ART.ZIP Issue 14

MARKET, RESOURCES, OR CULTURAL RELATIONS: A CHINA-UK OBSERVATION 中英文化交流十二年 TOUCHING FROM A DISTANCE: THE CHINESE PHOTOBOOK 站遠一點看歷史：中國攝影書集 LESS IS MORE: INTERVIEW WITH MICHAEL CRAIG-MARTIN 少即是多：專訪邁克爾·克雷格-馬丁 UNRAVELLED CONNECTIONS 如梳如理，所系為開

ISSUE 14, 2015 INTERNATIONAL EDITION €15 / £10 / $17.50 / ¥ 100

熱點話題

HOT TOPIC 011

015

007

Ai Weiwei

015

Carsten Höller: Decision

023

Richard III

009

Soundscape

017

RA Summer Exhibition 2015

025

A Beautiful Disorder

011

The M+ Sigg Collection:

019

Jackson Pollock: Blind Spots

027

More

021

Barbara Hepworth:

艾未未

聲音美景

Chinese art from the 1970s to now M+希克藏品：1970年以來的中國藝術

013

Station to Station 《站到站》藝術季

卡斯滕·侯勒：抉擇

皇家藝術學會夏季展 2015 傑克遜·波洛克：盲點

理查三世

无序之美

更多熱點

Sculpture for a Modern World

芭芭拉·赫普沃斯：現代世界的雕塑

固定專欄

EXCLUSIVE COLUMN 099 089

Asian Empire and British Knowledge:

China and the Networks of British Imperial Expansion 《亞洲帝國與英國知識：中國與英國帝國擴張的網絡》

093

Tea 茶

099

Memory Goes as Far as This Morning 當記憶成為早晨

107 107

Unravelled Connections

115

After Sun Shi

如梳如理，所系為開 孫詩之後

每期專題

SPECIAL FEATURE

071 029

The Politics in Art: Untangling the Cultural Exchange

061

Less Is More: Interview with Michael Craig-Martin

037

Market, Resources, Or Cultural Relations:

071

Thinking, Making, Storytelling

藝術中的政治：文化交流松綁論

A China-UK Observation 中英文化交流十二年

少即是多：專訪邁克爾·克雷格-馬丁

Inside Heatherwick Studio

構思、製作、敘事——走進赫斯維克工作室

043

Touching from a Distance: the Chinese Photobook

079

The Temperature of Trams: Sitting-Still-Moving

051

Forest Fringe in China

083

Beyond Boundaries：Interview with Pi Li

站遠一點看歷史：中國攝影書集 森林藝穗節：共同在場

電車的溫度：聽見，城市的瞬間

牆內，牆外：專訪香港M+視覺文化博物館策展人皮力

ISSUE 14 2015

ART.ZIP

ISSN 2050-4152

Publisher 出版人

Liu Chunfen 劉春芬 Editor-in-chief 主編 Harry Liu 劉競晨

Executive Editor 執行編輯 Michelle Yu 余小悅 Editor 編輯

Hazel Ke 柯淇雯

Li Bowen 李博文 Sarah Pettitt

Contributor 撰稿人

Nicholas Anderson Jesc Bunyard

Sophie Guo 郭笑菲

Guo Xiaohui 郭小暉 Katie Hill

Ophelia Huang 黃佳代

Jay Chun-chieh Lai 賴駿杰 Hao Zhizi 郝智梓 Translator 翻譯

Syndi Huang 黃煥欣

Shoran Jiang 姜嘯然 Evelyn Liu 劉楚翹

Cai Sudong 蔡蘇東 Yu Chang 于暢

IT Project Manager IT主管 Ace Xie 謝達明

Media Officer 媒體主管 Iris Shih 施孟慧

Advertising Manager 廣告客戶經理

Liu Tingting 劉婷婷, Wang Jiejing 王潔凈 Creative Director 創意總監

Li Ye 李燁, Ye Xianghui 葉向輝 Art Director 藝術指導

Gao Xiaodan 高曉丹, Wu Nan武楠

MARKET, RESOURCES, OR CULTURAL RELATIONS: A CHINA-UK OBSERVATION 中英文化交流十二年 TOUCHING FROM A DISTANCE: THE CHINESE PHOTOBOOK 站遠一點看歷史：中國攝影書集 ISSUE 14, 2015

LESS IS MORE: INTERVIEW WITH MICHAEL CRAIG-MARTIN 少即是多：專訪邁克爾·克雷格-馬丁

ISSUE 14, 2015 INTERNATIONAL EDITION €15 / £10 / $17.50 / ¥ 100

UNRAVELLED CONNECTIONS 如梳如理，所系為開

Managing Director 運營總監 Shi Yuese 石約瑟

Visual Design 視覺設計 Bulletpin Studio Thanks to 鳴謝

Aperture Foundation 光圈基金會

Ashomolean Museum 阿什莫林博物館 Barbican Centre 巴比肯藝術中心 British Council 英國文化協會 British Museum 大英博物館

Cass Sculpture Foundation 卡斯雕塑基金會 Dulwich Picture Gallery 達利奇畫廊 Forest Fringe 森林藝穗節

Gagosian Gallery 高古軒畫廊

Government Art Collection 政府藝術收藏 Hayward Gallery 海沃德画廊

Institute of Contemporary Art 倫敦當代藝術研究中心 National Gallery 英國國家畫廊

National Portrait Gallery 英國肖像畫廊 Heatherwick Studio 赫斯維克工作室

Henry Moore Institute 亨利·摩爾學院 M+ Museum 香港M+視覺文化博物館

Royal Academy of Arts 皇家藝術學會 Science Museum 科學博物館 Serpentine Gallery 蛇形畫廊

Somerset House 倫敦薩默塞特府 Tate 泰特美術館

Times Museum 廣東時代美術館

Wellcome Collection 惠康基金會 Whitechapel Gallery 白教堂畫廊

Whitworth Art Gallery 惠特沃斯美術館

Victoria & Albert Museum 維多利亞與阿爾伯特博物館館 Address 雜誌社地址

GCCD Ltd. Elizabeth House, 39 York Road, SE1 7NQ, London, UK Website：www.artzip.org

THIS MAGAZINE LOOKS AMAZING #SINCE CREATIVE

Innovative design always since creative. | hello@sincecreative.com

EDITOR’S NOTE 主編寄語

China and Britain, east in Asia and west in Europe, breed different cultures, beliefs and logics. Geographically, these two distantly parted countries barely seem to connect, let alone closely with each other. However, in their enduring history, in which both countries have been making contributions to humanity, China and Britain have also been exerting profound influences upon each other. Nevertheless, examining each other with their

respective coordinates will surely result in totally different understandings from the native ones. With the deepening of globalization and rapid development of information technologies, there are closer co-operations

and exchanges between the two powers, yet their distinctive cultural backgrounds and ways of thinking

may often come in the way of east-west communication. To ensure win-win on common interests, cultural

exchange is the sole means to promote mutual understanding and remove barriers. In this issue, we document

both British and Chinese cultural exchange programmes during this year in order to review the pros and cons of cultural exchange policies and their implementations, and discuss in depth the role cultural programmes play in Sino-UK exchanges as a whole.

中國和英國，一東一西居於亞歐的兩端，孕育出了不同的文化，不同的信仰以及不同的生活邏輯。從地理位置上來看，相

隔萬里的兩個國家之間似乎很難有什麼樣緊密的聯繫，但實際上，中英兩國在長久的歷史時間裡都對人類文明作出貢獻

的同時對彼此產生了深刻的影響。然而，從中英兩國各自座標系來審視彼此卻會得到迥然不同的結果，隨著全球化進程

的不斷加深和信息科技的飛速發展，中英兩個大國的合作和交流更為緊密，但不同的文化背景和思維邏輯往往會成為東

西方交流過程中的阻礙。為了能夠獲得兩個國家在共同利益上的“雙贏”，文化交流成為了促進相互理解、化解交流隔 閡的不二法門，這一期的專題中，我們將彙集在這一年來從英國到中國的文化交流項目，來審視一番文化交流政策和操 作中的成敗得失，深入探討文化項目在中英交流之間扮演的角色。

HARRY LIU 劉競晨

Editor-in-chief 主編

Ai Weiwei 艾未未 In September 2015, the Royal Academy of Arts will present a landmark

2015年9月，英國皇家美術學會將為名譽皇家美院院士中

China’s leading contemporary artists, his work has not been seen extensively in

艾未未已經是一位中國傑出的當代藝術家，但英國公眾

exhibition of the Honorary Royal Academician, Ai Weiwei. Although Ai is one of Britain and the Royal Academy will present the first major institutional survey of his artistic output. The exhibition will include significant works from 1993

onwards, the date that marks Ai Weiwei’s return to China following more than

a decade living in New York. Ai Weiwei will create new, site-specific installations

Courtesy of Ai Weiwei Studio, Image courtesy Ai Weiwei © Ai Weiwei

Ai Weiwei, I.O.U. Wallpaper, 2011-13 , Wallpaper, dimensions variable

and interventions throughout the Royal Academy’s spaces.

國藝術家艾未未舉辦一個具有裏程碑意義的展覽。儘管

對他的作品的認知度依舊有限，此次皇家美術學會將舉 辦其在英國的首次美術館級別的個人展覽。此次展覽展

出了從1993年艾未未回到中國，結束了十幾年的旅美生活 以後創作的很多重要作品。同時，此次艾未未也會為皇家 美術學會的空間量身定製新的裝置作品。

Ai Weiwei, Straight, 2008-12 , Steel reinforcing bars, 600 x 1200 cm Lisson Gallery, London, Image courtesy Ai Weiwei, © Ai Weiwei

On his return to China in 1993, Ai began to work in a direction

Ai works in a variety of different contexts, scales and media.

exposure he had had to Western art during his twelve-year

porcelain, marble or jade, testing the skills of the craftsmen

sojourn in the US. Citing Duchamp as ‘the most, if not the only,

influential figure’ in his art practice, Ai continues to engage with

creative tensions between complex art histories, conceiving works with multiple readings in the process. To this end he employs traditional materials and interventions with historic objects

throughout his work from Neolithic vases (5000-3000 BCE) to

Qing dynasty (1644-1911) architectural components and furniture.

By creating new objects from old, Ai challenges conventions of value and authenticity in modern-day China.

He transforms materials to convey his ideas, whether in wood, working to his brief in the process. Some pieces take months to create and pass through lengthy periods of experimentation, pushing the boundaries of the formal qualities of a material.

Sculptures such as Surveillance Camera, 2010 and

Video Camera, 2010, both masterpieces in craftsmanship,

monumentalise the technology used to monitor, simultaneously rendering it useless and absurd. A new artwork, Remains, 2015, will also be included in the exhibition.

Tips

小貼示

展覽場地：Royal Academy of Ar t s 皇家美術學會 展覽時間：19.9.2015 – 13.12.2015

更多信息：w w w.royalacademy.org.uk

1993年，艾未未回到中國，他的藝術創作一方面受到中國文化的影 響，而同時，也是對在紐約生活的12年間耳濡目染的西方藝術的一種

反饋。艾未未的創作著力於探索複雜的藝術史與多重解讀的藝術創作

之間的關係，於此，他開始運用傳統材料甚至是貨真價實的古董和文

物來進行創作，從公元前幾千年的陶罐，到清朝的建築或者傢具都成 為他藝術作品的原材料。通過從舊的材料中創造出新的藝術作品，艾 未未挑戰了當代中國社會語境下的價值系統以及其可靠性。

艾未未的藝術創作採用各種不同的媒介，尺度大小不一，關注的語境

也不盡相同。他通過不同材料之間的轉換來表達自己的觀念，無論是 木材、陶瓷、大理石還是玉石，利用工匠們的技藝來完成他的意圖，很

多作品需要幾個月的時間才能完工，要經過很長時間的實驗和打磨來 呈現材質的最佳狀態。雕塑作品《監控攝像頭（Surveillance Camera,

2010）》和《攝像機（Video Camera, 2010）》都展示了高超的製作工 藝，而其立意卻是表達將科技用於監控的無用和荒謬。

Ai Weiwei, Free Speech Puzzle, 2014, Hand painted porcelain in the Qing dynasty imperial style, 51 x 41 x 0.8 cm, Courtesy of Ai Weiwei Studio, Image courtesy Ai Weiwei, © Ai Weiwei

that was both embedded in Chinese culture and reflected the

Soundscape 聲音美景 This summer, the National Gallery offers visitors a unique opportunity to

今年夏天，英國國家畫廊為觀眾們提供了一個獨一無二的機

through what they hear as much as what they see.

到的和看到的一樣精彩。

experience some of the highlights of the collection in a very different way,

Leading contemporary sound artists and musicians Nico Muhly, Susan

受國家畫廊委託，7位傑出的當代聲音藝術家尼克·牧里（Nico

Bures Miller have been commissioned to respond to six paintings of their

德（Gabriel Yared）、傑米·XX（Jamie xx）、克里斯·沃森（Chris

Philipsz, Gabriel Yared, Jamie xx, Chris Watson, Janet Cardiff and George

choice from the National Gallery collection. Each brand new ‘soundscape’ has been specially created for the Soundscape exhibition and can only be heard within the exhibition space for the duration of the show.

Each musician and sound artist will have a soundproofed room in the

Sainsbury Wing exhibition space in which their chosen painting and their

Muhly）、蘇姍·菲利普斯（Susan Philipsz）、加布里埃爾·雅爾 Watson）、珍妮特·卡迪夫（Janet Cardiff）和喬治·比爾斯·米

勒（George Bures Miller）將會從畫廊館藏中挑選6件作品，并 為這些畫作定製相應的聲音作品。每一件新創作的“聲圖”都

是為此次《聲音美景（Soundscape）》展覽專門打造，只有在 單獨打造的展示空間和展覽期間才能欣賞到。

new sound or musical piece will be installed. These encounters between

展覽期間，在國家畫廊塞恩斯伯里展廳的空間當中，每位音

think about paintings in an entirely new way: to hear the music within the

相應的聲音作品。這種運用視覺和聲波雙重感官結合的展覽

the visual and the sonic offer visitors an opportunity to experience and

painting, and to see the visual within the music. This innovative type of

exhibition experience has never before been staged at the National Gallery.

Théo van Rysselberghe, Coastal Scene, about 1892, © The National Gallery, London

會以不同尋常的方式來體驗美術館中的著名館藏作品──聽

樂家和聲音藝術家都分配有一個隔音的房間用以展示畫作和

方式為觀眾提供了一種新的方式去體驗和解讀繪畫：聽到繪 畫之中的韻律，看到聲音之中的色彩。這種開創式的展覽體 驗形式在國家畫廊的展覽歷史上尚屬首次。

通過此次展覽，國家畫廊希望藉助跨學科和跨領域的合作

來展示畫廊的優秀藏品，同時也希望這些偉大的繪畫作品 能夠持續地為當下的藝術家提供新的靈感和激發新的藝術

創作。通過與這些著名繪畫作品的互動，觀眾們被不同的形 式和角度所激發，來重新思考和審視這些畫作，并開始進一

步探討我們是如何體驗和欣賞藝術的，以及繪畫與音樂之間 表現出來的親緣關係等問題。

Tips

小貼示

展覽場地：National Galler y 英國國家畫廊 展覽時間：8.7.2015 – 6.9.2015

更多信息：w w w.nationalgaller y.org.uk

Paul Cézanne, Bathers (Les Grandes Baigneuses),about 1894-1905 , © The National Gallery, London

Ambitious in its approach, this cross-

disciplinary exhibition aims to celebrate demonstrate how masterpieces from the

collection continue to inspire living artists today. By allowing familiar paintings to

be encountered and contemplated from a new angle, visitors will be encouraged to rethink their perception of the

selected paintings and explore wider

conversations about how we experience art and the affinities that exist between music and painting.

Akseli Gallen-Kallela, Lake Keitele, 1905, © The National Gallery, London

the National Gallery’s collection and

‘Caligraphy Peach Blossom Garden’ (2004) by Yangjiang Group

The M+ Sigg Collection: Chinese Art from the 1970s to Now M+希克藏品： 1970年以來的中國藝術

‘To add one meter to an anonymous mountain’ (1995) by Zhang Huang

小貼示

展覽場地：Whit wor th Galler y 惠特沃斯美術館 展覽時間：1.7.2015 – 20.9.2015

更多信息：w w w.whit wor th.manchester.ac.uk

The M+ Sigg Collection: Chinese Art from the 1970s to Now is an extraordinary

exhibition drawn from an extraordinary collection, one put together by the Swiss collector Uli Sigg and now recognised as the largest and most comprehensive of its kind in the world. The collection will form the backbone of the new M+

museum for visual culture in Hong Kong (due to open to the public in 2019) and

the exhibition here at the Whitworth, put together in collaboration with curators

and colleagues from the M+ Sigg Collection, will be its only UK showing. Spanning forty years and bringing together works by artists such as Ai Weiwei, Cao Fei and

Zhang Peili, this is an exhibition that charts the emergence of contemporary art in China, from early subversive works to the vibrant art scene of today.

此次在英國曼徹斯特惠特沃斯美 術館舉辦的 《希克藏品：1970年以來的中國藝術》展出了 瑞士收藏家烏里·希克（Uli Sigg ）先生的關於 中國當代 藝 術的收 藏，他 的這一收 藏 被 認 為

是 迄今為止最 具系統 最 具 規模的中國當代 藝

術 個人收 藏 。此 次在 英 國的展出可謂是 一 個 卓越收藏呈現的非同尋常的展覽。同時，這一 套中國當代 藝 術的收藏也會成為香港 視覺博

物館M+的館藏作品（2019年向公眾開放），這 也是該收 藏系列在 英 國的唯一 一次 展示 。展

覽展示了40年中中國當代藝術的發展，彙集了

眾多重要的中國藝 術家，如艾未 未、曹斐、張 培力等，展覽中呈現了從中國80年代末開始出 現的早期作品，到當下充滿活力的藝術現狀。

Installation View

Tips

Station to Station: A 30 Day Happening, Artist Doug Aitken.,© Alayna Van Dervort courtesy of LUMA Foundation

Station to Station 《站到站》藝術季

Station to Station: A 30 Day Happening — American multi-media

《站到站》是美國多媒體藝術家道格·艾特肯（Doug Aitken）的

over the Barbican Centre’s indoor and outdoor spaces (Art Gallery, The

來呈現，從今年6月27日開始的一個月時間內，整個巴比肯室內

artist Doug Aitken’s experiment in spontaneous artistic creation taking Curve, Concert Hall, Cinemas, Lakeside Terrace and Sculpture Court) for 30 days this summer from Saturday 27 June.

一個實驗性藝術項目，這個項目以一個持續30天的藝術季形式 室外空間都會參與到這個項目之中（巴比肯畫廊空間、弧形畫廊 空間、音樂廳、電影院、湖濱露臺和雕塑庭院）。

Station to Station features over 50 performances, 20 residencies,

此次的《站到站》藝術季將呈現50多個行為和表演作品，20位駐

and UK-based artists from the world of contemporary art, music,

來自世界各地的當代藝術、音樂、舞蹈、設計以及電影界的藝術

rehearsals, workshops and talks involving more than 100 international dance, graphic design and film. A ‘living exhibition’ encouraging crossdisciplinary collaboration among artists from different backgrounds.

地藝術家項目，還將組織排練、研討會以及各種講座，超過100位 家將參與到這個項目中來。這樣的一個“活”的展覽項目，鼓勵來 自不同領域和背景的藝術家們進行跨學科和跨領域的合作。

Station to Station: A 30 Day Happening, Aaron Koblin & Ben Tricklebank: Light Echoes, 2015 Photo by Ben Tricklebank

Doug Aitken said: “Station to Station is a platform for progressive

道格·艾特肯表示： “《站到站》是一個文化發展和新藝術創造和實

Station to Station come to life in London in such a unique, multi-arts

生的環境中進行這個藝術季實在是再美妙不過了，在這30天的時

environment as the Barbican. This is a living exhibition with artists of all mediums, creating unique works and unpredictable encounters every

Station to Station: A 30 Day Happening, Artist Marcus Coates, Photo by Kate MacGarry

day.”

驗的平臺。在倫敦巴比肯中心這樣的一個獨特的，眾多藝術形式共

間裡，各種不同類型的藝術家每天都會創作出獨特的作品，每天 都會產生不可預知的碰撞。”

Station to Station: A 30 Day Happening, New Movement Collective & ScanLab Collapse. Dancer Clemmie Sveaas., Photography © ScanLab.

culture and new artistic experimentation. It will be amazing to see

Tips

小貼示

展覽場地：Barbican Centre 巴比肯中心 展覽時間：27.6.2015 – 26.7.2015

更多信息：w w w.barbican.org.uk

Carsten Höller: Decision 卡斯滕·侯勒：抉擇 Hayward Gallery presents Carsten Holler’s largest survey show in the UK to date, with a wide range of Höller’s Carsten Höller, Isomeric Slides, 2015 © Carsten Höller. Installation View Carsten Höller l Decision, Hayward Gallery, London 2015.

Courtesy of the artist and LUMA Foundation Photo © Linda Nylind

works, from newly-made pieces that have been especially commissioned, to key early artworks like The Pinocchio

Effect (1994) and Upside Down Goggles (1994-2009).

It brings together kinetic sculptures, videos, installations and light works that are designed to profoundly re-orientate

our awareness of time and space, reflecting Höller’s wideranging interest in the nature of consciousness.

On entering Carsten Höller: Decision visitors become part of the exhibition, their varied actions and reactions as vital to the artist, and to other visitors, as the works

themselves. While many of the works are participatory and immersive - transforming the visitors’ physical and that

lead them to question their habitual perceptions - they

also encourage reflection. As Höller states, ‘it’s possible to experience the work through other people, to see it from the outside, or to just contemplate it’.

海沃德畫廊为卡斯滕·侯勒舉辦了迄今為止在英國最大的藝術 家主題展《卡斯滕·侯勒：抉擇》，該展覽涵蓋了侯勒多元化的 作品，從其為此次展覽訂製的全新作品，到其早期的重要作品 《匹諾曹效應（Pinocchio Effect, 1994）》以及《顛倒世界護目

鏡（Upside Down Goggles, 1994-2009）》。展覽彙集了動態雕 塑、影像、裝置以及燈光作品，旨在重新定義我們對於時間與空 間的認知，反映了侯勒對於意識的本質的廣泛興趣。 Tips

小貼示

展覽場地：Hay ward Galler y 海沃德畫廊 展覽時間：10.06.2015 – 06.09.2015

更多信息：w w w.southbankcentre.co.uk

在進入《卡斯滕·侯勒：抉擇》的一刻，觀眾既成為展覽的一部 份，他們不同的行動與反應，對於藝術家、其他觀者，甚至是藝術 作品本身同樣重要。對於許多作品，觀眾都可以參與其中，身臨

其境，激起反思，通過改變觀眾的身體感覺來引導他們去質疑其 慣常的看法。正如侯勒自述： “通過他人來感受作品是合情合理 的──通過從外界的觀察，或者僅僅是通過注視。”

Carsten Höller, Two Roaming Beds (Grey), 2015 © Carsten Höller.

Installation View Carsten Höller l Decision,Hayward Gallery, London 2015.

Courtesy of the artist, Photo © Linda Nylind

As indicated by its title, decision-making is a focus of the exhibition. Visitors to the Hayward Gallery show constantly need to reflect on the choices and

decisions they make, beginning with how they enter the gallery: two separate entrances are available, each providing a different route through the first part

exhibition, poses a different kind of conundrum for visitors: the installation

includes a drinking fountain for those visitors who decide to take one of the pills and face its unknown effects.

Other Highlights of the show include Flying Mushrooms (2015), a new large-scale work of an upside-down mobile with giant psychedelic mushrooms; Two Flying

Machines (2015) installed on one of the Hayward’s outdoor terraces, opposite

Waterloo Bridge, offering visitors the sensation of soaring above city traffic; The

Carsten Höller, Dice, 2014 © Carsten Höller.

Courtesy of the artist, Photo © Linda Nylind

of the exhibition. Pill Clock (2011-2015), a ceiling-mounted timepiece that

will drop over one million pills onto the gallery floor during the course of the

Pinocchio Effect (1994) giving visitors the uncanny sensation that their nose is growing; and Two Roaming Beds (Grey) (2015), a pair of robotic beds that roam the galleries in slow motion and which can be booked for an exclusive overnight stay for the duration of the exhibition - with full access to all the works.

擇，做出他們的決定，從一進入畫廊便開始了：有兩個獨立的入口可供進入，每一個入口都

提供了一條參觀展覽第一部份作品的不同路線。 《膠囊鐘（Pill Clock, 2011﹣2015）》是安

裝在天花板上的時鐘，將會在展覽期間向畫廊地面掉落超過一百萬粒膠囊，與飲水池的裝

置作品一起向觀眾拋出了一個別樣的抉擇難題：是否要吃一粒膠囊，是否要面對膠囊對於 自己會產生的未知影響。

展覽的其他精彩亮點還包括《飛行蘑菇(Flying Mushrooms, 2015)》，一個安裝了巨型迷幻 蘑菇的倒置了的移動裝置作品； 《兩架飛行器（Two Flying Machines, 2015）》，安裝在海沃

德畫廊的一個戶外露臺上的互動裝置，恰在滑鐵盧橋對面，為觀眾提供了在城市交通上飛 翔的奇異感覺； 《匹諾曹效應（Pinocchio Effect, 1994）》，讓觀眾有一種他們的鼻子在不斷

變長的不可思議的感覺；以及《兩張漫遊床（灰） （Two Roaming Beds, Grey, 2015）》，兩張

床型機器人以極慢的動作在畫廊裏遊走，在展覽期間人們可以預定在這兩張床上夜宿，夜 宿的同時還可以接觸到其他所有作品。

Carsten Höller, Decision Corridors, 2015 © Carsten Höller.

Installation View Carsten Höller l Decision, Hayward Gallery, London 2015.

Courtesy of the artist, Photo © Linda Nylind

正如展覽題目所示， “抉擇”是展覽的焦點。到海沃德畫廊的觀眾需要不斷反思自己的選

RA Summer Exhibition 2015 皇家藝術學會夏季展 2015 The leading British artist Michael Craig-

Michael Craig-Martin CBE RA unveiling a new site-specific artwork by Jim Lambie for the Summer Exhibition 2015, © David Parry, Royal Academy of Arts

Martin RA will coordinate the Royal

Academy of Arts Summer Exhibition 2015. The hanging committee for the

Summer Exhibition includes Royal

Academicians Norman Ackroyd, Olwyn Bowey, Gus Cummins, Jock McFadyen, David Remfry, Mick Rooney, Alison Wilding and Bill Woodrow.

英國著名藝術家、皇家藝術學會院士邁克 爾·克雷格-馬丁（Michael Craig-Martin）

將與皇家藝術學會合作共同打造2015年夏

季大展。今年的夏季展評選委員會包括了

眾多的皇家藝 術 學會 院 士，如 諾曼·阿 克 羅伊德（Norman Ackroyd）、歐文·博伊 （O l w y n B o w e y）、格斯·康明斯（Gus

C u m m i n s ）、喬 克·麥 克 法 迪 安（ J o c k

M c F a d y e n ）、大 衛 · 蘭 佛 睿（ D a v i d Remfry）、米克·魯尼（Mick Rooney）、艾 莉森·威爾丁（ A l i s o n W i l d i n g ）以及比 爾·伍德羅（Bill Woodrow）。

Tips

小貼示

展覽場地：Royal Academy of Ar t s 皇家藝 術學會 展覽時間：8.6.2015 – 16.8.2015

更多信息：w w w.royalacademy.org.uk

As the world’s largest open submission exhibition, the Summer Exhibition

provides a unique platform for emerging and established artists and architects to audience, comprising a range of

media from painting to printmaking,

photography, sculpture, architecture

and film. This year the Royal Academy received 12,000 entries, from which a

committee of Royal Academicians, will

make a selection to hang on the walls of the Main Galleries in Burlington House.

Over 1,200 artworks will go on display, the majority of which will be for sale offering visitors an opportunity to purchase

original artwork by high profile and upand-coming artists.

One of the founding principles of the

Royal Academy of Arts was to ‘mount an annual exhibition open to all artists of

distinguished merit’ to finance the training

The Central Hall of the Summer Exhibition 2015, © David Parry, Royal Academy of Arts

showcase their works to an international

of young artists in the Royal Academy

Schools. The Summer Exhibition has

been held every year without interruption since 1769 and continues to play a

significant part in raising funds to finance

the current students of the RA Schools. The RA Schools is the longest established only free three-year postgraduate 皇家藝術學會夏季展是全世界最大的公開徵集作品的群體展覽，它為年輕和

成熟藝術家與建築師提供了一個特有的平台，來向全世界展示他們的作品，參 展作品形式多樣，從油畫、版畫、攝影、雕塑、建築以及電影都涵蓋其中。今年 皇家藝術學會收到了12000份參展申請，皇家藝術學會夏季展評委會將從中選

出1200件作品參加展覽，其中的大部份作品是對公眾開放認購的，展覽中觀 眾可以訂購自己中意的作品，待展覽結束之後便可以收入懷中。

皇家藝術學會的初創原則之一便是“承辦年度的展覽，展示所有藝術家的傑 出創作”，以籌集資金來支持和培養在皇家美術學會學習和進修的年輕藝術

家。從1769年至今，這一傳統從未間斷，並且一直扮演著為在校學生籌措資金

的重要角色。皇家藝術學會是英國歷史最為悠久的藝術學府，為學生提供免 費的三年研究生學習課程，這在歐洲也是絕無僅有的。

programme in Europe.

Gallery III of the Summer Exhibition 2015, © David Parry, Royal Academy of Arts

art school in the UK and offers the

Jackson Pollock: Blind Spots 傑克遜·波洛克：盲點 Jackson Pollock,Yellow Islands 1952 © The Pollock-Krasner Foundation ARS, NY and DACS, London 2015.

This summer Tate Liverpool presents the first exhibition in more than three decades to survey the late paintings of Jackson Pollock (1912-

1956), made between 1951 and 1953; a phase of work referred to as his black pourings and a highly influential part of his career.

Jackson Pollock is widely considered one of the most important and provocative American artists of the twentieth century, whose work

has made an immense contribution to abstract art. Pollock famously pioneered ‘action painting’ - a process that saw him dripping paint

on canvases laid flat on the studio floor. Jackson Pollock: Blind Spots focuses on the latter part of the artist’s career, shedding light on

a less known but extremely significant part of his body of work.

Jackson Pollock: Blind Spots will introduce audiences to the artist’s practice via a selection of his important drip paintings made

between 1947-50 including Summertime: Number 9A 1948 (Tate)

and Number 3, 1949: Tiger 1949 (Hirshhorn Museum and Sculpture

今年夏天，泰特利物浦美術館將舉辦傑克遜·波洛克的個人

展覽，這也是近30多年來首次關於波洛克晚期作品的大型

回顧展覽，展覽展示了其1951至1953年的藝術創作，這一 時期波洛克致力於使用黑色“澆注”的創作手法，同時對其 Jackson Pollock, Portrait and a Dream 1953 © Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

藝術生涯來說，這也被認為是非常重要的一個時期。

Garden). Exhibiting works from the height of the artist’s fame set

against his lesser known paintings will serve to demonstrate the radical departure represented by the black pourings. The exhibition offers the opportunity to appreciate Pollock’s broader ambitions as an artist and makes these fascinating later paintings readable as ‘blind spots’ in an otherwise intensely debated career.

Jackson Pollock, Number 7 1952 , © The Pollock-Krasner Foundation ARS, NY and DACS, London 2015. © 2015. Image copyright The Metropolitan Museum of Art/Art Resource/Scala, Florence

傑克遜·波洛克被廣泛譽為20世紀最為重要，且最具挑釁性的美國藝術

的藝術創作，這些作品都揭示出波洛克的創作風格在其職業生涯的後

克以其開創的“行動繪畫”聞名於世，他以將畫布平展于工作室的地面之

解波洛克的藝術創造，通過他藝術生涯最後階段的這些作品，我們能更

家之一，他的藝術實踐為抽象藝術的發展做出了不可磨滅的貢獻。波洛

上，然後將油漆滴落其上的方式進行創作。 《傑克遜·波洛克：盲點》聚焦 于藝術家創作生涯的最後階段──不為人熟知但卻是其藝術生涯中極 其重要的一個時期。

《傑克遜·波洛克：盲點》選擇了一些波洛克於1947﹣1950年之間創作

的非常重要的“滴畫”作品來為觀眾展示這位藝術家的創作實踐，比如

1948年的《夏日時光：編號9A（Summertime: Number 9A）》和1949

年的《編號3，1949：老虎（Number 3, 1949: Tiger ）》。展覽中的作品既 包括了具有其標誌性風格的作品，同時也涵蓋了很多波洛克不為人所知

期發生了巨大的變化。此次的展覽為觀眾們提供了一個絕好的機會來了

清晰地理解藝術家宏偉的創作意圖，同時在更深的層面上去欣賞這位 備受爭議的藝術家在其職業生涯中的“盲點”時期所創作的傑出作品。 Tips

小貼示

展覽場地：Tate Liverpool 泰特利物浦美術館 展覽時間：30.6.2015 – 18.10.2015 更多信息：w w w.tate.org.uk

Barbara Hepworth in the Palais de la Danse studio, St Ives, at work on the wood carving Hollow Form with White Interior 1963, Photograph: Val Wilmer, © Bowness

Barbara Hepworth: Sculpture for a Modern World 芭芭拉·赫普沃斯： 現代世界的雕塑 Tate Britain presents the first major London

retrospective for almost half a century of the work

of Barbara Hepworth, one of Britain’s greatest artists.

Barbara Hepworth (1903-75) was a leading figure of

the international modern art movement in the 1930s, and one of the most successful sculptors in the world during the 1950s and 1960s. This major retrospective emphasises Hepworth’s often-overlooked

prominence in the international art world. It also

highlights the different contexts and spaces in which Hepworth developed and presented her work, from the studio to the landscape.

The exhibition features over 100 works, from

Hepworth’s major carvings and bronzes to her less-familiar works. It opens with Hepworth’s

earliest surviving carvings from the 1920s, such

as Doves 1927, alongside works by predecessors and

peers from Jacob Epstein and Henry Moore to lesser known contemporaries.

今年6月，位 於英國倫敦的泰特美 術館英國館將為芭芭

拉·赫普沃斯舉辦個展，這也是這位英國國寶級女藝術家

的首次大型回顧展，展出作品呈現了她近半個世紀的藝 術創作。芭芭拉·赫普沃斯是上個世紀 30年代國際現代

藝術運動的代表人物，也被譽為是20世紀五、六十年代 全世界範圍內最為傑出的雕塑家。此次的回顧展強調并

重新審視了赫普沃斯在藝術發展中被國際藝術領域所忽 視的重要地位。展覽也著重展示了赫普沃斯的藝術創作 與空間環境之間的關係。

展覽共呈現了100多件作品，除了赫普沃斯著名的雕刻和青銅作品，還包括

Living together in Hampstead, London, Hepworth and her

作品為開端，這也是其存世作品中最為早期的雕刻作品，如1927年創作的

Major carvings including Kneeling Figure 1932 and Large

了她的一些並不為人所熟知的創作。展覽以赫普沃斯1920年代創作的雕刻 《鴿子（Doves）》。與赫普沃斯作品一同呈現的還有很多其他藝術家的作

品，既有雅各布·愛普斯坦（Jacob Epstein）和亨利·摩爾（Henry Moore） 這樣的著名藝術家前輩，同時也有很多在當時名不見經傳的同輩藝術家。

second husband Ben Nicholson made works in dialogue.

and Small Form 1934 are shown with paintings, prints and

drawings by Nicholson and rarely seen textiles, drawings, collages and photograms by Hepworth.

In the later 1930s, as part of an international avant-garde brought together through exhibitions and magazines,

Hepworth made more purely abstract work. A display of

the majority of Hepworth’s surviving carvings of this period includes Discs in Echelon 1935 and Single Form 1937-8

alongside the journals in which they featured among artists

In the mid-1940s in St Ives, Cornwall, Hepworth began

making sculptures in wood, for example Pelagos 1946,

which expressed her response to her new surroundings.

These are set alongside her two-dimensional work: the

abstract works on paper of the early 1940s and her figurative ‘hospital drawings’ of 1947-8, both expressing in different ways utopian ideals.

Tips

Curved Form (Delphi) 1955, © Bowness

such as Alberto Giacometti and Piet Mondrian.

小貼示

展覽時間：24.6.2015 – 25.10.2015 更多信息：w w w.tate.org.uk

在倫敦漢普斯特德生活期間，赫普沃斯和她第二任丈夫本·尼科爾森（Ben Nicholson）的創作形成了一種對話的形式。赫普沃斯1932年創作的《下跪

（Kneeling Figure）》和1934年創作的《大與小的形式（ Large and Small Form）》都是其重要的雕刻作品，這些作品與尼克爾森的繪畫、版畫以及素

描作品一同展示，同時，還有一些罕見的赫普沃斯創作的素描、拼貼以及織 物及攝影作品也涵蓋其中。

20世紀30年代末，在各種展覽和媒體的推動下，國際前衛藝術運動開始興 起，作為其中的一份子，赫普沃斯開始創作更多的純抽象作品。她在這個時

期最重要的兩件存世作品將會與同時期的出版雜誌一同展示，這些雜誌中 提及了很多當時重要的藝術家，如賈科梅蒂（Alberto Giacometti）和蒙德 里安（Piet Mondrian）等人。

在20世紀40年代中期，在英國的康沃爾聖艾夫斯生活期間，赫普沃斯開始 使用木頭作為主要創作材料，新的創作材質也反映出她對新的生活環境

產生的反饋。她這一時期的作品與她早些時候創作的紙上抽象作品一同呈 現，通過不同的形式表達了她的“烏托邦”理想。

Barbara Hepworth with the plaster of Single Form 1961-4 at the Morris Singer foundry, London, May 1963 Photograph, gelatin silver print on paper, Photograph by Morgan-Wells, © Bowness

展覽場地：Tate Britain 泰特英國美術館

Richard III 理查三世 Shakespeare’s Globe is delighted to welcome back two Chinese

莎士比亞環球劇場在今年夏天將上演兩家中國劇團的作品，這兩

international Shakespeare this summer. From 20 to 25 July, the National

上取得了非同凡響的成功。2015年7月20日到25日，中國國家話

companies from the hugely successful Globe to Globe festival of

Theatre of China will perform their Richard III in Mandarin. Then from 17 to 23 August, the Tang Shu-wing Theatre Studio from Hong Kong

will stage their brand new production of Macbeth in Cantonese. Both

productions will have scene synopses in English.

