18.3 土soil and stones souls and songs - kadist · 2017. 3. 27. · 18 gendun chopel 更敦群培...

18.3 –––––––––––––––– 11.6.2017

22/F, Wing Wah Industrial Building

677 King’s Road, Quarry Bay

Hong Kong

香港鰂魚涌英皇道677號榮華工業大廈22樓

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Wednesday to Sunday, 12 – 7 pm

Closed on Monday, Tuesday and public holidays

Extended opening hours at Para Site during Art Basel:

Monday to Sunday, March 20–26, 2017, 10 am – 7 pm

星期三至日, 中午12時至晚上7時星期一、二與公共假期休息

巴塞爾藝術展期間2017年3月20–26日展覽時間延長至星期一至日上午10時至晚上7時

土SOIL AND與石 STONES, 靈SOULS 與AND 歌SONGS

18 March – 11 June, 2017 2017年3月18日 – 6月11日

土SOIL AND與石 STONES, 靈SOULS 與AND 歌SONGS

SOIL土

靈與歌

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SOULS SONGS

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ara Site is delighted to present Soil and Stones, Souls and Songs, a major traveling and transforming exhibition based on several intertwined lines of tension and narratives found today in the realities, artistic and cultural production, and contemporary thought in the Asian sphere and beyond. It is constructed on a spectrum of art practices, new commissions, case studies curated by Yongwoo Lee, Qu Chang, and Simon Soon, and experiments on forms and processes addressing, directly or symbolically, several broad categories of issues. These can all be traced to the seismic forces that have transformed the world over the past decades, with Asia being at the forefront of these changes. Presented together with KADIST, the exhibition is curated by Cosmin Costinas and Inti Guerrero and it was first presented in a different configuration at the Museum of Contemporary Art and Design in Manila.

The unleashing of the forces of the global market in the region has modified the forms of production, labour, landscape and environments, as well as wider societal structures across the continent. The anxieties of the new world, and the often competing aspirations of these reshaped societies are in search of new forms of imagining the political, of new ideas meant to give sense and direction to the changing realities. Many of these ideas try to position themselves in opposition to liberal democracy—perceived as foreign—or even outside of the parameters of Western modernity, often creating complex and hybrid ideological projects. Sometimes continuing ideas from the anticolonial struggle and from the postcolonial nation building process, these ideological projects are nevertheless very current adaptations to the region’s rejuvenation and to what is seen as the crisis of the West. In this respect, there is a thread uniting as disparate ideas as the neo-Confucianist revival of the Communist Party in China to new ideas about what it means to be indigenous across the colonized world, from Melanesia to the Americas, passing through what appears to be a more conventional resurgence of nationalism in different countries. This latter phenomenon has catalysed revisionisms of historical issues and of various founding myths (of communities and of the world itself) in the face of historical and ecological threats, leading to a general horizon of anxiety. This fear extends however beyond Asia, finding a fertile ground in a world marked by a loss of certainties, by the anxiety of a shifting geopolitical order in the postcolonial and post-Cold War Era, and by the unease and violence often accompanying the transformation of traditional economic and cultural patterns.

P 1 Introduction 展覽介紹

22樓/F

11 Sammy Baloji

12 Mariana Castillo Deball

13 Kawayan de Guia

14 Jimmie Durham

15 Josh Faught

16 Edgar Fernandez

17 Meschac Gaba

18 Gendun Chopel 更敦群培

19 Simryn Gill

20 Sheela Gowda

21 Ion Grigorescu

22 He Xiangyu 何翔宇

23 Ho Siu-Kee 何兆基

24 James T. Hong 洪子健

25 Peter Kennedy + John Hughes

26 Li Binyuan 厲檳源

27 Li Ran 李然

28 Prabhakar Pachpute

29 Pratchaya Phinthong

30 Motoyuki Shitamichi 下道基行

31 Valerie Snobeck

32 Tru’o’ng Công Tùng 張公孫

33 Wang Gongxin 王功新

34 Haegue Yang 梁慧圭

35 Trevor Yeung 楊沛鏗

36 Tuguldur Yondonjamts

38 Dominique Zinkpè

40 A Tale: The Land of Fish and Rice

漁米之鄉記

18樓/F

44 Pio Abad

45 Tarek Atoui

46 Simryn Gill & Ho Siu-Kee 何兆基

47 Taloi Havini

48 Ocean Leung 梁御東

49 José Maceda

50 Reetu Sattar

51 Chulayarnnon Siriphol

52 Walter Smetak

53 So Wai-Lam 蘇瑋琳

54 The Phantom Modern

現代魅影

#parasitehk

#soilandstones

@parasite.hk

Rooftop 天台

58 Towards A Mystical Reality

邁向一個神秘現實

22 /F

18 /F

樓

樓

Rooftop 天台

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How can an art exhibition convey this? How can forms, objects, and matter translate the contextual anxieties we are pointing out? How can the infinite complexities of the horizon over our continent be translated, not to mention the complexities defining the actual object and spectre named China, which appears at the centre of these issues? The exhibition attempts to address these through several interrelated threads, as well as through a number of separate case studies that compose a kaleidoscopic vision of our subject. It is also particularly attentive to aesthetic vocabularies and to how the search for an outside to Western modernity has been reflected in the references or the forms employed by artists of various generations and geographies. While many of the stories traced are occurring within Asia, the exhibition also tries to understand the transformations happening on our continent by tracing their echoes, resonances, and mirrored shadows outside its shores, near and far.

Soil is the practical, symbolic and often sacred home of the nation, the repository of its history, as well as its most valued economic asset. The exhibition presents the soil in its multiple understandings, from that of a concrete (albeit spiritually invested) landscape, to its physical and no less sacred quality as an object, as well as to its conceptual form as a crucial element in defining a nation. The exhibition also introduces environmentalism as a growing determinant of cultural phenomena, while expanding the geographical implications of Asia, to its inner and outer peripheries in the Pacific, and beyond.

A body of works in the exhibition looks at the convulsions of societies affected by extractionist economies, often implemented by dominant multinational corporations, as a continuation of past colonial projects. In many of these contexts the deep transformation of landscapes as well as of communities, encounter and clash with traditional ideas on the use of and relation with the soil. Some contexts experience the dislocation of indigenous cultures more radically and violently than others, from the Aboriginal communities in Australia, discussed in Peter Kennedy and John Hughes’ historical film, to the complex consequences in the Pacific island of Bougainville, addressed by Taloi Havini. In the Philippines or India, reflected in the work of Edgar Fernandez and in the new commission by Prabhakar Pachpute, respectively, the struggles related to mining are entangled in broader social issues. The works of Simryn Gill connect the profound transformations of landscapes by mineral extraction, to the equally severe consequences of mass scale palm oil production. The deep anxiety felt in Mongolia towards the excavation of its territory (by China or its agents) is often gendered and sexualized, being associated with the fear that Mongolian women (metaphors of the sacred motherly soil) will be impregnated by Chinese men. Tuguldur Yondonjamts’s works playfully and ironically reveal the allegorical imagery behind the anxiety in both its historical and current manifestations in Mongolia. China itself experienced such a deep conflict between the understanding of soil as a fundamentally spiritual landscape and as a resource, at the beginning of its modern era, illustrated in the late Qing dynasty’s reluctance in building railroads, in order not to disturb the ancestral graves and the feng shui of its territory. Soil and agriculture, together with the issues of land rights and the complex rural-urban dynamics across Asia is present in the works of Li Binyuan, Tru’o’ng Công Tùng, alongside the aforementioned works by Simryn Gill. A Tale: The Land of Fish and Rice, the case study curated by Qu Chang, looks at the connections between soil and agriculture, history and territory, indigenous communities and spirituality, and the rapidly shifting identity of Hong Kong. The city is further discussed through the works of Ho Siu-Kee, So Wai Lam, and Ocean Leung, with a particular attention to its accelerated process of self-interrogation and radical political imagination in the post-Umbrella Revolution years, making it into one of the sites where anxiety for the future and competing attempts to address it are felt more acutely.

