The Floating Eye by Asialink Communications

City Pavilions Project 9th Shanghai Biennale

市區館項目第九屆上海雙年展

THE

FLOA TING

EYE

The Floating Eye is the Sydney Pavilion exhibition for the Inter-City Pavilions project of the 9th Shanghai Biennale.

4 A 亞洲當代藝術中心榮幸地在

Sydney is Australia’s oldest settler city and an important city in the AsiaPacific region. The cities geography between Asia and the West results in the constant overlaying of different historical and cultural contexts.

置在悉尼的唐人街，這個雄心勃

悉尼館的城際展館第九屆上海雙年展的一部分。從我們的位勃的項目包括新的和現有的作

The Floating Eye presents an image of a city that is both beautiful and changing. The exhibition brings together 浮動的眼睛是悉尼展館展示館項目的第九屆 six contemporary artists who each have strong connections 上海雙年展的城際。 with Sydney and who offer varied perspectives of 悉尼是澳大利亞最古老的定居城市和在亞 the city’s transforming 太地區的重要城市。城市地理亞洲與西方不 reality observed though its 同的歷史和文化背景，在不斷疊加的結果。 demographics, environment, history, politics, geography and society. The Floating Eye encourages an observation of a city’s shifting references and influences how the overlay of time and history and our emotions and sensations of a place, give meaning and form to our shared spaces.

浮動眼睛呈現的一個城市，美麗的和不斷變化的圖像。本次展

介紹

人都有緊密的聯繫，與悉尼和提供不同觀點的人口結構，環境，歷史，政治，地理和社會的觀察，雖然城市的改造現實。鼓勵的浮動眼睛觀察一個城市我們的情感和感覺的一個地方，給我們的共享空間的意義和形式的引用和影響。

of the 9th Shanghai Biennale. From our

自19 9 6 年以來，4 A ，已經到了 location in Sydney’s Chinatown, this 被公認的國內和國際上的大型 ambitious project encompasses new and

展覽，鼓勵的認識和了解亞洲當 existing works from a range of artists 代藝術和文化，它的影響力對我們的日常生活。浮動的眼睛是建

who each have a strong relationship with our city.

立在這一傳統的繼承，標誌著一 Since 1996 4A has come to be recognised

nationally and internationally for its major exhibitions that encourage 工作。重要的是，浮動眼睛支持 an appreciation and understanding of 新興和成熟的藝術家（4 A 的主 contemporary Asian art and culture, 要目標之一），在悉尼和國外的 and its influence on our everyday 工作。它促進討論的複雜的文化，lives. The Floating Eye builds upon this legacy and marks a new chapter in 社會和歷史條件下，還開闢了眾 our highly regarded work. Importantly, 多的觀點和討論，在二十一世紀 The Floating Eye supports the work of 的全球化和文化多樣性的影響。 emerging and established artists (one 4 A 項目的討論，最終生成不僅 of 4A’s key objectives) working both in 鼓勵亞太地區的一個更深刻的 Sydney and abroad. It has facilitated a discussion of complex cultural, social 認識，但表示其作為一種文化資 and historic conditions and has also 源，為未來的重要性。 opened up numerous perspectives and discussions on the implications of globalisation and cultural diversity in the twenty-first century. The discussions that 4A’s projects ultimately generate not only encourage a greater awareness of the Asia-Pacific region but signify its importance as a cultural resource for the future.

個新的篇章，我們高度重視的

前言

的轉移了時間和歷史的重疊和

4A Centre for Contemporary Asian Art is

的合作關係，我們的城市的藝 honoured to present the Sydney Pavilion 術家。 as part of the Inter-City Pavilions

FOREWORD

INTRODUCTION

覽匯集了當代藝術家，他們每個

品從他們每個人都有一個牢固

朗陳和托比・查普曼。我也很感

4A is indebted to our major sponsors Re who are part of the M&C Saatchi global 者的藝術家的做法和我們所處 network and our Presenting Partners, 的城市。 Asialink and the Australia China Cultural Council. Thank you to our 4 A 是要感謝我們的主要贊助商 Government Partners for their support: 重的 M＆C薩奇的全球網絡，我 the Council of the City of Sydney 們的全球合作夥伴，艾思林柯中 and the New South Wales Government through Arts NSW, its funding and 國文化協會和澳大利亞的一部 advisory board, and also to our many 分。感謝您對我們的政府合作 sponsors, donors and supporters. It 夥伴的鼎力支持：理事會的城市 is through these partnerships and 悉尼和新南威爾士州政府通過 collaborations that 4A is able to 藝術新南威爾士州，其經費和 develop productive networks between Australia and the Asia-Pacific region 諮詢委員會，我們的很多贊助商， and to highlight the important role 捐贈者和支持者。它是通過這 that contemporary art and artists 些夥伴關係和合作，4 A 是能夠 play within the imagination of our 開發澳大利亞和亞太地區的生 cities. The support and funding that 產網絡之間突出的重要作用，當 4A has received for this project from sponsors and donors is also indicative 代藝術和藝術家發揮想像力，我 of the international relevance of 4A in 們的城市範圍內的。也表示在 building relationships across the Asia整個亞太地區建立合作關係的 Pacific region.

謝他們的洞察力在出版物中作

國際意義的 4 A ，4 A收到這個 Caroline Choy, President, 4A Centre for 項目的贊助者和捐助者的支持 Contemporary Asian Art 和資助。卡羅琳蔡主席，4 A 亞洲當代藝術中心

中國和澳大利亞之間的關係是至關重要的，我們的期貨。事實上，兩國有著悠久而豐富的歷史，早於目前的工作重點刺激非

FOREWORD

凡的指數增長的中國經濟。地理，語言和文化的關係，但同時也存在公開的評論主要集中在經濟，貿易和安全關係的歷史，深刻的相互理解，是建設未來的夥伴關係在各部門的關鍵。這是最好的實現能力強的人對人

前言

There are many individuals who have supported The Floating Eye. I thank Qiu Zhijie, the Chief Curator of the Shanghai Biennale for the invitation; the artists Brook Andrew, Bababa 有許多個人支持的浮動眼睛的。 International, Shaun Gladwell, Raquel 我感謝邱志傑，上海雙年展的總 Ormella, Khaled Sabsabi and Shen 策展人的邀請，藝術家布魯克安 Shaomin; the curatorial team led by 德魯的，爸爸爸國際，肖恩・格 Aaron Seeto and including Sharon Chen 拉德威爾，拉奎爾 O r m e l l a，哈 and Toby Chapman. I am also grateful to the authors of this publication 立德 S a b s a b i，沉少民，策展團 for their insight into the artists’ 隊領導由亞倫 S e e to 和，包括莎 practices and the city we live in.