劇院將在此上演普通話版的《理查三世》。8月17日至8月23日，來 自香港的鄧樹榮戲劇工作室也將會演出其全新的作品─ ─粵語 版的《麥克白（Macb eth）》。兩部作品同樣 都會有英 文字幕 提示。

In 2012, the Globe invited theatre companies from around the world

作為“文化奧林匹亞”大型慶祝活動的一部份，在2012年的環球

the Globe to Globe festival, part of the Cultural Olympiad. Since then,

不同的語言來演繹共計37部莎士比亞全集。自那時起，這些國外

to stage all 37 of Shakespeare’s works in 37 different languages for

foreign companies have been invited back each summer to perform Shakespeare’s work in their own languages.

Richard III Stage photos

家中國公司都曾在莎士比亞國際環球藝術節（Globe to Globe）

藝術節上，環球劇場邀請了全世界來自不同國家的劇團，以37種

的劇團就不斷地被邀請回到環球劇場，以其自己的語言來再現莎 翁的作品。

Following their first visit to the UK during the 2012 festival, the

National Theatre of China will once again present their Richard

III in Mandarin. Despite the company losing all their intricate,

colourful costumes in a cargo container en route to the UK, the show was described as ‘spellbinding’ by The Arts Desk and

received a four-star review from The Guardian. This time in

full costume, Shakespeare’s ghoulish horrorshow of power and

Described as the ‘alchemist of minimalist theatre’, Hong Kongs Tang Shu-wing Theatre Studio works with pared-back staging, voice and movement to release the energies of classic texts.

The company marked their first visit to the UK with a beautifully stylised interpretation of Shakespeare’s grisly tragedy Titus

Andronicus as part of the Globe to Globe festival; they return

on Monday 17 August with the world premiere of their brand new production of Macbeth.

Richard III,Rehearsal Photos, by Wang Yuchen

paranoia will play four performances only from Monday 20 July.

來呈現《理查三世》。儘管異彩紛呈的服裝道具在運往英國的途中丟

失，但是那次演出仍然被《藝術臺（The Arts Desk）》描述為“引人入

勝”的演出，並且得到了《衛報（The Guardian）》的四星好評。而2015 年的此次演出，服裝道具都一併到位，原汁原味地向觀眾呈現莎士比 亞這部權力與猜忌的驚情之作。

香港的鄧樹榮戲劇工作室被譽為“極簡戲劇的鍊金士”，其作品舞臺極

簡，音效極簡，動作極簡，以此來釋放經典文本的能量。劇團在環球藝

術節期間首次到訪英國時，以美輪美奐的表演，詮釋了莎士比亞的經 典悲劇《泰特斯·安德洛尼克斯（Titus Andronicus）》。此次他們將於8 月17日帶著他們的全新作品《麥克白》的全球首演再次歸來。 Tips

小貼示

展覽場地：Shakespeare’s Globe 莎士比亞環球劇場

展覽時間：20.07.2015 -25.07.2015, 17.08.2015 - 23.08.2015 更多信息：w w w.shakespearesglobe.com

Richard III, Rehearsal Photos, by Wang Yuchen

繼2012年藝術節期間首次訪問英國，中國國家話劇院將再次以普通話

Zhang Ruyi, Pause (Proposal Sample), 2015, Concrete, Dimension variable, Courtesy Zhang Ruyi

Wang Yuyang, Identity (Proposal Rendering), 2016, Metals, wood, stones, etc, 6 meters high, Courtesy of Wang Yuyang

A Beautiful Disorder 无序之美

Cass Sculpture Foundation is delighted to present A Beautiful Disorder, the first major exhibition of

newly commissioned outdoor sculpture by contemporary Chinese artists to be shown in the UK. From

May 2016, fifteen monumental outdoor sculptures will be on display throughout the grounds of CASS. These artists employ a variety of ambitious sculptural techniques across a range of materials including bronze, stone, steel and wood.

The historical relationship between English and Chinese landscape aesthetics is the starting point and inspiration for these contemporary Chinese and Greater Chinese artists. The title of the exhibition, A

Beautiful Disorder, is a quote from an influential letter written by the Jesuit missionary and artist

Jean-Denis Attiret in 1743 that had a tremendous effect on English garden culture. Attiret used the

term to describe the ability of the Chinese garden to provoke violent and often opposing sensations

in the viewer through a series of theatrical framing devices. The exhibition invites the viewer to reflect on China’s past, present and future relationship with the world at large, and provides valuable insight into the state of Chinese culture, politics and society today from the perspective of some of its most dynamic and engaging artists.

’‘“™ Zhao Yao

Cass Sculpture Foundation’s Executive Director, Clare

卡斯雕塑基金會非常榮幸地呈現展覽《無序之美》，這是首個將在英國展出的

commissioned over 400 works – A Beautiful Disorder

作品將在卡斯雕塑基金會的土地上呈現。本次展覽的藝術家在青銅、石頭、鋼

Hindle, says: “To date, Cass Sculpture Foundation has

is a landmark moment for the Foundation as it is the first time we are commissioning works for a major exhibition

向中國當代藝術家委托創作的戶外雕塑展覽。從2016年5月起，15件大型戶外 鐵、木頭等一系列的材料中展現了雄心勃勃的雕塑技藝。

by international artists. The exhibition will showcase

中國與英國的園林美學在歷史上的聯系是這些傑出當代中國藝術家創作的開

Chinese artists.”

(Jean-Denis Attiret)1743年的一封信件，而這封信對英國園林文化產生了巨大

contemporary Chinese sculpture by some of the leading

Participating artists for A Beautiful Disorder include: Bi Rongrong, Cao Fei, Cheng Ran, Cui Jie, Jennifer Ma Wen,

Li Jinghu, Lu Pingyuan, Made in Company, Rania Ho, Song

Ta, Tu Wei-Cheng, Wang Sishun, Wang Wei, Wang Yuyang, Zhang Ruyi, Zheng Bo and Zhao Yao. Tips

小貼示

展覽場地：Cass Sculpture Foundation 卡斯雕塑基金會 展覽時間：May – November 2016

更多信息：w w w.sculpture.org.uk

端和靈感。展覽名稱《無序之美》引用自耶穌會傳教士，清朝宮廷畫家王致誠 的影響。王致誠用“無序之美”來描述中國園林的獨特魅力——通過一系列戲 劇性的借景策略帶給觀眾激烈的，顛覆感知的體驗。此次展覽邀請觀眾一道

發掘中國在過去、現在以及未來與世界的重大聯系，同時提供了寶貴的契機從 中國最活躍的傑出藝術家的視角洞悉當下中國的文化、政治、社會狀況。

卡斯雕塑基金會的執行總監克萊爾·欣德爾（Clare Hindle）表示： “卡斯雕塑

基金會至今已經委托創作了超過400件作品——《無序之美》對基金會來說是 一個標誌性的時刻，這是我們第一次委托國際藝術家創作作品，舉辦的大型 展覽，這次展覽將展出中國重要藝術家創作的當代中國雕塑。”

《無序之美》參展藝術家包括：畢蓉蓉、曹斐、程然、崔潔、馬文、李景湖、陸 平原、徐震（沒頂公司出品）、何穎 宜、宋拓、塗 維 政、王思順、王衛、王郁 洋、張如怡、鄭波、趙要。

Duane Hanson 2 June –

13 September 2015

Serpentine Gallery

Shoes: Pleasure and Pain

Joseph Cornell Wanderlust 4 July — 27 September 2015 Royal Academy of Arts

13 June 2015 –

31 January 2016

Victoria and Albert Museum

Alice Anderson: Memory Movement Memory Objects 22 July 2015 - 18 October 2015 Wellcome Collection

Giacometti: Pure Presence

15 October 2015-10 January 2016 National Portrait Gallery

Zhang Ding: Enter the Dragon 12 Oct 2015 – 25 Oct 2015

Institute of Contemporary Art

M. C. Escher 12 October 2015 –

Goya: The Portraits

17 January 2016

Dulwich

7 October 2015 - 10 January 2016

Picture Gallery

National Gallery

Paul Neagu: Palpable Sculpture 13 August 8 November 2015 Henry Moore Institute

Revelations: Experiments in Photography 20 March 2015 - 13 September 2015 Science Museum

THE POLITICS IN ART: UNTANGLING THE CULTURAL EXCHANGE 藝術中的政治： 文化交流松綁論

TEXT BY 撰文 x JESC BUNYARD TRANSLATE BY 翻譯 x CAI SUDONG 蔡蘇東

In 2008 Beijing hosted the Olympics and Paralympics, four years

2008年北京舉辦了奧運會和殘奧會，四年後，倫敦成為東道主。中英雙

two festivals. In 2008 the UK played host to China Now, which

舉辦了展示中國文化及體育盛況的《當下中國（China Now）》展，其中

later it was London’s turn. To celebrate each country hosted

showcased cultural and sporting events from the country. The events included China Design Now, an exhibition that took place at the V&A. The show explored new design in China,

focusing on the effect that rapid economic development had

on architecture and design in three major Chinese cities: Beijing,

Shanghai and Shenzhen. The exhibition focused on a wide range of design from architecture, including the ‘Bird’s Nest’ stadium,

to fashion. In 2012 the festival UK Now took place in China and

included exhibitions of work by Tony Cragg and Rankin as well as tours from the English National Ballet. The two festivals enabled

方為了慶祝對方舉辦的兩屆盛會各自主辦了一系列活動。2008年，英國

舉辦於維多利亞與阿爾伯特博物館（Victoria & Albert Museum，以下 統稱為V&A博物館）的《當下中國設計（China Design Now）》展也是活

動之一，展覽探索了中國的新設計，聚焦中國的北京、上海和深圳三座 大城市中經濟的高速發展對建築和設計的影響。展覽關注了與設計相 關的廣闊天地，從諸如鳥巢體育館的建築設計到服裝時尚。2012年，中

國舉辦了《當下英國（UK Now）》，活動包括藝術家托尼·克拉格（Tony Cragg）和時尚攝影師蘭金（Rankin）的作品展覽，以及英國國家芭蕾

舞團（English National Ballet）的巡回演出。兩次活動促進了國與國、 制度與制度間的創意討論，展示了兩國當代藝術的風貌和素質。

creative discussions across the two countries and different

2011年，根據中國文化部副部長丁偉所著文章的精神，中歐峰會上重

contemporary art scene.

Magazine）》上發表文章，指出國家間文化交流的重要性──“文化交

institutions as well as displaying the quality of each country’s

In 2011, according to an article written by the China’s vice

申了中歐文化交流的觀點。丁偉在網絡版《議會雜誌（The Parliament 流與合作是中歐全面合作夥伴關係的重要組成部分。其在加深兩地人

民的相互了解和提升我們的關係價值方面扮演著不可替代的角色”1 。

minister of culture Ding Wei, the idea of cultural exchange

這種文化對話的理念促成中國和法國、德國等歐盟成員國共同舉辦了

summit. In the article published online in The Parliament

祝這一歷史時刻，遍布中國和歐盟的一系列活動將展開，包括“中國當

between China and the EU was reiterated at the China-EU

Magazine, Ding Wei stated the importance placed on cultural exchanges between countries: “Cultural exchange and

cooperation is an important part of the China-EU comprehensive

一系列文化交流活動。如今，2015年恰逢中國歐盟建交40周年，為了慶 代藝術——歐洲巡回（Chinese contemporary art – European tour）” 和“丹麥文化季（Danish cultural season）”，以及“中英文化交流年 （UK-China Year of Cultural Exchange）”。

Sarah Lucas, I SCREAM DADDIO (2015)

strategic partnership. It plays an irreplaceable role in enhancing

就在筆者寫作 該 文的當下，展現 英國文化各領域的活動正在中國如

value of our relationship”. This idea of cultural conversation has

字藝 術。今 年晚 些時 候，英國也將舉 辦展示中國文化方方面面的類

mutual understanding between people and in promoting the 1

led to culture and exchange events between China and several EU member states including France and Germany. 2015 now

火 如荼地開展 著，這 些 領域包括展 覽、表演、設計、電影、動畫和數 似活動。

marks the 40th anniversary of China-EU relations and to celebrate

有意思的是，2015年也是英國的“墨西哥年”、墨西哥的“英國年”。

will take place. This will include the ‘Chinese contemporary art

的官方網站上（GOV.uk），我們可以找到英國駐墨西哥城使館的文章，

this a range of events throughout China and the European Union – European tour’ and the ‘Danish cultural season’. The series will also include the UK-China Year of Cultural Exchange’.

這不僅讓人想起一個問題：這樣類似的活動有多少？在英國政府事務

其所用的語言與該網站上詳細描述“中英文化交流年”的非常相似， 活動目的是通過藝術、教育、商業和貿易增強兩國的合作夥伴關係。

At the moment of writing, events showcasing areas of British

但奇 怪 的是，傳 統 媒體 都 甚少提 及 這 兩個系列 的 活 動 。實 際 上，除

performances, design, films, animation and digital art. Later on in

再找到關於“中英文化交流年”的文章。而找到英國的“墨西哥年”

culture are taking place in China, including exhibitions,

the year, aspects of Chinese culture will be shown in Britain in a similar display.

It’s interesting to note that 2015 is also The Year of Mexico in the

了GOV.uk和英國文化協會（British

Council）的網站上，我們很難

和墨西哥的“英國年”的報導顯得較為容易，這或許是因為“墨西哥

年”的活動已經在英國舉辦，而“中英文化交流年”中英國部分的活 動則要等到今年晚些時候才舉行（相比於當前寫作時間）。

UK and the UK in Mexico. Which raises the question: how many

一般認為，今年的活動展示的是中英兩國的當代文化，所以不大肆宣

website for all things do to with the UK Government, an article

文化新聞的途 徑。根據英國文化協會網站上的一則新聞，早在2014

of these events take place? On the GOV.uk website, the official

written by the British Embassy Mexico City uses language similar to other articles on the website detailing the UK-China Year of

Cultural Exchange. The aim is to promote partnerships between the two countries via arts, education, business and trade.

揚怎說 得過去？實際 情 況確 是 這樣，只不過不是 通 過 人們常規獲取 年 中 國 總 理 李 克 強 發 表 關 於“ 中 英 文化 交 流 年 ”正 式 聲 明 之 前 的 2013年，大衛·卡梅隆（David Cameron）在到訪中國時便更新了許

多協議，以“展示不斷壯大的中英關係，並將創新和文化交流置於中 英關係發展的中心”。2

The oddity is that these two event series are rarely mentioned in

但讓 人擔憂的是，政治因素 總是 交 織在活動系列中。政治家 將藝 術

the UK-China Year of Cultural Exchange outside of the GOV.uk or

渾了。在GOV.uk 網站上，有不少新聞文章詳述“ 2015中英 文化交流

conventional media, indeed it’s difficult to find news articles on

British Council websites. Finding coverage on The Year of Mexico in the UK and the UK in Mexico is easier, possibly due to the fact that events involved in the year have already taken place in the

UK. Whereas events taking place in Britain, which are part of the UK-China Year of Cultural Exchange are (at the time of writing)

擺在前沿不是一 件壞事，但 太多的政治因素進入藝 術 領域卻把水攪

年”的聲明。這個流程讓人覺得此事和政治的聯繫是如此緊密，因為 許多報導 都提到文章是在哪個政 府時期發布的，似乎是作為一種免 責聲明。在兩篇新聞文章的標題下，包括一篇在3月2日活動開始日的

報導，有這樣一行黑體字“該國際新聞文章發表於2010-2015保守黨 和自由民主黨 聯合政 府時期 ”。2 該 新聞成 稿後，英國選出保守黨政

due to take part later this year.

府。但一則文化新聞居然需要這樣的聲明，實在是很令人詫異。也許

However, this year is supposedly a showcase of British and

得出一 個 擔憂的 推 測 ——文化 不過 是 政 治的工具 。到底國 際 文化 交

Chinese contemporary culture; surely it ought to be shouted

about? The truth is that is has, although not through channels

這暗 示出，此 事 絕非 文化能 帶 給人們享受 那麽簡單，或 至 少讓 人們 流能否既有意義，又不受政治影響呢？

normally trodden by those looking for cultural news. Prior to the

我們需要有益體面的國際關係。藝 術可以 用來增進國家間的關係，

according to a news piece on the British Council website, David

是 一種商品 。文化交往 應該 展示各國的藝 術天才，增強 組 織間的文

formal announcement by Chinese Premier Li Keqiang in 2014,

Cameron visited China in 2013 during which various agreements were renewed all designed to “demonstrate the growing

strength of UK-China relations, with creativity and cultural exchange at the heart of developments.” 2

Worryingly, politics is completely interwoven within the event

series. Politicians placing art at the forefront is not a bad thing,

但不應該單單因為某國為謀與別國貿易而被視為工具。文化不僅僅

化聯繫和合作。這種合作關係在GOV.uk 2015年1月9日刊登的文章 《201 5中英 文化交流年》也有所體現：“我們這兩種 文化繼 續 激發 革新與創意，來自兩國的觀 眾都能 獲得充裕的機會 探索這種 創新的 夥伴關係 在21世 紀的深厚意義 。”3 這樣的文化交流 正在發生，但 是

在找到交流真正的文化目標 之前，確實還有一 些諂媚奉承的政治話 語需要去應付。皇家莎士比亞劇團翻譯項目（Royal

Shakespeare

Company Translation Project）便是一個有意義的合作項目，皇家

Ai Weiwei, Dropping a Han Dynasty Urn, 1995 3 black and white prints, each 148 x 121 cm Courtesy of Ai Weiwei Studio, Image courtesy Ai Weiwei © Ai Weiwei

but too much politics within the arts can muddy the waters.

On the GOV.uk website, there are news articles detailing the

announcement of the ‘2015 UK-China Year of Cultural Exchange’.

莎士比亞劇團及其中國合夥人把莎士比亞 戲劇的全 新譯本帶給了中 國觀眾，同時也把中國戲劇介紹給英國的觀眾。

The process feels so bound up with politics that past news

許 多 重 大 的 文 化 交 流 也 在 發 生 ，包 括《 中 國 攝 影 書（ C h i n e s e

published under. At the head of two news articles, including one

丁·帕爾（Martin Parr）和攝影團體魯小本&泰斯（WassinkLundgren）

articles have a disclaimer detailing which government they were

published on the day of the launch on 2nd March, written in bold is the following: “This world location news article was published under the 2010-2015 Conservative and Liberal Democrat

coalition government”. Since the news items were written, 2

the UK has voted in a Conservative government. It’s odd that a

Photobook）》展，已經在倫敦和北京展出。展覽結合了英國攝影師馬

的策展合作，通過“攝影書”的方式探索了中國歷史。這種展覽和前述 的翻譯項目展現了當有意義的合作存在時，可能帶來多麽好的成果。

這樣的作品已經超越了展示國家文化“肌肉”的意圖：它的影響是更深 遠的。

cultural news item would need this announcement. Perhaps this

這種 跨組 織的辦法是值得效法和讚揚的。V& A博物 館就是和中國締

or at the very least a worrying presumption that culture can be a

劃了一 些當代 和古文物展 覽，包括：《中國畫大師精品展70 0﹣19 0 0

indicates that there is more here than simply cultural enjoyment, tool for politics. Can there be international cultural exchange that is meaningful but without politics?

There is the need for good and honorable international relations.

Art can be used to strengthen the ties between nations but not

seen as a tool just because a nation wants to trade with another.

Culture is more than a commodity. Cultural exchanges should be used to showcase the artistic talents of each nation and

develop cultural ties and collaborations between organizations.

This co-operation is mentioned in the GOV.UK news article

結文化聯繫的機構之範例。除了參與了《當下中國》，V& A博物館還策 （Masterpieces of Chinese Painting: 700 – 1900）》，這是自1935 年以來在英國的土地上首次對中國繪畫傳統綜覽式的展覽；以及《桃

花源的理想一定要實現（Travelling to the Wonderland）》——藝術 家徐冰汲取中國傳說“桃花源”靈感，把V& A博物館的花園改造得耳

目一新。以上兩場展覽恰巧都在2013年舉辦。V& A博物館經常在中國 舉辦各種 展覽，同時也協助推動著深圳一座新設計博物館的進程。 這座博物館將於2016年竣工，宣傳稱其為中國首座大型設計博物館，

將成為深圳海上世界文化藝術中心的一部分，目標是呈現中國以及世 界上的最佳設計。

‘2015 UK-China Year of Cultural Exchange’ published on the 9th

V& A博 物 館的此 類 項目表明了和中國長 期合 作的目標，V& A博 物 館

and creativity, and audiences in both countries will enjoy many

18000件的重要中國藏品信息。但是，V& A博物館所做的工作卻沒有

January 2015: “Our two cultures continue to inspire innovation opportunities to explore what this creative partnership means in the 21st Century.” 3 These exchanges are taking place but

there was a certain amount of wading through sycophantic

Politician language before finding out what the cultural goals of the exchange are. The Royal Shakespeare Company Translation

網站給出了自20 05年以來所有展覽的詳細信息，以及博物館多達約 被發布文化交流年新聞的GOV.uk所討論，GOV.uk也沒有提到之前的 《當下中國》和《當下英國》這樣的文化盛會。這 給人的感覺是，這

些 活 動 都是 各自為政，不知 從 哪冒出來的。這同 時 也是 一種 令人 擔 憂的跡象，即所有這些活動雖然辦成了，但確實都沒有與其他活動產 生關聯，這 意味 著跨 文化交 流的效 果僅 僅 是 暫時的，很快就 會 被下

Interior selection from Pictorial Review of the Sino-Japanese Conflict in Shanghai (Shanghai: Wen Hwa Fine Arts Press, Ltd., 1932), from The Chinese Photobook (Aperture, 2015)

Project is one example of a meaningful collaboration in which the

一 個活動所 遮 蓋。而這次 盛會的文化 對話所要促 成的，比如翻譯項

plays to a Chinese audience and introduce UK audiences to

化的。這種合作需要在盛會結束後依舊長期存在，正如V& A的情況，

RSC and Chinese partners bring new translations of Shakespeare’s Chinese drama.

There are great exchanges taking place, including the exhibition ‘Chinese Photobook’, which has been exhibited in London

and Beijing. The show explored China’s history through the

photobook through a curatorial collaboration between Martin Parr

目，是需要 長 期進 行的，在 後 續的年份和將 來的文化 盛會中繼 續 強 同時 也需要 有人 來 宣傳 、為其書寫一 筆 。這 些 見諸文字的東西不應

該只是政府的官方發布。我更希望看到來自策展人、藝 術家、博物館

館長 等的文 章 。這樣的話，文化 對話才 會在政 府對話 結束 之後 長 期 進行下去，不受一屆屆選舉的影響。這應該得到政治的支持，卻又要 獨立於政治。

and photographic team WassinkLundgren. The exhibition and

藝 術一旦與政 治沾 染，便有迷 失的危險。中英 文化 交 流年活 動的觀

are meaningful collaborations. The work becomes more than a

和英方都可以看到。比如說，《此時——邁克爾·克雷格-馬丁（Now–

the translation project demonstrate what is possible when there showcase of a nation’s cultural muscles: there is a lasting impact.

This cross-organizational approach is one that should be pursued and celebrated. The V&A is an example of an institution that is forming cultural ties with China. As well as taking part in the

China Now festival, the museum has curated a number of

contemporary and antiquarian exhibitions. This includes two shows which coincided in 2013: ‘Masterpieces of Chinese

Painting: 700 – 1900’, which presented the first overview of

the tradition of Chinese painting in the UK since 1935, and

‘Travelling to the Wonderland’, in which the artist Xu Bing

transformed the garden at the V&A inspired by a Chinese fable

Tao Hua Yuan (Peach Blossom Spring). The museum also

regularly works on a number of exhibitions in China. The V&A

will also be helping the development of a new design museum in Shenzhen. Opening in 2016, the building is billed as the first

major design museum in China. The museum will be part of the

Shenzhen Sea World Cultural Arts Center and aims to present the

眾 必 然 意 識 到，說 到底，政 治家們 策 劃了活 動 。這樣 的 例 子 在中方 Michael Craig-Martin）》就是這樣的例子。該巡回展覽已經在今年

早些時候在上海和武漢舉 辦，展出的作品包括五十幅通 過物件審 視 日常生活的新畫作。克雷格 -馬丁（Cr aig- Mar tin）被 認為是 英國觀

念藝術的教父，但他同時對達明·赫斯特（Damien Hirst）、翠西·艾 敏（Tracey Emin）和薩拉·盧卡斯（Sarah Lucas）等年輕英國藝術 家也有著深厚的影響。今年，在威尼斯雙年展上，盧卡斯作為英國代 表在英國館展出了其作品《我大喊（I SCREAM DADDIO）》。此次展

覽在“藝述英國（UKNow）”網站上有所記載，但卻沒有包括在文化 交流項目列表中。誠然，和盧卡斯《我大喊（I SCREAM DADDIO）》

相關的某些作品形式 本來就有相關性，也應該 被列入活動列表中。

但 是之 所以 盧卡斯沒有被囊括進 來，可能是因為她作品中誇張的生 殖 崇拜結構被 認為太 具爭議 性。這 就引出一 個問題：誰決 定了這 種

安排？是不是有人決定用風險較低的作品形式取而代之？於是，他們 決 定 用不那麽激 進的“老師”取代“學生”。雖然 這並不會讓 入選該 項目的克雷格-馬丁的作品少了趣味和價值，但是年輕英國藝 術家的

作品，這 些 經常被 認為是 英國當代 藝 術的最 佳範例，卻沒有一 件被 囊括進文化交流項目中，這不失為一件耐人尋味的事情。

best of Chinese and international design.

另外一個例子，或許算得上是最明顯的一個，便是艾未未的缺席。中

The V&A’s programme demonstrates a goal to be working with

所以，當艾未未沒有被列入中國方面交流項目的名單就不足為奇了。

China long term; the V&A website gives details of exhibitions going back to 2005, in addition to their important Chinese

collection, which holds approximately 18,000 objects. However

the V&A’s work is not discussed within the GOV.uk news releases mentioning the year of cultural exchange. Neither do they

mention the previous cultural festivals China Now and UK Now. This gives the impression that each event is separate to

the other and just spring up from nowhere. This is a worrying indication that these events do occur without referencing

the other, meaning that the effect of cross-cultural exchange is only temporary as it is overtaken by the next event. What

國藝術家艾未未與中國政府的思想和政治抵牾已經是公開的秘密。 儘管他的作品被收入《當下中國》展覽─ ─因為他是參與“鳥巢”設 計的建 築師之一，而 V& A博物 館的《當下中國》恰好有關於“鳥巢”

的展覽。碰巧的是，皇家美術學會（Royal Academy of Ar ts）將在 2015秋天主辦艾未未的大型作品展。2011年，艾未未被中方拘留了

81天，其護照已被中方沒收，所以自那時起他便被禁止出境（發稿時 艾未未已經順利取得護照和英國簽證）。皇家美術學會在2011年5月

決 定授 其榮譽皇家美 術學會院士稱號 。此次艾未 未展 將 從2015年9 月19日持 續到12月13日，將是艾未 未作品的集中展示。皇家美 術學 會將 從 他1993年以後的作品中挑選 展品，那一年，他剛好 從 紐 約回 到中國。

cultural conversations are put into motion within this festival,

艾未未的缺席這樣的巧合，和薩拉·盧卡斯一樣，都吸引了不少關注。

and reinforced into the next few years and future festivals. The

文化交流項目的時間並不沖突，因此將二者列入文化交流項目合情合

the translation project for example, need to be carried over

collaborations need to exist long after the festival, like the V&A, but they also need to be publicized and written about. These

艾未未的皇家美術學會個展和盧卡斯的威尼斯雙年展的舉辦時間與 理。然而， “中英文化交流年”是政治推動的。這是否意味著，政治決 定了什麽樣的藝術可以被送到對方國家以求有助於兩國關係發展？

writings need to be more than just official governmental releases.

student. This doesn’t make Craig-Martin’s work any less enjoyable

and more. This way the cultural dialogues will exist after the

to note that none of the YBA’s work, often considered some of

I wish to see essays from curators, artists, museum directors

governmental ones and will continue election after election. They should be supported by politics but separate from it.

the best examples of British contemporary art, are incorporated within the exchange.

There is a danger that the art will get lost within politics. Visitors

Another, and perhaps the most obvious, omission is Ai Weiwei.

Exchange should be aware that, ultimately, the politicians have

his government is often documented. It’s no surprise then, that

to the events taking place as part of the UK-China Year of Cultural curated what’s on show. Examples of this can be found in both the Chinese and the British programmes. ‘Now – Michael

Craig-Martin’ is one such example. The touring exhibition has

The Chinese artist’s ongoing intellectual and political battle with currently Ai Weiwei is not included in the Chinese section of the

exchange programme. Although his work was included in China

fifty new paintings examined daily life through objects. Craig-

Now, as he was one of the architects involved in the design of the ‘Bird’s Nest Stadium’ featured in the V&A’s China Design Now. Coincidently the Royal Academy of Arts will be hosting a

he was also an influential figure to many of the YBA’s (Young

was detained by the Chinese authorities for 81 days and has not

been to Shanghai and Wuhan earlier this year, and featured

Martin is regarded as the godfather of British conceptual art, but British Artists) like Damien Hirst, Tracey Emin and Sarah Lucas.

This year, at the Venice Biennale, Lucas represented Britain with her exhibition ‘I SCREAM DADDIO’ at the British Pavilion.

The exhibition is written about on the UK Now website, but is

not included in the Cultural Exchange programme list. Surely a

form of Lucas’ work linked to ‘I SCREAM DADDIO’ would have

been relevant to be included in the events list. Lucas’ omission

major exhibition by Ai Weiwei in the autumn of 2015. In 2011 Ai been able to leave China since, as his passport was confiscated.

In solidarity the RA made him an Honorary Royal Academician in May 2011. The exhibition, taking place from 19th September till

13th December 2015, will be a major display of the artist’s work.

The RA will present a selection of Ai’s work from 1993 onwards, which marks his return to China from New York.

is perhaps due to the fact that her glorious phallic structures are

This coincidence draws attention on the omission of Ai Weiwei’s

decides the schedule? Did someone decide to send a less risky

of Ai’s RA show and Lucas’ exhibition at the Venice Biennale

considered too controversial to send. This begs the question: who form of art? They sent the less provocative teacher instead of the

The Woolworths Choir of 1979. Elizabeth Price. (2012)

and worthwhile to include in the programme, but it is interesting

work from the schedule, similarly with Sarah Lucas. The timing means it would have made perfect sense to include both of

them in the Cultural Exchange programme. The UK-China Year

政 治 和 文化 交 流 年是 糾 纏 不清 的 。每 個 政 府 都 應 該 支 持 和 促 進 藝

that politics decided what art should be sent to both countries

家 進行商業 貿易的工具 。國際 文化 對話，尤 其 是不同制度和組 織間

of Cultural Exchange was initiated by politics. Does that mean to improve relations?

Politics is tangled within the Year of Cultural Exchange. Each

government should support and enable the arts, recognizing its

value to each nation. The nation, however, should not see culture as a means to trade business with another nation. International

cultural conversations, particularly those that take place between different institutions and organizations, should be supported because of its merit alone. There is nothing wrong with the

arts events taking place within the UK-China Year of Cultural

Exchange. Many of them, as discussed, have the potential for longevity and future partnerships. As long as any viewer, in

whichever nation, goes in with the awareness that these art

events are government sanctioned and, therefore should only be

taken as an example of the art each nation has. There is a need for more and stronger cultural exchanges to happen.

----* Since the writing of this article, finished on the 21st July, Ai Weiwei has been given his passport back by the Chinese authorities after it was taken four years ago, upon his arrest in 2011. The artist announced the news on his Instagram account on the 22nd July. * On the 30th July Ai Weiwei posted a letter from the Visas and Immigration department of the UK government stating that his application for a three-month visa had been denied. The reason given was that Ai Weiwei had supposedly neglected to mention that he had a criminal conviction. They refer to the allegation of tax evasion that Ai Weiwei was detained under by the Chinese authorities. The crime that Ai Weiwei was accused of has been widely condemned as politically motivated. Ai Weiwei has been given a three-week visa, although in a statement on Instagram he said it was unlikely he would be able to attend both the install and the

術，承認 藝 術對國家的 價值。而國家 則不應該把文化視作 與 其他國

的對話，單憑它本身的益 處就 應該 被 大 力支 持。中英 文化交 流年上 的藝 術 活動本身沒有任 何問題 。其中的許多活動，正如我們所討論

過的，是有著長 期進行 和得到未 來合作夥伴的潛力的。只要 不論哪 國的觀 眾參與活動時能夠意識到，這 些藝 術 活動是政 府批準的，因

而只能當做一些例子，管中窺豹一國的藝術而已。因此，我們需要的 是更多更有力的文化交往。

opening of his Royal Academy exhibition. It is understood that Ai Weiwei is currently challenging the decision by the UK Visas and Immigration Department, stating that he has never been convicted of a crime. German authorities have given Ai Weiwei a four-year multiple entry visa. * On the 31st July, the UK Home Office announced the decision by home secretary Theresa May to order officials to grant Ai Weiwei the six-month visa. This reverses the earlier decision; Theresa May also apologized to the artist.

----*

7月21日該文寫成後，中國當局已在2011年艾未未被捕四年後歸還其護照 。該信息

是艾未未於7月22日在其I n stag ram 上發布的 。

* 7月30日，艾未未展示了英國政府簽證和移民局的一封信，信上表明他的三個月簽證 申 請 已 被 拒 絕 。原 因 是，據 稱 艾 未 未 沒 有 提 及 其 犯 罪 紀 錄 。所 謂 犯 罪 紀 錄，指 的 是 艾 未

未 被 中 國 當 局 拘 留 時 所 受 的 逃 稅 指 控 。艾 未 未 的 罪 名 指 控，實 際 上 面 臨 廣 泛 的 指 責，即

此 舉 實 為 政 治 驅 動 。英 方 給 予 艾 未 未 為 期 三 周 的 簽 證，但 艾 未 未 在 I n sta g ra m 上 宣 稱， 如 此 他 便 可 能 無 法 參 加 其 皇 家 美 術 學 會 展 覽 的 布 展 和 開 幕 。因 而，我 們 也 不 難 理 解 艾

未 未 目 前 正 在 質 疑 英 國 簽 證 和 移 民 局 的 決 定，堅 持 稱 他 從 未 犯 過 罪 。德 國 當 局 便 給 了 艾未未四年多次入境簽證 。

* 7月31日，英國內政部宣布了一項決定，內政大臣特里莎·梅（Th e re sa May）命令相

關 官 員 給 予 艾 未 未 為 期 六 月 的 簽 證 。這 一 決 定 推 翻 了 之 前 的 決 定，特 里 莎 · 梅 也 向 藝 術 家道歉 。

Victoria and Albert Museum

Government Art Collection

The Ashmolean Museum

Total number of art works in collection

2278183

14000

Approx. 10000000

Total works of art by Chinese artists

Approx. 16000 - 0.7% of the collection

16 – 0.114% of the collection

Approx. 12000 – 0.12% of the collection

Chinese art works pre-1900

Approx. 15400

3

Approx. 5,000

Chinese art works post-1900

Approx. 600

13

Approx. 3,500

1 ‘Cultural Exchange is ‘irreplaceable’ in China – EU Relations’, by Ding Wei in The Parliament Magazine, on 5th October 2014 2 ‘Duke of Cambridge Launches the UK-China Year of Cultural Exchange’, British Embassy Beijing on GOV.UK, on 2nd March 2015 3 ‘2015 UK-China Year of Cultural Exchange’, British Embassy Beijing on GOV.UK on 9th January

MARKET, RESOURCES, OR CULTURAL RELATIONS: A CHINA-UK OBSERVATION 中英文化交流十二年 TEXT BY 撰文 x OPHELIA HUANG 黃佳代

I was often asked such a question in my twelve years working

在 從事中英 文化交 流的十二年 裡，我常被問到一 個問題：為什麽英

money on culture and art in China - is it cultural colonization?

乎是：文化交流可以增進兩國之間的相互了解。誠實的答案是：通過

on China-UK cultural relations: Why does the UK spend all these An official answer could be that by connecting and creating

international opportunities for the people in China and the UK, it builds mutual understanding. One can also understand it in this way: cultural exchange is a soft approach to build a trust, which

國要花這 麽多錢 來中國 做 文化 藝 術，是 文化殖民嗎？官方的答 案似

文化 藝 術 這樣的軟性 交流 建 立 起信任之後，經 濟、外交等領域的事

務也許能更加順暢。我心底的聲音是：只要是實實在在地做內容，並 能最終對個人有所幫助或啟發，文化上的投入總是好事。

then enables an easier dialogue in harder areas such as economy

英國文化教育協會（British Council）是最早一批在中國開展文化交流

would add: investment in culture is always good as long as it is

in China）》雕塑作品展等大型項目為中國藝術界所了解。在英國，它因

and diplomacy. A voice from the bottom of my heart sometimes grounded and can benefit or inspire individuals.

British Council is one of the earliest foreign cultural organisations with governmental background operating in China, and has

been active in Chinese arts scene with exhibitions of significant British artists such as Henry Moore and Antony Gormley since

的外國官方文化機構，並在零零年初通過《摩爾在中國（Henry Moore 其和英政府（特別是外交部）之間緊密但又不完全附屬的關係，被形象

地稱為“一臂之遙”機構。但也因為它的這種特殊性質，英國文化教育 協會在中國並未作為獨立機構註冊，而被一攬子掛在了英國大使館的

旗下，作為使館的“文化教育處”開展工作。它也因此被賦予了更多官 方意味和神秘色彩。

the beginning of 00’s. An ‘arm-length’ organisation as called in

2 0 0 3 年 初 ，英 國 正 在 中 國 舉 辦 從 經 貿 文 教 各 方 面 展 示 英 國

and Education Section of British Embassy, which adds diplomatic

國有文藝院團的體制改革剛開始試點；中國當代 藝 術開始在國際市

the UK, British Council operates in China officially as the Cultural glory/mystery and certain sense of authority in the eyes of its Chinese audience.