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The deep feelings of anxiety in the region are analysed through phenomena connected to the resurgence of nationalisms, with all their founding myths, insistence on ethnicity, territory, common stories, and souls, particularly manifested in the fractured social body of Asia with its anxieties of complex ethnic landscapes, oscillating between agonistic conviviality and the spectre of violent antagonisms. These ideological instrumentalisations of history and national narratives are being questioned throughout Asia by artists such as Chulayarnnon Siriphol looking at the deep divisions in Thailand in recent years and at how nationalist narratives play along this divide; Pio Abad dissecting the toxic legacy of the Marcos regime in the politics and culture of the Philippines in a work that has recently transformed in response to the undignified reburial of Ferdinand Marcos in the Heroes’ Cemetery in Manila; and by Motoyuki Shitamichi tracing the remains of toriis, sacred Shinto gates in various parts of Asia and the Pacific occupied by Japan in the Second World War, bringing thus in the discussion the relics of the last tragic attempt of a new Asian order with Japan as its hegemony. Li Ran’s piece alludes ironically to China’s new hegemonic position and the insecurities associated with the cultural manifestations of this position of power. The Phantom Modern, the case study curated by Yongwoo Lee, offers a broader context for the convulsions of modernity throughout Asia, navigating from history to spirituality and popular culture.

The works in the exhibition are not only meant to translate narratives, they are assembled to reveal the position of forms, matter, objects, and language in resonating these conflicts and world views. The identification of cultural specificity through visible formal codes remains a deep reflex in our contemporary world, and while artists in the show operate on different formal avenues, dissidence from a single canonical art history is a unifying thread of their artistic practice. The case study curated by Simon Soon, revisits the seminal 1974 exhibition by Malaysian artists Redza Piyadasa and Sulaiman Esa, Towards a Mystical Reality, a major moment in the history of conceptual art in Asia. Conceived as a manifesto exhibition, it explored the ideas on the art object of what the two artists regarded as the “Western” neo-avant-garde and how these related to conceptions of reality, matter, and objects in Asian philosophies and spiritual systems. The 1974 exhibition has been a relevant and influential example of local references being summoned for the production of modern cultural projects that see themselves as distinct from a Western model.

Another segment in the exhibition looks at the works of Tarek Atoui, José Maceda, Reetu Sattar, and Walter Smetak, in which experimental music compositions use ethnographic instruments, or newly created ones, as in the case of Atoui, to bring together a nativist folkloric element as well as a neo-avant-garde method. The work of Mariana Castillo Deball, and of veteran artist and activist Jimmie Durham are striking commentaries about the ambiguities behind the narratives of indigenous cultures in today’s world. Josh Faught’s work alludes to a more contemporary process of building a community within a broader mainstream society, in the American post-AIDS queer community. Hybridity, cultural conflict, and layering pervade the works of Kawayan de Guia and Dominique Zinkpè. Ion Grigorescu’s works reveal his negotiations of the national, the individual, and the spiritual in the Romanian context, which alongside other parts of Europe sees its cultural legacy at least partially removed from hegemonic Western modernity.

In a similar line of deep spirituality and blasphemous inquiry sits the rather unacknowledged drawing impressions of a trip to India by Gendun Chopel, a Tibetan modern artist, writer, and monk of the first half of the 20th century, who became fascinated with the tropical version of Buddhism in the South, while creatively and sometimes scandalously juggling between his religious beliefs and a desire towards modernity. Pratchaya Phinthong’s discreet piece is a poetic commentary on the distortions of scale and distance in the world, brought about by the great unsettling of the past decades. The works of artists such as Sammy Baloji, Meschac Gaba, Sheela Gowda, He Xiangyu, James T. Hong, Haegue Yang, Trevor Yeung, Valerie Snobeck, and Tru’o’ng Công Tùng mentioned before, explore, each in its own ways, the multiple cultural implications of objects and matter, of natural and cultural items, in the rapidly industrializing and urbanizing contexts in which they each work.

— Cosmin Costinas and Inti Guerrero

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ara Site 隆重呈現大型巡迴展覽《土與石, 靈與歌》。本展起源於散見當今亞洲與其他區域的社會現實、藝術和文化生產, 以及當代思潮中連串錯綜的緊張關係和敘述線索; 以藝術實踐和全新創作以及李龍宇、瞿暢與孫先勇所策劃的個案研究做為建構基礎的光譜, 同時針對不同分類下重要議題的進程和形式進行直接或象徵性的實驗。這些全都可回溯過去數十年來改變全球局勢的巨大力量, 而亞洲在面對這些變革下首當其衝。本展與卡蒂斯特藝術基金會聯合呈獻, 康喆明及 Inti Guerrero 共同策劃。該巡展首次呈現於馬尼拉藝術與設計美術館（MCAD）。

全球市場在亞洲地區所造成的影響不單改變了生產、勞動、地景和環境的形態, 亦為整個洲際帶來更廣泛的社會結構轉變。新世界催生的焦慮, 還有新型態社會中互相競爭的渴望, 皆在尋索一個新的政治想像, 希望透過新觀念來為瞬息萬變的現實找到意義和方向。而這些觀念嘗試將自身定位在被視為外來的自由民主制度, 或西方現代性範疇外的對立點上, 以致時常創造了各樣複雜和混種的意識形態。這些意識形態有時延續反殖民抗爭的理念, 和後殖民主義的國家建設進程, 微妙地對應著現時的亞洲復興或對立的西方危機。為此, 各地湧現了迥然不同的新理念並在同一脈絡下聯繫著彼此: 不論是中國共產黨的新儒學復興, 或本土性在殖民世界的新意義, 從美拉尼西亞到美洲, 在不同的國家中流傳著看似更保守的民族主義復興；而後者在面對歷史和生態的威脅下, 催化了歷史議題以及來自社群及創世神話的修正主義，進而導致全面性的焦慮。這些恐懼延伸至亞洲以外, 通過後殖民和後冷戰時期由於地緣政治軸心移動而引發的內在衝突, 以及經常伴隨著傳統經濟和文化模式轉型而來的不安與暴力, 在逐漸失去確定性的世界中找尋到了肥沃的土壤, 發芽生長。