的關係建立在合作和互惠的合作夥伴關係的發展。參加第九屆 The relationship between China and 上海雙年展：重新激活是一個完 Australia is of vital importance 美的平台，開發澳大利亞和中國 to both our futures. Indeed, both

countries have a long and rich history that predates the current focus 一種特權為 4 A 亞洲當代藝術和 stimulated by the extraordinary and 艾思林柯藝術中心攜手合作，目 exponential growth of China’s economy. 前浮動眼睛悉尼館，城市館項目， While much public commentary on the 第九屆上海雙年展的一部分。 relationship is focused on economic, trade and security relationships, a 萊斯利，立刻主任，艾思林柯 deep mutual understanding of history, geography, language and culture is also crucial to building future partnerships across all sectors. This is best achieved by the development of strong people-to-people relationships built on collaborative and reciprocal partnerships. Participation in the 9th Shanghai Biennale: Reactivation is the perfect platform to develop a new model of cultural engagement between Australia and China. It is a privilege for both 4A Centre for Contemporary Asian Art and Asialink Arts to work together to present The Floating Eye Sydney Pavilion as part of the City Pavilion Project, 9th Shanghai Biennale.

之間的文化交往的新模式。這是

Lesley Alway, Director, Asialink

群島上的意義

THE FLOATING EYE

它們消失的島嶼距離。這僅僅是事情是這樣的。今天，這是。明天可能會有所不同 ... 五年後島不再是一個島國，它僅僅是一個 p l a c e .1 浮動眼睛不斷變化的當代文化現實和人口悉尼作為亞太地區 The islands they fade into distance. 的主要城市。悉尼和許多城市一 It’s just the way it is. Today, that is. 樣，正在經歷持續性的社會，政 Tomorrow it might be different 治和文化的轉型。這是在澳大利 … 亞的移民史，全球化和技術的影 After five years the island is no longer 響，部分原因是複雜的，並提出 an island, it is just a place.1 了通過其覆蓋到悉尼的土著和殖 The Floating Eye presents the changing 民地的歷史。獨特的地理和歷史 contemporary cultural realities and 背景的澳大利亞社會和文化提 demographics of Sydney as a major city 供了一個機會批判性地思考如 within the Asia-Pacific region. Like

many cities, Sydney is undergoing continual social, political and cultural 類型不同文化間的對話。我們的 transformation. This is in part driven 歷史被定義的來來往往 - 全球 by Australia’s history of migration, the 連接和網絡，通過偽造的人與人 impact of globalisation and technology, 之間的關係。這些東西都影響了 and made complex through its overlay onto Sydney’s Aboriginal and colonial 肯定，使我們看到我們的文化和 history. The unique geographic and 社會制度。 historical context of Australian society and culture provides an opportunity to 約翰一書的馮 S t u r m e r， “ 地理 ”新聞群島的死亡。 think critically about how the local 坎貝爾敦藝術中心，2 0 07年第10 5 和10 6頁 intersects with the regional, and the types of intercultural dialogues which are produced. Our histories are defined by comings and goings – human relationships forged through global connections and networks. These things have all impacted the certainty by which we view our cultural and social systems.

何在本地與區域相交，所生產的

John von Sturmer, “Death of Geography” in News from

Islands. Campbelltown Arts Centre, 2007 pages 105 and 106

The skin of a city Sydney is a place of intersection and flux. As people come and go, the routes for the trading of capital and ideas shift, different narratives of the city emerge and recede and cultures renew themselves. Like all of Australia, Sydney has an Aboriginal history, its traditional owners are the Cadigal people who since 1788 at the establishment of the British penal 一個城市的皮膚 colony in Port Jackson (invariably called an invasion), have been 悉尼是一個地方的路口和流量。 dispossessed of their ownership of the 隨著人們來來去去，貿易，資本 land and deprived of a basic respect 和思想的轉變，不同的路由敘 arising from this fact. This inequity 述的城市出現回落和文化的自 is in a constant process of redress and 我更新。像澳大利亞，悉尼有原 a source of contestation both in law and society amongst its different players. 住民的歷史，其傳統的的業主是 But the reality of European settlement C a d i g a l人自178 8 年以來，在 can only truly be understood within the 英國的流放地建立在傑克遜港 context of this complex relationship （總是入侵），已剝奪他們的土 between Aboriginal history and the 地的所有權和剝奪從這一事實 colonial institutions which govern Australian society. Overlaid upon this 所產生起碼的尊重。這種不公 is the history of migration starting 平是一個持續不斷的過程，糾正 from the Eighteenth Century British 和源論爭在法律和社會之間的 penal colony; the Nineteenth Century 不同的球員。但現實的歐洲解決， movement of people resulting from trade 才能真正理解範圍內原住民的 and global gold rushes; the emergence of policies of racial exclusion such as 歷史和殖民地的管理機構澳大 the White Australia Policy; through to 利亞社會之間的這種複雜的關 the arrivals from Europe, Asia, Africa, 係。覆蓋後，這是歷史上從18 世 South America and the Middle East in 紀英國的流放地遷移;十九世紀 contemporary times. It is clear that 的貿易和全球淘金熱運動的人， there is never one perspective that might define our communities.