It was the beginning of 2003. The UK was organising a big

campaign in China called Think UK before knowing there

的“Think UK”大型活動；中國的藝術機構剛開始培養自己的觀眾； 場上受到關註，但 瘋狂的拍賣 熱 捧 還 沒有到來；最早的一 批中國獨

立藝 術空間孤 獨地散 落 在北 上 廣。在 這樣的大環境下，英 格蘭藝 術 委員會（Ar ts Council England） 和英國文化教育協會極有遠見地 設立了一個為期四年的中英藝術家駐地交流計劃“Ar tist Links”。

項目不分藝 術 類 別，不 要求 藝 術家一定 要 完 成一 件 新 作，三四年中

War Horse

Work, Rest and Play, Jane Bown OBE, HRH Queen Elizabeth II, 2006

would be many more to follow in the next ten years. Chinese art

共 有 超 過 6 0 位 藝 術 家 受 到 資 助 進 行異 國 駐 地 創 作，而且 最可貴 的

Reform of Chinese state-owned art troupes first experimented

作曲家、行為藝 術家，也有中國當代 藝 術界當時 最為活躍的一 批名

organisations slowly started to find their own audience at home. on a handful of selected. Despite of attention attracted in

international market, the Chinese contemporary art frenzy was yet to come. The first few Chinese independent arts spaces

found their places in corners of Beijing, Shanghai or Guangzhou.

It was when Arts Council England and British Council pioneered a far-sighted four years initiative called Artist Links China,

an artist residency programme between China and the UK.

Over 60 artists from different disciplines, including Turner prize

是，中英各占一半。在這些藝 術家中，有來自英國的特納獎提名者、

字。20 03年項目建立之初，我需要不少解釋才能讓中國同行們理 解

當時國內還很 少見的駐 地 創作的概 念；四年之後，隨著中國藝 術機 構自身的蓬勃 發展，有不少機構已在 籌 劃自己的國 際 駐 地計劃 。同

時，英國文化教育協會的兄弟機構英國訪問藝術署（Visiting Ar ts） 也在2003年開始了第一屆中國藝 術管理者的英國培訓項目，並全額 承擔費用。可以說，這些英國官方機構，都關注並支持著中國藝術家 和藝術管理者的個體發展。

nominator, performance artist, composer, and some of most

那一段時期，有時會被中國同行們半開玩笑地稱作中英藝 術交流的

6 weeks in the other country to explore a totally different cultural

領域的 發展情 況，以 及 其他 國家在華的工作內容 相比，英國當時 在

active contemporary artists in China, got supported to spend 4 to environment. Most importantly it was a two-way exchange

and half of the artists selected were from China. When I and my

English colleague were setting up Artist Links, we struggled to find an existing translation for the word ‘residency’ in Chinese

and had to explain to our Chinese collaborators why the artists

were not required to finish a piece in this programme; while we

finished four years later, many Chinese institutions were seeking to start their own international residency programme. Also in

2003, Visiting Arts, originally a department of the British Council, launched the first placement scheme for Chinese arts managers

黃 金 時 代 。不 論此 說 法 是 否有失 偏 頗，它至 少反映出了與中國 文化 中國的藝 術交流 頗得人心。對藝 術界個體和前沿的關注 還體現在英 國文化 教育協會的項目策 劃中，例如與中國獨立藝 術家 策 劃人聯手

精心籌備一年多的聲音藝術項目《都市發聲（Sound and the City）》，

以及對英國小劇場戲劇作品的引介等等。這些項目對英國的藝 術做 了有力的推廣，也體現了這個外國機構對中國當時藝 術 發展 趨勢的

深入理解和把握。同時這也是當時布萊爾的工黨政府力圖塑造的“酷 英國”形象在中國的一個縮影。

但 這樣的力度，需要大量的投入。文化交流，不論其目的，都是一項

燒 錢 的事業。中國因為其 經 濟力量的發展，近 二十年來 是 英國對外

in the UK, full costs covered for the participants. Artistic and

文化交流的一塊 重地 。但0 8 年金融 危機 和10年保守黨上台，也似乎

to these British institutions.

時，中國國力日漸強盛，國內文化事業和產業也隨之有了迅速發展。

The golden age of China-UK cultural exchange. Sometimes

Chinese cultural workers still refer that period as so, which tells the popularity of UK’s cultural policy towards China at that

time. Besides the mentioned Artist Links initiative, artists from

China’s independent cultural scene could also be found in British

Council’s arts programme in China, which reflected its connection with individuals and grasp of local artistic discourse. For example, in 2005-2006 British Council spent more than a year with Beijingbased sound artist/critic Yan Jun to curate Sound and the City,

a sound art project inviting seven key British sound artists to

feel and share with Chinese audience, which is still remembered as one of the earliest and most influential sound art projects in

意味著英國對外不求回報的大手筆投入是無法長期維系的。與此同

雖 然 其在國際 文化影 響力上和英國這樣的“老牌資本主義國家 ”依 舊差 距巨大，但 通 過北 京 奧 運會 和上海世 博會這樣 的展示機會，中

國政 府越 來越吸引著外國機構的注意和尊重。這些政 府層面的交流

展示也成 為了英國在中國的文化活動的重 要 平台。從 0 8 年開始，英

國文化 教育協會的藝 術項目之官方色 彩和政 府背景日漸加強。它還 參與或承擔了為北京奧運會閉幕式倫敦交接和上海世博會英國館官 方藝術活動的大量協調組織工作，消耗了不少人力物力。與此同時，

英 國 也在不斷削減公共開支。資 源有限的 雙 重制 約之下，和中國 機 構 合 作 、吸引和利用中方的資 源投 入 成 為了英國唯一的選 擇 。但 與 此同時，中國藝 術領域的發展，中國政府對文化實力的日漸重視，以 及其他國家如法德 荷在藝 術交流上的持續投入，都使得英國越來越 難以維持其在中國的領先位置。

China. These well-planned art projects showcased some of the

近十年的中國，最不缺的就 是各種 大 型的文化 事件。幾 乎 每年中國

on the other side of the world.

流項目更從北上廣覆蓋到二三線城市。2012年結合倫敦奧運效應，

best UK had to offer, a complement to Tony Blair’s Cool Britannia

Art programme always needs money. Culture exchange cannot be achieved without resources. While China continues to be on the priority list for Britain’s cultural engagement, thanks to its

dazzling economic achievement, global financial crisis in 2008

都會與數個國家有規模不一的雙 邊 文化 年，來自不同國家的藝 術交 英國在中國舉辦了為期大半年的“藝述英國（UK Now）”，有兩百余 個活動。2015年初經過大半年的籌備又借威廉王子訪華啟動了中英

文化 年並組 織了幾十 個項目。事實上這些 活動大多數都依 賴中國文 化甚至商業機構來組 織並投入相當的資源，由中方直接與英國內容 對 接。英 國文化 教育協會則 從 過去的組 織 者，轉 變為官方的平台搭

Work, Rest and Play, Patrick Ward, Pearlie Family, 1977

professional development of individuals were clearly important

UK Pavilion Construction Š DanieleMattioli

and the end of 13 years of Labour government in 2010 cast a

good-looking numbers: economic growth, sale, GDP, highrises,

Chinese cultural sector welcomes a period of fast development

numbers?’ Back to the increasingly ‘officialized’ cultural exchange

shadow over UK’s future cultural input in China. Meanwhile,

brought by China’s increasing economic power. China still has a long way to go in terms of global cultural impact, but it has started to attract attention and to demand respect culturally

through manifestations such as Beijing Olympic Games in 2008

but can they represent everything about us? What’s beyond the between China and the UK, the voices of individual artists and

small-scale/independent organisations are struggling to be heard in the busy stage full of governments, big institutions and capital.

and Shanghai World Expo in 2010. Too big to ignore, these official

UK’s Cultural sector may marvel at the on-going Chinese trend

culture. Starting from 2008, British Council’s art programme in

theatres, which gives outsider an impression of a huge cultural

spectacles also became the platform for the UK to showcase its China was increasingly tinted with governmental tone. It was

given demanding official tasks by British government such as

organising cultural programme for the UK Pavilion in Shanghai World Expo 2010, as well as to build a closer relationship with

increasing number of the UK stakeholders and their aspirations

in China. With more demand, higher expectation and UK’s public sector cuts, it is not difficult to see that organisations like British Council have to attract and work much closer with Chinese

partners, or to be precise, those who have resources. Meanwhile, the quickly developing Chinese cultural sector and increasing

cultural exchanges between China and other counties makes it a challenge for the UK to maintain its leading position with China.

All fashions of big-scale cultural events (with big titles) flourish in China in recent years. Several ‘Cultural Year’ between China and foreign country are introduced to Chinese audience almost in

every year, all of different scale and focus. International cultural

of building new cultural landmarks such as museums and grand market to be filled. ‘Market’ seems to be the word found in every discussion related to China at present, commercially, and even culturally for non-for-profit organisations like British Council.

Chinese interests in cultural collaboration and artistic exchange with the UK are at risk to be considered together with other

‘business opportunities’. Some still remember that Britain waged the Opium Wars against China in the name of trade in 19th

century. The wars are history now, but globalized capital move and economic activities are bringing people around the world much closer to each other regardless different histories and

cultural traditions. A crowded world needs dialogue and mutual understanding more than ever. Nobody would love the idea of

being considered merely as a market, whether the goods to be

sold are luxury brands, art or ideology. Perhaps we all should put

aside terms such as ‘market’ and ‘resources’ sometimes to have a true dialogue about mutual understanding and trust.

exchange programmes have covered many second or even third tier Chinese cities that very few British people know where they are. With the impact of London Olympics, British Council put

建者，並希望 通 過 這 些平台吸引到更 多來自中國的資 源 。數 量 上的

the banner of ‘UK Now’ in eight months during 2012. At the

也提出了一 個 在中國 很普 遍 的“ 數字能 否 代 表 一 切 ”論題 。而從 另

together more than two hundred art projects across China under beginning of 2015, launched by Duke of Cambridge in his first

China visit, British Council again prepared a six month season of UK arts in China with dozens of exhibitions, performances, talks etc., aiming to reach millions of Chinese just like UK Now, as

增長，一方面反映了中國機構自身國際合作實力的迅速提高，一方面

一 個角度 來看，在官方和機構 色 彩愈發 濃 重的中英 文化交 流中，那 些本來就 缺 少資源的中國藝 術家個體或者民間機構，在政 府、大機 構和大資本競相角力的這個舞台上，越來越難以獲得關注。

part of the first-ever official UK-China Year of Cultural Exchange.

近 年中國井噴 式的文化 場館建 設 風潮，讓 英國同行羨慕之 余，也似

by Chinese cultural or even commercial organisations. The

年，越來越多地出現在所有與中國相關的討論中，經濟上如此，像英

Actually these arts projects were mostly delivered and financed role of British Council has moved from the organiser of cultural

exchange, to broker or an official platform builder. With backdrop such as UK Now or Year of Cultural Exchange, it seeks the

goal of increasing numbers, both in terms of audience and

money from China. And of course, China is the place to be if you are looking for big digits. The stunning numbers demonstrate the ability and aspiration of Chinese organisations to work

internationally. Yet it also reminds me of the subtle doubting voice among ordinary Chinese people which echoes many

aspects of living in present China, ‘China is full of spectacles and

乎帶來了一 個巨大 文化市 場 有待 填 補的印象 。市 場 這個 詞，在 近 幾

國文化 教育協會這樣的專門從事文化交流的非盈利機構，竟似乎 也 無法避免 。同時中國機構的合作意向也有被單純視作“商業機會 ”

的危險。有時，我甚至會想起一百多年前，英國人 來 到中國，為了貿 易和市場不惜挑起戰爭。今天，當年的硝煙自然早已散去，但無論地

球 上來自不同的傳統的人們願不願意，全 球化的資本 和經濟活動都 使 你我之間的距離 變 得越 來 越 近 。世界越 擁擠，就 越需要溝 通和相

互 理 解 。大概沒有人會願 意自己僅 僅 被看做 是 一 個市 場，不論這 市

場上待出售的是奢侈品、藝術還是意識形態。也許，要真正地討論不 同文化間的相互理 解 和平等信任，還需要雙方都偶爾放下市場和資 源這之類的概念吧。

The Chinese Photobook (Aperture, 2015), Edited by Martin Parr and WassinkLundgren Texts by Gu Zheng, Raymond Lum, Ruben Lundgren,, Stephanie H. Tung, and Gerry Badger

TOUCHING FROM A DISTANCE: THE CHINESE PHOTOBOOK 站遠一點看歷史： 中國攝影書集

TEXT BY 撰文 x HAO ZHIZI 郝智梓 IMAGES COURTESY OF 圖片提供 x APERTURE FOUNDATION 光圈基金會

In the 20th century, “photobook” was produced as an effective media for recording history and reflecting the development of the history of

photography. However only in the last decade there has been a major

reappraisal of the role and status of the photobook within the history of

photography. China boasts a fascinating history of photobook publishing, the oversea photographers and artists who have concerned about China have

been studying on it for years, trying to light its historic position worldwide.

Based on a collection compiled by British photographer Martin Parr and the Beijing-London-based Dutch photographer team WassinkLundgren, the

Chinese Photobook illustrates the history of Chinese photobook making

over a century vivid to the world for the first time, together with its country’s diversity, richness, and vigorousness. With the support of the Cultural and

Education Section of the British Embassy, the Aperture Foundation and many

other institutions, it has been presented in Arles, New York, Beijing and London

successively. Besides, a book of the same titled has also been published in 2015

by Aperture and the China Photographic Publishing House. Curiously, none

of the three curators is from China. We interviewed Martin Parr and Thijs groot Wassink, and talked about their experiences in the photos of China.

攝影書是記錄歷史、反映攝影史發展的有效載體。雖然誕生了一個多 世紀，但只有在近十幾年它才開始受到廣泛的關注。中國的攝影書出

版 史 頗為繁盛，多年來海外 攝影 界以 及關注中國發展的藝 術家一直 對其進行歷史研究工作，試圖還原它在世界範圍內的歷史地位。

《中國攝影書集》是由英國攝影家馬丁·帕爾（Martin Parr）同荷蘭藝

術組合魯小本&泰斯（WassinkLundgren）共同合作的項目成果，講述

了中國攝影書從1900年來的百年歷史，並首次向世人展示它在這百年

間體現出的多樣性、豐富性和強大的生命力。在英國大使館文化教育 處、紐約光圈出版社等多家機構的大力支持下，展覽先後在法國阿爾

勒、美國紐約、中國北京及英國倫敦亮相。同名書籍《中國攝影書集》 也於2015年正式發行。值得注意的是，該展覽的三位策展人中竟然沒

有一位中國人。為了更好地了解展覽背後的故事，我們采訪了其中兩 位策展人，馬丁·帕爾和泰斯·格羅特·瓦辛克（Thijs groot Wassink）。

Beijing Silvermine is a project started by the French

photographer Thomas Sauvin who has lived in Beijing for over 10 years. It is an archive of half a million abandoned negatives salvaged over the years from a recycling plant on the edge of

Beijing, covering a period of 20 years, from 1985, the year that

witnesses the booming of silver film photo, to 2005, when digital

camera finally dominates. Surprisingly, those negatives lying in the rubbish dump, turn out to be perfect approaches to understand the modernisation of Chinese people’s life and the great social

change in China. The photobook made by Sauvin, is an exhibit of “The Chinese Photobook” exhibition and was displayed earlier

in The Photographers’ Gallery, London. The Beijing Silvermine

project is like an epitome of the whole exhibition, which also tries to explore the mine of Chinese photobook.

ART.ZIP: How did you first notice such a huge yet unexplored area of Chinese photobook?

TW: It started with Ruben (Lundgren) and myself first going to

China in 2006, where we did our first project there together, the

Empty Bottles, after we graduated from BA in Netherland. The

book we made won a prize at a festival in France. Martin Parr

saw that book, and he liked it, so he contacted us. He has a big interest in photobooks in general, and has made a book called “The Photobook: A History”, which contains three volumes focusing on the world history of photobooks. In those books,

there were maybe three Chinese photobooks, and he felt that

probably there should be more. Then Martin went to China for his own work, and found Ruben there, who has been living in Beijing for years. Since Ruben could speak mandarin, Martin asked for his help to find some photobooks. Ruben found some books at the

Panjiayuan flea market in Beijing, and they were about Cultural Revolution. Martin really liked them.

MP: We then decided to do a project together about Chinese

photobook which took about 7 or 8 years to achieve. So Ruben

would buy the books in China, and I would buy them in Europe.

Together, we sort of made a collection, and the project was

published as a book: The Chinese Photobook: From the 1900s

to the Present.

TW: When we were building up the collection, we found out that almost nobody else knows about Chinese photobooks. So it was like an open door, and we thought that maybe we should show this to the world, and so the idea of an exhibition emerged.

MP: The show ran in Beijing earlier in this year, and it’s probably

“北京銀 礦(B eijing

Silver mine)”是 一 個由法國人 托馬斯·蘇文

（Thomas Sauvin）發起的廢棄底片收集項目。世紀之交的中國， 膠片 還 是 攝 影 的主 要 方 式，而 那 些 不 討喜 的 廢 舊 膠片的 最 終 歸 宿

一 般 都是垃 圾場 。蘇文收 集 起了這 些 膠片，並 將它們 沖 洗了出來 。

這 個 項 目 就 叫 做“ 北 京 銀 礦 ”。令人 驚 訝 的 是 ，那 些 從 前 被 當 作

“ 不 好 看 ”和“ 拍 攝 失 誤 ”被 丟 棄 的 照 片 在 重 新 沖 洗 之 後 煥 發 了 新 生—— 由於多數都是私 人 攝 影，它們 成 為了那個 時 代 國 人審 美以

及 家 庭 生 活 狀 態 最 好 的 印 證 。“ 北 京 銀 礦 ”所 制 作 的 攝 影 書 作 為 本 次中國 攝 影 書集 展的一 部分，不久前 在倫敦 的 攝 影 師畫 廊（T h e

Photogr apher s’Galler y）展出。而“北 京銀 礦 ”儼 然 是 這個展 覽 的 一 個 縮 影：中 國 攝 影 書 集 展 也 將 其 視 線 對 準了從 未曾 被 世 人 注

意 到 的，甚 至 從 某 種 意 義 上 也可以 說 是 被 遺 棄 了的 中 國 攝 影 書 集 這一巨大 蘊 藏 。

ART.ZIP: 你們是如何發現中國攝影書這個巨大蘊藏的？

going to a tour in China as well, although it has been to London

TW: 2006年在荷蘭讀完本科之後，魯小本（Ruben Lundgren）和我

some quite wide exposure.

B ot t le s）》。馬丁非常喜 歡 那 本 書，便 聯 繫了我 們 。馬丁自己 對 攝

and New York as well, and the Arles Festival in France. So it has

There is always a chance that a culture being watched from outside would be transformed by this gaze into merely a

spectacle. This happens even more often when the object is

“Oriental”, as suggested by Edward Said in his book, Orientalism.

The curators of The Chinese Photobook tried their best to

第一次去了中國，在那裡完成了我們的第一 個項目《空瓶子（Empt y 影 書 有 著 很 大 的 興 趣 ，他 曾 編 著 過 一 套 書《 攝 影 書 的 歷 史（ T h e Photobook: A Histor y）》，其中收錄了三本中國攝影集，但他認為

中國攝影書集 應該占有更高的地位 。於是 他 就 來 到了中國，找 到了

當時定 居中國的魯小 本 。因為魯小 本 精 通中文，馬丁便請他幫著搜 集中國攝影 集 。魯小 本便開始在北 京的潘家園市場淘書，最早的時 候找到的都是一些文革時代的攝影書集，馬丁非常喜歡它們。

show the most original, authentic China to the Western world.

M P : 於是我 們 決 定一 起做一 個 關 於 中國 攝 影 書 集 的 項目，而 這個

about this “mysterious” country, and its “bizarre” history.

集，魯小 本在北京搜集，而我在歐洲搜集，漸漸地書就多了起 來，最

While they were preparing for the project, they also learned more

ART.ZIP: During the whole process of building up a collection

and later the exhibition, have you learned more about China?

MP: Obviously you learn about China, because you study the

books, you study the history of the country that lasts hundreds of

years. You see the imperial rule from the colonists, the start of the

項目花 了大概八年的時間。在這八年時間裡，我們不停地搜集攝影書

終我們成功地把它們編進了這本《中國攝影書集：1900年至今（The Chinese Photobook: From the 1900s to the Present）》。

T W: 在搜集的過程中，我們驚訝地發現除了我們之外幾乎沒有什麽 人 聽 說 過 這 些書，更 別 提了解它們了。這 是 一 個並 沒有什麽人 涉足 過的領域，也許我們應該把它們拿出來向世人展示。

revolution, and now you see this new emerging fresh generation

MP: 在我們的書出版之後，展覽也應運而生了。這個展覽早些時候

opposed to the propaganda voice. You also see some history that

進 行 一 個 巡 展。而在國 際 上，我 們在倫敦、紐 約和巴黎 都 舉 辦 過 展

of artists and photographers who have their own voice, as

has not been noticed, during the Japanese invasion for instance,

the Manchurians produced very good photobooks and they have a whole chapter in our book, and such history is not included in

the mainstream discourse. Viewing the photobooks is like reading the country.

ART.ZIP: Has this changed your mind about China?

MP: No, it hasn’t changed my mind at all. It just confirmed

everything I knew, but of course it has great depth. We will still

已經在北京的尤倫斯當代 藝 術中心 舉 辦 過了，之後 應該 還 會在中國 覽，曝光度 還 是比較高的。

English and Chinese covers of The Upheaval in Hong Kong: We Shall Win! British Imperialism in Hong Kong Will Be Defeated! (Hong Kong: China Books & Periodicals, Inc., 1967), from The Chinese Photobook (Aperture, 2015)

find books now that we didn’t know about, even when we went to a great length you can never find everything. They’ll be other things hidden.

ART.ZIP: Have you worried that while the Westerns are reading or viewing the book or the exhibition from a perspective of

greater world of photography and all the connections combining all together.

ART.ZIP: As a westerner what do you think about the photobook traditions in Europe and in China?

orientalism and regard Chinese photobooks as a spectacle?

MP: There are some overlaps. You have the new generation

MP: I wouldn’t worry about it in the slightest. We have books

new books, which you wouldn’t believe that they could be

made from China by Chinese photographers, also books from China made by foreign photographers include Japanese and

Europeans, so it is a process of looking at the country and the

books emerged about that country, from both inside and outside.

Bear in mind that we have been doing the same process with

published several years ago. Obviously in China you have more state propaganda, where the state used to control everything

those was published, that has not happened in Europe in recent

years. So that’s probably the main difference, you have this added layer of control. So when we showed the books in China, we

couldn’t show the Tiananmen Square, and that’s the substantial

Interior selection of accordion-style pages from Commemoration of the Completion of Building Projects on the Occasion of the Anniversary of the Founding of the People’s Republic in Beijing: 1958.10–1959.9 (publisher unknown, 1959), from The Chinese Photobook (Aperture, 2015)

Japan, India, Africa, Latin America, it’s all about understanding the

photographers who are creating very exciting and interesting

在 文化 交 流的過程中，誤 解 和刻 板印象幾 乎 是不可避 免的，而 這一

TW: 因為我們都不是歷史學家，所以我們做了大量的歷史研究工作。

（Edward Said）的《東方主義（Orientalism）》一書中就早已有過

哪些書籍囊括到我們的收藏當中。有一本讓我印象特別深刻的書，那

點 在 東 西方 文化 的 碰 撞 與 交 流中則更 加 明 顯：這 在 愛 德 華·薩 義 德 證 明 。然而《中國攝影書集 》的 策 展 人們 則盡 力呈現 給 大 眾一 個更

真實的中國。在準備著作的八年時間裡，他們自己也對中國這個東方 國度，以及中國的歷史有了更加深入的理解。

ART.ZIP: 在研究過程中你们對中國是不是有了更深入的了解？ MP: 當然。在研究那些攝影書集的過程中，我們相當於也研究了整個

中國的現當代史。你會看到西方列強的入侵，會看到那之後興起的各

種革命，還會看到新一代攝影師、藝術家的崛起，而他們發出的聲音 則是對從前那個將藝 術作為政治宣傳工具時代的反抗 。同時我們還

這樣一來，我們能更 好地把握 這段 歷 史，也能更 好地決 定我們該把

是新時代攝影剛興起的時候發行的。乍一看我們都覺得它只是一些

很普通的照片拼到了一起，主題也不怎麽明晰，感覺沒有什麽太大意

義。然而當我們深入了解後，我們發現，那本書的發行時間剛好是改 革開放初期。在那之前，你沒有個人的自由，你只能做那些國家讓你 去 做 的事情，而突 然間 你 擁 有了自己思考的權 利，你 會帶 著滿 腹 的

好奇心去探索所有你想探索的東西。當我們把這一本看起 來沒什麽

意義的攝影書集拼到整個歷史 脈 絡中的時候，它忽然就有了意義 。 所以說研究中國歷史對我們的工作非常有意義，同時我們也請了許 多國內外的學者在書中介紹攝影書集背後的故事和歷史事件。

會發現一些不為人知的歷史，比如抗戰期間，日本控制的偽滿洲國曾

ART.ZIP: 更深入的了解有沒有改變你對中國的認識？

所記錄過的，而這段歷史在我們的書中則單獨編成了一個章節。

MP: 完全沒有，它們反而讓我堅定了過去腦海中的中國形象。不過在

經發行過一些制作非常精良的攝影書集。這是未曾被主流歷史話語

and important chapter of recent Chinese history, but they have written it out so you can’t even mention it.

The censorship, apparently, has imposed a strong effect on

the exhibition as well as the book they made, The Chinese

Photobook: From the 1900s to the Present. All contents

relating to the Beijing Turmoil have been deleted from both the exhibition and the book, and they had to introduce a

“Mainland version” of the book. Such persistent connections

between politics and photobooks actually supports their idea,

that photography is never innocent but always is employed by political agendas .

ART.ZIP: I assume there were a lot of compromises in terms of

what can be shown and what cannot...

TW: Of course there were compromises. In a way, I think we

had to push that as far as we could. If we push it too far, then we would have had nothing (to show), and it’s silly to make

something like this and not to show it in China, because it is

about China. I don’t want to just step in, take something away

and show it only to the west. It’s more interesting to listen to the conversation between people in China and their own work. In a way, the censorship itself is a crucial thing we explore in the

book, as well as in the exhibition, just to see how it works. Not

only Tiananmen Square, they have done the same thing to Lin Biao as well. Also, during the Japanese invasion, the Japanese

photobooks have beautified what they did in China as well. The real history has been modified.

深度上的確加深了許多，而且你會發現它是沒有止境的——我們至今

MP: 它們當然有相同的地方。新時代的攝影師在制作非常棒的攝影

們去發現，去挖掘。

帶有更多的政治色彩，因為國家會監管出版物的內容，而這在西方是

還在不停地搜羅更多的攝影書集，有更多我們沒 見過的書在等著我

ART.ZIP: 有沒有想過西方讀者/觀眾在讀這本書或觀看這個展覽的 過程中會用東方主義的視角，把它們當作一些奇觀來看待呢？

MP: 完全不會擔心這個問題。我們囊括了許多來自中國的攝影書集， 也囊括了許多外國人 編輯的關於中國的攝影書集，視角的設 定本身

就 是 雙向的。在攝影書集研究史 上，我們同樣研究 過 其他國家的攝 影書集，日本、印度、非洲、拉 美。這 是 一 個更為宏觀 地 理 解攝影以 及各事物內在聯繫的過程。

ART.ZIP: 作為一個西方人，你認為中國和西方世界在攝影書集的制 作傳統中有什麽異同呢？

書集，而這是我在二十年前完全無法想象的。當然，中國的攝影書籍

不可能 發生的。這 大概 就 是兩者之間主 要的不同點吧 。這 種 政 治控 制也對我們的出版物以 及 展 覽造 成了很 大影響，我們在中國的展 覽 中甚至不能提到天安門，那可是中國當代史中最重要的一部分。但是 這段歷史被抹去了，所以我們自然也不能提。

Interior selection from Chairman Mao is the Red Sun in Our Hearts (Beijing: People’s Fine Arts Publishing House, 1967), from The Chinese Photobook (Aperture, 2015)

For most of us, photobooks are familiar yet unfamiliar. They are

中國的政治審查的確給 這個展覽帶來了很大影響。在過往的幾個展

the exhibition reveals; and unfamiliar, because selectively we

刪去了：而他們也不得不為自己的著作《中國攝影書集》推出“大陸

familiar, because they are everywhere in our daily life, just as

often ignore them. In most cases, people elide them as they are

more propaganda measures than artistic projects, which in turn, stop us opening them from the very beginning. This exhibition encourages one to review and rethink those books. Through

覽中，策展人調整了北京的展覽的內容，有關“天安門”的部分都被 版本”。而政治與攝影書集之間扯不斷的聯繫，也正好同他們對攝影

的觀 點 相 契合—— 攝影是 永遠 無法 純 粹的，它永遠為達 成 某 種目的 而被人們所利用。

reviewing and rethinking, they seem to be more valuable than

ART.ZIP: 在策展的過程中應該有作過很多妥協吧？

encouragements and urges are from a bunch of outsiders.

T W: 我們的確是需要妥協，但 另一方面我們還 是需要盡可能去爭取

we once reckoned. What is curious and uncanny here is that the

MP: The interesting thing is that no one knew about these

photobooks. Even in China no one knew about it. People would

know certain sections like contemporary work or the propaganda books, but no one was able to put the whole picture together. So I don’t think there is a collection in China that has all these books

in. Even in the Chinese national library, they wouldn’t have books from Japan, or the contemporary books from China, they’ll have the state produced propaganda books but not much more.

一些東西，因為如果這次我們不去爭取，之後就更沒有機會了。然而

如果不作任何妥協，或許連在中國展出的機會都沒有了。如果一個關

於中國的展 覽 無法在中國 展出，會是 很可悲的一 件事。我 們不希望 只到中國去，把一些東西帶出來，然後只向西方展示。能看到中國人

自己同這個展覽之間的對話，會更有意思。從某種意義上來說，這也 正是我們在展覽和書中都在探索的一 個問題，即政治審查是如何運

作的。除了天安門事件，林彪也遭遇了同樣的命運，他的圖像都被從

攝影書集中抹去了。而偽滿洲國在當年日軍侵 華的時 候也做了同樣 的事情，對真實的歷史絕口不提。

TW: There were a lot of institutions who are not collecting propaganda photobooks because they think that those

photobooks do not belong to the category of art, from their point

正如展 覽 所指出的那 樣，攝影書集在中國人的生活中隨 處可見 。然

through that period, I probably wouldn’t like to look at those

書集 扮演的角色更多地 是 政 治宣傳品，而非藝 術品而無 視它們 。然

of view, they’re just propaganda. I imagined if I would have lived books either. However, if you take just a little bit of distance, and just see how photography is used, and abused, to tell certain

而在國人的生活中，它們 被 選 擇 性 地無 視了。一 些 人因為一 些 攝影 而今 天，當我 們重新用另一種 角度去閱讀 這 些書 籍的時 候，它們 忽 然重新擁有了自己的價值。

stories, it becomes something very telling about the medium,

and it says something about the history as well. So in that sense, it’s a very important part of this book. Maybe an important

reason why this project has not been made in China yet is that

because you are too close to your own history. If you take a little bit of distance, and ask an outsider to show it to you, maybe

you would suddenly realise that you have never looked at it in

this way. Usually, the deeper you go into something, the more

interesting it becomes. However, if you have a natural impulse

to look at those images and convince yourself not to think about that because of some reason, you are never going to dive into

it, and you will never understand how strange, yet beautiful and special it was. The changing attitude towards photobooks in

China reminds me of changed attitude towards the ceramics. A

while ago a Chinese friend of mine helped a Chinese collector to buy a piece of ceramic work from the auction house. That work,

however, was originally bought from China twenty years ago with a rather low price. I guess that is another proof that sometimes you need the eyes of outsiders to see your own beauty.

MP: 並沒有任何人了解中國的攝影書集 史，就 連中國人都沒有人了 書集，可是 從 沒有人 把它連 成一 個整體 來看，更 別說去 做 這樣的一 個收 集工作。即使在中國的國家圖書館也有許多書集沒有被收 錄， 比方說日軍侵華戰爭中編錄的那些書，還有新時代先鋒攝影師 們的 那些書。他們的收藏中大部分是政治色彩比較濃厚的攝影書集。

TW: 許多攝影書集收藏機構都不收集政治性太強的影集，他們都覺 得那不是藝 術，只是政治宣傳的工具罷了。我試想了一下如果我也是

經 歷 過 那個年代的人，我 應該也不會願 意去讀 那些書。然而如果你 試著 少 一 些 代 入 感，以 旁觀者的角度去看那些書，去思索攝影是 如 何 被 話語權的掌控者所 利用，你 會 從中對 媒介，對歷 史有更 深刻的

認識 。這也正 是我們這本書想要 探討的一 個重要問題 。也許至今中 國還無人踏足這個領域的一個重要原因就是國人距離自己的歷史太

近了。有時候人們是需要通過旁觀者的眼睛才能看到自己的美的。而 當你越 深入一 個東西的時候，你越 能 夠 發 現 其中的美。但 如果你帶 著 偏見去看那些 作品，覺得它們都是 你不願意去了解的那個歷史時 期，你就無法發現那種美了。這個世界喜歡向前看，如果你永遠不回

頭，不鉆進那段歷史，你就永遠不會理解它的美。如今中國人對攝影

書集的重新審視，也讓我想到了你們對陶瓷態度的轉變。不久前，我

的一 位北京朋友同一 位中國收藏家一起 來到倫敦，在拍賣行高價買 下了一 些中國瓷器。那些 瓷器正 是在二十年前以低 價從中國收 購來 的。這或許也是我所說的“旁觀者清”的又一個例證吧。

Cover of the Sino-Japanese Conflict in Shanghai (Shanghai: Wen Hwa Fine Arts Press, Ltd., 1932), from The Chinese Photobook (Aperture, 2015)

解。有人了解它的一部分，或是文革時期攝影書集，或是新時代攝影

FOREST FRINGE IN CHINA 森林藝穗節：共同在場

TEXT BY 撰文 x KE QIWEN 柯淇雯 IMAGES COURTESY OF 圖片提供 x FOREST FRINGE 森林藝穗節

‘Every year there’s a moment and the moment goes like this.You are inside in the hall and it’s getting quite late and quite dark and we are moving chairs. We are forever moving chairs.’

“每年都有一 個這樣的時刻：天晚了，也很黑，小 禮堂裡，我們在搬 椅子。我們一直在搬椅子。”

——安迪·菲爾德 & 黛博拉·皮爾森

－－ Andy Field & Deborah Pearson

It’s 2006, Forest Fringe initiated at the Forest Cafe in Edinburgh,

2006年，森林藝穗節（Forest Fringe）起源於愛丁堡一家名為“Forest

where the group of artists making space for risk and experiment.

多年來他們憑著滿腔熱血進行著英國當代表演藝 術的探索實驗。這

a beautiful decaying church hall above the cafe is the place

Over the years they devote themselves to the UK contemporary experimental performances with full of passion. This is a totally independent non-for-profit community, in this community

where artists and audiences have no boundaries and even shift the roles; meanwhile this is also a performence festival held

annually in Edinburgh, now the festival has grown, they begin to experiment beyond Edinburgh creating projects across the

UK and internationally. As one of the UK-China Year of Cultural Exchange programmes in 2015, seven artists came to China to

Cafe”的咖啡館，樓上的舊教堂是這群邊緣藝術家們逐夢的起源地， 是一 個非盈利的獨立藝 術社群，在這個社群 裡藝 術家與觀 眾沒有界

限 甚至可以 身分互 換；同時 這也是 一 個表 演藝 術節，每年定 期在愛

丁堡舉行，如今他們的聲勢越來越浩大，探索的足跡已經遍佈全球。

作為2015中英 文化交流年的重要項目之一，成員們首次來到中國與 當地藝 術家和觀 眾分享他們的藝 術理 念。在結束了為期三週的中國

之行後，ART.ZIP邀請了聯合創始人安迪·菲爾德（Andy Field）和藝 術家理查德·德多米尼奇（Richard 難忘的經歷。

DeDomenici）與读者分享這次

share their ideas with local artists and audiences. After this three-

week China Tour, the co-director Andy Field and the artist Richard DeDomenici shared their unforgettable experience with us.

Andy Field： Incidental Plays ART.ZIP: It’s quite interesting that Forest Fringe is described as a “fringe of the Fringe”, what makes it so special？

AF: So I suppose people have often called Forest Fringe a “fringe

of the Fringe” which I think is like history repeating itself. If you look

安迪·菲爾 德：

《偶發表 演（Incidental Plays）》 ART.ZIP: 常有人 形容森林藝穗節“比藝穗 還藝穗（fringe of the Fringe）”，為什麼它的特點如此鮮明呢？

back at the original history of the Fringe Festival, it began as this the

AF: 人們之所以 這樣 描述可能是因為森林 藝穗節重現了歷史吧 。早

to do, they just came and arrived in order to make the most of

愛丁堡國際藝 術節（Edinburgh International Festival）在周邊

event where artists did this thing that no one gave them permission this big prestigious Edinburgh International Festival. It was totally

independent, totally autonomous, and maybe slightly cheeky with a bit of a radical spirit to it. They made a space and an opportunity for themselves. That was the original spirit of the Fringe, but you

look now, however many years later, and understandably the Fringe has become something very different. It is now so many times

larger than the original festival. It is like Edinburgh is all Fringe, with

this tiny festival in the middle. So there was a sense in which Forest Fringe was trying to renew some of that spirit of outsiderness, of

independence. Doing things without permission, doing what you decided to do, making a space for yourself, not because someone told you to, or because someone gave you permission to do so,

but because you have the self-possession to be able to do so. If you want to, if you believe in yourselves, and if you have a community,

you can use that community to create that opportunity that you feel you need or deserve.