於此, 一個藝術展覽該如何傳達這些意念? 形式和物質該如何詮釋我們上述所指涉的焦慮? 我們所處之地的無限複雜性該如何被轉譯? 特別是當「中國」處於這些議題的中心時, 欲定義其特定實體及光譜的複雜度更是難上加難。此次展覽嘗試透過相互交織的主題來疏理上述議題, 並與多項獨立個案研究一同拼湊出多樣交織的討論視角。展覽聚焦美學語彙的使用, 以及在探索西方現代性外如何從不同世代和地區藝術家的創作中產生對照及形式上的回應。儘管許多議題發生在亞洲境內, 本展也試圖藉由尋跡歷史的迴響和共嗚, 從亦遠亦近的彼岸所映照出的影子, 繼而探究並理解洲際間的變化。

對於一個國家而言, 土壤是實質上和象徵性的代表, 而且往往被視為神聖的國土、歷史的蘊藏以及最有價值的經濟資產。本次展覽呈現土壤的多重表徵, 包括具體的地貌（遑論挹注的精神意涵）, 成為物件時所代表的材料性與神聖性, 以及作為定義國家概念的關鍵元素。另外, 環境主義作為日益升溫的文化現象也被納入展覽中, 同時將「亞洲」的地域概念擴展至泛太平洋區甚至更廣的地域範疇。

展覽中的一系列作品呈現了萃取經濟（採礦業或原物料經濟）影響下的社會震盪, 這些由佔據主導力量的大型跨國公司所帶來的影響, 亦是對過往殖民地項目的延續。在展覽的許多個案中, 地貎和社區的深刻變革, 土壤的使用和關係往往與傳統觀念產生碰撞與衝突。其中一些案例呈現了較為激烈與暴力的本土文化錯位, Peter Kennedy 和 John Hughes 的歷史影片描述澳洲原住民社群, 以及 Taloi Havini 在作品中對太平洋布干維爾島複雜形勢的揭示; Edgar Fernandez 和 Prabhakar Pachpute 的委託新作中, 分別反映了菲律賓和印度地區的採礦業抗爭以及延伸的社會議題; Simryn Gill 的作品連結了礦產開採下的地貎變化與大規模棕櫚油生產所帶來的嚴重後果。蒙古對土地挖掘（往往由中國及其代理人主導）的焦慮反射了對性與性別的想像, 譬如他們對蒙古婦女（神聖土地母親的隱喻）可能被中國男性侵犯致孕的恐懼; Tuguldur Yondonjamts 在作品中便揶揄了蒙古在歷史和現實層面的焦慮及其背後的寓言式想像。與此同時, 中國在邁向現代化之初, 也因土壤作為具有靈性的地貎和可利用資源的雙重價值產生了強烈的衝突; 清朝末年, 中國因不願打擾祖墳和影響風水而拒絕修建鐵路。厲檳源和張公孫的作品延續了 Symrin Gill 的線索, 探討亞洲各地的土地和農業問題, 其中包含土地權利以及複雜的農村與城市關係。瞿暢所策劃的個案研究《漁米之鄉記》則連結起土壤和農業、歷史和領土、本土社群和精神性以及香港不斷變化的身份認同。何兆基、蘇瑋琳和梁御東的作品則進一步探討本港議題, 尤其是雨傘運動之後的自我盤審過程和激進的政治想像, 使得香港對未來的焦慮以及爭相呈現這一迫切性的需求都越顯劇烈。

在亞洲充滿裂痕的社會結構、複雜的民族景圖、激烈狂歡與暴力對抗的搖擺中, 透過民族主義以及各地起源神話的復興, 對民族性/領土/集體故事/靈魂的堅決態度, 一種深切的焦慮感得以充分展現。這些對歷史的意識形態化和國家敘事在亞洲受到各地藝術家的質疑, Chulayarnnon Siriphol 的作品探討泰國近年如何因為民族主義崛起造成的巨大分裂; Pio Abad 剖析了馬可斯政權對菲律賓政治和文化的遺害, 作品回應將馬可斯遺體在馬尼拉英雄公墓重新下葬的不恥行為; 下道基行透過尋找第二次世界大戰中日本在亞洲和太平洋地區所建立的鳥居遺跡, 從而討論日本試圖建立亞洲新秩序並成為亞洲霸主的悲劇性嘗試; 李然的作品則以諷刺方式呈現中國的新霸權地位, 以及此權力的文化表現所揭露的不安全感。由李勇宇所策劃的個案研究《現代魅影》則從歷史延伸至靈魂性與大眾文化, 探討整個亞洲的現代性抽搐。

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展覽中的作品不僅為了傳達敘事, 同時也表達這些衝突和世界觀在不同形式、物質、對象和語言下所產生的共鳴。透過可見的形式代碼來定義文化特性仍然是我們對當代世界各種事件發生的條件反射。雖然展覽中的藝術家各自在不同的途徑中創作, 但他們的藝術實踐亦呈現著相似的脈絡, 即對單一正統藝術史的不同見解。孫先勇策劃的個案研究回顧了馬來西亞藝術家 Redza Piyadasa 和 Suleiman Esa 在1974年的展覽《邁向一個神秘現實》, 該展是亞洲觀念藝術史上的一個重要里程。作為一個宣言式的展覽, 兩位藝術家針對所謂「西方」新前衛主義的藝術物件進行探索, 並與亞洲哲學及精神體系的現實、物質及物件對象觀念進行連結。1974年的展覽作為一個極具對照性與影響力的案例, 呈現了本土材料對現代文化的參與, 並生成區別於西方模式的產物。

展覽另外展出了 Tarek Atoui、José Maceda、Reetu Sataar 和 Walter Smetak的作品, 他們以民族樂器, 或自製而成的樂器譜寫實驗音樂。Atoui 的作品結合了本土民俗元素與新前衛音樂; Mariana Castillo Deball 及資深藝術家／行動主義者 Jimmie Durham 則對當今世界原住民文化論述背後的模糊性進行了強力的批評。Josh Faught 的作品隱晦當今主流社會中, 美國同志團體如何在愛滋恐慌時期後以更當代的方式構建社群。與此同時, 混種性、文化衝突和分層貫穿了 Kawayan de Guia 和 Dominique Zinkpè 的作品。Ion Grigorescu 的作品則以羅馬尼亞為語境, 揭示著藝術家對國家、個人和精神概念的角力, 這種由於西方現代性的霸權地位而被淹沒的地方文化遺產在羅馬尼亞以外的其它歐洲地區也大量存在。

