Chuan Men, Visit Your Friends House by Lukas Birk

Content 串门儿 chuan men Exhibition 2011 Forewords

Artists

Heru Agus Elisabeth Czihak Irene Dapunt Michael Downs Georg Frauenschuh Bernhard Gwiggner Richard Hoeck Barbara Anna Husar Eline Jongsma & Kel O’Neill Jan Krogsgaard & Thomas Weber Carlsen Sylvia Kummer Roberta Lima Meta House Christine Pellikan Ella Raidel Tom Schneider Christian Schwarzwald Ulrike Sladek Maria Tupay Duque Uebermorgen Ugo Untoro Stephan Koeperl Winkler Sylvia Andrea Witzmann and Helmut Schäfer

10 14 20 26 32 36 42 48 52 56 66 72 76 82 88 92 96 102 106 112 118 122 128 134

Special feature Austrian Film

138

Foreword

Karel Dudesek 140

Directors

Karel Dudesek 5 Martin Sajdik 7 Tony Chang 8

Katharina Copony Barbara Eder & Constanze Schumann Elke Groen & Ina Ivanceanu Johannes Hammel Barbara Anna Husar Nikolaus Geyrhalter Oliver Ressler Lukas Birk

Special feature Salzburg

152

Introduction

Dietgard Grimmer 152

Artists

Anja Hitzenberger 154 Christa Kempf 155

Special feature Indonesia

156

Introduction Austro Indonesian Arts Program

AIAP 158

Residency Program Yogyakarta

AIAP 159

SewonArtSpace Yogyakarta

AIAP 160

ToKnowTheUnkown exhibition

AIAP 160

Artists

Arya Sukapura & 162 Karel Dudesek Baskoro Latu & Lukas Birk 164 Nurul Hayat “Acil” & Marbod Fritsch 166

Special feature Off space in Beijing

168

Blackbridge off黑桥off空间

Anna Hofbauer & Bianca Regl 170

Curiculum vitae

串门儿 chuan men artists 178 Film directors 198

打包 da-bao exhibition Beijing 2010

Documentation 202

143

Austro SIno Arts Program information

ASAP 206

144 145 146 147 148 150 151

Credits & Acknowledgements

ASAP 210

Foreword Chuan Men 串门儿 - Visit the Friend’s House The next exhibition of 20 contemporary artists from Austria +7 The visitor and the host are two significant archetypes of humanity. If traveling from one place to another, giving and receiving can be understood in a metaphorical, mythological, mystical, symbolical or profane sense. Giving and receiving can happen even if no commodities are exchanged. You give and receive energy, power, feelings, wisdom, ideas, knowledge and inspiration. In past times traveling or wandering was a significant way of collecting wisdom – wisdom to be acquired ‘live’ from life. From the profane Wandergesellen (i.e. wandering artisans out on the road, or auf der Walz as it was called in Central Europe in the past) to more spiritually-minded seekers of wisdom of life. They were sent to all corners of the world to collect what was not available in the vicinity. Today such a setting has almost disappeared and if alive it is kept in secrecy very much. Artists are the most mobile and flexible tribe of today’s humanity seeking inspiration how to code or decode the visible. The house, the tent, these are places where we look for shelter, places where we invite the one who comes from far or near. Increasingly, today’s humanity live in cities, where gigantic houses are built to accommodate them and their activities in a more “static life”. Artist studios, art exhibition venues are places which we visit to see and experience something which is outside of our “static life”, something which stretches between the profane and the profound. This is the third time that the Austro Sino Arts Program organizes a contemporary art show in Beijing, the first was “mifan” in 2009, then “dabao” in 2010 with more than 30,000 visitors in a month. In 2011, twenty Austrian 4