年很多藝 術家們的表演得不到官方認可，他們只 好藉著聲名遠播的

進 行 完 全 獨 立、自發 的 表 演 活 動 。聽 上去 似乎 有些 厚 著臉 皮了，但

他 們畢竟在 這個擠 破門檻的藝 術節 期間為自己博得了一席席位 。這 就是愛丁堡藝穗節（Edinburgh Festival Fringe）的由來。的確 經

過了這 些 年，它的轉 變 和擴 張 都是合乎 情 理的，但 是 如今它卻變 成 了愛丁堡 慶 典的中心，反而國 際 藝 術節被 擠到了邊 上 。這 是非常遺

憾 的，因為“邊 緣 化（Fr inge）”這個最初的精神 被 淡 忘了。森林 藝

穗 節 就 是在 試圖延 續 這份 精神 —— 不需 等 待 發 號 施令，做自己想做 的事，另外，當然也是因為我們這群藝 術家 並不介意“局外人”這樣

的身 份。我 們 堅信 如 果 有追 求，如 果 相 信自己，如 果 有一 個 獨 立的 藝 術社群，那麼一切都是充滿希望的。

ART.ZIP: 看起 來 森林藝穗節的確更像是一 個社群而不像組 織，可 以聊聊它的發展 史嗎？

AF: 森林藝穗節的誕生並沒有任何商業計劃或者策略，而是一 個機 遇。2007年的時候，有人向我的合作夥伴黛博拉·皮爾森（Deborah

ART.ZIP: Forest Fringe is more like a community rather than an organization. How did it evolve this way?

AF: It’s very interesting, Forest Fringe began not as a business or business plan or any particular strategy, but rather as an

opportunity. The reason Forest Fringe started, in 2007, was

because someone approached my co-director Deborah Pearson with an offer of a café and a beautiful church hall above the café and they said: “We have this whole performance space, do you

want to do something during the Fringe festival”. So Forest Fringe was born out of this opportunity and this space, and the question

Pear s on）提 議，是 否願 意在 愛丁堡 藝 穗 節 期 間 做 些 表 演 活 動，他 們可以提供表演空間。帶著很多對未來的不確定，Forest Café成為 了森林藝穗節誕生的起點。商業和策略之類的並不是我們考慮的重

心，我們的目的是 創建一 個活躍的藝 術社群，讓 大家有一 個互 動的 平台。在我看來聚 眾就是我們該做的，即使只有短暫的相聚，但這就 是森林藝穗節的理念。我們時時刻刻提醒著自己，藝術家、社群還有 大家相聚的時刻重於一切。所以最 好的模式就是建立一 個非盈利的

社群，盡可能 減 少固定 支出和管 理 負擔，不用過多考慮 如何發展和 維 繫，作 最 純 粹的藝 術 交 流 。這 就 是 森林 藝 穗 節的魅 力所在，大多 組織和機構是很難做到的。

of what we wanted to do with it. So for that reason, right from

ART.ZIP: 這讓我們想到了激浪運動（Fluxus），你和皮爾森將散落

doing, and any sense of us as a business was not central to what

生了怎樣的影響？

the beginning there was no sense of strategy to what we were

we were doing. What was central was the active gathering and

各地的藝術家聚集起來進行藝術實踐。你認為森林藝穗節對他們產

this act of bringing people together. I think that act of gathering

AF: 非常開心你把激浪運動和我們聯繫在一起。幾年前我們策劃了一

a community even if very temporarily and that has always been

每一頁都是一段不同的表演指示，有點類似激浪派的事件樂譜（Event

has always been what brings together a group of artists to form the essential element of Forest Fringe. That’s been very useful

in terms of us reminding ourselves that we are never the most

important thing, it is always about the artists and that sense of

個項目叫做《紙上舞台（Paper Stages）》，表演以書本的形式呈現， Score），指示說明或手稿等內容。其中我們刻意借用了激浪派“自己 動手（DIY）”的行為藝術和事件等等。

community, those moments of gathering.

當然我們也有很多截然不同的觀點。激浪派是以少數幾位藝 術家為

The best way that we have been able to do that is by cutting out

者或 煽 動者，用宣言和思 想引導藝 術家 。而我 和皮爾森更傾向為藝

as much as possible the sense of Forest Fringe as a business, by reducing our fixed cost base and reducing any administrative

burden. This allows us to exist almost entirely in those moments where we come together, and we aren’t worrying too much

about trying to develop or sustain an organisation or institution.

主導像喬治·麥素納斯（George

Maciunas），他們將自己歸為號召

術家 創造各式各樣的空間，但 盡可能少地干預和參與他們的決 定， 讓他們在空間裡自由探索，自主發聲。在這個過程中處處都是幽默、

互 助 和自發的 行為，當 然也有各種 實驗 和混亂的狀 況發生 。我 們 相 互啟發和分享資源，久而久之也就形成了一個獨立自主的社群。

I think that is our true strength and it allows us to do things that

ART.ZIP: 作為中國之行的主要負責人，過程中你有遇到什麼特別有

ART.ZIP: Forest Fringe reminds me of the movement of Fluxus,

AF: 全程都充滿了樂趣，特別是我們與中國觀眾的互動。因為作品大

you and Pearson have gathered them all together. What is the

方式 來 談 論嚴 肅的事，幽默 的同時又一本正 經，詼 諧卻意味深長 等

more formal, more traditional organisations cannot.

prior to it artists performed separately and irregularly, whereas power and influence that Forest Fringe gives to others?

AF: I really like that reference. The projects we initiated with

Forest Fringe had a self-conscious relationship with that group.

We made a project a couple of years ago called Paper Stages, which is a festival of performances, disguised as a book, where each page in the book is a different performance for you to

make yourself, may it be an event score, serious instructions or

a script. In that we were very deliberately borrowing from some traditions Fluxus created like their “do it yourself ” performances and events.

However we also try to do something with Forest Fringe that was significantly different to Fluxus. In Fluxus, there were a few artists

趣的經歷或者挑戰嗎？

多都以幽默 詼 諧為主，甚至 還帶有濃 重的英 式 表 達，會以開玩 笑的

等。不論是嚴肅還是悲傷，英國人習慣用幽默的方式來思考和交流， 所以我 們 不 確 定當中國 觀 眾面對 這 種 英 式 幽 默 時 會作出怎樣 的反 應，尤 其 是 對那些 超現實而又怪 誕的作品 。但事實上中國觀 眾的接

受度大大出乎我的意料，他們不僅欣賞這種英式幽默 還主動參與。 就拿作品《姐妹花咖啡（Hunt & Dar ton café）》來說，當觀眾點單 時，藝 術家會上前作些隨性的表演，很多觀 眾都會默 契配合：“這裡 的 餐飲 如 何 ？”“這 不合 我 的口味 啊 。”“ 我 還不餓 。”等 類 似 地 話

語，這 種 佯裝 卻輕 鬆的回應 方式非常地自然 。儘 管中英兩國有 文化

和歷史 上的差異，但我們之間確實存 在著某 種 默 契，中國觀 眾竟能 把英式幽默詮釋得如此到位。

要說最大的挑戰應該就是創造一個能讓中國觀眾理解並參與的空間。 最有趣的部分要算是表演後的分享環節。藝術家組合尼爾·卡拉漢和西

蒙娜·凱尼恩（Neil Callaghan and Simone Kenyon） 創作了一件簡易

in the centre, like George Maciunas, who really saw themselves

的舞蹈作品《某某某（Someone Something Someone）》，時長17分

encouraged the artists in very specific ways through manifestos

會有一個自發性的討論，坐在一起分享彼此的感受。

and creating different ideas of what they should do. I think the approach of Deborah and myself has always been more about

trying to create the kinds of spaces where artists can decide for

themselves what they want to do, so it’s much less penetrative,

鐘，由一位舞者和凱尼恩本人現場演出，幾乎每場演出結束後大夥都

ART.ZIP: 作為中國之行的藝術家之一，你帶去的文本作品和當初的 《紙上舞台》有什麼聯繫嗎？

less direct and much more about just holding open a space for

AF: 當然有聯繫。在籌備《紙上舞台》的時候，我特別回顧了60年代先

kinds of spaces we create, we often try to be quite playful, quite

的作品 。那些 細 微的動作和指示 令 我著迷，但我只想採用這 些 形式

possibility and self-generation. We challenge artists through the collaborative, quite autonomous and sometimes quite messy

and experimental, and so I suppose the artists that get drawn

in are the artists for whom that kind of spaces is appealing. So it

becomes a self-selecting community that inspires each other, not

by following the manifestos, but through the shared appreciation of the kind of spaces we’ve created.

鋒藝術、激浪派事件樂譜、特別是喬治·布萊希特（George Brecht） 而已，在 此 基 礎 上 加入 更 多當代 的東 西：加入一 些故事性和人物 特 徵，既 可以 是 一 些 指 示又可以 是 一首 詩，可以在 想象中 發 生 又可以

真實 地被演繹出來。這些文本作品無法界定性質也不會 被 形式 所限 制 。當時 我 為《 紙 上舞台》創作了一系列文本作品，名為《偶發戲 劇 （Incidental Plays）》。

這次我打算 再一次 創作 該 形式的作品，在考 量了展 覽空間又考慮了

60年代 極簡主義後，我試圖創作一件作品是關於在展覽空間內讀者 與他人之間的關係，但除了讀者本人之外其他人並不會直接知道。因

Time Lab by Abigail Conway

as agitators and provocateurs and who challenged and

ART.ZIP: As a co-director of Forest Fringe, were there any

particularly interesting or challenging things that happened to you in China?

AF: Everything was interesting in a good way. The most delightful thing to us was engaging with the Chinese audiences we met, because a lot of works are quite humorous and playful, with

particular English qualities such as being serious through jokes

Portrait of Andy Field, photographed by Harry Liu

or being simultaneously playful and serious or even being

humorous, but also meaningful. In Britain, the way we think and talk to each other, whether serious or sad, it is always wrapped up in this language of comedy, so we had no idea how the

audiences would relate to this particularly peculiar English form

of comedy, this slightly surreal and eccentric way of doing things.

So I was most surprised as to how much the Chinese audiences

understood this humour implicitly, that they shared that sense of

humour and were willing to play along. You could watch it in the way that people related to the Hunt & Darton café, the artists

would come and do these strange performances at your table

where you were ordering food, but receiving a performance. In a very pretend and non-serious way, the audiences responded naturally: ‘how was your meal?’ ‘I didn’t really like it.’ ‘I wasn’t

hungry.’ There was a shared understanding there despite the

cultural and historic differences and it surprised me to find they shared this sense of humour to such a great degree and that it translated so well.

The most important challenge was that we tried to create a space in which the kinds of activities we were doing was accessible and understandable for Chinese audiences. So the most interesting part of the project was the conversations that happened

around the work. As an example, a relatively simple 17-minute

these ambiguous pieces that existed somewhere between an

Neil Callaghan and Simone Kenyon was performed by Simone

of imagining these events taking place and the opportunity to

dance piece Someone Something Someone, produced by

and dancer Maria Sideri, in almost every venue it generated a

spontaneous 40-minute discussion where everyone would sit

together and talk about what it made them feel and why they made these decisions.

ART.ZIP: As an artist, is there any connection between your text-

instruction and a poem, somewhere between the possibility

actually perform. I like creating this text while not really knowing what it was, the form remaining elusive. So I started making these pieces called the Incidental Plays for Paper Stages,

which could be performed, or were equally powerful as a purely imaginative idea.

based works and Paper Stages?

When it came to China, I wanted to again create a piece that

AF: Yes definitely. When we made Paper Stages, I was looking

the 60’s minimalist work and trying to create a piece that was

back to the 60’s with the avant-gardes and Fluxus event scores and particularly the work of George Brecht. I liked those small

actions and instructions, but I wanted to take that form and do something more contemporary with it: by bringing in some sense of the qualities of narrative and character and create

operated like that. I was thinking again about the gallery space, entirely about your relationship to the other people around you in the gallery but without them directly knowing. So I tried to build

on the ideas that I started to explore in Paper Stages, but create

slightly longer pieces like instructions for a happening. So this was definitely an extension of the work I did in Paper Stages.

ART.ZIP: What did you want to achieve through the

此在《 紙 上舞台》的基 礎 上我 創作了幾 件稍長 的，內容 類 似 即興 表

AF: I’m very interested in troubling or unpicking the boundary

ART.ZIP: 通過文本到表演轉換的這個過程，你試圖實現什麼？

blurring the line between what is actually happening and what is

AF: 我總是試圖攪亂 現實和虛構的界線，我很多作品都表 達了這個

to pretend to be ordinary people on the street. I like this idea

歡 這樣 的點子，因為它打亂了真實 和假象的正常判斷 法 則 。因此以

transforming of the text to performance?

between the actual and the imaginary. A lot of my work is about

imaginary. A number of my pieces involved the audiences having of pushing ordinary people to pretend to be ordinary people,

because it disturbs the neat division between what is pretend

and what is real. So what I really wanted to do with these text-

based works is again to create this confusion or this complication between what is imaginary and what is real.

When you read these texts you are doing so in the real gallery space, and you might be thinking about a real person on the other side of the gallery, but it’s also all imaginary. You don’t

need to perform anything, but simply by being in the gallery reading these texts which are describing activities you could

演的指示說明。這確實屬於《紙上舞台》的延續創作。

觀 點 。比如 讓 觀 眾假 裝 是 街上的路人，讓 普 通 人 扮演普 通 人，我喜

文 本 為 基 礎，製 造 現 實 和 虛 構 的 混 淆 場 面 是我 真 正 想 做 也 是 正在 做的事。

當你在 展 覽空間中閱讀 文本的時候，你可能 會想象自己正在作這些

即興表演，但都只是想象而已，你並不需要付諸行動，因為你已捲入 一場現實與虛構的混亂 局面當中。是否有觀 眾跟著指示表演並不重

要，因為它已經存在觀者腦海裡，即便什麼都不做，他們看待世界的 方式也正在發生轉 變。通常觀 眾閱讀的時候 我 都 不 在，因為我 越 少 地干預 其中，他們就 會有更 大的空間去感受這場完全屬於他們自己 的表演。這才是最有意思的地方。

perform in the gallery space you’re already complicating the

ART.ZIP: 你覺得國際文化交流中的重點和難點是什麼？

at all if nobody actually performs that work, because it’s already

AF: 要做到真正的傾聽和理解是非常困難的。有時很多人包括我自己

and thinking about the world even without you doing anything.

要說的話或者別人的意圖。當你覺察到你 和對方的談話和理 解只能

relationship between the real and the imaginary. I don’t mind it

in your head, it’s already transforming the way you are looking at Generally I try to hide when someone is reading the text, so as not to have responsibility and so I can also relinquish control.

The less that I know about what’s going on, the more freedom that gives people to make it feel like this is a performance that belongs to them. That is the most interesting thing to me.

在內並沒有真正在聽別人說什麼，因為我們會事先揣測別人接下去

停留在表面，沒有深層次交流的話一切都顯得沒有意義。這也是為什

麼我很珍惜這次與中國藝 術家交流的機會。我記得一位中國藝 術家 說她的英文水平不太好，儘管說得很慢，但她非常努力地向我們表達 她的想法，我們也仔細地聆聽。這真的很重要，真正聆聽別人是那麼 地珍貴。

ART.ZIP: You mentioned the issues surrounding international

cultural communication, what do you think are the key points or difficulties of this communication?

AF: I think that listening and truly understanding is a key difficulty. what other people are saying as they have already made certain assumption about what that person is going to say or what that person’s intentions are. It can be difficult because you feel like

you are having a conversation with someone, and understanding each other on the superficial level, but there is no deeper

comprehension of what both of you actually saying. That’s why I

really enjoyed the moments of deep discussion with the Chinese artists. I remembered a Chinese artist who said her English

wasn’t very good, but it didn’t matter and because she was able to explain what she meant in a slow and precise way, we really

listened to her. I think that’s important, those moments when you are really listening to people are quite rare.

Incidental Plays by Andy Field

Sometimes people including myself aren’t really listening to

Richard DeDomenici：The Redux Project “DeDomenici is a prankster and provocateur. Everything he does is done to question and challenge how we think about things.”

－－Andy Field

ART.ZIP: How did you start to be part of Forest Fringe? Why Forest Fringe?

RD: In 2006 I was doing my first proper Edinburgh show, and

back then, apart from Dr Roberts’ Magic Bus, there wasn’t much

venue choice except the big mainstream ones. They all charged lots of money and were quite restrictive in terms of the work:

black box space, one hour duration, fines if your overrun, a few minutes to get in and get out, three weeks of shows with one

day off. That year, just across the road from my venue, this new place appeared called Forest Fringe. I kept hearing about how they were doing more experimental work, which I was really

no venue fees artists could take more risks, and operating on a donation system means audiences could take a chance on

something new. Forest Fringe was radical, and luckily people were attracted to this, and it’s been growing ever since. Now

there are lots of weird experimental venues in Edinburgh, such as Bob’s Bookshop, and I think Forest laid much of the groundwork for this.

A couple of years later I made a piece of work in a tent. I wanted

to reject the venue system and instead invite people into my own portable venue. There was a little back garden at Forest Fringe

which wasn’t used, so I asked if I could pitch my tent there and they agreed. I think that was my first proper collaboration with

Forest Fringe. By this time the British Council were experimenting with staging some of their Edinburgh Showcase work there, and lots of international visitors had already found out about Forest Fringe’s unique way of doing things.

into. They encouraged artists to do one-on-one and durational

Soon people from all around the world started inviting Forest

fringe before, and completely turned the whole Edinburgh

had any ideas for a festival in a cinema in Thailand.

performances. This kind of stuff had never been seen at the

model upside down. I thought Forest Fringe would probably be around for one year and never come back, because how could they afford to? But actually they kept returning, because there

The Matrix Redux. Sydney. 2014. Photo by Heidrun Lohr.

was a real untapped demand to see something different. With

Fringe to curate micro-festivals, and in 2013 Andy asked me if I

Redux Mosiac. The Matrix. The Duchess.

理 查 德·德 多米尼奇：

《 翻 拍計 劃( The Re dux Proje c t)》 “ 德多米尼奇是 一 個十足的搗 蛋鬼、煽動分子，他 所 做的每一 件事 都是質疑和挑戰傳統的思維模式。”

――安迪·菲爾德

ART.ZIP: 請問你是如何開始參與森林藝穗節的呢？原因又是什麼？

Bookshop），我想這應該是森林藝術節奠定了堅實的基礎吧。 幾年後我在 帳 篷 裡 做了一次 演出，我 用這個 便 攜 式 的“ 場 地 ”徹 底

和傳統的場館說再見。森林 藝 穗節的所在地Fore s t C afé 有一 個後 花園 還 沒有人 用，幸運地他們同意我將帳篷搭建在那裡進行表演。 我想這可以算是我 和森林 藝穗節的首次正式合作吧！當時英國文化

協會（the British Council）正在舉辦愛丁堡前沿劇展（Edinburgh Sh owc a s e），許 多為之而來 的外賓都覺得森林 藝 穗 節非常與 眾不

同 。在 那之後，我 們 陸 續 接到了全 球各大機構 的小型藝 術節策 劃委 託項目，2013年安迪還邀請我加入一個泰國的電影節項目。

RD: 2006年的時候我正在愛丁堡演出，當時只能選擇一些傳統場地，

ART.ZIP: 你的《翻拍計劃》越來越成功了，可以和我們讀者介紹一下嗎？

節，我一直有聽說這個群體在做一些實驗性的藝術項目，我特別感興

RD: 第一次的《翻拍計劃》誕生於泰國的一個小型藝術節——斯卡拉

乎不可能在愛丁堡 其他活動中看到，這 完全顛覆了那一套陳舊的體

助的。場地設在曼谷最大的巨屏影院，我當時構想了一個非常低成本

不僅開銷很 大，演出的局限也很多。那天我 正巧路過看見 森林 藝 穗 趣。他們鼓勵藝術家做一對一或者持續時間較長的演出，這些形式幾 制。我本以為他們只會出現一兩年的時間就不見蹤影了，因為經費是

個大問題 。但事實上他們一年 年 地壯大，因為不論是藝 術家 還 是觀 眾，他們越來越想看到一些新東西。藝術家不需要支付場地費，開放

性的樂捐制度也吸引了更多的觀 眾。森林藝穗節和主流藝 術節走的 是截然不同的路，幸運的是觀眾接納這套，如今它的聲勢越來越浩大 了。現在愛丁堡出現了很多實驗性的演出場地，比如鮑勃書店（Bob’s

現場（Live at the Scala）,這是由森林藝穗節策劃，英國文化協會贊 的泰國電影翻拍方案。我不太 想作品看起 來太循規 蹈矩，因此 我從

曼谷電影中挑選了一部非常主流的愛情片《曼谷輕軌戀曲（Bangkok

traffic love stor y）》。它的取景地正好在影院邊上，這可以算是一件 場域特定藝術作品了。我還反串了劇中的女主角，我原本認為也許觀

眾會很討厭我這張 臉呢，結果當地的國家報刊評價我的版本比原作 更高，這確實挺令我驚訝的。

ART.ZIP: Your Redux Project is getting more and more well-

known, could you please introduce the project to our readers.

RD: The first Redux was made for Live At The Scala, a Forest

Fringe micro-festival supported by the British Council held in the largest remaining single-screen cinema in Bangkok. I proposed a

very low-budget remake of scenes from a Thai film, in the original locations. I didn’t want to settle for anything too stereotypical, so, after watching lots of movies, chose a popular romantic comedy called Bangkok Traffic Love Story. Some of it was filmed next to the cinema at Siam Station, so was very site-specific. In my remake I played the female lead, which I thought may have

Buz zcut 。雖 然他 們 經 費 少的可憐，但很多方面 理 念 和森林 藝 穗 節

十分相像，所以我決定支持他們。《雲圖（Cloud Atlas）》是我的第 二部 翻 拍，《 蘇格蘭人報（S cot s man）》給了我 四 顆 星，這比 原 版

還多一星！也許這 是 一種 潮流吧，我 越 來 越 想知道人們更 愛翻拍版 本的原因。到目前為止我已經 完成了4 0部作品，當我完成 8 0部時 我

計劃出一本書，名為《環遊世界的80部翻拍（Around the world in 80 Reduxes）》！

ART.ZIP: 在這次中國之行中你有遇到什麼特別有趣的經 歷或者挑 戰嗎？

caused offence, but actually the reviewer from The Nation

RD: 我在兩週內分別在北京、上海和廣州完成了四部翻拍，再加上在香

shocked me.

備工作。也因為時間和預算有限，我必須確保萬無一失。廣州是個很好

newspaper said they preferred my version to the original, which

So I made a second Redux in Glasgow, at a very new, very grassroots festival called Buzzcut, started by two young

artists to try and fill the gap after the massive National Review of Live Art festival ended. Buzzcut operated on a similar

model to Forest - low-budget, but very generous in other

ways, and I wanted to support that. The Scotsman gave my

Redux of Cloud Atlas , filmed on the streets of Glasgow, four stars, which was noteworthy as they only gave the original film three stars. So again, my Redux had received better

reviews than the original. It seemed like a trend, so I became obsessed with discovering why people prefer cheap fake

versions of movies to the originals. Since then I’ve made 40 Portrait of Richard DeDomenici, photographed by Harry Liu.

第 二 次 是 在 格 拉 斯 哥 ，兩 位 學 生 發 起 了一 個 草 根 藝 術 節 名 為

Reduxes, and if I get to 80 will release a book called ‘Around

the world in 80 Reduxes’.

ART.ZIP: Could you tell us about any interesting or challenging things that happened in China?

RD: I made four Reduxes in three Chinese cities in two weeks, plus a couple of practice Reduxes in Hong Kong, which is

unprecedented, so I spent a lot of time planning beforehand.

With limited time and budget, you have to start filming as soon as you arrive. Guangzhou was a great place to start

and somewhere I had never been before. I Reduxed the film ‘Inseparable’, the first Chinese movie to star a Hollywood

actor, which represented a great coming together of East and West. We worked with the Times Museum who were really

amazing and got very involved. They helped find participants, and I was very fortunate to work with Mr. Asia winner Patrick Zhong, who is very famous in Guangzhou, and looks quite

similar to actor Daniel Wu. More than 300 people came to the premiere the day after filming, and I suspect many of them were Patrick’s fans!

港的幾部試拍，這次的工作量是史無前例的，所以我之前作了很多的準 的開始。我翻拍了一部國際大片《形影不離（Inseparable）》，這是第

一部由好萊塢明星主演的中國電影，為東西方的融合開了先例。廣東時 代美術館（Times Museum）還請來了有名的亞洲先生參與我的翻拍計 劃，真的很感謝他們的付出！

In Shanghai I Reduxed scenes from the recent Spike Jonze’s

Like Forest Fringe, The Redux Project is just getting bigger

skywalks. In Beijing we remade the 1999 Zhang Yang’s film

challenges in new places with new people. I’ll just keep going

film ’Her’ which is set in a futuristic LA and filmed on the Lujiazui ‘Shower’, which features the Italian song ‘O sole mio’ and is set

in the oldest public bathhouse in the city. It’s quite close to the

airport and has been repeatedly threatened with demolition, so I

was very relieved to find that it was still actually there. Surprisingly they didn’t mind me filming inside, the naked guys with tattoos

just continued to walk around in the background. Until this point I’d mainly been working with international arts professionals, so

and more ambitious. It is never boring – always presenting new until I’m either sent to prison for copyright infringement or invited to direct a Hollywood feature film.

I had lots of new ideas in China, and met loads of great people, so hope this could be the beginning of a beautiful relationship!

it was nice to hang out with some proper working class people. I

我 在 上 海 翻 拍 的 是 斯 派 克·瓊 斯（ S p i k e

made in China.

澡（ S h o w e r ）》，取 景 地 是在一處 最老式的公共澡 堂。這次翻拍

think because of this, ‘Shower’ was the most interesting Redux I

ART.ZIP: Do you have any further plans after your China tour?

RD: The next Redux Project will be produced with the BBC

in November. I normally resist co-option into the mainstream.

It’s inevitable that the counterculture will be absorbed into

J o n z e ）執 導 的 電 影

《 她（ H e r ）》，而 在 北 京 翻 拍 的 是 1 6 年 前 張 揚 執 導 的 電 影《 洗 的取 景地 也 正 是在 那，雖 然一直有拆 遷的 傳言，但幸運的是它還在 那兒。最讓我驚訝的應該是當地人竟不介意我在他們泡湯的時候拍

攝，一 個 個紋 身的彪形大 漢 大搖大擺地 來回踱 步。在這 之前我 都是

和藝 術專 業 人士一起 工作，但 是《洗 澡 》讓 我有 機會 接 觸到當地的 普通民眾，可以說這是此行中最有意思的部分了。

the society it critiques, stripped of its political context, and

ART.ZIP: 未來有什麼計劃嗎？

eventually becomes convention then it is the job of the artist

RD: 我和BBC合作的一部翻拍會在今年十一月面世。通常我不太喜歡

imitated purely for commercial reasons. If every invention to keep on innovating.

The Redux Project is a bit different though, because it’s

infinitely repeatable and almost designed to be absorbed

我的作品太 過主流。但我發現 所有反主流文化最終 都會被主流社會

同化，被剝奪了政治話語，還有各種商業抄襲。如果每個發明最終都 會變成主流，那麼藝術家能做的唯有不斷地想新點子。

directly into the culture it critiques, like an antibody in the

但《翻拍計劃》又 另當別論了，因為它可以 無限 量複製，直接融 入主

the movie industry’s - especially Hollywood’s - tendency

電影產業的批判，特別是好萊塢，越來越趨於量產化，各種續集、前

immune system of capitalism. The project is a comment on towards sequels, prequels and reboots, but I suppose is also

a celebration of it. Ironically I hope that by making derivative

versions of things that are already fake, that we will somehow arrive at a greater truth. It’s so easy to make our own culture now because we all have movie cameras in our pockets.

People have started sending me their own Reduxes. The old

流 文化中，就像資本主義下免疫系 統中的抗體 一樣 。這個計劃是 對

傳、重拍等等沒完沒了。但其實又算是對電影產業的記錄吧。諷刺地 說，我倒希望靠這些“ 盜 版”，人們或多或少能更接近真 相 。現在我

們可以輕 而易舉 地 創造自己的文化了，因為人 人都 有便 攜式 攝影 機 了，我已經陸續收到大眾傳來的翻拍影片，電影產業壟斷的制度已經 不復存在了。

hierarchies no longer need to exist.

但我十分驚訝《翻拍計劃》竟沒有被好萊塢下逐客令，因為我把翻拍

It’s interesting that the project hasn’t been shut down by

版權，但卻沒 人勒 令 我停止 。這 些電 影工作 室 應該慢 慢開始意識到

Hollywood yet, as all the Reduxes are on YouTube and infringe their intellectual property. Maybe the studios are realising that

they can’t prevent people remixing culture, or perhaps they just

作品上傳到YouTube，裡面也有原始影片的對比，這肯定侵犯了知識 他們無法阻 止混合文化這件事了吧，也可能 他們壓根沒有意識到我 的存在。

haven’t noticed me yet.

我對中國的“山寨”或“仿貨 ”的概念尤其感興趣。它不僅與當下的

In China, I was very interested in the notion of “山寨” or ‘Shanzhai’,

念，我反而在中國找到了共鳴。

a specific Chinese term that not only relates to modern times

互聯網 還有贗品有關，也 和傳 統的東西有聯繫。英國沒有這樣的概

with counterfeit products and the internet but also to something

和森林藝穗節一樣，如今《翻拍計劃》的規模越來越大了。時不時有新

Hood. We don’t have a word for that in the UK, so I resonated a

一天我因為侵權而被捕或者受邀去執導好萊塢電影吧！此次的中國之

more traditional and old fashioned, with connotations of Robin lot with that concept.

的挑戰蹦出來，新人、新地點、新電影，我會一直一直做下去，直到某 行收穫良多，我還認識了許多了不起的人，希望這是一個好的開始！

LESS IS MORE: INTERVIEW WITH MICHAEL CRAIG-MARTIN 少即是多： 專訪邁克爾·克雷格-馬丁

TEXT BY 撰文 x SOPHIE GUO 郭笑菲 IMAGES COURTESY OF 圖片提供 x GAGOSIAN GALLERY 高古軒畫廊

“Art is more to do with observation than invention.”

“藝術不止是創作，更與觀察緊密相連。”英國藝術家邁

most easily ignored everyday objects with bright and

中易被忽略的日常用品用抓人眼球的明快色彩小心勾勒

Carefully teasing out the globally recognised yet the

arresting colour, the British artist Michael Craig-Martin

has orchestrated a visual symphony of modern material life in his debut exhibition in China. Entitled Now, the

touring exhibition marks the beginning of the ‘2015 UK-

克爾·克雷格-馬丁（Michael Craig-Mar tin）將我們生活 出來，並 用這 些材料 在他的首次中國巡 展中排演了一 部

關於現代物質生活的視覺交響。這次巡展代 表了“ 2015 年中英文化交流年”文化項目的啟動。

China Year of Cultural Exchange’.

As a prominent figure of the British contemporary art

克雷格﹣馬丁是英國當代藝術的標桿人物。他最初由《一

work, An Oak Tree, which established the artist as

也 奠 定了他在第一 代英國觀 念藝 術家中的重要地位。七

scene, Craig-Martin was first known for his conceptual one of the key figures in the first generation of British conceptual artists. In the late ‘70s, everyday objects

came to the heart of his artistic creation. They were

displayed in simple form and bold colour, with great visual stimulation. Apart from his role as a leading

artist, Craig-Martin was also an important art educator

who inspired the Young British Artists (YBA), including

Gary Hume, Damien Hirst, and Sarah Lucas. Awarded a CBE in 2000 and elected a Royal Academician in 2006, Craig-Martin has been playing crucial roles in public art programmes on national and international level, including co-curating the well-acclaimed Summer

Exhibition 2015 at the Royal Academy and judging the John Moores Painting Prize China.

棵橡樹（An Oak Tree）》而為人所知，而這件觀念作品

十年代末，日常生活用品開始成為他創作的核心，它們在 他 作品中常以極簡的 形態 及 大 膽 的 色 調 呈現 。此 外，克

雷格﹣馬丁也是 一 位非常重 要的藝 術 教育家，他 影 響了

現在為大眾熟知的“青年英國藝 術家一 代（YBA）”的格

雷·休莫(Gar y Hume)、達米安·赫斯特(Damien Hirst)、 莎拉·盧卡斯(Sarah Lucas)等著名藝術家。他在2000年 被 授 銜 大 英帝國司令 勛 章（CB E），並 於20 0 6 年當選 皇

家 美 術學會 院士。克雷格﹣馬丁在不少英 國及國 際 公共 藝 術項目中扮演了重要角色，譬如他參與策 劃了的2015

年皇家美術學會夏季展，也曾擔任約翰·摩爾藝 術獎中國 區(John Moores Painting Prize)的評委。

ART.ZIP: How was your trip to China?

MCM: It was very exciting. I had my exhibition of paintings first in Shanghai, and then recently in Wuhan. Wuhan particularly

interested me, because I am 1/8 Chinese. My great grandmother was Chinese and when I was invited to go to Wuhan, I didn’t know anything about it, so I looked up the Wikipedia about

Wuhan. I discovered that part of Wuhan used to be Hankou, and then I realised that my great grandmother came from Hankou.

My grandmother and father were both born in Hankou. Of all the

places in China, it is the most amazing place to have asked for my exhibition. I needed to go back where my family comes from!

MCM: Not really. For many years I hoped to have an exhibition in China, because of my family connection. At the Hubei Museum

in Wuhan they did not realize this relationship when they invited me. It was all by chance, an amazing coincidence—a very Chinese coincidence. Or destiny.

ART.ZIP: 克雷格﹣馬丁先生您好，請您介紹一下這次中國的巡展情 況吧 。

MCM: 這是一次非常令人激動的經歷。我先後在上海和武漢舉辦了個 人展覽。武漢對我而言是一個特別有意思的地方，因為我有八分之一 的中國血統，我的曾祖母是中國人，在我受邀去武漢之前，我對那裡

完全不了解，所以我專門去上網查關於武漢的介紹。我發現原來漢口 是武漢的一部分，然後意識到我的曾祖母就是漢口人。我的曾祖母和

父親都在漢口出生。漢口在邀請我舉辦 個展的中國城市中是一 個非 常神奇的地方，我想我應該回到我家人出生的地方去看看。 ART.ZIP: 這正是您選擇在武漢舉辦個人展覽的原因嗎？ MCM: 也不完全，其實多年來我一直有在故鄉舉辦個展的心願。湖北 美 術館邀請我的時候並不知道我與武漢這個城市的關係。只能說這

是一 個非常偶然的巧合，一 個神奇的巧合——很中國式的巧合。或说 是命運。

ART.ZIP: 您為這次展覽做了哪些準備？您花了多長時間來布展？ MCM: 上海喜馬拉雅美術館的王館長和英國藝術顧問瑪麗安·霍特曼 （Marianne Holtermann）邀請我來舉辦這次展覽。我先去到上海 考察美 術館的展 覽場地 。那個美 術館很 大，讓 人很 難決 定該以怎樣

的方式去填充這 麼大的一 個空間，所以我 決 定 用新 作品來 布展，用

非常當代的新作品來表現非常當代的事 物。我認為這樣的呈現 方式 會非常有趣，因為這 些 物品的都是中國制造的，而且我認為這 些 物 品是具有普世意義、是超越語言、超越文化界限的。

MICHAEL CRAIG-MARTIN, French Trousers, 1984 © Michael Craig-Martin Image courtesy Gagosian Gallery

ART.ZIP: Was that the reason why you had exhibition in Wuhan?

ART.ZIP: How did you prepare for the exhibition and how long did that take?

MCM: The director of the Himalayas Museum, Mr. Wong, and

點特別有趣 。它們 因文化 差異而不同，但 如今 全 球化影 響下使 得這 些差異性變得模糊，中國的觀眾也能夠辨識出它們是什麼。

Marianne Holtermann, a British art consultant, came to visit

MCM: 是的，它們可以為所有人所認識。我有足夠的信心在中國舉辦

Shanghai to see the museum and the space, which are very big.

畫作品中的色 彩運 用非常自由，色 彩的自由在任 何 文化中都是可以

me and invited me to present an exhibition. Firstly, I went to It is difficult to decide what I should show and what I should send—it was such a long distance and such a big place. So I

我的首次個展，中國觀 眾 對於 我的繪 畫作品不會有理 解困難。我 繪 接受的。

decided to make new paintings, rather than do something as

ART.ZIP: 那些圖片，特別是蘋果手機的畫作，充滿了諷刺和幽默，

objects, which I thought was interesting because many of them

趣：您把手 機 放在了畫布中央，讓 整 個畫面表現出一種肖像 畫的感

retrospective. I wanted to make new works of very contemporary are manufactured in China, but these objects are universal, they go across all languages, all cultures.

ART.ZIP: Yes, it is very interesting that there is an

anthropological dimension in the everyday objects that you feature. They are culturally contingent but the globalisation really makes it possible for the objects to be recognised by Chinese people.

MCM: By everyone. There was something really wonderful about being able to feel confident about doing my first exhibition

在中 國 幾 乎 每 個 人都 擁 有一 部 蘋 果 手 機 。您 的 表 達 方 式也 非 常 有 覺。您可以稍微介紹一下這個作品中所要表達的含義嗎？

MCM: 我嘗試用最簡單的形式去呈現物品，我並不希望去 傳達 過多 的 信息，所有的基 本信息其實已經 都涵蓋 於 作品 本身。觀看 者把 所

有的其他信息附加在這些圖片上。這些產品中的大部分是大 規模生 產的產品，其 本身不具備任 何個 性，但 是 如果你 擁 有並開始 使 用它

們，它們就 會變 得 個人化─ ─ 物品和人緊密的聯繫起 來，這 是 一 個

非常重要的現代 理 念，我們的 個人習慣、個人 感受 全 部傾 注在我們 攜帶的物品上。這 些 物品因為看似 太 過相同，所以往往為我們所忽 略，但 是它們在當下的物質社會中是非常重要的組 成部分。

in China, that people would have no trouble recognising the

ART.ZIP: 您是在批評現代社會的消費主義觀念嗎？

in the way I use colour, and I think that kind of freedom in colour

MCM: 並不是的，不過我知道有些人會這樣看我的作品，但是不希望

images and understanding my work. I also have a lot of freedom is also understandable in every culture.