而伴隨此思路進入的是更敦群培筆下描繪鮮為人知的印度之旅, 一條更具精神性且褻神式反思的圖驥。更敦群培是20世紀西藏的藝術家、作家兼僧侶, 他對南方熱帶地區的佛教十分著迷, 其作品極富創造性, 卻也同時諷刺地反映出他時而忠於宗教信仰, 時而渴求現代性啟發的搖擺; Pratchaya Phinthong 的作品則是一份詩性的評註, 對過去十年來各種動蕩所帶來的世界變化、規模與距離的扭曲進行描繪與觀看。而 Sammy Baloji、Meschac Gaba、Sheela Gowda、何翔宇、洪子健、梁慧圭、楊沛鏗、Valerie Snobeck 和張公孫等藝術家的作品則回應在其各自身處的急速工業化和城市化的環境中, 探討對象和物質、自然和文化物件的多重含義。

康喆明士日

22 /F樓

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Sammy Baloji

Sociétés secretes

2015

Scarification on eight bas-relief copper plates (fabrication: Dinanderie/Zouak, Morocco),

three black-and-white photographs of medallions

(“Work and progress”/”Union creates power”/Baudouin, The King of the Belgians),

one hand-written letter (Report of a Congolese Detective to the Assistant Director

of Security of Kivu) and one black-and-white photo

Copper plates: 29.7 × 42 cm, each; medallion photographs: 33 × 28 cm, each;

letter: 16 × 20 cm; photograph: 12 × 16 cm

Courtesy of the artist and Zinsou Foundation

秘密社會

2015 八件疤痕紋身的銅板淺浮雕（製作: 摩洛哥 Dinanderie/Zouak）、三幅黑白照片（圖中獎牌: 「工作與進步」、「聯盟產生力量」、「比利時國王 Baudouin」）、一封手寫信箋（一位剛果私家偵探遞交給 Kivu 安全局助理局長的報告）及黑白照片銅板: 每件 29.7 × 42 公分; 獎牌照片: 33 × 28 公分; 信箋: 16 × 20 公分; 照片: 12 × 16 公分由藝術家及剛果 Zinsou 基金會提供

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Mariana Castillo Deball

Untitled

2014

Laserchrome prints mounted on dibond

270 × 180 cm

Courtesy of the artist and kurimanzutto, Mexico City

無題

2014 複合板激光打印每幅 270 × 180 cm 由藝術家及墨西哥城 kurimanzutto 藝廊提供

Untitled

2014

Laserchrome prints mounted on dibond

270 × 180 cm

Courtesy of the artist and kurimanzutto, Mexico City

無題

2014 複合板激光打印每幅 270 × 180 cm 由藝術家及墨西哥城 kurimanzutto 藝廊提供

Kawayan de Guia

Plaga colonial de las Islas Pilipinas

(Colonial Plague of the Philippine Islands)

2008

Assemblage, mixed media

148 × 211 × 8 cm

Courtesy of the artist

菲律賓殖民地瘟疫

2008 拼貼、混合媒材

148 × 211 × 8 公分由藝術家提供

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Jimmie Durham

The Isle of Man

2016

Four-horn-sheep-skull, obsidian,

seashell, murano glass, leather,

olive wood, pine, poplar, rearview truck

mirror (metal, glass, plastic),

acrylic paint, silicon glue, white glue,

epoxy glue, metal screws,

mussel shell, acacia seed, pot

132 × 42 × 54 cm


and kurimanzutto, Mexico City

曼恩島

2016 四角羊的頭骨、黑曜石、貝殼、穆拉諾玻璃、皮革、橄欖木、松木、楊樹、貨車倒後鏡 (金屬、玻璃、塑料)、丙烯酸漆、矽膠、白膠漿、環氧樹脂膠、金屬螺絲、青口殼、金合歡種子、盆

132 × 42 × 54 公分由藝術家及墨西哥城 kurimanzutto 藝廊提供

Josh Faught

Edward

2014

Hand woven gold lamé and hemp, hand

dyed in shades of Daffodil, Cardinal

Red, Raspberry, Indigo, and Tea Leaves

to match the colour fashion forecast of

2014–2015, silk, bedazzled sea shell

ash tray from Palm Springs, spilled

mug (resin and clay), and Silkwood

(VHS) on Cedar support

183 × 132 × 30.5 cm


and KADIST, Paris and San Francisco

Edward

2014 以手工染成水仙、紅酒、覆盆子、靛藍和茶葉色調的手織黃金薄片和漢麻, 以配合當時預測的2014至2015年潮流色彩、絲綢、百花海貝殼灰盤、灑杯(樹脂和粘土)及《施活的遭遇》

（電影錄影帶）和雪松支架

183 × 132 × 30.5 公分由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供

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Edgar Fernandez

Our Lands Are Marked For Destruction…And We With Them

1979

Print on paper

60 × 45 cm

Gift of Catholic Bishops' Conference

Episcopal Commission on Tribal Filipinos

我們的土地注定滅亡……我們也一起滅亡

1979 紙上印刷

60 × 45 公分受贈於天主教主教團菲律賓原著居民委員會

Meschac Gaba

Hubert Maga

(perruque MAVA—musée d’art de la vie active,

wig MAVA—museum of art of active life)

2010–2011

Artificial braided hair, metal parts,

and mannequin bust

60 × 50 × 23 cm

Courtesy of the artist and

KADIST, Paris and San Francisco

Hubert Maga (MAVA假髮——生命藝術博物館)

2010–2011 人造織髮、金屬部件

和半身人像 60 × 50 × 23 公分

由藝術家及巴黎/舊金山卡蒂斯特

藝術基金會提供

1918

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Gendun Chopel 更敦群培

Simryn Gill

Eyes and Storms

2012–2013

3 ilfochrome prints mounted on aluminum

125 × 125 cm, each

Courtesy of Utopia Art, Sydney

眼睛和風暴

2012–2013

3張正片轉洗圖片, 鋁板每幅 125 × 125 cm 公分

由悉尼 Utopia Art 藝廊提供

Vegetation

2016

2 black-and-white ilfochrome prints

60 x 150 cm, each


植被

2016

2幅正片轉洗黑白相片每幅 60 × 150 公分由悉尼 Utopia Art 藝廊提供

Painting 14 and 15

Circa 1940

Facsimiles on paper taken from Gendun Chopel:

Tibet's First Modern Artist, Serindia Publications (2003)

第14及15號圖約1940年紙上臨摹, 摘自《更敦群培: 西藏首位現代藝術家》,

Serindia 出版社 (2003年)

Boxing

1977

8-mm film transferred to digital film;

black-and-white, silent

2:27 minutes

Courtesy of the artist and Andreiana

Mihail Gallery, Bucharest

拳擊

1977

8毫米膠片轉數碼影像; 黑白、無聲 2分27秒由藝術家及布加勒斯特 Andreiana Mihail 藝廊提供

Bine–Rău / Good–Evil

1987–2016

Photo on canvas

120 × 100 cm

Courtesy of the artist and Andreiana

Mihail Gallery, Bucharest

善——惡

1987–2016 布面相片 120 × 100 公分由藝術家及布加勒斯特 Andreiana Mihail 藝廊提供

These Two

2016

Photo print and metal structure

192 × 56 × 181 cm (structure) and 104 × 68 cm (textile)