artists +7 show their works in China for the first time in the frame of a group show. In this year’s exhibition, ASAP is including works of artists from other countries – “+7” – from Germany, the Netherlands, Denmark, Cambodia, Indonesia, the USA and Australia. Most of the works in this year’s exhibition have been created by the artists during their stay in China and other artists created their works out of local contexts, with history and today’s society. These works are studies, drafted in each artist’s individual language. This year’s exhibition will offer insights into the works of following 27 artists: Thomas Weber Carlsen and Jan Krogsgaard will present their videos, Khmer Rouge people speak their minds and feelings; Elisabeth Czihak has captured in her photos the remains of demolished buildings and juxtaposes them to strict geometric drawings inspired by the “endless line” of Chinese windows; Irene Dapunt’s large paintings are full of private metaphors and messages; Michael Downs’ digital collages are strong colorful patterns made with today’s tools; Georg Frauenschuh collects and draws his ideas about the unknown and what he will paint, build and understand in the future; Bernhard Gwiggner sequences the Tao doctrine in hundreds of drawings, and translates it into a Western language; Richard Hoeck’s materials come straight out of shopping windows, he turns the usual views, the desires of commodity dreams upside down; Barbara Anna Husar enlarges China’s mythical creatures of the past in her big paintings on rice bags ; Eline Jongsman and Kel O’Neill document the bizarre living remains of past empires; Stephan Koeperl and Sylvia Winkler have chosen pharmacies for their musical stage, they sing and a mobile phone is their instrument; Sylvia Kummer’s drawings and writings on leather skins are like traces, 5

rolled, becoming sculptures from an unknown tribe; Roberta Lima’s is a CCTV’s video, traveling the space of her privacy; Meta House will show the life of women workers in Cambodia in 4 short movies ; Christine Pellikan, inspired by traditional Chinese art techniques, uses in her rolling pictures paper and ink in her own way; Ella Raidel embarked on a research into Chinese soap operas as a sociopolitical space; Tom Schneider will show a short movie decoding his view of the locality; Christian Schwarzwald constructs a wooden wall and enlarges the notion of frame and image; Ulrike Sladek’s text and audio work accompany the crystal clear photos of Andrea Witzmann; Maria Tupay Duque’s drawings are emotional scores where she translates music and motion; Uebermorgen pick up on virtual craftsmanship being either exploited in prisons or in dark video game caves, building virtual fighting gear for online gamers. Twenty Austrian artists lived in China, became accommodated to habits and rituals, memorized and translated this into videos, movies, drawings, sculptures, photographs, texts, concepts of their artistic expression. For some it was a momentary configuration, for others a live changing experience. Karel Dudesek ASAP co-founder

的智慧。从世俗的Wandergesellen（到处奔波的流浪工匠，欧洲中部以前称之为auf der Walz）到更多从精神上探寻生命智慧的人。他们去世界的每个角落收集身边不可得到的东西。如今，这种方式几乎消失了，或者只是在秘密地进行。艺术家是当今社会中最灵活机动的一群人，他们在寻找如何编码或者解码视觉方式的灵感。房子、帐篷是我们寻觅的遮蔽所，是我们邀请远近客人的地方。如今，越来越多的人住在城市，摩天大楼是他们“静态生活”的载体。我们参观艺术家工作室和展厅，从中发现我们“静态生活“之外的景色，它们在庸俗和深邃之间伸展。这是奥中艺术计划第三次在北京举办当代艺术展，第一次是在2009年的“ 米饭”，然后是2010年的“打包”，那次展览在一个月内的观众超过30000 名。2011年，20+7位艺术家第一次集体亮相展示他们的作品，今年的ASAP 包括了“+7”位来自其他国家的艺术家——德国，荷兰，丹麦，柬埔寨，印度尼西亚，美国和澳大利亚。今年大多数的作品都是艺术家逗留中国期间创作的，其他艺术家则以当地的语境、历史和当今社会为创作原点。所有作品都是极具艺术家个人色彩的研究。今年的展览将展现27位艺术家的如下作品：

“串门儿” “登门访友” 20+7位奥地利当代艺术家的下一次展览访客和主人是人类的两个重要原型。如果从一个地方旅行到另一个地方，给予和收获可以在一种隐喻的、神话的、神秘的、象征的或者世俗的感觉中被理解。即使没有商品交换，它们也仍然能发生。你给予并收获活力、力量、感觉、智慧、想法、知识和灵感。在过去，旅行或漫游是获得智慧的重要途径，从生命中汲取活力 6

Thomas Weber Carlsen和Jan Krogsgaard将展示他们的影像，红色高棉人将讲述他们的思想和情感；Elisabeth Czihak用她的照片捕获了残破建筑物的遗存，受中国窗户中“无尽线条”的启发，她将它们放置在精确的几何图框中；Irene Dapunt的巨幅画作中充满了私密的隐喻和信息；Michael Downs 的数字拼贴是由现代工具制作的强烈而多彩的图样；Georg Frauenschuh搜集并描绘了对于未知的观念和他未来将要画的、建构的、理解的东西；Bernhard

