the artistic culture imagination as a fabricated image but a subversive one that operates as nature, the East, tactility, body, and women. Among these sub— or game present imagined non—reality and constructed fictions that of one’s native country. on the level of the collective unconscious, conveying implosive energy categories, Asia, which indicates the East, and women as the intend to acquire unconscious phantasies such as one’s dream and within the invisibility on the surface. second gender, have been categorized as the invisible other as Within the competitive structure of biennales that crave to achieve desire. (In general, there is no distinction in the usage of fantasy and

it had been considered an unknown territory unregistered in the cultural hegemony through the dual strategy of global and local, phantasy both in English and Korean. The current essay distinguishes II. FANTasia Western history and the patriarchal civilization. However, Asia and non—Western countries are drawn to emphasize identity and the two terms.) I invited seven women artists from East Asian countries: Airan Kang, women have the subversive power to deconstruct the dichotomy difference either voluntarily or involuntarily. At this point, there is a As Tzvetan Todorov (1939—) asserts in The Fantastic: A Structural Geumhyung Jeong, siren eun young jung, and Kyungah Ham from for the very incomprehensibility they possess. It is the power of possible danger of such difference being led to the discriminatory Approach to a Literary Genre(1973), fantasy occurs when the border Korea; Chiharu Shiota and Chikako Yamashiro from Japan; and Melati dualism, ambivalence, and ambiguity that surpasses the oneness, dilemma such as Orientalism and exoticism. Nevertheless, the between the real and surreal is ambiguous. Since it still exists on Suryodarmo from Indonesia. Appropriating diverse genres and media uniqueness. This draws a conclusion that Asia and women share politics of difference is a valuable challenge that can possibly the border although it is yet unexplainable, fantasy is attractive and such as performance, video, multimedia, photography, painting, and conceptual and categorical homogeneity. induce the abolition of the dichotomy of the East and West and the threatening at the same time, drawing one to raise questions. As sculpture, the participating artists of FANTasia present works that are establishment of global symbiosis, which is to be accomplished by The political nature indicated by Asia and women comes from anlauts ‘phan’ and ‘fan’ mean something that makes the invisible not confined to a singular notion of feminism but can be interpreted raising doubts on assumptions that are considered as truth within such invisibility, otherness, and subversion, and this provides a visible, fantasy possesses a subversive property that agitates the as plural meaning of “feminisms.” representation. perspective to view women’s art in Asia. Moreover, in the discourse center by exposing the inside of something. Put it in another way, Although the works by these seven artists display a rich diversity of of contemporary art where globalism and localism intersect with The curation of women’s art in Asia can expand its horizon to fantasy indicates the Bakhtinian notion of an extraterritorial carnival genres, media, and styles, the following two categories might properly each other and the issues of gender and representation become feminism by politicizing not only the regional differences but also full of illegitimate energy outside the name of the father, which is the explain them: works that focus on women as the central issue, dealing global concerns, women’s art in Asia becomes the subject of the gender difference. I propose fantasy as a mechanism and rebellion of the periphery and the return of the unconscious. with sexuality or gender; works that criticize the social system and feminist criticism as it is politicized in terms of geopolitics and concept for the politicization of Asian women’s art in terms of Since fantasy is based on the notion of narrative while being reality, highlighting the situation of women and the oppression they gender. As one of the co—curators of the first Asia Biennale, I geography and gender. Fantasy possesses the qualities of being threatening and subversive, it is effective in the political feminist art

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1130输出文件 画册最终版.indd 50-51 15-11-30 下午8:58 face in the patriarchal society. However, these two categories share the pluralized form of twelve women, the woman at the butcher shop arrives Mona Lisa. Eleven different versions of Mona Lisa in the exhibition display siren eun young jung has been producing work under a variety of

notion of the politics of representation. Further, there are cases where a at the sea after going through a cave and moves under the surface of a wide range of colors and shapes, despite the fact that each of them themes associated with feminism, casting doubts on the patriarchal

work by a participating artist satisfies both categories. In the end, these the sea. There, she is reincarnated in the body of the protagonist. In this uses the same reference. In this work, the artist, by using the allegory representation and the role of gender. In her recent works, jung is

two categories function as a centripetal force and centrifugal force at narrative of fantasy, reality and fiction coexist; the line between ordinary of mimicry, demystifies the figure of Mona Lisa, and at the same time, opening up a new ground for Korean feminist art by analyzing and

the same time, both inside and outside women. The totality of curating behaviors and acting is blurred; and the protagonist multiplies and decodes the Western art history and its patriarchal representation. deconstructing the stereotypical representation of women inherent in FANTasia, which is integrated with the concept of fantasy, is completed transforms into other beings. the traditional theater, such as Yeosung Gukgeuk and Pansori. In the In her performance practice, Geumhyung Jeong brings the autonomous by these two categories. current exhibition, the artist introduces a new work, Eight Views of In this narrative that lacks logical consistency, the woman at the butcher sexuality of women or women’s libido, which has been considered taboo, Xiaoxiang, thematizing Simcheong Ga, one of the five surviving Pansori Having produced multimedia works about books in different forms of shop metaphorically gives her body to the construction workers who into light. In particular, Jeong materializes post—feminism based on the epics in Korea. In the original narrative of the story, a girl named LED light books, virtual books, and digital book installations, Airan Kang tear and scratch the meat. Deprived of her own identity, the woman is a post—body discourse, via the fantasy of autoeroticism – a sexual practice Simcheong sacrifices herself by diving into the sea to cure the eyes of introduces a new multimedia work that takes the issue of comfort women. symbolic figure that is comparable to the sociopolitical reality of Okinawa. that does not require any human partner. Jeong stages self—sufficient, her blind father. She makes an offering to a Buddhist temple with three Kang aggregates the witnesses and traces of sacrifice and violence Here, the colonial oppression exerted on the body of a woman and the narcissistic sexual psychodrama, by personifying fitness equipment, such hundred sacks of rice that she received as payment by merchants from that comfort women from Korea and other Asian countries suffered, island of Okinawa is considered to be identical with each other, through as running machines and massage belts, as surrogate sexual partners. Nanjing for sacrificing herself into the waters. The figure of Simcheong presenting them in the forms of archives, texts, documentary footage, which the true picture of the violence is accused. However, the ending of For her, exercise is a metaphor for desire and physical training to represents the cruel femininity and female imagery coerced by Confucian and sounds, which are put in a cave of cry. She materializes a heterotopic the video presents the recovery of body and flesh through the solidarity discipline her desire, reminding of the early practice of Matthew Barney. ethics. In this work, jung takes a further step from merely exposing the cave, which is a synesthetic space where audiovisual resonance occurs among women in the space of healing, which is a metaphorical space Through the extreme and mutational sexual fantasy of exercising quasi— violent death of Simcheong that has been glorified as an act of filial love. and complex and derivative chaos is generated, by referring to the natural of a cave. The water flowing under the ground purifies and liberates sexual activities with fitness equipment, Jeong develops the politics of She pays attention to a hypothesis that Indangsu, a place into which caves in Saipan and Philippines, which are known as concentration camps the protagonist, expressing a futuristic longing for women’s body and sex into the politics of the body. Simcheong threw herself, is located among the Eight Views of Xiaoxiang, for the comfort women. While caves are considered a metaphor for a existence, which do not become extinct but are regenerated. Chiharu Shiota is known for hanging installations using threads that a real place in Hunan Province, China. In the conceptual landscape womb with their geographical characteristics of depth and darkness, Yamashiro Chikako's Your Voice Came Out Through My Throat (2009) construct atypical shapes that resemble a kind of web, incorporating paintings of China and Korea, the Eight Views of Xiaoxiang appears as an they also remind one of hell for their dreary underground space. The will be presented during Asia Time — The 1st Asia Biennial and the 5th ordinary objects that are related to women’s dream and desire, such as idealized, aestheticized place. Then, the idealized Eight Views of Xiaoxiang occasion of comfort women distorted the dual implications of the cave by Guangzhou Triennial, Guangzhou, China in place of A Woman of the a bed, clothes, and shoes. Although the hanging objects lightly drift and is put to the question – isn’t it the very place of violence that has forced a alternating the female, maternal space into the site of male crimes. On Butcher Shop (2012). dance in the air, they are tied to black threads as if they are captivated woman to abandon her life under the name of a noble sacrifice? the border between women’s allegory represented by the cave and the Creating works in diverse media and genres including sculpture, prisoners. They represent women’s dream and desire while signifying history of patriarchal oppression, the surreal and the real, and the hope Melati Suryodarmo received critical attention for her performance in installation, video, and performance, Kyungah Ham presents critiques the absence and oppression coerced upon women. For the current of the future and the trauma of the past, the artist seems to narrate the 2012 where she ground two hundred kilograms of charcoal for twelve of civilization by raising questions on the issues of representation exhibition, Shiota presents a single—channel video titled Wall, in which healing fantasy via a mediated psychic medium. hours in the exhibition space. Through the ritual of grinding charcoal into the body of the artist appears as tied with tubes that resemble a human and gender. Ham, with an attitude of a scientist in a lab, investigates dust and the ritual of trans—self and trans—energy, Suryodarmo not only Chikako Yamashiro presents A Woman of the Butcher Shop, a video about blood vessel. Humans sustain their lives through blood vessels that global disasters caused by war, violence, and power struggles and experiences a psychological catharsis but also hopes to revive another Okinawa where grave social issues of a black market, unemployment supply blood. In this sense, blood vessels are lifelines of individuals. At the subsequent evils done to human history. However, Ham’s critical energy that is generated from the zero state. In the current exhibition, and layoffs, environmental destruction, and the oppression of women perspective is embedded in her personal sensibility and traces of her the same time, they function as a string of love between men and women Suryodarmo presents a single—channel video titled The Dusk, where are prevalent. The video is composed of three channels that show three memory. This leads to the formation of a uniquely multiple artistic and a matrix of integration that joins the family, state, and religious she practices a poetic performance through the language of silence as places as their backgrounds: a butcher shop in a black market near the world that is contemplative yet enchanting. Ham’s embroidery work communities. However, when such a web of connection or blood vessels a passage through which human energy is transmitted. Understanding American military base near Okinawa’s city center, a seaside near the in which she sends her sketches to women artisans in North Korea is disconnected, others and I, and men and women, are separated as if a silence as a space of comprehension that exists between the author market where the construction of road has begun, and a limestone cave to produce embroidery pieces is a silent criticism on the reality of the great wall blocks everything. In this work, the artist compares the fear of and readers and a channel that connects experiences from the past and that represents the place of the other. The protagonist of the narrative is divided peninsula while being a practice of communication and exchange. the wall that disconnects and isolates human beings to the fear of death the present, Suryodarmo considers that one can rather acquire strong a woman at the butcher shop. A group of bleak construction workers from vitality and creativity through silence. For Suryodarmo, performance is Further, it is an act of healing act done by women who participate in the in which all the blood vessels are cut off, reminding the viewers of the the construction site by the sea approach the woman. They barbecue the a poetic action that conveys a poem. There, the artist connects herself, process of its production. For the current exhibition, Ham commissioned fact that the blood vessels that entwine oneself can be one’s lifelines and meat with hooks and voraciously consume it. Appearing in the video in the performers, and audiences and arouses the conscious of the audiences the North Korean embroidery artisans iterations of Leonardo Da Vinci’s a weapon that threatens one's life at the same time. through the energy of silence that reads, translates, and transmits a poem. 52 53

1130输出文件 画册最终版.indd 52-53 15-11-30 下午8:58 策展人 历史、戏曲、表演、声音

所谓历史，是对过去的事件和行动的记录与诠释，如其英文名 设于中国台北的二分之一 Q 剧场以独立小剧场的制作条件，致力于

称 history，存在着不明确性：这是一个“他”的故事，一个“他” 拓展传统昆曲的现代生命力。昆曲源自于宋代，是中国最古老的戏

在叙述一个（具说服力的）故事。那么，究竟“谁在阐述”？ 曲形式之一。二分之一 Q 剧场以创新的戏曲表演闻名，其演出结合

在戏剧的政治性以及政治的戏剧化中，其表演性过程开展了一个令人 了传统昆曲与视觉艺术装置。被重新演绎的传统戏曲元素与不同风

兴奋的理论方案，是一个似乎提供了回旋余地但同时保留让人想象事 格的剧种成对比，化解了传统表演形式与当代表演方式之间的隔阂。

物的局部发展过程的空间的方案。对比于日常中看似预先确定和定义 前者夸张、繁琐的演出形式通过与当代媒材的跨界组合拉近了与现代

的例程，戏剧化行为，虽依据脚本，具有潜力开拓另一个让戏曲与表 观众的距离。然而，二分之一 Q 剧场的表演仍保持中国戏曲中苛刻

演性行为交涉的空间。表演空间与观众席之间的距离以及其与日常的 的技术性特点。

抽离，让观众对台上的表演产生了一定程度的隔离（即实体上和情绪 通过探索粤剧现代化建设的各个方面，包括其舞台布景和影视的转

上的），亦使观众更容易接受它的设定。一方面它吸引了观众的所 换，艺术家黄汉明也同时在探究传统戏曲和戏剧形式。黄氏在“亚

有的注意却也促成了一个联结表演者与观众的共存时空。另一方面， 洲时间”呈现的表演作品源自于对粤剧戏棚临时性质的一项研究，

这同时在呼吁我们更仔细地探究当今艺术实践里重新被运用的戏剧 特别是以竹子搭成的戏棚。竹子戏棚的设施有限，亦没有舞台布置；

性与戏剧化策略。 简单的一条布分隔了前台与后台，也作为布景。或许正因它的流动性

首届亚洲双年展暨第五届广州三年展——“亚洲时间”闭幕式的五 质以及即兴的表演场地，使它的随性构造成为必然。值得关注的是竹

项表演作品的挑选一部分源自于对这些表演作品如何在理论和历史 子戏棚表演空间的部署以及这种部署如何把表演台前台后的不同元

的参照系统中执行及进行实验的兴趣。二分之一 Q 剧场（中国台 素展露于观众眼前（如乐师、场景与道具交替等）。

湾）、Bani Haykal（新加坡）、何子彦（新加坡 / 德国柏林）、 研究权时性实践获得的不仅是历史知识。相较于研究任何单方面制定

Indieguerillas（印尼）和黄汉明（新加坡 / 德国柏林）的作品以不 的历史属性，探究权时性实践抗拒挪用的性质，和不断持续的形成与

同的表演方式和各种设定从事不同的“亚洲历史”时刻。关键的是它 瓦解过程，能使人得到更多启发。驱使选择呈现这五项表演作品的是

们在艺术家刻意的设定下都各自为自己具有的参照系统做出理论性 对某种艺术实践形式的兴趣：所有作品皆刻意地运用表演性来了解各

探究。这些表演作品运用戏剧策略为实验性行为表演提供了临时实验 种戏剧与戏曲表达形式所富有的潜质和它们之间的不同点。参与的艺

空间，亦为它们所阐解的历史背景创造出陌生的临近感，从而使现代 术工作者对他们的题材的探索皆体现于作品的表演行为本身。

观众对于这些被“重述”的历史的产生不同体验。 表演行为中的各种元素也是值得进一步研究的，例如声音。声音是

让人感兴趣的正是这种能观察台上所发生的事情的特定场合。在从远 没有时间定位的：它不是语言，不是文本，它就只“是”。但它究

处“观看”台上状况的过程里，身为观众的我们拥有了自由联想的机 竟是什么？如果只听得到却看不到它，承载它的空间在哪？导演兼

会。呈现于眼前的历史性与区域性设置让我们能与台上所呈现的时代 艺术家何子彦，与作曲家、音乐家兼艺术家 Bani Haykal 的作品就

和主人公制定自己与他们的对话。 具对此声音与戏剧性的探索。何子彦的创作实践的特点在于他以不

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1130输出文件 画册最终版.indd 54-55 15-11-30 下午8:58 同的策略，特别是通过历史学，探索重点文化历史时刻，进而以这 The fluidity of what we call history is already embedded in its the artists. Using theatrical strategies, they generate temporary

些探索作为创作的出发点。他的作品始于对文化产物的重新设想， English name: it is he who is telling a (convincing) story. This brings spaces for experimental action, create unfamiliar proximities and

如文本、歌曲、艺术作品和影片，以及对文化生产过程与传播方式 us immediately to the question, “Who is speaking?” encounters with the historical context they unpack, and thereby engender a different encounter with these “retold” histories for 的修订。何氏的创作项目所具有的表演性元素是驻扎于历史以及包 The performative process in the politics of the theatrical, and audiences today. 含于它的叙述中的。他善于实施空间以内的空间，如戏剧空间里注 also in the theatricality of politics, unfolds an exciting theoretical scenario, one that seems to offer some room for manoeuvre, but It is this particular situation of observing what is happening on a 入的影视空间、新创作图像中的拾得素材；虚幻中的现实及现实中 also to imagine the stages where things take place. In contrast to stage that is of interest. The process of “seeing” from a distance 的虚构。Bani Haykal 跨越声音艺术类的作品横跨视觉与文艺演出， the spaces of the everyday that seem to follow pre—determined what is happening on stage gives us, as viewers, the opportunity of 以音乐和声音为主要媒介探索两者的感知、相关性与文化历史。声音， and pre—defined routines, the theatrical action, although scripted, free association; the diverse historical and regional settings that 作为一个无形的传播媒介，只存在于它离开“主体”的那一刻和听者 possesses the potential to open up another space of negotiation are presented allow us to enact our own dialogue between the 的耳里。Haykal 的实验视声音为一个被上演的行为，而这行为的体 in operatic and performative acts. The staged space is set apart epochs and the protagonists.

现在不断地转移且是不留痕迹的。于此，观众成为实行这项创意行为 from the audience and removes itself from the everyday, thus The operatic performances of ½ Q Theatre, an independent theatre 时与表演者同等重要的部分。 allowing what is being performed to be viewed with a certain group based in Taipei, are committed to expanding the tradition degree of detachment (both physical and emotional), making us 在剧场以外，戏剧性的概念指向日常生活的建构性。戏剧形式促使我 of the Kunqu opera, one of the oldest form of opera in China with more receptive of its construct. It attracts full attention yet allows 们察觉到现实往往是被上演的，而历史亦是各种方式的构造和演绎。 origins dating back to the Song Dynasty, and integrating them with for a shared time that connects the performer with the viewer or 来自印尼日惹的艺术组合 Indieguerillas，近期在与印尼服装设计师 contemporary life. ½ Q Theatre is known for its innovative approach listener. On the other hand, this also calls for a closer look on the 的合作项目里构思了一部时尚演出系列，将“演员”带入街头。承载 of combining art installation as the set in which the Kunqu opera renewed use of the theatrical and theatricality as a strategy in unfolds. This re—invention of the traditional operatic elements 着服装给予的设定，他们穿越街道，使日常化为布景。 current artistic practices. in juxtaposition with different opera styles dissolves the distance 位于“此时此地”的戏曲和其他表演形式采用成蓄意推论的空间，正 The selection of the five performances to take place during between the exaggerated performative act familiar to the audiences 是戏剧里的中庸空间。这里所呈现的五种艺术定位，虽基于不同途径， the closing of Asia Time the 1st Asia Biennial / 5th Guangzhou centuries ago and the theatre forms contemporary audience are

都利用了戏剧的策略与手法。它们在《亚洲时间》结尾时为其画下了 Triennial, derives partly from an interest in the theoretical and used to. Yet, these productions remain firmly grounded in the

问号。《历史、戏曲、表演、声音》是对现有的叙事与历史进行试验 historical systems of reference with and within which these demanding technicalities characteristic of Chinese opera.

的实践手段，把我们对现实的理解提出质疑。 performance works act and experiment. The works by ½ Q Theatre The exploration of traditional operatic and theatre forms are (Taiwan, China), Bani Haykal (Singapore), Ho Tzu Nyen (Singapore/ 由策展人乌特·梅塔·鲍尔和策展研究员王佩琴策划的表演系列将在 also carried out by artist Ming Wong through his investigations Berlin), Indieguerillas (Indonesia), and Ming Wong (Singapore/ 2016 年 4 月 6 日至 4 月 10 日举行，为首届亚洲双年展暨第五届广 into various aspects of the modernisation of Cantonese opera, Berlin) use different performative methods and ways of “staging” to 州三年展《亚洲时间》画上句点。 including its scenography and cinematic transformations. Wong’s engage with different moments in “Asian history.” What is crucial performance for Asia Time derives from a study into the temporality is that they all generate a theoretical investigation of the systems of the staging of Cantonese opera, looking in particular at the of reference they contain, and which are deliberately set up by bamboo shed theatres, which have few facilities and are without

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1130输出文件 画册最终版.indd 56-57 15-11-30 下午8:58 stage setting. A cloth separates the front and back stage and also with sound, as a medium of transmission that exists only when it 策展人 serves as the backdrop. The nomadic nature and also the capacity leaves its “body” and happens only in the ears of the receiver, is a

of improvisation of these performances perhaps necessitate such performed act, and in its manifestation, it is constantly shifting and

arbitrary staging. What makes it so interesting is the configuration leaves no traces. Here, the audience becomes an equally important

of the performance space and of how these settings make visible component for the realisation of the creative act.

the different elements of the performance (e.g. the musicians, Beyond the theatre, the concept of theatricality points to the changing of props and scene, etc.). constructedness of everyday life. Theatrical forms make visible

There is not only historical knowledge but also much pleasure to how our realities are often staged, and also the ways in which our

gain from examining ephemeral practices that resist appropriation histories are constructed and performed. Indieguerillas, an art

and whose permanent processes of formation and dissolution collective based in Yogyakarta, in their recent collaboration with

inspire more than any study of one—sided formulated historical Indonesian fashion designers, developed fashion performances,

attribution. The selection of these five performance works was bringing the “acteurs” to the space of the streets. By assuming the

driven by the interest in forms of artistic practice that make costumes and traversing the streets, the everyday becomes its set.

deliberate use of the performative to understand the potential It is the theatrical in—between spaces that operatic and other and difference of the various theatrical and operatic forms of performances situated in the “here and now” employ as deliberately expression. The selected artists’ engagement with their subjects of discursive space. These five artistic positions, although based on inquiry is in the performative act itself. different approaches, all make use of strategies and techniques of

The various elements within performative gestures also deserve a the theatrical. They are performed as a question mark at the closing

closer examination. The voice, for example, has no future and no of “Asia Time.” “The Historic, the Operatic, the Performative, and

past; it is not language, not text, it just IS. But what is it? Where the Sonic” is practiced as a tool for experimentation with existing

is its space if you can hear it but not see it? Such investigations narratives and histories, putting our understanding of reality into

of voice and theatricality occur in works by filmmaker and artist question.

Ho Tzu Nyen and Bani Haykal, a composer, musician and artist. The performance series curated by Ute Meta Bauer, together with Ho Tzu Nyen’s practice is characterised by investigations of key research curator Khim Ong, will mark the closing of “Asia Time,” cultural moments through different strategies and in turn, utilising the 1st Asia Biennial / 5th Guangzhou Triennial and will be held these investigations as points of departure, notably through from 6 to 10 April 2016. historiography. His works begin as a re—imagination of existing

cultural artefacts such as texts, songs, artworks and films, as well

as a revising of the processes of cultural production and their ways

of dissemination. Ho’s projects possess a certain performativity

embedded in history, and within his narratives, he implements

spaces within spaces—the cinematic entrenched in the theatrical,

found footage in newly created imagery, the fictional in reality,

and reality in fiction. Bani Haykal’s works that depart from the

sonic span the field of visual and literary performances using

music and sound as primary mediums, examining the perceptions,

relevance and cultural history of the two. Haykal’s experimentation

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1130输出文件 画册最终版.indd 58-59 15-11-30 下午8:58 约翰·斐拉克曼为文艺复兴时期但丁的名作——《神曲》的炼狱篇所 亚麻油毡浮雕图案激发了游走于光明与黑暗之间的价值观，中间存在并非

做的插画开始，萨拉姆的研究一直追寻自身独特的直觉，最终引领他 一个阴影，而是光明与黑暗相对抗的摇摆不定的中间地带（详见《神曲第

获得非凡的成就。 25 章：万尼·符契与续窃贼》）。萨拉姆的想象力简单直接，正如他自

己所说“我对地狱最直接的想象，就是撕裂纸张的边缘来象征烈火燃烧的 1919 年，马德里大学一位精通阿拉伯语的天主教神父米德尔·阿森·Y 地狱”。然而这也彻底地破坏了传统的矩形画布创作原则，并促使萨拉姆 帕拉西奥斯曾因为其出版物在西班牙和意大利引起轩然大波。萨拉姆 在以后的创作中使用了形状不规则的画布。 后来偶然发现了这本出版物删减后的版本，名为《伊斯兰教与神曲》

（1926 年，伦敦出版）。这本书阐述了但丁的诗歌虽然被视为基督 在夜里旅行看不到白天那样清晰的路，穆罕默德由天使加百列带领着游伊 “亚洲时间”这一主题隐含了空间的多样性，文化发展的不同速度，知识 Quadri），他的作品也将在这次双三年展中展出。东西方的反差往往会 教世界的精神基石，但是诗歌本身是创建在伊斯兰教的文化基础上 斯拉的经历和但丁由诗人维吉尔领着游恶囊的经历相似。恶囊是地狱中的 与技能、信仰与结构化叙述的不同传播方式等。法国哲学家让·弗朗索瓦·利 引起文化和时代的争议，但这却为萨利姆·阿里夫·夸德里这位英国籍的 的。对伊本·麦萨拉，哥多华光照派新柏拉图神秘主义哲学家的研究， 一个地方，它的底部分成十个凹谷，由一连串的沟和桥相连：它的动势并 奥塔在北美，而非亚洲，第一次意识到在一片伟大的大陆存在着各种不同 印度艺术家创作提供了灵感和启发。萨利姆·阿里夫·夸德里原名为赛义 使得米德尔·阿森·Y 帕拉西奥斯的思考转向这位西班牙哲学家的老 不是直线型，而是“盘旋下沉”的。大家想一想保拉和弗朗西斯卡这对恋 的时间，他将在巴黎看似是一件世间必然之事并与其他重叠的必然之事联 德·萨利姆·阿里夫·夸德里，1949 年出生于印度南部城市海德拉巴， 师——穆斯林哲学家伊本·阿拉比。伊本·阿拉比撰写了但丁式的长 人在空间上的回转，就能看出诗意的视角，富含寓意的灵魂冲突，假想中 系起来：这包含了启蒙和后启蒙主义的集中思想。在电脑时代的边缘，利 萨利姆的家人和祖先都是伊斯兰教苏非派教徒。“赛义德”寓意先知穆罕 篇著作《麦加的启示》。《麦加的启示》是对穆罕默德升天故事的神 的听觉体验（朗诵、吟颂《诗章》）都和人文主义对于空间投射和光线阴 奥塔在圣地亚哥第一次接触电子的图书馆（他面前并不是铺满鹅卵石的城 默德的后裔，“夸德里”是宗教和贵族血统的标志，“萨利姆”则意味着“和 秘化改编。“穆罕默德升天”发生在“穆罕默德夜间的旅行”之后， 影固定的观点全然不同。 市小巷，而是浩瀚的大西洋）， 刹那之间，利奥塔意识到时间、空间、 平”。萨利姆是印度源远流长的文化的使者，他将印度文化的智慧转化为 是伊斯兰神学著名的故事。100 年后，但丁《神曲》的炼狱篇和天堂 萨拉姆的画作挑战了透视法、地心引力和方形图形的独大地位，因而也挑 知识和法律之间的联系：“从来没有单一存在的国家，只有多个存在的国家； 可见的图形、颜色、形状和平面，在英国和欧洲的各大展览中大放异彩。 篇现世，与这两个穆罕默德故事的主线非常相似。炼狱篇和天堂篇从“王 战了专制的叙事性、直线型阐释方法。回归平面图像空间和拒绝叙事都是 从来没有单一存在的时间，只有大西洋时间、中央标准时间、山地时间和 1966 年，萨利姆从印度移居英国伯明翰，这次突然的迁移给他带来了 国的建筑”这一概念（对地狱和天堂的虚构概念）引申至具体的叙事 现代主义的中心思想——并且萨拉姆能将“地狱”系列中的经验和另一位 太平洋时间；从来没有单一存在的法律，而是多条互相联系的法律。” 巨大的文化冲击。在伯明翰艺术学院度过了一段混乱的适应期后，他于 篇章和生动的细节描写。米德尔·阿森·Y 帕拉西奥斯还揭示了许多 大师亨利·马蒂斯的经验相结合，亨利·马蒂斯可能是 20 世纪法国最伟 亚洲与西方的交流始于我们祖先的游牧生活。在我们所熟悉的文明故事中， 1972 年就读于伦敦皇家艺术学院。1975 年他重回印度，他把这一年看 来源于穆斯林传统的基督教传说，进一步说明了两者的来源是相同的。 大的东方学家。马蒂斯曾经去西班牙南部摩沙拉比地区和摩洛哥游历过（后 横跨大陆的多条陆上丝绸之路和横跨海洋的海上丝绸之路共同构建了东西 作是生命中最具深远意义的经历。这次重回故土，他得以重新发掘自己的 但丁的老师布鲁内托·拉蒂尼为此提供了两者相联系的证据。 来阿里夫·夸德里也去了这两个地方），他先是画那些作为他静物写生对 方贸易的双向交通道路。在西方殖民统治时期，东西方的交流在此基础上 出生地。故乡之旅不仅带领他认识了印度的文化多样性，还让他重新审视 20 世纪 20 年代的意大利但丁学者对此结论感到非常愤怒，而在 20 象和画室背景的、充满异国风情的毯子和陶器，以此来突出他的作品形式； 继续发展，并发生了本质的变化。现在，东西方交流受到东方新力量的影 自己的内心。萨利姆意识到自己与印度文化之间本能的传承关系，这种关 世纪 70 年代，萨拉姆则从结论中得到深刻的启发（对此结论更深入 然后他将自己的作品空间转移到了东方壁挂上去。在他生命的最后时光， 响而发生改变，并在电子丝绸之路的推动下加速发展。现在看来，费尔南·布 系不仅体现在视野、色彩、声音和气味等生理感觉上，更是表现他小时候 的学术研究也引起了更多的争论和文化冲突）。萨拉姆由此找到了图 他用瓷砖和书法为法国旺斯的多米尼加教堂做装饰，采用这种形式是大量 罗代尔的长时段概念以及他对亚洲的渊博学识无疑是价值非凡的，他的视 对伊斯兰丰富的口传文学的记忆。他在 1991 年曾这样回忆道：“东方的 案艺术和光影艺术的联系，找到了东方和西方的结合点，也证明了东 参考了东方祈祷场所的特征。（萨拉姆同样非常擅用陶瓷。）同时，马蒂 觉也从西方的日常生活转移到了东方。他在研究历史的时候，仿佛过去都 艺术充满图案，而西方的艺术是光影的交错。” 西两大文明的互相融合渗透将造就伟大的奇迹。萨拉姆也开始了“炼狱” 斯的纸剪贴画用到的明亮色彩和正负形态也在萨拉姆的画作里得到认证。 被放置在望远镜的另一头，而把现在看作是放置于过去与未来之间的望远 萨利姆在这里强调了西方艺术与伊斯兰艺术对“现实主义”的不同理解。 系列的绘画创作。至今已有超过 500 幅作品诞生，其中包括 40 幅彩 马蒂斯 1946 年的作品《波里尼西亚，天空》和《波里尼西亚，大海》在 镜。在他的《15 至 18 世纪的物质文明、经济和资本主义》三卷本中，他 西方注重光影明暗对比，伊斯兰艺术多采用平面的鲜艳图案，无论是设计 色水墨画。萨拉姆从印度回来后马上完成了第一批画作。当他运用广 蓝色底色上拼贴了鸟、鱼、海草形状的白纸（代表了对塔希提岛的回忆）。 反而开始将他的望远镜从东方转向西方。随着资本主义的传播，他的三卷 多样的地毯和挂饰，还是融合于清真寺建筑的书法视觉效果，都注重图案 告颜料和水粉颜料创作时，他意识到自己内心的想法通过印度文化更 但是马蒂斯的复杂图形却从未有过阿里夫·夸德里发明的“体积空间”。 本也得到广泛阅读。在电子丝绸之路时代，我们的资本主义面面相觑。布 的表现。意大利的明暗绘图法和透视绘图法促成了文艺复兴时期众多意大 彻底地展现出来，因为他选择了更真实、更鲜艳、更原始的色彩来进 萨拉姆将大大小小的生物锁定为象征性的模式；他的作品里没有马蒂斯式 罗代尔的三卷本从第一卷《日常生活的结构》转移到描写金钱和交易的第 利名作的诞生。在标准的透视图中，直线聚合到远处消失的一点，这与眼 行创作。无论是意大利文艺复兴时期的桑德罗·波提切利在《神曲》 的平衡，而是充满动态和矛盾冲突。《瞬息的鸟》是一幅由五部分各种形 二卷《形形色色的交换》，而在第三卷的《世界的时间》里，他论述了时 睛看向远方时的视觉效果是一样的，透视图意味画作对物品的定位可以媲 炼狱篇中惊艳的插画，约翰·弗拉克斯曼和古斯塔夫·多雷的独特视 态构成的画，通过负空间、鹰以及大小不同的更小的鸟，体现了一群目光 空的概念及其中的大规模经济交流循环，又称为“经济世界”：大亚洲也 美人类在地理学、科学和禅道学方面对宇宙的认识。明暗绘图法的发明意 觉，还是更接近现代的奥古斯特·罗丹的作品，萨拉姆都没有全盘借 敏锐的飞鸟从远处、近处特写及侧面、自下、自上等不同角度观察到的画面。 是一个经济世界。首届亚洲双年展暨第五届广州三年展的关注中心在于展 味着西方世界人类地位的提高，但也暗示着人类进步已经不再产生于精神 鉴，而是果断舍弃了明暗绘图法（亦可看作是但丁的风格影响）。萨 这就是“体积空间”最典型的例子。萨拉姆的诗意主题既来自个人体验也 示艺术、绘画、诗歌、故事和图像，以及这些艺术对时间流逝的抵抗，而 世界，人们的信仰迷失于在物质和算计的现世，人们对东方文化更加疏远。 拉姆的作品是一个更加注重图案的表现，与传统的明暗绘图法相抗衡。 来自文学共鸣，后者通常是对其他伊斯兰作品的精确引用。法里德·乌丁·阿 非展示这些艺术如何在历史中长存。 但是，萨拉姆将自己的研究和亲身经历巧妙结合起来，他的作品也得以融 萨拉姆曾这样说道：“我觉得《神曲》最迷人的地方在于你可以在一 塔尔的 Mantic Ilttair 对萨拉姆的创作意义重大。《鸟群》中曾写道：……

我希望来讨论一个特别的例子：萨利姆·阿里夫·夸德里（Saleem Arif 合意大利明暗绘图的精髓和伊斯兰灿烂的文化遗产。从古斯塔夫·多雷和 部作品中同时领略世界的正面存在、反面存在和中间存在。”鲜明的 拥有抱负的鸟乘着信仰之翼飞向神，凌驾于一切瞬逝之物与灵物。

60 61

1130输出文件 画册最终版.indd 60-61 15-11-30 下午8:58 法里德·乌丁·阿塔尔是 20 世纪苏非派波斯诗人，来自霍拉桑省内沙布尔 了三大宗教之间的联系和冲突。作为穆罕默德的资深研究者，萨拉姆

一个叫奥马·卡延的村子。旅行的暗喻同样构筑起了他的诗歌，危险旅途中 引用穆罕默德言行录的内容作为自己的座右铭，并作为许多作品的标

的考验和困难一定会被克服，在鸟群前解谜后会遇到鸟王 Simorg，以及旅 题，例如“热情是助我主前进的坐骑”。当然，热情原本指的是一种

程最终的启示。这正是一种与自己的对质。阿里夫曾经游历过意大利、西班 神圣的精神，是对圣主的至上虔诚。

牙、突尼斯、摩洛哥、埃及、土耳其、沙特阿拉伯以及远东地区，更不用说 欢颂、热情、迷醉、涤罪、天堂和祈祷。这些概念在现代艺术中甚少 印度和巴基斯坦，这些经历丰富了他的作品。有一次他去印度的时候，在市 出现，这也说明了这些概念的珍贵：而这些概念都通过萨拉姆的《无 场上看到一位圣人持着一本一人高的《古兰经》，每逢特定节日，就会一天 边界的书籍》展现出来。萨拉姆从过去的卷轴和充满插画的宗教文本 天地翻这本书。正是那本大书给予萨拉姆灵感，创作出《无边的书》这件会 中汲取灵感，并学习了马蒂斯《爵士乐系列》作品中的强烈的色彩运 在此展览的野心之作。 用，他开始创作以下系列作品 《祈祷（沉思），与星座的爱意（欲望）

从根本上来看，这些旅行也是实现内在自我的过程（阿里夫通过这些旅行 和不严肃的几何学（智力）》。2010 年 7 月《不严肃的几何学》既

发展出了他的第二职业——他是个出色的摄影师）。萨拉姆住在伦敦，也是 启发了观众对宇宙的认识，又给予了其高度物质化的和可感知的灵感。

1989 年那场有关英国多元文化的划时代争议展览“另一个故事”的展出者， 《无边界的书籍》系列作品由此逐渐进化至今天，作品的空间概念不

他拒绝任何关于侨民、流放和离散的概念，他说：“如果你能在自己的作品 仅超越了书籍的边界和限制，更延展到了不同的维度，如我们所熟悉

中发现自我，那么不管你身在何方，都会觉得安然如归。” 的 20 世纪 60 年代的色域绘画作品，又成为《超越画框》的作品。 The question of ‘Asia Time’ conceals diversities of space, imaginings today with the Electronic Silk Road. It may now seem

阅读也变得平易近人，文字都被转换为不严肃的几何图形，少数图形 different speeds of cultural development, different transmissions extraordinary that Fernand Braudel’s concept of the longue durée “无愿的鸟儿啊！——那些喜欢瞪大眼直奔目标而去的，把生命当成了游 of knowledge and know—how, of beliefs and of structuring and the expansion of his scholarship towards Asia, moved out from 保留可辨别的文化寓意。银箔与金箔混合鲜艳的水粉颜料，让人们回 戏。” 萨拉姆的象征符号无法在文学中被直接发现，这些象征符号使正式 narratives. It was French philosopher Jean—Franois Lyotard who everyday life in the in the West to, finally, the East. He looked at the 想起过去珍贵的启蒙文章，同时也深深感激数不胜数的经文抄写员为 的情感关系在潜意识层面产生了意义上的联系。 had the realisation — not in Asia but in North America — of the past, as if it were down the wrong end of a telescope, understanding 思想文化传播付出的汗水。Inferno——炼狱，Paradiso——天堂， 还没有人提到这些作品的质地纹理。这些作品是用丙烯酸混着银沙在纸上画 differences of time within one great landmass, forever relativising the present as that telescope lens, poised between past and Purgatorio——涤罪，这些都是跨文化的概念，是东方和西方共有的 的，并背面还有一层细薄棉布加固。这些画在色彩和笔触层次上非常丰富且 what from Paris had seemed a temporal certainty overlapping with future. Yet in his three—volume study, Civilisation and Capitalism 文化。 other certainties: these of course included a centralised view of 15th —18th centuries, he might instead have turned his telescope 有砂砾感，并且，尽管轮廓是流云或莲叶形的，它们其实特别结实。你可以 在这个资本主义盛行的国际化当代艺术世界，最新的数字和电子技术 Enlightement and post—Enlightement knowledge. Suddenly, in San about, or begun with the East and moving West. The great tryptych 摸、抓，甚至卷，或是在不刻意损坏的情况下运这些画。它们就是为旅行、 已经占领一席之地。通过电子丝绸之路电缆，他们创造了运用电子屏 Diego, on the brink of the computer age, in the first computerised expands as capitalism spreads, however. In the Electronic Silk 为游牧精神而生的《冥想的地毯》（这也是萨拉姆另一幅作品的名字）。 library he had ever experienced (looking out not onto cobbled city Road age, our capitalisms stand facing each other. Braudel’s 幕传送数据的影像资料，我们慕名前来全球双年展也被这些屏幕占据 1990 年，萨拉姆开始尝试油画创作。在棉布或木头上制作的油画拥有独特 streets but the Pacific Ocean) Lyotard realised the link between volumes moved from The Structure of Everyday Life to money and 了主要底盘。让·弗朗索瓦·利奥塔尔揭露了这些屏幕与“屏幕记忆” 的厚重感和质感。在使用丙烯酸创作了色彩强烈锐利的作品后，萨拉姆又尝 time, space, knowledge and laws: ‘Not one State but States. Not exchange: The Wheels of Commerce, then to The Perspective of 间的联系。屏幕记忆可以不断重叠，最后阻碍我们进入自己的内心， 试运用肉色的粉笔，他用手指轻轻将粉末均匀涂抹在画布上，这充满爱意的 one time but times: Atlantic Time, Central Time, Mountain Time, the World, with its discussion of time—space entities and larger 阻碍我们理解远古时代的生活经验和知识。萨拉姆的著作充满古代印 动作是他内心诗意的表现。他的作品中的漩涡形状和阿拉伯式的图案，让人 Pacific Time. Not one law but laws....’ economic exchange circuits as ‘worlds’ within these: greater Asia 度宗教先驱者的智慧，致敬马蒂斯和当代法国艺术家的著作的同时， was just such an économie—monde. The world of art, of depiction, 不自觉地联想到了穆斯林的文字图案，于是观众也再次深深沉迷于其中多种 Asia’s relationship with the West goes back to the origins of our 向当代“高科技”艺术世界发起挑战。萨拉姆的著作就像重写本上的 of poetic thoughts, stories, images and their resistance to time — 多样的隐喻符号：这些画作顿时充满了私人的重要意义，而将这些私人意义 ancestors and their nomadic travellings. Within the stories of 文字，将为历史留下一道看不见的烙印，包括张力、星座和宗教等文 rather than their persistence through time — is of central concern 公开展示也体现了其大胆无畏的精神。萨拉姆的作品形状各异，光影交错， civilisation with which we are more familiar, the several Silk Roads 化的长期交流也将在他最受欢迎和最独特的艺术魅力中得到展现。 however, to the First Asian Triennale, Guangzhou. across landmasses and the Marine Silk Roads across oceans 打破了只习惯于放置西方矩形画框的画廊空间模式，画廊的白墙似乎也融为 insitgated two—way traffics of exchange. These were pursued I would like to look at a particular instance, where the reversal of 作品生命的一部分，放声歌唱作品中的图案和形状所表达的意义。萨拉姆也 and transformed in nature in the era of Western colonialism, now East—West paradigms caused controversy across cultures and 收到了许多公共授权：1988 年在豪恩斯洛中央图书馆举行“1988 年绿洲 modified by new powers in the East and accelerated beyond all generations, yet was the revelation and stimulus for the works of 展”，以庆祝书本为世界带来的思考和寄托以及知识授予人类的恩赐。萨拉

姆展示了犹太教、基督教和伊斯兰教这三大宗教的著作对世界的影响，探讨

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1130输出文件 画册最终版.indd 62-63 15-11-30 下午8:58 Indian—British artist Saleem Arif Quadri, whose works are shown progressive slipping away from the spiritual, the loss of God in a evidence of the greatness to be achieved through the fusion and of gravity, of the square, so they challenged the tyranny of narrative

here. Born Syed Saleem Arif Quadri, in Hyderabad, Southern calculated and material world and an estrangement from the East. interpenetration of two great cultures. Arif now began his series and linear interpretation. A reversion to a flat picture space and

India, in 1949, the artist was from a family whose antecedents had Yet, through a charmed conjunction of research and experience, depicting the Inferno. Over five hundred works emerged, crowned rejection of narrative was of course central to the development of

been religious Sufis. ‘Syed’ implies a descendant of the prophet Saleem Arif was able to unite an Italian world of shadows with his with forty coloured ink paintings.The first drawings were done modernism — and Arif—Quadri was able to combine the lessons