Courtesy of the artist and Andreiana Mihail Gallery, Bucharest

這兩人

2016 布面相片、金屬結構

192 × 56 × 181 公分 (支架); 104 × 68 公分（布面）由藝術家及布加勒斯特 Andreiana Mihail 藝廊提供

The Limping Man or

The Man with the Walking Stick

1982–2016

Photo on canvas and metal structure

200 × 140 × 100 cm (structure) and

140 × 52 cm (textile)


Andreiana Mihail Gallery, Bucharest

跛行者或拄拐杖的人

1982–2016 布面相片、金屬結構 200 × 140 × 100 公分 (支架);

140 × 52 公分（布面）由藝術家及布加勒斯特 Andreiana Mihail 藝廊提供

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Sheela Gowda Ion Grigorescu

Breaths

2002

String, pigment, charcoal powder,

gauze, table

366 × 55.5 × 72 cm

Courtesy of Sunitha and Niall Emmart

呼吸

2002 絲線、顏料、木炭粉、紗布、桌子

366 × 55.5 × 72 公分由 Sunitha Emmart 及 Niall Emmart 提供

No Title

2016

Hair, rope, shells, metal

178 × 91 × 289.5 cm


無題

2016 頭髮、繩索、貝殼、金屬 178 × 91 × 289.5 公分由藝術家提供

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He Xiangyu 何翔宇

Wisdom Tower (A Pretty Girl)

2013

Tooth, pure gold (99.99%), bronze,

bamboo stick

7 × 2 × 2 cm


and White Space, Beijing

智慧塔(漂亮女孩)

2013 牙齒、純金(99.99%)、銅、竹籤

7 × 2 × 2 公分由藝術家及北京空白空間提供

Ho Siu-Kee 何兆基

Making Brick

2005

Brick (5.5 × 20 × 9.5 cm),

black-and-white prints

(80 × 66.7 cm, each)


造磚記

2005 磚 (5.5 × 20 × 9.5 cm)、黑白圖片 (每幅 80 × 66.7 公分) 由藝術家提供

Walking on Two Balls

1995

Single-channel video projection

10:07 minutes


雙球上步行

1995 單頻錄像投影

10分7秒由藝術家提供

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James T. Hong 洪子健Taiwan WMD – Uranium

2012

Approximately 30 grams of unenriched uranium ore in

covered glass specimen jar

7 × 4.5 × 4.5 cm

Courtesy of the artist and KADIST, Paris and San Francisco

台灣大規模毁滅性武器——鈾

2012 約30克未提煉鈾礦石, 放置於有蓋玻璃樣品瓶內

7 × 4.5 × 4.5 公分由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供

Peter Kennedy + John Hughes

On Sacred Land

1983–84

Video, colour/sound

13:55 minutes

Courtesy of the artists

聖地上

1983–84 錄像、彩色/有聲

13分55秒由藝術家提供

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Li Binyuan 厲檳源

Freedom Farming

2014

Single-channel video (4:30 minutes),

certificates (21 × 29.7 cm, each)


KADIST, Paris and San Francisco

自由耕種

2014 單頻道錄像(4分30秒)、證書(每張 21 × 29.7 公分) 由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供

Li Ran 李然

Beyond Geography

2012

Video installation, HD video, sound, colour

Dimensions variable, 23:09 minutes


地理之外

2012 錄像裝置、高清錄像、有聲、色彩

尺寸不一; 23分09秒由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供

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Prabhakar Pachpute Pratchaya Phinthong

If I Dig A Very Deep Hole

2007

Photo negative between two plexiglas plates, neon

11.8 × 5.8 cm


若我挖掘一個很深的洞

2007 兩塊玻璃板之間的菲林、霓虹燈 11.8 × 5.8 公分由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供

Broken Varaha II

2017

Charcoal, dry pastels, acrylic paint,

and terracotta sculptures

Dimensions variable


破碎的 Varaha II

2017 木炭、乾粉、丙烯酸漆和陶瓦雕塑尺寸不一由藝術家提供

sketch / 草圖

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Motoyuki Shitamichi 下道基行

Valerie Snobeck

Torii Series

2006–2012

C-print

50.8 × 61 cm, each


鳥居系列

2006–2012 每幅 50.8 × 61 公分由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供

Changchun, China 中國長春

Saipan, USA 美國塞班島

Sakhalinskaja, Russia 俄羅斯 Sakhalinskaja

Sakhalinskaja, Russia 俄羅斯 Sakhalinskaja

Taichung, Taiwan 台灣台中

Reservoirs with Stains, Dust and Burns (Arches and Bowed)

2015

Two mold blown and hot sculpted glass objects

35.6 × 17 × 17.8 cm and 27.9 × 15.2 × 37.1 cm

Courtesy of the artist and Simon Lee Gallery, London and Hong Kong

有汙漬、灰塵和燒傷的儲液罐（拱門和拉弓）

2015 兩塊吹製熱塑玻璃

35.6 × 17 × 17.8 公分及 27.9 × 15.2 × 37.1 公分由藝術家及倫敦/香港 Simon Lee 藝廊提供

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TruJoJng Công Tùng 張公孫

Wang Gongxin 王功新

We The …SoilSoulSoidierySuicidesSociety…

2015– (on-going)

Installation: soil, termite nest, photograph,

folded military jacket

Dimensions variable


我們…土地靈魂士兵自殺社團…

2015至今裝置: 土石、白蟻窩、相片、折疊的軍隊制服尺寸不一由藝術家提供

The Sky of Brooklyn: Digging a Hole in Beijing

1995

C-prints, video (2:57 minutes)

107.8 × 80 cm, each


布魯克林的天空──在北京打井

1995 彩色照片及錄像（2分57秒）

每幅 107.8 × 80 公分由藝術家提供

3534

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Haegue Yang 梁慧圭

Trevor Yeung 楊沛鏗

The Borrowed Relief (Moon of Home)

2017

Mangrove driftwood, marble,

mirror, gold, red string

50 × 50 × 60 cm


借回來的安慰（明月光）

2017 紅樹漂浮木、大理石、鏡、金、紅繩

50 × 50 × 60 公分由藝術家提供

The Intermediate – Domestics of Double Eggy Swirls

2017

Artificial straw, plastic twine, steel stand, powder coating

90 × 120 × 115 cm


中間類型 – 雙重蛋形漩渦的居家性

2017 人工稻草、塑料繩、不鏽鋼架、噴粉 90 × 120 × 115 公分由藝術家提供

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Tuguldur Yondonjamts

An Antipode Drawing of Chile

2013

Drawing on paper, charcoal, jarosite,

dragon’s blood

91 × 196 cm

Courtesy of Mergen Collection,

Ulaanbaatar

對影點繪圖: 智利

2013 紙上繪畫、木炭、黃鉀鐵礬、龍血 91 × 196 公分由烏蘭巴托 Mergen Collection 提供

Fossil Research Drawings at the AMNH

2013

Drawing on paper, fax roll paper

20 × 28 cm


Ulaanbaatar

美國自然博物館中的化石研究繪畫

2013 紙上繪畫、傳真紙捲 20 × 28 公分由烏蘭巴托 Mergen Collection 提供

The Secret Mountain of Falcons

2012

Two drawing books

61 × 79 cm (page)