Gwiggner在数以百计的纸上排列着道教的教义，并将其翻译成一种西方的语言；Richard Hoeck的材料直接来自商店的橱窗，他扭转了惯性思维，颠覆了商品美梦的欲望；Barbara Anna Husar 在米袋画中放大展示了中国的神话动物；Eline Jongsman和Kel O’Neill记录了昔日帝国奇异的生活遗存；Stephan Koeperl和Sylvia Winkler选择药店作为他们的音乐舞台，他们歌唱而手机则是他们的乐器；Sylvia Kummer在皮革上的绘画和写作像痕迹一样，辗卷而成为来自某个未知部落的雕塑；Roberta Lima的作品是展现她私人空间的闭路电视录像；Meta House将通过4个短片展现柬埔寨女工的生活； Christine Pellikan受中国传统艺术技巧的启发，按她自己的方式创作了卷轴画和水墨；Ella Raidel 将中国肥皂剧当做一种社会空间来研究；Tom Schneider将展示一个解码他对当地的观念的短片；Christian Schwarzwald 构造了一栋木墙并拓展了画框和图像的概念；Ulrike Sladek的文本和音频作品伴随着Andrea Witzmann那水晶般清晰的照片；Maria Tupay Duque的绘画是情感的乐谱，她在此翻译了音乐和运动；Uebermorgen更感兴趣于在狱中或是黑暗的视频游戏洞穴中开发虚拟手工艺，为线上玩家们增添战斗装备。二十位奥地利艺术家均曾在中国居住，融入到中国的习俗和礼节之中。他们将这经历记忆并翻译成录像、电影、绘画、雕塑、摄影、文字来表达自己的艺术理念。对其中一些人来说，这只是短暂的编排；而对其他人来说，这是改变生命的经历。策展人、ASAP创始人卡雷尔·杜德塞克撰文

chose on the occasion of ASAP’s last year’s “Da Bao” exhibition at 798 art district. As Austrian Ambassador to China, I am particularly delighted, that in 2011, when we are celebrating 40 years of diplomatic relations between Austria and China, we will yet again have the opportunity to marvel at the work of 27 artists from Austria and other countries at Dashanzi Art District. Everybody is aware of Austria’s rich cultural heritage. Artists like Mozart, Klimt, Strauss or Kafka have contributed to our very positive image here in China and throughout the world. As embassy we see our mission in bringing more contemporary art “Made in Austria” to China. While being very proud of the achievement of the past, we are also eager to enable our Chinese friends to get an idea of the vivid creativity of Austria’s arts scene of today. After the very successful event “Mifan” in 2009 and last year’s “Da Bao” exhibition with 30,000 visitors, ASAP brings its third group exhibition to Beijing. 27 artists, who all lived in China for some time, will show how this incredible experience impacts their work. The result is truly exceptional, as almost all works have been created here in China, expressing memories in videos, movies, drawings, sculptures, photographs and texts. I sincerely hope that the success of the past years can be repeated, and I am looking forward to seeing the Austrians come back soon! Martin Sajdik

Preface by the Austrian Ambassador to the Peoples Republic of China

奥地利驻中国大使作序

The Austrians are back“. This was the title the Chinese newspaper “Global Times”

“奥地利人回来了”，中国报纸以这样的标题来评价去年在798的“打包” 展。 7

作为奥地利驻华大使，我感到尤其高兴。2011年，在我们庆祝奥中建交40周年之际，我们将有机会再次为27位来自奥地利和其他国家的艺术家在大山子艺术区的作品感到惊叹。每个人都知道奥地利有着丰富的文化遗产，无论是在中国还是在世界其他地方，莫扎特、克里姆特、施特劳斯或者是卡夫卡，这些艺术家们都有助于提升我们的正面形象。作为大使，将更多“奥地利制造”的当代艺术带到中国是我们的使命。在为过去的成就感到骄傲的同时，我们也热切地想让中国朋友了解奥地利当代艺术的勃勃创造力。继2009年“米饭”展和2010年“打包”展的成功之后，ASAP带来了它在北京的第三次群展。27位艺术家，他们都在中国短暂地生活过，他们展示这些难以置信的经历是如何冲击他们作品的。结果确实非比寻常，因为几乎所有的作品都是在中国创作的，通过影像、电影、绘画、雕塑、照片和文本的方式表达出来。我真诚地希望过去的成功将被复制，我期待奥地利人马上回来！马汀·塞迪科奥地利驻中国大使