導致出現白色澳洲政策，如種族

排斥的政策，通過向新來港定 The comings and goings of people in

Sydney, is a mirror to global politics. In our public spaces in Sydney, there 和中東在當今時代。很顯然，從 are constant reminders that people 未有一個觀點可能會定義我們 here have usually come from somewhere 的社區。 else. In the 1980s we began to name

居人士歐洲，亞洲，非洲，南美

來來往往的人在悉尼，是全球 this as multiculturalism. I prefer 政治的一面鏡子。我們在悉尼的 to understand it as the totality

of Australia’s modern history – irreducible and highly personal. As 裡的人們通常會從別的地方。在 we begin to recognise this within 20 世紀 8 0 年代，我們開始這是 our public spaces, the certainty of 多元文化的命名。我更願意把 the social and cultural standards 它理解為澳大利亞的現代歷史 established by colonisation and also by modernity unravel. What are the 的全部 - 束縛和高度個人化的。 implications of Aboriginal knowledge 當我們開始認識到這一點，在我 or experiences of migration or 們的公共空間，建立了殖民現代 technological advancement, not just 性的社會和文化標準的確定性 within the context of Australian 顯現出來了。什麼是原住民知識 history, but also more broadly within the knowledge systems which drive 或經驗的遷移或技術進步，不僅 culture and society. The re-figuration 在澳大利亞的歷史背景下，所帶 of these discourses is illustrative of 來的影響，但也更廣泛地推動文 the contemporary social and cultural 化和社會的知識體系內。這些 condition in Australia and allows for 話語是重新配置說明在澳大利 the generation of different narratives, transforming the traditional typologies 亞的當代社會和文化條件，並允 of Australian lifestyle and culture.

公共空間，有不斷提醒我們，這

許生成不同的敘述，將澳大利

亞的生活方式和文化傳統的類 So, how should we view a city? The skin

of the city – its natural features, the built environment, the temperament of its people – these things tell you about 那麼，我們應該如何看待一個 the physical form that a city takes. But 城市嗎？皮膚的城市 - 它的自 this skin is also an illusion that sits 然功能，內置的環境，其人的氣 on top of something which is ultimately 質 - 這些東西告訴你，一個城 more complex. In thinking about a 市的物質形態需要。但是，這皮 pavilion or exhibition structure that is a reflection of a city, we considered 膚也坐落在最終更複雜的東西， how to be responsive to the broader 這是一個錯覺，以為。在思考一 movement of people and ideas. How 個展館或展覽的結構，是反映 might an exhibition not just revert 一個城市，我們考慮如何回應到 to the well-worn methodologies that 更廣泛的民眾和思想運動。展 reflect its multicultural skin or present the city as expo, but also 覽怎麼可能不只是恢復到反映 be reflective of its depths, to illustrate different geo-political allegiances that are reflected in the lives of its people — to be personal, responsive and individual.

型學。

其多元文化的皮膚或提出世博 For many of the artists in this 會的城市，陳腐的方法，但也可 exhibition, Sydney is home but they are also connected to somewhere else. 以反映它的深度，來說明不同的 It would be an oversimplification to 地緣政治忠誠，體現在人民的生 say that the artists and writers in 活 - 個人，及時性和個人。 The Floating Eye are representative of migratory experience, or that migration 對於許多的藝術家在本次展會 is the only thing which drives their 上，悉尼的家，但他們也被連接 understanding of Sydney. But there 到別的地方去。這將是一個過 is definitely a critical engagement 於簡單化的說，有代表性的藝術 and an aesthetic which involves being connected to one or many locations and 家和作家在浮動的眼睛遷徙的 a consideration of how one landscape 經驗，或移民是唯一推動自己的 impacts us emotionally, psychologically 理解悉尼。但肯定是一個關鍵 and critically in our understanding 的參與和審美，其中包括被連 or vision of another. When we consider 接到一個或多個地點和審議的 our desire and ability to be connected simultaneously and instantaneously the 一道風景如何影響我們的情緒， world over, it is possible to understand 心理和批判在我們的理解或另 these locales in a slightly reformed 一種眼光。當我們認為我們的慾 context of the international. 望和能力，同時連接和瞬間世界，If our contemporary life in cities can 這是可以理解這些在改革背景 be characterised by an awareness of our 下的國際語言環境。 sense of connection in the world and the availability of communication, the irony

如果我們的當代城市生活的特 is that this might make us comprehend 點，可以通過我們在世界上的連 the great distances and gulfs which 接和通信的可用性感的意識，具 separate people in the world. There is 有諷刺意味的是，這可能使我們理解了很遠的距離和海灣分開的人在世界上。有雙動意識和現

a double action between awareness and the real world, between connection and being anchored in a city and having an expansive experience in the world.

實世界之間，之間的連接與固定 The Floating Eye thinks through 在一個城市，有一個廣闊的經驗， the personal accounts generated by 在世界上。 individual artists, to mark out the 浮動的眼睛認為，通過所產生的個別藝術家的個人賬戶，以紀念他們的經驗，因為他們試圖在全球化，多元化的背景下談

engagements and the discontinuities they experience as they try to negotiate ideas of locality and culture in globalised, diverse contexts. I would argue that this is the history of Australia, a feeling of being connected and disconnected. In this way The

Floating Eye might exist as a point of opposition to an ideal of cultural safety. The artists in this exhibition ask ‘how do I belong here, how am I connected elsewhere, where do I belong?’ From my research, these are questions which artists ask themselves across the world. The Floating Eye addresses ‘a 判的地方和文化的觀念的接觸 place in the world’ by presenting these 和不連續性。我認為，這是澳大 artists’ observations as conversations in a chain, connecting, disconnecting, 利亞歷史，連接和斷開的感覺。 forcing connections.

在這樣的浮動眼睛可能存在的

The point of The Floating Eye is not to merely describe a situation of local/ 一個點。本次展覽的藝術家在 global transformation. The implication 問： “怎麼我屬於這裡，我怎麼 is the instability of the moment, the 連接的其他地方，我屬於哪裡？” double movement and interdependence 從我的研究，這些問題問自己， of destruction and construction (the impact upon the city itself and the 藝術家在世界各地。浮動眼睛 impact of the city elsewhere) — a city 地址“ 在世界的對話的形式呈 as latent energy that at any time 現這些藝術家的觀察鏈，連接， might consume us, or spits us out as it 斷開，迫使連接的地方。 opens up new points of departure. This might offer different ways of thinking 點的浮動眼睛不只是描述的情 through this historical legacy which 況，局部/全局轉型。其含義是 we have arrived at and avoid the re不穩定的時刻，雙重運動和相 inscription of a position of cultural safety. The possibilities that emerge 互依存的破壞和建設城市本身 from looking at culture in this manner, 和城市其他地方的影響（影響 encourages the different modalities of 後） - 一個潛在能量，在任何 our cities to take shape.