Left: MICHAEL CRAIG-MARTIN, Untitled (violin), 2015, © Michael Craig-Martin Image courtesy Gagosian Gallery. Photo: Mike Bruce Right: MICHAEL CRAIG-MARTIN, Untitled (bulb) , 2014, © Michael Craig-Martin Image courtesy Gagosian Gallery. Photo: Mike Bruce

ART.ZIP: 是的，您從人類學的視角來表現日常生活中的常見事物這

看到人們把注意力放在這些部分，這是仁者見仁智者見智的。從他們

Left: MICHAEL CRAIG-MARTIN, Untitled (flip-flop) , 2014, © Michael Craig-Martin Image courtesy Gagosian Gallery. Photo: Mike Bruce Right: MICHAEL CRAIG-MARTIN Untitled (iphone), 2014 Acrylic on aluminium © Michael Craig-Martin.

Courtesy Gagosian Gallery. Photo: Mike Bruce

ART.ZIP: The images, especially the iPhone painting, are tinged with irony and humour, because in China everyone is holding

an iPhone and everyone desires for an iPhone. Also the way that

的角度來看，我的作品確實具有這種批判性，但是對我而言，我不願 意過多地去解讀我的作品。

you represent the object is very interesting: you put the object

ART.ZIP: 您怎樣看待中英之間的文化交流？

of portraiture. Could you tell us a bit more about the politics of

MCM: 文化交流非常重要。在我的上海巡展前，我擔 任了約翰·摩爾

in the centre of the canvas, so that the image invokes a sense your representation, if there is any?

MCM: I am trying to present objects in the simplest way possible, and I don’t want to supply too much context. All the basic

information should be in the object itself. The viewer brings all

additional information to the image. Many of these objects are

mass manufactured. They are essentially impersonal, but if you

own one, it’s very personal. The identifying personal association with these objects, which are not personal, is an important

藝 術獎（John Moores Prize）的評委，這項工作非常有趣，因為獎 項的評 委 們分別來自中國和英國，我們在一起評 判作品 。我們對於 作品的判斷雖 然也會有一 些 分歧，大部分時候 意見 還 是 統 一的。作

為一 個 外 國 人我有 機會作 為一 個 評 委 來 審 視 來自中國 各地 的 藝 術 家作品，這 讓 我 對中國當代 藝 術的 發展 有了一定了解，這 是非常有

意義的文化交流 。這 些 我們看到的藝 術家 並不出名，但 通 過 這個平

台獲 獎 的藝 術家們 能 獲 得 去英 國 旅 行 的 機會 並 結 識 其他 藝 術家， 這就是 文化交流的意義所在。

modern experience—our real association, the strands of our

ART.ZIP: 有人認為一些特定的藝術表現很“英倫範”，那麼您認為

they are so familiar, we don’t think of them as important in the

一些共通的東西？

feelings about the objects that surround us. It’s also because

world, but actually they are the world. We are living in a very

存 在這 種“英國 範 兒”藝 術嗎？英國藝 術家的作品中是否確實具有

material world.

MCM: 一般意義而言，我並不同意這種看法。我認為文化對藝術的影

ART.ZIP: Are you commenting on the current state of the

表現主義繪畫，但是在英國所教授的內容和德國是不同的，因為表現

consumer society or consumerism?

MCM: Not particularly, though I see that as a possibility for others, but don’t want people to see it as a specific intention on my part.

If somebody has that interest in these objects, of course they can

響是深刻、無所不在的。舉 個例子，在英國，我們的大學裡面也教授 主義在德國藝 術中占據了更為重要的地位，所以雖然是相同的藝 術

但教 授的側重 點 卻不同。雖然各個國家的表現 主義 各 有特 色，但他 們本質上是具有共性的。我們應該忽略一些文化的國別差異而更加 關注藝術風格本身。我不贊成用“國家性”的概念來判斷藝術價值，

雖然我們得承認英國藝 術、德國藝 術和中國藝 術之間有一定的差異

see that, but from my own point of view, I’d rather stay as neutral as possible.

ART.ZIP: What do you think of cultural exchange between the UK and China?

性。但是這些差別其實是各國家不同的歷史傳承方式造成的。 ART.ZIP: 教學這點特別有趣 。我 們知道您曾於耶 魯大學師從 於 約

瑟夫·阿伯斯（Josef Albers），您自己也曾當過老師，任 教 於 金匠 學院 。您怎樣看待自己的教學方式？

MCM: I think that the exchange is very important. Before I did

MCM: 雖然我很欣賞約瑟夫·阿伯斯的教學，但是我的教育與他的完

Painting Prize and that was very interesting for me, because some

對 每件事 都強調規 則和定律 。我從 六十年代 末開始 任教，當時正值

the exhibition in Shanghai, I was a judge for the John Moores

of the judges are Chinese and some are British, and we look at the work together. It was fascinating that most of the time we were in complete agreement, but some of the time we were not. People

send their works from all over China. For a foreigner, this gave me a very good picture about what is happening in China and its art today. It was very special when we looked at 3000 paintings, as

most of the paintings were not from well-known artists, but were

from people who are not famous in China. The prizewinners have

the opportunities to travel to England and meet new people. This is what really cultural exchange should be.

ART.ZIP: There are people commenting that some of the art is quite ‘British’, do you think if there is a ‘Britishness’ in art, or if there is any common character shared by British artists?

MCM: I don’t really think so except in a very general sense. I think that cultural influence is very deep, it is not on the surface and this is true in every culture. For example, in England, we teach

about Expressionism, but it is not the same in England as it is in

Germany, because Expressionism is more important in the history of German art. So although it is the same history, the emphasis

is different. It’s just that some things more important for this and less important for that, and this is true regardless the style of the

art. Sometimes we look at a work of art and we immediately think that it is German art, but with some we don’t, it’s not so obvious.

I don’t like the idea of nationalism, but on the other hand, I do

see that there is a difference between British art, German art and Chinese art. This is because of the history, because each country has different history and each country reads and teaches that history differently.

ART.ZIP: The point of pedagogy is interesting. We know that

you were trained under the pedagogy of Josef Albers at the Yale University, and you practiced in teaching at the Goldsmiths.

Does the way that you were trained affect the way you teach?

MCM: Although I greatly admired him as a teacher I didn’t teach the same way as Josef Albers at all. In a sense Albers was an

authoritarian teacher. He had rules about most things and very definite ideas. When I started teaching in the late 60s, in a time

全不同。某種意義上而言，約瑟夫是一個非常強調權威性的老師。他 一系列英國學生 運 動，統治者的權 威性 遭 到削弱。個人的自由越 來 越多，學 校 裡面擁 有非常自由的學 術 環 境 。我們在金匠學院中做了

許多教學創新。今天我們已經不可能 給 予學生當時那麼多自由的時 間和空間 。現在的英國教育有越 來 越多的限制 和約束，已經沒有了 六、七十乃至八十年代學生那樣自由的空氣。當我走進武漢的美術學

院，我 發 現 這 所學院 規模很 大，學生很多。但 對 我而言 很 難為那 樣 多的學生做創意型教育，因為你需要與學生單獨接觸、溝通，需要老 師與學生之間單獨的、持續的交流。在六十到九十年代，英國的藝術 學校的規模還很小，有利於師生之間的溝通。

ART.ZIP: 您作品中的色彩非常引人注目，色彩在您作品中往往可以 反映事物的本質和它們對人 類精神世界與生活所帶來的影響。可以 談談您在創作過程中運用色彩的理念和您希望達到的效果嗎？

MCM: 我的早期作品並未運用太多的色彩。我對自己運用色彩的能 力沒有太多 信心 。所以當時 我 創作了大量的黑白色作品。直到1993 年 我在 創作一 個空間裝 置作品，我把 墻塗 成了彩色，墻上的色 彩啟 發了我，改 變了我後來的創作方式 。通常的順 序是藝 術家先 從事繪 畫，然 後制 作 裝 置作品，而 我 是 恰好相反，我 繪 畫的靈 感 來自於 裝

置。每當我 走 進 工作 室，我首先會花很多時間去思考 我究 竟 要去創

作怎樣的作品：墻上豐富的色 彩驅使我 創作更 加色 彩化的作品 。我 的重 點是關注 繪 畫中的色 彩，對於 物品的選擇，我盡 量 選取 生活中

最為顯 而易見的 物 件，同 時 也用最為簡約的顏 色去創作，不混 和顏

料，只使用純色，我選用最普通的顏色：紅色、紫色、黃色、粉紅色， 我不會去 扭 曲 或 者 去 改 變 一 個 物 品，我 要 呈現 的 是 一 個 物 品 的 本 貌 。在今 年的夏季展中，我 為展 覽設計的色 彩靈 感 來自於 我自己的

作品。當我對人們說我希望在這個大 展覽用什麼顏色呈現的時候，

他們都以為我瘋了，因為這樣的設計會是非常冒險的。但是當展覽開

幕之後，這些色彩與所有的參展作品非常好地融合在一起，令人印象 深刻。在巴黎的展覽，我第一次用亮色去粉刷房間，那是一 個非常棒

的美 術館：空間大小適中，周圍都是花園，非常法式 。美 術館一共有

七間展廳，所以我用不同的顏色粉刷不同的展間，展覽的效果很棒， 每 個來觀看展 覽的人 笑了，我甚至在自己的作品 展 覽時 也沒有見 過 那樣的笑容呢。

夏季展的 策 展 非常難，因為展 廳 的空間非常大，作品的種 類 也非常

多元化。因為一共有1200件參展作品，這對於一 個展覽的作品量而 言實在是一 個非常龐大的數字。有些很有趣但 是有一些也很乏味。 每次我去看夏季展的時候，我 覺得每個房間太 過 類 似，這 讓 我無法

專注地欣 賞每件作品 。我 決 定 要讓每個房間更 具有獨特 性，更 加有

Pitchfork (pink), 2008, Powder-coated steel. Š Michael Craig-Martin.

Umbrella (orange), 2011, Powder-coated steel, © Michael Craig-Martin.

of student revolutions and changes, they changed in question of society and authority. In Britain the power of authority was

weakened. There was much more individual freedom and there

趣 。我 對於 每個作品的擺 放都經 過 深思熟慮，所以為了讓每個房間 都有自己的獨特性，我需要去組織一個合理的擺放順序。

was great academic freedom. If you were really interested in

當我在大學任教時 我常常會 教育學生：你們都 希望自己的作品非常

and that was really what we did in Goldsmiths—we used the

需要我們去改 變 太多。一點點改 動就 會看起 來有相當大的改 變。看

being creative in teaching, it was possible to try new methods freedom of the time. Today, in British education, we don’t have that kind of freedom. Now there are many regulations, many

rules, and bureaucracies in the education system. So, it doesn’t

有創意，但 是不要過 於尋求創新，因為物品本身有自己的特點，並不 看這些參展的畫作，除去所有的陰影、參展環境、個人化等因素，也 仍然還是完整的作品。

have the flexibility that it had in the ‘60s, ‘70s, ‘80s. This was a

ART.ZIP: 我們知道您對策展很有興趣，可以談談您的策展理念嗎？

in Wuhan, I went to the art school, which was one of the most

MCM: 我關注展覽的個性特色，策展對我而言更像是創作一件繪畫

the things that I saw is that the schools are very big and there

策展的過程當作創作全 新的作品。我希望在這個空間的展 覽中呈現

period that has the most flexibility in education. When I was

important art schools in China, an enormous art school. One of are so many students. It is very difficult to me to teach creative activity to great numbers of people, because I think you need

personal contact with students, you need to speak individually, you need individual contact between teachers and students,

you need continuity. To me this is a problem in mass education in every society now. In the period of ‘60s to the ‘90s, British art schools were small, and the number of student was small. The personal contact was great.

或 裝 置作品 。當我在皇家 美 術學會 策 劃夏季展 覽的時候，我完全把

出內容不平凡的作品 。皇家 美 術學會 擁有可以容納上百件作品的巨 大 展 覽空間，我需要更 好地組 織作品順 序，讓參展的作品擺 放看起

來更有條理地呈現 給觀 眾，避免讓畫作在展覽的過程中互相打擾， 展 覽的時候 相對 地擁擠並不會影 響展 覽本身的質量。舉 個例子，我

不會把一 個雕塑放在畫前面。我會盡量讓觀 眾能夠有足夠的空間去

仔 細 觀看 每 一 件作品，讓 觀 眾 之間可以去 交 流 。如 果 畫 太小，這樣 的交流會變 得非常無 趣 。但 是 如果把大 畫和小畫、抽象畫和具象畫

混搭在一起擺放，就會有趣得多。在這次夏季展中，我沒有作任何改

is often suggestive of the nature of the object, or the psychic

effect that the object has on human life. Could you speak a bit

more about your conception on using the colour and what goal you want to achieve through it?

MCM: In my early work I didn’t use much colour. I had no

confidence about how I could do this. I had been doing wall

drawings, but they were always black and white. Then in 1993 I

painted all the walls of a room to make an installation and as soon as I saw the colour on the walls, it changed my whole life. Usually people start with painting and then go on to make installations; my painting came from installation. In the studio, it took me

a long time to work out how to make paintings that had the

intensity that I was able to create by painting whole rooms. There is a very limited number of colours but there are many variations.

I decided to use the purest palette that I could. So that’s how I

exactly as they are. I do the opposite with the colours.

In the Summer Exhibition at the academy this year, I used the

colours for the exhibition that I know from my work. When I told people that I was going to paint the big room magenta, many

people thought that I was crazy. It was so dangerous because the

other artists might be very unhappy, but once the exhibition took

place, it was obvious that the wall colour made the work look better

not worse and created a memorable room! The first exhibition that I

used bright colours in painting the room was at a gallery in Paris, and there were seven rooms in the gallery. It was very nice gallery, not

very big rooms, around the courtyard, it was a very French space. So I painted each room in different colour. When people came to the

exhibition, I saw they came with a smile. Everybody smiles— this is something I never saw in my work before.

The Royal Academy Summer Exhibition is very difficult to hang

started with the colours. When I look at the objects that I draw, it

because it is so large and the quality is very varied. There are 1,200

are our world. I decided I should use the most obvious colours –

some are not. Usually when I go to the Summer Exhibition, I

seems to me so obvious about the contemporary world—these the basic colours with simple names: red, purple, yellow, pink. I

don’t distort the objects, I don’t change the objects, I draw them

works, an almost impossible number, some are interesting and

think every room is too much the same, and I loose my capacity

to look at individual works. So I tried to make each room feel more individual and playful. I tried to play things against each other: big and small, abstract and figurative, painting and sculpture.

When I was teaching I often said to students that you are trying to be too creative, don’t be too creative, because there is so

much already in what you are making, you don’t need to do

very much. You just need to do a little bit, and that is a lot. It’s always more than you think. You can see in my paintings, I’ve

taken away the context, I’ve taken away the shadows, I’ve taken

away expression, I’ve taken away the personal, and yet so much

remains! I’ve taken away everything I could think of, and yet what remains is enough. These days many more people come to my work, and once they see my work they will always recognize it.

ART.ZIP: We know that you are interested in curating. Could you tell us a bit more about your curatorial idea?

MCM: I look at the character of the exhibition and I treat it as

I would a painting or an installation. When I did the Summer

Exhibition at Royal Academy, I did it exactly as I would when

making a new work. A giant collage with many complicated

pieces—this is because I’m trying to find a certain kind of unity

and clarity. Usually they put all the largest pictures in one room, the largest room, but it’s hard to look at so many big pictures together – they fight for attention. However, if you mix big

pictures with little pictures, and you put big pictures in other

rooms, it makes each room much stronger - the big pictures and

Portrait of Michael Craig-Martin. Photographed by Harry Liu.

ART.ZIP: The colour in your work is very stimulating. The colour

tiny pictures in the same room. This is why the exhibition looks

can’t force yourself to be something you are not. When I was a

be able to see every individual work without being distracted

who is famously pessimistic, and whose writing is an extraordinary

so different this year. My idea for every exhibition is we should by the others, and it doesn’t matter if it’s quite crowded. For

instance, I would never put a sculpture in front of a painting, so

that it is difficult to see the painting. I always place each thing so you can see it isolated. You can focus on every individual work.

It’s important for me to give each thing the possibility to speak and also to allow artworks speak to each other. So if things are too similar, the dialogue is not very interesting. If you put in

contrast, big and small, abstract and representational, you set up

the possibility of a discourse. At the Summer Exhibition, I didn’t

very young student I loved and admired the work of Sam Beckett,

examination of emptiness. I wanted to be like Beckett. I don’t have the same attitude toward the world, I’m naturally optimistic, and

so of course I could never be like Beckett. You can’t force yourself

to become like someone you admire. The person you admire was true to himself. You can only truly honour him by being true to

yourself. You can’t honour someone by copying them or trying to be exactly like them. If you close the door to the things you feel

comfortable with, you will never discover the truth about yourself.

really change anything; it’s the same exhibition. All I changed is

the presentation. I didn’t really change the rules. People say there aren’t so many works this year, but its only 50 less works than usual. It just looks like less, because it is more structured.

ART.ZIP: There are quite a few Chinese artists who are informed by

變，只 是改 變了作品擺 放 順 序，雖 然 人們 議 論說今 年的作品較 往年

pop’. Some critics such as David Joselit suggested that they are

因是畫作的擺放次序使然。

the visual language of pop art and develop the so-called ‘political

speaking in Western language to tell Chinese story, which is more easily recognisable and acknowledged by the Western audience and institutions. What do you think of this phenomenon?

MCM: There is no doubt when one comes from the West to China one understands pop art as having originally developed as part

數 量有所 減 少，但 實際 上也只比往年少了5 0 件作品，看 起 來 少的原 ART.ZIP: 很多中國藝術家受到波普藝術的影響，創造出所謂的“政 治波普”藝術。評論家如大衛·喬斯利特（David Joselit）認為他們 是用西方語言來述說中國內容，這樣可以更容易的為西方觀 眾和機 構所理解。您怎麼看待這個現象？

of Western tradition. There is a historical development, in which

MCM: 西方人到中國會發現西方藝 術傳統已經成為當今中國藝術不

see many artists whose work reflects on aspects of contemporary

的演變 過程。當我到中國看到藝 術家們用西方波普繪畫思維表達他

things find resonance in different places. When I go to China I

popular culture but obviously the history of Western art is not

part of their own tradition. I think it is problematic for a person

who doesn’t know how it is related. I think from an artist’s point of view, everything in art, in fact everything in the world is

available as material. As an artist you are free to use any image, any style, any idea from any culture and any period of history.

I think the best approach is not to be too much like the thing that they are referring to, see it as a guide. If you try to copy

可缺 少的一 部分，波普藝 術是源於西方的藝 術 傳 統 。這 是 一 個歷史 們 本 國 文化的時 候，很 多人 並不知道 怎樣 把兩 種 文化 聯 繫 起 來，我 覺得如何可以將東西方文化完美的結合起來將會更有利於本國藝術 的 發展。從一 個 藝 術家的角度 來看，這個世界上的一切 都是由物 質

組 成的，你可以自由地 運 用任 何文化中的任 何元素來表 達自己的藝

術 理 念。中國藝 術家 應該以西方藝 術作 為一 個參 考，而不是 完全的 模仿，因 為畢竟你 們 不具備西方的文化傳 統 和文化 環 境 。你 們可以 結合自己傳統文化和近現代文化，來創造出屬於自己的當代藝術。

something exactly you won’t get it correct, because you don’t

人們常常忽略自己擅長的事情，因為他們覺得這 些事情對他們來說

the past, from the culture, from the immediate past and things

的事情，這 種 想法 是 錯誤的，為什麼我要 花費我寶 貴的人 生去 做一

share the same tradition and context. You can take things from that have not yet entered the culture, so they have no history yet.

You can create your own context.

Often people do not properly value things that they are good at naturally because they find them too easy. That is very

problematic. If I did not love the things that I do, how could I

spend my life doing this? You have to invest what you spend your life doing with pleasure. It is very important to develop the thing

that you are naturally good at, that you are truly interested in. You

過 於簡單。很多人 覺得沈浸於自己喜 歡的事 物當中是 一 件非常罪惡

件自己討厭的事情呢？人們應該去做自己愛做的事，應該去發展自己 的興趣愛 好而不是去逼迫自己做 某些事。當我還 是個年輕學生的時 候我喜歡薩謬爾·貝克特（Samuel Beckett），貝克特是一位充滿悲 觀 和虛無 主義的作家，我 希望自己將 來能 像貝克特 那 樣，但 是 你 們

也知道，我的世界觀就是與他不一樣，我是一個樂觀的人，所以最後

我也沒能 變 成貝克特。你不能去 逼 迫自己變 成 某 種 人，你應該去 做 你自己 。你可以去欣 賞 別人但 是 沒有必 要去 做 別人，這樣 是 違 反自 然法則的。如果你不做讓自己開心的事情，那麼你永遠也發現不了人 生的真諦。

Spade (purple), 2013, Powder-coated steel. Š Michael Craig-Martin.

Heatherwick Studio. Photo:Brisa Chandler

THINKING, MAKING, STORYTELLING INSIDE HEATHERWICK STUDIO 構思、製作、敘事 走進赫斯維克工作室

TEXT BY 撰文 x JESC BUNYARD 傑西·本雅德 LI BOWEN 李博文 TRANSLATED BY 翻譯 x KE QIWEN 柯淇雯 IMAGES COURTESY OF 圖片提供 x HEATHERWICK STUDIO 赫斯維克工作室

A major exhibition New British Inventors: Inside Heatherwick Studio was touring in mainland China supported

《 新 世 代 英 倫 創 造：走 進 赫 斯 維 克 工作 室

Head of Architecture and the Drue Heinz Curator at the Royal

迴展覽。展覽由英國皇家藝術學會策展人凱

by the British Council. The exhibition, curated by Kate Goodwin, Academy of Arts, London, features projects and design process from 20 years of Heatherwick Studio, capturing the studio’s spirit of discovery, demonstrating their imaginative and entrepreneurial approach to design.

（New British Inventors: Inside Heatherwick Studio）》是由英 國 文化協會呈 獻 的中國 巡

特·古 德溫（Kate Goodwin）策 劃，回顧了 赫 斯 維 克 工作 室 過 去2 0 年 的 項目作 品 和 設

計 過程，旨在 挖 掘工作 室的探索 精神，展示 他們富於想像力和創造力的獨特設計。

Heatherwick Studio was formed in 1994, since then the founder

赫 斯 維 克 工作 室 成 立 於1 9 9 4 年，創 始 人 托

and imaginative designers. He was also granted many titles:

譽為英國最具天賦及想像力的設計師之一，

Thomas Heatherwick has emerged as one of Britain’s most gifted Honorary Fellow of the Royal Institute of British Architects; Royal Academician by the Royal Academy of Arts; the youngest Royal Designer for Industry; Commander of the Order of the British

Empire (CBE) for services to the design industry and many more.

Heatherwick and his team have established a unique design practice with a spirit of discovery and invention at its heart, and placing the Studio at the forefront of a wave of New British Inventors. Notable

projects include the Olympic Cauldron for the 2012 Olympic Games, the award winning UK Pavilion for the Shanghai World Expo 2010, and a reimagining of London’s famous red double-decker bus.

馬斯·赫斯維克（Thomas Heather wick）被 他還擁有多個頭銜：英國皇家建築師協會榮

譽 會員、皇家 院士以 及 皇家設計師，更 榮 獲 了大 英帝國司令勳章 等等。他的設計以 其精 湛程 度、創新 性和原 創性著 稱，他領導團隊 創建了一種以發現與發明為核心的獨特設計 實踐，赫 斯維克工作室也因此成 為了新世代

英倫創造浪潮的前沿機構。過往的標誌性創 作 包 括2010 年上 海世 博會英 國 館、201 2年 倫敦 奧 運會火 炬台、以 及倫敦 雙 層紅色巴士 改造計劃等等。

Neil Hubbard, senior project designer of Heatherwick Studio,

而另一位資深項目設計師尼爾·哈伯德（Neil

the initial to the present strong team of over 160 architects,

作室從最初的十幾人發展到現在由160多位

joined in 2005. He witnessed the evolvement of the studio from designers and makers work from a combined studio and

workshop in the UK. On behalf of Heatherwick Studio, here Hubbard and Heatherwick will bring us into the Studio.

Hubbard）在2005年加入團隊，他親歷了工 建 築師、設計師、以 及制作人 組 成的專家設 計團隊。在這裡他和創始人赫斯維克將代表 整個團隊引領我們走入這間工作室。

Essentials of Heatherwick Studio Design

設計 精 髓

NH: People often ask: “what inspires your projects?” I would say,

NH: 人們常問：“什麼激發了你 們的設計靈

would analyse it and find the one key thing that the client is

到 項目簡 介後，我 們 會仔 細 分析，找出客戶

the project inspires the project. As soon as we get the brief, we trying to tell us. How can we boil this project down to one key

element? How can we expose it and make the project all about that element? For example, the Teeside power station project, we would think: how do we make a piece of infrastructure,

which you don’t want to hide away? How do you celebrate

power generation? How do you integrate it with the ground

that it’s part of and make it a landscape? Everything we do then

is about trying to make that idea as strong as possible. All of our projects have this distillation: going through the brief and really

understanding what is required, finding the key thing that makes that project special.

感 ？”我 的回 答 是項目本身就 是 靈 感。在收 真正想要傳達給我們的關鍵信息。如何把整

個項目濃縮成一 個關鍵點？如何剝絲抽繭，

把著重點只落在那個關鍵點上？就拿發電站 的項目舉例，我們會考慮如何使建築的基礎

結構具備觀賞性？如何使建築與當地風貌融

為一體？我們所做的每一件事都是為了強化

設計理 念，我們所有的項目都是遵循同一流

程，即在項目簡介中挖 掘客戶的本質需求， 找出關鍵點，再打造專屬的設計方案。

Process is also very important to us, as it can be applied to any

我們有自己一套完整的工作流程，不論是 建

After you have the idea, how do you go through the rigorous

規模的項目中都是 通 用的。因為當你有了構

scale of projects, whether it’s a building, a bus or even jewelry.

building process with engineers and consultants？How do you go through that horribly tiring process of trying to make something

real, but still have that essence? We are the guardians of that idea.

TH: The key thing is about the element of human scale. The

thing that fundamentally drives us is relationship to people.

思，隨之而來的是實際操作的問題。你得與工

程師和顧問坐下來討論繁複的施工細節，然 後 是一段非常煎熬的施工過程，但最根本的 是保證設計理念能準確傳達並真正實現。我 們團隊的使命就是堅守那份創作理念。

When we’re working on a master plan we are focusing in on the

TH: 以人為本是我們設計的最基本考量，我

people use these spaces? In the vast master plan you work on, it’s

劃藍圖的時候，我們會特別考慮扶 手、門把

handrail, the doorknob and the people who use it. How does the people that matters.

About the Exhibition

們時時刻刻都在考慮設計與人的關係。在規

手等等與人發生關係的設計，設想人們與空 間互動的各種可能性。人性化是設計的重中 之重。

NH: The interesting thing the show in China does is it starts

關於展 覽

show this or that project, it actually looks at stages in our design

NH: 這次在中國的展覽很有意思。在籌備的

of Architecture and Drue Heinz Curator at Royal Academy of Arts,

溝通，她參與了多次設計審查，也了解了工作

to peel back the layers of our design process. Rather than just

process. The exhibition curator Kate Goodwin, who is the Head

spent so much time with the studio. She really got under the skin

of the studio, joining design reviews and seeing how things work.

Left: Aerial shot of Asian Exhibition. Photo by Fabian Ong. Right: Portrait of Neil Hubbard . Photo by Harry Liu.

築、公共汽車還是珠寶設計，這套流程在任何

過 程 中 策 展 人 凱 特 與 我 們 進 行 了長 時 間 的 室的運作模式，我想她在策展的時候抓住了

工作室最本質的東西。她把重心放在我們的

Left: ‘Inside Heatherwick Studio’ shot of exhibition. Photo by Fabian Ong Right: Portrait of Thomas Heatherwick. Photo by Elena Heatherwick.

She picked out three major facets of our

設計發展過程，而不僅僅只是展示我們過往

which showed that process. We have three

階段，分別 是“ 構思（T hink ing ）”、 “ 製作

design process and chose to show projects, stages: thinking, making and storytelling, and created three ‘islands’ for each topic.

‘Thinking’ was all about the idea: how do

的豐功偉績。她將設計發展過程歸納為三個 (Making)”、 “敘事(Stor y telling)”，再結合 了一些經典案例。展覽中每個階段都有獨立 的展示空間。

we change someone’s perception of a

“ 構思”階段 全是關於 理 念：我們如何改 變

was about how we have been the

“ 製作”階段 展示了我們如何擔 任項目的執

chair, a bus or a power station? ‘Making’ contractors on our projects. How do we use our knowledge of making, casting, wielding and forming to influence our design process? That part of the show

was formed of larger mock-ups, dioramas, and some flick books as well, so that you

could understand stages of making along the way. The final section, ‘Storytelling’, was about how could you create that

他人對於椅子、巴士或發電站的傳統理 解； 行人，如何將我們對製作、鑄造、運用和成型

的所知，實際應用到設計過程中。在“製作” 展 廳中有較 大的實體模 型、實景模 型、還有 一些解析書，大眾可以更 好地理解設計背後

的製作過程。最後一個階段就是“敘事”，如 何創造出超凡的效果？如何敘述這個設計？ 在 某 種程 度 上，展 覽 是 線性發展的，同時它 也留給了觀者足夠的自我探索空間。

sense of awe? How do you tell a narrative?

T H : 能 在中國 舉 辦展 覽 我 感 到非常 榮 幸，

and meanwhile it became containing for

利 亞 和 阿 爾伯特 博 物 館（the Victoria and

The show at one point was more linear, people to explore.

工作 室 的上一 個 展 覽 是 2 01 2 年 倫 敦 維 多

Alber t Museum）的《設計非凡（Designing

TH: I feel very honoured to have a show about my studio’s work.

the Extraordinary）》。其實我感覺工作室才

work Designing the Extraordinary held at the Victoria and

多年了，但 要建 立 起 行業內的信任 度很不容

The idea for this show came from an exhibition of my studio’s

Albert Museum in London. The curator of that show had never worked with anyone who is still alive before. In my mind I feel

the studio only just got going on what we want to do. We have

been going for a number of years now, but it takes a long time to be trusted to do major projects and be considered a safe pair of hands, to build some of the most expensive things anyone can

spend money on. Therein lies the problem: the people who are

trusted are the people who have done things before, so you get a monopoly of outcome repeating itself. It is hard to be trusted when you are a young person just starting your studio. I feel

fortunate that we’ve got-over being the young studio bit now,

finally. It’s been an organic process of evolving what we do over

the previous years. So in reality this for me feels like the beginning.

剛剛步上正軌 。雖然從成立到現在已經有很 易，尤其是在一些大的項目上，投資方會慎重

考慮設計團隊是否可靠 。這也就導致了一 個 問題：投資方總是傾向於經驗豐富的團隊，肆 意了行業內的壟斷現象。那麼初出茅廬的年

輕設計師很 難闖出一片天，我很 慶幸自己終 於度過了那段艱難的創業時期。過去這些年 我們團隊所作的努力就像是一個有機的壯大

過程。所以現在才是真正的開端。我之前沒有

預料到自己會舉 辦展 覽，它更像是 某個節點

讓我可以回顧自己過去的工作。可以說這個展 覽讓我也深入地了解了自己工作室。

To have a show now is not something I necessarily expected to

關於中國

it’s true, I feel very exposed, quite naked, to have a show.

NH: 其實你會意識到無論去任何國家，包括

have. It’s a moment where you can look back at what you do. I feel

About China NH: One of the first things you realize is that you can’t go to any country, including China, is that you can’t expect them

to do things how you would do it. What you actually have to

do is to sit with the people who build things and understand

their approach. Rather than constantly saying: “but we want it done this way!” You actually have to work with other cultures’

methods of doing things and understand things from a different perspective. Often we work with executive architects who know local building codes and we work with local artists in China,

who help us with our projects and can make sure it’s correct

中國，你不可能期待 他們和你的做事風格一 樣 。你需要做的就 是 坐下來，聆聽 對方的製

作方法，而不是 一味的堅 持己見 。你 得和來 自不同文化背景的人共 事，並且學會 換位 思

考。通常我們在中國的項目都會與當地的建

築師和藝 術家一同參與，因為只有在熟知本 地 建 築 規 範 還 有 文化 共 融 的 基 礎 上 才 能 確

保項目順利進行。理 解在當中起了很關鍵的 作用，特別是初期的溝 通 。我們 確實可以 先 在英國建造然後再運去中國，但如果能與當 地人文融合在一起效果肯定是更 好的，起碼 你不會擔心自己是否在他人的領土上造了個 奇奇怪怪的龐然大物。

in a cultural capacity. The main thing is the understanding.

TH: 這大概是我第二十五次中國之行了吧。

here and ship it over, but maybe the result is better when you’re

觀了當地工廠。在中國的工作經 歷中最 大的

Especially in those early dialogues, of course you can build that really engaging with the local area. So you don’t just feel like designing an alien in their landscape.

TH: It’s about my 25th trip to China this time. It was interesting meeting people that are not from main cities. One of the main issues is the scale of China, and I’ve become very interested in

this: how to use this ambition and confidence to produce human scale, and still to make huge project happens. So I hope I will

have the chance to work here for the rest of my life. I feel partly

Chinese now. I felt there was a connection with a sensibility that I had not felt a lot in Europe.

這次我 結 識了很多來自各個地方的人，也參

感觸是，中國太大了，規模也是不可想像的， 我 覺 得 挑 戰 在 於 如 何 將 細 微 的人性化 設 計

完美地融入到這些龐大的項目中。我希望將 來能 和中國有更多的合作，甚至一直在中國

工作 。我 覺 得自己 現 在像半 個 中 國 人了，我

對這裡 產生了一種特 殊的情感，而這種情感 是在歐洲不曾有過的。

Shanghai Bund Finance Centre Render, Image courtesy of Heatherwick Studio.

Model of the Olympic Cauldron on display at Inside Heatherwick Studio exhibition; photo by Fabian Ong; Olympic Cauldron Š Heatherwick Studio

Nanyang Technological University Learning Hub, Singapore. Evening view of the Learning Hub from Nanyang Drive. Image Credit: Hufton + Crow, 2015.

Advice to Young Designers

給 年 輕設計師的建 議

NH: Produce, produce, produce. This is something that my tutor

NH:“ 創作、創作還是創作”——這是我的一

end. Keep making and reviewing. Review with your peers, even

那會是 條 死胡同，也要堅 持創作 。與此同時

your grandmother, review with the person you don’t speak to

that much. Sometimes in design you’re so close to something.

You have to be so passionate about something to achieve it.

You have to be an inch away, but you might be blinded to the

real issue. It’s when you stand back and see it on the wall. We do this here to help ourselves out. The hardest thing is the ability to be so passionate about something but at the same time to be

able to be objective. Really be honest with yourself, when it’s not

位導師給 我的忠告。無論怎樣，即使 你 認為

還需要 不斷地 重新 審 視，找你的同伴聊，甚 至是祖母，找那些 你本不會跟他 聊設計的人 聊。很多時候自己會 太 沉 迷 於自己的設計，

太希望自己的設計被實現而忽略一些現實的 問題。我認為做設計最大的挑戰是如何充滿 熱情的同時又要保 持冷靜客 觀 。做到對自己 誠實，如果行不通就得變通。

working, try something else.

TH: 我發現很多設計師受雜誌影響太深，他

TH: I find that the people are too influenced by the magazines. I

力。其實設計不 難，但 想清 楚為什麼 而設計

think the test for young designers is to make sure they are finding ideas. It’s easy to design, but the more important thing is why are you doing something. Can you stop drawing and tell me your

idea? If you are not clear on your idea, you could get confused

between designing and inventing. What is your invention? Is it aesthetic, or a combination of aesthetic and practicality? Have your own idea, and be aware of cliché. I find that people are

doing versions of things they saw in magazines and don’t self-

analyse enough. Most importantly, do things, and be excited by reality. I think that’s what it takes.

們 其 實 需 要 的 是自我 發 現 和 獨 立 思考 的 能

才是 更 重 要的。你 能不依 賴設計圖，只 是口

述你的想法嗎？如果 思 路 不清晰，你 很有可 能在設計的過程中遇到阻礙。你的設計是什 麼？美 感，還 是 美 感與實 用的 結 合？設計 師 必須 要 有自己的想法，避免陳 腔 濫 調 。如果

只 是 把 從 雜 誌 上看 到 的 設 計 進 行 翻 版再 設 計，而 不仔 細 思 量 分析的 話，這樣 的 設計是

單一的、空洞的。最 重要的還 是 得 從 現實出 發，保 持熱情，堅 持創作，不斷反思，這才是 設計師該有的態度。

Left: Bleigiessen, London, Spanning 30m-high vertical void, Welcome Trust. Image Credit: Steve Speller, 2004.

Middle: Lift Buttons, Pacific Place. CREDIT: Iwan Baan.

Right: Olympic Cauldron. Petals before assembly. Image Credit: Jasper White, 2012.

told me. Keep making, even if you think it’s getting to a dead

THE TEMPERATURE OF TRAMS: SITTING-STILL-MOVING 電車的溫度： 聽見，城市的瞬間

TEXT BY 撰文 x JAY, CHUN-CHIEH LAI 賴駿杰 IMAGES COURTESY OF 圖片提供 x TIMES MUSEUM 廣東時代美術館

The moving train where we sit always attracts us to ‘see’ the

移動中的列車總是吸引著搭乘 者“ 觀 賞 ”外

passengers from the sense of place, acting as a barrier. Even in a

方感知，就像一 道 屏障 。即使 是在一 個相對

scenery outside, and the speed of motion also removes the

relatively slow tram, serving as a common way for commuters in a city, the windows through which they see mostly serve as utterly usual views. It shows ‘nothing’ more than a space that hosts

daydreams; in this way, the moving coach is a place without any

productive values. However, the project conducted by the British artists collective Circumstance, Sitting-Still-Moving - Times

Museum Art on Track, aimed to change this impression and to

transform the tram into a carriage that not only carries people but also brings them a novel story, or a past-cum-forgotten history regarding the local community.