Experience the Fun of “chuan men”. Tony Chang Art Director, Amelie Art Gallery It is an honor for the Amelie Art Gallery to cooperate with the Austro Sino Arts Program to present “chuan men”(“Visit your Friend’s House”)—the third exhibition of ASAP in China. In China, “chuan men” is an everyday behavior between relatives and friends who each other and communicate their feelings. The guest comes in delight, and the host who is at ease will bring brand-new surprises in the true colors of life to the guest. 8

The “chuan men” exhibition is a spontaneous and unofficial activity of art exchange. 27 artists from Austria, the Netherlands, the United States and so on, all are highly curious about China. They create works of art based on their experiences of living and travelling in China, mediating between the Chinese and the Western cultural context. Daily adventures and cultural conflicts blend with each other in the works, which makes the exhibition highly interesting, with their novel perspectives and particular “misreadings”. For instance, artist Bernhard Gwiggner completed 701 paintings on paper by placing the original sentences in Tao Teh Ching by Lao Tse and the two different translated versions in German side by side and matching them with portraits. He is leading us into a fantastic adventure across cultures by using Lao Tse’s contemplation. The works exhibited in “chuan men” are possible only in present-day China. It is in China, where the phenomena shown in the works are happening now. Momentary appearances can be historical records, which are sincere and precious. Their mode of creation carries a strong improvisational feature: Facing brand-new Chinese experiences, the foreign artists feel strange, curious and excited. They react rapidly with their creation, revealing their instinct spontaneously, which restores the primitive nature of artistic creation in a sense. The improvisational spirit of literati has been valued since ancient China. The peak works of calligraphers such as Wang Xizhi and Huai Su were mostly created by following the feelings, and not deliberately. Taking one sentence from Calligraphy of Bitter Bamboo Shoots: Bitter bamboo shoots and tea are extremely tasty. Just get them served. It’s that Drunk Zen Huai Su was expressing his great admiration for the tasty and fresh bamboo shoots and tea. Yan Zhenqing’s Manuscript of Mourning For Nephew was originally an elegy with grief and generosity floating on the paper, which made the swan song of calligraphy. However, many

contemporary Chinese artists have gradually lost their unrestricted passion in the deep consideration in creation. They are addicted to the practice of ingenious techniques and are weighing and considering the preferences and tastes of the market. They have begun to be absent from the mental essence of art. I’ve been enjoying a brief but pleasant acquaintance with Karel Dudesek and Lukas Birk, who are co-founders of ASAP. It’s their passion of promoting art exchanges between China and Austria with the help of ASAP that makes me think of internationalism mentioned by Mao Zedong in his In Memory of Norman Bethune. Chinese artist Cai Guoqiang carried out his Fireworks Plan in small cities in Japan during the 1990s. At that time, he was anonymous but he gained wide support from the population. Ordinary Japanese people enthusiastically participated in organizing and laying gunpowder. Likewise, we ought to support the practice of international artists in China more openly and selflessly. Especially such initiatives like ASAP, they do everything themselves steadily and indefatigably, promoting the understanding of the occidental about China through a series of art projects. As the pattern of contemporary art is getting international, it is assured that these efforts of their will definitely provide beneficial enlightenment for us.

体验串门儿的乐趣龙艺榜画廊艺术总监托泥龙艺榜画廊很荣幸与奥地利中国艺术项目合作推出《串门儿》—ASAP在中国的第三届展览。在中国，“串门儿”是亲友间相互拜访、沟通感情日常行为：客人乘兴而来，主人也无拘无束，以生活的本来面目带给来客新鲜的惊喜。《串门儿》展览是自发的、非官方的艺术交流活动，二十七位来自奥地利、荷兰、美国等国家的艺术家都对中国有着强烈的好奇心，