反對，是一個理想的文化安全的

時候可能會消耗我們的城市，或吐痰我們出來，因為它開闢了新的出發點。這可能會提供不同的思維方式，通過這一歷史遺留問題，我們已經抵達，並避免重新題詞文化安全的位置。從文化以這種方式出現的可能性，鼓勵我們的城市模式，採取不同的形狀。亞倫 S e e to

Aaron Seeto

界各地的

時間2 012

時間利用個人存檔的歷史

照片和明信片的土著和殖

民地的經驗，來自世

mixed media

Brook Andrew Time (detail) (2012)

dimensions variable

courtesy of the artist and

Tolarno Galleries, Melbourne.

TIME draws on a personal archive of historical photographs and postcards of Aboriginal and colonial experiences from around the world. Brook Andrew’s work has sought to explore the implications of Aboriginal knowledge, not just within the context of Australian history, but also more broadly within the knowledge systems which drive culture and society. Brook Andrew’s work, TIME considers the human and political connections between images – where they come from, the politics of their circulation and how they influence our modern gaze. In our current age where images are ubiquitous and created for massmarkets, TIME considers the human and political connections between images. Andrew represents seemingly unrelated source material as life-sized images 時間利用個人存檔的歷史照片 hand printed onto two-dimensional 和明信片的土著和殖民地的經 surfaces. Whilst the subjects may be 驗，來自世界各地的。在我國目 immediately incongruous – a woman from 前的年齡是無處不在的圖像，並 New Caledonia, an Indian postal worker, 為大眾市場，時間會考慮的人權 a countdown clock from a scientific 和政治之間的連接圖像 - 他們 experiment, an Aboriginal man towering over the Sydney Museum – their 來自哪裡，他們的循環，政治的， composition within the space suggests 以及它們是如何影響我們的現 a geography and gaze reflective of 代的目光。安德魯看似無關的源 colonial history. As audiences walk amongst these large, almost theatrical 材料如真人大小的圖像的手印 scenes, Andrew allows the viewer to 在二維表面。雖然的主題可能 enter into the ambiguity of their 會立即不協調 - 女人新喀裡多 connected histories.

BROOK ANDREW 布魯克安德魯

尼亞，印度郵政工作人員從科學

實驗，矗立在悉尼博物館的土著人 - 他們組成的空間內，倒計時時鐘顯示的殖民歷史地理和視線反射在該區域。當觀眾走在這些大的，幾乎是戲劇性的場面，安德魯允許觀眾進入的模糊性，連接歷史。

Pacific Undertow Sequence (Bondi) presents a pictorial inversion that calls into question our perception of space and its physics. At first, a lone surfer (Gladwell himself) is shown sitting on his surfboard as the ocean surface gently ripples and warps. Soon, it becomes obvious he is not above the surface of the ocean but floating underneath. The simple reorientation of the surfer in this environment is presented as an illusion that quickly unravels itself. At times the figure of the surfer is completely engulfed in white-wash. He is literally consumed by the sublime beauty and terror of the ocean’s forces. From this inverted orientation, the ocean is perceived as an immense volume and field of energy. While the abstracted ocean depths and shallows could be anywhere, Gladwell acknowledges a specific site in his title. The Indigenous Australian place name, Bondi, means ‘the sound of water breaking over rocks’.

SHAUN GLADWELL 肖恩格拉德威爾

太平洋的暗流序列（邦迪）提出了一個圖案反轉，需要的空間和它的物理問題，我們的看法。起初，一個孤獨的衝浪者（萊德威爾自己）坐在他的衝浪板，海洋表面輕輕的波紋和扭曲。不久，很明顯他是那種

Shaun Gladwell Paci!c Undertow Sequence (Bondi), 2010

Video still: HD video, 11:21 minutes, 16:9, colour, stereo sound Videography: Josh Raymond Courtesy the artist & Anna Schwartz Gallery

太平洋的太平洋的暗流序列（邦迪）2010

太平洋的暗流序列（邦迪）提出了一個圖案反轉，需要

的空間和它的物理問題，我們的看法。起初

表面的海洋，但浮動下。簡單的衝浪者在這樣的環境中重新定位是作為一個錯覺，以為很快揭開了自己。在時代的衝浪者的身影完全淹沒在白洗。他是真正的所消耗的海洋力量的崇高美和恐怖。從這個相反的方向，海洋被認為是一個巨大的體積和能源領域。雖然抽象的海洋深處，淺灘可以在任何地方中，格拉德威爾承認一個特定的地點在他的標題。澳大利亞土著地名，邦迪，是指破水的聲音在岩石上。

拉奎爾

RAQUEL ORMELLA

在澳大利亞，在市區常見的鳥類通常被稱為“垃圾鳥”。無處不在的鴿子一樣，這些都是鳥你發現幾乎在每一個國際城市，佔主導地位的城市和自然的環境。在這裡，我們採用了印度的八哥鳥，一個物種被引入到世界各地的幾乎每一個大陸。據介紹，澳大利亞在十九世紀初，在菜市場花園的殖民地，以昆蟲為食。作為一個物種的八哥生活垃圾及廢物，所以它已經開發出與人類

認為，在現代城市中，城市化和人類居住主持經驗的性質。

為“ 垃圾鳥”。無處不在

映了一個廣泛的地理分佈。它還

為“ 垃圾鳥”。無處不在

鳥”，其在該地區的殖民歷史反

在市區常見的鳥類通常被稱

的片段。它反映了在這個“垃圾

在這裡，我們是 2012

垃圾的樹木和人類行為與生活

在澳大利

的視頻安裝部分構成，結合動畫

3-channel HD video, colour, sound image courtesy the artist and Milani Gallery, Brisbane

的關係交織在一起。 O r m e l l a Raquel Ormella Here we are (still) (2012)

In Australia the birds commonly seen in urban areas are often called ‘junk birds’. Like ubiquitous pigeons, these birds are found in almost every international city and dominate urban and natural environments. Here we are features the Indian Myna bird (Acridotheres tristis), a species that was introduced to Australia from India in the early nineteenth-century to eat insects in the vegetable market gardens of the colony. As a species the Myna can live on refuse and waste and prefers areas of isolated tress and grass, like suburban housing. For these reasons it has developed an entwined relationship with humans. Ormella’s video installation is constructed in parts, combining footage of living trees and human actors with animated birds and rubbish. All these discontinuous parts come together as a fractured whole and reflects on the experience of nature in modern cities.