Mohammed, ‘Quadri’ a religious and aristocratic line of descent, Islamic heritage. Beginning with the illustrations of Gustave Doré immediately after his return from India. When he came to work in of the Inferno series with those of another master, Henri Matisse,

and ‘Saleem’ — peace. Saleem, indeed, is an emissary of an age— and John Flaxman for the epic masterpiece of Renaissance Italy, poster colour and gouache, he said, ‘I found the Indian culture had perhaps France’s greatest twentieth century orientalist. Travelling

old Indian culture whose wisdom, transformed into figures and the Inferno from the Divine Comedy by Dante Alighieri(1265—1321), somehow surfaced the various colours I had in me, they were raw, to Mozarabic southern Spain and to Morocco (as Arif—Quadri

colours, shapes and surfaces, he has celebrated in exhibitions all he pursued a hunch which led to an extraordinary confirmation. bright and primitive.’ Far from the Italian Renaissance painter, would after him ) Matisse had at first heightened the patterning

over Britain and Europe. Sandro Botticelli’s fantastic Inferno illustrations, the visions of of his work by painting exotic rugs and pottery as part of his still In 1919, a Catholic priest and professor of Arabic at the University Flaxman, Doré, or nearer to our time, those of Auguste Rodin, lives and studio backgrounds. He then changed the space of his An abrupt move from India to Birmingham in 1966 immediately of Madrid, Miguel Asin y Palacios, had created a furor in both Arif—Quadri dispensed with the realm of shadow (Dante’s ghostly work itself to that of the oriental wall hanging. At the end of his created a clash of cultures. After a turbulent period of adjustment Spain and Italy with the publication of La Escatalogia Musulmana Shades). His is a more patterned, a more oppositional rendering. life he worked on the Dominican chapel at Venice using ceramic at Birmingham College of Art, he became a student at London’s en la Divina Comedia. Saleem Arif chanced upon a later abridged ‘What I found fascinating about the Divine Comedy was that, in one tiles and calligraphy, with many references to oriental places of Royal College of Art in 1972. A year spent in India in 1975 was, he version of its translation: Islam and the Divine Comedy,(published work you get the positive, the negative and the in—between.’ Strong prayer. (Arif—Quadri, too, is a talented ceramicist.) Simultaneously recalls, the most profound experience of his life. The rediscovery of in London in 1926). It revealed that Dante’s poem — a cornerstone lino—cuts invoked a play of light/dark values; the in—between was Matisse’s paper cut—outs used the brilliant colours and positive his birthplace and his homeland led both to a realisation of India’s of Christendom — was constructed upon a bedrock of Islamic not a shade but a vibrating intermediary space of confrontation and and negative shapes from which Arif—Quadri was to draw such extraordinary cultural diversity and to a recognition of his inner sources. A study of the Illuministic, neo—Platonic mysticism of lines of force (see Canto XXV: Vanni Fuci and Monster Cacus). The confirmation. Matisse’s Polynesia, the Sky and Polynesia, the Sea, self. He became aware of an intuitive relationship with his cultural Ibn Massara of Cordova, had led Asin from this Spanish Moslem directness of Saleem’s imagination had led him to symbolise the of 1946, white paper cut—outs on a blue ground of bird and fish and heritage, not only in terms of the senses— sights, colours, sounds philosopher to his master, Ibn Arabi, the great Sufi of Murcia who burning of hell by tearing the edges of the paper... the most obvious seaweed shapes (recollections of Tahiti) are the closest to Arif— and smells — but the rich oral tradition of Islamic literature he had had written a quasi—Dantesque allegory, the Futuhat. This, in turn, thing you could think of.’ Yet this led to a permanent assault on Quadri’s painting, The blue of sea and air, the blue of contemplation absorbed as a boy. He recalled in 1991, "In the East it is all patterns, was a mystical adaptation of the Mirqj or Ascension of Mahomet the traditional oblong format that was the catalyst for his later, are key colours for both artists. However Matisse’s complex shapes whereas in the West it is shadows. " from Jerusalem to the Throne of God. The Mirqj. famous in Islamic irregularly shaped canvases. never approached the ambiguities of Arif—Quadri’s invention that theological literature, was preceded by Mahomet’s nocturnal Arif here emphasises the contrast between Western notions of he calls ‘volumetric space.’ He locks creatures great and small into journey, the Isra. Parallels with Dante’s Inferno and Paradiso, Journeys by night lack the clear outlines and paths of the day. realism (shadows) and the flat, bright patterns of Islamic art, symbolic patterns; there is no Matissean balance but movement written a century later, extended from the ‘architecture of the Mahomet, guided by the angel Gabriel in the Isra, has an experience the rich designs for carpets and hangings and the visual impact and conflict. The multi—shaped painting in five parts, Birds of realms’ (the imaginary conception of the infernal regions and paralleled by Dante and his spirit guide, the classical poet Virgil. of calligraphy incorporated into the architecture of the great Breath, shows, via negative spaces, hawks and smaller birds celestial abodes) to precise episodes of narrative and picturesque Dante’s Malebolge, a place in hell, has a bottom ‘divided into ten mosques. Chiaroscuro (Italian, for the painting of shadow), gave of different sizes as though distant and in close—up, mingled in details. In an attempt to find a common source narrative, the valleys, successive ditches and bridges.’ Movement is not linear, but rise, concurrently with the perfection of the art of perspective, profile, from below and from above, flying obliviously or in sharp— Moslem origin of many later Christian legends was also revealed. ‘circling and sinking.’ One has only to think of the whirling of the to the great Italian masterpieces of the Renaissance. Humanism eyed conference: a prime example of ‘volumetric space.’ Arif— Dante’s tutor, Brunetto Latini provided the link. lovers Paola and Francesca in space (a motif for so many Western was at the heart of shadow and perspective. Lines converging on Quadri’s poetic titles containing both personal experience and artists) to see how poetic vision, an allegorical psychomachia, a vanishing point in the standard perspectival scheme had their Italian Danteists were not pleased in the 1920s; in the mid—1970s literary resonance add another dimension, often refering quite an imaginary and aural experience (the Cantos read aloud and equivalent in the lines which converged in the eye of the beholder: Saleem Arif was delighted and inspired (further scholarship has precisely to a quotation from another Islamic source, essential for chanted), are totally at odds with the fixed, humanist world—view of the ability to situate objects in space equated with man’s power over revealed more controversy, more intercultural tensions). But his work, Farid Uddin Attar’s Mantiq Al—Tayr. The Conference of projected spaces, rays of light and cast shadows. the universe in the realms of geography, science, and ballistics. here was the link between the world of patterns and the world the Birds:‘ … the bird of aspiration soars to God lifted on the wings The elevation of man through the discovery of shadow implied his of shadows, between East and West, that he had sought, and the As Arif—Quadri’s paintings challenged the tyranny of perspective,

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1130输出文件 画册最终版.indd 64-65 15-11-30 下午8:58 of faith above all things temporal and spiritual.’ In 1990 Arif began to experiment with oil paint. Oil paint on muslin, referents. The silver and gold leaf mixed with brilliant gouaches

mounted on wood, has a specific quality and sensuousness. After recalls the preciousness of the illuminated texts of the past and the Farid Uddin Attar, the twelfth—century Sufic Persian poet, came the strength and sharpness of his previous work in acrylics came infinte number of scribes involved in the transmission across time from Naishapur in Khorassan, the village of Omar Khayam. Again pastels and flesh colours, while the paint was caressed and worked and space of the ideas to which we are all indebted. Inferno — hell, the metaphor of a journey structures his poem, a perilous journey with his fingers. His poetic realm embraced that of sensual love. He Paradiso — paradise, Purgatorio — purgatory are transcultural where trials and dangers must be overcome, enigmas solved created surfaces whose swirls and arabesques irresistibly recall concepts, common to both East and West. before the birds can encounter with Simorg, the Bird—king; and Islamic calligraphy; the beholder is plunged once again into a realm the revelation at the end of the journey. It is none other than In the capitalist, interational world of contemporary art, the latest of polyvalent metaphor. The paintings are at once full of private the confrontation with oneself. Arif’s travels to Italy, to Spain, to digital and electronic technologies are deployed. Relating to data significance and public in their boldness. They break the pattern Tunisia, Morocco, Egypt, Turkey, Saudi Arabia and the Far East, transmission — on the cables of the Electronic Silk Road — they of gallery spaces filled with rectangular Western paintings with not to mention India and Pakistan, have enriched his work. On one create the screen—based videos which dominate the global their angles and their shadows. The white walls themselves are of these trips to India he saw in a market a sage holding a man— biennales we make pilgrimages to experience. It was Jean— given soul and sing through the holes and shaped spaces that give sized copy of the Koran , whose pages are turned day–by—day in Francois Lyotard, again, who pointed out the relationship between his work life and breath. He received large public commissions. certain festivals. This was the origin of the giant book which is the these screens and ‘screen—memories.’ Screen—memories Oasis,1988, for Hounslow Central Library 1988, celebrates the most ambitions so far of his ‘Books without Boundaries’ displayed superimpose themselves, block out access, to our interior selves, world of contemplation and sustenance offered by books, the gifts here. to more ancient lived experiences or forms of knowledge. Arif’s of knowledge bestowed. Saleem acknowledges the power of the books, with their ancient Indian sacred precursors, their salute These voyages have also been, fundamentally, a journey towards three religions of the book, Judaism, Christianity and Islam, their to Matisse and the contemporary French livre d’artiste (artists’ internal self—realisation (His trips have also stimulated him to relationships and their conflicts. An adept of Mahomet, he has books), the challenge they throw out to the ‘high—tech’ art world, develop a secondary profession — he is an excellent photographer). taken his motto from the Hadith, and has used it to title several are invisibly inscribed, like palimpsests, with this longer history Living in London, and an exhibitor in the epoch—making, works, such as Enthusiasm is my Horse. But of course enthusiasm of cultural interchange — tensions, constellations, religions — controversial show about British multiculturalism, The Other Story, itself is divine in origin, a god—inspired zeal. redeemed by his favourite and particular concept of grace. 1989, he repudiates the concept of emigrant,exile or diaspora: ‘If Celebration, enthusiasm, enchantment, purgatory, paradise, prayer. you can really find yourself in your work, then you feel at home The rarity of such notions in art today is reason enough for their wherever you are.’ preciousness. All the qualities mentioned above are translated into ‘O birds without aspiration! ..... He who loves sets out with open the worlds of his ‘Books without Boundaries.’ Taking his lessons eyes towards his goal, making a plaything of his life.’ Arif’s symbols once more from the past interest in scrolls, illustrated sacred texts have no directly literal equivalent and work at a level where formal — but also as regards the intensity of colour, Matisse’s Jazz, he and emotional relationships produce a nexus of meanings at a began the series Invocations (Contemplation), Caressing with the subconscious level. Constellations ( Sensuality) and Geometry without Gravity(Intellect).

But one has not yet spoken of texture. These works, painted in In Geometry without Gravity, 2002—7, his inspiration both cosmic

acrylic mixed with silver sand on paper and strengthened with a and highly material, sensual. The ‘Books without Boundaries’

backing of muslin, are rich and gritty in their layerings of colour series evolved from here to the present, its spatial concept bursting

and brushstroke, and surprisingly tough, depsite their floating, not only the boundaries of book and binding, but also extending in

cloud or lotus—leaf silhouettes. They can be touched, scratched different dimensions the ‘beyond—the—frame’ theme with which

even, rolled up, transported without undue harm. They are Carpets we are familiar from flat, colour—field painting of the 1960s. And

of Contemplation (the title of another painting), made for travel, for reading becomes participating, calligraphy is transformed into

the nomadic spirit. geometries with out gravity — yet with recognisable cultural

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1130输出文件 画册最终版.indd 66-67 15-11-30 下午8:58 1130输出文件 画册最终版.indd 68-69 15-11-30 下午8:58 阿德尔·阿比丁 Adel ABIDIN

流行文化对我们当代世界的影响源于人们对名誉、青春和财富的痴迷。 The pop culture’s influence on our contemporary world results in a life that

诸如好莱坞演员或著名的流行歌手成了现代的弥赛亚。他们在我们的日 is built of obsession with fame, youth and wealth. Celebrities like Hollywood

常生活中扮演着积极的角色，在全球最有效的组织中处于领先地位。通 actors or renowned pop singers are put on to a pedestal as our modern day messiahs. They do take active roles in our daily life, leading positions in 过扮演，演员为我们的孩子（甚至是我们自己）创造了一个个潜在的模范； the most effective organizations around the globe. Actors make a living by 就像音乐家谱出让我们冥想的杰作。当一天结束的时候，借由各种媒介， pretending and subsequently creating our children’s (and even our) potential 无论是演员还是音乐家都成为比先知更有影响力的人物，当中一些人甚 role models, as musicians do by composing a masterpiece that we meditate 至拥有比先知更多的追随者。 with. And at the end of the day, both the actors and the musicians, with the

在视频中，“迈克尔”——被预设为我们时代举世瞩目的偶像——在他 help of the mediatic elements of our popular culture, become more influential

复活之后接受采访。他的回答和演讲其实只是他所在时代著名歌曲里歌 than the actual prophets themselves. Some of them even end up having more followers than any other prophets. 词的整合内容。

In the video, ”Michael” – still one of the universally celebrated icons of our 死而复生、成为一位先知向人们宣扬世界的普遍真理。这个假先知站上 time — is being interviewed after his resurrection. The answers he gives and 了流行文化的神坛：电视台谈话节目。 the speech he makes are nothing but a compilation of his all time well—known

由于采访的微妙性和对隐私的保护，即使是在死后，“迈克尔”也只同 songs’ lyrics.

意在这个“伪谈话节目”里进行一场私人的采访。然而，成千上万来自 Resurrected from the dead as a prophetic figure that unveils the universal

世界各地的乐迷们聚集到时代广场上，通过大屏幕观看这一“现场”直播。 truths about the world we live in, this false prophet is thrown on a television

talk show, the ultimate pop culture altar. “迈克尔”现场回答了粉丝们的问题。在时代广场的记者如此报道：“这

已经成为一个宗教纪念日了。”人们聚在一起见证了最为历史性的时刻。 Due to the delicate nature of the interview and a characteristic plea for privacy,

而人们所提的都是围绕着死亡、来世和永生等有关生存的问题。 even in his afterlife, “Michael” has only agreed to do a private interview in a pseudo—talk show. Still, thousands of fans from around the world have

gathered to view this ‘live’ broadcast on big screens in public spaces, as in

Times Square.

Michael’s fans are there to have their questions answered by their hero live. “It

has been a day almost of a religious anticipation,” states the reporter in Times

Square. People gathered to witness the most historical moment of all times. 迈克尔 单屏视频装置 16’02” 2015 鸣谢卡塔尔美术馆 Questions revolve around existential topics of mysteries of death, afterlife and Michael one channel video installation 16’02” 2015 Courtesy of the Artist, Work commission by QMA (Qatar Musuems Authority) 70 immortality. 71

1130输出文件 画册最终版.indd 70-71 15-11-30 下午8:58 72 73

1130输出文件 画册最终版.indd 72-73 15-11-30 下午8:59 《共性（思想的礼仪和欲望）》由 Tiong Ang 与平面设计师 Dongyoung Lee，摄像 Alejandro Ramirez，网页设计师和表演家 Robert Wittendorp，多媒体设计师 Louwrens Duhen，作曲家 Sinta Wullur，建筑师、建筑顾问 Anything is Possible，表演家和艺术家 Atone Niane, Ingrid Edwards, Heekyung Ryu, Hiroomi Horiuchi, Anastasia Starostenko 共同完成。 In 'Universality as Decorum of Thought and Desire', Tiong Ang has collaborated with Dongyoung Lee: graphic designer / Alejandro Ramirez: cinematographer / Robert Wittendorp: web designer, performer / Louwrens Duhen: multimedia designer / Sinta Wullur: music composer / Anything is Possible: architecture and construction advisors / Atone Niane, Ingrid Edwards, Heekyung Ryu, Hiroomi Horiuchi, Anastasia Starostenko: performers / artists.

唐·安吉 Tiong ANG

新作《共性（思想的礼仪和欲望）》将多样的想法以及不同的视角汇聚 Tiong Ang’s new work ’Universality as Decorum of Thought and Desire’ (2015), presented 在一起，将现代生活中的自主想法、跨文化往来、正式和非正式的贸易 at The 1st Asia Biennial and The 5th Guangzhou Triennial as a total installation, brings 同我们对物质世界的集体认知等交汇展现出来。 together a diversity of reflections and subjective perspectives on how contemporary living intersects between ideas of autonomy, intercultural traffic, formal and informal trade and 本作品致力于探讨一些广泛的问题：在跨文化对话以及美学实验中的“普 our collective comprehension of the material world. 遍性”，并揭示出对“普遍性”这一词语的正确性的感知中、日益严重 The work aims to bridge wide-ranging doubts about ‘universality’ in transcultural 的危机。在不断改变标准和转换情景之下，唐·安吉将美学普遍性的存 discourse and aesthetic experimentation, revealing a deepening crisis in the perception of 在解释为一种艺术虚构。 the term’s validity. In a framework of constantly shifting standards and moving conditions, Tiong Ang interprets the presence of aesthetic universality as an artistic fiction. 本作品将电视演播室作为模板，将其作为人类学以及档案电路的场所， Based on the model of the corporate television studio as a site of anthropological and 探寻了当今的人类形象以及媒体从种族或性别成见到对文化传播的文体 archival circuitry, the work explores the human image of today and its media based 形式的表现中的作用。自艺术工程师、虚拟生产人唐·安吉与其他艺术 conditions, from ethnic or gender stereotypes to the flows of genre-based representations 家和设计师分享了其美学创意的决心之后，本作品被决然地设为一个多 of ‘cultural transmission.’ Processed within a structure of collaborative settlements, the 义的练习。 work is set up as a determinedly multivocal exercise, since the meta-artist or fictional producer ‘Tiong Ang’ shared aesthetic and creative resolutions with a contrasted group of 参观者可以参与到这座礼仪的迷宫中来，一些并不精确的自然元素装饰 other artists and designers. 着这个房间，将其转换为一间废弃的电视演播室。这种拟真的布景是为 Visitors are welcomed in a maze of decorum; a decorated architecture of inexact nature 了以一系列的虚构角色以及设定，调查对所谓的人类存在以及对艺术渴 has transformed the room into an abandoned television studio. This immersive ambience 望的“普遍性”的感知及看法。人们为编程教育、信息、文化进程、言 is to survey a multitude of conceptions that consider a so-called ’universality’ of human 语自由以及全球化下普世价值的娱乐所作出的努力，看似已经受到衰落 presence and thus of artistic aspiration, in a series of fictional characters and settings. It 和失败的影响，并深受其害了。 seems that efforts of programming education, information and entertainment on universal values of cultural progress, free speech and global exchange have fallen victim to erosion 而保留下来的则是被派遣的女主播的秘密故事，欧洲男人陷入的僵局， and failure. 第二幕 （ — ） 迷糊的电视展示员展示了不合适的小道具，一名非洲演员早已脱离了自 06'00" 09'00" What has remained are the clandestine stories of a dispatched anchor woman, the 韩国女孩，如电视购物主持人一样，向公众展示一些普通的用品。这些都是 我认知，激昂地谈着人权的普遍性，而这也只能被理解为是要提醒众人， 第一幕 （09'00"—12'00"） 在橱窗里展示的商品。她轻轻地背诵韩国的诗歌。 impasses of the European man, a disoriented TV demonstrator showing improper “仅有的进入的方法”。非洲演员，扮演成 世纪的法国国民大会成员—— 对真实的需要和对个人意识和集体意识形态的更多理解。 18 props, and an African actor so estranged from his live identity that his prophetic rant 一个前奴隶。影片表现了一个黑人——“高贵的野蛮人”到达欧洲海岸。当他 No.2 （06'00"—09'00"） 而这个虚构广播中所谓的小道具——由于其暂时功能而被收集起的日常 on the universality of human rights can only be understood as a reminder of the need 走在沙滩上的时候，他大声用法文、英文和沃洛夫语（非洲的一种方言）去谈论 Korean woman, showing ordinary objects to 普遍性。 the public, as if she’s a TV presenter of 物件——现在则作为一个象征性的物品被揭示出来，用以表达累积的思 for a genuine and more relational understanding between the individual and collectivist merchandise TV (the poetics of home shopping). ideologies of any kind. 想以及人类非凡身躯之间的冲突。毕竟最重要的是，抽象动画唤醒了对 No.1 （09'00"—12'00"） These are also the objects on display in ‘THERE ARE ONLY WAYS TO GET IN.’African actor, 重力和时间心理定律的抗拒心，目的是为了在集体想象以及集体归属中， The so-called props of these fictional broadcasts - everyday objects that were once vitrines. She softly recites nature poems in depicting an 18th century member of the French collected on behalf of their temporal functionality - are now revealed and exposed as Korean. 唤醒我们那毫不起眼的信仰。 national convention - an ex-slave. A cinematic symbolic items to signify a conflict between cumulated minds and the singular, human approach on the image of the black man - the body. Above and after all, abstract animations recall the desire to defy psychological laws ‘noble savage’ - arriving on the shores of of gravity and time, in order to awaken our inconspicuous belief in a collective imagination Europe.While walking on the beach, he laments on universality, in a combination of French, English and a community of belonging. and Wolof(African) language. 74 75 Antoinette Thyssen

1130输出文件 画册最终版.indd 74-75 15-11-30 下午8:59 第七幕 （03'00"） 一段小视频描绘普通的基本材料，如黑色的胶袋——普通的用品，或者是影 片制作需要的用品，如灯具、灯具的支架等，所有用于电视制作的物品。

No.7 （03'00"） A short video depicting basic materials like black plastic, ordinary objects, or objects from film production like lamps, light stands 第三幕 （05'00"—08'00"） etc., all items being used in television 美国亚裔妇女在扮演新闻主播。之后，她也扮演 Youtube 网上教人化 studio production. 妆的角色。

No.3 （05'00"—08'00"） American-Asian woman plays a news anchor/ TV presenter in a news broadcast. Later she also plays an internet-celebrity girl, doing make-up tutorial videos for Youtube. 第五幕 （04'00"） 一个艺术家的画作以 3D 的抽象形式展现，用慢镜的形式来描绘球和杯子的转圈。

No.5 （04'00"） An abstract 3d-animation based on an existing painting by the artist, depicting balls and cups in a circle. Slow movements.

第四幕 （04'00"） 欧洲白人表演家，打扮成半人半兽、半男半女的样子。他在桌子上模仿食肉 动物在移动。 第六幕 （04'00"） 第八幕 （01'00"） No.4 （04'00"） 三维动画，用黑色的球状代表电影和观众。慢旋转动态。 电脑合成抽象图（浏览器），描绘一种新型的电视干扰现象（噪音、电子设备的损坏）。 European white man, performer, is dressed as half man /animal, half man /woman. He moves on No.6 （04'00"） No.8 （01'00"） a table as a caged predator. A Japanese man An abstracted 3d-animation, depicting a cinema Computer animated (internet-browser based) abstraction, witnesses without comment. and audience members represented as black depicting a new electronic television disturbance (noise, 76 spheres. Slow rotating movement. electronic failure) 77

1130输出文件 画册最终版.indd 76-77 15-11-30 下午8:59 北斗星小组 Big Dipper Group

服装制造业作为劳动密集型加工产业中的主要产业，它的快速发展，对 Clothing manufacturing industry, as a major part in labor-intensive

亚洲国家和地区短时间内经济的腾飞起到至关重要的作用。作为世界工 industries,The fast development plays a key role in oAsian countries.

厂的亚洲，近年服装业出口占世界服装业总量的 65.1%，占亚洲服装 As a world factory, the number of Asian garment export accounts for 65.1% of the world and 51.5% of the Asia.In recent years, China 业出口总量的 51.5%。近年中国出口服装360.18 亿件，平均每件2.65 exported 36 billion clothing to the world, at an average price of 美元，我国每生产一件服装平均污染 0.2 立方米水，产生 0.1 立方米垃 2.65 dollar each.In China, producing one clothing will pollute 0.2 圾、消耗燃煤 1.2 公斤，产生 1.13 千克碳排放。2012 年中国二氧化 cubic meter water,generate 0.1 cubic meter garbage, burn up 1.2kg 碳排放为 62.84 亿吨，占全球排放总量的 21.01%，成为世界第一大温 charcoal and generate 1.13kg carbon emissions.In 2012, China

室气体排放国。而中国出口一亿件服装才可以换回一架波音飞机。毫无 produced 6.26 billion tons of carbon dioxide,making up 21.1% of

疑问服装类劳动密集型产业的兴起给中国乃至亚洲带来了短暂的富裕繁 world,which made it the world's largest emitter of greenhouse gases.

荣、解决了大量劳动力的就业，但随之而来的是环境污染产生的疾病暴 However, the export of 100 billion clothing is only able to trade one

涨、生态失衡导致的经济崩溃。服装制作业中的标志性工具——缝纫机， Boeing airplane.There’s no doubt that labor-intensive industries,

作为主要载体呈现出劳动密集型产业在产生价值过程中所引发的遐想， such as clothing manufacturing,will bring temporary prosperity for China and Asia and providing a huge number of job opportunities. 破旧的机器上残留的世界名牌标志，隐喻出曾经为欧美服装订单而夜以 But there would be other accompanying problems,such as increasing 继日工作的工人疲惫的身影，杂乱的碎布剩线直射出对工人身心的摧残。 diseases caused by pollution,and economical collapse resulting 从而引发我们对西方思维方式的思考、对经济发展模式的反思、对未来 from ecological unbalance.The sewing machine, a symbolic tool of 社会的忧虑。 clothing manufacturing industry,to represent the thinking in the

process of producing values in labor-intensive industries.Well-known

北斗星小组成员： logos marked on the wrecked machines are metaphor for the weary

唐应山、刘 越、日 青、孙哲政、许旭兵、严逢林、吴黎中 workers working day and night to fulfill tasks.Disorderly cloth and

thread reflect the physically and emotionally abuse to workers.This

would trigger us to think about western way of thinking,the economic

development model and concerns about the future society.

Members of Big Dipper Group:

Tang Yingshan, Liu Yue, Ri Qing, Sun Zhezheng, Xu Xubing,

Yan Fenglin, Wu Lizhong

世界工厂 装置，影像 06'48" 2015 World Factory installation and video 06'48" 201 78 79

1130输出文件 画册最终版.indd 78-79 15-11-30 下午8:59 世界工厂 装置，影像 06'48" 2015 World Factory installation and video 06'48" 2015 80 81

1130输出文件 画册最终版.indd 80-81 15-11-30 下午8:59 卜 冰 BU Bing

这个黑色的走廊，被柔软透明的帘幕阻隔，隐约的光线透过帘幕上来自 The dark corridor is divided by soft and transparent plastic curtains

各地的矿泉水瓶投射出变幻的光影，并随着人的进出撩起帘子而 into a labyrinth. As people pass by and flip the curtains, light casts

不断变化。 ever—changing shadows through the curtain and those bottled waters collected from various locations. 各种隔离开来的矿泉水瓶子可以被读为彼此间隔（也与观者隔绝）的， The bottled waters here can be read as an identity to geographical 被罐装，被标签的地域性身份。水被各种力量牵动摇晃，被观者的介入 locations. This identity is contained, labeled, and separated from 定义以时间产生一个能够投射在空间上的时刻，从而有了时间的计量， others, as well as the viewer. Waters are constantly shaken by all 尽管这个时刻是混乱叠加，极不稳定的。 kinds of forces as viewers come in, and cast shadows onto the space

to mark a moment, so as to give the time a measurement, although

this moment is marked by chaotic layers and never stable.

走廊方案 装置 650cm×1400cm 2015 The Corridor Proposal installation 650cm×1400cm 2015 82 83

1130输出文件 画册最终版.indd 82-83 15-11-30 下午8:59 走廊方案 装置 650cm×1400cm 2015 The Corridor Proposal installation 650cm×1400cm 2015 84 85

1130输出文件 画册最终版.indd 84-85 15-11-30 下午8:59 然。这次的感觉对了。或许他就是他们要找的人？ The following day, Torsten and Katja are in their car again on the

road to the train station. A third Daniel is waiting for them. Their 《连续》是一个普通的关于儿子回家的故事，但每一次见面都使得 meeting is emotional, but more subdued, natural. It feels totally 故事越发离奇古怪。影片没有挑明这对夫妇是否真正承受了丧子之 right. Perhaps this is the one? 痛，也没有说明找代班儿子是否仅仅只是一种用来维系关系的周末 Continuity begins as a conventional story of homecoming and 嗜好。三个截然不同的丹尼尔都在家过夜，都尝试达到这对夫妇的 grows strange with each rendezvous. It remains unclear whether 期望。令人费解的是，每一个丹尼尔都消失了，直到影片结尾我们 the couple has suffered an actual loss or if their ersatz son is 才发现原来他们在一条壕沟里，这才解开了我们的疑团——他们不 just a weekend hobby, a way of staying together. A total of three 奥马·法斯特 Omer FAST 管是在德国，还是在阿富汗，都过着生死无常的生活。 different Daniels spend the night at the house. Each tries to fulfill the couple's expectation. Each disappears inexplicably until we see

them all in a ditch at the end – neither dead nor alive, neither in

Germany nor in Afghanistan. 托尔斯滕和卡特娅是一对中年夫妻，准备在家举行一场欢迎会。他 Torsten and Katja, married and middle—aged, prepare a festive

们驱车来到火车站接丹尼尔。丹尼尔身穿联邦德国国防军制服，身 reception in their home. They drive to the train station and pick up

材高高瘦瘦，这位年轻人似乎刚在阿富汗执行完任务。见面过程尴 Daniel, a lanky young man in a Bundeswehr uniform who appears to have just returned from a mission in Afghanistan. Their meeting 尬不已，父母双方情绪激动，而儿子却越来越拒人千里，情绪消极、 is awkward: The parents are emotional while the son is increasingly 忐忑不安、行为奇怪。回到家后也没有出现他和父母相亲相爱的场 distant and passive, uncertain and strange. At home, he doesn't return 景，他们为此心烦意乱、紧张不安。卡特娅尝试着再一次亲近自己 their affection, which makes them distraught and agitated with one 的儿子，她温柔地爱抚着躺在床上的儿子，但是他假装睡着，她只 another. Katja makes a last attempt to reach out to her son, caressing

好悻悻然地离开了。之后，我们看到托尔斯腾把几个沉重的垃圾袋 him tenderly after he's gone to bed, but he pretends to be asleep and

搬到了门外。 she gives up. Later outside, we watch Torsten take out the trash in

heavy bags. 第二天，托尔斯滕和卡特娅再次开车去火车站，车内气氛紧张，两

人几乎一言不发。另一个身穿联邦德国国防军制服的年轻男子在同 The following day, Torsten and Katja are in their car again on the road

一个地方等着他们。他长得和昨天那个“前任”差不多，但稍微年 to the train station. The mood between them is tense. They hardly speak. Another young man in a Bundeswehr uniform waits for them at 长一些，或许也更自信一点。夫妇俩走下车，久久地注视着年轻的 the same spot. He looks similar to his predecessor but is a little older, 男子，他们激动万分，不禁热烈相拥。这次见面对这对父母而言是 perhaps a bit more confident. The couple step out of their car and 一次情感的宣泄。也许这个年轻人价格贵一些，但是他更加积极地 gaze for a long time at the young man, growing emotional until they 回应他们，且性格随和，讨他们的欢心。这钱花得值了。 embrace. The meeting is more cathartic for the parents. This young

回到家后第二个丹尼尔大受欢迎。他会讲有趣的故事和帮忙刷盘子。 man is more expensive perhaps – but he's also more responsive, more

他还对自己的身体很自信并对父母充满爱意。之后他们越界了，父 accommodating, very eager to please. The money is well worth it.

母俩开始在儿子面前争宠，随后出现了撩人的场面。不幸的是这使 At home, the second Daniel is a smashing success. He tells funny

得夫妇俩之间的摩擦和猜忌更深。到了傍晚，很显然他们不得不再 stories and helps with the dishes. He's also comfortable with his body

找另一个人。托尔斯滕又出门倒垃圾了。 and affectionate to both parents. Borders are crossed: The parents 连续 影像 39’22” 2012 影片由第 13 届卡塞尔文献展和 Thyssen—Bornemisza 当代艺术博物馆委托 Filmgalerie 451 制作 compete for the son's attention. The scene turns erotic. Unfortunately Continuity video 39’22” 2012 A production of the Filmgalerie 451 commissioned by DOCUMENTA (13) and 第二天，托尔斯滕和卡特娅又开车去火车站。第三个丹尼尔正在等 Thyssen—Bornemisza Art Contemporary this causes more friction and jealousy between the couple. By nightfall

他们。见面时他们依旧情绪激动，但没有之前那么热切而且更加自 it's obvious they'll have to find someone else. Torsten takes out the

trash. 86 87

1130输出文件 画册最终版.indd 86-87 15-11-30 下午8:59 88 89

1130输出文件 画册最终版.indd 88-89 15-11-30 下午8:59 傅文俊 FU Wenjun

后工业时代作品阐释 Statement for Post—Industrial Era

作品起始于对达芬奇的《维特鲁威人》素描的思考。众所周知，维特鲁 First, circuit boards were attached to the abstract photographic

威人是艺术大师基于黄金分割点试图创作“完美比例”的男性人体。 images of the plant based on the screen layout. The work itself is a process, a transfer from the industrial era to the digital era. A 而“黄金分割”这一基本试用于所有艺术与建筑的数理结论是纯粹理性 small digital chip can include huge amounts of information, some of 分析的产物，而理性的启蒙带来了工业革命。作品的呈现方式是将摄影 which were authentic and some were false. Just like the process of

作品镶嵌于破旧的机车车轮，之所以将作品镶嵌在圆形的轮胎上，一是 industrialization, the greatness is accompanied by ugliness. 模拟维特鲁威人方形与圆形的基底，试问工业进程是否也有其自身的黄 The work embedded the photographs to old locomotives and trolley 金分割点？如果有，那么工业化的脚步是否也应该进退有度？二是因为 wheels. They are recorders of time and space. The old tire and the

轮胎自身就是时间与空间的记录器。我的作品就是对工业文明的反思， abstract picture have a sharp contrast in form. 我将抽象化的厂房摄影图片根据画面的平面布局形式贴以电路板实物。 Behind the wheels there were glass plate LED projectors. The 使得作品呈现本身就是一个过程，一个工业化到数字化的转换，一个小 projections on the exhibition wall were images of the original industrial

小的数字芯片，可以囊括多少信息量，其中自然蕴含真伪，也蕴含优劣， plant or how it looked after restoration. Some were grassland, some

就像工业化进程一样，伟大中也伴随着毁灭。另外车轮背面装有 led 投 were intensive factories and some of them have become prosperous

影器，投影的是同一亚洲时间下中国、日本、香港不同国家的工业化面貌。 city central business districts. Audio was also available. Three sets of

充分表现出亚洲自身独特的工业化进程，以及与西方工业文明起点之间 images were played on the screen. It is a presentation of Asia’s unique process of industrialization, as well as the convergence of time and 的时间与空间的衔接。 space.

后工业时代 摄影装置 尺寸可变 2015 Post—Industrial Era photographic installation dimensions variable 2015 90 91

1130输出文件 画册最终版.indd 90-91 15-11-30 下午8:59 后工业时代 摄影装置 尺寸可变 2015 Post—Industrial Era photographic installation dimensions variable 2015 92 93

1130输出文件 画册最终版.indd 92-93 15-11-30 下午8:59 娜塔莎·萨德尔·哈吉安 Natasha Sadr HAGHIAN

作品讲述一种相遇、碰撞，或者一个意外，又或一段舞蹈。它涉及两个 De paso is an encounter, a collision, maybe an accident, or a dance. It involves two

对象，两个随处可见的事物：一个塑料水瓶和一只手提行李箱。瓶子被 objects that have globally become hard to think away, a plastic water bottle and a piece of hand luggage. The bottle is repeatedly and mechanically crushed by the 行李箱反复而机械地碰撞着，发出声音，再通过一个八声道扬声器系统 suitcase, producing a sound that is amplified and distributed by an eight-channel 被放大播放。 speaker system.

随着瓶子和箱子碰撞的声音会出现一系列的注脚，内容是有关这两个事 This collision of the bottle and the suitcase is accompanied by a series of footnotes, presenting research on these two objects and their local resonances, histories, 物的研究，包括它们在各地的使用状况、历史和所带来的问题。这件作 and problems. Wherever the work travels to, new footnotes are added. And while 品每到一个新地方作展就会增加新的注脚。随着对水、塑料、碳、化石 the footnotes trace the movement of the work from exhibition to exhibition around 燃料、旅行及其所产生影响的研究，这些新增的注脚在记录展览的同时 the globe they seek to connect to a pressing local question, following the water,

也会探讨相关事物对当地所造成的问题。 following the plastic, the carbon, the fossil fuels, following travel and what it entails. “第一只‘塑料’瓶在 1947 年出现。美国碳酸饮料产业的发展促进了 “The first bottle that might be said to be ‘plastic’ was manufactured in 1947. The 对该材料的研究及在食品工业中的应用。自 1960 年投入生产后，塑料 development of the carbonated drink industry in the United States promoted 很快成为该产业的重要发明。但第一支聚对苯二甲酸乙二醇酯（或聚 research on this material and its uses in the food industry. Plastic soon became a major asset in the sector, after a tentative start in 1960. However, the first bottle of 酯）瓶子直到 1970 年才出现在市场上。透明塑料的历史就是两大公司 polyethylene terephthalate (or polyester) did not appear in the market until 1970. 发现和争取聚酯专利的斗争历史：帝国化学工业公司（ICI）和杜邦。 The history of transparent plastic is linked to the history of the struggle between 聚酯是一种用于食品工业的理想材料，关于它的竞争开始于欧洲。ICI two major corporations to discover and patent polyester, an ideal material for the

是英国最大的化学公司，而杜邦公司成立于 1802 年，由法国化学家 food industry: Imperial Chemical Industries (ICI) and DuPont. The race began in Europe, between ICI, the biggest chemical company of the British Empire, and Eleuthère Irénée du Pont de Nemours 建立。他当年逃过法国革 DuPont, a company founded in 1802 by the French chemist, Eleuthère Irénée 命，在特拉华成立了公司。十几年以来，杜邦（杜邦帝人薄膜）是其专 du Pont de Nemours, who had escaped the French Revolution and founded the 利持有者，也是 Mylar®、 Melinex®、 Teijin®、 Tetoron®、PET company in Delaware. For over a decade now, the reconverted DuPont (DuPont Teijin Films) has had the patent and is the sole producer of Mylar®, Melinex®, 聚酯膜 ( 塑料瓶原材料 )、Teonex®、PEN 聚酯膜及 Cronar® 的唯一 Teijin®, Tetoron®, PET polyester film (the material for all bottles), Teonex®, PEN 生产商。 polyester film and Cronar®.

“相比下，带滚轮行李箱的发明更为近代。第一个手推袋于 1989 年 "Cabin luggage is even more recent. The first individual trolley bag appeared on the

出现在市场上，由一名服务于西北航空北美分公司叫 Robert Plath 的 market in 1989, and was invented by Robert Plath, a pilot for the North-American company, Northwest Airlines. Rolling cabin luggage would merit a text in itself. 飞行员发明。滚轮行李箱的确值得被记录。正如法国博物学家 Jean It is an adaptation, in the sense described by the French naturalist Jean Baptiste Baptiste Lamarck 描述，它是为适应生物演变而发明的。这种演变不 Lamarck, of the biological changes that occur, not in the human organs, but in the 是指人类器官的演变，而是对象和事物在体积、形状及物理状态上的改 objects and artefacts that, by being modified in size, shape and physical qualities, in turn alter human behaviour.” 变，它影响着人类的行为。”

脚步 声音装置 尺寸可变 2013 De Paso sound installation dimensions variabale 2013 94 95

1130输出文件 画册最终版.indd 94-95 15-11-30 下午8:59 灰野敬二 Keiji HAINO

黑色长发，黑色墨镜，一袭黑衣，这正是日本著名实验音乐领军者灰野 Black hair, black shades, black clothes, this all black outfit features

敬二的标志性装束。自 20 世纪 70 年代展开音乐活动以来，灰野以其 Keiji Haino, a famous Japanese musician who is also a pioneer in the

固执自我的风格行走在多变的音乐世界和真实社会中，他不断打破他人 field of experimental music. Since last 70s when he started his musical activities, Haino has always keeping his style of ego and persistence 和自己划定的樊篱，持续探索创新，成为日本地下音乐界最具魅力和神 while moving on in the ever-changing musical world and the realistic 秘色彩的领军人物。过去的岁月里，灰野敬二与音乐界以及其它艺术领 society. He constantly breaks barriers set by himself and others and 域的工作者多有合作，通过彼此的碰撞激发创作灵感，在创作创新的道 continuously makes explorations and innovations, which made him a 路上不断给追随者以惊喜。 charming and mysterious pioneer musician in the field of Japanese

灰野敬二尽量地去开发这些不为人知的乐器，将他们曝光，试图令更多 underground music. Past years saw Keiji Haino's collaborations with

的人能够了解它们。但说到底，真正使他接触这些乐器的是他对新声音 artists from different backgrounds, from which inspirations were stimulated and continuous surprises were brought to the followers. 探索的兴趣，他喜欢去学习自己没有接触过的东西。这是一个艺术家生 Keiji Haino has been trying very hard to seek for those musical 活态度的问题，不仅是做音乐时如此。 instruments which are rarely known by people and make them

exposed to the world so that more people can recognize them. But

the ultimate source of his motivation to searching for these musical

instruments is his interest in exploring new sounds and learning

things he has never experienced before. This is not only about an

artist's attitude towards music, but towards life.

为灰野敬二的纪录片拍摄的宣传照片 2012 Photograph for Promoting Keiji Haino's Documentary 2012 96 97

1130输出文件 画册最终版.indd 96-97 15-11-30 下午8:59 咸京我 Kyungah HAM

在世界上各个角落，蒙娜丽莎以各种形式的作品得以再生。如何定义这 In numerous spaces in the world, there are various forms of regenerated

些蒙娜丽莎再生作品的绘画价值已经无关紧要，因为蒙娜丽莎的不断再 Mona Lisas. And it has already become needless to define what pictorial value

生正是作为一种艺术普遍性的立足点。 these regenerated Mona Lisas have, since Mona Lisa is endlessly recreated as a foothold of certain universality of art. 各种蒙娜丽莎模仿作品的盛行，反映了这一类作品不仅需要寻找属于它 These prevalent varieties and imitations of Mona Lisa reflect certain needs for 们的时代，更要寻找属于它们的空间。因此，我把我希望表现的蒙娜丽 their contemporary space, and in this regard, the Mona Lisa I want to show 莎放置于一个意料之外且不同寻常的地方：由朝鲜工匠制作的蒙娜丽莎 through this exhibition is placed at a very unexpected and unusual place. It is 刺绣中。 an embroidered Mona Lisa produced in North Korea.

当我从事朝鲜刺绣作品的研究时，曾偶然发现一幅蒙娜丽莎的刺绣和纪 As I was working on a series of embroidery works of North Korea, I came 蒙娜丽莎和来自北方的其他人 影像装置 尺寸可变 2015 版权所有 © 2015 首尔美术馆 Mona Lisa and the Others from the North installation dimensions variable 2015 copyright © 2015 Seoul Museum of Art 念邮票。看到来自朝鲜的蒙娜丽莎作品，我顿时大吃一惊，因为朝鲜对 across the embroidered Mona Lisa and a commemorative stamp. The

西方文化的排斥已经成为我们的普遍认识。这幅蒙娜丽莎的刺绣由技艺 moment I met with a Mona Lisa made in North Korea was a sheer surprise,

超群的朝鲜工匠亲手制作而成，以极高的完成度著称，刺绣呈现出的不 for it was a general belief that North Korea takes an exclusive stance towards

同于原作的独特形象让我眼前一亮。 western culture. The embroidered Mona Lisa, which boasts a high degree of completion by the highly skilled master craftsman, created a unique image 这些秘密收集的关于朝鲜叛逃者的采访或故事都在蒙娜丽莎作品上得到 different from the original, and thus caught my eyes. 集中体现，而他们背后的故事也交织于他们对朝鲜生活的宽泛叙述中： These interviews of North Korean defectors or their stories collected in secret 如何逃出朝鲜国境并在新的环境安定下来。在这些叙述中，一个全新、 were centered on Mona Lisa, and their stories were connected to the broader 形而上学的且三维立体的蒙娜丽莎已经成型。 narrative of their life in North Korea, leaving the country and settling down in

我希望通过展示蒙娜丽莎刺绣作品，以及那些与蒙娜丽莎偶然结缘之人 a new environment, and within this narrative, a new metaphysical and three—

背后的故事，向观众传达一些理念，让观众能够感受艺术与生活的相互 dimensional structure of Mona Lisa was formed.