他们基于在中国的生活与旅行的体验创作，斡旋在中西方文化语境之间，作品中日常冒险与文化冲突相互交融，其新奇的视角和独特的“误读”使展览充满趣味。如艺术家Bernhard Gwiggner将老子《道德经》里的句子与德文的两种不同译法并置，配上人物的肖像，完成了701 件纸上绘画，他借老子的玄思带我们置身于奇异的跨越文化的历险中。《串门儿》中的作品只有在此时此刻的中国才能成为可能，作品中展现的现象，此时此刻正在中国发生着，瞬间的表象也是历史的记录，真诚且珍贵，创作方式带有强烈的“即兴”色彩：面对全新的中国经验，“老外”艺术家们感到陌生、好奇、兴奋，以创作迅速做出反应，天性自发流露，某种意义上还原了艺术创作原初的本质。中国自古崇尚文人的“即兴”精神，书法家王羲之、怀素等人的巅峰之作很多是有感而发，而非刻意而为。如《苦笋帖》：“苦笋及茗异常佳，乃可径来。”这是醉禅怀素向友人抒发对笋与茶鲜美清新的激赏之情；颜真卿《祭侄稿》原为祭文，悲愤慷慨之气浮于纸端，成就了书法艺术的天鹅绝唱。而很多当代中国艺术家在对创作的深思熟虑中逐渐丧失了生猛无羁的激情，沉迷于机巧技法的修炼，谋虑、揣摩着市场的偏好和口味，开始远离了艺术的精神实质。我和ASAP的创办人Karel Dudesek先生和Lukas Birk先生的相识短暂而愉快，他借助ASAP计划推动中奥艺术交流的激情让我想起毛泽东在《纪念白求恩》提到的“国际主义精神”。中国艺术家蔡国强九十年代在日本的小城市与村镇实施其焰火计划，当时还默默无闻的他却得到了广泛的民间支持，普通的日本民众热心地参与组织实施、铺设火药。同样，我们也应当更开放、无私地支持国际艺术家在中国的实践，特别是像ASAP 这样的带头者，他们亲力亲为、坚定不懈，通过一系列ASAP艺术项目促进着西方人对中国的理解；在日益国际化的当代艺术格局中，相信他的这些努力必将给我们有益的启示。 9

Heru Agus the plant (r)evolution - 植物进化 Photographs - 摄影

Plants are the basis of human life. The story goes, the first living organism, a blue-green algae, appeared over 3,000 million years ago. Before the plants appeared, the Mother Earth was unlivable for humans and other beings who needed oxygen. The Earth was full of carbon dioxide. Then, these plants evolved through photosynthesis. Slowly over several million years, they cleaned the atmosphere and filled the Earth with oxygen. Plants are the most precious living organism on earth. the source of oxygen and the source of food. The human civilization started its evolution with cultivating plants. But how many of us do really know how plants come to be? How many of us have seen the process of a seed turning into a seedling and then into a plant? Technological revolution of the late 19th century and the urbanization that developed with it have separated some of us from nature. With urbanization, few of us have seen where our food comes from. This project is inspired by beans. beans are among one of the longest-cultivated plants. The beans have witnessed the beginning of human civilization. The beans are a history-rich plant that made it to our modernity. The change that the beans undergo from its seed form to becoming a plant has been happening for millennia now. However, this hasn’t changed its initial form. 植物是人类生命的基础。故事的这样的：最早的生物体——蓝绿藻出现在3000万年前。在蓝绿藻出现之前，地球并不适合人类和其他需要呼吸氧气的物种生存。大气中充斥着二氧化碳。然后，植物通过光合作用不断进化。七百万年之后，它们终于净化了大气，为地球提供了氧气。植物是地球上最宝贵的有机体，它们是氧气和食物的来源。人类的文明从耕种植物开始。但是我们当中有多少人知道植物是如何生长的呢？又有多少人亲眼目睹从种子到幼苗再到植株的过程呢？ 19世纪后期的工业革命及其带来的城市化发展将我们中的一些人和自然分隔开。随着城市化，很少有人见过我们的食物从哪儿来。此计划的灵感来自豆子。豆子是最久远的栽培植物之一。豆子见证了人类文明的初始阶段。豆子是有着丰富历史的植物，这也使它成为我们现代性的一部分。豆子从种子到植株的转变发生了一千年。然而，这还是未能改变它的最初形态。 12

Elisabeth Czihak Endless Line - “无尽之线” Photographs - 摄影

Chinese cities are cities in transformation – transformation in a dimension and velocity which fascinates and frightens us at the same time. The city’s image permanently avoids documentation, it disintegrates and recomposes itself each moment. The series „Endless Line“ shows several diptychs, each consisting of one photograph and one digitally drawn graphic work. Subject of the photographs are villages in the outskirts of Beijing, destroyed due to reasons of urban planning and the city’s expansion: the attempt of a snap-shot, the recording of a city’s fragment in its intermediate state, questions about the former inhabitants and a „before“ and „after“. The graphic works deal with the ornament of the „endless line“, which has been used in traditional chinese architecture for the design of doors and windows and which stands as a symbol for long-lasting prosperity. In my modifications and variations the endless line leaves the original symmetry, the harmonious appearance is disturbed by transforming it. To illustrate the time aspect of a city in transformation the originally closed endless line has been interrupted and leads out of the sheet, we don’t know where to.