A flue is a cavity or passageway, like a chimney it transports gasses from one place to another. As a design feature of industrial processes a flue implies both circulation and material transformation. Bababa International is a group of young artists from Sydney who now collaborate from various points of the world (Sydney, London, Boston). As the members of the group travel from place to place the transformation of their energy into ideas and actions virtually resembles the flues of industrial processes. Bababa International find themselves surreptitiously engaging in conversations about public space ¾ How a space operates; how a space leads to another; how spaces dictate action and how spaces reveal their own histories. For The Floating Eye, Bababa International has devised a series of corridors, which effectively exist behind the traditional gallery space. By creating corridors behind the walls which other artists’ works are hung and projected, Flue creates variable, multiple versions of the space, inviting us to imagine that their inside of the exhibition is also the beyond. It is a reflection that reveals the mutable and invisible movements of a city.

的煙道腔或通道，其傳輸的氣體從一個地方到另一個就像一個煙囪。作為一個設計功能的工業生產過程中，煙氣意味著循環和物質轉化。爸爸爸國際是一組從悉尼年

Bababa International Flue (production sketches) 2012 Courtesy the artist

的煙道腔或

煙氣 2012 的煙道腔或

輕藝術家的合作從各點的世界（悉尼，倫敦，波士頓）。由於從一個地方來放置他們

BABABA INTERNATIONAL 的能量轉化為思想和行動的團體旅遊，幾

乎類似於工業生產過程的煙囪。爸爸爸國

際發現自己在談話中關於公共空間的暗中

從事

的空間;的空間到另一個空間決定如

爸爸爸國際何行動以及如何空格透露自己的歷史。爸爸爸國際對於浮動眼睛，已經制定了一系

列的走廊，有效地落後於傳統的畫廊空間。通過創建走廊身後的牆壁等藝術家的作品

都掛和預測，煙氣創建變量，多個版本的空

間，邀請我們去想像，他們裡面的展覽也超越。這是一個反思，揭示了可變的，無形的

城市運動。

Born in Lebanon, Sabsabi migrated with his family to Australia in 1978 to settle in Western Sydney, a predominantly migrant area. He travels frequently between Sydney and the Middle East. Mush and Syria are the two large-scale video installations in this exhibition. The works are constructed from collected video footage of street scenes, people, religious and general architecture, in Australia as well as the Arab world and North Africa. Like a kaleidoscope, the footage of the everyday city becomes fractured and refracted into highly complex geometric works, where the specificity of each location collapses into an abstract yet highly acculturated vision of urban and suburban spaces that clash and collapse expectations regarding place and identity. There is a spiritual dimension to these works, a quest to explore the parallels and points of connection between the certainties of the physical and the uncertainties of the human and emotional, capturing adaptation in action and the ebb and flow of cities and culture over time.

Khaled Sabsabi Mush 2012

5-channel HD video, 4:3, colour, sound 2:30 and 3:30 minutes Courtesy the artist and Milani Gallery, Brisbane Photography: Pedro de Almeida

出生在黎巴嫩敘利出生在黎巴嫩亞 2012 出生在黎巴嫩出生在黎巴嫩出生在黎巴嫩出生在黎巴嫩出生在黎巴嫩出生在黎巴嫩

出生在黎巴嫩，S a b s a b i與他的家人移居到澳大利亞，於1978 年定居在悉尼西部，一個以農民為主的區域。他經常往返悉尼和中東的文化和身份特徵的同時連接和瞬間世界的願望和能力，他的作品反映了複雜的經驗。連接在澳大利亞，阿拉伯世界和北非日常的郊區和其他城市空間，，M US H 和敘利亞的大型視頻裝置，斷裂和重建圖像的街景，人，宗教和一般的建築。每個工作表示高度同化的城市和郊區的空間衝突和崩潰的期望和認同。 S a b s a b i探討的相似性之間的物理的確定性和不確定性的人力和情感，捕捉適應行動的城市和文化隨著時間的推移和潮漲潮落的連接點。

KHALED SABSABI 哈立德

哈立德

SHEN SHAOMIN

Landscape of Confinement is a new installation that dramatises the precarious relationship between human evolution and the preservation of the natural world in the name of human freedom and progress. Shen has created a frozen environment, inverting our immediate expectation of the natural beauty and landscape that is associated with a place such as Sydney. Instead of glittering beaches and bushland, the artist has recreated an altogether different landscape – that of a middleclass domestic scene carved from ice. The stillness of this work belies its tension – it relies on the production and consumption of energy in order to stay in its frozen state. It is this interdependence of energy and human comfort; traditional skills and contemporary living; the poetic and the material that characterises his Landscape of Confinement.

景觀約束是一個新的安裝，極度戲劇化的不穩定和保護人類的進化，人類自由和進步的名義對自然世界的關係。少民創造了一個冷凍的環境，反相我們的即時期望的是與地方如悉尼的自然風光和景觀。而不是閃閃發光的海灘和叢林中，藝術家重新創建一個完全不同的景觀 - 的冰雕刻而成的的一個中產階級國內現場。這項工作的寂靜掩蓋了它的張力 - 它依賴於能源的生產和消費，以保持在凍結狀態。這是相互依存的能量和人體的舒適度，傳統技藝與現代生活的詩意和材料，景觀約束的特點。 Shen Shaomin Landscape of Confinement (production image) 2012 tempered glass, refrigerator elements dimensions variable courtesy the artist and Osage Gallery, Hong Kong

景觀約束 2012年的監禁景監禁景監禁景監禁景觀少民創造了一個冷凍的環境少民創造了一個冷凍的環境

混合媒體尺寸變量禮貌的藝術家和陶而諾畫廊，墨爾本

BROOK ANDREW Time 2012

肖恩・格拉德威爾太平洋的暗流序列（邦

mixed-media dimensions variable Courtesy the artist and Tolarno Galleries, Melbourne The production of this work has been supported by The Keir Foundation.