Ulaanbaatar

獵鷹的秘山

2012 兩本畫簿 61 × 79 公分 (頁) 由烏蘭巴托 Mergen Collection 提供

Fin Soup & Black Lemon

2010

Drawing on paper, 18 ink pens, fluorescent orange acrylic

150 × 554 cm

Courtesy of Francis J. Greenburger Collection, New York

魚翅湯及黑檸檬

2010 紙上繪畫、18枝墨水筆、熒光橙色丙烯顏料 150 × 554 公分由紐約 Francis J. Greenburger 提供

Antipodal Alphabet Chess

2013

Screen print on wood

112 × 112 × 6 cm


對影點字母棋

2013 木材上絲網印刷 112 × 112 × 6 公分由藝術家提供

Antipode Suit #2

2013

Screen print on fabric

Dimensions variable


對影點西裝#2

2013 布上絲網印刷尺寸不一由藝術家提供

Copper Mining Sites of Mongolia

2013

Etching on copper plate

28 × 41 cm


蒙古銅礦場

2013 銅板蝕刻 28 × 41 公分由藝術家提供

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Cosmos animiste (Animist cosmos)

2012

Pigments, oil stick, acrylic and collage on canvas

150 x 150 cm


宇宙之靈

2012 顏料、油棒、丙烯酸和布面拼貼 150 x 150 公分由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供

Dominique Zinkpè

4140

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A Tale: The Land of Fish and Rice 漁米之鄉記

Curated by Qu Chang

策展人: 瞿暢

Image of Ah Kwan Showing the Road

1868

Designed by

Messrs. Thomson & Son of Wapping

阿群帶路圖

1868 由 Messrs. Thomson & Son of Wapping設計

Lo Lai Lai

Weather Girl—Halo Daisy

2016

Video, Cantonese voiceover

with English subtitles

6:32 minutes

勞麗麗天氣女郎——Halo Daisy

2016 錄像, 粵語旁白 (英語字幕)

6分32秒

HK Farm and contributors

HK Farm 與參與者

Lo Lai Lai 勞麗麗

Map Office

Tang Kwok Hin 鄧國騫

Wen 文

Trevor Yeung 楊沛鏗

C omprising both factual and fictitious sections, this case study is based on Hong Kong’s indigenous history and legends, religions and politics. It employs “water” and “soil” as traditionally sacred elements, to weave different strands of imaginations of Hong Kong, into a multi-faceted and ever-shifting historical and collective narrative with dramatic tension.

Beginning with a vision of the ethnic composition of early Hong Kong, the “tale” takes the current perspective of nostalgia, and uses the fishing and farming traditions of the Tanka/Hokkien and Hakka/Cantonese people, respectively, as the doorway, through which it juxtaposes the production, folkways, worship, and legends closely related to agricultural societies in early cultural fabrics, into a theatrical and imaginary scene of an evocation ritual that summons the past. Meanwhile, the recounting of the history of local farming and fishing production correlates with the “new farming” culture concurrent with modern Hong Kong's land movements, and utilises the concepts of time, cultivation, and production in the act of farming to beckon an imagined future.

Combining a narrative of local consciousness with multiple origins, the ever-morphing urban culture created by the convergence of multiple groups, and the local history as a collage of multiple fragments from history, A Tale: The Land of Fish and Rice tries to build a small multiplex, with a theatrical and mystical background setting, that fosters reading, thinking, and dialogue.

《漁米之鄉記》是一個由真實與想像片段組成的虛構空間, 它選擇性地截取「水」與「土」作為一場儀式的「神聖元素」, 基於本土歷史與傳說、信仰與政治, 透過一種戲劇性的張力對香港作為「共同體」的不同想像連接成一個多棱, 同時流動的歷史及群體敘述。

以對香港早期民族構成的想像為起始, 本「傳記」將蜑家/福佬人的水生文化與客家/廣府人的農耕傳統作為入口, 透過當下普遍盛行的「懷舊」視角, 將這些早期文化脈絡中與農業社會緊密關聯的生產、習俗、信仰與傳說並置, 生成一個召喚歷史同時又深具表演和想像意涵的招靈場; 同時, 本土的農漁業生產歷史亦銜接當下與土地運動並行的「新農耕」文化, 借耕種行為的時間性與培育/生產意義, 使這個儀式現場同時成為對想像之未來的召喚。

結合多條線索構成的本土意識敘述、多個群體的不斷融合所組成的流變的城市文化、多種歷史片段拼貼而成的本土歷史,《漁米之鄉記》試圖搭建一個以戲劇性、神秘主義為佈景, 同時具備閱讀、思考和討論等功能的複合性空間。

SOIL土

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Pio Abad

Video documentation of the alteration of Pio Abad’s paintings

The action was undertaken at the Museum of Contemporary Art and Design

(MCAD), Manila on Monday, 21 November, 2016

11:39 minutes

錄像資料: Pio Abad 畫作的改動行為

該行為於2016年11月21日（星期一）, 在馬尼拉當代藝術與設計美術館內進行 11分39秒

Ferdinand as Meekamui Pontoku

Malakas (The Strong One)

Imelda as Maganda

(The Beautiful One)

2015

Digital print on canvas in gilt faux

bamboo frame

(painted over with black paint in a

subsequent alteration of the work)

190 × 127 × 4 cm, each


強者費迪南德美人伊梅爾達

2015 人造竹邊框, 帆布數碼打印

（於隨後的行為中被塗黑）每幅 190 × 127 × 4 公分由藝術家提供

Untitled 1986

From the project 1986–2012

Reproduction of photograph from

Malacañang Palace, Manila,

25 February 1986

42 × 28 cm


無題1986

來自1986–2012年之項目馬尼拉馬拉坎南宮相片複製品, 馬尼拉, 1986年2月25日 42 × 28 公分由藝術家提供

Tarek Atoui

The Reverse Collection

2014–2016

Ceramics, stones, wooden violin,

videos, and sound

Dimensions variable

Courtesy of the artist,

Galerie Chantal Crousel (Paris),

kurimanzutto (Mexico City) and

Vitamin Creative Space (Guangzhou, Beijing)

反向系列

2014–2016 陶瓷、石器、木質小提琴、視頻及聲音

尺寸不一由藝術家、巴黎 Chantal Crousel 藝廊、

墨西哥城 kurimanzutto 藝廊和廣州/北京維他命藝術空間提供

The Reverse Collection is performed by

Shane Aspegren, Tarek Atoui,

and Takuro Mizuta Lippit

《反向系列》由Shane Aspegren、Tarek Atoui 與 Takuro Mizuta Lippit 共同演出

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Sandcone

2015

Performance-sculpture

100 × 100 × 100 cm


立砂

2015 表演–雕塑

100 × 100 × 100 公分由藝術家提供

Ho Siu-Kee 何兆基

Beroana (shell money)

2016

Stoneware, earthenware, clear glaze,

steel wire installation

Site-specific installation

Dimensions variable


Andrew Baker Art Dealer, Brisbane

Simryn Gill Taloi Havini

Skin

1994/2017

Dry mango sculpture

Dimensions variable

Courtesy of the artist and Art Gallery

of South Australia, Adelaide

皮

1994/2017 乾芒果雕塑尺寸不一由藝術家及阿德萊德的南澳洲美術館提供

貝幣

2016 石器、陶器、清釉、鋼絲裝置場域指定裝置尺寸不一由藝術家及布里斯班

Andrew Baker Art Dealer 提供

Vegetation

2016

2 black-and-white ilfochrome prints

40 × 40 cm, each


植被

2016

2幅正片轉洗黑白相片每幅 40 × 40 公分由悉尼 Utopia Art 藝廊提供

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Ocean Leung 梁御東

Untitled

2015

Found object

94 × 87 cm


無題

2015 拾得物 94 × 87 公分由藝術家提供

Ugnayan

1974

Documentation of massive outdoor collective

performance involving 12 radio stations.