Circumstance is an artists group founded in Bristol, which

頭 風景，而其移動的速度也隔絕了旅人的地 緩慢的且用以通 勤的有軌列車中，乘客們透

過車窗所觀看到的也是再尋常不過的事物。

列車或許只是一 個白日夢發生的場所；就 此 言 之 ，移 動 的 車 廂 並不 具 有 任 何 生 產 性 價 值。然而，由英國藝術家團體Circumstance 與廣東時代美 術館所共同策 劃的《聽見，城

市 的 瞬 間 —— 時 代 美 術 館 有 軌 藝 術 》，即 企 圖 改 變 這 種 印 象，並 希 冀 將 有 軌 列 車 轉 變 為不僅搭載乘客，也帶給他們一 個新穎的故 事，或 是 一 個 過往 且被 遺 忘的，關於在地社 群的歷史。

attempts to create unusual approaches, through which people

Circumstance是一 個於英國布里斯托所創

them. The term ‘natural’ here plays a crucial role. They make up

徑，而透過它們，人們可以重探日常生活，以

can revisit the everyday and natural circumstances surrounding a cinema but without any cinematic mechanism. Instead, they

encourage viewers not merely to join the project but also to take parts in natural environment—to be a part of the world! The

key components include musicians, composers, technologists,

programmers, writers and designers who work inter-disciplinarily with each other. The multiple forms they use to realize the

projects are designated to public participations. One of their main claims is: “Using both emergent and commonplace technology,

we try to make films without cameras” thus becoming a critically intriguing point of understanding their practices.

With supports by Guangzhou Tram, the collaboration between Times Museum and the artists overcame a lot of difficulties,

立的藝 術家團體，其主旨在於創造迥異的路 及周遭之自然環境。 “自然”，在此扮演了相 當重要的角色。他們總是打造一 個沒有任何

劇院設備的影院 。取而代 之的是，藉由鼓 勵 觀 者不僅 參 與 其 計 畫，也 應 涉入自然 —— 成 為 這 世 界 的 一 份 子！主 要 的 組 成 成 員 包 括

有 音 樂 家、作 曲 家、技 術 專 家、程 式 專 家、 作家，以 及設計師 等，真 正地 跨 領 域的工作

團隊 。此 外，他 們 也總為參與 者 量 身訂做各 種 不 同 的 實 踐 形 式 。其 中 一 個 主 要 的 宣 言

為：“ 利 用新穎 與 尋常的 科 技，我 們 試 圖 創 造 沒有鏡 頭的電 影”，而這也是 用以理 解 其 創作理念的重要關鍵。

especially the technical problems with electricity. Moreover,

透 過 廣州有軌電車公司的支持，這項計畫克

waiting-to-be-solved problem. That is, the signal transmission

題，以 及隨 之而來的，如何 精準傳 輸互 動音

the wireless headphones over the participants also become a to which the headphones have to be connected and

corresponded. According to the curator Veronica Wong, how to interpret the English texts into Chinese served as a significant challenge due to the different context. During the journey,

the eyes of passengers became the lens - or if you’d like, the windows - that not only functioned as a gateway through

which people received passively what came to them. Rather,

the listeners would be intrigued by the stories described and would therefore ‘look for’ something answering the stories or inductions. This action, to search for targets, is similar to

the motion of lens - see, search and think. On the other hand, the way of knowing the outside world here not only ran

monodirectional, from viewers to the scenes, but they would

also be taught by nature - the most wise and great teacher all over the world.

服了許多難題，特別是技術上關於電力的問 檔至參與者所使用的無線耳機。根據策展人

王莉莉的說 法，因為不同語境 之 脈 絡，如何

將 英 文 文 稿 翻 譯 且 詮 釋 至中 文 則 為 嚴 峻 的

挑 戰 之一。在 設 定的列車旅程中，乘 客的 雙 眼成為了鏡頭，或者，觀景窗。其不僅做為觀 者用以被 動 地 接收 其 所視的渠 道，而是，相

反地，聽者將會 被 所描述的故事音檔吸引，

因而去“尋找”，並且回應那些故事。這個搜 尋目標 的 動 作 就像 是 鏡 頭 的運 動 —— 看、尋 找，且思考。另一方面，在這裡，理 解外在世

界的方式不只是單向地從觀者至景象，觀者 也 同 時反 過 來 被 此 世界上 最 睿 智與 偉 大 的 “自然”所教導。

Due to the main missions given to the Time Museum, they are

時 代 美 術 館主 要 的 任 務 即 為建 構 一 個 公 共

share and make their own stories. In this way, the museum is not

的故事。某 方面而言，美 術館不僅 是 一 個 供

engaged with producing a public platform where people can

merely a place for people coming and ‘being educated’, but also becomes as equal to the residents as well as the artists. As the curator said, the museum has been constantly trying to break

down the physical limitations and dipping into the everyday life shared by local community. By doing this, the curator wishes to

advocate the participants’ sensations by regarding the city more than the ‘knowledge’. For this reason, how to create dialogues between the artists and the residents thus options essentially

as one of the most difficult things. However, the first challenge came to this project indeed stood upon the question of

knowledge about the city. It was not easy for a non-professional resident to comprehend the history of changing with regards

to this place, needless to say the artists as foreigners. Therefore, the Professor Yuan Qifeng who is a specialist in Geography

and City Planning, played a supporting role of know-how for

interacting with the local people and their histories. Based on the

的平台，而大 眾得 藉以彼 此分享並 創造自己 人們 參 觀 且“ 被 教 育 ”的 場 所，而 也 應 該 平

等 共 享 於 在 地 居民 與 藝 術 家 們 。如 同 策 展 人所言，時代美 術館試圖不斷地打破實際的 物理限制，並且深入與在地社群共同擁有的 日常生 活。藉由此計畫，策 展 人希望能 喚 起 參與 者對於 這城 市的感覺，而不僅 止 於“知 識 ”。因 此，如 何 創 造 藝 術 家 與 在 地 居民 之 間 的 對 話就 成 為 其 中 一 個 最 艱 困 的 任 務 。 然而，首要面對的難題也確實落 在關於這城 市的知識 。對於非 專 業的居民而言，要 理 解

這地方的變遷與歷史並不容易，更 遑論外國

藝 術家。中山大學地理科學与規劃學院的袁 奇峰教授，則為此提供了基礎研究的專業知

識，透 過它，藝 術家團隊 得以 生 成一 全 新的 聲音作品以完善地呼應在地歷史脈絡。

understanding the artists learned from Yuan, they composed a

將此 計 畫 發 生 的 場 域 相 比 於 實 際 的 影 院 是

they believed that it perfectly corresponding to the local context

沉浸在其中（“如劇場般”為Circumstance

new piece of sound track and recorded it in Guangzhou, which of history.

It may make sense if comparing the sites in which the project

happened to cinemas - both are closed space - where viewers

are immersed (‘theatre-like’ as one of frequent methods taken by Circumstance), there was a fundamental alteration devoted to

by the artists, that is the way of perceiving. Precisely, they tried to

diverge from the ‘seeing’ as believed as essential to the ‘listening’.

Not only listening to the stories, conversations or sounds that would be changed with different geographic locations, the

individual headphone accompanying the passing images but coproduced a distinct immersive experience - just like sitting within moving pictures. Those two different kind of motion pictures are

有必 要的，其二者皆為 封 閉空間，而 觀者亦 所採 取的經常手法 ）。但 其中有一 個 顯 著的

差異在 於感 知的方式 。具體言之，藝 術家們 試 圖 將 我 們 習以 為常 的“ 觀 看 ”—— 總 是被

相 信為最 主 要的感 知管道——方法，轉 移至 “ 聆聽 ”：不只聆聽 那會 隨 著地 點位 置而 改

變的故事、對話或 聲響，每個耳 機以 及 過往 風景 也共同創造了獨有的情境體 驗——就像

坐在不斷移動的畫面中。這兩種不同的運動 影像皆為“ 機器”所驅動：一列移動電車，以 及一座 影像 投映 機，然而，前者強 迫觀者不 斷地逼近其所視，這完全不同於影院中所放 映之影像。

both driven by ‘machines’: a running tram and a film projector;

策 展團隊也提 供了兩種 版本：白日版與黑夜

seen, which was completely contradictory to the way of sensing

者因此可以專注聆聽——聽見這城市。甚且，

while, the former forced people to approach what they’d have the images projected in a cinema.

The curatorial team offered two different versions: the daytime

and the night one whence the light on the tram would be turned into a whole darkness. Passengers therefore can concentrate on

the sense of listening - to the city. Additionally, participants were

版，在夜晚時，電車上會成為全黑的空間，觀

參與者也被鼓 勵循著指令與其他人互動。正 是 這 原因使 得 參與 者不容易完全“沉浸”在 這獨特的影院中，因為觀者不再感受到自身

的孤立與其自我存在狀態，因而得以感受他 人的存在。

also encouraged to interact with the other sitters by following the

最 終，它將 導 向 迥 異 於 所 謂 的“黑 盒子”中

immersed within this specific film, where the viewers no longer

始遭遇那些往往被忽略為陌生人的他者，並

instructions. It is this reason to make participants feel hard to be

think themselves isolated and only need to feel their own exiting

之觀看 經 驗 。取代自我中心的意識，人們 開 藉此 建 構了一 暫 時 的 相 互關 係 。之後，可以

Left and Right: Times Museum Art on Track

status. Consequently, it led towards totally distinct experiences from seeing films in the so-called ‘black box’. Instead of a self-

centric consciousness, people started to encounter others who

have always been ignored as strangers in the coach. Through this, they built up temporary relationships among others. Afterward, what can be expected is that, they begin to smile, talk and be

friends - and, perhaps, they could find some people to talk about the shared historical stories that were handed down by the

older generations. It is an alternative, but a natural way of story telling. In this sense, the view (the scenery) the passengers see will constantly change according to the location, time and the

‘temperature’ that derives from people’s conversations. The metal coaches have thus been transformed into a live space where

emotions flow, breathing as organic creatures and carrying the common memories towards the future.

被 期 待的是，他 們開始 微 笑、說 話，且 成 為朋友——又或者，他 們 也 將談論其共享的歷史，以 及 那些世代 流 傳的傳說 。這 是一 個另類但

又自然的說故事之方式，某方面而言，這些乘客所瀏覽的風景，也將 隨著地點與時間不斷地改變，以及由人們笑談中所生的“溫度”也將 隨 之 起伏。金屬車廂因此被 轉 變為一 個活生生的空間，情感流竄在 其中，車廂彷 彿有機 生物般 地開始呼吸，而將這 些共同的記憶帶往 不遠的未來。

BEYOND BOUNDARIES INTERVIEW WITH PI LI 牆內，牆外 專訪香港M+視覺文化 博物館策展人皮力 TEXT BY 撰文 x KE QIWEN 柯淇雯 TRANSLATED BY 翻譯 x LI BOWEN 李博文 IMAGES COURTESY OF 圖片x WHITWORTH ART GALLERY 惠特沃斯美術館

Left: Portrait of Pi Li. Right: The M+ Sigg Collection – Chinese Art from the 1970s to Now at The Whitworth, Manchester.

Photography by Michael Pollard 2015, Image courtesy of The Whitworth

Art critic, lecturer, curator, chief editor, founder of tomarts.cn,

gallerist - for more than a decade, Pi Li has remained extremely active in the world of Chinese contemporary art. In 2012, he

ART.ZIP: Please introduce to us The M+ Sigg Collection: Chinese

art from the 1970s to now. What have been the feedbacks?

was appointed senior curator of M+ Hong Kong, and has ever

PL: It has so far been well received, the opening alone saw a big

the formidable collection of Chinese contemporary art of the

the museum is under construction up until 2019, there is for the

since become responsible for managing and researching in

museum. From a highly educated elite fresh out from the world of the academic, to a gallerist immersed in the tough business,

now returning to a position that is museological and institutional, looking after a collection that has recently become public - Pi Li has seen it all. His move from Beijing to Hong Kong might

well be simply a personal decision; to the remapping of Chinese contemporary art, however, it is deemed to be the signifier of a new era.

藝 術 評 論 人、大 學 講 師 、策 展 人、雜 誌 主 編 、網 站 創 始 人、畫 廊

主，十 幾年來，皮 力以不同 的身 份 一直 活 躍 於 中國當代 藝 術 舞台之 上，2012年，他開始擔 任香港M+視覺文化博物館的高級策展人，主

crowd. Mr. Uli Sigg handed the collection to M+ in 2012, but since moment this touring exhibition of the works in Europe. It was

shown in Sweden last year, now in Manchester, and eventually

will be back to Hong Kong. The 80 and change essential works by important Chinese artists - Ai Weiwei, Cao Fei, Zhang Xiaogang

and Zhang Peili - from the collection are included in this exhibition.

The works are canonical, and it probably will be difficult to see the

works shown together again once they properly move in to M+, so this is really a rather rare and valuable opportunity.

ART.ZIP: 可不可以為我 們介 紹一下這次 展 覽《M+希克 藏品：1970 年至今的中國藝 術》？英國的觀 眾有怎 麼樣的反饋呢？

要負責梳 理和研究博物館的中國當代 藝 術藏品。從一名學院科班出

PL: 這次 展覽的反饋很不錯，開幕就 來了很多人。2012年烏利·希克

天回歸美 術館體系成 為一名照料公共館藏的策 展 人，皮力見證了整

館建築要到2019年才正式落成，所以這些作品會在歐洲先進行巡迴

身的學 術 精英，到一名在商業領域中摸 爬 滾打的畫 廊 老闆，再到今

個中國當代 藝 術的發展 歷程，此 次離開北 京轉 戰 香港，於 他而言也 許 是 個人的選 擇，而於 調 整中的中國當代 藝 術生 態而言，這也許 是 一個新的時期開啟的標誌。

先生（Uli Sigg）正式把藏品交託給香港M+視覺文化博物館，由於場

展 覽，去年在瑞典，今年就到了曼徹 斯 特，最後再回到香港。我們藏 品中最重要的80幾件作品都在本次展覽名單內，有艾未未、曹斐、張

曉剛、張培力等重要藝術家的作品，都是教科書級別的作品，估計將

The M+ Sigg Collection – Chinese Art from the 1970s to Now at The Whitworth, Manchester. Photography by Michael Pollard 2015, Image courtesy of The Whitworth

Another wonderful news is, Whitworth Art Galley located in

來入駐M+後很難在其他地方同時展出了，所以機會非常難得。

2015, which means substantial increase in popularity. The

還有一 個很 好的消息，展覽所在地曼徹斯特惠特沃斯美 術館在今年

Chinese neighbourhood, so the exhibition is going to be met

時間會有更多人來參 觀，加上周邊 大學的環境和當地成熟的中國社

Manchester has recently been crowned Museum of the Year local environment includes university campuses and a mature with enthusiasm.

ART.ZIP: From the perspective of China-UK cultural exchange,

what are the memorable moments in the interaction between the contemporary art scenes in both countries?

PL: The exhibitions exported from the UK to China in recent years

are quite good. Take Gilbert & George in 1993 and Henry Moore in 2000 for instance: brought to China were both the most cutting

被評為了英國年度美術館（Museum of the Year），這就意味著這段 區，所以我很看好這個展覽。

ART.ZIP: 從中英文化交流的角度來看，您覺得在當代藝術領域兩國 的互動是怎麼樣的呢？

PL: 這些年從英國引進中國的展覽都很不錯，1993年的吉爾伯特和喬治

（Gilbert & George），緊接著2000年的亨利·摩爾（Henry Moore），英 國把一個當時最前衛的和一個相對傳統的都帶過來了。

edge and the classically modern.

我沒有參與中國帶去英國的項目，我是 從2003年開始參與英國引進

I have not been involved in programmes that went from China

土地（Asian Field, 2003-2004）》, 從廣州開始然後到北京、上海、

to the UK, but I have been involved in programmes that go the

other way around since 2003. Then, Antony Gormley’s exhibition

Asian Field was touring in Guangzhou, Beijing, Shanghai and

Chongqing. That was not merely an exhibition; on the occasion

of the touring, the artist himself worked closely on collaboration projects with local artists and institutions. Especially, Gormley’s collaboration with Vitamin Creative Space in Guangzhou

substantially inspired the development of community art

and culture that is local to China. In the year of 2006 there

was a massive group exhibition of YBA artists in China titled

Aftershock. I first came to the UK in 1999; back then I thought

it is going to be awesome if the works by the YBA group could be shown in China. This happened however only after about

中國的藝術項目。那年的安東尼·葛姆雷（Antony Gormley）《亞洲

重 慶 巡 迴 。這不光是 一 個展 覽，這 是藝 術家本人在不同的地點 和當 地藝 術家以及機構的合作項目，尤其是在廣州的維他命藝 術空間，

他們的合作啟發了中國本土的社區藝 術與文化。再往後2006年是一 個大型的英國青年藝術家（YBA, Young British Ar tists）展覽《余

震（Af tershock）》。我第一次來英國是1999年，當時我覺得如果能

在中國展出YBA 的作品將會是特別酷的一 件事兒，但 將近10年以後 他們的展覽才在中國舉辦。因為1999年那個時候大部分中國人還不

一定看得懂他們的作品，另一方面，可以看出英國每一 個文化項目的 引進都是在對中國市場和觀眾有一定的了解之上展開的。

ART.ZIP: 您現在作 為M+的高級策展 人，很多時間會在香港工作， 能不能介紹一下香港美術館體系和工作模式是怎樣的？

a decade. Back in 1999, most Chinese people could not quite

PL: 香港藝術機構有幾個特別好的地方。首先它為公眾服務的意識很

that each and every introduction of the UK cultural programme

何推進。而內地的展覽是為藝 術家、畫廊、藏家服務的，並不把工作

comprehend their works. On the other hand, it is now evident was based upon the increasing understanding of Chinese market and audience.

明確，展覽項目會將服務公眾放在最重要的位置，再來考慮文化該如

重心放在布展、文字信息和作品選擇上。其次，香港的公立藝術機構 對於作品的保存保護也是相當完善的。

ART.ZIP: As the senior curator of M+, you will have to spend a lot

與內地相比，我在香港工作需要考慮更多的事情，比如作品的陳列，

and model of museum operation in Hong Kong?

務時各式各樣的要求，這都很花功夫的，每天都在擠時間。

of time in Hong Kong. Could you please introduce the system

藝術家的滿意度，版權問題，各種法律法規等等，還要應對為公眾服

PL: Art institutions in Hong Kong are excellent for a number

ART.ZIP: 曾經有人認為香港是“文化的沙漠”，但這幾年似乎有了變

public. Exhibition programmes set the general public as their

轉變的信號？

of reasons. Firstly, it is very clear that they work chiefly for the

top priority and then they consider the further development of

化，比如香港政府把西九文化區獨立開闢出來，這是不是代表了一個

the local culture. In mainland China, exhibitions serve the artists,

P L : 我 相 信 轉 變 會非常 快 的 。我 1 9 9 9 年來 英 國 時，倫敦 當代 藝 術

providing information and selecting works. Secondly, public art

方，Y B A 剛 開 始 有 點 聲 音，那個 時 候 倫 敦 是 無 法和 紐 約、巴 黎 相 提

galleries and collectors, and do not care so much about curation, institutions in Hong Kong provide very comprehensive protection and conservation of artworks.

學會（In s t i t u te O f C o n te m p o r a r y A r t s）是 全 倫敦 最 時 髦 的 地 並 論 的 。但 到了2 0 0 3 、2 0 0 4 年 隨 著 南岸 中心（S o u t h

B a n k ）的

興 起 ，倫 敦 立 刻 成 了全 世界最 中 心 的 地 方。2 0 01年 時 南 岸 這 邊只

Compared with mainland, I have to be attentive to a number of

有泰特美術館（Tate Modern），而如今國家劇院(National Theatre)、

legal and regulatory frameworks, various demands occasioned

閒地在河岸邊漫步，吃吃喝喝，看看展覽。這也就十年的時間，英國政

issues: the artwork display, artist’s satisfaction, copyright issues,

from public services… All these are very consuming, taking up a lot of time.

ART.ZIP: Hong Kong used to be described as a “cultural

desert”, but seemingly there has been a change in recent years. Is the development of the West Kowloon area an indicator of a big change?

PL: I believe a change will take place very soon. Back in 1999

when I first came to the UK, Institute of Contemporary Arts was the hippest spot in town, and YBA just started to make noise.

London was incomparable with New York and Paris. However

府就將整個南岸中心打造成了東南倫敦的文化核心區域。

像香港M+所在的西九文化區就是在借鑑倫敦南岸中心的模式。當然 英國有它非常深厚的文化 積澱，但 是我相信當一 個好的美 術館植入

到一塊區域后，十到二十年的時間就 會 對當地產 生相當大的變化 。 當代 藝 術的驅 動力很 大，再加上香港自由的關 稅 和匯率，所以它在

未 來藝 術市場上的地位會非常重要。但畢竟香港的體 量有限，未 來 最大的客戶群還是在中國內地。

ART.ZIP: 從畫廊主、大學講師、策展人到目前M+策展人，以您豐富 的經歷來看，哪一部分是中國當代藝術的短板？

from 2003 and 2004, with the prosperity of the South Bank,

PL: 中國沒有很嚴肅的傳媒，也沒有很嚴肅的批評話語，這就失去了

was only Tate Modern in the South Bank area, now you have

為一 體的嚴 肅 批評系 統，所以中國的藝 術 價值標 準變 得 很單一，大

London has soon become the centre of the world. In 2001, there numerous institutions residing here, such as the National Theatre and the Hayward Gallery. I could have a really enjoyable time

知識生產的能力。我們沒有辦法建立起以記者、編輯、傳媒、批評家 部份時候只能通過拍賣和商業畫廊的商業行為來體現。

along the river, taking a stroll, having food and drink, catching

ART.ZIP: 如今留洋歸國的新一 代, 像劉辛夷、葉甫納、陳天灼、阿

transformed the South Bank area into the core cultural area of

國的藝術現狀有所改變或重塑？

a good show. In only a decade’s time the UK government has southeast London.

West Kowloon, where M+ is based in, tries to re-appropriate this model. Certainly, UK has its own profound history of culture; but

The M+ Sigg Collection – Chinese Art from the 1970s to Now at The Whitworth, Manchester.

Photography by Michael Pollard 2015, Image courtesy of The Whitworth

海沃德畫廊(Hayward Gallery)等等文化機構都聚集在這裡，我能很悠

斯巴甜 等人 給中國當代藝 術帶來了新聲音，您認為他們會不會 對中 PL: 作 為策 劃人 來說，我們面對的新一 代 藝 術家如陳天 灼、陸揚、 葉甫納等人，都是非常國際化的。他們可能受英國的教育，可能在柏

林進行藝 術家 駐 地 項目，在阿姆斯 特丹呆 上個3至5個月，在法國做

I believe a good museum, once placed in a certain area, could

of the communication speed made possible in the era of the

Contemporary art is a very powerful drive; with the special nature

back to China, and how to secure a channel for one’s own voice -

be immensely influential to the area in one decade or two.

of Hong Kong as a free port and the friendly currency policy, its position in the future art market will be essential. Hong Kong is

Internet. So how to maintain a global perspective after coming these are the matters they need to consider.

of course of a smaller scale; the biggest community of clients will

ART.ZIP: What’s scheduled ahead in the second half of the year

ART.ZIP: From being a gallerist, lecturer, curator, to now being

PL: From November, we will be having an exhibition programme

what is the weakness of Chinese contemporary art?

potentials derived from performance art in theatrical, urban and

PL: There is no serious media in China, nor serious critical

will be giving performances of various nature in Tsim Sha Tsui,

still be from the mainland.

the senior curator of M+, telling from this unique experience,

discourse; therefore the ability of knowledge production is

wanting. A serious critical system that encompasses journalists, editors, medias and critics is yet to be established, Chinese art

lacks diversity in terms of its evaluation, and in most cases can

only be valued through commercial operations of auction houses and galleries.

ART.ZIP: The younger generation of artists – Xinyi Liu, Funa Ye,

Tianzhuo Chen and Aspartame, just to name a few - what is your impression of them?

PL: As a curator I get to realise that younger artists such as

for M+?

titled On Stage: it aims to discover the possibilities and

artistic environments. At that time, 8 or 9 performance artists

Kowloon area. By next February the exhibition of Sigg’s collection will be coming home to Hong Kong. In July 2016 there will also

be an exhibition of Tsang Kin-wah. Soon we will finish building an exhibition space of 400 m²; we will be staging 7 to 8 exhibitions

there, each lasting for about three months. We will be testing the spaces continually until 2018.

展 覽，再回到中國 做 些瘋狂的藝 術作品 。這代人的文化 歸屬感和老 一輩完 全不一樣，他 們 沒有中國 的負擔，也沒有興 趣強 調中國 的身 份認同。

Tianzhuo Chen, Lu Yang, and Funa Ye are very global. They

我 個 人 認 為他 們 的 確 有一 些 新東 西 。但 是 光 靠 藝 術 家 是 遠 遠不 夠

working in an artist residency programme in Berlin, been staying

並不大，有政 治環境等 一 些因素的制約。因為新的政 府 還 是在加強

might have received their educations in the UK, possibly now

in Amsterdam for three or five months, having a show in France, then coming back to China to create some more crazy artworks.

Their cultural belonging is totally different from the older

generations: living without the burden of the nation, and without interests in emphasising their Chinese identity.

I think indeed they have something new, but counting on

的，還需要媒體和機構的介入。我一直在關注國內的現狀，目前起色 對意識形態的管控，但在互聯網時代，信息傳播太快，當下政府面對 的問題遠比以前的時代要複雜得多。所以新一 代 藝 術家如何在回國

後 保 持國際化的視 野，同時尋找到發聲的渠 道，這 是 他們要 考慮的 問題。

ART.ZIP: M+在今年的下半年會有一些什麼樣的項目嗎？

artists is not enough; also needed is the intervention of medias

PL: 我們下半年，從11月份開始有個展覽叫《上演(On Stage)》，探

situation: apparently things are not much better now, with the

行為藝術家會在尖沙嘴九龍嘗試作不同的行為表演；明年2月份希克

and institutions. I have been paying attention to the national

political environment and other factors as effective restraints. The new government is still re-enforcing ideological controls, but the problems they are facing now are much more complex, because

尋行為藝術在劇場、城市、藝術家空間衍生的可能，屆時會有8至9位 的藏品會巡回到香港；明年7月還有曾建華的展 覽 。有個 4 0 0平米的

展廳將很快竣工，我們預計會做7-8個展覽，每個展覽3個月，我們需 要測試這些展覽空間，這樣一直持續到2018年。

M+ is the new museum for visual culture in Hong Kong, as part of West Kowloon Cultural District, focusing on 20th and 21st century art,

design and architecture and moving image. The M+ Sigg Collection is an extraction from Swiss collector Uli Sigg’s unique collection. It is

universally recognised as the largest, most comprehensive and important collection in the world of Chinese contemporary art from the 1970s to the present. It consists of a donation from Sigg of 1463 works and a purchase of a further 47 works for $177 million.

M+是一所位於西九文化區的視覺文化博物館，重點展出20及21世紀的藝 術、設計與建築和影像作品。2012年瑞士著名收藏家烏利·希克博 士將1510件被公認為是從1970年代至今中國當代藝術品中規模最大、種類最齊全和最重要的藏品交付給M+,其中47件為M+收購。

ASIAN EMPIRE AND BRITISH KNOWLEDGE: CHINA AND THE NETWORKS OF BRITISH IMPERIAL EXPANSION 《亞洲帝國與英國知識： 中國與英國帝國擴張的網絡》 TEXT BY 撰文 x JAY, CHUN-CHIEH LAI 賴駿杰

Beyond Colonialism

殖民 之 外

Expansion from the Networks of Knowledge

張時 期 的中國方略

—Revising the British Chinese Diplomacy during the

—— 從 知 識 網 絡重 新檢 視 英 國帝國 擴

As previously mentioned the inter-exchanges between China and United

提到中英文化交流，或者我們說“ 接觸”，多數人總是

Britain and its opponents from Europe invaded as well as occupied the Asian

時也是其對手 —— 共同侵略且瓜分亞洲各地的事實。

Kingdom, or the ‘contacts’, majority of people would never ignore the facts that area. However, behind these visible conflicts among the empires, still more

meanings are worth looking at and exploring actively through the micro-scope, that is, the formation and exchange of knowledge—and, following this, the cultural identity. The author, Ulrike Hillemann, allocates her sights upon the

so-called ‘contact zones’, and discusses their importance for the British Asian knowledge system, and how the Chinese diverse imaginations have been

formed through the episodic networking during the Imperial expansion. The ‘imagination’ also determined the way of knowing others, while the more important thing for Britain was how to achieve the ‘legitimacy’ of cultural

governance by the ‘knowledge’. In the sense of the historical context, she first

and foremost designated the axis and boundaries of the discussions: that/the

無法忽略 英 國 於殖民 擴 張時期，與 其歐 陸同盟—— 同 然而，在這些帝國對帝國之間的衝突背後，還有更多值

得以微觀的角度檢 視與探討的積極意義，即知識的形 塑與交換，與隨之而來的文化認同。作者烏爾里克·希

里曼（Ulrike Hillemann）將重點擺放在她稱之為“接

觸區（contact zones）”的地方，討論其在英國於亞洲 知識系統的重要性，以及帝國擴張的階段性網絡中所

形塑而成之（英國對於）中國的多元想像。而所謂的想 像，也自然決定了認識他者的方式，然而，對英國來說 更重要的是如何透 過這些“知識（knowledge）”，進

而尋求文化治理的“合理性（legitimacy）”。就歷史脈 絡而言，作者首先劃定了其討論的軸線與範疇，即基督

Christianity commissions to Beijing, and almost at the same time

傳教士至北京，以及幾乎同時啟動的與中國之貨貿往來。傳教團所送

back to Britain from the commissions and the local networking

網絡，與英人與華人社群之交流（包括英國本土）等，遂成為本書考

the commercial trades with China. The reports about China sent formed within the economical area—the Guangzhou, thus become the points for consideration in this book.

The author, based on the ‘network theory’ by Bruno Latour,

believes that in order to understand a society, it is essential to look at the inter-relations by different sections as important

in the formation of discourses. The society, for Latour, is not a

given entity, but “formed through connections, and constantly transformed in the process by the actors”. As a result, in this

research, Hillemann ceaselessly zoomed the scope into the so-

called actors’ psychological changes. In the context, Guangzhou served as an exemplified area in which East India Company

(EIC) played a key role. She took the notions of ‘periphery’ and

‘metropolis’ to examine the relationships among colonialists and their colonies, by which the identities constantly move between

the peripheries and the centres, as she claimed. For instance, the interests about Chinese knowledge should not have been seen purely as how the metropolis (the UK) perceive or understand

directly, but also coming from the knowledge learned from the others. Through the adjustments and modifications, it did not

only attempt to alter the subjectivities of people in the colonies, but also reversely formed the Britons’ own cultural identities.

India played an important-cum-mediate role between China and Britain. Therefore, the British government believed that

because India is beside the China as one of the ‘East’ countries, the Indian experiences must have something meaningful for the governance of China. The economic concern is another

important reason: the unbalance of supplement and need for

‘tea’ was the first reason for causing the conflicts. Interestingly,

Hillemann adopted Arjun Appadurai’s ‘social life’ to see the goods exported from China to Britain as a sort of ‘contact zone’, through which Chinese style encountered the Britons—the Chinoiserie.

This cultural alien, to some extent, became imposed as a way of

disobeying the main stream, that is to say, it was being taken by rococo against the classicism and baroque taste; on the other

hand, the Chinoiserie also threatened the metropolis’ local sense and made it altered, again.

George Henry Mason’s The Costume of China（1804）showed the cultural impacts generated within the (things’) contact zones, as

one of the examples. Even this book, and accompanying paintings, was printed and published in China, by Chinese craft men. The work was about the factories and the cultural life around them

in Guangzhou, it still carried clear exoticism and bias. The book used Chinese watercolour, not Chinese ink, a form which was

回英國的中國報告，以及在特定貨貿區域（廣州）所形成的小型知識 量的重點。

作 者以布 魯 諾·拉 圖 爾（B r un o L a to ur）的“ 網 絡 理 論（n e t w o r k t h e o r y ）”為 主 要 論 述 框 架 ，拉 圖 爾 認 為 ，對 於 一 社 會 結 構 的

了 解 ，應 該 同 時 且 對 等 地 看 待 其 中 構 連 的 過 程 ，以 及 其 所 形 塑

而 成 的 各 個 群 體 。所 謂 的 社 會，對 拉 圖 爾 而 言，並 非 是“ 給 定 的 （ g i v e n ）”實 體 ，而 是“ 在 過 程 中 透 過 連 結，以 及 行 動 者 所不 斷 形 成 的 ”。因此，在研究中作者持續地拉近視角，甚至觸及到所謂行

動者們的心理變化。在其脈絡中，廣州為主要的考察區域，而之中扮

演關鍵角色的自然是東印度公司（East India Company, EIC）。作 者大量地使 用“邊陲（peripher y）”與“宗國（metropolis）”的概

念，認 為所 謂 的 殖民 主 與 其 殖民 地（或者政 權 延 伸 地 區）之間 的關

being exported to Europe since the mid 18th century. This style

係，就是在“邊緣（peripher y）”與“中心（centre）”之間不斷地主

was what they imagined as the ‘other’. On the other hand, the

之為宗國（英國）對其純粹的認知或概念，而也常來自英國自其帝國

corresponded to the stereotype of China. What the British needed Chinese ink painting and how they engaged with ‘landscapes’ also stimulated Britain, and therefore Britons developed their specific

‘genre paintings’. The Chinese Exhibition happened in April and

May 1827 could be seen as a prototype of new knowledge-based

體轉換的過程。舉例而言，英國對中國的知識觸角，並不能單純地視

中他者的知識反饋，並 透 過往 復的調節與修改，不僅有意識 地企求 改 變被殖民 地的主體認同，更因此反過 來形塑出英國人自身的文化 認同。

economy that were formulated and driven by curiosity about

在中國與 英 國之間，扮 演 重 要 緩 衝 角色 的即印度，因 此 相 對 地，東

investigations and more needs of other cultures.

皆處 東 方且比 鄰而居，其印度 經 驗 必能作 為治理中國的借鏡 。而另

the unknown others during this period. It thus activated more

The period from 1760s to 1940s was the cruel one for the

formation of Chinese impression in the eyes of Britons. Before

the commercial trades conducted by EIC, they sent ambassadors.

Those early ambassadors were convinced that it makes it easier to communicate with the local communities by understanding the

local customs, clothes, laws and languages. The ‘Chinese experts’

believed the Chinese knowledge not only could help them know more about their cultures and people, but, more importantly,

enabled them to raise the flag of ‘progressive’ in the final stage.

印度公司也成 為其中關鍵的意義 形 塑 網 絡。英國相 信，印度 與中國 一更 重 要的 因 素，即 經 濟的 考 量：茶 葉 需求 的 供 不應求（ 因 為清朝 嚴格管控茶葉的輸出），遂成為中英衝突的第一導火線。有趣的是，

她用了阿爾君·阿帕杜 萊（Arjun Appadurai）關於 物有其“社會生

命（s o cial life）”的概 念，將進口至英國的貨物亦視為一種“ 接觸 區”，透過它們， “中國樣 式（Chine se s t yle）”也因此接觸且遭遇

了“英國人（Britons）”，而生成了“英式中國風（Chinoiserie）”。 此一文化的異 質物，在 某 種 程 度 上 成 為了反叛 主 流 風 格 的手段，即 被 洛可 可所採 用以衝 突古典 與巴洛克的品味；當 然，中國 風也反 過 來威脅了英國本土文化的品味，並使之再次地變異。

Since the Enlightenment between 17th and 18th centuries,

喬治·亨利·梅森（George Henry Mason）的《中國服飾（The Costume

progress’, and the ‘knowledge’ was what they depended on. It

人之手，以繪畫形式考察了廣州的工廠與周邊文化。即便這本書是在中

European countries deeply believed that the so-called ‘cultural means that they had the responsibilities to salvage those deemed ‘savage and uncivilised’, and to govern and educate them. The

belief of knowledge indeed brought them speedy technological

developments, while it also motivated the Imperialism. The British ambassadors’ ideas of enlightenment, such as Henry Dundas were mixed into the ‘colonial diplomacy’ at the time.

The author stepped closer to the British community formed in

Guangzhou in the early 19th century and before. The fact is that at the time Britain had no military threat to Guangzhou, and

of China）》也反映了（物品的）接觸區所生成的文化影響，透過中國匠

國付印，但依然保有明顯的異國情調，或者偏見。例如，其所使用的水 彩風格，是18世紀中葉開始大量傾銷至歐洲的外銷彩墨風格，而不是

“中國水墨”。因為這是過去歐洲人帶回去的關於中國的刻板印象，他

們所需要的是其想像中的“異國”。另一方面，中國水 彩對自然 風景

的著墨與研究，也帶給英國刺激，而發展了現在所廣為人知的“類型

畫風格（genre painting）”1 。有趣的是在1827年四、五月時的一個 《中國展覽（China Exhibition）》，幾乎可以說是在這段期間中，殖民

強國對於未知他者的好奇而形成的新知識經濟之原型，並因此驅動了 更大規模的探詢：對於異文化的需求與販售。

the duration they stayed and their ways of connection were

1760s到1840s是中國印象在英國人眼中形成的關鍵時期。首先透過

conversations, the passenger-like British communities still saw

些早期的大使們相信，了解當地的服飾、法律及語言，可以使其更輕

under severe surveillance by China. There were even fewer

Chinese Empire as a negative ‘Other’. The misunderstandings thus caused recurring conflicts. Especially, after 1815, when Britain basically failed its expansions, China became more

important in the sense of resources and economics. However,

the Chinese experts knew little about the local cultural context,

not to mention the conversations with local intellectuals before the Opium Wars (1840-42). According to Hillemann’s research,

the reason is due to the language, which they faced as a problem first. Besides, the linguistic research about Chinese, which

always came with the certain objectivity—translations of Bible

大使的派 駐，而後才是 東印度公司（EIC）更 具 規模的商業 交易。這 易與在地社群溝通。他們常以“中國專家”自居，不僅相信這對於中

國的知識可以幫助理 解 其 文化 與人民，對他 們更 重 要的是，這 可以 讓他們得以在最終階段高舉“進步”的旗幟。誠如我們所熟知的，歐

洲於17、18世 紀 所 發生的啟 蒙運 動，促使 歐陸諸國深信“ 文明的進 步”，而所 依 靠的即是“ 知識”。這意味 著 他 們有責任 去解 救“ 蠻 荒

與落後”，治理且教育之。對於 知識的信仰，確實也帶來科技的快 速

發展，但也因為這背後 對於“未知”的渴求，帶來了帝國主義的殖民 擴張。英國大使們，如亨利·鄧達斯（Henr y Dundas）等人的啟蒙思 想，也因此混雜成為了英國當時的“殖民地政策”之一環。

as a means of salvage and the methods of governance. Due

作 者 將 視 角更 為 拉 近，關 注了早 期1 9 世 紀初 與 之前 在 廣 州 所 形成

ambassador and tried to find out the exact reason. ‘Translator’

脅，對於佇留的時間以及對外的通訊方式等，中國亦加以嚴格控管。

to this, the British government decided to commission a new

的英國社群。因為當時英國在廣州的角色並不帶有任 何軍事上的威

would be the key. John Barrow, as one of the early ambassadors,

即便偶爾有對話，但 如 過客般的英 國 社群，依 然 視中國當權為一負

letter to the government that, the translators upon whom Britain

操弄，因此導致中英之間的大小衝突不斷。特別是，1815年之後，英

authorised officially with Chinese learning, emphasised in a

relied in the past did not truly convey what the Chinese people meant. The reason was that earlier than the officially organised

ambassadors, most tasks of translations had have been taken by the Catholic missionaries. The problem was that they “did not want or dare to really help the ‘Heretics’”.