迪）2010 高清視頻，16:9，色，聲 11時21分鐘錄像：喬什・雷蒙德聲音：Ka zu m i c h i污穢物禮貌的藝術家和安娜・施瓦茨

哈立德Sabsabi M US H2012 5 聲道的 H D 視頻，4:3，顏色，聲音 2:3 0 和3:3 0 分鐘禮貌的畫廊，藝術家和米拉尼布里斯班

畫廊 SHAUN GLADWELL

KHALED SABSABI Mush 2012 5-channel HD video, 4:3, colour, sound 2:30 and 3:30 minutes Courtesy the artist and Milani Gallery, Brisbane

Pacific Undertow Sequence (Bondi) 2010

拉奎爾Ormella 在這裡，我們是 2012 3通道高清視頻，4:3，色，聲 7分鐘禮貌的畫廊，藝術家和米

HD video, 16:9, colour, sound 11:21 minutes Videography: Josh Raymond Sound: Kazumichi Grime Courtesy the artist and Anna Schwartz Gallery

拉尼布里斯班

RAQUEL ORMELLA Here we are 2012

哈立德Sabsabi 敘利亞 2012 2 通道的高清視頻，4:3，色，聲 2: 0 0 分鐘禮貌的畫廊，藝術家和米拉尼布里斯班

爸爸爸國際 3-channel HD video, 4:3, 煙氣 2012 colour, sound

continuous loop Digital post-production: 尺寸變量 Tyrone Mason Paper bird wranglers: Raquel Ormella and Ruby Green The production of this work has been supported in kind by the School of Art, Australian National University Courtesy the artist and Milani Gallery, Brisbane.

作品列表

時間2012

LIST OF WORKS

布魯克安德魯

KHALED SABSABI Syria 2012 2-channel HD video, 4:3, colour, sound 2:00 minutes Courtesy the artist and Milani Gallery, Brisbane

混合媒體 BABABA INTERNATIONAL Flue 2012 mixed-media dimensions variable The production of this work has been supported by The Keir Foundation.

沉少民 2012年的監禁景觀冰箱的元素，冰尺寸變量

SHEN SHAOMIN Landscape of Confinement 2012 refrigerator elements, ice dimensions variable Courtesy the artist and Osage Gallery, Hong Kong The presentation of this work has been supported by the Australia China Cultural Council.

RAQUEL ORMELLA’S practice utilises a diverse range of artistic mediums including video, installation, and drawing. Her work has focused in recent years on the relationships between humans and the natural world, particularly in forest activism and urban development. Using these concerns Ormella questions the means by which critical reflexivity in contemporary art encourages self-examination regarding political consciousness and social action. Ormella is represented by Milani Gallery, Brisbane.

BROOK ANDREW is a multi-disciplinary artist based in

Melbourne. Incorporating traditional studio practices with optical patterns, historical documents and traditional design elements, and language drawn from his Wiradijuri heritage, Andrew’s practice broadly critiques power structures and the representational paradigms that underpin colonialism, unravelling its legacies in the realm of contemporary culture. Using historical documents as a form of ready-made, Andrew shares an ambivalent relationship with the concept of the archive. Andrew is represented by Tolarno Galleries, Melbourne.

布魯克安德魯是一個多學科的藝

拉奎爾 O r m e l l a 的做法，採用

術家，總部設在墨爾本。光學圖

了各種不同的藝術媒介，包括視

案，歷史文獻和傳統的設計元素和語言來自他的 W i ra d ij u r i 遺產的做法，將傳統的工作室，安德魯的實踐中廣泛批評的權力結構和代表性的範例，鞏固殖民統治，瓦解其在當代文化領域的遺產。作為一種現成的使用歷史文件，安德魯共享一個矛盾的關係的概念的存檔。安德魯表示由陶而諾畫廊，墨爾本。

頻，繪畫，裝置，繪畫和製作的

SHAUN GLADWELL is a digital artist who

critically links personal experience with contemporary culture phenomena and historical references through performance, video, painting and sculpture. He engages these concerns through forms of urban expressions, such as skateboarding, hip-hop, graffiti, break dancing and extreme sports. Describing his video works as ‘performance landscapes’, Gladwell employs cinematic devices to capture both tightly choreographed and improvised performances, resulting in works that are hypnotic and poetic due to their distortion of speed and displacement of space and time. Gladwell is represented by Anna Schwartz Gallery.

肖恩・格拉德威爾是一位數字藝術家，嚴格鏈接個人的經驗，通過表演，錄像，繪畫和雕塑的當代文化現象和歷史參考。他從事的這些問題，通過城市的表達形式，如滑板，街舞，塗鴉，霹靂舞，極限運動。描述他的錄像作品的表現風景“ 中，格拉德威爾電影的設備捕捉緊密的舞蹈，即興表演，由於他們的速度和位移的空間和時間的扭曲，催眠和詩意的作品。格拉德威爾表示由施瓦茨庫。

科幻雜誌。顯示目前關注的藝術家的職業道德角色和責任不斷，O r m e l l a 的工作探討以何種方式在當代藝術中的關鍵自反性的政治覺悟和社會行動，鼓勵自學考試。米拉尼美術館，布里斯班 O r m e l l a 表示。

ARTISTS BIOGRAPHIES 爸爸爸國際是一家總部位於悉尼

藝術家傳記

的當代藝術集體的創作吸引觀眾積極參與在藝術創作過程中的項目。有一段時間了，爸爸爸國際關注的公共空間的失敗，改變公共空間到印象派和鍍鋅領域的積極追求，並不斷的困惑。

BABABA INTERNATIONAL is a Sydney-based contemporary art collective whose creative projects engage audiences to actively participate in art making process. For some time now, Bababa International have been concerned with the failures of public space, and are constantly bemused by the vigorous pursuit to change public space into an impressionistic and galvanised domain.