Excerpt from José Maceda - Kuwadro Documentary

Series On National Artists, 2002. Directed by Malou Jacob,

Cultural Center of the Philippines, 40 seconds

Photographs from Express Week, January 17, 1974

Government letter from public officer recruiting

participants for Ugnayan.

Courtesy of Ethnomusicology,

University of the Philippines, Manila.

Ugnayan

1974 由12個廣播電台共同參與的大型戶外集體表演《Ugnayan》的文獻資料

《José Maceda﹣國家藝術家系列紀錄片「畫框」》, 2002, 導演: Malou Jacob, 菲律賓文化中心, 40秒照片摘自《壹周快報》, 1974年11月17日招募 Ugnayan 表演參與者的政府公開信由馬尼拉菲律賓大學民族音樂學院提供

José Maceda

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Reetu Sattar

Lost Tune

2016

Performance documentation

2-channel video, HD, 55 minutes

Outdoor performance with 65 musicians,

65 vintage harmonium instruments


失落的曲調

2015 表演記錄雙頻錄像, 高清, 55分鐘由65位音樂家及65件老式風琴樂器組成的戶外表演由藝術家提供

Chulayarnnon Siriphol

Myth of Modernity

2014

Single-channel HD digital video, sound, colour

16 minutes


現代性神話

2014 單頻道高清數碼錄像、有聲、彩色

16 分鐘由藝術家提供

Myth of Modernity

2014

8 LED bulbs, aluminum

100 × 100 × 100 cm


現代性神話

2014 8個LED燈炮、鋁 100 × 100 × 100 公分由藝術家提供

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Walter Smetak

Ernst Widmer conducting a concert of Walter Smetak's

pindorama instrument, Federal University of Bahia, 1969

Photographic vinyl wall print

Photographer: Anonymous

Audio tracks from the album Smetak, 1974

Produced by Caetano Veloso and Gilberto Gil

Courtesy of Barbara Smetak

Ernst Widmer 於1969年在巴伊亞聯邦大學指揮

Walter Smetak pindorama 樂器的演奏會攝影牆紙印刷拍攝: 不詳

音頻來自專輯《Smetak》, 1974 由 Caetano Veloso 及 Gilberto Gil 製作由 Barbara Smetak 提供

So Wai-Lam 蘇瑋琳

From Underground to Overhead Metro

(text by Lo)

2015 (2017 reproduction)

Illustrations for City Magazine (HK)

Issue 469 Culture Pages: Invisible

Underground City

Ball pen on paper

42 × 29.7 cm


從地底至架空的鐵路 (文字: 盧燕珊)

2015 (2017 複製) 《號外》(香港雜誌)第469期文化專頁:

隱形地底城市以原子筆在紙張上寫/畫的作品 42 × 29.7 公分由藝術家提供

Underground City: The Old Fantasy

of Future (text by Charles Lai)




Underground City

Ball pen and correction pen on paper

42 × 29.7 cm


地底城市: 古老的未來幻想 (文字: 黎雋維)


隱形地底城市以原子筆及塗改液在紙張上寫/畫的作品 42 × 29.7 公分由藝術家提供

Civilisation and the Ghost in Tubes

(text by Felicity)




Underground City

Ball pen and correction pen on paper

42 × 29.7 cm


管道中的文明和鬼魂 (文字: 方太初)


隱形地底城市以原子筆及塗改液在紙張上寫/畫的作品 42 × 29.7 公分由藝術家提供

Jae Oon Rho

Jane Jin Kaisen

Kyung-man Kim

SoYoung Kim/ Kim Jeong

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The Phantom Modern 現代魅影

Curated by Yongwoo Lee

策展人: 李龍宇

Cover of magazine ‘Youth’

(Chu’ng-ch’un)

1910

Korean modern intellectual Choi Nam

Son’s geographical project of mapping

Korea as the representation of a tiger

as a way of symbolizing the country

and producing a national territoriality.

《青春》雜誌1910年的封面

1910 韓國知識分子 Choi Nam Son 的地理項目, 試圖將老虎繪製為國家的象徵, 同時研究民族屬地的產生。

sia is a constellation of geographically and socio-culturally diverse communities that has long been considered as the antipode of the West with its ambiguous identity defined by the abstract territoriality

and the consequences of imperialism and colonialism. As a cultural sketch of Asian modernities, this case study raises questions on the making of specific Asian vernacularism/locality, animality/humanity, the connections and differences that encompass the heterogeneous historicities of the region, the politics of cultural representation in the discursive structure of forming Asia, and the ways to imagining and embracing the imaginary community of Asia beyond the embedded Orientalism.

亞洲作為一個匯集多面地理及社會文化性不相同的社群 ,長期以來被視為是西方的對立面;不論是其抽象領土或帝國主義和殖民主義遺留下的各種影響,皆造成其模糊身份定義的複雜。作為亞洲現代性的文化草圖, 本案例研究旨在對這些議題提出提問,包括亞洲具體的鄉土性/地方性、動物性/人性、涵蓋該地區異種歷史的聯繫和差異、探討亞洲語境結構形成下的政治及文化表現 , 最終跳出內嵌我們之中的東方主義思考 , 想像和擁抱一個虛構的亞洲社群的方式。

The first Orangutan at the Taipei Zoo, 1939

Consul Warner photographed the first Orangutan

at the Taipei Zoo in 1939 as a gift of imperial-colonial

congeniality between Japan and Taiwan

Courtesy of Gerald & Rella Warner

Taiwan Negative Collection

1939年在臺北市立動物園的首隻紅毛猩

1939年, Warner 領事拍攝了臺北市立動物園的第一隻紅毛猩猩作為象徵

台日帝國殖民關係的禮物圖片由 Gerald & Rella Warner

Taiwan Negative Collection 提供

A

Please access through the office 請經辦公室抵達

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5756Rooftop 天台

Sulaiman Esa

Redza Piyadasa

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Towards A Mystical Reality 邁向一個神秘現實

Curated by Simon Soon

策展人: 孫先勇

his case study is a revised replica of Towards a Mystical Reality, the mythic 1974 installation/exhibition by Malaysian artists Redza Piyadasa and Sulaiman Esa, who directly, or through their estates, have widely contributed to this never before seen re-enactment outside of Malaysia.