To conclude, the book deliberately considers the past results of related research from the different aspects, and it offers, based

upon the network theory, readers a distinct but micro-scopic look at this historical period. Thus, it enforces us to take the humanity

into account when talking about the histories during the so-called military colonialism. The British-Indian knowledge also helped

this ancient empire accommodate the myth of ‘Orientalism’, and

面的“他者（Other）”。這樣的誤解頻生，也造成有心人士得以輕易 國對外 擴張的計畫處 於失利狀態，中國在資源與經濟的考量上也就

愈形重要。然而，這些居住在廣東 廣州的“中國專家”們，在鴉片戰 爭（18 4 0 - 42）之前，對於在地文化脈 絡的認識仍極其有限，而與當 地 知識份子的交 流 更 是 鮮少。究 其 原因，語言即首先面對的難 題，

特 別 是當 語言 的 研 究 挾 帶 了特 定任 務 性目的 —— 作 為 救 贖 的 傳 教

（聖經翻譯），以及文化治理的手段時。有鑑 於此，英國決 定派遣新 的大使，並檢討過去績效不彰的原因，發現“翻譯者”可能是個重要

關鍵。作為早期正式被授命且學習中文的翻譯者，約翰·巴羅（John

Barrow），在提 交 給高層的信件中強調，英國過去所仰賴的翻譯者 並沒有忠實 地傳達語意，因為更早之前大部分場合皆依靠早 期前往 中國傳教的天主教士，但問題癥結在於，他們也往往“不願意或不敢 真的去幫忙‘異教徒（Heretics）’”。

then construct their specific genealogy of Chinese studies. The

總體言之，本 書多方考慮了過去的研究 成 果，其 根基於區域 網 絡理

responded to itself and formed the British self-image from the

科書的微觀視角，在 所謂武 裝 殖民的歷史書寫中也多了些許人 文考

understandings and imaginations about China as the other that different contexts. In addition to the rebellion against the main

stream by using the Chinoiserie, another significant impact was

their national confidence. Namely the British culture hegemony: they were authorised to enlighten and help the China, an old

country with moral minorities (at the time, Britain thought China as a strong adversary but with weakness of morals).

In the practical sense, these Britons who had Chinese experiences and returned to the UK not only formed the Chinese knowledge in Britain, but afterwards became the fundament for further

expansion into the Asia. While, the Chinese form of government was contradictory to the European ones, and its special

traditional intellectual networking was not, perhaps the linguistic limitation discussed, as expected in the book. Under this context, the Chinese resistance against the ‘equality’ as well as the ‘open’

(physically and theoretically), and how it took a distinct road from

論，並以獨有的“ 接觸區”為方法，重新為讀者提供了有別於歷史教 量。而英國當時對印度的治理 所帶來的比較 性 知識，也讓 這一帝國

調 整了過去對於整 一的“ 東 方主義（Or ient alism）”之 迷 思，因此 建構出獨特的中國研究之系譜學。此外，對他者中國的理解與想像， 也在不同脈 絡中反饋且形塑了英國的“自我形像（self-image）”。

除了前述 所謂中國風被 用以 反叛 主流 文化之 外，另一主要的影 響即

是民 族自信，意即英 國人當時咸信的 文化領導 權：其 被 賦予 使 命以

啟 蒙、解 放 道 德 低 落 的中國（在當時，英 國 認 為中國 為一 強 勢 的威 脅，主要的缺陷在 於“道德 ”。就 實際 層面的考量，這些早 期擁有中

國 經 驗的英國人，也透 過各種 方式 形 塑了英國本土的中國知識，而 這也隨後造就了英國與其他帝國強權不同的亞洲經驗與後續擴張。

然而，有別於 歐陸 政體 之中國清朝的政 治體制，與傳 統 文 人的智識 交流 及其結構等，或許因為語言的考量並沒有太多地在本書中被討

論。在此脈絡下，近代中國對於“平等”或“開放”的抗拒（實際地與 概 念 地），以 及 其後 續 如何走向一 條迥異 於西方各國乃至亞洲的道 路，而造就了所謂“新中國”的政經變化，也可惜地在本書中缺席。

the West and other Asian areas and afterwards created the ‘New China’ was absent in the book.

1: Limited to the purpose of the article, it does not aim to introduce the complicated definition of‘genre painting’and its historical development in art history.

However, under the context of the article (and the book), I refer mainly to the influences that British painters had have accepted via the import of Oriental ink

arts and its researches and focuses upon the landscape, and afterwards they introduced the knowledge into their long developed interior paintings which mostly concentrated the description of figures. It also opened up another story about landscapes with their prolific semiotic rhetorics, as well as the relationships among the figures and natural scenes.

1：限於篇幅與目的，關於所謂「 類型畫」之定義與流變，無法詳述。但在本文（書）的脈絡下，筆者所指的是英國因受到東方水墨對於風景的重視與研究，而因此在其發展已久的室內畫（多 半著重在人物的描琢），逐漸引入更多風景的篇幅，與它所帶來的符號隱喻及人物與景色之間的關係。

TE A 茶 TEXT BY 撰文 x NICHOLAS ANDERSON 尼古拉斯·安德森 TRANSLATE BY 翻譯 x SHORAN JIANG 姜嘯然

“I WAS DRINKING TEA THE OTHER DAY, AND I THOUGHT: THEY USED TO FIGHT WARS OVER THIS.” - DANIEL TOSH

From its discovery in China in 2737 BC to its enthusiastic

自茶 在公 元前 27 37年 被 首次發 現，至 其 於16 4 4 年在

phenomenon and beloved staple. Whether enjoyed in a

深受愛戴的佳品。無論是在別緻如畫的中式庭院裡品

welcome in London in 1644 AD, tea has become a worldwide picturesque Chinese courtyard garden or on a builder’s worksite, tea is instantly recognisable in any of its myriad forms or tastes

and the love of it ties together both countries and social classes.

倫敦的大受歡 迎，茶已然 成 為了風靡全 球的珍甘以 及 飲，亦或 是在 建 築 工人的工地 上享受，在 其 眾多的形

質 或口味中，茶 一 眼可 辨，對於茶 的喜愛 更 是聯 結了 不同國家和不同社會階層。

The tea plant (Camellia sinensis) is native to south eastern Asia

茶樹原生長於東南亞，後在世界範圍廣泛傳播，如今已

Britain’s cultural beverage and the land most famous for drinking

名。不論稱之為“Tea”、 “Chai”還是“Cha”，這個詞，

but has since spread worldwide and is now seen by many as

it. Whether you recognise it as Tea, Chai or Cha, the word like the plant owes itself to China. Cha was originally a mandarin loan word which still in use today, whereas tea is believed to have come from an older version of the word passed through the

southern Fujianese Amoy dialect to Dutch sailors who brought it,

被 許多人視為英國的飲品，而英國亦因喝茶而最為著

如同茶樹本身都是源自中國。 “Cha”這個詞起初是漢 借詞，如今 仍在中國使 用，而“ Tea”這個詞是源於一 個更古老的譯本，它是隨著荷蘭水手們隨著貨物一起 帶回歐洲的福建南部廈門的方言。

along with the product back to Europe.

如 今，英 國 的 茶 葉 消費 量 為 每人年 均 2 .74公斤，排 名

Ranking 5th for tea consumption in the world with 2.74kg per

葉 消費 量為0.82公斤的中國 。然而，這兩個國家都遠

person per year, the Britain now far exceeds China in 33rd place

drinking 0.82kg per person per year. However both countries lag far behind Turkey with an astonishing 6.86kg per person. Whilst a definitive quantity per capita is hard to pin down amongst ever shifting tastes and preferences, including the currently

trendier coffee chains that fill every high street, the overall rankings are fairly consistent with a recent survey indicating that the average person in the UK drinks 17 cups a week!

世界第五，遠 遠 超 過了排 名世界第3 3位、每人年 均 茶

遠 落 後 於 土 耳 其 ，土 耳 其 年人 均 的 消 費 量 是 6 . 8 6 公 斤。人們的口味和喜好 持 續 變 換，充斥於 各個高 街的 時髦咖啡連鎖店亦然，雖然這些變化致使明確的人均

消費數量很難確定，但 是最近的一次問卷調查表明了 英國人均飲茶数 量高達每週17杯，這也與整體的年人 均茶葉消費量排名一致。

儀式感

A sense of ceremony

有了近 五千年的 實 踐，對於如 何 飲 茶，中國已 然發展

With nearly five thousand years to practice, China has had the

的就 是功夫 茶道，釀 造味美而慰心的好 茶，水的來源

time to develop a refined taste and preference for drinking tea.

Amongst the more formal and famous methods is the Gongfu tea

出了一套雅 緻的品味和喜好。其中最為正式 最為著名 與精確的溫度與茶葉本身同樣重要。

ceremony where the water source and precise temperature are

沖茶的用水， “山水上，江水中，井水下”。事實上，在

leaves themselves.

具 。必 不可少的茶具中包括了適 宜的茶 壺、用以 清 潔

as critical to the brew tasting good and satisfying the soul as the

When it comes to your water source, water from mountains or springs is best, river water is inferior and well water is simply a

choice of last resort. In fact for consummate enjoyment you may

require as many as 24 or so tools to do things right. Of paramount

古代，若想達到至 臻的體 驗享受，甚至需要約24件 茶 茶壺嘴的茶夾以及盛置的灑水茶盤或瓷碟。在可選的

茶具中，有 書法毛 筆風 格的木柄 茶 掃，用以 將 茶渣在 茶盤 上均勻地攤開，以確保 沒有乾 燥的茶渣，同時 將

茶漬均勻地塗在茶盤上以產生包漿的色澤（此法屬台 灣用法）。

importance is an appropriate brewing vessel, a tea pick for

傳 統 上，水溫需要緊密觀測，時機 也需拿 捏得 恰到好

hold spills. Some of the more optional equipment would include

可以掌控水溫，使每 一泡茶盡善盡 美。就肉眼觀 測溫

clearing the teapot spout and a brewing tray or porcelain plate to a calligraphy-style brush with a wooden handle, used to spread the wasted tea evenly over the tea tray to ensure no part dries

處。通 過 氣泡的特定 大小 、形狀以 及 形成氣泡的聲音 度而言，以下可指導一二：

out and the tea ‘stain’ is spread evenly to lend a pleasing colour

75–85°C時，氣泡直徑約3毫米，形狀似“蟹眼”，伴有

Traditionally the temperature of the water was observed by close

90 –95 °C時，氣泡直徑約8毫米，伴有頻繁的噝噝聲，

sound of the forming air bubbles allowed the perfect amount

都停止了。

to the tray.

scrutiny and careful timing. In particular the size, appearance and of temperature to be applied as each strain required. In terms of keeping your eye on the temperature, the following guidance was given;

At 75 – 85° C, the bubbles formed are known as “crab eyes” and are about 3 mm in diameter. They are accompanied by loud, rapid sizzling sounds.

At 90 – 95 ° C, the bubbles, which are now around 8 mm in

diameter and accompanied by less frequent sizzling sounds and a lower sizzling pitch, are dubbed “fish eyes”.

When the water reaches boiling point, both the formation of air bubbles and the sizzling sound ceases.

In the case of the Gongfu ceremony, as much care and attention is given to each stage of the tea ceremony from warming

the pots and heating the cups to respectfully receiving the

fragrant tea as is given to the taste. The overall goal is for the tea’s quality, the drinkers’ moral quality and the surrounding environment to harmonise.

響亮、快速的噝噝聲。

謂之“魚眼”。當水達到沸點的時候，所有氣泡 和響聲 在功夫 茶道中，從 淋 罐 燙杯到嗅 杯品茶，茶道的每 一 個階段 都至關重要。所 追求的是 茶的品質、飲者的雅 趣與周圍的環境氣氛的和諧統一。

眾所周知，等同於功夫茶的英國“茶道”當屬正式茶點 （High tea），在英國被稱為下午茶（Afternoon tea） 或者晚餐前茶（Low tea），而在其他地方被稱為正式 茶 點 。然而，在英式下午 茶裡 更關注的是隨茶的佐 餐 以及社交氛圍，而後才是喝茶的本身。

正 式 茶 點 的 發 明 應 該 歸 功 於 十九世 紀 初 期 的貝德 福

德公爵夫人七世安娜女士以及她那顆在下午就會餓的 胃。那個 時 候的 傳 統 是 一 天兩餐，即一頓很晚的早餐

和晚上八 點以後的大餐。為了安然 度 過兩餐的間隔， 下午的時 候，她會點一 些茶、小三明治和蛋 糕 在 房間 裡享用。後來，這種正式茶點發展成為了一種 聚會，公 爵夫人會邀請她的朋友來到她家與她一起飲茶、品嚐

餐 點 和交談。這 種 簡餐淡茶的習慣 大 獲 成 功，很快就 在上層社會流行開來。

In its most well-known form, the British equivalent of a tea

在 那個 時 候，正 式茶 點 和茶的流 行尚需要時日，因為

in Britain but High tea to the rest of the world), however the focus

重 的 商品 ，其 中 一 部 分 原 因 是 當 時 政 府 徵 收 的 高 達

ceremony is High tea (properly known as afternoon tea or low tea here is much more on the accompanying side dishes and social atmosphere, then purely on drinking the tea itself.

The invention of High tea in the form that it is now known is

credited to Anna, the 7th Duchess of Bedford and her hunger

當 時 對 於英 國 的 普 羅 大 眾 來 說 ，茶 仍 然 是 稀 有且 貴 119 %的進口關 稅，某 種 程 度 上 用以 維 持 大 英帝國的

運 轉 。在 那些可以享受 這 種 奢 華的朱樓翠閣中，亦 會 將茶葉鎖之高閣，以防僕人偷盜。

during one late afternoon in the early 19th century. At that

原材 料

breakfast and the other a large dinner served after 8pm. To tide

在享用茶的時候，你也許會加一 些 奶和幾 塊 糖，而在

to be served in her room in the afternoon. Later on, this high tea

所有的茶愛 好者 都會 認同的是，不 論 你是單飲茶，或

time it was traditional to only eat two meals in a day, one a late herself over, she would order tea, small sandwiches and cakes progressed into a communal gathering whereby the Duchess would invite friends to join her at her home to drink, eat and

converse. This light tea was such a success that the habit quickly caught on with the rest of high society.

鑑 賞家的深奧世界 裡，這 些甚至 是 要銖稱寸量 。但 是

是品飲 混配 的茶，或 是 加入了其他 原 料的茶，茶 葉 本 身的地位始終都是至高無上的。

在 西 方 茶 葉 評 級 體 系 中，茶 葉 是 通 過 測 量 茶 葉 本身

TEA AND THE UNITED KINGDOM

BIGGEST TEA DRINKERS Turkey

6.86 kg (242 oz) per person / per year

165,000,000

Morocco

cups of tea a day consumed by the UK

25%

+

59% breakfast 16% earl grey 15% green tea 10% herbal tea

MOST EXPENSIVE TEAS Da-Hong Pao Tea

$1,200,000 per kg

Panda Dung Tea

$70,000 per kg

Tieguanyin Tea

$3,000 per kg Poo Poo Pu-Erh Tea

$1,000 per kg

PG Tips Diamond Tea Bag

Gyokuro Tea

Vintage Narcissus Wuyi Oolong Tea

Silver Tips Imperial Tea from Makaibari Tea Estate

$15,000 per tea bag

Yellow Gold Tea Buds

$3,000 per kg

Ireland

of milk consumed in UK is taken with tea

UK s favourite tea types

$6,500 per kg

4.34 kg (153 oz) per person / per year

$650 per kg $400 per kg

Tienchi Flower Tea

$170 per kg

3.22 kg (114 oz) per person / per year no.

04

Mauritania 3.22 kg (114 oz) per person / per year

no.

05

United Kingdom 2.74 kg (97 oz) per person / per year

no.

06

Seychelles 2.08 kg (73 oz) per person / per year

no.

07

United Arab Emirates 3.22 kg (114 oz) per person / per year

no.

08

Kuwait 1.61 kg (57 oz) per person / per year

no.

09

Qatar 1.60 kg (56 oz) per person / per year

no.

10

Kazakhstan 1.54 kg (54 oz) per person / per year

no.

33

China 0.82 kg (29 oz) per person / per year

There are estimated to be about

1,500 different varieties of tea

2

ND

2:1

Worldwide tea outsells coffee by 2 to 1

Tea is the world s 2nd most popular drink after water.

The popularity of high tea and tea in general would take a little

的 品 質 和 狀 態 來 決 定 的 。這 個 體 系 中 的 頂 級 紅 茶 是

history tea was still such a rare and pricey commodity for people

Flowery Orange Pekoe），有時候這個縮寫也被戲謔

longer to reach the rest of the population as at this point in

in Britain, in part due to the government’s import duties that

reached as high as 119 percent, raise to support the maintenance of the British empire. In the well-off houses that could enjoy this luxury, tea would be kept in locked boxes or containers so that the servants wouldn’t steal it.

Raw materials

FTGFOP，即頂級毛尖花橙白毫（Finest Tippy Golden

為“ 太 過 優良，不適合 普 通 人”（Far To o G o o d for O rdinar y Pe ople）。

所 謂 頂 級毛 尖 花 橙白毫 指 的 是 從 最 鮮 嫩 的 茶 樹 芽上

採摘的一整片茶葉（橙白毫），由兩片茶葉和一個嫩芽 組 成，嫩 芽是在採 茶 季早 期採 摘的，所以 嫩 芽稍顯金 色 。這 些 嫩 芽只可以 用指肚 採 摘，因為 指甲或 機械 工 具會對嫩芽造成不必要的傷害。

While you may enjoy yours with a dash of milk and a couple of

評 級 系 統 里 低 一 級 别 的 茶 葉 是 碎 葉 ，沏 泡 碎 葉 得 到

often more measured. Something that all tea lovers can agree on,

快 地 泡 開 。茶 末 和 茶 塵 是 那 些 太小 的 碎 葉 ，小 到 已

sugars, in the rarefied world of the tea connoisseur, things are

no matter if you take your tea straight, blended or mixed is that the leaves themselves are of supreme importance.

Under the western tea grading system quality is ascribed by

measuring the quality and condition of the tea leaves themselves.

At the top end of this scale for black tea is FTGFOP (Finest Tippy

Golden Flowery Orange Pekoe, or sometimes jokingly translated as “Far Too Good for Ordinary People”).

Broken down this refers to a whole leaf tea (Orange Pekoe) picked from the newest shoots of the tea plant and consisting of two

leaves and a bud picked early in the season resulting in slightly

golden colouration. These shoots are picked only using the balls of the fingertips as fingernails or mechanical tools would cause unwanted bruising.

At the lower end of the scale you might describe other teas as broken leaf, these leaves produce a darker cup as they infuse

的 是 色 澤 較 深 的 茶 水，較 之 於 整 葉 ，碎 葉 可 以 被 更

經 不 能 歸 類 為 碎 茶，這 些 通 常用 於 製 作 量 產 的 茶 葉

袋。CTC（crush, tear and curl）即器械加工的“擠 壓撕裂 捲曲”的茶葉 是 用來製作口味濃 重，快 速沖泡 的茶。

中國有一套相似的茶葉品评標準，在宋朝達到巔峰， 那時候的极品茶葉甚至價值連城。

要 得到最高品質的茶 葉，采 摘时间尤 為重 要，需要 在 每 年 特 定 的 時 節 採 摘 。茶 葉 最 好 的 採 摘 時 節 便 是 三

月初的驚蟄以 及四月初的清明或者是清明節前夕。此 外，溫 度 和收穫當日的天 氣也 極 為關 鍵 。如 果 採 摘當 日艷陽高照或者籃中的茶葉在陽光下太 久，茶葉便會 丟 失水分，這樣 會影 響 其 味而 損 其 精 髓 。因 此，最 好

的時間是在清晨 摘茶，這樣就可以留下些許露水在茶 葉 上 。然而，雨水 同 樣 會 對品 質 產 生 負面影 響，所以 採茶不會在下雨天進行。

faster than whole leaf teas. Fannings and dust are leaf particles

在中國，茶葉由指甲掐下，而非指肚捏取，因為這樣茶

marketed tea bags. CTC or crush, tear and curl mechanically

端的嫩芽越嫩，茶的品質則越好。

too small to be classified as broken leaf, typically used in mass processed tea is used to create very strong flavoured, quick infusing tea.

China has a similar way of characterising the quality of the

collected tea which peaked during the Song dynasty when a high quality tea could be priceless.

葉的品質不會受到手溫的影響和汗水的污染。茶葉頂

品飲 在 中 國 ，茶 杯 通 常 都 很 小 ，其 容 积 一 般 不 超 過 3 0 毫 升。品茶分三步，一觀其色，二聞其香，三品其味。

“EACH CUP OF TEA REPRESENTS AN IMAGINARY VOYAGE.” - CATHERINE DOUZEL

To collect tea of the highest quality tea, it was important that

tea leaves should only be picked at the right time of the year,

the best time identified as being between the Waking of Insects (early March) and Pure Brightness (early April) or just before the Qing Ming Festival. Furthermore the temperature and weather

on the day of harvest were crucial. If the day was too sunny or the collecting basket has been left in the sun, the tea leaves would lose some of their moisture, this would impinge the taste and

damage the essence. Therefore, it was best to pluck the tea early in the morning so that tea leaves would still have a little dew on

them. However if it had been raining the quality would also have been adversely influenced and so tea was never picked during rainy days.

In China tea is picked with the nails instead of the fingers so

that its quality is not affected the by the hand’s temperature or

possibly contaminated with sweat. The tenderer the buds are, the better the quality will be.

Time to drink In China, teacups are usually quite small holding no more than

30ml of liquid. Tea was intended to be enjoyed in three sips, one

for flavour, the second for presence and the third for the aftertaste.

After tea’s import British people tended to drink much larger

quantities in one sitting, whether by adding milk and sugar or just

a slice of lemon, and this required a much larger tea cup. Enjoying the beverage hot, British ladies had a hard time figuring out how to drink it hot, whilst maintaining a graceful air and not burning themselves. This lead to the creation of the teacup handle and teacup set.

In modern times, China has adapted to the need for tea on the go with the rising popularity for double walled glass infusing bottles which allow the tea to be kept hot and the hands cool whilst

enabling you to admire the unfolding bud in a blooming tea.

隨 著 茶 葉 的進口，英 國人 更傾向於可以一次喝更 多的茶，不 論是 加 奶還是加糖，或是一片檸檬，這都需要一 個更大的茶杯。為了享用熱 茶，英國女子 們曾經有一段 尷 尬時期，來 解決喝到熱 茶的同時如何 可以保持優雅的姿勢，又不會燙傷自己。這就導致了茶杯把手和成套 茶杯的產生。

現代，生活忙碌却需要飲茶，在中國便出現了雙層玻璃瓶，這樣茶水 既可以保溫也不會燙手，亦可以將開花茶的含苞綻放盡收眼底。

MEMORY GOES AS FAR AS THIS MORNING 當記憶成為早晨 TEXT BY 撰文 x XIAOHUI GUO 郭小暉 TRANSLATE BY 翻譯 x EVELYN LIU 劉楚翹 IMAGE COURTESY OF 圖片提供 X GIDEON RUBEN 吉迪恩·魯賓

The title Gideon Rubin: Memory Goes as Far as This

an inextricable part of his cultural background. Born in Israel

artist, Gideon Rubin exhibited at the Herzliya Museum of

at the School of Visual Art in New York and at the Slade School

Morning, is that of the first museum solo show of Israeli

Contemporary Art, one of Israel’s upcoming contemporary art museums. It displayed works created by Gideon Rubin during two art residencies in Tel Aviv, Israel and in Shenzhen, China,

in 2014. The artist used old magazines and newspapers as the foundation or backdrop against which to create his imagery.

As he commented in an interview in regard to his repetitions: “I have made a couple of hundred newspaper paintings – it

and having passed his adolescence there, Rubin later studied

in London. He is currently residing in London with his wife Silia Tung, a former classmate and an artist.

The title of the exhibition derives from a quotation from a poem by the well-known Chinese poet Bei Dao:

political etc., painting from and on photographs is my attempt

Who believes in the mask’s weeping?

Who believes in the weeping nation?

The nation has lost its memory Memory goes as far as this morning

second, more sustained observation.”

Memory and history, just as the title implies, have been Rubin’s

Like many artists of his generation freely moving between

And, how do we claim responsibility in regard to them? These

allowed me to work these forgotten images, could they still be of value? As obsessed as I am with all sorts of imagery: gossip,

to slow the image down, to hold it for a little longer and allow a

countries and different cultural regions, this diversity has become

primal concern. What kinds of history and memory are we facing? dilemmas seem to be the keys to his narrative.

展覽《當記憶成 為早晨 》展出了吉迪 恩·魯賓（G i d e o n R ub in）的兩 個藝 術家 駐 留項目的作品。兩個駐留項目分別是魯賓於2014 年在以色列特拉 維夫和中國深圳

所 做 的 藝 術 家 駐留 項目的 作 品 。此 次 的展 覽 作 品 則 是魯賓 重 復 采 用 過 多次 的 媒

介——舊的書刊報 紙，而且他已經利用這個媒介創作了上百幅作品。正如藝 術家自

已所 說 的， “這 種 重 復 讓 我可以在 這 些被 遺 忘的圖 像 上 重 新工作，讓 我 思考 他 們 是 否 仍有價 值 ？我 迷 戀 各種 各 樣 的 題材：像 八 卦，政 治 等 等 。這 些 來自舊照 片的

圖 像，或者有時 我 直 接 在舊照 片上 繪 畫，我嘗試 放 慢閱讀 圖 像的速 度，盡 量 保 持 時間長一點，使我可以更持久地打量它們。”

同他的大多數同時代 藝 術家一致，不斷地在不同的國家和文化 地區轉 換和生活早

已經 成 為他藝 術 實踐背景中的不可或缺的一部分。魯賓在以色列出生並度 過他的 青少年時期，接著先後分別在美國紐約視覺藝術學院（School of Visual Ar ts）和

英國倫敦大學斯萊德美術學院（Slade School of Fine Ar t，University College London)接受美術教育，目前則與他的中國裔妻子，同樣是一位藝術家也是他的同 學Silia Tuang，生活居住在倫敦。

展覽的題目是中國詩人北島一首詩歌的題目《當記憶成為早晨》。詩歌的第一段這 樣寫到：

誰相信面具的哭泣

誰相信哭泣的國家 國家失去記憶

記憶成為早晨 正如此 次 展 覽的題目所 涉及的，記憶 和歷 史 是魯賓 始終關切的問題 。當記憶 和歷 史總成為最為關切的問題時，面對何種歷史？面對何種記憶？又如何對它們負責？ 這成為表述的關鍵。

Portraiture is the subject-matter that Rubin mostly focuses on.

The people inhabiting his paintings can be associated with

a kind of loss or disillusionment. He constantly depicts them

paying attention to their body language and eliminating their

facial features. A boy and a girl standing in front of a mirror, each

holding a flower; brother and sister playing together; a boy sitting on a tree-trunk; sisters playing on the beach by the water; a girl

with a dog in her arms; two young women rowing a boat; a fair lady wearing an off-the-shoulder dress as well as the backs of

numerous young girls… these protagonists all seem to have one thing in common – their facial features are absent.

Since we are not able to see their faces, they are anonymous,

thereby becoming ‘others’. In this way Rubin allows the viewer

to be himself the storyteller, all-the-more-so with the poignant

atmosphere conveyed by his tender tonal colour combinations.

The viewer’s vision is furthered by the mild, muted colors, which seem to transport us to distant places, linked to our thoughts and recollections.

Why are human faces the eternal subject of painting? this has

always been a topic of discussion for scholars. Emmanuel Levinas remarked on the subject that the face of the ‘other’ made certain moral claims upon us, yet we have no way of understanding

what these claims are. “The approach to the face”, he wrote, “is

the most basic mode of responsibility…The face is not in front of me (en face de moi), but above me; it is the other before death, looking through and exposing death…To expose myself to the

vulnerability of the face is to put my ontological right to existence into question. In ethics, the other’s right to exist has primacy over

my own, a primacy epitomized in the ethical edict: “thou shall not kill, thou shall not jeopardize the life of the other” 1。

In his essay Peace and Proximity, he further points out that

“The face is to be found in the back of the neck… The “face”

seems to persist in a series of displacements such that a face is figured as a back”

2

The back can therefore also be interpreted as

“the extreme precariousness of the other”. Understanding faces

means to grasp the vulnerability of life, which itself is the result of grasping the precariousness of others.

In a similar way, the featureless faces that Rubin paints, provide us with the opportunity to experience the precariousness of the ‘other’. His featureless faces are not some kind of blur or oblivion. On the contrary, when we try to recall someone’s

likeness – sometimes with great effort - we may find out that

the facial features remain vague. We may even fail to remember any clear image, but that absence of faces in Rubin’s paintings seems to provoke our memories. It causes our minds to slow

人物 始 終 是魯賓關 注 的 題材。他 畫中的人物，可以 說 與一種丟 失 或 者失落相關，他不停地一遍一遍描繪著他們，他們的動勢，他們的面

孔。而且很顯然，婦女和兒童是重點描繪的對象。手中拿著一朵花， 面對 鏡 頭站立的小男孩和小女孩，正在玩 耍的的姐 弟，坐在樹上的 小男孩，在海灘上戲水的姐妹, 抱著狗坐著的小女孩，正在劃船的二

個年 輕 婦女，一 位 身著露肩晚禮 服的名媛，以 及很多年 輕 女孩的背 影…這些人物都有著一個的共同點——他們的面孔缺席了。

這就是魯賓所描繪的面孔，與我們常見到不同，他筆下的人物，要麽

面孔全部是缺席的，要麽就是背影。因為我們無從看到他們的面孔， 因此他筆下的人物成為真正的匿名者，從而成為完全的他者，因而魯

賓使 得 觀者成 為完全意義 上的作 者；隨著 他 柔和的，朦 朧的色 彩方

案傳達出的一種悲傷的氣氛，它模糊了你的視線，消除了你對明亮清 晰的色彩的緊張感和隨之而來的警惕感。使得你的視線隨著這些柔

和而朦 朧的色 彩仿佛去到很 遠的地方，這個地方與你的思緒有關， 與你的記憶相關，從而完成了你記憶的一個回閃，一段旅程。

為何 關 於人 類 的面 孔 是 繪 畫 永 恒 的 題 材 ？這 同 樣 也 是 眾多 學 者 一

直以來關注的問題。就這個問題，伊曼 紐爾·列維納斯（Emmanuel

Mao, 26x19cm, gouache on newspaper, 2014

down in front of his works, as it were, so that distant memories

Lévinas）曾經做過詳細的描述。在他看來， “他者”的面孔向我們提

Heading: “We cannot and must not forget them since they do

寫到：“ 接近‘面孔’乃是最為基 本的責任模式……面孔並非在我面

may simultaneously re-emerge. As Derrida states in The Other not forget us.”3

History and memories have thus been reproduced and rekindled.

With Rubin’s reinterpretation, these nameless people from old

magazines and discarded newspapers have become the vessels in which our personal and collective memories come together. Like other Jewish scholars, Rubin too is inevitably equipped with that

deep concern with history and memories. Jewish tradition for him is not about religious observance but rather about cultural heritage.

出了倫理 要求，但我 們 無從 知曉 這一要求究 竟 是 什麽。列 維 納斯 他 前，而是在我之 上；它是瀕臨 死亡、洞穿死亡、揭露死亡的他者……

直面面孔 脆 弱性意味著質疑 我 本體 層面的生存 權 。在倫理學中，他 者的生存 權優 先於 我自身的生存 權，這一 優 先 性可用如下倫理律令

概括：不得殺人，不可危及他人生命。”進而，他在一篇《和平與切近 （Peace and Proximity）》的文章中，列維納斯指出，從人們的脊 背，頸項等部位我們也能找到“面孔”的蹤 跡，雖然這並非通常意義 上的面孔 。因為這些部位等同於面孔想要傳達的含義，既“面孔，他

者的極度脆弱性。”因此，理解面孔也就意味著領悟生命本身的脆弱 不安，而且必須是首先領悟他者生命的脆弱性。

Walter Benjamin, the leading philosopher, dedicated his work to

對於魯賓來說，他 筆下的面孔 正如列維 納斯闡釋的那 樣，那些孩 童

completion of history is not realized by history itself, it must be

體會他者之 脆弱不安的可能性。他筆下的人物面孔的缺 席並非是 他

the relationship between history and salvation. For Benjamin the exercised by the Messiah. ‘Messianic days’ is a new form of time, a tensile cord between birth and disappearance, fulfilment and un-fulfilment of history.

Therefore, the Messiah time represents a reminder, the arrival of

the ‘other’. It demands to pull the past into the now-time through history. Only in that way can the present capture history from

memories, thereby amending the misfortunes of the past and

releasing a new potential. Translation is the principle of salvation.

The precious language traditions scatter around and hide amidst

literary arts and cultural landscapes and they can only be revealed

的，女 性的面 孔，但卻是面部 特 征 缺 席的面 孔，給 我 們 帶 來了這個 想制造一種模糊 和遺 忘，而是與之相反。就 如當我們極力地想記住

一 個人的面孔時，卻發現我們反而覺得我們拼命想要記住的面孔所 有清晰的特征都變的模糊甚至我們根本想不起來一 個清晰的圖像。

所以，魯賓缺 席的面 孔反而給 我 們 的記憶 打開了一 個入口。是我 們

得以在他 的畫面前，放 緩我 們 的思 緒，使 得 我 們可以仔 細 地 端 詳之 余，仿佛 來自遙 遠 記憶 劃 過我 們 的腦 海，使 我 們 一 一 回 想 起 來 。正 如雅克·德里達（Jacques Derrida）在《另一頭/另一個海角：記憶，

回應，責任（The Other Heading: Memories, Responses, and Responsibilities）》所提醒我們地那樣， “我們不可以 並且不能忘 記它們，因為它們不曾忘記我們。”

through translation.

歷史和記憶就 這樣被 重現了和喚 起了，通 過魯賓的重新“ 翻譯”，這

In that sense Rubin’s paintings are a translation of sorts. Through

人記憶在這裡相會了。

reinterpretation and revision the works are endowed with new

些 來自舊照 片以 及舊雜 誌與舊畫報中的無名者，帶著我們集體和個

possibilities: slowly our memories and emotions relating to others

在 這不 得 不 提 及猶太 文化傳 統 。作為猶太 人，魯賓也毫無例外地與

anxiety in regard to touching the canvas, creating with his brushes

記憶的關切。猶太傳統特有的彌賽亞情結（Messiah）和卡巴拉闡釋

are rekindled. Rubin’s gentle colours reflect his hesitation and

images which have otherwise brought us a sense of exigency.

As Agamben wrote in The Time that Remains: “Exigency does

所有的猶太 人 知識分子 一樣，有著 最 大的一 個共同點 ——對歷 史和 學(Kabbalah)，對魯賓來說，早已並非一種 宗教現象而是一種關於 歷史的敘事傳統。

not properly concern that which has not been remembered; it

瓦爾特·本雅明（Walter

forgotten in individual or collective life with each instant, and to

成 並不是 歷 史自身能 夠實 現的，必須由彌賽亞 來實施 。對 本雅明而

concerns that which remains unforgettable. It refers to all that is the infinite mass that will be forgotten by both.”

4

The absent faces of Rubin’s works would have represented the unforgotten exigency. This exigency is most potently reflected in one of his rare landscape paintings: House in Wannsee

(2005) painted from a famous photo documenting the house

where Reinhard Heydrich, the head of the Gestapo, summoned Germany’s high officials on the 20th of January 1942, to draft

Benjamin）可以說是這一思想的典型代表

學 者，他 一 生著 眼 於探究 歷 史 與 救 贖 的 關 係 。在他 看來，歷 史 的完 言，彌賽亞是試圖創建一種新型的時間，是一種歷史的生成與消失、 實現與未實現 之間的張 力結構 。彌賽亞時間將這種張 力凝 聚在“ 當

下”。所以，彌賽亞時間在這代 表了一種 剩余，是不可化約的他者的 到來，它要求通 過記憶，將過去拉 入當下。這樣，當下才能對歷史提

出要求，並在在 記憶中將其捕 獲，從而達 到一種 對 過去的不幸的 修 復，並且釋放和產生出一種新的潛能。而翻譯，正是本雅明提出的救 贖法則。在他看來，那些珍貴的語言“傳統”呈碎片狀地散落和隱藏 在文學藝術、文化景觀之中，只有通過“翻譯”才可將其顯現出來。

Class of 1947, 35x30cm, oil on linen, 2011

On stage, 32.5x22.5x32.5cm

the Nazi “Final Solution”, ‘upgrading’ the rapidly escalating persecution of European Jews to total annihilation.