联系和影响。 I am hoping that the embroidered Mona Lisas in this exhibition and the stories

of people who came across Mona Lisa would show us some fragmented ideas 换言之，这个故事其实是艺术品中的社会结构性权力和个体之间的故事， of how art and real life relate to one another and resonate. 个体虽然不断接受这一现实，但对生活仍有所期待，有所欲求。这个故 In other words, this is the story between social structural power working in 事将启发人们发掘不同的蒙娜丽莎，探索新的艺术视角和艺术体验。 the place of art works and the individual who is accepting it and in whom the

expectation of life and desire lay. This story will suggest another Mona Lisa or

new perspective and experience of art. 98 99

1130输出文件 画册最终版.indd 98-99 15-11-30 下午8:59 100 101

1130输出文件 画册最终版.indd 100-101 15-11-30 下午9:00 展览期间，广州歌德学院的图书馆将会被改造成平壤德国图书馆和 with the rest of the world. Therefore today’s understanding of North

信息中心，这个项目让图书馆的地理位置发生了改变，在此背景下， Korea is deeply influenced by foreign powers and especially by the United States of America. Currently the United States of America 歌德学院将会为观众们提供一系列的文化活动，包括，对图书馆的 still holds a military base in Korea, while Korea’s history is marked 理性思考、图书馆的历史以及朝鲜半岛和德国之前被分裂的历史。 by colonisation by its neighbouring countries: Japan and China. After

这个项目并不是用来解决那些复杂的政治问题，我们希望可以避免 decades of Japanese occupation, the Korean War started, which in North Korea is referred to as ‘The Fatherland Libeartion War’; in 对朝鲜的误解，这个项目的真正目的在于批判性地看待一个国家的 · · · China the conflict is officially called ‘the War to Resist Aggression 萨拉 范 德 海德 Sara van der HEIDE 文化政策和软实力的使用，这种方式源自欧洲中心论的资本主义， from the United States of America and Aid Korea’. Kim Il Sung, the 或许这也证实了给予者与接受者之间不平等的关系。在后殖民时代 first leader of North Korea, was one of the leaders in fighting against 的今天，在一个社会主义国家开设德语图书馆有着怎样的意义？两 Japanese occupation and American influence. Pride in its autonomy 欢迎来到德语图书馆及平壤信息中心，在展览期间，广州歌德学院的图 Welcome to Die Deutsche Informations Bibliothek Pjöngjang – The German 个国家想要忘记曾经的对立关系，构建新的沟通桥梁，其中艺术和 and resistance towards American influence are still the major pillars Library and Information Centre Pyongyang. For the duration of the 5th 书馆将会被改造成平壤德语图书馆的样子，该图书馆于 2004 年正式开 of North Korean society today. 语言又扮演着怎样的角色？这个地方为人们提供思考重要问题的空 Guangzhou Triennial/1st Asia Biennial, the German Goethe-Institut library 馆，2009 年关闭。在图书馆里，书籍是艺术品，同时艺术品也是书籍。 During the triennial the German library of the Goethe-Institut in in Guangzhou becomes the German library which was open in Pyongyang 间，同时还让人有机会去认真思考国家、语言与地理环境的界限。 Guangzhou (China) becomes the ‘Deutsches Informations Bibliothek 今年是东德和西德签订统一条约的 25 周年，但是目前，朝鲜半岛还是 between 2004 and 2009. In this library books are artworks and artworks are 展览期间，参观者可以在书架上看到一些艺术作品，书籍即艺术品， Pjöngjang.’ This intervention is an imaginary transformation of the 分割成两半。 books. 艺术品即书籍。研讨会期间，你可以在图书馆里了解到来自德国各 current geography of the existing library. Under this umbrella a set This year marks the 25th anniversary of the unification treaty between East “我们正在进行一项危险的实验，因为当你们的国家对外开放时，我们 地、中国、朝鲜和韩国的不同年代的艺术家对这个项目的不同想法， of cultural activities is offered to the audience, just as a Goethe- Germany and West Germany. Until today Korea is still divided in two: North Institut operates. This time, it includes a reflection on the library 想成为第一批走进那里的人。”歌德学院的前校长林芭鹤说。（2013年， 欣赏他们创作的作品。 and Korea. itself and the historical context of the reading room and looking 德国联邦外交部拔出超过五分之一，约 8 亿欧元的预算去促进与其他国 “Wir wagen ein Experiment, denn wir wollen als Erste dabei sein, wenn 2015 年 12 月 13 日，图书馆将会举行一个研讨会，并会有烹饪表演、 into the possible parallel histories between the two Koreas and the 家的文化关系。第二次世界大战之后德国一直在世界范围内活动，积极 Ihr Land beginnt, sich zu öffnen.” (We are undertaking a risky experiment, 音乐演奏、讲座以及放映影片等活动。 former divided Germany. 建立自己的正面形象，在全球 96 个国家内成立了 160 个歌德学院、文 because we want to be the first ones there when your country opens up.) This project does not claim to find answers in complex political 化机构，教授德国文化与德语。2004 年以来，中国政府在海外资助、 With these words Jutta Limbach, the former president of the Goethe-Institut matters and hopes to succeed in staying away from the usual imagery 建立了约 500 个孔子学院，教授汉语。)2004 年 6 月 2 日，他选择在 open the 'Office for German Academic and Technica Publishing' at the Goethe about North Korea. What this project does aim to do is to have a 与世隔绝的社会主义国家朝鲜开设德国学术和技术出版物办公室，地点 Institu's Information Centre Pyongyang in secluded Communist North Korea critical look at national cultural policy and the use of soft power in general, which in this case stems from a Eurocentric capitalistic 设在平壤歌德学院的资料中心。这项伟大的举措或许注定会失败，这个 on 2 June 2004. [ A significant part-more than one-fifth-of the Federal Foreign Office budget for 2013, of around 800 million euros, was spent on cultivating narrative and perhaps confirms the unequal relation between giver 图书馆实际上也只有 5 年寿命。歌德学院为了这个图书馆里的藏书与朝 cultural relations abroad. Since WWII Germany started to work actively and receiver. What does it mean today in a post-colonial era to open 鲜政府进行了超过两年的协商，前者认为有 50% 的藏书都应该与德国 on promoting a positive image across the globe and opened 160 Goethe- a German reading library in a Communist country? What role can art 文化、语言、文学和音乐相关，但是后者却一直想要科学、技术和医药 Institutes–cultural institutions offering German culture and language – in 96 and language play in unlearning the agonistic opposites and finding 等方面的学术作品。歌德学院的学者们认为德国不仅可以成为朝鲜半岛 countries. Since 2004 China has established around 500 Confucius Institutes – new bridges? The room offers a space for critical questions, but functions as well as a space for transcending thinking alongside the 和平统一的榜样，而且巴赫和德国文学也可以将两国的人民团结起来。 Chinese learning centers–abroad, funded by the Chinese government. ] This extraordinary initiative was perhaps bound to fail, and eventually the library lines of the nation states, language and geography. 朝鲜奉行封闭的外交政策，所以与外界的交流少之又少。朝鲜有自己的 would exist no more than five years. The library’s contents were negotiated During the triennial the library visitor can find several artworks 内部网络，但是并没有和外界的互联网连接在一起，因此，人们对朝鲜 over a two-year period, with the North Korean government pressing for in the book space. Books are artworks and artworks are books. academic literature on science, technology and medicine, while the Goethe- 的了解很大程度上受到了外国势力的影响，尤其是美国。朝鲜曾是日本 In the library and during the seminar you can find responses and Institut maintained that 50% of the books should pertain to German culture, 和中国的属地，直到现在，美国在韩国还拥有军事基地。日本占领朝鲜 contributions from a company of artists from different generations language, literature and music. The Goethe-Institut not only believed that coming from amongst others Germany, China and North and South 半岛几十年后，朝鲜战争爆发，朝鲜把它叫作祖国解放战争，在中国， Germany could be an example for Korea in the unification process, but also Korea. 人民把它称为抗美援朝战争。金日成是朝鲜的第一代领导人，也是当时 that through Bach and German literature Germany could contribute eventually 德语图书馆及平壤信息中心 综合媒材 尺寸可变 2015 On 13 December 2015 there will be a seminar with cooking 对抗日美的领导人之一。朝鲜人民为自己国家反抗美国，捍卫自主权而 in uniting the two Koreas. The German Library and Information Centre Pyongyang performances, music, talks and screenings. 感到自豪，这如今也成为他们的主要精神支柱。 Due to its reclusive politics, communications with North Korea are scarce. Mixed Media dimensions variable 2015 For example there is intranet within North Korea, but no internet connection

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1130输出文件 画册最终版.indd 102-103 15-11-30 下午9:00 又是森林遍大地（局部一） 装置 3000cm×500cm×500cm 2015 Once More with Forest（Detail Ⅰ） installation 3000cm×500cm×500cm 2015

胡项城 HU Xiangcheng

沧海桑田、光阴似箭，曾经森林遍布大地，当人类兴盛开始，林木作为 How time flies and how everything changes. Once upon a time the forests covered most of the land. When human civilisation began 建造宫廷、民宅、家具的材料，成为一代代文明的载体。从阿房宫至“文 to flourish, trees were used as materials to build palaces, houses 革”到商业浪潮，无数的兴衰变迁留下这昔日文明的残片。从中我们可 and furniture and to become carriers of civilisation generation after 以探视到多少家庭、多少故人的辉煌。从自然吸取的印象提炼出各种复 generation. From e—pang Palace to the Cultural Revolution and then the wave of commercialization, the vicissitudes leave us pieces of past 杂的图像，又凝聚了多少人文工匠的智慧火花。散落的碎片重新组建起 civilizations. We can access the glory of many families and ancient 来成为一片复生的森林，不仅是对往昔的追溯，看是无奈却又是一番刻 people. They combine the complex image from nature and the wisdom 骨铭心的复兴企愿。也许，总有一天人类会消失，又是森林遍地，但作 of craftsmen. The scattered debris bring a reconstituted forest back to life. It is not only a retrospective look at the past, but also a willingness 为高级智能的人类，毕竟到此来过。 to revival. Someday mankind will disappear and the earth will be 在这片复生林当中，横贯着一组巨大的水泥管道和插入大地的水泥和砖 covered by forests. But intelligent human beings have once been here after all. 制的箭头及废旧老雕花木材制压路机，这管道象征了全球一体化的工业 In this forest, we can see huge cement pipes inserted into the 影像，压路机和箭头显示人类超强的改变自然的能力。如今，这已成为 earth, bricks made of carved wood and the old system rollers. They 一道道亚洲国家发展中标准化的集体记忆。似曾相识的巨大水泥管道吞 symbolise the global integration of the industry. The rollers and 嚼着各种被解体的历史遗物。这汹涌澎湃的大变局的原动力来之何处？ arrows show people’s supernatural ability to change. Today, it has become the standardised collective memory of Asian countries in 我们又如何应对？因此，这组作品不仅限于展示，我们希望它成为亚洲 development. The huge cement pipes swallow the historical relics. 艺术家与社会互动事件式的交流场。我们将在现场写生这重组的复生树 What is the driving force behind the big change? How do we respond? 林景观。我们将讨论在全球一体化的现状下如何保持地域文化。我们希 This group of works is not only for exhibition. We hope it can be a forum for the Asian artists to interact.We will sketch this forest 望人类过去的经验能通向未来。我们由衷希望人类的智慧与自然共生的 landscape. We will talk about how to maintain the regional culture in 森林能遍及大地。 the era of globalisation.

室内的装置是在废弃的橱柜内装上动力齿轮，城市模型景观时隐时现。 The indoor installation is powered gear built on a disused cupboard showing the city landscape model. All the wood cabinets exhibit the 橱柜所有面描绘复生树林的写生和用废弃材料粘帖制作的树林。室内模 paintings of the rebirth of forests and woods made waste materials. 型景观与室外的水泥管道箭头形成互动联系，复生林木在橱柜上的画面 The indoor model interacts with the cement pipes and the woods on 也是室外广场上大片树林的又一次强化显现。 the cabinet strengthens the forests on the outdoor plaza.

Maybe we will never understand life energy and physical energy. Yet 生命能量与物理能量的显隐也许是我们永远无法知情的天机，但永恒的 the eternal truth will exist in a leaf. This We sincerely hope that human 真理也会在一片树叶中存在。这正是让我们心领神会万事奥秘的机缘。 intelligence can symbiosis with nature

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又是森林遍大地（局部三） 装置 100cm×96cm 2015 Once More with Forest（Detail Ⅲ） installation 100cm×96cm 2015 又是森林遍大地（局部四） 装置 50cm×82cm 2015 Once More with Forest（Detail Ⅳ） installation 50cm×82cm 2015

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这个作品中，郑锦衡改造了一些健身设备，有些甚至直接将假的人头安 In Fitness Guide, Jeong modifies a series of exercise machines — in

装到设备上，在现场表演时，她会激活所有设备。她的动作和她制作的 some cases, crudely grafting prosthetic heads onto the equipment —

雕像不仅作为表演的辅助道具，更是成了表演的一部分。在表演的开头， which she activates in durational performances. Jeong’s performance and sculptures function not only as props or auxiliary vestiges of a 郑锦衡跟平常一样使用健身设备，慢慢地，她的动作逐渐变得妖艳，狂 primary performance, but as performance itself. The performance 热甚至变得不受控制。当有益健康的健身动作变为癫狂的激烈摇摆时， begins with Jeong using the machines in routine ways; gradually 她拼命地加大动作幅度以求跟上健身设备的节奏，最终失去了对身体的 her movements transform into erotic, obsessive, and antagonistic 控制。 actions. As Jeong’s gestures morph from a salutary caress to feverish

gyrations, she desperately attempts to consummate her movements in

sync with the machine, to give herself over.

健身指南 装置和影像 尺寸可变 2011 图片版权 © 2015 纽约新美术馆影像档案截图 Fitness Guide installation and video dimensions variable 2011 photo © 2015 still from video 108 documentati on filmed at New Museum, New York 109

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1130输出文件 画册最终版.indd 110-111 15-11-30 下午9:00 Views of Xiaoxiang also seeks to widen the gap between gender of the Eight Views of Xiaoxiang, which are an exemplary theme of

and its representation on the one hand and traditional East Asian the so-called “literati landscape painting”/“conceptual landscape

aesthetics and its epistemologies on the other hand, with the motif painting” tradition in the region.

郑恩瑛 siren eun young jung

此作品在《沈清歌》中分析了女性角色的刻画。《沈清歌》是朝鲜传统 Analyzing the ways in which women are represented in the Song of Sim Cheong, which

的“盘索里”（说唱曲艺）中现存的五个集锦之一，《沈清歌》改写并 is one of the five madang (cycles) of the traditional pansori (story-singing) of Korea,

颠覆了传统朝鲜故事中女性角色的多种典型特征。 this work subverts and rewrites several typical representations of womanhood in traditional Korean narratives. 《沈清歌》是在朝鲜族众所周知的故事。这首歌主要讲述了女主角孝顺 The Song of Sim Cheong is well known to Koreans as a tale of filial piety where 父亲的故事。女主角沈清的父亲双目失明，贫困潦倒。沈清得知僧人可 the eponymous heroine sells herself to Chinese merchants as an offering to the 以治愈失明，但需要三百石大米作为交换，于是将自己卖给中国商人作 rough seas in return for three hundred sacks of rice for Buddhist services, which 为平安渡海的祭品，换来的三百石大米交给僧人作为治愈父亲双眼的代 will miraculously give eyesight to her blind, old, widowed, and impoverished father.

价。故事最后，沈清来到祭祀的地方，在这里亲眼目睹了潇湘八景。在 According to this work, the protagonist reaches the location of her prospective death

沈清临死之际，中国历史上以跳江自尽坚守气节的忠诚良将和贞洁烈女 while sightseeing the Eight Views of Xiaoxiang. At this point, as Sim Cheong thus faces

纷纷出现在她的眼前，呼唤着她的名字，赞扬她的一片孝心。 her own impending death, the ghosts of loyal officials and virtuous women in Chinese

history, who threw themselves into the Xiaoxiang River to preserve their political and “潇湘八景”指的是中国湖南省潇水和湘江交接处附近的八个景观，南 moral integrity, appear before her, calling the heroine and praising her filial piety. 部靠近洞庭湖和零陵。关于潇湘八景的画作在公元 10 世纪的中国不断 The Eight Views of Xiaoxiang refer to the eight scenic spots around the junction of 增加，随后被引入朝鲜半岛和日本。从朝鲜王朝（1392-1910）开始， the Xiao River and the Xiang River in Hunan Province, China, near Dongting Lake and 潇湘八景成为朝鲜族绘画当地风景图时的经常借鉴的主题。尽管这八个 Lingling to the south. Paintings of these eight scenes developed in China around the 景观是实际存在的地方，在韩国和日本等受中国文化影响较大东亚国家 10th century and were subsequently introduced into Korea and Japan as well. In Korea, 中，潇湘八景仍被当做诗歌和绘画创作的主要意象，又被称为“最完美 the views became frequent motifs of landscape paintings in a completely native context

的风景”。正因如此，潇湘八景在《沈清歌》中也被作为是女主角沈清 starting in the Joseon Dynasty (1392-1910). Even though they are actual locations,

赴死的最佳地点。以残酷的死亡来证明沈清作为女儿的孝心，这种了结 these eight scenic spots came to be used often as motifs in poetry and painting in the

生命的方式在儒家思想里具有无比崇高的意义。 Sinitic cultural sphere in East Asia, including Korea and Japan, thus being interpreted

as scenes of the most ideal concepts. Indeed, as they appear in the Song of Sim 在《潇湘八景》这个作品指出，沈清这位女子必须遵循落后的传统道德 Cheong, the Eight Views of Xiaoxiang likewise are none other than sites of “ideal” death 标准和不切实际的道德观念，这无疑是一种文化上的暴力行为。另外， that urge one to represent the heroine’s impending and cruel death, intended to prove 潇湘八景是当地“文人山水画”和“概念山水画”的典型意象，郑恩瑛 her filial piety, as a death that is very significant and valuable in terms of Confucianism. 的《潇湘八景》旨在不断弱化性别与其特征的关联，以及疏远传统的东 While problematizing the violence of both conventionalized and traditional ethical 亚美学和其认识论之间的距离。 codes and ideal concepts that befalls a woman named Sim Cheong, the work Eight 潇湘八景 影像 21'00" 2015 影像版权 © 郑恩瑛 Eight Views of Xiaoxiang video 21'00" 2015 © siren eun young jung 112 113

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1130输出文件 画册最终版.indd 114-115 15-11-30 下午9:00 Modernity and the Holocaust, that the Holocaust is a ”rare, yet Many Europeans are now asking how neo—liberal societies

significant and reliable, test of the hidden possibilities of modern will survive current crises and how serious the threat from the

society." There is currently a fear of dystopia in Europe. The times European extreme right, with its nationalistic and even racist

of rapid economical growth and political freedom that pumped up movements, will be? And many Europeans — looking curiously and

especially after the fall of the USSR in the early 1990s have turned enviously at the blooming economies in the East — also wonder

into a decline of the economy and serious political conflict, as for what can be learnt from perspectives from the other side of the 扬·卡纳＋杰保·克努帝纳 example the Ukrainian war and a refugee problem from Africa. Silk Road. Jan KAILA ＋ Jarmo KNUUTILA

2014 年，两位芬兰艺术家，扬·卡纳和杰保·克努帝纳，创立了“诗 In 2014 two Finnish artists, Jan Kaila and Japo Knuutila, established the

意考古学”艺术研究项目。该项目现由瑞典研究委员会出资赞助，赫尔 artistic research project, Poetic Archeology. This project, now funded by the

辛基艺术大学主办，芬兰考古学家扬·法斯特也成了该项目的成员。 Swedish Research Council and hosted by University of the Arts Helsinki, also includes the Finnish archeologist Jan Fast. 诗意考古学以欧洲历史上最重要的战争冲突及与其相关的现象为研究对

象，如军事集中营和各种压迫手段。项目成员采取了多种艺术研究方法， Poetic Archeology deals with some essential European historical conflicts

包括历史材料的科学收集（如现场考古），搭建极具美感的艺术装置， and related phenomena such as military camps and modes of repression.

例如动态图像、声音、照片和由文本和物体组成的拼贴画。 The artistic research methods being deployed by the participants of the project vary from scientific collecting of historical material (as an example, 2015 年夏天，卡纳和克努帝纳开始进行研究项目的分支主题。他们游 archeological field work) to constructing installations based on aesthetic 历了德国和波兰，旨在记录纳粹集中营。他们在旅程中拍摄了六个集中 qualities within moving images, sound, photography and collages made up of 营的动态图像，并将图像制作成一部 30 分钟的公路电影。 text and objects. 集中营的最终结果是大屠杀。卡纳和克努帝纳启程时就意识到，对大屠 During the summer 2015 Kaila and Knuutila, as a sub—theme of their 杀的记录已经形成了一个“产业”：纪念和分析大屠杀现象的图书和电 research project, set out on a journey through Germany and Poland with 影成千上万。因此他们不打算再用同样的手法展示新发现的历史事实。 the intention of documenting Nazi concentration camps. The outcome of the 相反，他们感兴趣的是留存至今的集中营的象征和纪念功能，以及作为 journey — moving images from six different camps — is now presented as a 视觉图像和 / 或装置的集中营引起了何种与西方社会未来有关的问题。 30—minute road movie. 德国社会学家齐格蒙特·鲍曼在其影响深远的著作《现代性与大屠杀》 When starting out Kaila and Knuutila were conscious of the fact that the 中写道：“（大屠杀）是对现代社会隐藏的可能性的一次罕见但意义重大、 Holocaust — being the camps' ultimate consequence — has been dealt 真实可靠的测试。”近来人们担心欧洲出现反面乌托邦。经济飞速发展、 with on a level that is close to ”an industry”: thousands of books and films 政治自由的时代，特别是在 20 世纪 90 年代初苏联解体之后的时代已 have memorialized and analyzed the phenomenon. Therefore, Kaila and 经一去不复返了，取而代之的是经济衰退以及严重的政治冲突，例如乌 Knuutila did not have the intention to bring into light new factual information

克兰战争和非洲难民问题。 concerning the past as such. The artists have instead been interested in how

现在许多欧洲人都在深思新自由社会将如何渡过目前的危机以及欧洲极 the remainders of the camps today function as symbolical and monumental

右势力推行的民族主义甚至种族主义运动将给欧洲带来的严重威胁。还 representations and in what kind of questions the camps as visual ”images” and/or installations awake concerning the future of western societies. 有许多欧洲人对东方经济的蓬勃发展感到好奇并妒忌不已，同时他们也 诗意考古学 影像 30’00” 2015 Poetic Archeology video 30’00” 2015 在思考如何向丝绸之路另一端的国家学习。 The German sociologist Zygmunt Bauman states in his seminal book,

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1130输出文件 画册最终版.indd 118-119 15-11-30 下午9:00 讨女性的价值。跟朝鲜时代的女性不同，现在韩国的女性拥有了接 Auctor Mulieris, Korean alphabet that was used mainly by women during

受教育的权利，但是父权社会的痕迹仍残留于当今的社会中。我会 the Joseon Dynasty and lines from poems are visualized through video

通过媒介艺术的实验形式阐述历史上的女权运动，特别是女性劳工 projection, further expending the Digital Book Project in space and time. In my most recent work, BibliUnlike, women in the Joseon Dynasty, those 问题。我将收集女权运动的相关照片、视频和证词资料来进一步分 of Korea’s modern and contemporary age, have been given the rights to 析女性的意识觉醒及其发挥的革命性作用。通过把女权运动的资料 receive education. However, vestiges of the patriarchal society still remain 转化为电子图书，我希望能进一步思考女性给我们带来的文化历史 in today’s society. Concentrating on the history of the feminist movement, 遗产，并为后人创立一个具有启发性的愿景。在回顾当代女性恶劣 姜爱兰 Airan KANG especially female labor problems, I will address these issues through an 的工作环境和她们的真实生活的同时，我希望为未来的女性构建一 experimental form of media art. Otheca Luminosa—Cella Penthesilea

个蓝图，女权主义的抗争和社会的创造性变革将是其中的重要部分。 intends to deal with this subject in further depth. Focusing on the change of 我的作品主要研究书本的象征意义，书本在认识论和存在论两方面的重 My work has been delving into symbolization of books, their epistemological, 在这些过程的最后，互动的虚拟图书的信息完成了《电子图书计划》 awareness of females and their innovative roles, I will collect photographs, 要性，以及书本作为贯穿人类历史的信息和知识来源这一永恒不变的价 ontological significance and inalterable value as a source of information and 的最终目标。 videos, and testimonies regarding feminist movements. By transforming 值。在这个新纪元，书本不仅与阅读有关，书本更被视为与多感官共同 knowledge throughout human history. In this new era, books are not only them into digital books I intend to contemplate on the legacy of their associated with reading but also perceived synesthetically. In this context, the 产生作用。因此，《数字图书计划》的目的在于创造新的时间和空间感 cultural history and establish an enlightening vision for the future. While Digital Book Project aims to create new meaning of time and space reflecting 观，以表现我们在未来将面对的新纪元和新文化。《数字图书计划》以 looking into the life of female workers in contemporary society and the on the new era and its new culture that we will face in the future. The Digital 《虚拟图书》概念为基础，通过灯光照明效果使得书本在脱离物质实体 violent working environment for them, I want to draw up a blueprint for the Book Project is based on the concept of a virtual books that dematerializes 的情况下得到展示。《虚拟图书》的封面由模板铸成，内部安装照明灯 future of women with great anticipation for feminist resistance and creative and disembodies the materiality of books through lighting. As virtual books changes. Through this process, I want to emphasize the message of 光，与展馆内的视频投影同时放映，呈现出真实书店或图书馆的电子影 composed of transparent book covers cast from a mould and lighting installed interactive virtual books finally completing the meaning of the Digital Book 像，因此展馆也变为一个多感官体验的虚拟环境。这些《虚拟图书》在 from inside are arranged along with video projections displaying scenes of real Project. 2006 年发展为可互动的设备。《虚拟图书》更像是一种有触觉的数字 bookstores or libraries, the exhibition space is transformed into a synesthetic,

图书，读者只需轻轻触碰界面，图书文本就能投影到墙上。在 2009 年 virtual environment. These virtual books evolved into an interactive installation

创造的《最高点——书的空间》中，读者可以携带虚拟图书进入图书馆， in 2006. They were kind of tactile, digital books – when viewers touch them, texts are projected on the wall. In The Sublime – The Space of Book created 当读者踏进图书馆时，书中的无线射频识别感应器将激活图书的发音系 in 2009, viewers could take a virtual book into the library and as they enter, 统，从而开始朗诵书中文本。多种视听材料的同时放映，可以制造出非 a RFID sensor activated the sound of reciting the book’s contents. As various 线性的、灵活的和衍生的超文本效果。图书馆由实体空间变为异位空间， audio—visual materials are played simultaneously, a non—linear, flexible and 读者可以从中体验身体感觉的升华。在 2011 年《会发光的诗歌》中， derivative hypertext effect is created. The library is not just a physical space

十本发光的电子诗集为读者创造了一个虚拟的阅读环境，电子诗集的感 but now turns into a space of heterotopian experience, where sensation of

应器被激活后能发出朗诵诗集的声音，与读者产生切实的互动。近几年 the sublime is derived. In Luminous Poem, 2011, ten books of poems that are

来，我逐渐踏出西方读书文化的圈子，开始钻研韩国的历史和身份特征。 transformed into lighting books created a digital environment where the work

作为一名韩国女性，我关注重点也放在了朝鲜时代的女性诗人身上。这 interacts with viewers as the sound of reciting a poem is activated through

些女诗人是韩国历史上的先锋文人。对于在那个时代没有接受教育权利 a sensor. In recent years, stepping out of the western perspective on book culture, I have become interested in the history and identity of Korea. Especially, 的女性来说，诗歌无疑成为女性表达自身情感的唯一途径。我想从女性 starting from recognition of my own identity as a Korean woman, I have focused 的角度重新分析她们留给后人的文化遗产。在 《发光的图书馆——女 on female poets of the Joseon Dynasty who pioneered the cultural history of 性学者馆》中，朝鲜时代的女性使用的字母表和所作诗句都通过影像投 Korean women. For women of that era who were not allowed to learn, poetic 影直观地展现在观众面前，《数字图书项目》也从空间上和时间上得到 metaphor was the only way to express their feelings. I wanted to reinterpret 请回答 影像装置 ’ ” 尺寸可变 版权所有 首尔美术馆 延伸。我最近的作品《发光的图书馆——彭忒西勒娅馆》旨在更深入探 12 28 2015 ©2015 their literary legacy from a female perspective. In Bibliotheca Luminosa—Cella Re—Voice video installation 12’28” dimensions variable 2015 copyright © 2015 Seoul Museum of Art

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1130输出文件 画册最终版.indd 122-123 15-11-30 下午9:01 No, says the friend, much bigger, much bigger.

The frog says: 20 times the size. 乔布·科里唯京 No no, says his friend, bigger. 100 times the size of this water well ! Job KOELEWIJIN The friend says: you know that I will come back one day. The poor frog — his imagination was limited by his own limitations.

On the 1st of February 2006 I made the following statement: 如果不是先有内部成型，什么也不会产出来。 ——乔治帝诺布鲁诺 无功 Start reading books out loud everyday 45 minutes. One side of a cassette tape and then write down the date, the pages, title and 在这个世界上没有任何事物可以凭空创造，世界万物都是通过与反面对 另一件美好的事是我的记忆轨迹，从无形到有形。 author. 比来做评论。只有在我们这个时代，其向内和向外、精神和自然的平 每个人通透地都查看到我在过去九年中知识的成长。 If an idea in the beginning doesn’t sound silly, it doesn’t make 衡让艺术家来自觉地认识到这一古老的真理。 ——皮特·蒙德里安 sense. 这感觉就像是一个智慧的账户，试想一下，如果每个人都在积蓄知识的账 我们做出的选择就是对我们最好的定义。 ——广告词 Now more than 9 years have passed. One of the revealing 户，我们将拥有何等的文化。 things was that a mechanical decision does not necessarily lead to dumbness, and it feels as fresh and even better than in the 重复 故事： beginning. 从前有一只青蛙住在水井里，某天有个朋友去看他，跟他谈论起大海。 将你的声音记录于磁带中是一件美好的事情：你可以开始将它视为可以一 The other good decision was those 45 minutes. That is a nice time “等等！”青蛙说，“海有多大啊？” 遍遍重复的工具模型。对我而言，荷兰哲学家斯宾诺莎的著作在刚开始阅 span — everybody can do that. Nobody is going to read every day “猜猜呗。”朋友说。 读的时候是难以理解的，但只要你开始一遍遍缓慢地重复着，便很快地被 two hours out loud. 青蛙：“水井的三倍吧。” 他的世界所吸引而开始理解到字面之下更深层的含义。波德莱尔曾经说过： This is one of the things you can learn from Lao Tse. “噢，远远不止！！大多了！” 如果时间足够长久，只要你愿意反复理解一个词吟诵千百次，那个词将如 How many years does it take to adapt a mystical truth? 青蛙说：“那二十倍呗。” 朵花般盛开。 One of my favorite quotations from Lao Tse “不可能不可能，大多了！” Act without doing “一百倍！”青蛙说。 “算了，这样吧，我过几天再来。”朋友回答道。 Nothing can come out what hasn’t been first moulded from within. Work without effort 可怜的青蛙，想象力被自身所限。 —Giordano Bruno Another nice thing is my Memory Loci. The intangible has turned 在 2006 年 2 月 1 日我发表以下声明：每天开始朗读书本 45 分钟。录好 Nothing in this world can be conceived in or by itself. Everything into the tangible. 盒式磁带的一面然后记下日期、页码、标题和作者。 is judged by comparison with its opposite. Only in our time with its Everybody can check the transparency of my intellectual being maturity and growing equlibrium between the inward and the outward, from the last 9 years. 如果在一开始这个想法听起来并不傻，它没有任何意义。 the spiritual and the naturel, has the artist come consciously to recognize this ancient truth. —Piet Mondriaan It feels like an intellectual account. What kind of culture would we 现在已经过去了九年。其中一个发人深省的东西是一个机械的决定并不一 have if everybody was obliged to have an intellectual account? Nothing defines us like the choices we make. —Quote from an ad. 定让人变傻，而且感觉新鲜，甚至比开始的时候更好。 Repetition

另一个好决定是 45 分钟。这是一个很好的时间跨度 — 每个人都可以做 The nice thing about having your voice on a tape: you can start to Story : 到这一点。没有人每天大声朗读 45 分钟。 use it as a tool for example by repeating it over and over again. There was a frog who was living in a water well. On a certain In my case the writings of the Dutch philosopher Spinoza are on 这个你可以跟老子学。 first hand difficult to comprehend, but if you start repeating them day a friend visited him, and this friend begins to talk about the ocean. slowly you become absorbed in his universum and you begin to 需要多少年才能适应着超凡的真实 Just a moment, said the frog, how big is the ocean? understand the profound meaning of his words. Baudelaire has said it a long time ago, if you want to understand a word, repeat it a 这是我最钟爱的来自老子的疑问之一 The friend says: Make a guess. The frog says: 3 times the size of this thousand times, then the word will open as a flower . well . 无为

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1130输出文件 画册最终版.indd 124-125 15-11-30 下午9:01 —

释放 1 装置（木板，书和录音带 录音时间：2006 年 2 月 1 日—2009 年 3 月 24 日，712 小时） 140cm×200cm×30cm 2011 Relief 1 installtion (wood, books and cassette tapes, 712 hours, registration: 1 Feb 2006—24 Mar 2009) 140cm×200cm×30cm 2011

释放 2 装置（木板，书和录音带 录音时间：2009 年 3 月 25 日—2012 年 1 月 6 日，774 小时） 140cm×200cm×30cm 2012 Relief 2 installtion (wood, books and cassette tapes, 774 hours, registration: 25 Mar 2009—6 Jan 2012) 140cm×200cm×30cm 2012

126 127

1130输出文件 画册最终版.indd 126-127 15-11-30 下午9:01 梁美萍 LEUNG Mee Ping

这是一个从 2005 年至 2015 年的长期录像装置项目。由香港出发，及 This is a long—term video installation project from 2005—2015. The

至其他亚洲城市如北京、上海、深圳、卡拉那西、新加坡、曼谷、东京、 works cover various cities, starting from Hong Kong, then other Asian

峇里、仰光、香港、胡志明市、首尔、金边、哥伦坡、马尼拉、吉隆坡、 cities such as Beijing, Shanghai, Shenzhen, Vanarasi, Singapore, Bangkok, Tokyo, Bali, Yangon, Hong Kong, Ho Chi Minh, Seoul, Phnom 台北、澳门、乌兰巴托等等，至今共 26 个城市。有关我在这些城市近 Penh, Colombo, Manlia, Kuala Lumpur, Taipei, Macau, Ulaanbaatar, 距离跟踪一位流浪汉无目的地游离街上，透过亚洲的全球化——异中存 etc., now up to 26 cities. It is about closely surveying and following 同，检视其个人身影和其城市环境的面貌。 a complete wanderer, wandering aimlessly in streets, through his/

透过某个人的平凡生存场景，微观亚洲城市。我被流浪汉带往不能预知 her long feature to reveal the current scene of a city around his/her

的城市空间，它们的快速发展、有国无家、新科技面对的传统宗教信仰、 own life under Asia’s influence of globalization — sameness within

游客城市和后资本物质的地方、个人的归宿感。街道浪荡的背景比照了 differences.

科技和传统、民族和个人、时代速度和个人步伐等的指涉。 Through an individual probing into the ordinary life of a lone figure on

the micro—views of Asia’s cities, I surveyed a person wandering but

also leading others through the streets in a city. It appears that I am

secretly investigating a person who has no fixed place in the city, a

vastly developing city, a city with homeless people and nationalism, a

city with new technology in what once was a traditional religious haven

— a material world that recently has become capitalist.

乡关何处 影像（12 部影像作品同时播放） 2005—2015（这是一个从 2005 年至 2015 年的长期录像装置项目） Out of Place video installation (12 videos running simultaneously) 2005—2015 （This is a long—term video installation project from 2005—2015) 128 129

1130输出文件 画册最终版.indd 128-129 15-11-30 下午9:01 乡关何处 影像（12 部影像作品同时播放） 2005—2015（这是一个从 2005 年至 2015 年的长期录像装置项目） Out of Place video installation (12 videos running simultaneously) 2005—2015 130 （This is a long—term video installation project from 2005—2015) 131

1130输出文件 画册最终版.indd 130-131 15-11-30 下午9:01 林宏璋 LIN Hongjohn

林宏璋的作品一直对历史与事实进行症候式的阅读，以显示复杂的时代 Hongjohn Lin has been working on projects based on symptomatic reading of

性。他以类似博物馆的陈列形式让不可能并置的声音、影像、物件显示 histories and facts in order to reveal the complexity of our times. Always focusing

出现实的幻境。作品通过穿插古代与现代、原始与文明、真与假去捕捉 on the fantasy aspect of reality, Lin works in the fashion of museum display in combining the seemingly impossible juxtaposition of sights, sounds, and objects. 飞逝的历史瞬间。如同他之前的作品——《MOGP》，该作品是基于 His work creates a secret path in linking the ancient and the contemporary, the 撒玛纳扎的一本虚构的书来创作的，书中萨玛纳扎甚为“有理有据”地 primitive and the civilized, the truth and falsity to capture the fleeting moment of the 捏造出了一个与文明的西方相对的野蛮他者的故事。 historical perverse. One of his previous projects, MOGP, was based on the writings

《世界见闻录（后马可·波罗）》作为延续此脉络的新作，旨在展示全 of George Psalmanazar in telling the fantasy of the savage other from the western

球范围内都市化的影响以及人类的生存条件。作品中，摩天大楼与马 Enlightenment where rationality was instrumentalized as a fictional narrative.

可·波罗在书中描述的杭州的自然环境并置在一起，投射出一个有深度 In this vein, The Description of the World (After Marco Polo) was commissioned

的关于欲望的社会历史维度。不管马可·波罗的旅行是否属实，但他在 in determining the effect of global urbanization and human living conditions.

书中所记述的城市空间的初始图景及对未来经济繁荣的向往，却在西方 Juxtaposing an image of high—rise buildings in a natural surround as a gaze with

现代化进程开始之前就被描绘出来的。作品中并置的幻见及当代现实所 the texts reading from Marco Polo’s description of Hangzhou, an unfathomable socio—historical dimension of desire was shown. Whether Marco Polo’s travel was 展现的千年历史纵深，也许就是马可·波罗因其夸饰言谈被称作“百万 true, a nascent picture of the urban space was drawn and henceforth the desire 先生”的原因之一吧。 for future prosperity was projected before the real modernization took place in the

此项目旨在探究东西方间知识的生产，同时也揭露了历史也可以是虚构， West. The historical dimension revealed through a millennium to link the fantasy to

也可以包含许多虚妄的“事实”。作品将当代现实与虚构历史并置联系， the contemporary reality is a reference to Marco Polo’s nickname, Il Milone on his

用“亚洲时间”来校准“世界时间”，更为重要的是，揭露了在许多不 hyperbolic talks.

同的描述中对他者的政治经济的虚构。 The project set out to investigate the knowledge production between East and West,

and the history can be a form of fiction where different temporalities can be invented.

Many connections of the present facts and the past fictions were established, in

order to recalibrate the standard World Time in response to the Asian one, and much

more importantly, the political economy of the other articulated differently in many

guises.

世界见闻录（后马可波罗） 双屏录像 10' 2008—2015 The Description of the World (After Marco Polo) Two channel videos 10' 2008—2015

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1130输出文件 画册最终版.indd 132-133 15-11-30 下午9:01 世界见闻录（后马可波罗） 双屏录像 10' 2008—2015 The Description of the World (After Marco Polo) Two channel videos 10' 2008—2015

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1130输出文件 画册最终版.indd 134-135 15-11-30 下午9:01 刘 越 LIU Yue

苏州地处江南吴地 , 自古以来“信鬼神 , 好淫祀”, 民间信仰兴盛 。仅 Suzhou is located in southern Wu. Since ancient times people tended

以苏州府治为例，据晚清《苏州府志》统计，长元吴三邑坛庙总计 199 to believe in ghosts and the illicit worship, and folk religion flourished.

座。再有广布于乡间村落未被列入府志的小庙，其数量之多令人瞠目。 According to the Suzhou Archive and Statistics in the late Qing Dynasty, a total of 199 temples were in the region. Moreover, many 神灵体系也是多种多样，既有观音、如来、玉皇大帝、元始天尊，也有 village temples were not even included in the record. That number was 各地普遍存在的守护神，如土地、城隍、路神、灶神等，更多的则是洋 frightening. The gods system is quite diverse, including Guanyin, the 溢着浓郁世俗气息的土神，如刘猛将、金总管之属。这些遍布于乡村田 Tathagata, the Jade Emperor, Primus and the patron saints such as 野不合官方正统的祭祀崇拜对象、场所及活动（即淫祀、淫祠），体现 God of Land, Cheng Huang, God of Road and God of Kitchen. Many had

了苏州民间信仰的丰富与多元，在民众生活中扮演了重要角色，显示了 a strong secular flavour such as Warrior Liu and General Jin. Those

苏州地区民间社会所具有的巨大活力与能量。 illicit worships in the rural areas (the objects of worship, location and

activities) showed the diversity of folk religion and played an important 新中国成立，破迷信立新风，特别是经过“文革”，宗教和民间信仰荡 role in people's lives. It is a demonstration of vitality and energy of the 然无存。改革开放以后，随着正统宗教的恢复，民间信仰也开始抬头。 civil society. 在苏州工业园区这个中新两国政府合作开发的现代化城市中，就有萨满 When PRC was founded, the superstitions were torn down, and folk 教式的原始宗教和巫术根植在当地土著居民的生活中。影片《土地公公》 religions were almost gone after the Cultural Revolution. After reform 记录了一些失地农民在土地庙里的活动，这种场面和现代都市的气息格 and opening, the official religions were restored along with the folk 格不入，荒诞不经，然而又是这样的真实。作者试图通过展示这种戏剧 religions. In Suzhou Industrial Park, a partnership between China 化的场面，揭示在文明化过程中，信仰文化的滞后、自律和不可控性。 and Singapore government, the primitive shamanistic religions and

witchcraft were rooted in local indigenous people’s life. The film God

of Land recorded the activities of landless peasants. It is absurd and

yet so real. In those dramatic scenes, the author tried to show how

religion can’t be controlled and how secular it can be in the process of

civilisation.