In 1974, at the Sudut Penulis (Writer’s Corner) of Dewan Bahasa dan Pustaka (Malaysia’s National Language Institution) in Kuala Lumpur, Redza Piyadasa and Sulaiman Esa presented a body of found objects and spoke of their desire to “directly confront nature” by arguing that these works embody “a mystical concept of time and event.” Styling themselves as “Mystical Conceptualists,” they argued for a different paradigm through which we can qualify the real—as worldly yet spiritual, as local yet cosmic, all the same. The event has entered into the annals of Malaysian art history, re-staged at the National Visual Art Gallery of Malaysia in 2010 and re-invented through a new body of work by Sulaiman Esa for the National Gallery of Singapore in 2015.

On the opening night in 1974, gripped by a desire to demonstrate feverish spontaneity and irrationality exemplified in the archetype of the irascible Zen monastic abbot, poet Salleh Ben Joned peed on Piyadasa and Sulaiman’s 10,000-word manifesto, justifying his act as his “contribution” to the work.

Acknowledgement: Lynn Piyadasa, Zaireen Redza, Edzrin Mohd Redza, Sulaiman Esa, and Khatijah Sanusi

本研究個案是針對1974年由馬來西亞藝術家 Redza Piyadasa 與 Sulaiman Esa 共同合作的裝置/展覽《邁向一個神秘現實》的一次複製重現, 兩位藝術家對此展覽在馬來西亞境外的重現給予了極大的貢獻。

1974年, 在位於吉隆坡的馬來西亞國家語言機構內的寫作閣, Redza Piyadasa 和Sulaiman Esa 展示了一些拾得物, 強調這些物品體現了「一個神秘的時間和事件的概念」, 從而提出了他們「直面自然」的渴望。他們自稱為「神秘概念主義者」, 提出一個新的且可定義真實的範式: 這個真實既屬世又屬靈、既具有本土性亦具有舉世性。此項目已被寫入馬來西亞藝術史, 並於2010年在馬來西亞國家視覺藝術畫廊重新登上舞台。Sulaiman Esa 在2015年為新加坡國家美術館製作的新作品中重現了此次展覽。

1974年開幕當夜, 為了展示激烈的自發性和易怒禪宗修道者所呈現的非理性, 詩人 Salleh Ben Joned 對著 Piyadasa 和 Sulaiman 的 10,000 字宣言撒尿, 並將此舉視為對作品的

「貢獻」。

特別感謝: Lynn Piyadasa、Zaireen Redza、Edzrin Mohd Redza、Sulaiman Esa 及Khatijah Sanusi

T

Installation view in Soil and Stones, Souls and Songs at

Museum of Contemporary Art and Design (MCAD), Manila. 《土與石, 靈與歌》於馬尼拉藝術與設計美術館(MCAD)現場圖

board

team

Para Site is Hong Kong's leading

contemporary art centre and one

of the oldest and most active

independent art institutions in Asia.

It produces exhibitions, publications

and discursive projects aimed at

forging a critical understanding of

local and international phenomena in

art and society.

Cosmin Costinas 康喆明 Executive Director / Curator

Frances Wu Giarratano 吴天如 Deputy Director

Freya Chou 周安曼 Curator of Education and Public Programmes

Qu Chang 瞿暢 Associate Curator

Olivia Chow 周宛昀 Assistant Curator

Fanny Chan 陳趣源 Project Coordinator / Curatorial Assistant

Apoorva Rajagopal Development and Communications Coordinator

Alan Lau Ka Ming 劉家明 Chair

Jehan Pei Chung Chu 朱沛宗 Co-Vice Chair

Mimi Chun Mei-Lor 秦美娜 Co-Vice Chair

Bonnie Chan Woo Tak Chi 胡陳德姿 Treasurer

Sara Wong Chi Hang 黃志恆 Secretary

Kurt Chan Yuk Keung 陳育強

Alan Y Lo 羅揚傑

Mina Park

Yana Peel

Para Site Para Site 藝術空間為香港首屈一指的當代藝術中心, 亦是亞洲歷史最悠久、最活躍的獨立藝術中心之一。成立宗旨在透過展覽、出版刊物等活動, 開展並促進在地與國際間的對話, 希冀打造一個對當代藝術、社會現象提出批判性論述及理解的平台。

founding friends

friendsShane Akeroyd

Mimi Brown and Alp Ercil

Burger Collection, Hong Kong

Kevin and Reina Chau

Stephen Cheng

Mimi and Chris Gradel

Inna and Tucker Highfield

K11 Art Foundation

Wendy Lee

Edouard and Lorraine Malingue

marc & chantal design

Mina Park

Yana and Stephen Peel

Stefan Rihs

SUNPRIDE FOUNDATION

Honus Tandijono

Sarina Tang Currents Art and Music

Susanne and Gregor Theisen

Virginia Yee

Nick and Cordula Adamus-Voegtle

Christine and James Boyle

Doryun Chong

Lawrence Chu

Andrew L. Cohen

Patricia Crockett, Sprüth Magers

Jane DeBevoise

Faux

Amandine and Edouard Hervey

William Lim, CL3

Elaine W. Ng and Fabio Rossi

Jay Parmanand and Diana d'Arenberg

Esther Schipper

Virginia and Daniel Weinberg

Bonnie & Darrin Woo

leading corporate sponsors THE OUTNET.COM

PHILLIPS

Para Site would like to extend our deep gratitude to the artists and contributors of the exhibition

as well as to the following who provided crucial support and research to the project:

Para Site 藝術空間僅在此向本展覽所有參展藝術家與貢獻者, 以及下列重要支持者致以最深謝意:

Co-produced with Supported by

Galerie Chantal Crousel, Paris

Joselina Cruz

Galerie Imane Farès, Paris

Christopher Green

Ayrson Heráclito

Huang Shan 黃山

ICONIC GLOBAL LIMITED

Anthony Ko

Curators Cosmin Costinas 康喆明策展人 Inti Guerrero 士日

Case studies curators Yongwoo Lee 李龍宇個案研究策展人 Simon Soon 孫先勇

Qu Chang 瞿暢

Project manager 項目經理 Marie Martraire

Para Site exhibition

production coordinators Fanny Chan 陳趣源

Para Site 展覽執行統籌 Qu Chang 瞿暢

Graphic design 設計 Yang Jian 楊堅

The content of this activity does not reflect the views of the Government of the Hong Kong Special Administrative Region. 活動內容並不反映香港特別行政區政府的意見。

Simon Lee Gallery, London and Hong Kong

kurimanzutto, Mexico City

MORES 習俗館

Museum of Contemporary Art and Design, Manila

Vitamin Creative Space 維他命藝術空間

George Wan 溫佐治

Vincent Worms

Fondation Zinsou, Cotonou

Media partner: My Art Guide

18.3 土soil and stones souls and songs - kadist · 2017. 3. 27. · 18 gendun chopel 更敦群培...

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