Rubin painted the buildings’ windows black, communicating an evil darkness, consequently transporting the people carrying this historical memory back to the nightmare. Referring to Agamben again - since no other sentence has resonated as much with the feeling

that Rubin’s painting arouses in us - “Exigency does not forget, nor does it try to exorcise

contingency. On the contrary, it says: even though his life has been completely forgotten, there is an exigency that it remains unforgettable.” 5

從這個意義上來說，魯賓的繪畫就是一種翻譯。他通過對舊照片重新描繪和修訂，允許和提醒我

們更加仔細和緩慢地進行觀看，在這個被魯賓重新賦予了一種新的可能性的畫面前面，重新喚醒 了我們記憶，以及對他者的感受。

因為如此，他的這種色彩輕柔，幾乎有時你可以感到藝 術家不願落下筆觸的猶疑和焦慮，反而帶 給我們一種迫切性。正如喬治·阿甘本(Giorgio Agamben)在他的一部著作《剩余的時間中(The Time That Remains)》指出的那樣， “迫切性不完全是關於沒被記住的事物，它關涉的是始終不 可遺忘的東西。它指的是所有在個體或集體生活中被遺忘的瞬間，指的是個體和集體都會忘卻的 無限的大眾。”在這個意義上，魯賓缺席的面孔正代表這種不可遺忘的迫切性。

這種迫切性更為強烈地體現在他少有的一幅《萬湖別墅（Wannsee House）》的作品中。圖像來

自一張著名的歷史照片，這是一 個具有特別意義的建築，正是在這所建築物中，納粹德國於1942 年1月20日，由秘密警察首領海德里希（Reinhard Heydrich）召集了德國高級官員，研究大規模 系統地屠殺猶太人的計劃，會議通過“最終解決猶太人問題”的決議，提出“最終解決”的辦法。 這次會議成為把對猶太人的迫害升級到最終從肉體上消滅的標誌。

在魯賓的版本中, 他把所有窗戶都塗黑了，我們可以感受到一種來自黑暗的力量，把所有攜由這段

歷史記憶的人們重新帶進一種噩夢般的記憶中。讓我再次引用阿甘本所說的一段話，因為沒有比 這段話更為精確的表述魯賓想要帶給我們的感受： “失落的事物之迫切性並不蘊涵著需要什麽紀 念的意思；反之，它蘊涵的意思是，那些東西持留在我們之中並以 遺忘的方式 和我們待在一起， 並且僅以此方式，成為始終不可遺忘的事物。”

1. Butler, J., Precarious Life: The Powers of Mourning and Violence. Verso: 2006.

2. Levinas, E., Peace and proximity. Basic philosophical writings 1996, 161-169.

3. Derrida, J., The other heading: Reflections on today’s Europe. Indiana University Press: 1992.

4. Agamben, G., The time that remains: A commentary on the letter to the Romans. Stanford University Press: 2005.

5. Agamben, G., The time that remains: A commentary on the letter to the Romans. Stanford University Press: 2005.

UNRAVELLED CONNECTIONS 如梳如理，所系為開 TEXT BY 撰文 x KATIE HILL 何凱特 TRANSLATED BY 翻譯 x CAI SUDONG 蔡蘇東 IMAGE COURTESY OF 圖片提供 x SUN YI 孫毅

… ‘AS LOWLY AS MERE OBJECTS’ ……“如單純之物一般卑微” You might ask the question: ‘what is an artwork?’

你也許會問這樣一個問題： “什麽東西算得上是藝術品？”

Start with an everyday object, something you barely notice - a free newspaper

日常物件，那些你幾乎不會注意的東西——隨手擲於地

wire and string. Small insignificant things that form the backdrop of life as we

子等等雞毛蒜皮。這些構成我們每天生活背景的不起眼

left on the tube, a bench, a packet of cigarettes, nails or pieces of debris: wood, pass through it on a daily basis constitute the central component of Sun Yi’s

work in the past couple of years, running through the materiality and form of his practice. Drawing is at the heart of his practice as well, as a fundamental aspect of cultural expression connecting low and high art, East Asian and Western

cultural traditions. The works are under-played, almost whittled down like a rough piece of wood, worked on and yet left barely discernible as aesthetic

objects/art works in their execution and presentation. They are subtly laid out below the surface, striking a bass note beneath the main tune.

鐵上的免費報紙、板凳、一包煙、鐵釘或木屑、電線、繩

物品就是孫毅過去幾年藝術創作的中心素材，貫穿了他 整個藝術創作的選材和形式。同時，繪畫也是他藝術實

踐的中心元素，作為一種文化表達的根本手段，聯繫著 低俗藝術和高雅藝術、東方和西方文化傳統。他的作品 含蓄克制，幾乎就像是一段粗糙的木頭，雖然加工過，但 從技法和外觀上幾乎看不出來是被賦予了審美觀念的藝

術品。這些作品微妙地扮演著和光同塵的角色，彈奏著 襯托中心旋律的低音部。

Sun Yi has practised calligraphy since the age of five and more lately trained in

孫毅自五歲起練習書法，而後學習中國水墨畫。孩提時

‘sit still’. With this background, his discipline is embedded in different aspects

律性便根植於中國文化的各個方面，比如，孜孜不倦地

ink painting in China. As a child, he was requested to learn, initially in order to of Chinese culture, such as the constant search for a kind of ‘imperfection’

that is philosophically in tune with Daoism or Chan Buddhism. Humility and

的他首先被要求學會“靜坐”。有著這樣的背景，他的紀

尋找“不完美”這種與道家和佛教禪宗哲學相吻合的特 質；更注重謙遜和逆來順受，而不是追求自我的外在展

Material drawing, mixed medium, 2015

acceptance are valued above any outward display of ego or spectacle, current

示或誇張的表演，而後者恰好是當下後全球資本主義和

values have fused with other philosophical thinking and in conversation, Sun

樣的價值觀已和其他哲學思想相融合。在談話中，孫毅

values in our age of late global capitalism and neo-liberalism. In London, these frequently mentions philosophers such as Kant, Wittgenstein and Agamben,

amongst others, showing a wide range of intellectual engagement in issues of taste, value and language.

In London, his practice has evolved out of this background, accumulating

understandings of liminality, tensions and paradoxes that are the push and

pull of forces and structures in society and culture. Formally, his work pursues a dialogue across different artistic vocabularies from China and the West,

making connections with drawing, painting and sculpture as integral aspects of cultural production across time and space. Sun Yi’s series of newspaper works

manifest in a variety of ways as drawings, sketches, sculpture and objects posing questions about knowledge systems, and society’s propensity for story-telling through visual messages in the contemporary world of throw-away media.

Extraction

On the surface of it, they are simple: sketches in black ink are formed by drawing through, small visual segments are extracted and traced, pulled out as little

tableaux vivants, set against a plain white ground, with gesso brushed in broad

strokes whereby all other contextual information is erased in a painterly gesture.

The materiality of this background is significant: gesso is used to prepare the

canvas but it is also a sculptural material and in this work it seems to be a deliberate play across media and function, a subtle yet traceable mark of artistic legacy lying

below the surface as a platform for the images. As sketches they can be perceived

新自由主義的價值觀。對於現身處倫敦的孫毅來說，這 經常提及康德、維特根斯坦、阿甘本等哲學家，這體現出 他對品味、價值和語言等智識領域有著廣泛的涉獵。

在倫敦，孫毅的藝術實踐已經不再局限於傳統，他增進 了關於閾限、張力和悖論的知識，這些概念正是推拉社

會和文化進程，也是構築其結構的力量。形式上，他的 作品是一場中西藝術話語的對話，其中涉及的素描、繪

畫和雕塑是他穿越時空進行文化生產的重要一環。孫毅 的報紙作品系列以諸如素描、速寫、雕塑和物品的形式

呈現，針對的正是當下這個“隨手丟棄”媒介充斥的世

界，對人們的知識系統和社會對於采用視覺信息進行敘 事的偏好發問。 精揀

表面上看，這 些 作品很簡單 。藝 術家 用黑 墨 描畫 成速

寫。小 的 視 覺 元 素被精 揀出來，然 後 進 行描 畫，組 成 一系列“小活人畫（Tableaux Vivant）”，背景則是平淡

的白底，用石膏大筆塗 抹，用繪 畫的方式 擦除 背景 信

息。這 種背景 處理的用料是 很 重 要的：石膏用於 預制 畫布但同時也是雕塑原料，在這組作品裏，石膏的選用 似乎是故意地在媒介和功能中玩謔，這個元素是包含 藝術蘊含的，它處於表層元素的底層，起到襯托圖像的

平臺作用，從而給整個作品增加了微妙卻有跡可循的藝

as extracts, in that they are redrawn from the ‘real’, becoming reanimated

as universal, non-specific figures, with overlapping functions of capturing the subject in the classical European sense and capturing the idea in the Chinese tradition of literati painting. In this case the drawing is perhaps

connected to the idea of ‘Xieyi’ (寫意) in Chinese painting, literally ‘write meaning’ but with the sense of ‘inscribing the essence’, connecting

the mind or the imaginary with the formation of a visual image as the expression or translation of an idea.

What is left takes us back to drawing itself and visuality, as though the process has been undone - deconstructed, simultaneously produced

and de-produced as it were. They connect to the hand (off the printed

image and back), and the head: are they in the artist’s mind and how do we ‘read’ them? As contemporary meditations, these works combine a sort of classicism with a take on contemporaneity and media AFTERNOON FALL, Books and plastic wrap, 2014, UCL Main Library, London, UK

information saturation. At this moment, print media is free precisely

because its value has been reduced to nothing with the rise of digital.

Perhaps print itself reverts to a classical status in the 21st century as an outmoded form of modernity.

The flip side of the paper is also interesting: showing both sides allows them to become sculptural objects that you need to walk around.

術味道。這些速寫也可以被看成是“精揀”之作，因為它們是從“真實”中萃

取的，然後重新賦予它們生機，而成為普遍的、非特異的個體，而這其中恰好

體現了兩個重合的藝術觀點——歐洲古典主義的寫物傳統，和傳統中式文人 畫的寫意傳統。從這個角度來說，這些作品或許確實是有中畫的“寫意”味道

的， “寫意”這個詞除了“傳達意義”，還有“抓住精華”之意，即把心靈或虛 構之物與視覺圖像相結合，傳達或傳譯某個意義。

孫毅的畫近乎可以說是未完工的——解構的，創作和反創作同時進行，而畫 面上剩下的東西把我們帶回到了繪 畫和視 覺 性本身。它們 讓 我們聯繫 起“ 手” （不 接觸圖畫和背面）和“ 頭 ”：這些東西是否存在於藝術家的心裏？

而我們怎麽去“解讀”？作為一種當代觀照，這些作品結合了某種古典主義和

當代性以及媒體信息飽和。現今，印刷媒體之所以免費，完全是因為數字媒

體的得勢而使其變得毫無價值。或許，印刷本身在21世紀的今天確實回到了 其“經典”的地位，只不過是作為過時的現代性“經典”。

作品的背面也一樣有趣：正面和背面同時展示使其成為雕塑物件，因而參觀

者必須前後走動才能欣賞整件藝術品。懸掛而下的作品阻斷了空間，闖入了

我們的視野。展示在我們面前的，是刊登在報紙上的日常報導，通常是帶著大 標題和照片的轟動或聳人聽聞的故事：上街遊行、謀殺、自殺、家庭暴力，但

有時也只有赤裸裸的消費資本主義的乏味面孔，廣告上微笑的臉蛋、帶著各 種數字的產品等等。這裏，這些頁面都被抽離出上下文，但還是有一種“時

效”的感覺——新出爐的新聞總會在某個時間點成為歷史（“歷史”是怎麽 開始的？）。這些只是整體的一部分，它們經常有著固定的模式，它們就 是

Hung suspended, they cut across into our vision physically intervening in

為那些 乘 地 鐵 或者公車的人的 快 速 消費設計的，就

with headlines and photographs: street protest, murder, suicide, domestic

此往復。孫毅的精揀過程也許是隨機的，但就像是新

space. We are shown pages of everyday, often sensational or horrific stories violence, but sometimes simply the banal face of bald consumerist capitalism, showing advertisements of smiling, product-bearing figures. Again the page is pulled out of context, yet there is a sense of currency, of fresh news that is

due to become historical at some point in time (when does ‘history’ begin?).

It is one part of a whole, usually embedded within a format that is designed

for quick consumption by anyone while on the tube or bus, to be discarded or

是 要 隨 手 扔 掉，因 為 明 天 很快 就 會有 新 的出 現，如 聞，總還是會有選擇的過程，總還是會有模式的出現， 因為不管怎麽說，圖像總是能夠帶來一種史詩般的敘

事——在它自身的產生過程中形成與我們共時存在的 角色，回答安德森對於大眾本土文化所擔負的“想象的 社區”的思考。

thrown away until another appears the next day, and so on and so on. Sun’s

圖片的選擇也示意了一種政治框架，我們正是憑借此

selection and patterns emerge, as images somehow take on epic narrative-

說，在美國手無寸鐵的黑人在逃跑途中被警察殘酷擊

process of extraction might be random, but like the news, there is process of forming roles in their production of our shared contemporaneity, answering to Anderson’s reflections on ‘imagined communities’ borne out of mass vernacular literacy.

The pictorial selection signal a bigger political framework through which

we form global communities of shared response, such as the episode of a black man being shot down cruelly by a policeman in America as he runs

away unarmed. His only crime to have a missing taillight on his car. His fate

is shockingly revealed in the appalling capture on camera that seals the fact

permanently in our eyes and imaginations. Sun Yi takes this into the work, but it is part of the daily ritual, it is the response and understanding of it is what magnifies its significance. Whilst this episode is echoed with many others

形成一種全球社區，對某些事件有著共同的回應，比如

斃，他唯一的“罪”便是車的尾燈掉了，而他被擊斃的 駭人聽聞的命運便被攝像機固定下來，同時永久地封 印於我們的視野和想象裏。孫毅也把這個事件帶進了

他的作品裏，但這只是日常例行公事的一部分，對作品 的回應和理解才是顯示作品重要性的元素。這個事件 和其他事件雖然有著呼應的關係（伊斯蘭年輕聖戰士

離開英國前往敘利亞，被謀殺的孩子等等），隨著兩年 間每天都有圖像被抽取出來形成一個系列，一幅更大

的圖景便出現了，同時很多圖景也被擦除了。我們到底

知道什麽？我們能理解多少？我們該怎樣理解我們的 世界？

(jihadist youth leaving the UK for Syria, children who have been murdered),

儘管在藝術實踐中，孫毅青睞長期使用日常的東西，但

years a broader picture emerges and is also simultaneously erased in the

測量——舊的一天結束，新的一天開始。作品實施了兩

through the series of images extracted on a daily basis over a period of two drawing. What do we know? How much do we understand? How do we process our world?

In his use of the everyday over time, Sun also deals with the aspect of time as a central part of his practice. Units of time are measured - a day finishes, another begins. Executed over a period of two years, the work is framed

through real time experience as an everyday habit, discipline even, of how we live our lives, via this reading of the news. News itself becomes a framework, the framework even. A ritual marking time and our connection to the world, as we switch on the radio, or TV, pick up the paper, to browse through

and share the daily horror. Part of the modern world, these little rituals are

ubiquitous, transcending cultural difference. In Eagleton’s words, ‘aesthetic intersubjectivity adumbrates a utopian community of subjects, united in

the very deep structure of their being’. Calligraphy is echoed here in a daily,

meditational, inward practice. As a practitioner, Sun is utilising these patterns of habit in his own process as an artist, engaging the casual acts of reading,

是時間本身也是他創作的一種中心元素。時間的單位

年，已經被真實的時間經歷帶上了烙印，就如同是一 種日常習慣、紀律，甚至是通過這種閱讀新聞的方式 生活一般。新聞本身甚至成了一種框架。當我們打開

收音機、電視機，取報 紙，瀏覽和共享駭人聽聞的新 聞時，它成了一種標記時間以及我們和世界聯繫的儀 式 。這是現代生活的一部分，它是普遍存 在的，獨立

於文化差異。用艾靈頓的話說“美學主體間性勾勒出

主體的烏托邦社區，在其存在的深層結構中聯合”。書 法，在這裏以一種日常、冥想、內省的實踐呼應著。我

們的世界是個關係世界，同時，把我們聯繫在一起的 確有一個結構，在這兩者的微妙相互影響中，作為一 名書法從藝者，孫毅正是在他的藝術實踐中使用了這

些習慣模式，他隨意地閱讀、觀看、閑坐，介乎可見和

不可見，攝取和摒棄。中國文化的時間循環觀是孫毅 的創作和世界觀的關鍵。

viewing, sitting, which lies between the visible, the invisible, the taking in and

值得懷疑的對象

structures that bind us together. The cyclical nature of time in Chinese culture

舊存在。線條、構圖、材料都被結合起來，使得繪畫的

the leaving behind, in a subtle interplay of our relational world and the very is key to this process and in Sun’s view of the world.

在孫毅的雕塑和其他以藝術為基礎的作品中，繪畫依

藝術擴展到三維的空間。作品中放置著鐵釘、電線和

燈絲，隨意地刻意地，隨機擺放地或故意而為，我們無

08 December 2014, Newspaper, red acrylic, monoprint, 37x57cm, 2014

USELESS LAND, Benches in UCL Main Quad, 2015, UCL Main Quad, London, UK

Questionable objects

從得知。凳子看起來友善而簡單。一般便民使用的公

composition, material are pulled around, extending the act of drawing into

上——卻被孫毅打破正常邏輯顛倒過來，稀稀拉拉地

In his sculptural and other object-based works, drawing is still present. Lines, three-dimensional space. Nails and wire filaments are placed, again casual/

not-casual, whether by chance or deliberate placement, we are not quite sure.

The benches are disarmingly simple. Public furniture normally placed for

convenience, to be sat on while you eat your lunch, wait for your friend, and

so on, are upturned illogically and strewn minimally with ribbons, as though ‘wrapped’ but ineffectively, as a signal of difference, or in Derridean terms ‘différance’, in which a small alteration causes a shift of focus or meaning.

How are we meant to understand them? Function is denied in favour of a

philosophical and aesthetically positioning as sculptural form. Space is called

in, transformed through this misplacement, calling the ‘natural’ placement as

an unnoticeable landscape to attention. In other works, there is a playful back and forth of form and function: a library is completely stripped of its book

spines, as all the books are turned sideways, or wrapped in plastic, rendering their contents unreadable. A chair is photographed suspended halfway up

共設施——吃午飯時、等朋友時你都可以坐在公共座椅 撒上帶子，仿佛椅子是被糟糕地“打包”起來，以此來

暗示“差異”，或者說是德裏達的“延異”——細小的改 變引起焦點或者意義的轉變。我們理應怎樣去理解這 些作品？作為一個雕塑形式，其功能被否定了，取而代

之的是哲學和美學的立場。空間的概念引入了，在他的 誤置下產生了轉變，使得不起眼景觀的“自然”裝置獲得

了關注。在他其他的作品裏，形式和功能的關係總是調 皮地變動著：在一所圖書館裏，書脊全部不可見——書本 都是橫著擺放，或用塑料包裝起來，這樣一來讀者完全

讀不到書裏的內容。略施一點視覺小詭計，便把一把椅 子拍攝成連著書架懸掛於半墻高的地方。大大的長方 形冰塊放置於地上挖開的洞中，可這冷冰冰的東西總 歸要化成水溶進地裏。

a wall attached to a bookshelf in a simple visual trick of perception. Large

交換

freezing object due to melt and fuse back into the land as water.

鼓 勵交換。物件和硬幣（也是作為物件）可以進行互

rectangular blocks of ice are laid to rest inside a hole in the ground, the solid

Exchange

The One Cent project is a group of objects or paintings presented in a

group as a proposition for exchange. The objects and the coin (also an object) become interchangeable in a value system that levels the field of values to a

所謂的《1分錢計劃》是一組物件或者繪畫作品，旨在 換，在這樣的價值體系裏，價值被校準到同一水平。由

於物質性和文化問題的引入，藝術市場以不正常的低 價向買家卑躬屈膝——藝術品在累積的資金和市場力 量所致的扭曲價值系統中以交易的形式出現。

nominally flat plane. Here the art market is subtly invoked in a wry lowering

歸根結底，孫毅的作品是對價值的探索，也是對布迪

artworks are shown up as exchanged in a distorted value system of cumulative

值系統交織的社會中我們存在的探索；一個描述生命

of the stakes, as the question of materiality and culture is called in, in which capital and market forces.

Ultimately Sun’s works are an exploration of value (as much as) aesthetic/ cultural, social, economic, in the Bourdieuan sense of ‘habitus’, our very

existence in a society is threaded together through value systems(“is” should

be omitted?); a news story cheaply narrating a life lost sometimes in appalling

circumstances, but the story itself and the image is also dispensable, disposable, to be cast away until the next comes along. Equally ‘high art’ is set aside in Sun’s work, for small seemingly insignificant sketches that give back value

厄意義上的美學、文化、社會、經濟“習性”以及由價 隕落的新聞事件經常廉價地裝扮得聳人聽聞，然而報 導本身、連帶著圖像都是可有可無、一次性的，新的一 到舊的就可以置之腦後了。同樣地， “高雅藝術”在孫

毅的作品中還是留有地位的，因為那些看起來無足重

輕的小速寫實際上通過小小的交易重獲了價值。這些 速寫，作為日常書法冥想的交織和意義聯繫的澄明，輕 輕地跳躍於作品表面，盤旋著進入我們的眼界——流 連著、反思著、重構著。

through a small retrieval. The sketches, as meditational crossing and unravelling

孫 毅 是 當 今主 流 藝 術 世界宏 大 高 調 話 語 體 系 的 反

them to hover into view - to linger, reflect and reconnect.

品（Gestural Work）和巨型裝置藝術，他看齊的對象

of connections, the daily act of calligraphy touches the surface lightly, allowing

Sun’s is the opposite of spectacle or the often heightened language of

contemporary art vocabulary in the mainstream art world. Perhaps in response to an earlier generation of forceful gestural work or giant-scale installations, he looks towards Twombly, On Kawara or Anastasi whose works made different kinds of connections through drawing or marking time, as modes of touch, sensibility, sensory experience or acts of memory.

面 。也 許 是 為了 回 應 力 度 氣 度 非 凡 的 前 代 身 體 作 是托姆布雷（Twombly）、河原溫（Kawara）或阿納

斯塔西（Anastasi），這些藝術家的作品通過繪畫或 標記時間造成了各種聯繫，作為觸覺模式、感性、感 官經驗或記憶行為。

他 的 創作 有感 而 發，接 收 並考慮著社 會上發 生的事

情，他的作品幾乎不可見，但卻揭示著令人不安的意識

He works back into the underbelly, retrieving and considering what runs

形態和可質疑的消費模式。在層壘分明的經濟價值體

disturbing ideologies and questionable modes of consumption. In a stratified

水上過色的）、硬幣，這觸及到了我們生活的基礎，展

economic value system, lowest common denominators are brought in such as

pieces of wood, nails, string (dyed with ink), penny coins, scratching the base of our environment, showing a deep understanding of the ‘ordinary’ as essential

系裏，他引入了最小公分母，如木片、鐵釘、繩索（墨

示了對這些作為生活中重要的可持續一面的“尋常之 物”的深刻理解。

and sustainable aspects of life.

孫毅把繪畫稱為“模糊卻又吸引人的對象”，或許這個

Sun calls drawing ‘an inexplicit and attractive object’ and perhaps this neat

作品似乎以輕描淡寫的“事實”存在，既有抽象的幾何

phrase describes his mode of practice. There is a kind of existentialist formalism to his works, as they seem to stand as understated ‘facts’, poised between an

abstract geometry and a more specific everyday reality. The lines he draws, both literally and metaphorically, intervene in space in dialogue with languages of art and our spatial existence (difficult to understand). To finish, we might consider one of Sun’s simple, disingenuous works: an asymmetrical white frame - a

found object - upended, placed in the middle of a narrow, empty side street in

London, interrupting the space between the tall, Victorian buildings producing vertical and horizontal lines of connection. In the words of Ackbar Abbas, it

presents: ‘not the new but the old as unfamiliar: this is one of the paradoxes of

any-space-whatever’. This work is deceptively simple; it draws together many of

Sun’s interests: performativity, material, geometry and formalism, positioned in a random ready-made place, redolent of time, culture and history.

簡潔的詞匯也精確地描述了他藝術創作的模式。他的 元素，更有具體的日常現實元素，因而有著某種存在主

義的形式主義。他畫的線條，憑借藝術的語言和我們 的空間存在，或實際或隱喻地介入了對話空間。作為結

尾，我們不妨考察一下孫毅簡單而隱晦的作品之一：一 個不對稱的白色框架——一個偶得的物件——顛倒放

置於倫敦大路邊狹窄的小巷中，打破了高高聳立的維 多利亞建築構成的橫平豎直線條的聯繫。如阿卡巴·亞

巴斯所言“不熟悉之物非新物，而是舊物：這是所有空 間的悖論之一”。這件作品簡單得近乎狡猾，它體現了

孫毅的許多藝術旨趣所在：表演性、物質性、幾何性和 形式主義，隨機置於現成的場地，發人關於時間、文化 和歷史的深省。

1 cent coins exhibition,1cent coins RMB and items by chance, 2014, Beijing, China

through society, manifesting itself in barely visible form, yet revealing

AFTER SUN SHI 孫詩之後 TEXT BY 撰文 x LI BOWEN 李博文 IMAGES COURTESY OF 圖片提供 x SUN SHI 孫詩

“IT IS THE SAME - THREEFOLD - PSYCHE, A WOMAN, AND EACH TIME THERE IS A REMINDER, AS FREUD PUTS IT, THAT SHE IS EXTENDED (ASUGEDEHNT). BUT EACH TIME (AND THREE TIMES THE FIRST SENTENCE RESONATES IN FRENCH, “PSYCHE EST ÉTENDUE…” [“PSYCHE IS EXTENDED…”]) THE MISE-EN-SCÈNE DIFFERS, AS DO THE TABLEAU AND THE IMPLICIT NARRATIVE.” - ON TOUCHING - JEAN-LUC NANCY, JACQUES DERRIDA

“這是同一個——三層——心靈［Psyche，普塞克］，一個女人，以及每一次 的提醒，就如弗洛伊德所說的，她是被延伸的。但每一次（而第一句在法語 中回響了三次，”Psyche est étendue…”） “普塞克是被延伸的…” [ ]）場景 都有所改變，畫面及隱含的敘事也有所改變。” ——《論觸摸—讓－盧克·南希》 ，雅克·德理達 Three is perhaps always better than four, especially for Chinese. But bearing in

數 字“三 ”應 當 永 遠 比“ 四 ”要 好，尤 其 是 對 於 中 國 人

it is clear that from the beginning, when nature or pseudo-natural subject/

絲·塞拉伊諾（Alice Serraino）以及吉奧瓦納·彼得羅奇

mind my previous writing with Sun Shi, Alice Serraino and Giovanna Petrocchi, object was chiefly concerned, the divinity and beauty of tri- was damaged.

I was the fourth member, as exterior as I was to their practices that were viewed and treated provisionally as one. And I was a man.

Diego Valente is, I assume, a man as well. Not only have I yet met him, but

one’s gender should really be questioned, solemnly or playfully. Exhibiting with three women - as I wanted to have one male Chinese artist included

in an exhibition with four other women - could this act of exhibiting (in all

來 說 。然 而，很 明 顯 的 是 ，從 最 初，從 我 為 孫 詩 、愛 麗

（Giovanna Petrocchi）的首個以某種特殊的自然為主 題（或 貌似自然的主題 ／客體 ）的合作展 覽計劃進行寫 作開始， “三”的神聖性或美麗早已被損毀。我是不應當

在場的第四個成員，我是三位一體（我們最 終 得到這樣

的結論：三人於合作計劃中進行的藝 術實踐可以也應當 被暫時地視作是同一個藝術實踐）外部的第四位成員。 而且我是一個男人。

sense of the word) be transformative? Could his work through a certain act of

迭戈·瓦倫特（Diego Valente），我想，也是一個男人。我不

Psyche, for this is a conclusion, introspective and retrospective in nature, of a

他的性別及其意義。他與三個女人一起進行展覽——就像

mutual penetration - again, penetration, again, touching, again, nature, again,

僅從未見過他，我們也應當在此強硬、嚴肅而輕易地質詢

Deformity, 2012, photo collage with silver gelatine prints. Courtesy of the Artist

good party of three and good three years of memory city of London - be transformed, as did the works of Sun Shi, Alice and Giovana and mine?

Just as I was on the previous occasion, I am still the absent male,

not able to be there and witness the exhibition with my own eyes.

It seems that my absence is imperative for the event to happen.

Though I did see more of the exhibition then. But again I would like to stubbornly resist privileging the act of seeing, still I would like

to try out the belief that being there - being, being present, in this

context always means seeing - is not of cardinal import. Being there,

seeing the exhibition is not as important as probing it, feeling it with

hands, from a distance, in dark, because (if a reason is really called for here): how can one simply see a Psyche? Isn’t seeing the Psyche an

illusory idea? In-stead of seeing, we are led to believe that we ought to touch (by negating touching) it.

Sun Shi is not quite remembered as the woman laid up on her bed.

Just as we cannot be quite certain about valuations of the Psyche (who can?), Sun Shi is deliberately made uncertain, vague and

sophisticated. Sun Shi narrates in three years’ time firstly a departure

from playing with her own body - veiled and mirrored - in Deformity

(2013), in a domestic environment. When photography was still to a

larger extent photography proper (Philip-Lorca diCorcia, is out there somewhere trying not to smile), Sun Shi in a way extended herself

and put herself both in front of and behind the camera, alluding to a

certain illusive nature of pornographic photography: elusion, refusing being captured or touched - at least not fully - reluctant about being in contact with the viewer’s gaze, and refusing, perhaps we can venture and argue, a certain phantom limb of the viewer.

Sun starting with the body seemed to be justified. Not only because she was a woman, I will have to say, but she was also Chinese. Our

“PSYCHE IST AUSGEDEHNT, WEISS NICHTS DAVON.” —SIGMUND FREUD

“普賽克在延伸，不知道這回事。 ” ——弗洛伊德

bodies, mine and hers, and even yours, could remain mysterious to

我曾希望策劃一次有著一名男性藝術家以及四名女性藝術家的展

that it is cultural, this not-knowing-enough of one’s body, or in other

也有展示，暴露等解釋）能否帶來某種特殊而奇異的轉換？他的

us for as long as we are exposed to Sun. I am however not claiming words not having the body exhausted by one’s mind; hopelessly

being Chinese here is still considered an excuse for, simply, not being British or Continental: “Psyche ist ausgedehnt, weiss nichts davon.”

Then, rather soon(tôt), she moved to the corner in Space in

Between (2013-2014). Literally, her presence is moved to the margin

覽一樣：基本而顯性的性別傾向——這種展覽（Exhibiting，同時

作品能否通過一種相互的穿透——再次地，穿透，再次地，觸摸， 再次地，自然，再次地，普賽克（Psyche，在古希臘語中意為心

靈），因為，無論如何，這是一個關於三人及三年時間的內省的、

回顧式的結論——被轉化，就像孫詩、愛麗絲以及吉奧瓦納以及 我的作品曾經遭遇的那樣？

of her photograph, championing instead corner found in indoor

如過往一樣，我仍然是那個不可見的、缺席的男人，不能夠親自

her body or her knowledge forever. In relation to classical ideas

條件。儘管在過去我曾經見到過更多的作品。然而，我仍然固執

environments. It was obvious then that she cannot be hidden from of sculpture and painting, it was discovered that photographs are

前去參觀展覽。這樣一來，我的缺席幾乎成為了展覽一事的必要

地希望可以拒絕觀看，我仍然希望嘗試著一個信仰：在我們所在

by contrast spaceless. “I want to create a space for a photograph, to

的語境中意味著觀看的存在、在場，並不是無比重要的。在場，看

awareness of the space.” By working on and in the margin, therefore,

（如果我們的確需要一個理由的話）：我們要怎樣去看心靈（普

question and challenge the flatness of photography, to create an

Sun made a turn that was both spatial and, one is tempted to say,

linguistic. From a play with bodily representations, this never-static

Sun moved (but what moved her?) to a conceptual investigation into

展覽，並不如在某種距離之外、在黑暗中穿透、用手去觸摸，因為 賽克）？去看心靈（普賽克），難道不是一個愚蠢的主意嗎？我們 被說服，我們應當（通過抹殺觸摸去）觸摸這心靈（普賽克）。

the spatial nature of photography as a genre - or the lack of it - that

孫詩留給人的印象並不是那個躺在床上或樹下的女人。就像我

initiated into the art discourse of the UK, ontologized(if it is possible

這普賽克呢？），孫詩也不自覺地變得不確定，模糊而復雜。在

seemed then natural and inspired. After all, successfully Sun was

at all), alienated and indeed removed. After solving her problematic body, as a being proper - however provisional she could remain in this condition - she started noticing the world as she never had,

paradoxically and ironically rendering herself absent. That is, after

seeing, after addressing, noticing, taking note of herself, she began to speak. “Now, although the mouth is touching…, it is also detaching

itself from the breast. It interrupts the contact in order to speak-think, in a first opening, an initial and original spacing: “And there, what comes

們不能確實地討論心靈（普賽克）一樣（誰又能夠確實地討論

三年的時間內，孫詩首先在2013年作品《殘缺（Deformity）》中 敘述了從身體——被掩蓋或反射的身體——中的逃脫。在攝影藝

術仍然是攝影藝術的時候（美國藝術家菲力浦 - 洛卡·迪柯西亞

（Philip-Lorca diCorcia）強忍著不要笑出聲來），在這個安靜而 奇異的室內環境中，孫詩延伸了自身，將自身置於鏡頭前及鏡頭 後，並暗指向某種處於情色攝影核心的特性：躲閃，拒絕被觸摸 所捕捉，也因觸摸到觀者的目光（或幻肢）而猶豫。

to pass is that [the ego] spaces itself out…’Spacing brings about the

從身體開始創作，似乎是理所當然的。孫詩不僅是一個女人，還

But man is that which spaces itself out and never dwells elsewhere,

的身體，都在太陽之下以陰影遮掩自身。我並不想在此宣布這種

free, the open, [the spacious,] for man’s settlement and dwelling’… perhaps, but in this spacing, in the reality of the mouth.”

“Psyche is extended in the shade of a walnut tree, as the daylight fades. She lies at rest; the slight movements of sleep have half exposed her bosom. Flustered and mischievous, all at once, Eros contemplates her. Psyche knows nothing of this. Her sleep is so deep that it has even robbed her of any abandon in her pose.”

For a rather long period, Sun has also been stalked. Following, chasing,

keeping contact her stalker has not been extremely motivated as to see her, but has been determinately touching and penetrating her (Psyche),

with her words - Erotic words, words that come from the mouth of Eros.

And, naturally, as civil as Sun is, she reads without replying. Perhaps now and only now can we start to consider valuations of Psyche. It extends, by spacing itself out, by playing in and of herself an emergence, a

coming to foreground, to forehead, to the fore - but even now, or even

soon, in the future, it will not be disclosed to her, and a touch has to be as speculative as can be.

Psyche is extended in her coffin. Soon it is going to be shut.

Among those present, some are hiding their faces, others are keeping their eyes desperately fixed on Psyche’s body.

She knows nothing of this - and that is what everyone knows around her, with such exact and cruel knowledge. - Derrida

是來自中國的女人。我們的身體，我的身體，她的身體，甚至是你

對自身身體的無知——或，換句話來說，借心靈（普賽克）以耗盡

自己的身體——是文化狀況（而我也贊美這種無知）；然而，中國

身份在這裡仍然要被當作是不能夠以英國或歐洲大陸的方式思 考自身的理由： “Psyche ist ausgedehnt, weiss nichts davon.”

繼而，快速地（tôt），孫詩通過在2013年至2014年完成的作品 《Space in Between》逃離至角落之中去。她的存在轉移至照 片的邊緣之外，而將自己的目光轉移至室內空間的角落之上。

顯然的是，她不能永遠地逃脫自身身體或知識的控制。在與經

典繪畫及雕塑的定義進行對比時，她意識到，攝影是沒有空間

的。 “我想要為攝影創造一個空間，去質問並挑戰攝影的平面 性，去創造一 個空間的意識。”通 過在邊 緣 之中（及之上）創

作，不停歇的孫詩從身體的再現移向（然而，這是什麼樣的一種

移動？）轉而在概念上探索作為一種藝術形式的攝影的空間特 性——而這個轉向貌似是自然的，受影響的。無論如何，孫詩成 功地進入了英國的藝術話語之中，本體化自身（如果這是可能 的話），被異化，被剝離。在解決了自身身體的問題之後，作為一

個正當的存在——無論這是一個多麼臨時的狀況——她開始以

嶄新的方式重新發現世界，矛盾地、諷刺地在這個過程中隱去 自身。也就是說，在看見、關注、發現並記錄自身之後，她開始言

說。 “這時，儘管嘴在觸碰…這嘴已離開了乳房。它打斷了那接 觸以進行說話－思考，在第一開闔之中，一種初步而原初的空間

創造： “在那裡，經過的是［自我］創造空間的過程…’創造空 間帶來自由的、開放的、 ［空曠的］事物，以供人定居生活’…但

人是那為自身創造空間的存在，也從來不生活於別處，可能，只

Installation view, Psyche Valuations. White Conduit Projects, London. Courtesy of the Artist.

“在太陽落下之時，普賽克在胡桃樹的陰影中延伸自 身，她在休息；睡眠帶來的輕微動態將她的乳房半裸露

出來。同時慌張而頑皮的愛神在注視、打量著她。普賽

克完全不知道這件事。她睡得那麼沈，她根本不能改變 自己的姿勢。”

在很長的一段時間裏，孫詩被跟蹤。她的跟蹤者跟隨、追

趕，與她保持關係，然而並不致力於看見她，而是決絕

地用她的文字觸摸或貫穿她（的心靈［普賽克］）——愛

神的文字，來自愛神之口的文字。自然地，孫詩禮貌地 閱讀而不回覆。可能只有在這個時候我們才能夠期待 開始評估、測量心靈（普賽克）。這心靈（普賽克）延

伸，為自身創造空間／將自身消除，玩弄作為展現、進

入前景之物——但，就算是在現在，或很快，在未來，她 不將意識到這件事，而觸摸將是虛無縹緲的。

“普賽克在她的棺木中被延伸。很快這棺木就會被封

上。在在場的人 之中，有一 些在以手 掩面，有一 些則 絕望地盯著普賽克的身體。她不知道這些事——而這 就是所有在旁的、有著精確而殘忍的知識的人都知道 的。”——雅克·德理達

Eyes On the Unspaced, 2012, C-type print with mirror steel. Courtesy of the Artist

生活於這創造出的空間之中，在嘴的現實之中。”