土地公公 影像 11'58" 2015 136 The Local God of The Land video 11'58" 2015 137

1130输出文件 画册最终版.indd 136-137 15-11-30 下午9:01 土地公公 影像 11'58" 2015 138 The Local God of The Land video 11'58" 2015 139

1130输出文件 画册最终版.indd 138-139 15-11-30 下午9:01 骆佩珊 Susan pui san LOK

此项目始于2005年，作品形式涵盖专题展览、现场活动、广播、出版物等， Golden (2005-) is the rubric for an ongoing multi-stranded project, featuring

通过影音、装置作品、表演以及文字来展现。作品包括《远景》《歌曲》《流 exhibitions, live events, radio broadcast and publication, and a series of works across video, sound, installation, performance and text. These include Vistas 年》《课程》《笔记》，曾在英国的比肯斯菲尔德、曼彻斯特的中国艺 (2005), Songs (2005), Years (2006), Lessons (2006), Notes (2007), previously 术中心举办过个人展，在蒙特利尔跨文化艺术中心开展研讨会及表演。 presented through solo exhibitions in the UK at Beaconsfield, London and the Chinese Arts Centre, Manchester (2006) and a workshop/performance at 此作品始于 20 世纪中后期对中国流散经验的叙事、美学和诗学的探究。 Montreal Arts Interculturels (2014). “怀旧”情绪被想象为一种得以在空间和时间中穿梭行进的工具（而不 Golden began as a speculative enquiry towards an alternative narrative, 是一种表现方式），而各种形式的“闲适”又汇集一处、展现出流动性 aesthetics and poetics of Chinese diasporic experience in the mid to late 的愿望。若将香港、英格兰、旧金山的空间和时间的三角形，引出流行 twentieth century. ‘Nostalgia’ is imagined as a vehicle for navigating place and 文化的同时效应，那么当方逸华的《中西名曲》遇上维克多·西尔维斯 time(against the ‘nostalgic’ as a mode of representation), while various forms of

特的《管弦乐队》时，就像是粤剧遇上了交谊舞。 ‘leisure’ converge to articulate aspirations of mobility.Triangulating the spaces and temporalities of Hong Kong, England and San Francisco, and invoking the 金属箔条的幕布略过地板，光影点点闪烁，多孔的墙面划分出了一个可 simultaneity of popular cultures, Mona Fong’s East Meets West cuts to Victor 渗透的空间：它是一个临时的空间，轻轻摇曳，悬于半空。《黄金》欢 Silvester’s Orchestra, as ballroom dancing meets Cantonese opera.

迎律动和思考——伴随着《黄金时刻》无尽的压缩配乐，你可能可见或 Curtains of metallic foil strips shimmer and skim the floor, a series of porous

是不可见，你可以舞动或是观看。配乐是一曲永不间断、临时拼凑的“舞 walls demarcating a permeable space: a temporary place, swaying lightly, in suspension. Golden invites movement and reflection – you can be visible or 蹈和梦想之旋律”，使用的是艺术家父母所收藏的黑胶唱片，在每一曲 invisible, dance or watch, accompanied by the compressed soundtrack of an 的小节间音乐则会加快。滤光器在整个空间投射出柔和的玫瑰色（据制 endless Golden Hour – a non-stop, makeshift medley of “melodies for dancing 造商描述，这种光线适合营造夜晚般的氛围），进一步改变了我们对时 and dreaming, ”accelerating through the opening and closing bars of every

间流逝的感知。 track in the artist’s parents’ vinyl record collection. Lighting filter casts a soft rose tint throughout the space (“good for emulating evening, ”according to the 而在别处，《歌声》在楼梯间回响，简短的插曲由《黄金》的歌词片段 manufacturers), further altering the sense of time passing. 所构成，时而哀伤，时而欢快，时而充满渴求。在 2005 年的《歌曲 I》 Elsewhere, Songs echo in the stairwell – short audio interludes comprising sung 《歌曲 II》《歌曲 III》以及 2014 年的《歌曲 IV》之后，首届亚洲双年 instances of the lyric ‘golden, ’at turns plaintive, joyful and wistful. Following

展暨第五届广州三年展的参展艺术家和策展人也推荐了《歌曲》系列的 Songs I, II, III (2005) and Song IV (2014), participating artists and curators of the 1st Asian Biennial and 5th Guangzhou Triennial have nominated further tracks 第五部作品。 towards the creation of a new Song.

金色 装置 尺寸可变 2006-2015 140 Golden installation dimensions variable 2006-2015 141

1130输出文件 画册最终版.indd 140-141 15-11-30 下午9:01 娜丝琳＋巴巴克 Nasrin ＋ Babak

此作品在霍尔木兹海峡拍摄。此海峡，无论是历史上还是地理上，都是 Plate It With Silver is shot in the Strait of Hormuz, a historically and

波斯湾区域重要的流通和通商通道。这部影片通过视频和音频记录了艺 geopolitically significant passage and trade route in the Persian Gulf. The

术家在此海峡沿岸和港口城市的遭遇和经历。影片中，海峡南北之间的 film follows a parallel flow of video and audio recordings captured during the artists’ encounters along the shores and port towns of the Strait. In the 走私活动，主要是家用电器、服装和烟草，作者发现在海湾地区，依然 film the traffic of smuggled goods between the north and south of the Strait, 信奉一个古老的宗教。此教派认为从周围的土地和水，甚至来自遥远的 mostly of household electronics, clothing and cigarets, is juxtaposed with an 东非海岸，身体会拥有某种“风”；而这个教派的渊源可以追溯到远古 old cult of spirit possession still practiced throughout the Gulf. In this cult 的贸易通道。当满足他们（神灵）的要求时，就可以安抚这些“风”， bodies are believed to become possessed by certain ‘winds’ that come from

之后，它就会停留在拥有者身上（祭师），从而使他 / 她成为“空气人” surrounding lands and waters, some as far as the eastern coast of Africa,

的一员。影片将这个秘密的或者不可言明的微细网络联系到现有的海湾 going back to the deep trade routes. Meeting their demands will often pacify

地区的地理和历史的构成，一个通过多种非官方的物质和非物质的交流、 these winds who then stay inside the possessed subject for life, making him

行为、实施和运动都可能发生的事实。 or her a member of a community named the “air people.” The film connects these practices in that they broach a clandestine or unworldly micro network 影片的中心是藤棍镀银工艺工作作坊的详细过程。藤棍通常被用为该教 into the existing geopolitical and historical configuration of the Gulf, a 派在风和其拥有者之间的冥想媒体，而风决定了每个电镀的细节。通过 network through which various unofficial material and immaterial exchanges,

对熔化、锤击、打扁和雕刻到镀银，这个冗长的对银的吸收或其物质的 conducts, embodiments and movements can take place.

价值过程，展现了那些和风的世界相联的无形魔力。如果非法的物质交 Central to the film is a long sequence at a silversmith’s workshop which

换处在世界的阴暗面，这个风的“炼金术”将这个贸易体系和其地理残 follows the plating process of a rattan stick. Rattan sticks are often used

酷性转化成可以协商的元历史和效应。 during the healing rituals of the possession cult as a mediating device between the wind and the possessed, while it is the wind that defines the

details of each plating. By depicting the melting, hammering, flattening

and carving of silver all the way to the plating of the rattan stick, this

sequence demonstrates the absorption of silver or its material value into

the immateriality of magic where it obtains other properties associated with

the world of the winds. If illicit exchange of material goods operates on the

dark side of the global market, the ‘alchemy’ of wind possession transmutes

this economy and the cruelty of its geography into a meta-historical site of

negotiable arrangement and effects. 镀银 影像 00’34” 2015 沙迦艺术基金会共同委托制作，SB12，2015 年 Plate It With Silver video 00’34” 2015 Co-Commissioned by Sharjah Art Foundation, SB12, 2015 142 143

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1130输出文件 画册最终版.indd 144-145 15-11-30 下午9:01 marine century.On the way of pursuing the Chinese dream, a historical opportunities of globalization. When we visit the Palace great revitalization of the Chinese nation,the remarkable blueprint of the imperial concubine built by Zheng He and the Port of Liu He of ‘‘the Belt and Road’’ is the essence of the strategic wisdom town,we can admire the ‘‘Maritime Silk Road’’ of the past and the of the Chinese nationand adapts perfectly to the strategy of the present.It has profound significance for the joint development of national development.Becoming a maritime Power is essential the international economy and humanity, as well as for the ‘‘Asian for the realization of the Chinese dream and the sharing of the time’’. NC 小组 NC Group

21 世纪是海洋的世纪，海洋成为 21 世纪人类发展的主要问题和经济发 The 21st century is a marine century where the ocean has become an essential

展的重要动力。中华先民有着悠久的开发海洋的历史，最早可以追溯到 subject regarding the development of the human kind, and an important driving force of the economic development.China has a long history of exploring the 春秋战国的齐越时期，随着隋唐海上丝绸之路的兴起，宋元时海外贸易 sea,which can be traced back to Qi and Yue during the Spring and Autumn and 是我国海洋文化发展的重要时期，明代的郑和七下西洋更是把我国航海 Warring States Period.In Sui and Tang dynasty, Sui and Tang Maritime Silk Road 活动推向了高峰，他代表了我国传统海洋文化发展的最高水平，为我们 began to spring up.Then in Song and Yuan dynasty, the overseas trade marked

提供了一个透视古代中国海洋文化的盛景。 an important step of the marine cultural development of China.Later, in Ming Dynasty, Zheng He's seven marine expeditions culminated Chinese marine 郑和自公元 1405 年始，从太仓的刘家港起锚，在二十八年间先后 7 次 activities.Zheng He’s expeditions represented the highest level of the traditional

率领两百多艘海船，2.7 万多人穿越岛屿众多的南海和马六甲海峡，途 marine development of Chine,providing us with a perspective of the marine culture of ancient China. 经爪哇 、苏门答腊 、苏禄、 彭亨等 30 多个国家与地区，完成了横跨

印度洋的壮举，最远抵达东非 、红海等地区，为“海上丝绸之路” 的 Since 1405,Zheng He set sail from the Port of the family Liu, in the city of Taicang,and led for 7 times more than 200 ships in total with more than 创立付出了天才般的想象和宝贵的生命。郑和下西洋是中国古代规模最 27,000 people aboard over 28 years across the South China Sea and the 大、船只最多、海员最多、时间最久的海上航行，比欧洲国家航海时间 Strait of Malacca, by way of more than 30 countries and regions such as Java, 早几十年，掀起了近代世界大航海时代的序幕，开辟了从中国经印度洋 Sumatra, Saltanah Sulu, Pahang.He accomplished the voyage across the

直通西亚和非洲东海岸的远航记录，塑造了中国海洋文化的新形态，构 Indian Oceanand reached as far as the East Africa and the Red Sea.Zheng He contributed his genius imagination and his entire life to the foundation of 筑了朝贡和贸易体制的新变化，强化了文化与政治外交的目的，履行了 the ‘‘Marine Silk Road’’.Zheng He’s 7 expeditions represent the sea voyage in 高度的海权实践。这样的实践亦与同时期西欧的探险家哥伦布、达·伽 ancient China with the largest scale, leading the largest number of ships and 马、麦哲伦相继进行的远洋航行同处世界大航海时代、面临共同的历史 sailors, travelling for the longest time.His expeditions turn out to be earlier

机遇。当下中国面对新兴的海洋世纪，在谋求中华民族伟大复兴中国梦 than the European countries for decades,initiating the Age of the Exploration all around the world,creating the sailing record from China to the West Asia and 的进程中， “一带一路” 这一宏伟蓝图充分凝结了中华民族的战略智慧， the East coast of Africa by way of the Indian Ocean,portraying a new form of the 全面契合了中国国家发展大战略，向海洋强国进发已成为铸造中国梦、 marine culture of China,building a new change in the tributary and commercial 共享全球化历史机遇的又一重要时刻。当我们拜谒郑和建造的天妃宫和 system,reinforcing the diplomatic purposes in culture and politics,completing 郑和七下西洋宝船 浏河港，进而展示出古今“海上丝绸之路”生动的场景，这对今日世界 the practice of the maritime sovereignty. Treasure fleet of Zheng He’s 7 expeditions

经济人文的协同发展具有深刻地现实意义，对于“亚洲时间”而言更是 Such a practice, as well as the expeditions of European explorers Christopher Columbus and Fernando de Magallanes, marks the Age of Exploration and 意味深远。 faces the common historical opportunities.Nowadays, China is facing this

郑和七下西洋 影像 05'17" 2015 Zheng He’s 7 expeditions video 05'17" 2015 146 147

1130输出文件 画册最终版.indd 146-147 15-11-30 下午9:01 郑和建造太仓浏河天妃宫门楼 Gate tower of the Palace of the imperial concubine built by Zheng He, at Liu He town, in the city of Tai Cang

郑和七下西洋 影像 05'17" 2015 郑和七下西洋起锚地：太仓刘家港（今太仓市浏河镇港口） Zheng He’s 7 expeditions video 05'17" 2015 Port where Zheng He weighed anchor for his 7 expeditions:Port of the Family Liu, in the city of Taicang (Port of Liu He town, in the city of Taicang)

郑和建造太仓浏河天妃宫 Palace of the imperial concubine built by Zheng He, at Liu He town, in the city of Tai Cang

郑和七下西洋 影像 05'17" 2015 Zheng He’s 7 expeditions video 05'17" 2015 148 149

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《双重时间》NO.2 展示了在俄罗斯文化直接影响下的北京文化场所的 The work Dual Time No.2 can be regarded as a panoramic view of the

全景图。注重当代艺术理念与语境中混血社会的现状，揭示了全球金融 recreational facilities in Beijing that are under the direct influence of Russian culture. It focuses on the conception of contemporary art 危机中多种文化的重叠过程引发出的特殊现代性。《双重时间》以纵深 and the current situation of a mixed-race society in the context, and 的视线，展示当下都市文化的一个侧面，以仰视的视角、穿越灯光下正 reveals the special modernity generated in the overlap of various 在发生的景观世界、折射出世间的光怪陆离、五彩斑斓……整个系列作 cultures during the financial crises. Also, it describes one side of the 品引领人们的视线进入一个具有仪式感的光韵与镜像世界 , 把匿名性的 urban culture through deep insights, and reflects from an upward view 悸动推向无可预测的“放掉与再拾起……”的行程，重新启动——不可 the fantasies and diversity in the current world. The whole series of

复制的和可复制的幻异未来。 the work brings the audience into a ritualized mirror world of light,

pushing the anonymous sensation into an unpredictable re-making

and initiating a vision of the future - the (un)duplicable fantasy.

《双重时间》NO.2 系列四 200cm×120cm 布面油画 2015 150 Dual Time NO.2 Serie IV 200cm×120cm oil on canvas 2015 151

1130输出文件 画册最终版.indd 150-151 15-11-30 下午9:01 《双重时间》NO.2 系列三 200cm×300cm 布面油画 2015 Dual Time NO.2 Serie III 200cm×300cm oil on canvas 2015

《双重时间》NO.2 系列二 250cm×440cm 布面油画 2015 Dual Time NO.2 Serie II 250cm×440cm oil on canvas 2015

《双重时间》NO.2 系列五 200cm×120cm 布面油画 2015 《双重时间》NO.2 系列六 160cm×120cm 布面油画 2015 《双重时间》NO.2 四屏之一 影像 05’19” 2015 Dual Time NO.2 Serie V 200cm×120cm oil on canvas 2015 Dual Time NO.2 Serie VI 160cm×120cm oil on canvas 2015 Dual Time NO.2 one of four projecting images, as a whole screening video 05’19” 2015

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1130输出文件 画册最终版.indd 152-153 15-11-30 下午9:01 imagery or visual narrative. As I work, I too undertake a visual journey, sometimes beyond my immediate understanding. It is a dialogue between chosen or The continuous shape of each book challenged me to devise given materials and the mind. Consciously and to a greater degree compositions that mirrored that shape in a consistent but visually subconsciously in a moment of grace — and many, many more adventurous way. Working on each double-page spread, new of hard graft-forms surface from within, pregnant with passion, figurative elements seemed to surface intuitively, revealing new through a process of the slow and slower filtration of surprise. possibilities of narrative, by manipulating outlines, volumes, Over six decades of dance with life, from within me my visual textures and colour densities on each page. Viewers may bring thoughts, ideas and concepts have surfaced in a wide variety 萨利姆·阿里夫·夸德里 their own reponses to this narrative, depending on the point which of media, shaped by the emotional and physical environment they start from, as they hold the book in their hands. Furthermore, of family, my parent’s priceless love, deep friendships, the each slipcase and book cover are embossed with titles in circular magnificent Indian sub-continent and its colours and cultures, the Saleem Arif QUADRI form on both sides, enabling them to be deciphered from any women in my life and much, much more. angle.

1972 年以来，我一直在努力研读艺术家书籍，1980年到 1982 年期间， I have been working in the medium of artists' books since 1972, evolving

研读但丁的《炼狱》系列并结合了西方传统与伊斯兰信仰。我的早期画 towards the Dante’s Inferno series of 1980-1982, which holds the key to uniting Western tradition with my Islamic heritage. Subsequently, each of 作如 1991 年 6 月的《鸟园》和 1995 年到 1998 年间的《花园守护人》 my earlier paintings, such as Birds of Breath ,1991-6, or Guardians of the 都有自己独特的格式，与墙面交相辉映。格式、颜色、质地和组合的互 Garden, 1995-1998, had its own unique format, enhanced by its floating 动作为一个整体成为我视觉词汇的主要内容。 composition parallel to the wall surface. The interactions of format, 《无边界的书籍》系列串联起我在 2002 年到 2007 年期间的一系列手 colour, texture and the cut-out pregnant space within the compositions 稿：《调用》（沉思）、《星座》（感官）和《几何没有重力》（智力）。 as a whole remain primary elements in my visual vocabulary. 在《几何没有重力》中，可变的视觉节奏唤起结构天体的空间、天空的 The Books without Boundaries series took off from the series of 神秘和伟大的数学。当人走在太空中，科学和技术进步带来的失重运动 manuscript books I made from 2002 to 2007: Invocations (Contemplation), 将 360 度立体空间成为可能。随着电视媒体把这些搬上荧屏，我对这 Caressing with the Constellations ( Sensuality) and Geometry without 无涯荒野的挑战兴趣渐浓。 Gravity (Intellect). In Geometry without Gravity, variable visual rhythms

“只有当我们离开地球，才能感知空间”，俄罗斯至上主义者卡西米尔 are created for each scanning gaze, evoking structures in celestial

马列维奇如是说并对地球上立体主义的视觉空间提出挑战。《几何没有 space and the mysterious, magnificent mathematics of our firmament.

重力》是本一百多页连续图像的装订卷轴。《无边界的书籍》系列可横 When man walked in space, he expressed the ideas of weightlessness

向也可垂直，覆盖每个页面：读者可以选择任何顺序，影像或视觉叙述 in perpetual movement and in 360 degrees volumetric space, made

都是随机并连续流动。 possible by advances in science and technology. I felt challenged and drawn towards this unveiling of boundlessness, made visible through the 每本书的连续性使我设计的形状既一致，视觉上又足够新颖。每个跨页 medium of television. 里新的图形要素通过轮廓、卷、纹理和色彩密度直观地显现出来，使新 ‘We can only perceive space when we break free from Earth’, said 的叙述成为可能。观众无论从何开始，都能有自己的叙述和评价。每本 Russian suprematist Kasimir Malevich, challenging the earth-bound 书的封面都印有圆形的标题，使其能从任何角度解读。 visual space of cubism. Geometry without Gravity grew to over one 工作的过程也是视觉的旅程，有时出乎意料。它是材料和心的对话，更 hundred pages of continuous imagery, in book-bound format, to be 是下意识的艰苦努力，经过缓慢过滤形成部孕育的激情。六十年来我与 conceived as a scroll. The imagery in Books without Boundaries not 生活共舞，内心视觉的想法和概念多在媒体上有所表达。而这些想法来 only runs continuously horizontally but also vertically over the top and 自塑造家庭情感的因素，父母的爱、友谊、宏伟的印度次大陆的颜色和 under the bottom of each page: reading can be in any sequence one may choose, in an apparently random, but nevertheless continuous flow of 文化，以及我生活中的女性和其他。 菱形和洞，黑色梯形 装置 37cm×35cm×2cm, 打开尺寸 70cm 2012-2015 Lozenges & Holes, Black trapezoid shape installation 37cm×35cm×2cm, Open 70cm 2012-2015

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1130输出文件 画册最终版.indd 154-155 15-11-30 下午9:02 祈祷 （沉思） 印度布料 32.5cm×31.3cm, 打开尺寸 64cm 2002—2007 星群爱抚 水彩、水粉、墨水 32.5cm×31.3cm, 打开尺寸 64cm 2002—2007 Invocation (Contemplation) Indian cloth 32.5cm×31.3cm, Caressing with the Constellations watercolour, gouache, pen & ink Open 64cm 2002—2007 32.5cm×31.3cm, Open 64cm 2002—2007 无边界的书籍（系列）神话中的巨型书 纸本水彩、水粉、 金色叶片、 墨水 156cm×126cm×3.5cm 2014-2015 Books without Boundaries-The Mythical Giant Book Watercolour, gouache, gold leaf, pen & ink on paper 156cm×126cm×3.5cm 2014-2015

无重力几何学 纸本水彩、水粉、墨水 32.5cm×31.3cm, 打开尺寸 64cm 2002—2007 无边界的书籍（系列）形状交响曲 纸本水彩、水粉 26cm×76cm 2011—2014 Geometry with Gravity watercolour, gouache, Books without Boundaries (series) Symphonies of Shapes pen & ink on paper 32.5cm×31.3cm, Open 64cm 2002—2007 wwatercolour & gouache on paper 26cm×76cm 2011—2014

无边界的书籍（系列）龙形红书 水彩、 水粉、 银色叶片、 墨水 色彩作为内容 水彩、水粉、墨水 37cm×57cm×2cm, 78cm×78cm×4cm 打开尺寸 156cm 2015 打开尺寸 114cm 2014-2015 Books without Boundaries Red Book with Dragon Form Colour as Content watercolour, gouache, watercolour, gouache, silver leaf, pen & ink pen & ink 37cm×57cm×2cm, Open 114cm 78cm×78cm×4cm Open 156cm 2015 2002—2007

无边界的书籍（系列）双子（两本书） 纸本水彩、水粉 23cm×8.5cm×17.5cm, 2012—2014 无边界的书籍（系列） 双子（两本书），内页 Books without Boundaries (series) Twins (Double Book) watercolour & gouache Books without Boundaries (series) Twins (Double Book)，inside on paper 23cm×8.5cm×17.5cm, 2012—2014 多彩星球 36cm×28cm×2cm 张开尺寸 56cm 2010-2015 Books without Boundaries (series) Symphonies of Shapes 36cm×28cm×2cm, Open 56cm 2010-2015

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1130输出文件 画册最终版.indd 156-157 15-11-30 下午9:02 里拍摄的婚纱照，不再仅仅是记录，而成为美好的虚构。这种虚拟 photography and a film studio for Korean Soap Operas.

现实进一步发展，就会被应用于整个城市规划和建筑规划。 The town became a perfect background to project the imagination of a life somewhere else. The wedding pictures are not a 中国惠州复制的哈尔斯塔特小镇是将一个居民区域转型为现代主题 document, but a fiction. This fictionalized reality can be taken even further and applied to city concepts and architectural planning. 公园，一个极端乌托邦的无人区。 China’s Hallstatt is the residential area turning into a modern theme park, an ultra—utopia of no—man zone. 在当前全球化形势下，上述虚构的内容（指模仿、抄袭西方原作） Under the current effects of globalization the imaginary content 与其从殖民主义的角度理解，不如更多地考虑数字时代媒体和形象 can be considered less from a colonial perspective than from the influence of media and image production itself in an urbanism 制造所产生的巨大影响，也就是说，数字图像的复制、旅游业发展 of digital age, in which the digital image reproduction, effects of · 的效应以及大众媒体所产生出来的虚构内容都有助于打造一个虚构 tourism and fictionalized content from mass media all contribute 艾兰 日得 Ella RAIDEL to the imaginary realm today. 的世界。 The West manifests itself in a mediated mirror image. The cinematic images, and image culture as such, have infiltrated the 西方文化倾向于通过介导的镜像展示自我。电影图像以及此类以图 global world and are spreading from theme parks to real estate 纪录片《双喜》中，艾兰·日得将原作与复制品进行实验，并相应地将二者以 In Double Happiness, Ella Raidel experiments with the original, 像为特点的文化，已经渗透了整个世界。其影响已经从主题公园到 market and living conditions. faked and staged in response to the world in its image production. The theme park is much like a model itself replacing the real, or 影像形式呈现于世。参照 1965 年上映的《音乐之声》，本片以纪录片——音 房地产市场，并扩散到普通人的居住场所。 The film is shot in the fashion of a docu—musical with a reference even making it obsolete. Reality itself already becomes cinematic. 乐剧的方式拍摄。前者这部好莱坞影片讲述了在奥地利一处并不存在的地方发 to Sound of Music (1965), the Hollywood production of a non— 建设主题公园本身更像是取代现实场景，甚至淘汰现实场景的一种 生的故事。因这部影片的成功，奥地利萨尔斯堡也成了旅游胜地。 existing Austrian culture, which became a touristic hype in Salzburg. 模式。某种意义上，真实已然变为电影影像。 什么是原作已不再取决于传统或文化，而是取决于“如何表现”，或者说，如 The origin is no longer determined by tradition or culture, but 何自如地将从大众媒体视觉素材中收集而来的形象进行加工，演化为集体幻想。 rather by playing a role or even playing with images deriving from the archives collected from mass media visual footage as the 这种形而上学的维度只能通过自反性叙事模式体现，也就是将单纯叙事和模仿 collective fantasy.

叙事同时进行，并跨界于纪录片和小说两种表现形式。 This meta—political dimension can only be disclosed in a reflexive narrative mode that syncs the diegesis and the mimesis, crossing 这种表演的行为对于模糊小说与现实的边界至关重要。这个边界即是新的视角、 between the genre of documentary and fiction.

想法和知识产生的地方。上述的重现和表演行为把旧的重组变为新的视野，并 The performative act is crucial to reenacting to blur the boundary 确保将转瞬即逝的瞬间冻结，使其静止。 between the fiction and real where new perspectives, thoughts and knowledge depart. The reenactment and the performative act 城市和建筑、流行文化、理论、政治、社会变革和影像制造等元素交织而成为 are recompositions of the old into a new vision, to attend to the fleeting moments frozen in stills. 一种“介于中间”的维度，并以一种“互文”，即互相阐述、互相交错的形式 The in—between dimension woven by the urban and architecture, 表现出来。 pop culture, theory, politics, social change and image production 真实或虚构已然不重要。重要的是虚拟世界的生物圈对影像的认知和看法以及 is intertextually presented. 其在资本主义世界中的作用。 No longer is the matter either real or fictional, but the virtuality of biosphere in seeing the epistemology of the image production, the 中文里的“山寨”一词是指抄袭或假冒的产品或作品，是通过自我的世界观想 perception, and its effects in the capitalist globe. 象一个幻想中的真实世界。山寨的产品会对原作产生危害。 Shanzhai is the Chinese term for copying and counterfeit, which can endanger the real. It is to create the real world though fantasy 毋庸置疑，中国在很短的时间内经历了巨大的城市和经济转型，农田变为百万 for the Weltanschauung as the spectacle.

人居住的随意建造的城市。历史和记忆轻易地被忘却并被重写。 One can acknowledge the huge urban and economic transformation China has undergone only within a short period of time. Farmland 位于珠三角的城市惠州，新近建起了模仿奥地利山区美丽小镇的建筑群。而这 has been turned into cities for millions, built on non—sites where 只是中国房地产业发展过程中抄袭西方城镇的数例之一。 histories and memories can be easily forgotten and thus rewritten. In Huizhou, in the Pearl River Delta, stands a newly built replica of 惠州这个小镇是被规划为有着浓郁旧时欧洲风情的一个房地产项目。但在不到 an idyllic mountain village from Austria, just one example of many 一年的时间内，小镇就变成拍摄婚纱照的圣地，或者拍摄韩剧的电影工作室所 that copy Western places into China's real estate market. 在地。 The town has been planned as a luxury real—estate project boosting a mirage of an old European culture. But in less than 富有欧洲风情的小镇成为人们“生活在别处”这一美好愿望的绝佳投射。在这 a year the imitation town turned into the backdrop for wedding

158 双喜 影像 75’00” 2014 159 Double Happiness viedo 75’00” 2014

1130输出文件 画册最终版.indd 158-159 15-11-30 下午9:02 双喜 影像 75’00” 2014 Double Happiness video 75’00” 2014 160 161

1130输出文件 画册最终版.indd 160-161 15-11-30 下午9:02 Behind Jacques and Rola, two backgrounds alternate. Both present in the six languages she has learned and practices: Arabic, French, the slow history of construction and destruction of landscapes and English, Yiddish, Persian and Hebrew. Placed against the Ile Seguin’s environments. One is an aboriginal forest on a Canadian west coast transforming landscape – into whose black and white photography I have island, perpetuating its natural cycle for millenia. This is a life cycle inserted one or two translated lyrics – her singing – shifting between which is always excluded from the narratives of history. The other disparate languages and the deep, identifying resonances of their background shows the post—industrial landscape of an island west harmonics – offers an emotional and unique cultural experience. of Paris. Having once hosted the Renault automobile factories, the Île Seguin is central to the history of industry and labour but is seen here 艾斯特·莎莱夫—格尔兹 undergoing the process of transformation into a destination for leisure and culture. Esther Shalev—GERZ Accompanying the projection is a sound installation. Rola sings six songs

这两个项目展示了我对艺术领域最为关注的地方：关于双的主题、对偶、二元性和 In these two projects I am forefronting a notion central to my practice: 在接近并塑造观看者想象世界时所展现的可能性。 the theme of the two, the double, duality and its potential to open vast and complex new constellations in approaching and constructing the other in the 《潜在的信任》旨在挑战二元性的复杂性、潜力性和实在性。在一条黄线的两边有 imagination of the visitor. 两只锤子在交替地以相同速度运动，一只对钉子做钉钉运动，而另外一只则对同一 Potential Trust confronts the complexity of duality, potentiality and 枚钉子做撬钉运动。这个霓虹灯装置使人们去思考永恒运动中的解构与建构、做与 actualisation. On either side of a yellow line, two hammers perpetuate, 重做以及那个我们以为非常相似的过程：即我们自身和他者的运动，还有信任的潜 in alternation, the identical mechanical movement of nailing and un— 在循环性。 nailing the same nail. This neon installation is an invitation to meditate on 《成双》是受巴黎的Jeu de Paume 委托完成，于2010 年我的回顾展里进行首展。 the perpetual movement of constructing and deconstructing, doing and 这个装置作品包括一个高清双投影仪，从而投影出两个人——一名年轻女子和一个 undoing, and proposes that we consider similarity rather than difference, the 老男人——各自用不同的语言和肢体方式对着摄影机说话。他们是两位巴黎的哲学 movement between ourselves and the other, and the cycle of the potentiality 家：Jacques Rancière 在阅读一篇文章，而 Rola Younes 解释她对自己生活和 of trust. 选择的想法和回忆。 On Two was commissioned by the Jeu de Paume, Paris, as a new work for my retrospective in their premises in 2010. The installation consists of an HD Jacques Rancière 阅读的是一段源于他所写的文章——《解放的观众》的摘录 double projection displaying two people – a young woman and an older man 。在其中他描述了自己阅读 19 世纪工人们所写书信的经历，那时的工人已经懂得 – speaking separately into the camera, each employing a different mode of 去大自然中散步获取灵感。这次经历使他“重构了看、做和说的关系”。在一面蓝 verbalization engaging various degrees of embodiment. Here are two Paris— 色屏幕前，他一边本能地动着身体一边大声地背诵着经过自己细心处理并存在于他 based philosophers: Jacques Rancière reads a text, while Rola Younes 脑海中那片孤寂区域的文字。 spontaneously expresses thoughts and memories about her life and choices. 本能而直接地，Rola Younes 追溯了自己和黎巴嫩的关系，反思地解构和建构着 Jacques Rancière is reading an excerpt from his text, “The Emancipated 这段自己和祖国的关系。她学习了邻国的语言，探索了它们的历史。掌握多国语言 Spectator,” in which he describes his experience of reading the letters of 使得她能够直接、独特地探讨这几个国家所共有的历史中的真实和虚构。 19th century workers, letters that evoke walks in nature and their sensual impressions. His was an experience that led him to “reformulate the 在两人的背后，两个背景交替着。它们展现了景观和自然环境在岁月中的变化：一 established relations between seeing, doing and talking.” Now, in front of a 边被解构一边又被重构着。第一个背景是位于加拿大西海岸岛屿上的土著森林，其 blue screen, he recites aloud, through the visceral mechanisms of his body, 外貌是千年前形成的。这是一个总被人类历史排除在外的自然生命周期。另一个 the words he previously edited carefully and consciously in the silence and 背景为巴黎西郊一座有后工业景观的岛。这曾是雷诺汽车工厂所在地，名叫 Île solitude of mental spaces. Seguin。它过去是工业时期的重心区域，现在却正被改造成一个休闲文化胜地。 Instinctive and immediate, Rola Younes unfolds stories and reflexions about 配合投影的还有一个音响装置。Rola用她学会的 6 种语言——法语、英语、阿拉伯语、 the construction and deconstruction of her relationship to Lebanon, her 意第绪语、波斯语和希伯来语演唱了 6 首歌。对照着 Île Seguin 的黑白景色照片， country of origin. Having learned their language, she explores the histories 我插入了一两段歌词——随着她的演唱在不同的语言和情感深浅之间切换，使它们 of her neighbours. Her multi—lingualism allows her a direct and unique 处于和谐当中——为人们提供一段情感和独特的文化体验。 access to the proper formulation of the realities and fictions, which they 潜在的信任 霓虹灯装置 95cm×150cm×15cm 2014 share. Potential Trust neon installation 95cm×150cm×15cm 2014 162 163

1130输出文件 画册最终版.indd 162-163 15-11-30 下午9:02 成双 影像和摄影 2009 On Two video and photograph 2009 164 165

1130输出文件 画册最终版.indd 164-165 15-11-30 下午9:02 盐田千春 Chiharu SHIOTA

壁是脊椎动物身体结构和功能动态的关键。液态物质经毛细血管、静脉 WALL (2010), is the key to the structure and the functional dynamic

和动脉循环至全身，为人类或动物的身体器官带来生命力。自古以来， of all vertebrates. This fluid circulates through capillaries, veins and

人类自身的归属感往往浓缩在血液中，无论是对国家、民族、宗教和家 arteries, transmitting life to all of the organs in a human or animal body. “The traces of belonging are always condensed in the blood 庭，我们的所有自我认知都存在于血液中。在这个视频中，我的身体被 country, nation, religion, family; everything we are is represented in 外部的管子绑住了，而我体内的血液也是在管子里流动的，这也是“壁” peoples’ blood flow. In this video, I appear tied up externally by the 这个名字的来源。“壁”在过去和近代都有许多不同的表现形式。在过 tubes through which the blood is circulating; that’s where the name 去和现在的重大事件中，“壁” 这个概念已经被物化了。中国的万里长城、 wall comes from”. This wall is represented in different ways, both

铁幕、柏林墙、耶路撒冷的圣庙西墙，以及数字世界里的阻碍人们获取 in the past and in recent history and it is objectified in events that

信息和通讯的屏障，这些有形和无形的边界阻断了前进的道路，牵制着 have marked our past and our present. The Great Wall of China, the

所有盼望穿过障碍的人。但是，我在影片中所表达的“壁”并不是指某 Iron Curtain, the Berlin Wall, the Western Wall in Jerusalem, or the

个特定的障碍物或是抛向无垠大海的一张网，而是将我们的内心与外界 barriers that are put up in digital space, breaking up the access to

相连或相隔的“内在墙壁”，也可以说是我们不断筑起后又拆毁的“心 information and communication, among all of the visible and invisible boundaries that block the way and act as controls for anyone wishing 壁”，在这个反复的过程中，我们其实在不断调整内心多个自我的挣扎。 to pass. Yet, the wall that is referred to in particular is not just a

barrier, or a net in an infinite sea with no horizons, but an interior wall

that frequently connects or separates us from the world, or a wall that

we build up and tear down continuously, mediating the decomposition

of our divided selves.

壁 影像 03’40” 2010 图片版权属于艺术家 Wall video 03’40” 2010 Courtesy and Copyright: Chiharu Shiota 166 167

1130输出文件 画册最终版.indd 166-167 15-11-30 下午9:02 壁 影像 03’40” 2010 图片版权属于艺术家 Wall video 03’40” 2010 Courtesy and Copyright: Chiharu Shiota 168 169

1130输出文件 画册最终版.indd 168-169 15-11-30 下午9:02 扬内克·西蒙 Jan SIMON

该作品是扬·西蒙《2012 年度国家预算》群雕的一部分。通过雕塑对 The work of Jan Simon is a part of the group sculptures named

波兰 2010 年度波兰国家财政预算结构进行的解读。西蒙运用先锋派抽 "State Budget for 2012." They are sculptural interpretations of charts

象雕塑传统，并将其作为分析和改变现实的手段。作品以财务柱状图的 illustrating the various components of the Polish budget for 2010. Simon refers here to the avant—garde tradition of abstract sculpture 形式表现 22 项国家功能。此外，作品系列中还包括政府赤字以及军备 as a means of analysis and change of reality. The presented passage 预算等类目。公共财政这一抽象概念被转变成为抽象艺术语言。 refers to the 22 state functions illustrated by the financial histograms.

扬· 西蒙出生于 1977年，曾在雅盖隆大学学习社会学和心理学。 In addition, the composition of the cycle consists of sculptures

2001 年，西蒙开始从事艺术创作。其设计领域包括装置艺术、电影视频、 reflecting categories such as government deficit and provincial

行为艺术以及互动电脑游戏，并从互联网和数据库概念中寻找灵感。其 budgets. Abstraction of public finances is translated into abstract art.

作品涉及主题包括灾难、文明的衰败、无政府状态、生存手段以及自给 John Simon was born in 1977 and studied sociology and psychology

自足手段。2007 年西蒙获得德意志银行授予的 35 岁以下艺术家最佳 at the Jagiellonian University in Krakow. In 2001, Simon started his

视角奖。 own business, creating installations, videos, art events and interactive computer games on the internet and is inspired by the notion of the

archive. His works touch on subjects such as disasters, the collapse

of civilization, anarchy, ways of survival and self—sufficiency. In 2007,

John Simon was a laureate of Deutsche Bank for the best

artist under 35.

国家预算 装置 尺寸可变 2010 波兰罗兹 Sztuki 博物馆馆藏作品 National budget installation dimensions variable 2010 Collection of Muzeum Sztuki in Lodz, Poland 170 171

1130输出文件 画册最终版.indd 170-171 15-11-30 下午9:02 作品图 角度一 致 重复

172 173

1130输出文件 画册最终版.indd 172-173 15-11-30 下午9:02 普拉尼特·索伊 Praneet SOI

最近 (2015 年 3 月 ) 在华盛顿 , 美国国立亚洲艺术博物馆的史密森尼学 Recently (March 2015) on a Smithsonian fellowship at the Sackler

会，我花了一个月的时间研究波斯和莫卧儿的彩色插图手抄本藏品，除 and Freer Galleries in Washington D.C., I spent a month studying the collections of Persian and Mughal illuminated manuscripts. Apart 此之外，我还有机会研究博物馆图书馆里那些非常珍贵的、几乎可以说 from having access to the collection I was also able to spend time 是独一无二的书籍。 studying the books in the museum library, books that were rare and 更早的时候（2014 年）, 我曾经在喀什米尔的首都斯利那加呆过一段时 would have been difficult to source elsewhere. 间，主要是在一个艺术工作室里。我住在哈桑阿巴德的什叶派聚集区， Earlier to this I had spent, in 2014, a period in the Kashmiri capital of 这个地区最具代表性的手工艺是描绘纸浆模型上的传统克什米尔花纹， Srinagar, embedded within an artisan's studio. I was situated in the 很多这种传统的手工艺人都聚集在这里。和我一起工作的艺术家，法 Shia enclave of Hasanabad, traditionally home to a guild of craftsmen 雅·扬的手艺就是在他父亲那里学来的。他的工作室里有 5 到 8 个艺术 that paint the traditional Kashmiri motifs on paper-mache objects that 家一起工作，我慢慢地融入这个有着紧密的社会、家庭结构的小团体里 are typical to the crafts of the region. The artisan that I worked with,

面。 Fayaz Jan, had learnt his trade from his father. He employed between

在广州，与广彩大师一起工作对于我来说将是一个很有趣的尝试，让我 5 and 8 artisans within his studio and I was slowly accepted within the

可以继续以这种有趣的方法去了解图像的迁移。克什米尔和中国有着千 tight social and familial structures that bound this group.

丝万缕的联系，而广州作为一个重要的南方港口城市，在这其中起了很 In Guangzhou the opportunity to work with a master craftsman

重要的作用。知识在这里传播，各种哲学思想在这里交汇，迸发出新的 working on Kwon glazed Porcelain seems to me an interesting way to

火花，影响深远。佛教从印度传到中国就是一个具有代表性的例子。 continue this approach of understandng how iconographies migrate.

我希望我在广州工作的那段时间会有源源不断的故事和各种细节，来让 There are rich connections between Kashmir and China. Guangzhou, being a southern port, was an important destination. It became a route 我的作品变得更加丰富多彩。到时候还会有一个录像来简述我的研究成 along which knowledge was exchanged and existing philosophies 果，录像里的音乐是由荷兰籍阿根廷作曲家克劳迪·巴罗尼创作的。 mutated to change or develop a new form and gained potency. New

thinking emerged. The transmission of Buddhism from India to China

is symptomatic of this.

I hope, over the time that I will spend in Guangzhou, stories and details

will emerge that will enrich this work. A video will encapsulate these

findings accompanied by sound composed by the Argentinian Dutch

composer Claudio Baroni. 斯利那加 装置（纸塑砖和墙绘） 尺寸可变 2015 （Experimenter 画廊展览现场图） Srinagar installation （Paper mache tiles and wall drawings） dimensions variable 2015 （view from Experimenter Gallery） 174 175

1130输出文件 画册最终版.indd 174-175 15-11-30 下午9:02 斯利那加 2 装置 （丙烯纸塑砖，来自李奥纳多·达·芬奇《变形记》的手稿）30cm×30cm/ 块 2015 Srinagar 2 installation (From Leonardo da Vinci's folio Anamorphosis Acrylic on papier mache tile） 30cm×30cm each 2015 鸣谢：艺术家及 Experimenter 画廊 Courtesy: artist and Experimenter Gallery 176 177

1130输出文件 画册最终版.indd 176-177 15-11-30 下午9:03 玛拉蒂·苏里约达摩 Melati SURYODARMO

这部非叙事性短片展示了瑞士于奥默冬天的景色和一些在那里拍 The Dusk is a non-narrative short film that explores images taken

摄的照片。这部短片的情节充满诗意，包括一些无声的情景，创 or situated in the winter time in Umeå, Sweden. The film consists of

作的灵感来自艺术家苏里约达摩从幼年到青年不同时期的生活。 silent actions and moments in the scenes, based on poetical actions, which are segmented from Suryodarmo‘s life sequences. 这部片子充分利用了日光的各种形态、变化，展示了黄昏的雄浑气势与美

丽多姿，力求用最少的设备、技术和空间来达到情感和视觉上的最大享受。 The Dusk uses the potential and quality of the daylight, representing the weight and lightness of the dusk, emotionally completed and 作品的主题是沉默的创伤，艺术家将这个主题融入不同的场景当中。沉 visually qualified by using a minimum of sets, techniques and space. 默是一个非常神秘的存在，同时又拥有很多意义。苏里约达摩选用她记

忆中的一些相互关联的真实情境，这些情境的发生就像是在散播一个又 The Dusk represents silent traumatic situations, which are developed and constructed into different scenes. The silence is a mysterious 一个的谜题。 volume of being, which is filled with contents. Suryodarmo selects

memories of physical ambiences and situations, those which she

considered to be related to each other. Those situations appear as if

they were dispersed parts of a puzzle.