和安裝的。他的作品反映的複雜性，文化和身份產量，特點是不斷變化的，然性質。出生在黎巴嫩，S a b s a b i 遷移在1978 年與他的家人到澳大利亞，定居在悉尼西部，一個以農民為主的區域。米拉尼美術館，布里斯班 S a b s a b i 表示。 SHEN SHAOMIN was born in Heilongjian Province China. Following a series of visits to Australia in 1989, Shen migrated to Sydney in 1990. Over the last twenty years he has forged an important international career 在過去的20 年裡，沉少民建立了 with an emphasis on conceptual 一個重要的國際職業生涯的概念 experimentation. His practice examines the poetic and philosophical 試驗的重點。他的實踐研究的詩 implications of progress, examining 意和哲學意義的進步，人的本能和從事有關死亡，精神，消費主義 the relationship between human instinct and the prejudice associated 和歷史的想法與文化知識的偏見 with cultural knowledge by engaging 之間的關係進行了審議。他的工 with ideas relating to death, 作需要批評的態度，對人類社會， spirituality, consumerism and history. 人類進化和文化的影響和造成的 His work takes a critical approach to 損失在自然界中人類自由和進步 human society, dramatising the impact of human evolution and culture and 的追求寫實。 the damage inflicted upon the natural world in the pursuit of human freedom and progress. Shen is represented by Osage Gallery, Hong Kong.

關於4A

哈立德 S a b s a b i是一位藝術家和社區藝術工作者專業多媒體

ABOUT 4A

K HALED SABSABI is an artist and community arts practitioner who specialises in multimedia and installation. His work reflects the complex nature of cultural and identity production, characterised by an ever changing and contingent nature. Born in Lebanon, Sabsabi migrated with his family to Australia in 1978, to settle in Western Sydney, a predominantly migrant area. Sabsabi is represented by Milani Gallery, Brisbane.

4A Centre for Contemporary Asian Art fosters excellence and innovation in contemporary Asian and Australian culture through research, documentation, development, discussion and presentation of contemporary visual art. We believe that Asian cultural thinking will have an important impact on the future. 4A’s aim is to ensure contemporary visual art plays a central role in understanding the dynamic relationship between Australia and the Asia-Pacific region.

4A was founded in 1996 to present and promote the work of Asian and Asian4 A 亞洲當代藝術中心為促進亞 Australian artists. In this time 洲和澳洲的文化在當代通過卓 has developed a distinctive approach 越和創新的當代視覺藝術的研 to addressing Australia’s cultural diversity through a dynamic program 究，文檔，開發，討論和演示。 including local and international 我們相信，亞洲文化的思考，對 exhibitions, public programs, workshops, seminars, symposiums 未來將產生重要的影響。 4 A and community activities. These 的目的是確保當代視覺藝術起 have been recognised locally and 到了核心作用，在了解澳大利亞 internationally as having raised 和亞太地區之間的動態關係。 awareness of Asian-Australian art and culture and Australia‘s place in the 4 A 成立於19 9 6 年的亞洲，亞 Asia-Pacific region.

洲和澳大利亞的藝術家的介紹和宣傳工作。在這個時候開發了一種獨特的方法來解決澳大利亞的多元文化，通過一個動態的計劃，包括本地及國際展覽，公共活動，工作坊，研討會，專題討論會和社區活動。這些本地及國際的亞澳藝術和文化，澳大利亞在亞太地區的地位提高了人們的認識，已確認。

關於亞聯

成立於19 9 0 年，總部設在墨爾本大學的艾思林柯。艾思林柯藝術的使命是發展夥伴關係，合作和互惠集中在澳洲和亞洲之間的文化交往的機會。艾思林柯藝術有效地開展工作，並有信心在亞洲的合作夥伴關係。

THE CURATORIAL TEAM ON BEHALF OF 4A CENTRE FOR CONTEMPORARY ASIAN ART WISH TO THANK THE PARTICIPATING ARTISTS FOR THEIR COMMITMENT TO THIS PROJECT: Brook Andrew, Bababa International, Shaun Gladwell, Raquel Ormella, Khaled Sabsabi, and Shen Shaomin. Thanks are extended to the writers who contributed to this publication: Pedro de Almeida, Sarah Bond, Michael Fitzgerald, Susan Gibb, Anneke Jaspers, Olivier Krischer, Yao Souchou and Xing Ruan.

浮動的眼睛，悉尼館，第九屆上海雙年展將有可能不從許多個人和組織的慷慨支持和援助。 4 A中心代表亞洲當代藝術的策展團隊要感謝他們的承諾，這一項目參展藝術家：安德魯・布魯克，爸爸爸國際，肖恩・格拉德威爾，拉奎爾 O r m e l l a ，哈立德 S a b s a b i，沉少民。還要感謝誰促成了本出版物的作者：佩德羅・德阿爾梅達，莎拉・邦德，邁克爾・菲茨杰拉德，蘇珊・吉布安內克雅斯貝爾斯，奧利維爾 K r i s c h e r，堯艘疇和邢蠕鵪。我們要感謝，賈森・帕特里克・圭雷拉小，邁克爾・波士頓和阿德里安娜塔斯克重新為他們的奉獻精神和視覺的藝術指導本出版物。

致謝

THE FLOATING EYE, THE SYDNEY PAVILION, 9TH SHANGHAI BIENNALE would not have been possible without the generous support and assistance from many people and organisations.

We wish to thank Patrick Guerrera, Jason Little, Michael Boston and Adrianne Tasker from Re for their dedication and vision with the art direction of this publication. Thank you to our presenting partners, Asialink, and the Australia China Culture Council for their continued support of this project. And our Principal Sponsors VisAsia, Duerrenmatt-folk and the Keir Foundation; sponsors: China Eastern Airlines, Zenger, Sunny International, Australia Art Collectors Association, Das Platforms, Milani Gallery, Julia Champtaloup and Andrew Rothery and Robert Huang. The Floating Eye, The Sydney Pavilion, 9th Shanghai Biennale is supported by the following Government Partners: the NSW Government through Arts NSW, and the Council of the City of Sydney.

準備的“ 下一代”的藝術領導發展的技能，知識和經驗

ACKNOWLEDGEMENTS

ABOUT ASIALINK

Asialink, based at the University of Melbourne, was established in 1990. The Mission of Asialink Arts is to develop opportunities for cultural engagement between Australia and Asia focused on partnerships, collaboration and reciprocity. Asialink Arts is committed to preparing the ‘next generation’ of arts leaders to develop the skills, knowledge and experience to work effectively and with confidence in partnership with Asia.