黄昏 影像 25’56” 2010 视频截图 © 玛拉蒂 • 苏里约达摩 2010 The Dusk video 25’56” 2010 video stills © melatisuryodarmo 2010 178 179

1130输出文件 画册最终版.indd 178-179 15-11-30 下午9:03 黄昏 影像 25’56” 2010 视频截图 © 玛拉蒂 • 苏里约达摩 2010 The Dusk video 25’56” 2010 video stills © melatisuryodarmo 2010 180 181

1130输出文件 画册最终版.indd 180-181 15-11-30 下午9:03 莎拉·施 Sarah SZE

莎拉·施的大型装置作品“日历系列”包含了 92 件独立作品的大系列， Sze's large-scale installation Calendar Series, comprised of ninety-two individual

实际上是用 3 个月份的报纸制作的一个日历，叙说时间的流逝。该系列 artworks, is in effect a daily calendar made from three months' worth of

探讨了一系列问题，如：我们如何通过物质材料衡量时间和空间？时间， newspapers brought together in an effort to mark the passing of time. This series explores questions such as how do we measure space and time through physical 不仅是物理上的时间，还有心理上、情感上的时间，是如何被衡量的？ materials, and how is time measured not only physically, but also emotionally 每一份作品采用的都是《纽约时报》的首页或尾页，但所有作品上的图 or psychologically? The basis of each work is the front and last page of the New 片（即原报纸的特有刊印）被剪切了去，并以非当时事件的图片所替代。 York Times, however all images on these pages (which are, in fact, unique prints 这些图片通常是描绘自然元素的画像，例如火、土地、石块、天空等， made from the original newspapers) have been excised and replaced with images

这些元素都有广大的特性，不会显露出特别的时间点或空间点。在这些 that are not of current events, but rather portrayals of natural elements, such as

单张上会摆放些物件，如台灯，材料残片等。本次为首届亚洲双年展暨 fire, earth, stone, and sky, that appear vast and without specific location in time

第五届广州三年展特别呈现的《日历系列》（中国修订版）将以涂料覆 and space. Upon these single sheets are precisely positioned objects, lamps, and

盖部分文字。常见的材料将报纸从可靠的信息来源转化成了便携的个人 material debris. In this special presentation of Calendar Series unique to the 1st

空间，这同时也暗示着信息和意义的转变是如何在今日和明日、一个文 Asia Biennial and the 5th Guangzhou Triennial, entitled Calendar Series (China Revision) the works have introduced the material of paint to redact part of the texts. 化环境和另一个文化环境间显露和藏匿的。这种崇高到世俗，紧迫紧急 Everyday materials transform the newspapers from a reliable source of information 到无关紧要的转变，以及质问物件的目的和价值，正是此次作品的特点。 to a portable, personal space, while at the same time suggest how information 从内涵来说，《日历系列》展示的是时间的悖论，时间即是一个衡量、 and meaning shift, are revealed and concealed, from one day to the next, from one 区别信息和事件的尺度，同时又是与人类日常经历无关的，广博的普遍 cultural context to another. This slippage between the mundane and the sublime,

性概念。 the urgent and the insignificant, and a questioning of the perception of an object’s

purpose or worth is characteristic of Sze's practice. Inherently, Calendar Series

incorporates the paradox of Time as both a structure by which we measure and

distinguish information and events, and an expanded, universal concept of Time

outside of the quotidian moments of human experience.

182 183

1130输出文件 画册最终版.indd 182-183 15-11-30 下午9:03 日历系列 （中国修订版） 综合媒材装置 尺寸可变 与费城织物工作室及博物馆合作 2013-2015, 伦敦维多利亚·米罗画廊装置现场图 2015 Calendar Series （China Revision） mixed media dimensions variable in collaboration with the Fabric Workshop and Museum,Philadelphia 2013-2015, installation view Victoria Miro, London 2015 鸣谢艺术家莎拉·施和伦敦维多利亚·米罗画廊 Courtesy of the Artist and Victoria Miro, London 2015 184 185

1130输出文件 画册最终版.indd 184-185 15-11-30 下午9:03 健身计划小组 The BodyBuilding Project

针对我们目前面临的紧迫问题，我们作为相互依存的人类，可能需 The BodyBuilding Project is a shared inquiry into the sensibilities, subjectivities and

要开发出一些让人受益的项目。而健身计划是针对情面、主体性和 relational capacities we, as interdependent beings, might beneficially develop in

关系的能力的查验。它鼓励我们重新构想目前确定为倾向“人”的 response to the planetary urgencies we currently face. It encourages us to reimagine the propensities currently identified as “human,” and to begin building bodies capable 因素，并让身体的能耐超出了我们的视野。该项目包括一个长期的 of prefiguring life beyond our collapsing horizons. The project consists of a perennial 艺术研究过程和一系列由艺术家、理论家和实践者协作创建的公共 artistic research process and a series of context—conditioned public events created 事件。 collaboratively by a growing body of artists, theorists and practitioners.

在此次首届亚洲双年展暨第五届广州三年展，该项目的成员将与广 At Asia Time: The 1st Asia Biennial and the 5th Guangzhou Triennial, the members of

州市民对话，旨在开发一系列位于人的时间和感官体验外的做法， the project will create a relational work in dialogue with Guangzhou residents. Their

把这些做法传递给当地的参与者，并建立一系列可以有效果的实践。 aim will be to develop a series of embodied practices that situate people in exo—human

这些事件发生在各地博物馆的不同场地，可以看作是时空的经纬、 senses of time, to transmit these practices to a group of local participants, and to set

转换、浸入和冲击。这同时也让博物馆的游客有机会体验课程， up a series of durational events in which these practices can take effect. The events,

而不依赖于现有的文化范式。 situated at various locations across and around the premises of the museum, can be seen as spatio—temporal warps, wefts, shifts, immersions and shocks, which offer both 这件作品名为重置，是三年展主题的另一种表达。它没有着眼于东 the participants and the visitors of the museum the opportunity to experience the course

西方时间的二元对立，而是重点放在亚洲时间上，可以从超越人的 of time together without relying on existing cultural paradigms. 角度来看。把人放在陌生的情境里，如化学工程材料的寿命和老化 The piece titled Reset offers an alternative take on the overarching themes of the 的新技术、地质层的慢运动与太阳的年龄，项目试图通过持续多样 triennial. Instead of focusing on the dichotomy between Eastern and Western time,

性的时间和节奏来重塑人对时间的观念、经验和规模。 it looks at time, and Asia time in particular, from a more—than—human perspective.

By situating the human body in the midst of temporalities less familiar to us, such as 广州驻地小组成员： the lifespan of chemically engineered materials and aging new technologies, the slow 达利亚·费恩、莎拉·汉诺拉、罗伯特·科西克、托米·瓦斯柯、卡门·王 movement of geological strata and the age of the sun, the project attempts not only

to make space for a diversity of durations and rhythms but also to recontextualize the

human conception, experience and scale of time.

Project Members in Guangzhou:

Daria Fain, Saara Hannula, Robert Kocik, Tommi Vasko, Carmen Wong 重置 ( 方案 ) 5 人驻地项目（工作坊，研讨会） 广州·中国 2015 摄影：文森特·鲁马尼亚克 Reset（proposal） team field project (workshop and seminar) Guangzhou·China 2015 Photo: Vincent Roumagnac 186 187

1130输出文件 画册最终版.indd 186-187 15-11-30 下午9:03 重置 ( 方案 ) 5 人驻地项目（工作坊，研讨会） 广州·中国 2015 摄影：文森特·鲁马尼亚克 重置 ( 方案 ) 5 人驻地项目（工作坊，研讨会） 广州·中国 2015 摄影：文森特·鲁马尼亚克 Reset（proposal） team field project (workshop and seminar) Guangzhou·China 2015 Photo: Vincent Roumagnac Reset（proposal） team field project (workshop and seminar) Guangzhou·China 2015 Photo: Vincent Roumagnac 188 189

1130输出文件 画册最终版.indd 188-189 15-11-30 下午9:03 物体的移动，然而在电影中，即使没有出现这种声音，也并不意味 objects does not indicate an artificial hushing of such sounds by

着导演人为地制造静默。 the filmmaker. Someone who is aware that a certain film or book is not idealizing a certain city but presenting the Imaginal World 如一个人能意识到某部电影或者书籍并非是将现实中的城市理想化， version of it would not be disappointed if on visiting the earthly city, 而是在呈现一个想象的世界，那么当他真正造访那个城市时，就不 it proves to be far drabber or smaller than what he or she saw in

会因为实际的城市比书中或电影中所呈现的单调或狭小而失望。 the film or read in the book. 贾拉勒·托夫克＋格拉齐耶拉·里兹卡拉·托夫克 Jalal TOUFIC＋ Graziella Rizkallah TOUFIC

有些国家和城市与其“想象的世界”紧密联系；有些与其“想象的世界” Some countries and cities have an affinity with their Imaginal World

截然不同；而有些国家和城市，根本就不存在“想象的世界”！ (‘alam al—khayal, aka‘alam al—mithal) versions; some others are quite different from their Imaginal World versions; and some have no 有一次我在伊斯坦布尔错过了公交车，却发现自己莫名其妙地身处想象 Imaginal World version whatsoever! Once I missed my bus in Istanbul 的世界中；不久之后，我故意错过一班渡轮，好让自己再次身处想象的 only to find myself, inexplicably, in the Imaginal World; not long after,

世界，但那次却没能成功，我仍处于现实的城市中！ I missed my ferry in order to once more find myself in the Imaginal

“什么吸引你来到伊斯坦布尔？是想多听些土耳其歌曲，比如说，现场 World, yet instead found myself still in the earthly city! “What brought you to Istanbul? Is it to listen to some Turkish songs, for example, 听一下色哈·奥库斯的《啊，伊斯坦布尔》？”“虽然这首歌的词曲作 Seha Okus’ Ah Istanbul, in situ?” “While those who ostensibly wrote 者肯定要在现实中的伊斯坦布尔生活的经历才写得出这样的作品，而且 its lyrics and composed it had to have lived in the earthly Istanbul to 几百万伊斯坦布尔人觉得这首歌很好地呈现了这座城市最好的一面。然 do so, and while millions of Istanbulites feel that it conveys best their 而《啊，伊斯坦布尔》未必属于现实中的伊斯坦布尔。” city, Ah Istanbul does not essentially belong to earthly Istanbul. One

在现实中的伊斯坦布尔听《啊，伊斯坦布尔》这首歌，无法有身临其境 can listen to Ah astanbul in situ not in earthly Istanbul, since there

的感觉。因为当歌曲通过便携媒体播放器播放时，歌声是仅仅附着在整 it is superimposed on the city and its sounds when played back on a portable media player, and on the city’s other sounds when sung live by 个城市及城市的声音之上的；当歌曲由歌者在音乐家的伴奏下现场演唱 a singer accompanied by musicians; but in the Imaginal World, where 时，歌声也是仅仅附着在城市的其他声音之上的。 it is not sung by a singer accompanied by musicians, hence one of the

但在想象中的世界，歌曲并非由歌者在音乐家的伴奏下演唱从而成为城 sounds of the city, but the latter’s one sound insofar as it presents a

市众多声音中的一个声音，而是城市中一种独特的声音，只要它能呈现 certain aspect and a certain configuration of events, thus a sound that,

某个特定的角度或某些事件的组合。从而这种声音，无论是以无声或者 while it may be accompanied, voicelessly or not, by someone intensely

有声的方式为其伴奏，都不是由手、乐器或声带发出的。 moved it, is not made by hands, musical instruments and vocal cords. In films that present, at least in some of their scenes, the Imaginal 某些电影，例如塔可夫斯基的电影，至少部分场景里会呈现想象的世界。 World, for example, Tarkovsky’s, music that is not played by anyone 在这类电影里，某些音乐即使并非由演员在剧中出于叙事需要演奏，也 in the diegesis is not for that matter non—diegetic music—over; and

不能因此将这些音乐归结为画外音音乐。我们经常将世间的声音归结为 the absence of the earthly sounds we associate with various moving

啊，伊斯坦布尔 影像 20’00” 2013 Ah Ístanbul video 20’00” 2013 190 191

1130输出文件 画册最终版.indd 190-191 15-11-30 下午9:03 啊，伊斯坦布尔 影像 20’00” 2013 Ah Ístanbul video 20’00” 2013 192 193

1130输出文件 画册最终版.indd 192-193 15-11-30 下午9:03 王维 WANG Wei

我出生在地处河套平原的“北京军区内蒙古生产建设兵团二师十四团”。 I was born in the 14th Regiment of 2nd Division, Inner Mengolia

河套平原历史上就是有名的农耕区，地表平阔，引黄河水灌溉……荒滩， Construction Corps, located in the ancient Hetao Plain. Historically it

野草，“干打垒”，一望无际…… was a famous farming area irrigated by the Yellow River. There was wasteland, weeds and dry bases. 我出生那年正值“无产阶级文化大革命”……高音喇叭整日播放着革命 The year I was born was the beginning of the Cultural Revolution. The 歌曲——“大海航行靠舵手”之类充斥耳鼓；满眼的红色旗帜与标语使 speakers were playing revolutionary songs all day long: “It’s up to the 人亢奋；身着军绿色服装的“上山下乡”城市知青，乘“解放牌”卡车 helmsman to sail the sea. ” The red flags and banners got people very 一车一车到来……开垦荒地的红色“东方红”牌拖拉机 ；“大干快上” excited. The educated urban youth dressed in army green clothing and 挖引水渠的人群；喷着滚滚浓烟狂奔于荒野的蒸汽火车；已故家父亲手 came to the area in trucks. There were “East Red” tractors, crowds of

设计建造，红砖砌成的水塔和俗称“马脊梁”的苏式营房……所有这一 people digging aqueducts, steam trains running with puffing smoke

切填满我儿时的记忆，挥之不去…… and Soviet-style barracks built and designed by my deceased father.

All of this fills my childhood memories. 我虽身处京城多年，每每梦里却又回到那片生我养我的盐碱滩。仿佛从

自己血液里自然流淌出一般，形成我现今画面的元素与语言。 Now I have been living in Beijing for years and I always dream about the land where I was born. It is in my blood and influences the

elements and language of my works today.

滩 -1（消失的乡村小学） 纸本丙烯 60cm×120cm 2014 Beach-1（disappeared village primary school） acrylic on paper 60cm×120cm 2014

纸本草图 铅笔和色粉笔 25.5cm×37.5cm 2014 Sketch pencil and crayon on paper 25.5cm×37.5cm 2014

194 195

1130输出文件 画册最终版.indd 194-195 15-11-30 下午9:03 滩－ 5（曾经的“东方红”） 布面丙烯 直径 100cm 2013 Beach － 5（Remote "Red East"） acrylic on canvas diameter 100cm 2013 滩－ 2（曾经的年代） 纸本丙烯 200cm×150cm 2013 Beach － 2（Remote era） acrylic on paper 200cm×150cm 2013 纸本草图 铅笔和色粉笔 25.5cm×37.5cm 2013 Sketch pencil and crayon on paper 25.5cm×37.5cm 2013 196 197

1130输出文件 画册最终版.indd 196-197 15-11-30 下午9:03 通过构建这些进行审议的空间的可见装置，探索其触觉和象征性的 between cultures of assembly that create rituals for collective

意义，该装置对政治空间能否开展关于 21 世纪面临的挑战的决策 decisions about the continent’s future.

程序提出了疑问。通过比较东西方之间的不同，该装置强调会议大 Whereas the reading table focuses on investigating the

厅不仅是国家价值观象征性和观赏性的表征，它们还会影响一个国 configuration of the assembly halls using an ‘architectural

家的未来。 vocabulary’ of diagrams and plans, a wall with a selection of

photographs by Armin Linke reveals how these ceremonial halls XML 工作室＋阿尔敏·林克 are inhabited and are part of a larger ecology of spaces. The photographs make visible the behind-the-scenes processes and ＋ how symbols, media and technology infiltrate these halls. The XML Armin LINKE photography explores the inner proceedings and rituals of these often hidden spaces. Whereas the photographs and reading table

take a more observatory position, a series of interactive screens

议会是政策成型的空间，在这个特定的环境下，不同政治角色之间的关 Parliament is the space where politics literally takes shape. Here, add a third dimension to the installation allowing visitors a virtual

系通过建筑空间来构建，最终形成统一的决议。用于政治集会的建筑空 collective decisions take form in a specific setting where relationships gaze from within the parliament. between various political actors are organized through architecture. 间并不是政治文化的一种抽象表达，它同时也参与了政治活动。那么这 By making visible the settings of these deliberative spaces and The architecture of spaces of political congregation is not only an 些用于政治集会的空间，例如议会的全体会议大厅，是怎样构建决策程 exploring their tactile and symbolic meaning, the installation abstract expression of a political culture – it participates in politics. 序的呢？它们又是如何代表了这个时代的不同政治组织？ questions the ability of political spaces to envelop collective- How do the settings of political assembly spaces, such as the plenary decision-making for the specific challenges of the 21st century. 议会这个作品是以阅读空间的形式来展现的，它是一个研究性质的装置， halls of parliaments, structure decision-making practices? How do Comparing settings between East and West, the installation 用来探讨空间与政治之间的双重关系。该装置是由阿姆斯特丹建筑事务 they characterize the different polities of our time? addresses plenary halls as more than mere ornamental and 所 XML 工作室 ( 合伙人马克思·科恩德拉拉和戴维·穆德范德瓦特 ) In the format of a reading room, ‘Parliament’ is a research installation symbolic representations of national values, taking them seriously 和柏林艺术家阿尔敏·林克合作，他们参考了建筑和美术两个不同领域 that explores the double-sided relationship between space and as actors in the shaping of future times. 的文献资料。这个装置包括一系列的照片和一张研究图表，是整个装置 politics. Developed by Amsterdam architecture office XML (headed by

的焦点，让观众可以看到政治集会空间的内部运作。 Max Cohen de Lara and David Mulder van der Vegt) in collaboration

整个装置的核心部分是 193 个联合国会员国全体会议大厅的平面概览 with artist Armin Linke from Berlin, the project merges documentary practices from different fields: the architectural and the artistic. The 图，在这个大的框架下 , 该装置聚焦于新丝绸之路上的 7 个政治集会的 installation consists of a series of photographs and a research table 建筑空间，对这些空间的某些特点提出疑问。从西到东，该路线展现了 that together constitute a place of focus, making visible the inner 亚欧大陆不同的议会有着不同的政治和文化景观，一个国家的议会文化 workings of today’s spaces of political congregation. 决定了事关国家未来的重要决策的制定程序，而观察议会则成了寻找这 The core of the installation presents an overview of the floor plans of 些文化之间差异和联系的一个方法。 all the plenary halls of parliaments of the 193 United Nations member 阅读台是一些议会大厅结构的建筑图表和平面图，而阿尔敏·林克的一 states. Within this larger framework, the installation questions specific 面照片墙则为人们展示这些会议厅是多么的压抑，它们属于一个更大的 aspects of these spaces by focusing on seven architectures of political

生态空间。这些照片让人们看到议会幕后的过程和那些无处不在的符号、 congregation, located along the New Silk Road. Organized from West

媒体和技术，探索了这些神秘空间的内部程序。照片和阅读台需要人们 to East, the route presents a cross-section of Eurasian parliaments

去看和观察，这个装置中还有一些 3D 互动屏幕，让人犹如置身在议会 situated within specific political and cultural landscapes. Gazing at

当中。 the parliament becomes a way to trace differences and connections

198 199

1130输出文件 画册最终版.indd 198-199 15-11-30 下午9:03 俄罗斯莫斯科杜马 © XML 2013 Russian Duma, Moscow, Russia © XML, 2013

德国波恩联合国总部世界会议中心全体会议厅 © 阿尔敏·林克 , 2014 Bundeshaus, World Conference Center, UN Campus, plenary hall Bonn Germany © Armin Linke, 2014

意大利罗马参议院 © 阿尔敏·林克 2007 Senate of the Republic, Palazzo Madama, chamber, assembly，Rome Italy © Armin Linke, 2007

议会 装置 尺寸可变 2015 Parliament installation dimensions variable 2015 200 201

1130输出文件 画册最终版.indd 200-201 15-11-30 下午9:03 山城知佳子 YAMASHIRO Chikako

我曾经采访过一些老人家，其中大部分的老人都很愿意和我分享冲绳岛 When I did interviews with elderly people, many of them talked about the Battle of Okinawa 战役的经历，他们不希望那些回忆被人们遗忘。我仔细地听着，尝试着 with all their hearts, wanting their memories to be passed on. I listened to their talks, not 把他们经历过的痛当作是自己的亲身经历。 taking them objectively as other people’s pain but trying to imagine as much as possible that they could have been my own pain and experience. 但是，在采访过程中，尽管在一些时刻我可以想象得到他们经历了什么， However, in the middle of those interviews, there was one crucial moment that I simply 却完全无法感同身受。 could not share one person’s experience, although I could imagine his experience to some 那些经历过战争的老人至今还忘不了亲人、朋友死在自己面前的场面， extent.

他们描述这些糟糕经历的时候，脑海里都是那些恐怖的画面，有的还会 While those people, who underwent the war, remembered in detail how their families 全身颤抖，哽咽，有的甚至说不出话。 or friends were going to die in front of them, it happened sometime that they trembled,

他们无法描述当时的情景，我们的采访甚至一度被打断，我知道他们想 choked, and could not speak at the most extreme moment in their memories, overwhelmed with the images of memories that reminded them of their worst experience. 对我们敞开心扉，但是他们不敢说，或者震惊、悲伤到无法言语。我想 以一个聆听者的身份去体会他们没有出口的话，让这份记忆一代一代地 There was something they simply could not talk about, which makes an empty part in the 传承下去，但是这对于我来说实在是太困难了。 whole speech. I realized that there was always something in their talk they dare not or cannot mention. I really felt that it is very difficult to imagine what they could not say in the 一年之后，我改变了做法，将他们的采访录音写下来，并做成字幕放在 interview and to follow it as a listener and to hand it down from generation to generation. 视频里，然后我按照录音去讲述他们的故事，呼吸与节奏都与受访人保 When a year passed after that interview, I did a performance: I made a transcription of 持一致。我一次又一次地练习，刚开始的时候连想要流泪的冲动都没有， those people’s speech from the recorded image and put the subtitles of their talk on 随着练习次数的增多，我渐渐了解他们的讲述方式，也知道了他们说不 the screen. Then I told the stories they had told me, coinciding with thir breathing and 出话的原因。重复练习多次之后，到后来，我哽咽到说不出话的时候， speaking. I repeated many times. I had not even shed tears at the beginning at all. As I 眼前就会突然出现一个画面：我前面站着一个小男孩，是那个受访老人 continued voicing over their speech, I could see where is the empty part in it, depending 记忆中自己小时候的样子，他妈妈和姐姐站在他面前的悬崖上，然后她 on how they spoke. After I copied their speech repeatedly, I could suddenly visualize one 们突然跳进海里，剩下受访人自己孤零零地站在原地。 scene in my mind when the speech went into the empty part.

这一刻，我终于明白，在接受采访的时候，那位 70 岁的老人回忆起这 I was standing behind the person who was only a little boy in his memory, and his mother 些画面还是会浑身打颤，他仿佛回到了几十年前，变成了那个目睹妈妈 and sister were at the cliff in front of the boy. Then, suddenly, the mother and sister jumped into the sea, leaving him behind. 和姐姐跳下悬崖，震惊不已的小男孩。 I realized then that the boy, who had been transfixed with shock at the sight, reflected in 受访者的语言变成我脑海里的画面，我整个人似乎变成了一台播放器， the 70—year—old man now, who was trembling when I interviewed. 脑海里不停播放那些关于战争的场景。那些场景也已经不是那些老人的 The language of people I had interviewed about their memories showed an image in my 经历，而是我根据他们的采访想象出来的，同时也成为我记忆的一部分。 mind and my body turned into a screen for a moment, being dyed with the memories of other people. What I saw at that time was not those peoples’ experiences, but an imaginary 我为你发声 影像 07’00” 2009 Your Voice Came Out through My Throat video 07’00” 2009 photo © Chikako Yamashiro reflection I made up with their words. That image became my own war experience. 202 图片版权 © 山城知佳子，鸣谢美子千叶协会 203 Courtesy of Yumiko Chiba Associates

1130输出文件 画册最终版.indd 202-203 15-11-30 下午9:03 我为你发声 影像 07’00” 2009 图片版权 © 山城知佳子，鸣谢美子千叶协会 Your Voice Came Out Through My Throat video 07’00” 2009 photo © Chikako Yamashiro 204 205 Courtesy of Yumiko Chiba Associates

1130输出文件 画册最终版.indd 204-205 15-11-30 下午9:03 余旭鸿 YU Xuhong

我们在时间的尽头中寻找空间的绵延，在空间的交错中体悟时间的重量。 We seek for space in the end of time and experience the weight of time in the overlap of spaces. 我们站在丝绸之路的东方起点——西安大唐西市东北“十字街”遗址上， Standing on the ruins of the "Cross Street" in the northeast of Datang 眼前是关于“丝绸之路”中“路”的物质实存而非抽象文化记忆。这片 West City, Xi'an City, from which the ancient Silk Road (the Road) 盛唐时期的路面印证了对外国际贸易中心的大唐西市交通的繁忙盛况。 stretched, we can see before us only the material existences of the 距西安 6000 余公里外亚洲西部的耶路撒冷，是亚、非、欧三大洲的结 Road rather than the abstract cultural memories. Whereas it is exactly

合处，这是古丝绸之路上中西文化交流的重要节点。“罗马贵妇竞罗绮” this road, which has existed since the Tang Dynasty (618-907), that has witnessed the prosperity of the transportation in the ancient 中昂贵的丝绸就是从长安的大唐西市出发，在耶路撒冷的西墙前穿过， international trade center of Datang West City. 来到亚平宁半岛；我们看到了阿拉伯人运用从中国传入的造纸术保存并 Jerusalem, over 6000 kilometers away from Xi'an City in China, is 传播古希腊的思想，它们正是通过丝绸之路，经过耶路撒冷重返 the joint place of 3 continents -- Asia, Africa and Europe, and also 欧洲大陆。 the most important communication center of western and eastern

路之关键在于行走。在展厅现场，在大唐西市丝绸之路原点经多媒介拓 cultures on the Road. Start from the Datang West City of Chang'an,

印的“路”正在脚下，丝路的尘土留印在用中国传统手法现场拓印的耶 passing the Wailing Wall of Jerusalem, the fancy silk in the verse line, "Roman lady competing for the fancy silk," was finally brought to the 路撒冷的“路”上，我们可以在上面行走，感受到路的独特光芒。 Apennines Peninsula. There we can see Arabians record and spread 作品还包括一组彼此对话的绘画“光影剧场”： 作为历史见证物的图书 ideas making use of the papermaking technology, which is brought to

的影像投映于耶路撒冷大卫塔的建筑群上的光影，与丝路另一端的生活 the Europe passing Jerusalem through the Silk Road.

现实交叠于大唐西市遗址的光影，互为境域与亮点。它是记忆与现实的 Walking is the key way to experience the Road. Rubbings of parts of

附体，是对话与共生的剧场。 the Road in Datang West City and in Jerusalem were made through various media using the traditional rubbing technique of China. Walking on these rubbings, we can feel the glories of the Road.

The work also contains a "Light and Shadow Theater," a collection of conversational pictures. The images of books, the witness of history, are projected on the Tower of David while the real life is on show in Datang West City. The lights and shadows in either Jerusalem or Datang West City are complimentary circumstances and highlight one 尘与路·光影剧场——大唐西市 布面油画 100cm×300cm×2 2015 another. The theater is a mixture of memory and reality and a stage on Dirt and Road·Light and Shadow Theater (Datang West City) oil on canvas 100cm×300cm×2 2015 which the symbiotic two are talking with each other. 206 207

1130输出文件 画册最终版.indd 206-207 15-11-30 下午9:04 尘与路 ( 效果图 ) Dirt and Road （Installation Rendenrings）

尘与路 装置 尺寸可变 2015 尘与路 ( 局部 ) Dirt and Road installation dimensions variable 2015 Dirt and Road （Detail）

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1130输出文件 画册最终版.indd 208-209 15-11-30 下午9:04 原弓 YUAN Gong

1. 在广东美术馆室外的前广场，规划一个水稻种植园的概念化装置。装 The A installation is on the outdoor square in front of the Guangdong Museum

置呈梯田形式，错落分布。 of Art. It’s a conceptualization device of rice plantation. It has terraces that are scattered. 2. 种植所用的泥土的呈现，来源于北大公众考古与艺术中心合作的项目 The B installation has soil coming from the Zhougong Temple Collection “周公土收藏计划”。 Program, a partnership of Peking University Citizen Archaeology Center and the Arts Centre. 3. 周公土的由来与周公庙遗址考古发掘：陕西省岐山县周公庙遗址的发

掘可谓石破天惊，堪称新中国最重大的考古发现，考古专家已正式确认 C: The soil comes from the Zhougong Temple archaeological excavations. The excavations of Zhougong Temple in Qishan County, Shaanxi Province, 它是目前所知最高等级的大型西周墓地。这处大型墓葬群位于岐山南麓 were quite ground-breaking and could be called as China's most significant 的一条土梁上，面积约 8 万平方米。专家还在这一大型墓地外围发现了 archaeological discovery since 1949. The archaeologists have officially 长达 1500 余米的西周城墙，这在西周考古史、中国建筑史等方面均具 confirmed that it is currently the largest Western Zhou cemetery. The large

有极其重要的意义。此外，还在周公庙遗址附近发掘出西周时期的卜甲 tombs were located at the southern foot of Qi mountain and they covered an area of about 80,000 square meters. Experts also found city walls with a length 7000 余片，这对西周考古研究与中国文化史提供了不可多得的文字资 of 1500 meters from the Western Zhou Dynasty. This has great significance in 料。周公庙遗址的挖掘是西周考古70 多年来，唯一一处同时发现墓葬群、 Western Zhou archeology and Chinese architectural history. In addition, there 含“周公”字样的甲骨、1500 米的西周城墙、高级建筑的墓地，而“周 were 7,000 pieces of armour from the Western Zhou Dynasty at the site, a rare

公土”正是这一伟大发掘中，遗留下的被艺术家收藏的一百立方珍贵的 text information for Western Zhou Chinese cultural history and archaeological research. For more than 70 years, the archaeological ruins were the only ones 土壤！ with tombs, bones with the character “Zhougong, ”city walls and advanced 4. 装置所用的盛器为各种现成品。 architecture. The soil of Zhougong Temple, measured at a hundred cubic meters, is a precious legacy collected by artists. 5. 装置采用水雾化，释放的水雾中，弥漫着自然的稻香味。 D includes containers that are ready mades. 6. 关于雾化装置的环保性说明：装置造雾的原材料为天然纯净的水源， The E installation uses atomized mist. It has the scent of nature. 释放的云雾是纯净水的雾化状态，其香味是由天然植物香料所制。装置 Environmental statements about F: 成雾粒径最小，100% 小于 10 微米的雾粒子可长时间浮于空气中，使 The raw material was pure water. The scent of the mist is brought by natural 云雾更自然飘逸。装置系统对水源进行三级超纯化过滤使喷雾范围云雾 plant spices. The mist has the smallest particles, and they can float in the air 粒子为无菌级，完全物理物化不带其他化学成分，在成雾的同时产生大 for a long time. The water purification had three ultra filtration ranges and

于普通城巿 2000 ～ 5000 倍以上的负氧粒子，使得在给人强烈视觉冲 they were without other chemical composition. The level of negative oxygen 周公土收藏计划·痕迹 装置（周公土、高压水雾系统、控制系统、不锈钢管道、喉箍、电缆、水、超声波水雾装置） 尺寸可变 2015 particles was 2000 to 5000 times that of ordinary cities. So while it offers a Traces: Collecting Soil of Zhougong Temple installation（soil of Zhougong Temple, high pressure water 击的同时，享受到犹如置身于原始森林中一般尽情呼吸清新的空气。 mist systems, control systems, stainless steel pipe, hose clamps, cables, water, ultrasonic mist device） strong visual impact it also brings fresh air just like in the original sense. dimensions variable 2015 210 211

1130输出文件 画册最终版.indd 210-211 15-11-30 下午9:04 周公土收藏计划·痕迹 装置（周公土、高压水雾系统、控制系统、不锈钢管道、喉箍、电缆、水、超声波水雾装置） 尺寸可变 2015 Traces: Collecting Soil of Zhougong Temple installation（soil of Zhougong Temple, high pressure water mist systems, control systems, stainless steel pipe, hose clamps, cables, water, ultrasonic mist device） dimensions variable 2015

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1130输出文件 画册最终版.indd 212-213 15-11-30 下午9:04 岳敏君 Yue Minjun

这件作品主要是在讨论大众文化心理的形成原因。借用了施虐和受虐的 This work mainly talks about how the culture of psychology was built.

性理概念，阐述斯德哥尔摩综合症中被害者对于罪犯产生的感情，用来 The concept of sadism and masochism had been used to elaborate on the special emotion that victims showed to the criminals in the 指向传统文化和社会主义文化在当代中国文化中所扮演的角色。 Stockholm Syndrome. It also pointed out the role traditional culture 白色的衬衣反映出作者儿时的影像记忆；墨汁代表了历史的传统；使用 and socialist culture have been played in Chinese contemporary art. 鞭子对白色衬衣进行抽打；鞭痕暗指一种施虐和受虐的关联性，也正是 White shirts reflected the memories of images during childhood. Ink 斯德哥尔摩综合症的视觉符号。 on the shirts represented the traditions in history. Lash the white

shirts by whips. Welt scars insinuated the connection of sadism and

masochism, which are also the visual symbols of the Stockholm

Syndrome.

墨衣 装置 尺寸可变 2015 Ink Shirts installation dimensions variable 2015 214 215

1130输出文件 画册最终版.indd 214-215 15-11-30 下午9:04 墨衣 装置 尺寸可变 2015 Ink Shirts installation dimensions variable 2015

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1130输出文件 画册最终版.indd 216-217 15-11-30 下午9:04 张小涛 ZHANG Xiaotao

动画中的蜜蜂是关于微观世界的视点，蜂巢复杂而秩序井然的神奇结构 The bee in the animations provides a viewpoint about the microcosmic.

暗合人类社会，蜜蜂世界有着比人类更为优良的社会结构和组织。秩序、 The magical structure of the complex and orderly honeycomb agrees

混沌、疯狂、生长、循环、重生。禅宗有“一花一世界”的观点，告诉 with human society, but the bee’s world has a social structure and organization, including orderliness, chaos, craziness, growth, 我们在瞬间感知古往今来，针孔里有大千世界。现代物理学研究证明， circulation, and rebirth, better than human’s. Zen has the opinion that 人体细胞组织结构放大上万倍以后和月球的表面结构是惊人的相似，这 we can see the world from a flower. We can perceive all the ages in a 也许就是关于万事万物的内在结构和逻辑相互关联的事实，通过这些微 moment, and the world from a needle hole. The research of modern 观世界，去发现那些不为人知的秘密。万物真的有灵吗？时空的认识不 physics has proved that it is strikingly similar to human cellular tissue, 只是线性逻辑，生命、时间、空间也是关于心理记忆、物质世界的混合体。 if exaggerated thousands of times, and the surface structure of the

它们既是历时性的，也是共时性的多维度空间。“三千世界”是解构也 moon. Maybe this is about the fact that the interior structure and logic

是建构，我们都是在这些微观世界的一次又一次不期而遇而已，我们观 of all kinds of everything are correlated. Through the microcosmic

察蚂蚁时有一种俯瞰苍生大地的视点，飞机上俯瞰大地和人类，和观察 world, unknown secrets would be found. Do all kinds of everything

蚂蚁有极为相似的观看经验，这是无穷循环和往生吗？生物中心论的观 have spirits? Time and space could not be regarded as logically linear. Instead, life, time and space are about the mixture of psychological 点：生命创造宇宙，有个人的意识才有宇宙的存在，实质上生命与生物 memory and material world. They form a multi-dimension space, 才是真实世界的中心，才有宇宙，宇宙本身并不会创造生命，意识使得 diachronically and synchronically. “The three thousand worlds” is to 世界变得有意义，时间与空间只是人类意识的工具。 construct and to deconstruct as well. We encounter with each other

again and again in the microcosmic. We observe the ant in the way

we overlook the common people of the earth. Overlooking the land

and human beings from the plane, we have the experience rather

similar with the one we have when observing the ant. Is it the endless

circulation and afterlife? According to the opinion of biocentrism, it is

the life that creates the universe, and only individual consciousness

could confirm the existence of the universe. Actually the center of real

world is life and creature, for the universe itself cannot produce life. It

is human consciousness of which time and space just play as the tools,

that makes the world meaningful.

三千世界 影像 06'03" 2014 218 The Three-thousand worlds video 06'03" 2014 219

1130输出文件 画册最终版.indd 218-219 15-11-30 下午9:04 220 221

1130输出文件 画册最终版.indd 220-221 15-11-30 下午9:04 安雅·佐罗德 Anya ZHOLUD

我们需要一张桌子，桌子上放着一碗汤。我们需要一张椅子，坐在桌边。 We need a table to put a plate of soup on it. We need a chair to sit

我们需要一张床，来睡觉。我们需要一张地毯，在进入这个社会我们的 at the table. We need a bed to sleep on it. We need a carpet to wipe

安身之所前，擦擦我们的脚上的尘土。我们需要一个柜子，存放各种东西， our feet before entering into a cell that the society provides us for allocation of our bodies. We need a wardrobe to put different things 当然，也可用来藏一个情人。我们需要一本书，在睡前阅读。这就是在 in and to hide a lover, and of course, we need a book to read before 文明世界生活所需要的生活必需品清单。 bedtime. It is a kind of the list of necessities of life gained by the

文明生活的条件映射着一种文化，包含了我们如何处理自己与空间的关 civilized world.

系，以及在空间中安置何种物件以达到名义上的“幸福”。 Conditions of the civilized life dictate a certain culture of placing our

如果你没有上述列表中的任何一样东西，没有人会相信你是幸福的。如 bodies in the space, consisting of things, necessary for the nominal

果你突然说你没有床或者没有椅子，每个人都会为你感到难过。没有人 well—being.

想要生活得很艰辛，所以所有人都拥有达到文明生活最基本的幸福所需 Nobody will believe in your happiness, if you don’t have anything

要的每个物件。 from this list. If you suddenly say that you don’t have a bed or a chair, everyone will feel sorry for you. Nobody wants to be miserable, so 当然，最基本的幸福是因人而异的。一些人喜欢软一点的床，而另一些 everyone has everything that is necessary for a minimum of happiness 则喜欢硬一些的。椅子可以是扶手椅，也可以是圆凳。柜子可以是普通的， in conditions of the civilization. 也可以是升级组合的。但那些东西，仍旧是椅子、桌子、柜子。只是每 Surely, the minimum is individual. Someone wants a soft bed, another 个人都对这些物件名称赋予个人的意义罢了。 wants a hard one. The chair can be an armchair or a stool. Wardrobes

can be common and upgraded. But still all this is called a chair, a

table, a wardrobe. Only everyone puts his meaning into the words.

基本幸福空间计划 装置 尺寸可变 2007 莫斯科当代艺术馆藏 Scheme of Space of Elementary Happiness installation dimenstions variable 2007 Collection of Moscow Museum of Modern Art 222 223

1130输出文件 画册最终版.indd 222-223 15-11-30 下午9:05 224 225

1130输出文件 画册最终版.indd 224-225 15-11-30 下午9:05 周滔 ZHOU Tao

我想《现实之后》是开始于一种感觉，人们在郊外、城镇之间的大片荒 I think that After Reality actually started from a feeling. A feeling for

废区域种植蔬菜和树苗，混杂在野草灌木之间，在城际高架桥之下，疯 the suburbs, or let’s say for areas in between cities, where people

狂生长的藤蔓扑天盖地地将树枝废墙乃至整片大地紧紧包裹，一群龙舟 plant trees and vegetables, for abandoned places. The luxuriant subtropical vegetation, intertwined with paths and viaducts, left out 选手每天在几乎被整片植被覆盖的小河中开始他们的体能训练。而我们 some zones where nobody lives. Even if they grow between cities, 在等待那些潜伏的，难以察觉的，奇异的时间征兆的同时，偶尔的即兴 these plants are wild as there is no one who takes care of them. They 动作表演也随之嵌入和混合在龙舟选手们的身体训练中。从广州至巴黎， are just growing wildly under the bridge in a crazy way. We found some 我们将再次投入难以预料的另一番遭遇。 Dragon Boat rowers who came here everyday for training. We waited

a long time for the imperceptible and occult signs, and sometimes we

did some impromptu performances which were inserted and mixed

into the rowers' body training. From Guangzhou to Paris, we continued

to throw ourself into totally different situations.

现实之后 影像 14'20" 2013 （图文均由艺术家及维他命艺术空间提供） 226 After Reality video 14'20" 2013 （Courtesy: the artist and Vitamin Creative Space） 227

1130输出文件 画册最终版.indd 226-227 15-11-30 下午9:05 现实之后 影像 14'20" 2013 （图文均由艺术家及维他命艺术空间提供） 228 After Reality video 14'20" 2013 （Courtesy: the artist and Vitamin Creative Space） 229

1130输出文件 画册最终版.indd 228-229 15-11-30 下午9:05 1130输出文件 画册最终版.indd 230-231 15-11-30 下午9:05 Luo Yiping Publications

2013 Reading Notes of Forests and Spring, Lingnan Art Publishing House Director of Guangdong Museum of Art 2006 Broken Logos-Images in Modern and Contemporary Western Deputy Director of Curatorial Committee of Chinese Artists' Art History, Lingnan Art Publishing House Association 2006 History and Narration — Figures in Chinese Art History, Deputy Director of National Art Museum Committee of China Lingnan Art Publishing House Committee Member of Fine Arts Theory Committee of China 2006 Nature and Mind — Landscapes in Chinese Art History, Artists' Association Lingnan Art Publishing House President of Guangdong Art Museums Association 2006 Language and Pattern — Flower and Bird in Chinese Art Vice Chairman of Guangdong Artists' Association History, Lingnan Art Publishing House

Vice President of Chinese Painting Institute in Guangdong 2003 Evolution of Concepts — from Modernism to Professor of Sun Yat-sen University Postmodernism, Lingnan Art Publishing House

Visiting Professor of South China University of Technology

Chairman of China Committee, Federation of Asian Arts Catalogues 2013 Luo Yiping: Reading Notes and Paintings, Lingnan Art 罗一平 《语言与图式——中国美术史中的花鸟图像》，岭南美术出版社 Expert awarded State Council Special Allowance Publishing House 2003 年 《观念的嬗变：从现代到后现代》，岭南美术出版社 广东美术馆馆长 2012 Firm Steps and Maintained Aspirations: Luo Yiping's Curatorial Experiences 中国美术家协会策展委员会副主任 画册出版 Collected Works of Landscape Paintings, An'hui Art Publishing 全国美术馆专业委员会副主任 2013 年 《罗一平·札记·绘画》，岭南美术出版社 2015 Asia Time：The 1st Asia Biennial/the 5th Guangzhou House 中国美术家协会理论委员会委员 2012 年 《行健存雄·罗一平山水画作品集》，安徽美术出版社 Triennial, Guangdong Museum of Art 2012 Luo Yiping's Paintings and Calligraphy, China National 广东省美术馆协会会长 《罗一平书画》，中国国家艺术出版社 2015 A Centurial Dialogue: Academic Debate between Lingnan Arts Publishing House 广东省美术家协会副主席 2011 年 《味像·罗一平小品山水》，人民美术出版社 School and Guangdong Chinese Painting Research Society, 广东省中国画学会副会长 《罗一平山水画》，人民美术出版社 2011 Savor Nature: Luo Yiping's Landscape Sketches, People's Guangdong Museum of Art 中山大学教授 Fine Arts Publishing House 2015 The Mystery of Greatness: A Retrospective Celebrating 华南理工大学客座教授 2011 Luo Yiping's Landscape Paintings, People's Fine Arts Lai Shaoqi’s Centennial Birthday, Guangdong Museum of Art 亚洲艺术家联盟中国委员会主席 Publishing House 国务院特殊津贴专家 2014 Jiawu-Jiawu: 120 Years of Chinese Dream,Guangdong Museum of Art, 2014 策展： 2013 Voice of the Unseen, A Collateral Event of the 55th 2015 年 “亚洲时间——首届亚洲双年展暨第五届广州三年展”，广东美术馆 Venice Biennale, Venice, Italy “世纪对话——岭南画派与广东国画研究会的学术论争”，广东美术馆 “大道之道——赖少其诞辰百年作品展”，广东美术馆 2013 The Ode to Elegance: Exhibition of Works of Art from the 2014 年 “甲午 • 甲午——百年强国梦”，广东美术馆 Guangdong Museum of Art,Guangdong Museum of Art,2013 2013 年 第 55 届威尼斯双年展平行展 “未曾呈现的声音”，威尼斯，意大利 2012 The Unseen: the 4th Guangzhou Triennial, Guangdong “风·雅·颂——广东美术馆开馆 15 周年馆藏精品展”，广东美术馆 Museum of Art, 2012 2012 年 “见所未见——第四届广州三年展”，广东美术馆 2010 年 “台前幕后——广东戏曲舞台艺术展”，广东美术馆 2010 On and Behind the Stage: Exhibition of Stage Art in Guangdong Traditional Opera, Guangdong Museum of Art

著作出版 2013 年 《林泉札记》，岭南美术出版社 2006 年 《破碎的逻格斯——西方现当代艺术史中的图像》，岭南美术出版社 《历史与叙事——中国美术史中的人物图像》，岭南美术出版社 《造化与心源——中国美术史中的山水图像》，岭南美术出版社

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1130输出文件 画册最终版.indd 232-233 15-11-30 下午9:05 Born in Suzhou in 1964, Zhang Qing is a former deputy curator of the Shanghai Art Museum and the director of Shanghai Biennale Office. He currently works as a researcher and the director of research and planning department at the National Art Museum of China, as well as an adjunct professor at China Central Academy of Fine Arts, China Academy of Art, Tongji University and Yunnan University.

Graduated from China Central Academy of Fine Arts as a postgraduate assistant, Zhang Qing went to the art theory department of China Academy of Art for further education. Gaining his doctor’s degree, he worked as a postdoctoral researcher on architectural history and theory in the department of architecture of the College of Architecture and Urban Planning, Tongji University.

He is the founder and a council member of International Biennial Association and also the director of the department of management and development, a member of CIMAM, a deputy director of the curatorial committee of the Chinese Artists Association, a deputy secretary general of the art committee of the National Steering Committee for Urban Sculpture Construction, the standing director of China's Urban Sculptor Association, the director of International Biennial Research Center and Research Center of Chinese Art at Beijing Normal University, the director of the Research Center for Cross-media Arts and Communication of the College of Fine Arts and Communications at Tongji University, a member of the Academic Committee of the Institute of Phenomenology and Academic Committee of the Institute of Philosophy of Art and cultural innovation at the China Academy of Fine Arts, a member of the Chinese Museums Association, the chairman of Creative M50’s creative, cutting-edge jury, a regulatory consultant of the Shanghai Cultural Development Foundation’s funded projects and one of the editorial board members of the National Art Museum of China and Art China. 张晴， 1964 年生于苏州，曾任上海美术馆副馆长兼上海双年展办公室主任。现任中国美术馆研究与策划部主任，研究馆馆员，中央美术学院、中国美术学院、同济大学和 云南大学兼职教授。 selected curatorial and collaborative exhibitions: 中央美术学院美术史系研究生助教班毕业。中国美术学院美术史论系美术史学史专业博士研究生毕业，获博士学位。同济大学建筑与城市规划学院建筑系建筑历史与理论专业博士 1988 The Big Dipper Art Exhibition, Nanjing Mass Art Center, China 后流动站研究员。 1996 The 1st Chinese landscape art exhibition, Jinan Yellow River Railway Bridge, China 1998 South of the Yangtze River - Chinese Contemporary Art Exhibition, Vancouver Art Gallery, Canada 国际双年展协会 (International Biennial Association) 创始人、理事，管理与开发部主任，国际现当代美术馆协会（CIMAM）成员，中国美术家协会策 2000 Shanghai Biennale 3, Shanghai Art Museum, China 展委员会副主任，全国城市雕塑建设指导委员会艺术委员会副秘书长 ，中国城市雕塑家协会常务理事，北京师范大学国际双年展研究中心主任，北京师范大学中国艺术研究中心 2001 Chinese Expression - Chinese Contemporary Art Exhibition, National Art Gallery, Singapore 主任，同济大学艺术与传播学院跨媒体艺术与传播研究中心主任，中国美术学院艺术现象学研究所学术委员会委员，中国美术学院艺术哲学与文化创新研究院学术委员会委员， 2002 Red China - Chinese Contemporary Art Exhibition, Gwangju Art Museum, Korea 中国博物馆协会会员，Creative M50 创意新锐评选评委会主席，上海文化发展基金会资助项目监管咨询专家，《中国美术馆》和《艺术当代》杂志编委。 2002 Asian City Network, Seoul Museum of Art, Korea 2004 The Interpretation of Modern Times - Amsterdam Art Museum’s painting collection, Shanghai Art Museum, China 策划与合作策划的主要展览： 2004 Shanghai Biennale 5, Shanghai Art Museum, China “北斗星艺术展”，南京群众艺术馆，1988 年 2006 Shanghai Biennale 6, Shanghai Art Museum, China “第一届中国地景艺术展”，济南黄河铁路大桥，1996 年 2007 São Paulo Architecture Biennale 6, the São Paulo Biennial Foundation, Brazil “江南——中国当代艺术展”，温哥华市立美术馆，1998 年 2007 The 10th Venice Sculpture Exhibition, Italian Culture and Art Center, Italy “第三届上海双年展”，上海美术馆，2000 年 2007-2010 Infantilization, Shanghai Art Museum, China; Museum of Contemporary Art Taipei, China; the Lyon Museum of “中国表情——中国当代艺术展”，新加坡国家美术馆，2001 年 Contemporary Art, France; Antwerp photo gallery, Belgium; Basel Art Center, Switzerland “红色中华——中国当代艺术展”，韩国光州美术馆，2002 年 2008 Shanghai Biennale 7, Shanghai Art Museum, China “亚洲城市网络”，韩国汉城市立美术馆，2002 年 2009 Story of the image: masters of classical and new era in Antwerp, Royal Museum of Fine Arts of Antwerp, Belgium; Shanghai “诠释现代——阿姆斯特丹美术馆藏画展”，上海美术馆，2004 年 Art Museum, China; National Museum of Singapore, Singapore “第五届上海双年展”，上海美术馆，2004 年 2012 Dhaka Asia Biennial 15 · China Pavilion, Bangladesh National Gallery, Bangladesh “第六届上海双年展”，上海美术馆，2006 年 2012 Images and Words – Arts after Rene Magritte, National Art Museum of China, China “第七届圣堡罗建筑双年展”，圣保罗双年展基金会，2007 年 2014 modernity 3.0, Shanghai New York University Art Museum, China “第十届威尼斯雕塑展”，意大利文化艺术中心，2007 年 “果冻时代”，上海美术馆，2007 年；台北现代艺术馆，2008 年；里昂当代美术馆，2009 年，；特卫普摄影美术馆，2010 年；巴塞尔艺术中心，2010 年 “第七届上海双年展”，上海美术馆，2008 年 “图像的故事：安特卫普古典及新时代大师”，安特卫普皇家美术馆、上海美术馆、新加坡国家博物馆，2009 “第十五届达卡亚洲双年展·中国馆”，孟加拉国国家美术馆，2012 年 “图与词——玛格利特以来的艺术”，中国美术馆，2012 年 “现代性 3.0”，纽约大学美术馆，2014 年

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1130输出文件 画册最终版.indd 234-235 15-11-30 下午9:05 Research and visual art have been the focus of many activities developed by Henk Slager over the last ten years. As professor of artistic research he has made significant contributions to the debate on the role of research in visual art, and as Dean of the Utrecht Graduate School of Visual Art and Design (MaHKU) he has contributed to the launching of productions such as the yearly Dutch Artistic Research Event (DARE) and the publication of the biannual MaHKUzine, Journal of Artistic Research.

In 2006, Henk Slager co-initiated the European Artistic Research Network (EARN), a network investigating the consequences 汉克在过去的十年中一直着力于视觉艺术研究。作为艺术研究的教授，他已经在视觉艺术的研究起到怎样的作用方面贡献颇丰。作为乌得勒支视觉艺术和设计研究生院院长， of artistic research for current art education in symposia, expert meetings, and presentations. Departing from a similar 他开创了很多新的活动，比如每年举行一次的荷兰艺术研究活动（DARE）和每年发行两次艺术研究类杂志《艺术研究日报》。 focus on artistic research, he has also (co-) produced various curatorial projects, e.g. Flash Cube (Leeum, Seoul, 2007), Translocalmotion (7th Shanghai Biennale 2008), Nameless Science (Apex Art, New York, 2009), As the Academy Turns 2006 年，汉克参与共同发起了欧洲艺术研究网（EARN），一个调查艺术研究对艺术教育作用的网络平台，包括了专题讨论会、专家会议和演示。从类似的艺术研究角度出发， (Collaborative project Manifesta, 2010), Any-medium-whatever (Georgian Pavilion, Venice Biennale, 2011), TAR – Temporary 他也参与发起了各种策展项目，“AO 闪光魔方”（首尔，2007 年）、“Translocalmotion”（2008 年第七届上海双年展）、“无名科学”（顶点艺术，纽约， Autonomous Research (Amsterdam Pavilion, Shanghai Biennale 2012), Doing Research (dOCUMENTA 13, 2012), Offside Effect (1st 2009 年）、“学术转折”（合作项目宣言展，2010 年），“任何介质”、（2011 年威尼斯双年展格鲁吉亚馆）、“临时自治研究”（2012 年上海双年展阿姆 Tbilisi Triennial, 2012), Joyful Wisdom (Parallel Project, Istanbul Biennial, 2013), Modernity 3.0 (80 WSE Gallery NYU 斯特丹馆）、“做研究”（2012 年）、“越过的影响”（2012 年第比利斯三年展）、“快乐智慧”（2013 年伊斯坦布尔双年展并行工程）、“现代 3.0”（2014 New York, 2014) and Experimentality (1st Research Pavilion, Venice Biennale, 2015). 年纽约大学 WSE 画廊）和“实验性”（第 1 研究馆，威尼斯双年展，2015 年）。

Recent publications include: Differential Iconography, in: Henrik Karlsson and Michael Biggs, The Routledge Companion

最近的出版物包括： to Research in the Arts, New York/London, 2010; Agonistic Academies (ed. with Jan Cools), Sint Lukas Academy Books, 《影像学差异》，亨里克·卡尔森和迈克尔·比格斯编辑，劳特利奇艺术研究系列，纽约 / 伦敦，2010 年 Brussels, 2011; Context Responsive Investigations, in: Intellectual Birdhouse, Artistic Practice as Research (eds. Ute 《激动学术》，扬·库尔斯编辑，布鲁塞尔，2011 年 Meta Bauer, Claudia Mareis, and Florian Dombois), Walther Koenig, Cologne/London 2012; Counter-archival dissemination, 《情境响应调查》，见于《知识鸟巢，作为研究的艺术实践》，乌特·梅塔·鲍尔，克劳迪娅·唐布依斯和弗洛里安·马雷什编辑，瓦尔特柯尼希，科隆 / 伦敦，2012 年 in: The Exposition of Artistic Research, Michael Schwab and Henk Borgdorff (eds.), Leiden University Press, 2013; Academy 《非档案式传播》，见于《艺术研究的博览会》，迈克尔·施瓦布和亨克·波多夫编辑，荷兰莱顿大学出版社，2013 年 as Exhibition, in: Curating Research, Paul O’Neill and Mick Wilson (eds.), Bard College (New York)/ De Appel (Amsterdam), 《作为展览的学术》，见于《策展研究》，保罗·奥尼尔和米克·威尔逊编辑，巴德学院（纽约）/ 德阿佩尔（阿姆斯特丹），2014 年伦敦公开版 Open Editions London 2014; and The Pleasure of Research, (Book publication) Hatje Cantz, Berlin 2015. 《研究的乐趣》，汉杰坎茨，柏林，2015 年

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1130输出文件 画册最终版.indd 236-237 15-11-30 下午9:05 General Director SeMA, Seoul Museum of Art, Seoul

WORK EXPERIENCE 2013 Member of Finding Committee of Documenta 14 2007-2010 Director, Gyeonggi Museum of Modern Art, Gyeonggido 1998-2006 Director, Samziespace, Seoul 2006 Artistic Director, Gwangju Biennale 2003 Commissioner, Korean Pavillion, The 50th Venice Biennale 首尔艺术博物馆馆长，首尔 2001 International Committee Member, The 1st Yokohama Triennale 2000 Commissioner, The 3rd Gwangju Biennale 工作经历 1999 Director, Planning Committee, The Patjis on Parade, Seoul 2013 年 第 14 届文献展调查委员会成员 1995-1996 Curator, Seoul-NymAX Medial, Seoul & New York 2007—2010 年 京畿道现代美术馆总监，京畿道 1995 Curator, Special Exhibition infoART, The 1st Gwangju Biennale 1998—2006 年 国际艺术村与展览艺文空间总监，首尔 1994 Curator, Woman, The Difference and Power, Seoul 2006 年 光州双年展艺术总监 1993 Organizer, The Seoul Fluxus Festival, Seoul 2003 年 第五十届威尼斯双年展韩国馆理事 2001 年 第一届横滨三年展国际委员会成员 PUBLICATIONS 2000 年 第三届光州双年展理事 2014 Curators can live by artist, Contemporary Art Discourse and Art Field III, Noonbit, Seoul 1999 年 “游行的 Patjis”策划委员会主任，首尔 2012 True Colors of Curator, (ed)anthology, Hangil Art, Seoul 1995—1996 年 “Seoul-NymAX”展策展人，首尔 / 纽约 2007 Good Morning Mr. Paik, Design House, Seoul (Revised from Nam June Paik: Happening and Video 1995 年 第一届光州双年展 " 信息艺术 " 特别展策展人 1999, 1992) 1994 年 “女人，区别与权力”策展人，首尔 2003 Women and Art , Contemporary Art Discourse and Art Field I, 1993 年 首尔激浪节组织者，首尔 Korean Art World and Contemporary Art, Contemporary Art Discourse and Art Field II, Noonbit, Seoul 出版物 1998 Feminism. Video. Art, Jaewon, Seoul 2014 年 《艺术家也可成为策展人》，当代艺术对话和艺术领域第 3 期，Noonbit，首尔 2012 年 《策展人的本色》，专辑系列，Hangil 艺术，首尔 AWARDS 2007 年 《早上好，白先生》，首尔设计室（在《白南准：发生与影像》基础上修订，1992 年与 1999 年版） 2015 The 18th Korean Art Writing and Publication Award, Kim Sejung Commemoration Service Society 2003 年 《女性与艺术》，当代艺术对话和艺术领域第 1 期 2007 Presidential Medal for Culture (Ockgwan) No. 222 韩国艺术世界与当代艺术，当代艺术对话和艺术领域第 2 期，Noonbit，首尔 2003 Seokjoo Art Award, Seokjoo Arts & Cultural Foundation 1998 年 《女权主义、视频、艺术》，再元，首尔 1996 Presidential Commendation, No. 100534 Curator’s Award, The First Wolgan Misool Magazine Grand Prize, Jungang Dailys 荣誉和奖励 2015 年 第十八届韩国艺术创作与出版奖，金世晶纪念活动社团 2007 年 总统文化勋章第 222 号 2003 年 Seokjoo 艺术奖，Seokjoo 艺术文化基金 1996 年 总统奖章第 100535 号 策展人奖，第一届沃尔根米苏杂志大奖，Jungang 日报

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1130输出文件 画册最终版.indd 238-239 15-11-30 下午9:05 Professor of the History of Modern and Contemporary Art, The Courtauld Institute of Art

University of London, London, UK

Her first degree was in English Language and Literature at the University of Oxford. Recent publications include The Visual World of French Theory: Figurations (Yale, 2010) and Picasso/Marx and socialist realism in France (Liverpool, 2013). During 2012-2013 she held a Chair of Excellence at the Centre for the Cultural History of Contemporary Societies at the University of Versailles, Saint Quentin, where she launched the project ‘Globalisation before globalisation: avant-gardes, academies, revolutions’ focused upon international exchanges and artistic mobility, including Paris’s long relationship with Eastern Europe, Russia and Asia (including Maoism and its impact outside China), and recently India and the Paris-Budapest-Simla axis in the case of Amrita Sher-Gil. She continues to rediscover and publish upon lesser known women artists, while perfomance is 英国伦敦大学科陶德艺术学院现代与当代艺术史系教授 another interest. At the Courtauld, her MA course, ‘Global Conceptualism,’ was generated in 2011 with Professor Boris Groys

她的第一个学位在牛津大学获得，所学专业为英语语言和文学。其近期论文发表包括：《法国理论的视觉世界：图案装饰法》（耶鲁，2010）和毕加索 / and student research is consituting a unique new archive. She is an active member of CCRAC, the Cambridge Courtauld Russian 马克思与法国的社会主义现实主义（利物浦，2013）。2012—2013 年间曾担任圣康坦凡尔赛大学当代社会文化历史中心主席，期间开展了“全球化前 Art Centre. She was principal curator of Paris, Capital of the Arts, 1900-1968 (Royal Academy London, Guggenheim Bilbao, 2002- 的全球化：先锋派、学会与革命”一项目。此项目以国际交流和艺术流动性为重点，其中包括巴黎与东欧的长久关系、俄罗斯与亚洲（包括毛泽东思想及其对 3) and Pierre Klossowski Whitechapel Art Gallery, 2006 (touring to Cologne and Paris). A close relationship with the Centre 中国以外地区的影响）和近期印度与巴黎—布达佩斯 - 西姆拉轴心城市关于阿姆瑞塔·谢吉尔的交流。莎拉·威尔逊教授继续致力于挖掘鲜为人知的女性艺术家， Georges Pompidou, Paris, has extended throughout her career with participation in Paris-Paris, Max Ernst, Kurt Schwitters, 并发表相关文章，表演亦是她的兴趣之一。在科陶德，她与鲍里斯·葛洛伊斯教授于 2011 年共同开设了“全球概念主义”硕士课程，学生的科研也正在构 Feminin-Masculin, Traces du Sacré, and Voids. She has also taught at Paris-I and Paris-IV, Sorbonne, and the École Nationale 建一个独特的新档案。她活跃于剑桥科陶德俄罗斯艺术中心，是“艺术的资本，1900—1968” ( 展于伦敦皇家艺术学院和西班牙毕尔包古根美术馆， Supérieure des Beaux-Arts, Paris. Sarah Wilson was appointed Chevalier des Arts et des Lettres by the French government in 2002—3) 和“皮埃尔·克罗索斯基”（2006 年展于白教堂美术馆，于克隆和巴黎巡展）两次展览的主要负责人。得益于与蓬皮杜国家文化艺术中心的密 1997 and in 2015 was given the AICA International award for distinguished contribution to art criticism. Her former students 切联系，她的职业生涯在巴黎得到蓬勃发展，曾参加了“巴黎—巴黎”“马克思·恩斯特”“库尔特·史维塔斯”、“女性—男性”以及“空洞”等展览。 hold university, curatorial and other art world positions in many different countries. See www.sarah-wilson.london 她也曾在巴黎第一大学、巴黎第四大学（索邦大学）和法国国立高等艺术学院任教。1997 年，法国政府授予莎拉·威尔逊教授艺术暨文学骑士勋章；2015 年，凭借在艺术批评上的杰出贡献，被授予 AICA 国际贡献奖。她的学生在世界各国任职于大学、策展及其他艺术职位，详见 www.sarah-wilson. london。

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1130输出文件 画册最终版.indd 240-241 15-11-30 下午9:05 乌特·梅塔·鲍尔 UTE META BAUER

Founding Director, NTU Centre for Contemporary Art Singapore Professor, Nanyang Technological University, School of Art, Design and Media 新加坡当代艺术中心 创始人

南洋理工大学 艺术、设计与媒体学院 教授 Ute Meta Bauer was educated at the Hochschule für Bildende Künste Hamburg. Currently Founding Director of the NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) at Nanyang Technological University (NTU), she formerly was Associate Professor in the Department of Architecture at MIT (Massachusetts Institute of Technology), Cambridge, US, where she also served as Founding 乌特·梅塔·鲍尔毕业于德国汉堡美术学院（Hochschule für Bildende Künste），目前在南洋理工大学的新加 Director of the MIT Program in Art, Culture, and Technology (2005-2012). From 2012–2013, she was the Dean of Fine Art at the Royal 坡当代艺术中心担任创始总监。她曾在 2005 年至 2012 年间担任美国 MIT（Massachusetts Institute of College of Art, London, UK. Bauer was Co-Curator for Documenta11 (2001/2002) and Artistic Director for the 3rd Berlin Biennial for Technology）建筑系副教授，同时期亦是 MIT 艺术、文化与科技科硕士课程的创办主任，之后从 2012 年至 2013 年 contemporary art (2004). As Founding Director of the Office for Contemporary Art Norway (2002-20 05) she was also Commissioner for 在英国伦敦Royal College of Art任职美术系主任。鲍尔还担任过第11届卡塞尔文献展的联合策展人（2001/2002 the Nordic Pavilion at the 50th Venice Biennale (2003) and the Norwegian contribution for the 26th São Paulo Biennale (2004). Most 年） 和 第 3 届 柏 林 当 代 艺 术 双 年 展 的 艺 术 总 监（2004 年）。2002 至 2005 年 任 职 挪 威 奥 斯 陆 Office for recently in 2015, she co-curated with MIT List Centre for Visual Art Director Paul Ha the US Pavilion at the 56th Venice Biennale, Contemporary Art（OCA）的创始总监的期间，她是 2003 年第 50 届威尼斯双年展北欧展馆的委员，并为 2004 presenting eminent artist Joan Jonas; the exhibition was honored with a special mention. For NTU CCA Singapore, she curated 年第 26 届圣保罗双年展中挪威展览部分做出贡献。鲍尔在 2015 年与 MIT List 视觉艺术中心总监 Paul Ha 联合策划 Paradise Lost (with Anca Rujoiu) featuring Zarina Bhimji, Trin T. Minh-ha and Fiona Tan; Theatrical Fields – Critical Strategies 威尼斯双年展美国展馆，呈现知名艺术家 Joan Jonas 的作品，并获得当届双年展的特别提名奖。她为新加坡当代艺术中策 in Performance, Film and Video (with Anca Rujoiu, commissioned by Bildmuseet Umeå, Sweden); Yang Fudong: Incidental Scripts (with 划的展览包括：与 Anca Rujoiu 联合策划的《Paradise Lost（失乐园）》，展出 Zarina Bhimji，Trin T. Khim Ong), Simryn Gill: Hugging the Shore (with Anca Rujoiu) and Allan Sekula: Fish Story, to be Continued (with Anca Rujoiu). Minh-ha 和 Fiona Tan 的作品；受瑞典于默奥美术馆（Bildmuseet Ume ）委托、与 Anca Rujoiu 联合策划 Bauer has edited numerous publications in the field of contemporary art, most recently Intellectual Birdhouse, Artistic Practice as 的《Theatrical Fields – Critical Strategies in Performance, Film and Video（戏剧 Research (co-edited with Florian Dombois, Michael Schwab and Claudia Mareis, 2012), World Biennale Forum No 1 – Shifting Gravity 领域：表演、影视及录像作品的关键策略》；与王佩琴联合策划的《杨福东：偶发的剧本》；与 Anca Rujoiu 联合策划 (co-edited with Hou Hanru) and AR – Artistic Research (co-edited with Thomas D. Trummer), both 2013. 的《Simryn Gill: Hugging the Shore（Simryn Gill：围绕海岸）》以及与 Anca Rujoiu 联合策划 的《Allan Sekula: Fish Story, to be continued（Allan Sekula：鱼的故事，未完持续》。鲍尔 也为当代艺术领域的诸多出版物参与编辑，包括 2012 年与 Florian Dombois、Michael Schwab 和 Claudia Mareis 共同编辑的《Intellectual Birdhouse, Artistic Practice as Research》 ；2013 年与侯瀚如共同编辑的《World Biennale Forum No 1 – Shifting Gravity》以及同年与 Thomas D. Trummer 共同编辑的《AR – Artistic Research》。

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1130输出文件 画册最终版.indd 242-243 15-11-30 下午9:05 1130输出文件 画册最终版.indd 244-245 15-11-30 下午9:05 2004 “北京地图”，第五届上海双年展——影像生存，上海美术馆，上海，中国（小组成员： 2007 “亲爱的铸造厂”，蒙特利尔 , 魁北克省，加拿大 群展： A 唐应山 孙哲政 王恺 严逢林） 2006 “当代声音形象”，蒙特利尔 , 魁北克省，加拿大 2011 “海牙天下——中国当代雕塑展”，海牙，荷兰 1988 “北斗星艺术展—星光引路”，南京市工人文化宫，南京，中国（小组成员：张晴 2005 “空间——三角形”，伦敦，英国 2010 “从西天到中土——中国印度当代艺术展”，上海，中国 唐应山 周啸虎 孙哲政 严逢林 蒋剑平） 2004 “莫塞尔联盟”，多伦多，安大略省，加拿大 2005 “横浜三年展”，横浜，日本 2004 “威尼斯开放雕塑展”，威尼斯，意大利 阿德尔·阿比丁 ( 芬兰 ) 群展： 1999 “圣保罗建筑双年展”，圣保罗，巴西 2010 “出版许可 1980-2010”，宏大图书馆，蒙特利尔，加拿大 1973 年生于伊拉克巴格达，现工作并居住于芬兰赫尔辛基。 2008 “给我一美元让我实现梦想”，Eponyme 画廊，波尔多，法国 卜冰（中国） 个展： “魁北克黄金”，T 形宫殿，兰斯，法国 2015 “不朽者”，劳瑞·舍比比艺术画廊，阿联酋，迪拜 1973 年生于中国扬州，现工作并居住于中国上海。 “06 使者 08”，加拿大 VU 画廊，魁北克省，加拿大 2014 “掩饰！”，苏丹画廊，科威特 2007 “人工制品”，蒙特利尔，魁北克省，加拿大 J 群展： “生命短暂 , 一起来外遇吧”，Muu 画廊，赫尔辛基，芬兰 2013 “上海艺术设计展”，上海当代艺术博物馆 , 上海，中国 “流动艺术节：掩饰！”，赫尔辛基，芬兰 咸京我 ( 韩国 ) 2011 “第五届成都双年展”，成都，中国 2013 “爱我所爱”，论坛箱画廊，赫尔辛基，芬兰 “山水意园——中国当代公共艺术展”，肯尼迪艺术中心，华盛顿，美国 1966 年生于韩国首尔，现在工作并居住于韩国首尔。 郑锦衡（韩国） 群展： “‘复感——动观’海峡两岸当代艺术展”，北京／台中，中国 2015 “这不是一首爱歌。流行音乐与视觉艺术的交界”，佩拉博物馆，伊斯坦布尔，土 2007 “第一届深圳香港城市建筑双城双年展”，深圳，中国 个展： 1980 年生于韩国首尔，现工作并居住于韩国首尔。 耳其 2002 “第四届上海双年展”，上海，中国 2015 个人展览，首尔国际画廊，首尔，韩国 个展： “一个建筑周：不平凡的河流”，普罗夫迪夫，保加利亚 2009 “渴望与麻木”，Sonje 艺术中心，首尔，韩国 2013 “心肺复苏”，首尔 Mulle 艺术空间，首尔，韩国 “主场地：巴尔吉耶艺术基金会的当代艺术”，阿迦汗博物馆，多伦多，加拿大 2008 “如此游戏”，Ssamzie Space 艺术空间，首尔，韩国 2011 “健身指导”，斗山艺术中心 111 空间，首尔，韩国 “快速脉冲国际行为艺术节：焦虑与生存的其他方式”，芝加哥，美国 群展： “第 56 届威尼斯双年展：大博弈”，伊朗国家馆，威尼斯，意大利 群展： F 2014 “相同”，Leeum 三星美术馆，首尔，韩国 2015 “野兽与君主”，巴塞罗那当代艺术博物馆，巴塞罗那，西班牙符腾堡艺术中 2011 亚太酿酒基金会现代艺术奖决赛，新加坡美术馆，新加坡 唐·安吉（荷兰） 心，斯图加特，德国 新加坡双年展，新加坡 2015 “2015 三年展：围绕观众”，纽约新当代艺术博物馆，纽约，美国 1961 年生于印度尼西亚苏腊巴亚，现工作并居住于荷兰。 奥马·法斯特（以色列 / 美国） 2009 “亚太三年展”，昆士兰美术馆，布里斯班，澳大利亚 2015 KLEMM'S 展：“谁在说话？”， 柏林，德国 2006 “第六届光州双年展”，光州，韩国 个展： 1972 年生于以色列耶路撒冷，现工作并居住于德国柏林。 2014 “第十届广州双年展：烧毁房子”，光州，韩国 2001 “第一届横滨三年展：超级巨浪”，横滨，日本 2014 “多余的庆祝”，Lynch Tham 美术馆，纽约，美国 2014 “符腾堡艺术中心展：手势”，斯图加特，德国 个展： 2013 “如何行动”，Lumen Travo 美术馆，阿姆斯特丹，荷兰 2015 法国国家影像美术馆，巴黎，法国 灰野敬二 ( 日本 ) 2012 “重塑（在中国的非洲人）”，Volta 国际当代艺术博览会，纽约，美国 郑恩瑛（韩国） 2010 美国惠特尼艺术馆，纽约，美国 2009 “难以忘却”，Lumen Travo 美术馆，阿姆斯特丹，荷兰 1952 年生于日本千叶，现工作并居住于日本。 2007 维也纳现代艺术博物馆，奥地利 1974 年生于韩国仁川，现工作并居住于韩国首尔。 “人类模范”，艺术博览会，阿姆斯特丹，荷兰 1970 加入了＂ Lost Aaraaf ＂乐队担任主唱。 群展： 1978 组建了摇滚乐队＂不失者＂。 个展： 群展： 2011 “54 届威尼斯双年展”，威尼斯，意大利 1983 至 1987，离开乐坛休养。 2015 “跨剧院”，艺术空间池，首尔，韩国 2015 “实验”，Sala del Camino1 号研究馆，朱代卡岛，威尼斯，意大利 2008 “纽约惠特尼双年展”，纽约，美国 1988 复出至今，一直活跃在国际乐坛，以 Solo 和乐队的形式进行多岐的演奏活动。 2010 “排练”， SlowRush 舞台，松岛国际新都市，仁川，韩国 2014 “现代 3.0”，80WSE 美术馆，大学美术馆，纽约，美国 2002 “纽约惠特尼双年展”，纽约，美国 曾组建过多支乐队，包括：“不失者”，“渗有无”，“哀秘谣”和 “静寂”等， 以＂ 2007 “过路人：旅行者的书”，首尔—法兰克福—马德里—巴黎—伦敦—首尔 “即兴学院—Aesthetic Jam”，台北市立美术馆，台北，中国台湾 experimental mixture ＂的名义做 DJ 表演。并跨界与不同行业的艺术家进行合作。 2006 “流浪的疾病”，大脑工厂（Brain Factor）, 首尔，韩国 2013 “停滞的历史”，范·卢恩博物馆，阿姆斯特丹，荷兰 傅文俊 （中国） 发行超过 170 种唱片，合作过 1500 场次的现场演出。 “日惹双年展”，日惹艺术博物馆，日惹，印尼 群展： 2012 “越位效应”，第一届第比利斯三年展，格鲁吉亚国家博物馆，第比利斯 1955 年生于中国重庆，现工作并居住于中国重庆。 2015 “第八届亚太当代艺术三年展”，昆士兰现代美术馆，布里斯班，澳大利亚 莎拉·范·德·海德（韩国 / 荷兰） “幻想曲：亚洲女性主义”，首尔艺术博物馆，韩国 个展： 1977 年生于韩国釜山，现工作并居住于荷兰。 2014 “2014 媒体城市双年展：鬼混、间谍和祖母”，首尔艺术博物馆，韩国 2015 “迷思之像——傅文俊抽象观念摄影作品展”，广东美术馆，广州，中国 “太空中无法勘测的物体”，符腾堡艺术馆，斯图加特，德国 “摄影叙事——傅文俊观念摄影作品展”，联合国总部，纽约，美国 个展 : “社区表演”，亚洲文化中心，光州，韩国 B 2014 “幻化——傅文俊夏布系列观念摄影作品展”，佛罗里达，美国 2015 “莎拉·范·德·海德在 Rongwrong”, 阿姆斯特丹， 荷兰 “TPAM 艺术节（Performing Art Meeting In Yokohama）”，日本横滨神奈 2013 “‘他心通’观念摄影作品展”，迈阿密，美国 2014 “地球母亲的呼吸”，深圳华侨城当代艺术中心馆群和阿姆斯特丹 川艺术剧场，日本 2010 “精神的图像表达”，圆明园，北京，中国 2013 “歌德学院平壤阅读屋，物体和阴影之间”，阿姆斯特丹歌德学院，荷兰 2013 “学习机器”，白南准艺术中心，龙仁，韩国 北斗星小组（中国） 2012 “荷兰内阁”，埃因霍温美术馆，荷兰 群展： 2013 “斜韵之歌”，库卡美术馆，首尔，韩国 2011 “声称普遍性”，色彩理论练习 1—20，KIOSK 美术馆，根特市，比利时 成立于 1985 年的北斗星小组一直致力于当代艺术探索 , 专注于社会思想与文化现状的研 2015 “第 10 届佛罗伦萨双年展”，佛罗伦萨，意大利 究，用当代艺术的理念与语法进行思考，讨论及其创作。 “第 18 届塞尔韦拉双年展”，塞尔韦拉镇，葡萄牙 群展 : 小组成员： 2014 “第 2 届阿根廷当代艺术国际双年展”，布宜诺斯艾利斯，阿根廷 2015 “基辅的学校，莱比锡城班，形式的政治”，莱比锡城 GfZK 美术馆，德国 唐应山 1964 年生于中国南京，现工作并居住于中国北京。 “未曾呈现的声音——中国独立艺术展”，第 55 届威尼斯双年展平行项目，威尼斯， 2014 悉尼第 19 届双年展：“你想象你所渴望的”，悉尼，澳大利亚 K 刘 越 1967 年生于中国苏州，现工作并居住于中国苏州 / 上海。 意大利 “罗马出版物 1998-2014”，朱利亚尼基金会，罗马，意大利 日 青 1964 年生于中国苏州，现工作并居住于中国北京。 2010 独立沙龙，香榭丽舍大皇宫，巴黎，法国 “自动旅馆”，MuHKA 画廊，安特卫普，比利时 孙哲政 1963 年生于中国南京，现工作并居住于中国南京。 2013 “超越想象”，阿姆斯特丹市立博物馆，荷兰 扬·卡纳＋杰保·克努帝纳（芬兰 / 芬兰） 许旭兵 1961 年生于中国如皋，现工作并居住于中国上海。

严逢林 1962 年生于中国宜兴，现工作并居住于中国上海。 胡项城（中国） 扬·卡纳（芬兰） 吴黎中 1963 年生于中国如皋，现工作并居住于中国北京。 H 1950 年生于中国上海，现工作并居住于中国上海。 1957 年生于芬兰约马拉，现工作并居住于芬兰赫尔辛基。 群展： 个展： 2014 “湖区”，罗马湖艺术中心，北京，中国 （小组成员：唐应山 日青 吴黎中 刘越） 个展： 2014 俄罗斯现代历史博物馆，莫斯科，俄罗斯 2012 “时代” , 南池子艺术中心，北京，中国（小组成员：日 青 唐应山 刘 越 吴黎中） 娜塔莎·萨德尔（德国） 2014 “这不是零”，喜玛拉雅美术馆，上海，中国 2007 希伯利特画廊，赫尔辛基，芬兰 2008 “逝去的码头”，第七届上海双年展——快城快客，上海美术馆，上海，中国（小 “鸣相酬”，浙江美术馆，杭州，中国 2006 德国大教堂，锡比乌，罗马尼亚 组成员：刘越、吴黎中、许旭兵） 个展： “隐形·显像”，沪申画廊，上海，中国 2005 艺术厅，塔林，爱沙尼亚 2010 温莎艺术画廊，温莎 , 安大略省，加拿大 2010 “出入神”，沪申画廊，上海，中国 2007 “陌生者的行程”，上海美术馆，上海，中国 2000 阿莫斯安德森艺术博物馆，赫尔辛基，芬兰 246 247

1130输出文件 画册最终版.indd 246-247 15-11-30 下午9:05 群展： 个展： 2000 “引入发现（摄影，1990—1999）”，Scene 画廊，纽约，美国 2014 第六届布加勒斯特双年展，布加勒斯特，罗马尼亚 2015 “展销场：深圳制造”，油麻地展销街铺，中国香港 1997 “荣耀花园”，Arks 艺术馆，伦敦，英国 2013 “快乐的智慧”，瑞赞·哈斯博物馆，伊斯坦布尔，土耳其 2014 “香港制造”，奥沙画廊，中国香港 1991 “两幅画 1986—1991”，莱恩美术馆，纽卡斯尔，英国 2012 “越位效应”，第一届第比利斯三年展，第比利斯，格鲁吉亚 2013 “不要责怪月亮”，新加坡艺术博览会，新加坡 N 群展： 2008 “无名的科学”，纽约前卫艺术中心，美国 2006 “房间风景”，斯亚影像及文络研究中心，谢尔，瑞士 2010 “重新审视的另一个故事”，爱尔康画廊，伦敦，英国 2007 “闪光的立方体”，三星艺术博物馆，首尔，韩国 群展： 2000 “文化纽带”，Jariwala and Westzone 画廊，伦敦，英国 2015 “潜行·梦空间”， 香港文化博物馆 , 中国香港 娜丝琳 + 巴巴克（伊朗） 1993 “进入视野”，英国艺术委员会收藏展，皇家节日音乐厅，伦敦，英国 杰保·克努帝纳（芬兰） 2014 “紧绷！我的身体我的神典”，巴特农博物馆，田纳西州，美国 1990 “世界之南”，Civica d’Arte Contemporanea 画廊，马沙拉，意大利 娜丝琳·塔巴塔拜和巴巴克·奥菲斯亚比生于伊朗德黑兰，现工作并居住于荷兰鹿特 1952 年生于芬兰赛屈莱，现工作并居住于基尔科努米。 2013 “海印艺术项目——国际当代艺术展”，松堡美术馆，海印寺，庆尚南道伽倻山 , 丹和伊朗。 1989 “另一个故事”，伦敦海沃美术馆和伍尔弗汉普顿美术馆，英国 韩国 个展及群展： 2012 “殷勤款待”，利物浦双年展，利物浦，英国 个展： 2013 “审判是镜子”，生活艺术博物馆，雷克雅维克，冰岛 2010 “世界的艺术——世博轴雕塑展：交叉小径的城市”，上海世博会，中国 2013 “渗透”，Chisenhale，伦敦，英国 2012 “极端的共同因素”，Vaino Aaltosen 博物馆，图尔库，芬兰 2013 “两个文档”，Tensta Konsthall，斯德哥尔摩，瑞典 2011 “熟悉”，万塔艺术博物馆，万塔，芬兰 林宏璋（中国台湾） 2012 “渗透”，巴塞罗那当代艺术博物馆，西班牙 2007 “面对面风景”，Suomen Kivikeskus 艺术馆 , 尤卡，芬兰 R 2011 “两个文档”，巴迪斯艺术协会，卡尔斯鲁厄，德国 2006 “相反的叙述”，奥卢艺术博物馆及凯瓦拉艺术博物馆，芬兰 1964 年生于中国台湾，现工作并居住于中国台湾。 2009 “岛屿”，MAL 中心 / 辛德勒中心，洛杉矶，美国 “水手和航海的地平线” ，魔幻时刻照片廊，赫尔辛基，芬兰 个展： 群展： 艾兰·日得（奥地利） 2014 “MOGP”，伊通公园，台北，中国台湾 姜爱兰（韩国） 2015 “过去，现在，可能性”——第十二届沙迦双年展，阿拉伯联合酋长国 1970 年生于奥地利，现在工作并居住于中国台湾。 2000 “不好笑笑话”，伊通公园，台北，中国台湾 2014 “2014 年度穆斯林 Mulliqi 奖”，科索沃国家画廊，普里什蒂纳，科索沃 参加的电影节及《双囍》选段 1960 年生于韩国首尔，现工作并居住于韩国首尔。 1997 “乒乓兵”，456 画廊，纽约，美国 2012 “圆桌”——第九届光州双年展，光州，韩国 2015 国际独立电影节，布宜诺斯艾利斯，阿根廷 1995 “歪斜”，布朗克斯艺委会 , 纽约，美国 个展： 2011 “无题”——第十二届伊斯坦布尔双年展，伊斯坦布尔，土耳其 HOTDOCS 国际纪录片电影节，多伦多，加拿大 2015 “发光的诗歌”，布莱斯·沃克维茨画廊，纽约，美国 群展： 2011 “Melanchotopia”，魏特德维茨当代艺术中心，鹿特丹，荷兰 玛格丽特·米德电影节，美国自然历史博物馆，纽约，美国 2014 “书籍的重要，如同光的慰藉”，西蒙画廊，首尔，韩国 2012 “台北双年展”，台北，中国台湾 2014 莱比锡国际纪录片和动画电影节，德国 2012 “轻阅读：数字书图书馆计划”，韩国国家图书馆，首尔，韩国 2008 “抗争”，曼撤斯特亚州三年展，英国 NC 小组（中国） 莱比锡国际纪录片电影节，哥本哈根，丹麦 2010 “被点亮的书架”，梵吉雕塑花园博物馆，静冈市，日本 2007 “发现彼此”，台北故宫博物院，台北，中国台湾 NC 小组于 2015 年创立，依托于同济大学跨媒体艺术与传播研究中心 。本小组致力 2012 “戏剧人生”，个展，艺术计划，台北，中国台湾 2007 “越后妻有空房计划”，田中图书馆，越后妻有，日本 2006 “燕城”，台北，中国台湾 为跨文化、跨学科、跨媒体艺术提供创作，以“艺术与传播”为中心进行跨学科、跨 群展： “鹿特丹影展”，鹿特丹，荷兰 群展： 领域的联系与服务，以此打破专业樊篱，拉近自然科学和艺术之间的距离、拉近大众 2013 “浮岛”, 金门艺术节 / 上海双年展 2012，上海，中国 2014 “2014 釜山双年展”，釜山艺术博物馆，釜山，韩国 传媒和艺术探讨之间的距离，并通过艺术的可视化的方式将自然科学的研究进行转译， 2011 “活弹药”, 台北当代艺术馆，台北，中国台湾 刘越（中国） 2010 “南京双年展：书写”，江苏省艺术博物馆，南京，中国 通过学术跨界对话将艺术的新锐探索转化为大众公共教育和资源。 2007 “发现彼此”，国立故宫博物馆，台北，中国台湾 2009 “亚洲艺术双年展：观点与‘观’点”，台湾美术馆，中国台湾 1967 年生于中国苏州，现工作并居住于中国上海。 NC 小组代表： 2003 “基于：真实的故事”，威特德维特，鹿特丹港，荷兰 “你可以成为 ...... ”, 卡尔斯鲁厄艺术媒体中心，卡尔斯鲁厄，德国 雨园 1964 年生于苏州，现工作并居住于北京。 “再定向”，斯图加特艺术家之家，斯图加特，德国 个展： 2008 “塞维利亚当代艺术双年展”，塞维利亚，西班牙 2007 “人行道”，清源画廊，苏州，中国 2006 “另一次”，M50 比间艺术中心，上海，中国 乔布·科里唯京 （荷兰） 1999 “案”，诗柏廊艺术中心，苏州，中国 1962 年生于荷兰邦斯朱顿，现工作并居住于荷兰阿姆斯特丹。 1991 “粮仓艺术展”，苏州，中国 P S