We extend our appreciation to the artists’ representatives: Anna Schwartz Gallery, Melbourne and Sydney; Milani Gallery, Brisbane; Osage Gallery, Hong Kong and Tolarno Gallery, Melbourne. The following individuals and organisations are acknowledged for their valued assistance: Qiu Zhijie, Chief Curator of the Shanghai Biennale, Francesca Girelli and Huang Mi at the Shanghai Biennale Office; The Shen Shaomin Studio, Beijing; Garry Trinh, Alex Bowen, Kym Spinks, Shuxia Chen, Mathieu Borysevicz, Nick Garner, Jane Somerville, Paul Greedy, Vincent O’Connor, Trent Walter, Tania Doropoulous, Kenzee Patterson and the School of Art, Australian National University.

謝謝我們的全球合作夥伴，艾思林柯和澳洲中國文化協會的鼎力支持該項目。我們的主要贊助商，V i s A s i a ，D u e r re n m a t t民間和凱爾基金會主辦單位：中國東方航空公司，曾格，陽光國際，澳大利亞藝術收藏家協會，達斯平台，米拉尼畫廊，朱莉婭 C h a m p t a l o u p 和安德魯・羅裡和羅伯特・黃。浮動眼睛，悉尼館，第九屆上海雙年展是由以下政府合作夥伴：通過藝術新南威爾士州新南威爾士州政府，悉尼市和理事會的支持。我們向我們欣賞藝術家們的代表：安娜・施瓦茨畫廊，墨爾本和悉尼，布里斯班米拉尼畫廊，奧沙畫廊，香港和陶而諾畫廊，墨爾本。下列個人和組織都承認他們的寶貴援助：上海雙年展在上海雙年展辦公室，弗朗西斯 G i re l l i 和黃米的總策展人邱志傑，沉少民工作室，北京，加里鄭氏，亞歷克斯博文，鐘琴斯平克斯，張淑霞保羅・薩默維爾靚穎，陳，馬修伯利塞維茲，尼克・加納，貪婪，，特倫特沃爾特・文森特・奧康納，塔尼亞 D o ro p o u l o u s ，Ke n z e e 帕特森和藝術學院，澳大利亞國立大學。

館長

CURATOR Aaron Seeto

PROJECT TEAM Curatorial Project Manager Sharon Chen 項目團隊 Assistant Curator Toby Chapman 策展項目經理沙龍陳 Project Support Summar Hipworth, Samuel Zammit, Yu Ye Wu 助理館長托比・查普曼 Art Direction & Design Re, part of the M&C 項目支持摘要的 H i p w o r t h ，塞繆爾・ Saatchi global network 扎米特，玉液湖 Publicity Hannah Skrzynski 藝術指導和設計重用，M＆C薩奇的全 Blog Contributors Joanna Bayndrian, Lorraine Chung

Presented by

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亞倫 S e e t o

球網絡的一部分，

宣傳漢娜 S k r z y n s k i 博客者喬安娜 B a y n d r a i n ，洛林湧 4 A 亞洲當代藝術中心的工作人員導演亞倫 S e e t o 管理摘要的 H i p w o r t h 將軍代理項目經理佩德羅・德阿爾梅達 “ 助理館長（浮動眼睛）托比・查普曼項目協調員塞繆爾 Z a m m i t t 市場推廣及傳訊協調員吳於耶

4A CENTRE FOR CONTEMPORARY ASIAN ART STAFF Director Aaron Seeto General Manager Summar Hipworth Acting Program Manager Pedro de Almeida Assistant Curator (Floating Eye) Toby Chapman Program Coordinator Samuel Zammitt Marketing and Communications Coordinator Yu Ye Wu Interns and volunteers: Paloma Gould, Joanna Bayndrian, Lorraine Chung and Mingyue Zhou, Bethan Donnelly

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Presenting partners 主辦

4A is an initiative of the Asian

實習生和志願者：喬安娜 B a y n d r i a n ， Australian Artists Association Inc. We gratefully acknowledge the assistance of the Commonwealth Government through the 4 A 是澳大利亞在亞洲美術家協會會 Australia Council, its funding and advisory 員公司的一項舉措，我們非常感謝英聯 body; the NSW Government through Arts NSW 邦政府的協助下，通過在澳大利亞議會， and the City of Sydney. 其經費和諮詢機構 ; 新南威爾士州政府 Principal Patrons: Geoff and Vicki Ainsworth, Daniel and Lyndell Droga; Kerr and Judith 通過藝術新南威爾士州和悉尼市。 Neilson; Patrons: Grasshopper Bar, John Lam主要贊助人：傑夫和趙薇安斯沃思，丹 Po-Tang, and Dr Gene Sherman AM and Brian Sherman AM; VisAsia and Adrian Williams; 尼爾和 Ly n d e l l 的的 D ro g a 克爾和 Benefactors: AMP Foundation, Andrew Cameron, J u d i t h N e i l s o n 的觀眾：草蜢酒吧， ARNDT Fine Art, ARTCELL, Richard Funston and 約翰・琳寶唐，謝爾曼 A M 和 D R 基因和 Kiong Lee, Jan Manton Gallery, Vicki Olsson, Lisa Paulsen, Dr Dick Quan, Andrew Rothery 布賴恩・謝爾曼 A M V i s A s i a 和阿德 and The Sky Foundation; Friends: Brooke and 里安・威廉斯 ; 恩人：A M P 基金會，安德 Steve Aitken, Australia China Art Foundation, 魯・卡梅倫，A R N DT 美術，A RTCE L L ， Luisa Catanzaro, Ari and Lisa Droga, Choi 理查德・芬斯頓和深奧李月，曼頓庫，安 Ropiha Fighera, Julian and Stephanie Grose, Tonee Holley Knowles and James Knowles, 德魯醫生迪克泉，趙薇，麗莎奧爾森保 Annette Larkin, Susan Nathan, Becky Sparks 爾森，羅裡和半邊天基金會 ; 朋友：布魯 and James Roland and Dr John Yu AC.

帕洛瑪・古爾德，洛林湧明月週

克和史蒂夫・艾特肯，澳大利亞中國藝術基金會，路易莎卡坦扎羅阿里和麗莎 D ro g a ，財 Ro p i h a F i g h e r a ，朱利安和 S t e p h a n i e 格羅斯，To n e e 華立諾爾斯和詹姆斯・諾爾斯，呂秀蓮拉金，蘇珊彌敦道，貝基火花

Government partners

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Principal sponsor

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