个展： 群展： 2012 “拼贴画 / 故事板”， Fons Welters 画廊，阿姆斯特丹，荷兰 2014 “在场·2014 第二届中国油画双年展”，中国美术馆，北京，中国 裴咏梅（中国） 艾斯特·莎莱夫 - 格尔兹（法国） 2008 “移动”，德庞特当代艺术博物馆，蒂尔堡，荷兰 2013 “移形换影——对话园林雕塑影像展”，雨村美术馆，苏州，中国 2004 “尝试从你的角度看”，亨利摩尔基金会，利兹，英国 “土生土长——苏州艺术本土现象系列第二回”，苏州美术馆，苏州，中国 1975 年生于中国天津，现工作并居住于中国北京。 1948 年生于维尔纽斯，现工作并居住于法国巴黎。 2000 “跳跃”，奇森黑尔画廊，伦敦，英国 2011 “苏州油画雕塑年鉴展”，苏州油雕院，苏州，中国 群展： 个展： 1995 “痛击”，凡阿贝博物馆，埃因霍温，荷兰 2008 “快城快客——第七届上海双年展”，上海美术馆，上海，中国 2015 “历史的温度”——中央美术学院与中国具象油画展，中华艺术宫，上海，中国 2014 “艾斯特·莎莱夫 - 格尔兹”，魁北克大学画廊，蒙特利尔，加拿大 群展： 2014 “现代性 3.0 展”，纽约大学美术馆，纽约，美国 2013 “艾斯特·莎莱夫- 格尔兹”，哥伦比亚大学莫里斯和海伦·贝尔艺廊，温哥华， 骆佩珊（英国） 2010 “纪念碑式建筑——当代艺术中的历史与国家身份”，阿姆斯特丹市立博物馆， 2012 “釜山国际双年展”，釜山美术馆，釜山，韩国 加拿大 阿姆斯特丹，荷兰 1972 年生于英国，现工作并居住于英国伦敦。 “第 15 届达卡亚洲艺术双年展”，国家美术馆，达卡，孟加拉国 2012 “回顾展：在听与说之间”，州立美术博物馆，洛桑，瑞士 2006 “无处不在”，釜山双年展，釜山，韩国 “在当代——2012 中国油画双年展”，中国美术馆，北京，中国 “描述劳动”，佛罗里达沃尔弗森尼国际大学，迈阿密滩，美国 个展： 2001 “后自然”，Ca'Zenobio 威尼斯双年展，威尼斯，意大利 2003 “第三届中国油画展”，中国美术馆，北京，中国 2010 “回顾展：你的图像看着我！？”，国家影像美术馆，巴黎，法国 2016 “RoCH 幻想与传说”，曼彻斯特中国当代艺术中心，英国 2000 “造梦机”，海沃德美术馆，伦敦，英国 2015 “RoCH 幻想与传说”，德比 QUAD 艺术中心，英国 群展： 1999 “开放空间”( 哈洛德·塞曼展 ), 威尼斯双年展，威尼斯，意大利 2014 “更快更高”，魁北克—蒙特利尔跨文化艺术中心，加拿大 2015 “故事中的故事”，哥德堡当代艺术国际双年展，哥德堡，瑞典 2008 “更快更高”，伦敦 BFI 南岸画廊 / 伦敦，英国 “纪念碑之外”，日内瓦，瑞士 2006 “黄金”，曼彻斯特中国艺术中心，伦敦比肯斯菲尔德当代艺术中心，英国 Q “小径分岔的花园”，发人深省画廊，巴黎，法国 2014 “法典”，加州艺术学院的瓦蒂斯当代艺术中心，旧金山，美国 群展： L 2013 “尤利西斯——另外的大海”，布列塔尼礼服当代艺术博物馆，圣布里厄，法国 2012 “蓝色水晶球”奥林匹克媒介艺术系列，贝克西斯尔德拉沃尔美术馆 / 霍尔顿画廊 萨利姆·阿里夫·夸德里（英国） / 曼彻斯特城市大学，英国 1949 年生于印度海德拉巴，现工作并居住于英国伦敦。 “流动的万物”，贝克西斯尔德拉沃尔美术馆，英国 梁美萍（中国香港） 2009 “着地”，Great North Run 文化中心 / 哈顿画廊 / 纽卡斯尔大学，英国 个展： 1961 年生于中国香港；现工作并居住于中国香港。 2006 “酷 / 爱身体”，香港艺术中心 / 歌德学院中国香港 2006 Shrishti 艺术画廊，海德拉巴，印度 2004 “酷 / 爱身体”，上海多伦现代美术馆 / 北京 798 艺术区，中国 2003 “神圣空间的感性之歌”，新艺术交流博物馆，诺丁汉，英国 1999 “移动的城市”，伦敦海沃美术馆，英国

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1130输出文件 画册最终版.indd 248-249 15-11-30 下午9:05 2014 “狗仔队！摄影师，明星和艺术家”，梅茨蓬皮杜艺术中心，梅茨，法国 盐田千春（日本） 2012 “超越自我”，麦克莱兰美术馆和雕塑园，朗沃林，维多利亚；安妮和戈登 格拉齐耶拉·里兹卡拉·托夫克 ( 黎巴嫩 ) 2012—2013 “双联经济”，托马斯·费舍尔画廊，柏林，德国/ 苏黎世联邦理工学院， Samstag 艺术博物馆， 阿德莱德，澳大利亚 1981 年生于谢卡，黎巴嫩；现工作生活于黎巴嫩。 瑞士 / 摄影中心，日内瓦，瑞士 / 哈雷 14，莱比锡称，德国 1972 年生于日本大阪，现工作并居住于德国柏林。 2011“1991-2001 年 越过家园、历史和国家，东南亚当代艺术20 年”，新加坡美术博馆， 2011 “卡罗·莫里诺现代风格”, 慕尼黑艺术之家，慕尼黑，德国 个展： 新加坡 2015 “漫长的一天”，德国杜塞尔多夫 21 世纪艺术收藏馆，杜塞尔多夫，德国 “超越东方：印度尼西亚当代艺术”，罗马当代艺术博物馆，罗马，意大利 群展： “手中的钥匙”，第 56 届威尼斯双年展日本馆，威尼斯，意大利 “超越自我”，国立肖像美术馆，堪培拉，澳大利亚 2014 “瞬间”，沙迦艺术基金会，沙迦，阿联酋 2014 “大陆之上，盐田千春：观点”，福瑞尔和赛克勒美术馆，华盛顿，美国 2008 “第七届欧洲之声”——欧洲双年展，博尔扎诺，意大利 2013 “安装废墟”，塔尼特画廊，贝鲁特，黎巴嫩 2013 “感谢信”，高知美术博物馆，高知县，日本 2007 “东风西渐——亚洲当代艺术观点”，国立美术馆 / 当代艺术博物馆，奇亚斯玛，芬 “第 11 届沙迦双年展”，沙迦，阿联酋 Y “梦醒后”，凯利圣安妮，蒙彼利埃，法国 兰 2012 “6 线行班：当代艺术中的地理位移”，旧金山现代艺术博物馆，美国 2008 “灵之气息”，国立艺术博物馆，大阪，日本 “曝光 2012”，贝鲁特艺术中心，贝鲁特，黎巴嫩 莎拉·施（美国） 山城知佳子（日本） 群展： 2015 “红线 / 无限”，路易威登艺术廊，巴黎，法国 1969 年生于美国波士顿，现工作并居住于美国纽约。 1976 年生于日本冲绳，现工作并居住于日本冲绳，日本。 2014 “生活在这个世界”，2014 釜山双年展，釜山，韩国 个展： 个展： 2011 “亚洲城市网”，首尔艺术博物馆，首尔，韩国 W 2013-2014 “莎拉·施展”，纺织品工作室及博物馆，费城，美国 2012-2013 “MAM 018 项目：山城知佳子”，森美术馆 1 号画廊，东京，日本 2010 “100 日艺术与海洋之旅”，濑户内国际艺术节，丰岛，日本 2013 “莎拉·施，三点”，第 55 届威尼斯双年展，威尼斯，意大利 2012 “宽恕之体”，千叶由美子协会新宿画廊，东京，日本 2009 “有关爱的 100 个故事”，21 世纪当代艺术博物馆，金沢，日本 2011-2012 “莎拉·施之无限线”：雕塑、素描和版画，亚洲协会，纽约，美国 2010-2011 “合唱”，千叶由美子协会新宿画廊，东京，日本 王维 （中国） 2011 “静止的生活与景观（栖息地模式）”，The High Line，纽约，美国 2004 “冲绳的旅客”，冲绳 Maejima 艺术中心，日本 扬内克·西蒙（波兰） 2006-2007 “倾泻行星”，Malmo Konsthall, 马尔默，瑞典 1966 生于中国内蒙古，现工作并居住于中国北京。 2002 “墓地里的女人”，冲绳 Maejima 艺术中心，日本

群展： 个展： 群展： 1977 年生于波兰，现生活并居住于波兰克拉科夫。 2015 “接触线”，美术博物馆，根特，比利时 2013 “回望——王维艺术作品展”，湖上美术馆，北京，中国 2015 “广岛之外：战时记忆之回归——当代日本摄影与视频艺术之纪录片”， 个展： “世界的未来：最后的花园（无限期暂停的景观）”，第 56 届威尼斯双年展，威尼斯， Genia Schreiber 大学美术馆，以色列特拉维夫大学，以色列 群展： 2015 “有着狗头的人们”，Raster 画廊，华沙，波兰 意大利 2012-2013 “夹缝中的女人：亚洲女性艺术家 1984-2012”，福冈亚洲美术馆、 2015 “梦境——北京国际艺术邀请展”，北京，中国 2014 “向东向南的旅程”，BWA Wroclaw, 佛罗茨瓦夫，波兰 2011-2012 “快进：现代时刻 1913-2013”，高级艺术博物馆，亚特兰大，佐治亚州 冲绳县立博物馆和美术馆、栃木县立美术馆、三重县立美术馆，日本 2014 “在场”——第二届中国油画双年展，中国美术馆，北京，中国 “扬内克不曾在这里”，Clark House, 孟买，印度 2008-2009 “深度艺术家：MCA 作品集”，当代艺术博物馆，芝加哥，美国 2010-2011 “新快照——当代日本摄影，第九卷：美好瞬间”，东京大都会写真艺术馆， 第十二届全国美展，河北省博物馆，石家庄，中国 2008 “08 国际：编造”，利物浦双年展，利物浦，英国 日本 群展： 2013 “光州——北京国际驻址交流展”，光州美术馆，光州 , 韩国 2009 “沐浴在冲绳的原子阳光：日本和平宪法下的战后艺术第九章”，冲绳县立博 2015 “国家生活，在全球语境下的波兰当代艺术”，中国北京国家艺术博物馆，中国 物馆和美术馆 / 冲绳 Sakima 美术馆，日本 2014 “如你所见（当今波兰艺术）”，华沙现代艺术博物馆，华沙，波兰 2008 “冲绳 PRISMED 1872-2008”，东京国立近现代美术馆，日本 “现代艺术展——社会行为”，马尔摩 , 瑞典 2012 “第七届利物浦双年展”，利物浦，英国 T X 余旭鸿（中国） 2007 “Manifesta 7，欧洲当代艺术双年展”，罗韦雷托，意大利 1975 年生于中国浙江，现工作并居住于中国杭州。 健身计划小组（芬兰 / 美国 / 法国） 普拉尼特·索伊（印度） XML 工作室 + 阿尔敏·林克（荷兰 / 德国 / 意大利） 个展： “健身计划”是一个合作艺术项目，由进行中的艺术研究计划和一系列公众活动组成。 2013 “夜光”，55，上海，中国 1971 年生于西孟加拉邦，现工作并居住于荷兰阿姆斯特丹和印度加尔各答。 马科斯·科恩·德·拉拉 + 戴维·穆德·范·德·维特 (XML) 项目所涉及的人士来自表演艺术、舞蹈编排、建筑、诗学研究、声音设计、平面设计、 2009 “不可忽视的风景”，55，上海，中国 个展： 身心动作治疗等不同领域。该项目是原先，艺术家在 2007 年参与纽约水磨坊艺术中 马科斯·科恩·德·拉拉 1979 年生于荷兰，现工作并居住于荷兰阿姆斯特丹。 2007 “影”，Andreas Binder 画廊，慕尼黑，德国 2015 “斯利那加”，实验者艺廊，加尔各答，孟加拉国 心入驻项目时制作的项目。在 2014 年，该项目重新启动，并在环波罗的海戏剧节， 戴维·穆德·范·德·维特 1980 年生于荷兰，现工作并居住于荷兰阿姆斯特丹。 2006 “捕风捉影”，55，上海，中国 2012 “奥卡拉·曼迪”，Martin Van Zomeren 画廊， 阿姆斯特丹，荷兰 LAPSody2015 年会议，赫尔辛基国际艺术家项目（HIAP）等多处进行了展示。每一次 个展： 群展： 2011 “无定向说明”，瓦德拉艺术画廊，新德里，印度 的表现，都是独特的，一次性的，专门为所展示场合所设计的。 2013 “投机的现实”上海 SSC 艺廊，上海，中国 “疏离”，回音实验博物馆，墨西哥城，墨西哥 小组成员： 2015 “COPYLEFT：中国挪用艺术”，上海当代艺术博物馆，上海，中国 “墙上书写”，艺术空间艺术馆，悉尼，澳大利亚 达利亚·费恩 1960 年生于法国安提比斯，现工作并居住于美国纽约。 群展： 2014 “在场”——第二届中国油画双年展，中国美术馆，北京，中国 莎拉·汉诺拉 1978 年生于芬兰埃斯波，现工作并居住于芬兰赫尔辛基。 2014 “罗马大奖”，荷兰新研究院，鹿特丹港，荷兰 “此在的绘画：中国具象表现绘画 20 年”，上海中华艺术宫，上海，中国 群展： 罗伯特·科西克 生于美国明尼苏达，现工作并居住于美国。 2014 Monditalia 展，威尼斯双年展，威尼斯，意大利 2012 “视象的凝聚——法国 / 中国具象表现绘画特展”，上海美术馆，上海，中国 2013 “第十三届伊斯坦布尔双年展”，伊斯坦布尔，土耳其 托米·瓦斯柯 1986年生于芬兰万塔河，现工作并居住于芬兰赫尔辛基和荷兰阿姆斯特丹。 2012 “投回票”，苹果艺术中心，阿姆斯特丹，荷兰 2010 “改造历史 2000——2009 年的中国新艺术”，阿拉里奥北京空间，北京， 2012 “玩世不恭的爱情：日常生活”，克兰·纳达美术馆，诺伊达，印度 卡门·王 1980 年生于马来西亚，现工作并居住于美国华盛顿。 中国 2011 “离开这里”，凡阿比美术馆，艾恩德霍文，荷兰 阿尔敏·林克（意大利） “过渡期的一代”，Zacheta 国家美术馆，华沙，波兰 贾拉勒·托夫克 + 格拉齐耶拉·里兹卡拉·托夫克 （伊拉克 / 黎巴嫩 ) 原弓（中国） “没有天赋的天才”，艾波当代艺术中心，阿姆斯特丹，荷兰 1966 年生于意大利米兰，现在工作并居住于德国柏林和意大利米兰。 1961 年生于中国上海，现工作并居住于中国上海。 贾拉勒·托夫克（伊拉克） 个展： 玛拉蒂·苏里约达摩（印度尼西亚） 1962 年生于伊拉克巴格达，现工作并居住于黎巴嫩。 2015 “不可见之物的外观”，卡尔斯鲁厄 ZKM 艺术与媒体中心，卡尔斯鲁厄， 个展： 1969 年生于印度尼西亚苏拉尔卡塔，现工作并居住于德国梭罗大格莱丁根及印度尼西亚。 个展： 德国 2015 “排练与仓储”，西安美术馆，西安，中国 2011 “入侵现实”，柏林德意志学术交流中心艺术馆，柏林，德国 2013 “内 / 外”，巴黎政治学院—雷内·雷蒙图书馆，巴黎，法国 “暗度”，天津美术馆，天津，中国 个展： 2006 “工作时拍摄死亡”，卡塞尔弗里德利希阿鲁门艺术馆，德国 2010 “国家的主题”， 二十一世纪罗马 MAXXI 博物馆 , 罗马，意大利 “涩味”，湖北美术馆，武汉，中国 2012 “我是自己房子里的鬼”，Lawangwangi 艺术基金会 , 万隆，印度尼西亚 2002 “阿修罗：溅在血管里的血”，柏林布若·弗里德希艺术中心，德国 2009 “实物与样本”， 西根当代艺术博物馆，西根，德国 2013 “矢控”， 广东美术馆，广州，中国 2008 “纸牌接龙”Valentine Willie 美术馆，吉隆坡，马来西亚 “又见蝴蝶飞”，外滩 18 号画廊，上海，中国 2007 “永恒时间中的思维方式”，马尔默行为艺术工作室，马尔默，瑞典 群展： 群展： 2006 “边界内的孤独”，Cemeti 艺术画廊，日惹，印度尼西亚 2015 “20 世纪 80 年代至今艺术、建筑和设计史”，巴黎蓬皮杜艺术中心，巴黎，法国 2013— 2015 《 人 类 纪 天 文 台 》， 国 土 局（John Palmesino 和 Ann— 群展： 2013 “第 11 届沙迦双年展”，阿联酋 SofiRönnskog）、阿米·林克、安塞姆·弗兰克，BAK 联合展览，乌勒惠支，荷 2015 “China8——中国当代艺术展”，米尔海姆美术馆，德国 群展： 2012 “第 9 届上海双年展”，上海，中国 兰与柏林，德国 “艺术之味展”，巴塞尔丁格利博物馆，瑞士 2013 “感官 360 度”，新加坡美术博物馆，新加坡 “6 线行班：当代艺术中的地理位移”，旧金山现代艺术馆，旧金山，美国 2014 “巡回报告”, 南斯拉夫历史博物馆 , 贝尔格莱德，塞尔维亚 2014 “暗号”汉堡堤坝之门美术馆，汉堡，德国 2011 “第 10 届沙迦双年展”，阿联酋 第三届曼城亚洲艺术三年展，UHC 当代艺术空间，曼彻斯特，英国

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1130输出文件 画册最终版.indd 250-251 15-11-30 下午9:05 2011 “弥漫”，第五十四届威尼斯双年展中国国家馆，威尼斯，意大利 1998 Big Dipper Group Art Exhibition – Star Lights on Road, Group members: Zhang Qing, Tang Yingshan, Zhou 周滔（中国） A Xiaohu, Sun Zhezheng, Yan Fenglin and Jiang Jianping, Nanjing Workers Cultural Palace, Nanjing, China. 岳敏君（中国） 1976 年生于中国长沙，现工作并居住于中国广州。 BU Bing (China) 1962 年生于中国黑龙江，现工作并居住于中国北京。 个展： Adel ABIDIN (Finland) Born in 1973, Yangzhou, China. Lives and works in Shanghai. 个展： 2014 “绿太阳，周滔展览”，曼谷艺术及文化中心，曼谷，泰国 Selected Group exhibitions: 2015 “夜莺——岳敏君个展”，Brandts 13 美术馆，欧登塞，丹麦 2013 “训练”，巴黎卡蒂斯特基金会，巴黎，法国 Born in 1973, Baghdad, Iraq. Lives and works in Helsinki, Finland. 2013 Design Shanghai, Power Station of Art, Shanghai, China 2012 “卡地亚基金会个展”，卡地亚基金会，巴黎，法国 2012 “周滔——面向世界的窗口”，广岛市现代美术馆，广岛，日本 Selected Solo Exhibitions: 2011 5th Chengdu Biennale, Chengdu, China 2011 “发现公元 3009——岳敏君丹麦个展”，奥尔胡斯，丹麦 “周滔：寻找地热，开放的工作室”，时代美术馆，广州，中国 2015 Immortals, Lawrie Shabibi, Dubai, UAE Landscape in Mind, Public Art from China, the John F. Kennedy Center, Washington DC, USA 2007 “岳敏君：标志性笑容”，昆斯美术馆，纽约，美国 2011 “种植剧情的人”，Queens Nail 独立艺术空间，旧金山，美国 2014 Cover-Up!, Al Sultan Gallery, Kuwait “Flourishing & Flowing” A Contemporary Art Exhibition across the Strait, Beijing/Taichung, China Life is Short, Lets Have an Affair, Muu Gallery, Helsinki, Finland 群展： 2007 Shenzhen/ Hong Kong Bi-city Biennale, Shenzhen, China Cover-Up!, Flow Festival, Helsinki, Finland 2015 “新导演 / 新电影，2015 年电影节”，纽约现代美术馆及林肯中心电影协会，纽约， 2002 4th Shanghai Biennale, Shanghai, China 2013 I Love to Love, Forum Box Gallery, Helsinki, Finland Z 美国 2014 “八种可能路径：北京艺术”，Uferhallen 艺术区，柏林，德国 Selected Group Exhibitions: 2013 第五届奥克兰三年展——“假如你将生活在这里”，奥克兰，新西兰 2015 This is not a love Song. Interfaces between Pop music and Visual arts, The Pera Museum, Istanbul, Turkey 安雅·佐罗德（俄罗斯） 2012 “ON｜ OFF”——中国年轻艺术家的观念与实践，尤伦斯当代艺术中心， Un-Common River, One Architecture Week, Plovdiv, Bulgaria F 北京，中国 Home Ground: Contemporary Art from the Barjeel Art Foundation, Aga Khan Museum, Toronto, Canada 1981 年生于苏联列宁格勒，现工作并居住于俄罗斯莫斯科。 2008 “快城快客”——第七届上海双年展，上海美术馆，上海，中国 Anxiety and Other Ways of Being, Rapid Pulse International Performance Art Festival, Chicago, USA The Great Game, Iranian Pavilion, 56th Venice Biennale, Venice, Italy 个展： Omer FAST (Israel/USA) 2012 “我会好好照顾的”，视觉艺术支持基金会《时代》，莫斯科，俄罗斯 Tiong ANG (Netherlands) 2011 “个人空间”，Nina Lumer 画廊，米兰，意大利 Born in 1972, Jerusalem.Lives and works in Berlin, Germany. 2010 “展览延续”，莫斯科现代艺术博物馆，莫斯科，俄罗斯 Born in 1961, Surabaya, Indonesia. Lives and works in Amsterdam, Netherlands. Selected Solo Exhibitions: 2009 “安娜·若卢德俄罗斯博物馆项目”，俄罗斯国家博物馆，圣彼得堡，俄罗斯 Selected Solo Exhibitions: 2015 Jeu de Paume, Paris, France 2008 “铁婚”，艾丹画廊，莫斯科，俄罗斯 2014 Unwanted Celebration, Lynch Tham Gallery, New York, USA 2010 Whitney Museum of American Art, New York, USA 2007 Museum moderner Kunst, Vienna, Austria 群展： 2013 How To Act, Lumen Travo Gallery, Amsterdam, Netherlands 2012 “我来过这里！”，开放画廊，莫斯科，俄罗斯 2012 Remodeled (An African in China), Rewind, Volta New York, USA Selected Group Exhibitions: 2011 “门”，俄罗斯国家博物馆，圣彼得堡，俄罗斯 2009“第五十三届威尼斯双年展”， 2009 (The) Unforgotten, Lumen Travo Gallery, Amsterdam, Netherlands 2011 54th Venice Biennale, Venice, Italy 威尼斯，意大利 Models for (the) People, Art Amsterdam, Netherlands 2008 Whitney Biennale, New York, USA 2008 “俄罗斯的贫穷”，彼尔姆，俄罗斯 Selected Group Exhibitions: 2002 Whitney Biennale, New York, USA 2007 “新安吉拉丽”，现代艺术博物馆，莫斯科，俄罗斯 2015 Experimentality, 1st Research Pavilion, Sala del Camino, Giudecca, Venezia, Italy FU Wenjun (China) 张小涛（中国） 2014 Modernity 3.0, 80WSE New York University Art Gallery, New York, USA Aesthetic Jam, Taipei Fine Arts Museum, satellite project Taipei Biennial 2014, Taipei, Taiwan, China Born in 1955, in Chongqing. Lives and works in Chongqing, China. 1970 年生于中国合川 , 现工作并居住于中国北京及重庆。 2013 Suspended Histories, Museum Van Loon, Amsterdam, Netherlands Selected Solo Exhibitions: 个展： Biennale Jogja XII/ Equator #2, Jogja Art Museum, Yogyakarta,Indonesia 2015 Thoughtful Images-Fu Wenjun’s Abstract Photography Exhibition, Guangdong Museum of Art, Guangzhou, China; 2012 Offside Effect, 1st Tbilisi Triennial, CCA Tbilisi, Georgian National Museum, Tbilisi, Georgia Photographic Narrative-Fu Wenjun’s Conceptual Photography Solo Exhibition, United Nations Headquarters, 2014 “三千世界”，以色列亚洲当代美术馆，以色列 New York, USA 2013 “转场”，成都当代美术馆，成都，中国 2014 Illusory Metamorphoses-Fu Wenjun Grass Cloth Photographic Exhibition, Florida, USA 2012 “灵修的编码”，关渡美术馆，台北，中国 2008 “ 微观叙事”，伊比利亚当代艺术中心，北京，中国 2013 Thought Reading-Fu Wenjun Conceptual Photography Exhibition, Miami, USA 2007 “重生”，北京大学赛克勒考古与艺术博物馆， 中国 B 2010 Graphic Expression of Spirit, The Old Summer Palace, Beijing, China 群展： Selected Group Exhibitions: 2015 “转向亚洲”——第六届莫斯科当代艺术双年展，莫斯科，俄罗斯 2015 X Biennale di Firenze, Florence,Italy Big Dipper Group (China) 2013 第 55 届威尼斯双年展中国馆，军械库，威尼斯、意大利 XVIII Bienal de Cerveira, Vila Nova de Cerveira, Portugal 2014 2nd International Biennial of Contemporary Art in Argentina, Buenos Aires, Argentina 2012 亚太当代艺术三年展，昆士兰美术馆，昆士兰、澳大利亚 Founded in 1987, Big Dipper Group has been dedicated to modern art work, focusing on social, natural and 2008 “革命在继续”，萨奇画廊，伦敦，英国 human development, with unique perspectives. It’s a group of thinkers, creators and workers dedicated to building 2013 Voice of the Unseen - Chinese Independent Art 1979/Today, collateral exhibition of Venice Art Biennale 2013, Venice, Italy a spiritual dreamland for the human beings. 2010 Salon des indépendants, the Grand Palais des Champs-Elysées, Paris ,France 2005 第二届布拉格双年展， 布拉格， 捷克 Members of Big Dipper Group: 2008 “快城快客”——第七届上海双年展，上海美术馆，上海，中国 Tang Yingshan, born in 1964 in Nanjing, now lives and works in Beijing. Liu Yue, born in 1967 in Suzhou, now lives and works in Suzhou and Shanghai. Ri Qing, bron in 1964 in Suzhou, now lives and works in Beijing. H Sun Zhezheng, born in 1963 in Nanjing, now lives and works in Nanjing. Xu Xubing, born in 1961 in Rugao, now lives and works in Shanghai. Yan Fenglin, born in 1962 in Yixing, now lives and works in Shanghai. Natasha Sadr HAGHIHIAN (Germany) Wu Lizhong, born in 1963 in Rugao, now lives and works in Beijing.

Selected Group Exhibitions: Selected Solo Exhibitions: 2014 The Lake District (Videos), Group members: Tang Yingshan, Wu Lizhong and Xu Xubing, Roman Lake Art 2010 Windsor Art Gallery, Windsor, Canada Center, Beijing, China 2007 Darling Foundry, Montréal, Quebec, Canada 2012 The Times (Installation), Group members: Tang Yingshan, Liu Yue and Wu Lizhong, Nan Chi Zi Art Center, 2006 VOX Image Contemporaine, Montréal, Quebec, Canada Beijing, China 2005 Space-The Triangle, London, UK 2008 The Lost Wharf (Pictures), The 7th Shanghai Biannual Exhibition – Life in the Pictures, Group members: 2004 Mercer Union, Toronto, Ontario, Canada Liu Yue, Wu Lizhong and Xu Xubing, Shanghai Art Gallery, Shanghai, China Selected Group Exhibitions: 2004 Beijing Map (Pictures), The 5th Shanghai Biannual Exhibition – Life in the Pictures, Group members: 2010 Imprimatures 1980-2010, Grande Bibliothèque, Montréal, Quebec, Canada Tang Yingshan, Sun Zhezheng, Wang Kai and Yan Fenglin, Shanghai Art Gallery, Shanghai, China 2008 Give me one dollar for a dream, Galerie Éponyme, Bordeaux, France 252 253

1130输出文件 画册最终版.indd 252-253 15-11-30 下午9:05 Québec Gold, Palais du Tau, Reims, France 2013 Haein Art Project -- International Exhibition of Contemporary Art Sungbo Museum, Haeinsa Temple, 06émissaires08, VU, Québec City, Quebec, Canada Jarmo KNUUTILA (Finland) Korea 2007 Artefact, Montréal, Quebec, Canada J Born in 1952, Säkylä, Finland. Lives in Kirkkonummi. 2012 Liverpool Biennial, LJMU Copperas Hill Building, Liverpool, England 2010 Art of the World Exposition: The City of Forking Paths, Shanghai Art Expo Main Path, Shanghai, China. Selected Solo and Group Exhibitions: 2013 The Judgement is the Mirror, Living Art Museum, Reykjavik, Iceland LIN Hongjohn (Taiwan, China) Kyungah HAM (Korea) Geumhyung JEONG (Korea) 2012 The Mutual Factor of Extremes, Väino Aaltosen Museo, Turku, Finland 2011 Familiarity, Vantaa Art Museum, Vantaa, Finland Born in 1964, Taiwan, China. Live in Taipei, China. Born in 1980, Seoul, Korea. Lives and works in Seoul. Born in 1966, Seoul, Korea. Lives and works in Seoul. 2007 Face to Face with the Landscape, Suomen Kivikeskus, Juuka, Finland Selected Solo Exhibitions: Selected Solo Exhibitions: Selected Solo Exhibitions: 2006 Counter Narratives, Oulu Art Museum, Finland and Kerava Art Museum, Finland 2014 MOGP, IT Park Gallery, Taipei, Taiwan, China 2015 Solo Exhibition, Kukje Gallery, Seoul, Korea 2013 CPR Practice Seoul Arts Space Mulle, Seoul, Korea Seamen and The Horizons of Voyages, Photo Gallery Laterna Magica, Helsinki, Finland 2000 Musing and Amusing, IT Park Gallery, Taipei, Taiwan , China 2009 Desire and Anesthesia, Artsonje Center, Seoul, Korea 2011 Fitness Guide Doosan Art Centre, Space 111, Seoul, Korea 1997 Ping/Piong/Pong, 456 gallery, New York, USA 2008 Such Game, Ssamzie Space, Seoul, Korea Selected Group Exhibitions: Airan KANG (Korea) 1995 Detournement, Bronx Council of the Arts, New York, USA Selected Group Exhibitions: 2015 THE BEAST AND THE SOVEREIGN, an exhibition co-produced by MACBA, the Museum of Contemporary Art Born in 1960, Seoul, Korea. Lives and works in Seoul. Selected Group Exhibitions: of Barcelona and the Württembergischer Kunstverein (WKV) Stuttgart, Germany 2012 Taipei Biennial 2012, Taipei, Taiwan , China 2014 Correspondence, Leeum, Samsung Museum, Seoul, Korea Selected Solo Exhibitions: MACBA, Barcelona, Spain, WKV, Stuttgart, Germany 2008 Protest, Manchester Triennial, Manchester, UK 2011 Asia Pacific Breweries Signature Art Prize Finalist, Singapore Art Museum, Singapore 2015 The Luminous Poem, Bryce Wolkowitz Gallery, New York, USA Surround Audience, The New Museum Triennial 2015, New York, USA 2007 Discovering Other, Taipei, Taiwan , China Singapore Biennial, Singapore 2014 The Concern of Book, the Consolation of Light, Gallery Simon, Seoul, Korea Who’s speaking? an exhibition by KLEMM’S, Berlin, Germany 2006 Rotterdam Film Festival, Rotterdam, Netherlands 2009 Asia Pacific Triennial, Queensland National Gallery, Brisbane, Australia 2012 Light Reading: Digital Book Library Project, The National Library of Korea, Seoul, Korea 2014 Burning Down the House, the 10th Gwangju Biennale, Gwangju, Korea City of Swallows, Taipei, Taiwan , China 2006 6th Gwangju Biennial, Gwangju, Korea 2010 The bookshelf EnLightened, The Vangi Sculpture Garden of Museum, Shizuoka, Japan 2001 1st Yokohama Triennial: Megawave, Yokohama, Japan Gesture, an exhibition by Württembergischer Kunstverein Stuttgart, Germany 2007 Echigo-Tsumari Empty House Project, Tanaka Library, Echigo Tsumari, Japan LIU Yue (China) siren eun young jung (Korea) Selected Group Exhibitions: Keiji Haino （Japan） Born in 1967, Suzhou, China. Lives and Works in Shanghai. 2014 Busan Biennale 2014, Busan Museum of Art, Busan, Korea Born in 1974, Incheon city, Korea. Lives and Works in Seoul. Born in 1952, Chiba, Japan. Lives and works in Japan. 2010 Nanjing Biennale: AND Writers, Jiangsu Provincial Art Museum, Nanjing, China Selected Solo Exhibitions: 1970 he joined Lost Aaraaf group as the lead singer. Selected Solo Exhibitions: 2009 Asian Art Biennial: Viewpoints & Viewing points, National Taiwan Museum of Fine Art, Taiwan, China 2007 Sidewalk,Qingyuan Art Gallery, Suzhou, China 1978 he formed a rock band Fushitsusha 2015 Trans-Theatre, Art Space Pool, Seoul, Korea YOU_Ser, ZKM, Center for art and media, Karlsruhe, Germany 2006 Another Time,M50 Art Center, Shanghai, China 1983-1987 a recuperation period 2010 Rehearsal, Platform SlowRush, Songdo International city, Incheon, Korea 2008 BIACS3-Bienal de Arte Contemporaneo de Sevilla, Sevilla, Spain 1999 Case, Shibolang Art Center, Suzhou, China 1988 made his comeback and habeen internationally active in various forms including solo, units . 2007 The Passenger: Traveler’s Book, Seoul-Frankfurt-Mardrid-Paris-Seoul 1991 Granary Art Exhibition, Suzhou, China He has formed several bands, including Fushitsusha, Nijiumu, Aihiyo and Seijaku, and perform DJ under the name 2006 The Wandering Diseases, brain factory, Seoul, Korea Job KOKELEWIJIN (Netherlands) Selected Group Exhibitions: of experimental mixture. He has also collaborated with artists from different backgrounds to make crossover performances. Selected Group Exhibitions: Born in 1962, Bunschoten, Netherlands. Lives and works in Amsterdam. 2014 The Presence, The 2nd Chinese Oil Painting Biennial, China Art Museum, Beijing, China 2015 8th Asia Pacific Triennial of Contemporary Art, QAGOMA, Brisbane, Australia 2013 Dialogue with Garden Sculptures, Yucun Art Museum, Suzhou, China He has released more than 170 recordings and performed live at least 1,500 times Selected Solo Exhibitions: Fantasia : Asia Feminism, Seoul Museum of Art, Seoul, Korea Local Phenomenon-Suzhou Art Series, Suzhou Art Museum, Suzhou, China 2012 Collage / Storyboard, Galerie Fons Welters, Amsterdam, Netherlands Sara van der HEIDE (Korea/Netherlands) 2014 Ghosts, Spies, Grandmothers : Sema Biennale Media City 2014, Seoul Museum of Art, Seoul, Korea 2011 Suzhou Painting Sculpture Almanac Exhibition, Suzhou Oil Painting and Sculpture Academy, Suzhou, China 2008 Loco Motion, De Pont, Tilburg, Netherlands Something in space escapes our attempts at surveying, Württembergischer Kunstverein, Stuttgart, Germany 2008 Fast City-Seventh Shanghai Biennale, Shanghai Art Museum, Shanghai, China Born in 1977, in Busan, Korea. Lives and works in Netherlands. 2004 Try and See It Your Way, Henry Moore Foundation, Leeds, United Kingdom Community Performativity, Asian Art Theatre for Asia Culture Complex, Gwangju, Korea 2000 Jump, Chisenhale Gallery, London, United Kingdom Selected Solo Exhibitions: TPAM(Performing Art Meeting In Yokohama), KAAT, Yokohama, Japan Susan pui san LOK (UK) 2015 Sara van der Heide at rongwrong, Amsterdam, Netherlands 1995 Blow, Van Abbemuseum, Eindhoven, Netherlands 2013 Learning Machine, Nam June Paik Art Center, Yong-in, Korea Born in 1972, England. Lives and works in London. 2014 Mother Earth Breathing, OCAT Shenzhen and Amsterdam The Songs of Slant Rhyme, Kukje Gallery, Seoul, Korea Selected Group Exhibitions: 2013 The Goethe-Institut Pyongyang Reading Room, between Object and Shadow, Goethe-Institut 2010 Monumentalism – History and National Identity in Contemporary Art, Stedelijk Museum Amsterdam, Selected Solo Exhibitions: Amsterdam, Netherlands Netherland 2016 RoCH Fans & Legends, Centre for Chinese Contemporary Art, Manchester ,UK 2012 Hollands Kabinet, Van Abbemuseum, Eindhoven, Netherlands 2006 Everywhere, Busan Biennial, Korea 2015 RoCH Fans & Legends, QUAD, Derby, UK 2011 Claim to Universality, Colour Theory Exercise 1-20, KIOSK, Ghent, Belgium 2001 Post Natural, Ca'Zenobio, Venice Biennial, Italy 2014 Faster, Higher, MAI (Montreal Arts Interculturels), Montreal, Quebec, Canada K 2008 Faster, Higher, BFI Southbank Gallery, London, UK Selected Group Exhibitions: 2000 Dream Machines, Hayward Gallery, London, UK 2006 Golden, Chinese Arts Centre, Manchester; Beaconsfield Contemporary Art, London, UK 2015 The School of Kyiv, Leipzig class, Politics of Form, at GfZK Leipzig, Germany 1999 Apertutto (exhibition by Harald Szeemann), Venice Biennial, Italy 2014 19th Biennale of Sydney: ‘You Imagine What You Desire’, Sydney, Australia Selected Group Exhibitions: Jan KAILA + Jarmo KNUUTILA (Finland/Finland) Roma Publications 1998-2014, Fondazione Giuliani, Rome 2012 Blue Crystal Ball, Samsung IOC Olympics Media Art Collection, De La Warr Pavilion, Bexhill, Holden Jan KAILA (Finland) El Hotel Eléctrico, MUHKA, Antwerp, Belgium Gallery, Manchester Metropolitan University, UK 2012 Everything Flows, De La Warr Pavilion, Bexhill, UK 2013 Beyond Imagination, the Stedelijk Museum Amsterdam, Netherlands Born in 1957, Jomala, Finland. Lives and works in Helsinki. L 2009 Hit the Ground, Great North Run Culture, Hatton Gallery, Newcastle University, UK Selected Solo Exhibitions: HU Xiangcheng (China) 2006 Cruel/Loving Bodies, Hong Kong Arts Centre & Goethe Institute, China 2014 The State Central Museum of Contemporary History of Russia, Moscow, Russia 2004 Cruel/Loving Bodies, Shanghai DuolunMoMA& 798 Factory, Beijing, China Born in 1950 in Shanghai, China. Lives and works in Shanghai. 2007 Hippolyte Gallery, Helsinki, Finland LEUNG Mee Ping (Hong Kong, China) 1999 Cities on the Move, Hayward Gallery, London, UK Selected Solo Exhibitions: 2006 The German Church, Sibiu, Romania Born in 1961, Hong Kong,China. Lives and work in Hong Kong, China. 2014 It's Not Zero, Himalayas Art Museum, Shanghai, China 2005 The Art Hall, Tallinn, Estonia Selected Solo Exhibitions: Birds Chirping, Zhejiang Museum of Art, Hangzhou, China 2000 Amos Anderson Art Museum, Helsinki, Finland 2015 Display Distribute: Made in Shenzhen, Street-Booth Display Distribute, Yau Ma Tei, Hong Kong, China Conceal·Unveil, Shanghai Gallery of Art, Shanghai, China Selected Group Exhibitions: 2014 Made in Hong Kong, Osage Gallery, Hong Kong, China 2010 Itinerant Deities, Shanghai Gallery of Art, Shanghai, China N 2014 Bucharest Biennale 6, Bucharest, Romania 2013 Don’t Blame the Moon, Singapore Art Fair, Hong Kong AP Contemporary, Singapore 2007 The Journey of Strangers, Shanghai Art Museum, Shanghai, China 2013 Joyful Wisdom, Rezan Has Museum, Istanbul, Turkey 2006 Room with View, Centre de Reflexion sur I’image et Ses Contexts, Sierre, Switzerland Selected Group Exhibitions: 2012 Offside Effect/1st Tbilisi Triennaal, Georgia 2003 Hong Kong Contemporary-Water Tone: Leung Mee Ping 1992-2003, Kaoshsiung Fine Art Museum, Nasrin + Babak (Iran) 2011 The Hague, The World - Chinese Contemporary Sculpture Exhibition, The Hague, Netherlands 2008 Nameless Science, Apex Art, New York, USA Kaoshsiung, Taiwan, China 2010 From India to Middle-earth - China and India Contemporary Art Exhibition, Shanghai, China 2007 Flash Cube, Samsung Museum of Art, Seoul, Korea Born in Tehran,Iran. Lives in Rotterdam and works in the Netherlands and Iran. Selected Group Exhibitions: 2005 Yokohama Triennial, Yokohama, Japan 2015 Walking in the Dreams, Hong Kong Heritage Museum, Hong Kong, China Selected Solo Exhibitions: 2004 Venice Sculpture Exhibition, Venice, Italy 2014 FLEX IT! My Body My Temple Project, The Parthenon Museum, Nashville, Tennessee, USA 2013 Seep, Chisenhale, London, UK 1999 Architecture Biennale, Sao Paulo, Brazil

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1130输出文件 画册最终版.indd 254-255 15-11-30 下午9:05 Two Archives, Tensta Konsthall, Stockholm, Sweden Janek SIMON (Poland) 2015 All the World’s futures: The Last Garden (Landscape of Events Suspended Indefinitely),56th 2012 Seep, Museu d'Art Contemporani de Barcelona (MACBA), Spain International Exhibition of Contemporary Art, Venice Biennale, Venice, Italy R Born in 1977, Poland. Lives and works in Cracow, Poland. 2011 Two Archive, Badischer Kunstverein, Karlsruhe, Germany 2011-2012 Fast Forward: Modern Moments 1913-2013, High Museum of Art, Atlanta, Georgia, USA Selected Solo Exhibitions: 2009 The Isle, MAK Center / Schindler house, Los Angeles, USA 2008–2009 Artists in Depth: Works from the MCA Collection, Museum of Contemporary Art, Chicago, USA 2015 People with the Heads of Dogs, Raster, Warsaw, Poland Selected Group Exhibitions: 2008 The International 08: Made Up, Liverpool Biennial, Liverpool, UK Ella·RAIDEL (Austria) 2014 Journeys to the East and to the South, BWA Wroclaw, Wroclaw, Poland 2015 The Past, The Present, The Possible, Sharjah Biennial 12, Sharjah, UAE Janek Was Not Here, Clark House, Mumbai, India 2014 Muslim, Mulliqi Prize 2014 / 10th edition, National Gallery of Kosovo, Pristina, Kosovo Born in 1970, Austria. Lives and works in Taipei, China. Selected Group Exhibitions: 2012 Roundtable, The 9th Gwangju Biennale, Gwangju, Korea Selected Film festivals and Screenings of Double Happiness: 2015 State of Life. Polish Contemporary Art within a Global Circumstance, National Art 2011 Untitled, 12th Istanbul Biennial, Istanbul, Turkey 2014 DOK Leipzig, International Festival for Documentary and Animated Film, Germany T Museum of China, Beijing, China Melanchotopia, Witte de With Center for Contemporary Art, Rotterdam, Netherlands CPH:DOX International Documentary Film FestivalCopenhagen, Denmark 2014 As You Can See. Polish Art Today, Museum of Modern Art in Warsaw, Warsaw, Poland 2015 BAFICI International Film festival Buenos Aires, Argentina NC GROUP (China) The Moderna Exhibition 2014 - Society Acts, Moderna Museet, Malmo, Sweden HOTDOCS Toronto, Canadian International DocumentaryFilm Festival The BodyBuilding Project (Finland/USA/France) 2012 7th Liverpool Biennale 2012, Liverpool, UK Founded in 2015, the NC Group was based in the Trans-media Arts and Research Center, Tongji Margret Mead Film Festival, Museum of Natural History, New York 2007 Manifesta 7. 2007, Roveretto, Italy University. The Group is devoted to providing creative works for intercultural, interdisciplinary and The BodyBuilding Project is a collaborative project consisting of an ongoing artistic research process and trans-media arts by focusing on “Arts and Communication” to develop interdisciplinary relations and a series of public events. It involves a varying number of professionals coming from a range of disciplines, such as performance art, choreography, architecture, poetics, sound design, graphic design and somatic services. We aim to break the disciplinary barriers, close the gap between natural sciences and arts, Selected Group Exhibitions: Praneet SOI (India) movement therapy. and strengthen the connections between mass media and art research. We also endeavor to translate 2013 Floating Islands, Kinmen Arts Festival/Shanghai Biennale 2012, Shanghai, China the research in natural sciences through the visualization of arts, and to transform new discoveries in Born in 1971, West Bengal, India. Lives and works in Amsterdam, Nertherlands and Kolkata. The project was originally initiated in the context of a three-week artist residency conducted at the art into resources for public education through interdisciplinary academic dialogues. 2012 Play Life, Solo Exhibition, Art Issue, Taipei, Taiwan,China Watermill Center, NY, in 2007. Since its reactivation in 2014, the project has been presented in a number of Selected Solo Exhibitions: Representative of NC Group: Yu Yuan, born in 1964 in Suzhou, now lives and works in Beijing. 2011 Live Ammo, MOCA Museum of Contemporary Art Taipei contexts, such as the Baltic Circle Festival, LAPSody2015 and Helsinki International Artist Programme (HIAP). Each manifestation of the project is a unique, one-time-only event, designed specifically for the context in 2007 Discovering the Other, National Palace Museum Taipei, Taiwan,China 2015 Srinagar, Experimenter, Kolkata, India which it takes place. 2003 Based upon: True Stories, Witte de Wit Rotterdam 2012 Okhla Mandi, Martin van Zomeren, Amsterdam, Netherlands Notes on Astaticism, Vadehra Art Gallery, New Delhi, India REDIRECT, Künstlerhaus Stuttgart, Germany Jalal TOUFIC + Graziella Rizkallah TOUFIC (Iraq/Lebanon) Estrangement, Museo Experimental El Eco, Mexico City, Mexico P Writing in the Wall, ARTSPACE, Sydney, Australia Jalal TOUFIC (Iraq) S Selected Group Exhibitions: Born in 1962, Baghdad, Iraq. Lives and works in Lebanon. 2013 13th Istanbul Biennale, Istanbul, Turkey Selected Solo Exhibitions: PEI Yongmei (China) 2012 Cynical Love: Life in the Everyday, Kiran Nadar Museum of Art, Noida, India 2011 Irruptions of the Real, Berlin, Germany Out of Here, Van Abbemuseum, Eindhoven, Netherlands Born in 1975, Tianjin, China. Lives and works in Beijing. Esther SHALEV-GERZ (France) 2006 Filming Death at Work, Kunsthalle Fridericianum, Kassel, Germany Generation in Transition, Zacheta National Gallery Of Art, Warschau, Poland Selected Group Exhibitions: 2002 Âshûrâ:This Blood Spilled in My Veins, Büro Friedrich, Berlin, Germany Born in 1948, Vilnius，Lithuania. Lives and works in Paris, France. Genius without Talent, De Appel, Amsterdam, Netherlands 2015 The Temperature of History CAFA and Chinese Representational Oil Paintings, China Arts Selected Group Exhibitions: Selected Solo Exhibitions: Museum, Shanghai, China Melati SURYODARMO (Indonesia) 2015 A History: Art, Architecture, and Design, from the 1980s Until Today, Centre Pompidou, Paris, France 2014 Modernity 3.0, New York University Art Gallery, New York, USA 2014 Esther Shalev-Gerz, Galerie de l’UQAM, Montreal, Canada 2013 Sharjah Biennial 11, United Arab Emirates 2012 Busan Museum of Art , Busan, Korea 2013 Esther Shalev-Gerz, Helen and Morris Belkin Art Gallery, University of British Columbia, Born in 1969, in Surakarta, Indonesia. Lives and works in Gross Gleidingen, Germany, and Solo Indonesia. 2012 9th Shanghai Biennale, Shanghai, China 15th Asian Art Biennale Bangladesh 2012, Dhaka, Bangladesh Vancouver, Canada Selected Solo Exhibitions: Six Lines of Flight: Shifting Geographies in Contemporary Art, San Francisco Museum of Modern Art, In Time·2012 Chinese Oil Painting Biennale, National Art Museum of China, Beijing, China 2012 Between Telling and Listening, Retrospective, Musée Cantonal des Beaux-Arts, Lausanne, Switzerland 2012 I’m a Ghost in My Own House, Lawangwangi Arts Foundation, Bandung, Indonesia San Francisco, USA 2003 The Third Oil Art Exhibition in China, National Art Museum of China, Beijing, China Describing Labor, The Wolfsonian-Florida International University, Miami Beach, USA 2008 Solitaire, Valentine Willie Fine Arts, at Anexxe, Kuala Lumpur, Malaysia 2011 Sharjah Biennial 10, United Arab Emirates 2010 Ton Image me Regarde!?, Retrospective, Jeu de Paume, Paris, France 2007 Perception of Patterns in Timeless Influence, Lilith Performance Studio, Malmö, Sweden Graziella Rizkallah TOUFIC (Lebanon) Selected Group Exhibitions: 2006 Loneliness in the Boundaries, Cemeti Art House, Yogyakarta Indonesia 2015 A Story Within a Story, Gothenburg International Biennial of Contemporary Art, Gothenburg, Sweden Selected Group Exhibitions: Born in 1981, Chekka, Lebanon. Lives and works in Lebanon. Q Beyond the Monument, HEAD/PIMPA, Le Commun, Geneva, Switzerland 2013 Sensorium 360°, Singapore Art Museum, Singapore Selected Group Exhibitions: The Garden of Forking Paths, Sobering Gallery, Paris, France 2012 Beyond the Self, McClell and Gallery and Sculpture Garden, Langwarrin, Victoria, the Anne and 2014 Seconds, Sharjah Art Foundation, United Arab Emirates 2014 Codex, CCA Wattis Institute for Contemporary Art, San Francisco, USA Gordon Samstag Museum of Art, Adelaide, Australia 2013 Installing the Ruin, Galerie Tanit, Beirut, Lebanon 2013 Ulysse, L’Autre Mer, FRAC de Bretagne Collection, Musée d’Art et d’Histoire, Saint Brieuc, France Saleem Arif QUADRI (UK) 2011 Negotiating Home, Hitory and Nation, Two Decades of Contemporary Art from South East Asia 1991- Sharjah Biennial 11, United Arab Emirates 2010, Singapore Art Museum, Singapore 2012 Six Lines of Flight: Shifting Geographies in Contemporary Art, San Francisco Museum of Modern Art, USA Born in 1949, Hyderabad, Southern India. Lives and works in London. Chiharu SHIOTA (Japan) Beyond the East: Indonesian Contemporary Art, Museo d‘arte Contemporanea Roma, Rome, Italy Exposure 2012, Beirut Art Center, Lebanon Selected Solo Exhibitions: Born in 1972, Osaka, Japan. Lives and works in Berlin, Germany. Beyond the Self, National Portrait Gallery, Canberra, Australia 2006 Shrishti Art Gallery, Hyderabad, India Selected Solo Exhibitions: 2008 Manifesta7, European Biennial, Ex-Alumix,Bolzano,Italy 2003 Sensual Songs of Sacred Space, The New Art Exchange, Nottingham, UK 2015 The Key in the Hand at the Japan Pavillon, the 56th International Art Exhibition-la 2007 Wind from the East-Perspectives on Asian Contemporary Art, National Gallery/Museum of 2000 Drawing into Discovery (photographs, 1990-1999), Scene Gallery, New York, USA Biennale di Venezia, Venice, Italy Contemporary art, KIASMA, Finland W 1997 Garden of Grace, Arks Gallery, London, UK A Long Day, K21, Kunstsammlung NRW, Düsseldorf, Germany 1991 2 Paintings 1986-1991, Laing Art Gallery, Newcastle, UK Sarah SZE (USA) 2014 Over the Continents, Chiharu Shiota: Perspectives, Freer & Sackler Gallery, Smithsonian, Selected Group Exhibitions: Washington D.C., USA Born in 1969, Boston, USA. Lives and works in New York, USA WANG Wei (China) 2010 The Other Story revisited, Alcon Gallery, London, UK 2013 Letters of Thanks, the Museum of Art, Kochi, Kochi, Japan Selected Solo Exhibitions: 2000 Cultural Ties, Jariwala and Westzone Gallery, London, UK Born in 1966, Inner Mongolia, China. Lives and works in Beijing. After the Dream, Carré St. Anne, Montpellier, France 2013–2014 Sarah Sze, Fabric Workshop and Museum, Philadelphia, USA 1993 Moving into View, Arts Council Colllection, Royal Festival Hall, London, UK Selected Solo Exhibitions: 2008 Breath of the Spirit, The National Museum of Art, Osaka, Japan 2013 Sarah Sze: Triple Point, American Pavilion, 55th Venice Biennale, Venice, Italy 1990 The South of the World, Galleria Civica d’Arte Contemporanea, Marsala, Italy 2013 Looking back, Wangwei Solo Exhibition, UPLake Gallery of Art, Beijing, China Selected Group Exhibitions: 2011–2012 Infinite Line: Sculpture, Drawings and Prints of Sarah Sze, Asia Society, New York, USA 1989 The Other Story, Hayward Gallery London and Wolverhampton Art Gallery, UK 2015 Le Fil Rouge/Infinity, Espace Louis Vuitton Paris, Paris, France 2011 Still Life with Landscape (Model for a Habitat), The High Line, New York, USA Selected Group Exhibitions: 2014 Busan Biennale 2014, Inhabiting the World, curated by Olivier Kaeppelin, Busan, Korea 2006–2007 Sarah Sze: Tilting Planet, Malmö Konsthall, Malmö, Sweden 2015 Dream & Habitat, Beijing International Art Exhibition, Beijing, China 2014 Anwesen.2nd Chinese Oil Painting Biennial, National Art Museum of China, Beijing, China 2011 City-Net Asia 2011, Seoul Museum of Art, Seoul, Korea Selected Group Exhibitions: 2014 The Twelfth National Exhibition of Fine Arts, Hebei Museum, Shi Jiazhuang, China 2010 100-Day Art and Sea Adventure - Setouchi International Art Festival, Teshima, Japan 2015 Lines of Tangency, Museum of Fine Arts, Ghent, Belgium 2009 Hundred Stories about Love, 21st Century Museum of Contemporary Art, Kanazawa, Japan 2013 Gwangju-The Residency program of Beijing, Gwangju Museum of Art, Gwangju, Korea

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1130输出文件 画册最终版.indd 256-257 15-11-30 下午9:05 YU Xuhong (China) Zhang Xiaotao(China) Born in 1975, Zhejiang, China. Lives and works in Hangzhou. 1970 Born in Hechuan,China.Lives and Works in Beijing and Chongqing. Selected Solo Exhibitions: Selected Solo Exhibitions: X 2013 Night Light, 55, Shanghai,China 2014 Worlds of the Trichiliocosm,Wilfrid Israel Asian Art Museum, Wilfrid, Israel 2009 Scenery that can’t be ignored, 55, Shanghai, China 2013 Transition, Museum Of Contemporary Art Chengdu, Chengdu, China 2007 Shadow Galerie Andreas Binder, Munich, Germany XML + Armin LINKE (Netherlands/Germany/Italy) 2012 Spiritual Encoding, Kuandu Museum of Fine Arts, Taipei, China 2006 Capturing Shadow, 55, Shanghai, China Max Cohen de LARA + David Mulder van der VEGT(XML) 2008 Microscopic Narration, Iberia Center for Contemporary Art, Beijing, China Selected Group Exhibitions: 2007 Rebirth, Arthur M.Sackler Museum of Art and Archaeologyof Beijing University, Beijing, China Born in 1979 and 1980, the Netherlands. Live and work in Amsterdam. 2015 COPYLEFT: Appropriation Art in China, Power Station of Art, Shanghai, China Selected Group Exhibitions: 2014 Anwesen·The Second Chinese Oil Painting Biennale, National Art Museum of China, Beijing Selected Solo Exhibitions: 2015 Point to Asia- 6th Moscow Biennale of Contemporary Art, Moscow, Russia China Painting of Being-there, China Art Museum, Shanghai, China 2013 Speculative Realities, SSC Gallery, Shanghai, China 2013 China Pavilion at the 55th Venice Biennale, Arsenal, Venice, Italy 2012 Figural Constellations: Franco-Sino Grand Exhibition of Figural Expressionism, Shanghai 2012 7th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Queensland, Australia Selected Group Exhibitions: Museum of Art, Shanghai, China 2008 The Revolution Continues, Saatchi Gallery, London, UK 2014 Prix de Rome, Het NieuweInstituut, Rotterdam, Netherlands 2010 Reshaping History—Chinese New Art fron 2000 to 2009, Arario Gallery Beijing , China Monditalia, La Biennale di Venezia,Venice, Italy 2005 2nd Prague Biennial, Prague, Czech 2012 Vote Back, de Appel Arts Centre, Amsterdam, Netherlands YUAN Gong (China) ZHOU Tao (China) Armin LINKE (Italy) Born in 1961, Shanghai, China. Lives and works in Shanghai. Born in 1976, Changsha, China. Lives and works in Guangzhou. Selected Solo Exhibitions: Born in 1966, in Milan, Italy. Lives and works in Berlin and Milan. Selected Solo Exhibitions: 2015 Rehearse and Archive - “The Europe of Woman” Director’s Notes, Xi’an Art Museum, Xi’an, China 2014 Green Sun, an exhibition by Zhou Tao, Bangkok Art and Culture Centre, Bangkok, Thailand Selected Solo Exhibitions: Secret Crossing, Tianjin Art Museum, Tianjin, China 2013 The Training, Kadist Art Foundation, Paris, France 2015 The Appearance of That Which Cannot be Seen, ZKM Karlsruhe, Karlsruhe, Germany Bitterness, Hubei Museum of Art, Wuhan, China 2012 Zhou Tao, A Window to the World, Hiroshima City Museum of Contemporary Art 2013 Inside/Outside, Sciences Po – bibliothèque René Rémond, Paris, France 2013 Mechanism, Guangdong Museum of Art, Guangzhou, China Open Studio: Seek for Geothermal Heat, Times Musuem, Guangzhou, China 2010 Il CorpodelloStato, MAXXI Museonazionaledellearti del XXI secolo, Rome, Italy Butterflies fly once more, Bund 18 Gallery, Shanghai, China 2009 Concrete and Samples, Museum fürGegenwartkunst Siegen, Siegen, Germany 2011 The Man who Plants Scenarios, Queens Nails Projects, San Francisco, USA Selected Group Exhibitions: Selected Group Exhibitions: Selected Group Exhibitions: 2015 China 8 - Contemporary Art from China on the Rhine and Ruhr, Muelheim Art Museum, 2015 New Directors/New Films 2015, MoMA & the Film Society of Lincoln Center, New 2013 – 2015 Anthropocene Observatory, exhibition developed by Territorial Agency (John Palmesino Muelheim, Germany York, USA and Ann-SofiRönnskog), Armin Linke and Anselm Franke, BAK, Utrecht/Berlin, Germany Belle Haleine -The Scent of Art, Museum Tinguely, Basel, Switzerland 2014 The 8 of Paths: Art in Beijing - Art exhibition in the Uferhallen, Uferstrasse 8, Berlin, Germany 2014 Travelling Communiqué, Museum of Yugoslav History, Belgrade, Serbia 2014 Secret Signs, Deichtohallen Museum, Hamburg, Germany 2013 The 5th Auckland Triennial: If you were to live here……, Auckland, New Zealand 2014 Paparazzi! Photographers, stars and artists, Centre Pompidou Metz, Metz, France 3rd Asia Triennial Manchester 14, UHC, Manchester, England 2012 On/ Off, Showcases China's young artists, UCCA, Beijing, China 2012-2013 Doublebound Economies: Galerie Thomas Fischer, Berlin, DE; ETH Zurich, CH; Centre de 2011 Pervasion - the 54th Venice Biennale, The China Pavilion, Venice, Italy la Photographie, Geneva, CH; Halle 14, Leipzig, Germany 2008 Trans local motion, 7th Shanghai Biennale, Shanghai Art Museum, Shanghai, China 2011 Carlo Mollino, ManieraModerna, Haus der Kunst, Munich, Germany YUE Minjun (China)

Born in 1962,Heilongjiang , China. Lives and works in Beijing. Selected Solo Exhibitions: 2015 Nightingale, Yue Minjun Solo Exhibition, Brandts 13, Odense, Denmark Y 2012 Yue Minjun, L'ombre du fou rire, Solo Exhibition, Fondation Cartier pour l'art contemporary, Paris, France 2011 Yue Minjun, The Archaeological Discovery in A.D 3009, Yue Minjun Solo Exhibition, Arhus, Denmark Chikako YAMASHIRO (Japan) 2007 Yue Minjun and the Symbolic Smile, Queens Museum, New York, USA Born in 1976, Okinawa, Japan. Lives and works in Okinawa, Japan. 2003 Yue MinJun, Meile Gallery , Switzerland Selected Solo Exhibitions: 2012-2013 MAM Project 018: Chikako Yamashiro, Mori Art Museum Gallery 1, Tokyo, Japan 2012 The Body of Condonement, Yumiko Chiba Associates viewing room shinjuku, Tokyo, Japan Z 2010-2011 Chorus of a Song, Yumiko Chiba Associates viewing room shinjuku, Tokyo, Japan 2004 OKINAWA TOURIST, Maejima Art Center, Okinawa, Japan 2002 Woman at Graveyard, Maejima Art Center, Okinawa, Japan Anya ZHOLUD (Russia)

Selected Group Exhibitions: Born in 1981, Leningrad, USSR . Lives and works in Moscow, Russia. 2015 Beyond Hiroshima: The Return of the Repressed Wartime Memory, Performativity and the Selected Solo Exhibitions: Documentary in Contemporary Japanese Photography and Video Art, The Genia Schreiber 2012 I'll Give in Good Hands, Foundation for Visual Art Support Era Moscow, Russia University Gallery, Tel Aviv University, Israel 2011 Spazio Personale, Galleria Nina Lumer, Milan, Italy 2012-2013 Women In between: Asian Women Artists 1984-2012, Fukuoka Asian Art Museum, 2010 Exhibition Continues, Moscow Museum of Modern Art, Moscow, Russia Fukuoka / Okinawa Prefectural Museum & Art Museum, Okinawa / Tochigi Prefectural Museum 2009 Anya Zholud in the Russian Museum,State Russian Museum, St. Petersburg, Russia of Fine Arts, Tochigi / Mie Prefectural Art Museum, Mie, Japan 2008 Iron Wedding, Aidan Gallery, Moscow, Russia 2010-2011 The New Snapshot-Contemporary Japanese Photography, vol.9: Radiant Moments, Tokyo Metropolitan Museum of Photography, Tokyo, Japan Selected group exhibitions 2009 Into the Atomic Sunshine in Okinawa: Post-War Art under Japanese Peace Constitution Article 9, 2012 I've Been Here!, Open Gallery, Moscow, Russia Okinawa Prefectural Museum & Art Museum, Okinawa / Sakima Art Museum, Okinawa, Japan 2011 Gates and Doors, State Russian Museum, St. Petersburg, Russia 2008 OKINAWA PRISMED 1872 - 2008, the National Museum of Modern Art, Tokyo, Japan 2009 53rd International Art Exhibition, La Biennale di Venezia, Venice, Italy 2008 Russian Povera, Perm, Russia 2007 New Angelary,Museum of Modern Art, Moscow, Russia

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1130输出文件 画册最终版.indd 258-259 15-11-30 下午9:05 Organiser: Guangdong Museum of Art Arratia Beer, Berlin 鸣谢 Co-organisers: Sun Yat-Sen Library of Guangdong Province Personal acknowledgements :(in no particular order) Qian Linxiang/ Liu Dongyan/ Chang Yumeng/ Ivy Lin/ Zhixin Jason Sun/ Cristina Acidini/ Masahiro Yasugi/ Ruslee bin Ariffin/ Christine Shimizu/Ana Maria Theresa Labrador/ Powles This event is also made possible by: Wen Chin/ Wu Hongliang/ Risto Ruohonen/ Susanna Lai Kuen Siu/ Friederike Seyfried/ Pi Li/ Acknowledgements Mondriann Fund, Amsterdam Low Sze Wee/ Nurazkhan Yerkin/ Akira Tatehata/ Anna Coliva/ Efrat Avrahamy/ Mussarrat Ifa, institute fur Auslandsbeziehungen, Berlin Nahid Imam/ Maha Marakkalage Dayananda Peiris/ Abdul Ghafoor/ Adiyabazar Chadraabal/ Chan Hou Seng/ Chhuon Sareth/ Kobayashi Hitoshi/ Amara Srisuchat/ João Fátima da Cruz/ frame, visual art, Finland, Helsinki Haji Ilham Rohaidi Bin Haji Mashud/ Sook-Kyung Lee/ Truong Quoc Binh/ Rajeev Lochan/ Consulate General of the United States in Guangzhou Jay Alan Levenson/ Peter Pakesch/ Adam Budak/ Luo Gang/ Dong Bingyue/ Liu Zhiwei/ Yu Consulate General of the Republic of France in Guangzhou Weiya/ Jiang Chenxian/ Suwarno Wisetrotomo/ Girish Vijay Shahane/ Sarah Farrar/ Mehrnaz Azadi Boyaghchi/ Li Gongming/ Feng Yuan/ Ding Yalei/ Paik Nak-chung/ Guo Huijuan/ Gao Netherlands Consulate General in Guangzhou 主办：广东美术馆 德国电视二台 Shiming/ Jiang Mei/ Cai Zhiqiang/ Yu Guoliang/ Yang Xiaoyan/ Shen Binghe/ Li Xin/ Ding Consulate General of Israel in Shanghai Cheng/ Lu Wanyi/ Pang Wei/ Ching May Bo/ Chen Jiaying/ Qu Jingdong/ Baik Young-seo/ 协办：广东省立中山图书馆 凤凰卫视 Cultural Section, Embassy of the Republic of Austria, Beijing Takeshi Hamashita/ Chen Jinliang/ Li Xuejun/ Ye Tong/ Dong Hua/ Li Lingyan/ Hu peng/ Wang 浙江卫视 Liping/ Ge Ping/ Cao Siyu/ Jin Xu / Moira Elias/ Zenobia Shah/ Chang Ho Noi/ Chen Tong/ Goethe Institut, Hong Kong 广东美术馆得到以下机构的资助：（排名不分先后） 柏林 Filmgalerie 451 电影制片厂 Duan Yuanyu/ Egon Hanfstingl/ Hans Haacke/Sora Kim/ Kyung Man Kim/ Liu Ding/ Louwrie 蒙特里安基金会 柏林 Cinegate 公司 Arts Promotion Centre Finland, Helsinki n Wijers/ Park Chan Kyong/ Rainer Ganahl/ Dongyoung Lee/ Daniel Kang Young Nørregaar 德国国际关系研究所（ifa） 北京燕东池南文化艺术中心 Swedish Research Council, Stockholm d and Kristian Johansen/ Gabrielle Gauler/ Barbara Honrath/Stefan Dreyer/ Uwe Schmelter/ Province Utrecht Heng-Jonathan Puckey/ Carol Yinghua Lu/ Moonsick Gang/ Hennicke/ Iris Böhm/ Josef 赫尔辛基 frame 视觉艺术基金会 德国辉柏嘉公司 Mattes/ Lukas Steltner/ Niklas Kohrt Ali/ Bernhard Keller/ Beatrice Schultz/ Lotte Sawatzki/ 美国驻广州总领事馆 上海吾衫科技有限公司 Heike Parplies Frieder Schlaich/ Irene von Alberti Antje Scholz/ Samuel Schmidt/ Henry Notroff/ 法国驻广州总领事馆 柏林 Arratia 啤酒厂 With special thanks to: (in no particular order) Sara Lichtsteiner/ Stefan von Essen/ Liesa Rademacher/ Andreas Pölzl Phillip Wölke/ Nico 荷兰驻广州中领事馆 University of the Art, Helsinki Storch/ Michael Randel/ Anne Kuhn/ Anna-Maria Thönelt Laura Büchel/ Gesche Loft/ Alex Jovanovic/ Matti Cordewinus/ Matthias Gehret Sasa Zivkovic/ Jochen Jezussek/ Mark 以色列驻上海总领事馆 鸣谢个人（排名不分先后） Art Museum of GAFA Wagner/ Marcus Eich/ Patrick Tillmanns David Koch/ Cinegate Berlin/ Neuengammen/ Gross 奥地利驻中国大使馆文化处 钱林祥 刘冬妍 常禹萌 连美娇 孙志新 克里斯蒂娜·阿西蒂尼 安来正博 Seoul Museum of Art Rosen/ Dora Mittelbau/ Belzek/ Majdanek/ Samuli Knuutila /Tomi Snellman /Caspar Stracke / 香港歌德学院 路斯里·宾·阿里芬 克里斯蒂娜·清水 安娜·玛利亚·特蕾莎·拉布拉多 Art Council England Marek Duda/ Łukasz Myszal/ Marta Sadłocha/Nadine Jenke/Sandra Siegmund/Karin Schawe / Leena Rantanen / Tarja Knuutila/ Piki / Ruu 芬兰艺术推广中心 陈 雯 吴洪亮 瑞斯特·鲁赫楠 萧丽娟 弗莱德莱克·塞弗里德 皮 力 Qatar Museums 瑞典研究理事会 刘思伟 努拉兹汗·叶尔金 建畠哲 安娜·科利瓦 埃弗雷德·阿夫拉米 穆 Moscow Museum of Modern Art 荷兰乌特勒支省 萨拉特·纳希德·伊玛目 马哈·马拉卡拉格·达雅南达·派力司 阿卜杜·贾 Interns & Volunteers OK Offenes Kulturhaus 福尔 阿迪亚巴扎尔·乍得拉巴尔 陈浩星 庄赛锐 小林仁 阿玛拉·斯里苏 Zhan Feifei/ Cai Suting/ Lei Silu/ Zhang Huizhong/ Shen Kejing/ Liu Zhiqing/ Zhang Jiawen/ Collection of Muzeum Sztuki in Lodz, Poland 特别鸣谢：（排名不分先后） 查特 诺昂·法蒂玛·达克鲁兹 哈吉·伊哈姆·罗哈迪·本·哈吉·马叔德 Yang Ruixin/ Cai Yitingxue/ Yu Ziqi/ Zeng Shugang/ Luo Junlang/ Luo Xing/ Peng 赫尔辛基艺术大学 李叔京 张国平 瑞杰夫·卢臣 杰·艾伦·李文森 皮特·帕克斯兹 Thyssen-Bornemisza Art Contemporary Yijuan/ Cheng Luxun/ Lu Mingdong/ Feng Jiayi/ Liao Qianlan/ Wu Xinyuan/ Ning Niya/ Yang 广州美术学院美术馆 亚当·布达克 罗 岗 董炳月 刘志伟 于维雅 姜承完 苏瓦尔诺·维斯特罗 DOCUMENTA XIII Yunchang/ Li Shenlin/ Li Chuying/ Li Na/ Kou Qiaohui/ Li Wenqiao/ Sun Xiaopeng/ Sandra Song/ Quan Jiaxin/ Zhang Yani/ Fan Qixia/ Wang Yiyu/ Liang Zhongjue/ Sun Jian/ Li Hong/ Wu 首尔美术馆 多莫 吉瑞希·伟杰·沙涵 莎拉·法勒 马娜·阿扎迪·博亚兹 李公明 Intermedia Arts and Media College of Art and Communication Research Center, Tongji University Haibin/ Zhong Qiqi/ Chen Junhong/ Song Xiaobin/ Liao Wenqing/ Xie Simin/ Li Jialin/ Guo 英国艺术委员会 冯 原 丁亚雷 白乐晴 郭慧娟 高士明 江 湄 蔡志祥 余国良 杨小彦 Qian/ Pang Xiaoyan/ Yao Dan/ Chen Haibo/ Li Xin/ Lu Lanjuan/ Chen Chaoming/ Huo Visual Art Center, China Academy of Art Institute of Art Phenomenon 卡塔尔美术馆 沈秉和 李 昕 丁 澄 陆婉仪 庞 伟 陈金梁 李学军 叶 彤 李 音 Qiming/ Xu Yunshang/ Li Jinfeng/ Shi Yuanyuan/ Jiang Taoyi / Liang Yinyuan/ Liu Rui 莫斯科当代艺术博物馆 董 华 李凌燕 胡 朋 王丽萍 葛 萍 曹思宇 金 藇 李双珏 黄 坚 NTU Centre for Contemporary Art in Singapore 奥地利林兹 OK 当代艺术中心 王 凯 姚 远 江滢河 程美宝 陈嘉映 渠敬东 白永瑞 滨下武志 The National Arts Council in Singapore More interns and volunteers have participated in installing the exhibition and have been 波兰罗兹 Sztuki 博物馆馆藏 Moira Elias/ Zenobia Shah/ Chang Ho Noi/ Chen Tong/ Duan Yuanyu/ Egon Hanfst The Courtauld Institute of Art, UK involving in educational activities. The Guangdong Museum of Art appreciates and is grateful Thyssen-Bornemisza 当代艺术博物馆 ingl/ Hans Haacke/ Sora Kim/ Kyung Man Kim/ Liu Ding/ Louwrien Wijers/ Park Ch Visual Art Center, Qinghua University for their hard work! 第十三届卡塞尔文献展 an Kyong/ Rainer Ganahl/ Dongyoung Lee/ Daniel Kang Young Nørregaard and Kri Datang Xishi Museum 同济大学艺术与传媒学院跨媒体艺术与传播研究中心 stian Johansen/ Gabrielle Gauler/ Barbara Honrath/ Stefan Dreyer/ Uwe Schmelter/ HKU University of the Arts, Utrecht 中国美术学院视觉中国研究院 Heng-Jonathan Puckey/ Carol Yinghua Lu/ Moonsick Gang/ Hennicke/ Iris Vitamin Creative Space 中国美术学院艺术现象学研究所 Böhm/ Josef Mattes/ Lukas Steltner/ Niklas Kohrt Ali/ Bernhard Keller/ Beatrice Victoria Miro, London 新加坡南洋理工大学当代艺术中心 Schultz/ Lotte Sawatzki/ Heike Parplies Frieder Schlaich/ Irene von Alberti E. Alkazi, Art Heritage Gallery 新加坡国家艺术理事会 Antje Scholz/ Samuel Schmidt/ Henry Notroff/ Sara Lichtsteiner/ Stefan von Neue Galerie 英国考陶尔德艺术学院 Essen/ Liesa Rademacher/ Andreas Pölzl Phillip Wölke/ Nico Storch/ Michael Galerie Fons Welters 清华大学美术学院美术馆 Randel/ Anne Kuhn/ Anna-Maria Thönelt Laura Büchel/ Gesche Loft/ Alex Swedish Research Council and the Academy of Fine Arts 大唐西市博物馆 Jovanovic/ Matti Cordewinus/ Matthias Gehret Sasa Zivkovic/ Jochen 荷兰乌特勒支 HKU 艺术大学 Jezussek/ Mark Wagner/ Marcus Eich/ Patrick Tillmanns David Koch/ Cinegate University of the Arts Helsinki 纽约新美术馆 Berlin/ Neuengammen/ Gross Rosen/ Dora Mittelbau/ Belzek/ Majdanek/ Samuli concentration camps museums/memorials : Neuengammen, Gross Rosen, Dora Mittelbau, 维他命艺术空间 Knuutila /Tomi Snellman /Caspar Stracke /Marek Duda/ Łukasz Myszal/ Marta Belzek and Majdanek 伦敦维多利亚·米罗画廊 Sadłocha/Nadine Jenke/Sandra Siegmund/Karin Schawe /Leena Rantanen / Tarja Medienboard Berlin-Brandenburg E. Alkazi, Art Heritage 画廊 Knuutila/ Piki / Ruu gb agency, Paris Neue 画廊 Zweites Deutsches Fernsehen 丰沃尔特斯画廊 实习生 / 志愿者（排名不分先后） Phoenix Television 诺因加默集中营纪念馆（德国汉堡） 詹非菲 蔡舒婷 雷偲露 张慧中 沈可婧 刘芷晴 张嘉文 杨锐新 蔡伊听雪 Zhejiang TV 格罗斯 - 罗森集中营纪念馆（波兰） 余梓麒 曾树刚 罗隽琅 骆 行 彭怡娟 程璐珣 卢铭冬 冯佳怡 廖倩蓝 Filmgalerie 451 米特保 - 朵拉集中营纪念馆（德国图林根州） 武欣媛 宁妮娅 杨云鬯 李深林 黎楚莹 李 娜 寇乔蕙 李文俏 孙小鹏 Cinegate Ltd. 贝尔赛克灭绝营纪念馆（波兰） 钟碧茵 全嘉欣 张雅妮 范绮霞 王一羽 梁中觉 孙 坚 李 鸿 吴海彬 Beijing Yandong China Cultural and Art Center 马伊达内克集中营纪念馆（波兰） 钟琦琦 陈俊红 宋晓彬 廖文青 谢思敏 黎嘉林 郭其安 庞小燕 姚 丹 Faber-castell 柏林 - 勃兰登堡州的 Medienboard 传媒推广公司 陈海波 李 欣 卢兰娟 陈超明 霍绮明 徐云熵 李劲峰 史媛媛 蒋滔铱 Shanghai Wushan Technology Co., Ltd. 巴黎 gb 经纪公司 梁颖元 刘 睿

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A R T SINCE 1974 MONTHLY 艺术月刊 创始于1974年

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广东美术馆馆庆系列丛书 《墨和纸·中国当代艺术展作品集》 现代影像丛书 《林墉·霸悍的恣丽》 《里里外外——中国当代艺术》（中文版、英文版、法文版） 《苏晖·少先队员之歌》 《风 雅 颂——广东美术馆开馆十五周年馆藏精品展》 《中国人本 纪实在当代》（中文版、法文版、德文版） · · · 《郑爽版画》 《人文广东——馆藏 20 世纪以来广东美术作品选集》 《城市·重视——2005 广州国际摄影双年展》 85 以来现象与状态系列展丛书 《土地与人民·力群版画艺术七十年》 《追补的历史——馆藏中国当代艺术作品选集》 《左右视线——2007 广州国际摄影双年展》 《梁明诚·信马人生》 《自觉与自主——广东美术馆展览策划和学术理念》 《从“极地”到“铁西区”东北当代艺术展 1985——2006》 《看真 D.com 第三届广州国际摄影双年展 2009》 《吴海鹰·大度的朴实》 《拓荒与前行——广东美术馆筹建和开馆十年历程》 《从西南出发·西南当代艺术展 1985——2007》 《沙飞摄影全集》 《李醒韬·历史穿越》 《开放与共享——广东美术馆的公共化与服务化理念》 《从西南出发 西南当代艺术批评文集 —— 》 《没有终点的到达》 · 1985 2007 《丹青发嗟愤——黄少强作品集》 《两湖潮流 湖北湖南当代艺术展 —— 》 《异向 魔幻的面孔——佩德罗 梅约尔的摄影世界》 · 1985 2009 · · 《雕刻时光——罗映球的版画艺术》 《庄学本全集》 20 世纪中国美术状态丛书 《天地悠然·王璜生的水墨天地》 大展丛书 《丹青回眸：刘济荣从艺 60 周年》 《丹青京华——20 世纪的北京中国画坛》 现当代艺术家丛书 《李绪洪·情感的唤回》 《现实关怀与语言变革》 《甲午·甲午——百年强国梦 广东美术馆馆藏作品展》 《从容中道——梅墨生画诗书》 《主流的召唤》 《亚洲意识与亚洲经验——亚洲美术策展人论坛文集》 《潘鹤·走进时代的艺术》 《李小可作品集》 《创作的意义》 《寻找亚洲——首届“亚洲双年展（中国·广州）”第一次学术会议》 《符罗飞·关于人民的素描》 《吴静山——一默如雷》 《走进都市》 《亚洲的原理——首届“亚洲双年展（中国·广州）”第二次学术会议》 《王兰若·清逸的粤东情怀》 《姜今画集》 《南方语境》 《地域与知域——首届“亚洲双年展（中国·广州）”第三次学术会议》 《邵增虎·镌刻金秋的油画》 《黑白的现代性》 《古道西风·高剑父、刘奎龄、陶冷月》 《启点·动象空间 广东美术馆广州大剧院当代馆第一回展》 《鸥洋·东方意象》 《田园诗情——可谷画集》 《中国·水墨实验二十年》 《回到亚洲·亚欧美策展案例展》 《陈永锵·熏风 1998》 《郭莽园·狂狷与性灵》 《毛泽东时代美术（1942—1976）文献展》 《见所未见——第四届广州三年展主题展》 《罗宗海·感受乡土》 《快意丹青——李永平中国画作品》 《抗战中的文化责任·“西北艺术文化考察团”六十周年纪念展》 《维度——第四届广州三年展项目展第三回》 《许钦松版画集》 《人与人·20 世纪中国美术的人文性》 《第三自然——第四届广州三年展项目展第二回》 《关山月新作选集》 《历程·广东新中国一代美术家》 《去魅中国想象——第四届广州三年展项目展第一回》 《黄少强·走向民间》 20 世纪早期中国油画家丛书 《元问题：回到美术馆自身——第四届广州三年展启动展》 《黄志坚·龙虬风骨》 《冯钢百·中国早期油画大家》 《启点·动象空间——广东美术馆广州大剧院当代馆第一回展》 《郭绍纲·平和中的隐秀》 21 世纪中国美术状态丛书 《谭华牧·失踪者的踪迹》 《时空中的一个点——广东美术馆馆藏当代艺术作品展》 《廖冰兄·香港时期的漫画》 《梁锡鸿·遗失的路程》 《机构生产——广州青年当代艺术生态考察》 《与后殖民说再见——第三届广州三年展》 《杨之光·生活与创作》 《赵兽·神秘的狂气》 《艺术中的个人与社会——中国十一位青年艺术家作品集》 《第三届广州三年展读本 1 》 《陈卓坤·苍凉的天真》 《南方的阳光》 《第三届广州三年展读本 2 》 《徐坚白·礼赞生命》 《虚拟未来——中国当代艺术展》 民间美术丛书 《别样：一个特殊的现代化实验空间》 《谭雪生·感怀大自然》 《现象：“后岭南”与广东新水墨》 《别样：一个特殊的现代化实验空间 / 三角洲实验室 1D-Lab I》 《项而躬·磨难与风采》 《广东民间美术生态考察·粤东篇》 《守望与前瞻·当代中国书法十二人展》 《别样：一个特殊的现代化实验空间 / 三角洲实验室 1D-Lab II》 《王琦·感受时代》 《墙里墙外·当代中国书法十人展》 《重新解读·中国实验艺术十年（1990—2000）》（中文版、英文版） 《苏天赐·信步与回眸》 当代艺术个案丛书 《距离 广东美术馆当代艺术邀请展》 · 《王肇民作品集》 《开放的姿态·首届广东新青年艺术大展》 《表现与抽象：王琰油画作品》 《世纪经典·潘天寿》 《点·辐射与深入——来自纸墨的视觉表达》 《静·夜·思——白明物语》

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1130输出文件 画册最终版.indd 264-265 15-11-30 下午9:05 《水墨终结者的历程——张羽访谈录》 《延伸与突破》 国外艺术家丛书 《刘小东·写生》 《新陶说》 《宋永红·欲望广场》 《罗丹·思想者》 《时间内外：喻红》 新状态丛书 《法国当代雕塑家阿尔伯·费浩》 《吴山专（但仍然是红的）国际红色幽默》 《毕加索的艺术世界》 《新状态第一回 薛继业油画》 《方力钧：时间线索》 · 《巨匠心影·毕加索版画》 《新状态第二回·唐颂武、魏华雕塑》 《狂想的旅程·达利作品集》 《新状态第三回·江衡、孙晓枫油画艺术》 现当代美术文献丛书 《米歇尔·马多——隐逸之境》 《新状态第四回·亢奋期》 《泪·愤怒·温柔 —— 奥斯瓦尔多·瓜亚萨明》 《潘鹤少年日记》 《新状态第五回·杨培江作品展》 《潘鹤青少年日记》 《新状态第六回·刘源油画》 《黄志坚诗文选集》 《新状态第七回·林蓝、彭薇作品》 国际艺术交流丛书 《符罗飞研究资料汇编》 《新状态第八回·常晓冰版画》 《澳大利亚油画三人展》 《黄少强诗文资料选编》 《新状态第九回·彩色家园——肖庆书作品》 《新状态第十回·记忆的温度——晋作品展》 现代设计艺术丛书 博物馆精品丛书 《新状态第十一回·守望者——罗灵油画作品展》 《新状态第十二回·一版一眼——广东青年版画展》 《中国平面设计 2001》 《广东美术馆藏品图录（1996.12—2002.7）》 《魁北克当代海报艺术》 《广东美术馆藏品图录（2002.8—2004.12）》 海外华人美术丛书 《靳埭强——生活·心源》 《广东美术馆藏品图录（2005.1—2007.12）》 《广东美术馆藏品图录·摄影Ⅰ 中国人本》 《天地本相·美国王己千、马承宽近作展》 现代美术教育丛书 《广东美术馆藏品图录·摄影Ⅱ 时代影像·朱宪民（1966-1976）摄影集》 《纽约 20 年·美国钟耕略的绘画艺术》 《广东美术馆藏品图录·版画Ⅰ 张信让藏书票》 《时空交织·郭桓作品集》 《童心·爱心·匠心》 《浙江省博物馆藏书画精品选》 《从西方抽象主义到东方赵无极》 《三双眼睛看世界》 《辽宁省博物馆藏齐白石、黄宾虹、徐悲鸿精品选》 《陈建中·巴黎三十年》 《游戏泥土》 《中国美术馆藏路德维希夫妇捐赠国际艺术品集》 《黄中羊·生活的和音》 《材料的幻想》 《向摩尔致敬》 博物馆学丛书 国外现代美术丛书 《大师画我也画》 《我梦达利》 《文物保护与修复纪实》 《欧洲新版画》 《还孩子一个率真的童年》 《无墙的美术馆》 《慕尼黑当代抽象画展作品集》 《首届广东省少儿美术教师优秀美术作品暨优秀教案展》 《美术馆》丛刊 《走出传统——瑞士陶艺三人展作品集》 《第三届全国少年儿童美术理论研讨会文集》 《墨西哥绘画：从壁画三杰到当代》 《我的相机不撒谎》 现代陶艺丛书 《意大利二十世纪艺术展》 《意大利托斯卡纳油画光的现代性》 （此目录为广东美术馆部分出版书目） 《感受泥性》 《超越泥性》 《演绎泥性》 《单纯空间》

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