中国的城市是变化中的城市，其变化之巨、速度之疾让人着迷甚至吃惊。城市的形象永恒地回避着文献的锁定，因为它每时每刻都在分裂和重组。 “无尽的线”系列展现了几组双联画：每组都由一幅摄影以及一幅数码绘画组成。照片的主题是北京市郊的村庄，它们在北京的市政规划和扩张的过程中被拆毁：一种抓拍的尝试，对城市中渡状态碎片的记录，质询了前居民“之前”“之后”的问题。数码绘图与“无尽的线”的装饰有关，它们都源自中国传统建筑中的门和窗的装饰，是长盛不衰的象征。通过修饰与改变，无尽的线条偏离了原本的对称，和谐的外表因而被打乱。为了显示出一个城市转变的时间维度，原来封闭的无尽线条被切断，延伸出纸张之外，不知将走向何处。 16

Irene Dapunt Paintings - 油画 20

Irene Dapunt busy itself in the last years in their work with the relation of language and picture, text and character. Beside large sized canvases usually small objects and first of all work on paper developed. Daily, almost diary-like it formulates on it its ideas and considerations: collage-like it combines here drawings, usually gegenständliche with photos, textiles and texts. The topics, which are treated in the new work, are strongly coined of personally female Sicht-und handling way. Although the artist in some work refers her person and her body, none finds a documentation of the same to the exhibition places the own everyday life. Or rather it uses these items as equal material. The voltage in these factories results from it that contents and aesthetics do not correspond themselves often consciously, but is created moving in opposite . By the combination and arrangement of the individual pixels Irene Dapunt produces strong sensuous-erotic often also absurdironical suspense-creating moments. Irene Dapunt uses paper as projection surface: It concerns to sketch ideas to visualize conceptions of pointing possibilities out like somewhat being could. Always however these work is ambiguous, permits most diverse Lesarten and is characterized by strongly ironical moments. To approach irony as only possibility things and argue with them, but as of bringing the things on the point. Text from Bettina M. Busse

Irene Dapunt最近几年一直忙于其创作，探讨语言与图画、文本与形象的关系。除了大尺寸画布之外，她也创作了一些小物件和纸质作品。每天，她都要像写日记一样制定自己的观点和事项：像拼贴画一样连接着各种图纸，还会附有照片、布条和文字。新作品中的主题，是通过个人化、女性独有的视野及处理手法被有力地创造出来。尽管有些作品其实指向艺术家本人乃至其身体，但是没有人能找到和这些展览、特有的日常生活一样的文献记录。或者更确切地说，将这些东西当成可以相媲美的材料来用。从这些工厂中生产出来的电压导致了一些并不有意识地与自身保持一致的内容和美学，它们是在相反的运动中创造的。通过组合和排布独个像素，Irene Dapunt创造出强烈的、色情的，并且经常是荒诞-讽刺的、制造悬疑的瞬间。 Irene Dapunt把纸当做投影面，试图通过描绘想法来将一些理念形象化，譬如将一些可能性指明。这种作品往往是模糊的，允许多种不同的版本存在，甚至有时候有强烈的讽刺意味。把讽刺作为唯一可能的事去接近，并和它们争辩，但要把事情带到关键点之上。 Bettina M. Busse撰文

Michael Downs China works -中国作品Mix-media - 混合媒材

Downs has always worked in a non-rectilinear format; his paintings burst out of their frame over thirty years ago and have never gone back. ‘Energies’ in a landscape have been a source of fascination for him. Over the years these have varied from heavy, sculptural paintings which took geology and physical geography as their starting point to a long series which tried to manifest the sounds which fill the spaces between objects in a landscape. The ‘air’ is not dead; it is seething with noise, electronic signals, winds, pollutants and, if you can overcome all that, an occasional birdsong. In recent times, Downs has spent considerable time working in Beijing and his work attempts to come to terms with the astonishing energies of a city and a country which is in a vortex of activity. A day in Beijing is a day without an anchorage or a moment of stasis. Millions of people are moving along 18 lane ring roads amongst a landscape which alternates 80 floor skyscrapers and garbage strewn hutongs, and the swirl of noise, pollution and constant movement is a extreme sensory challenge. A phenomenon which has long informed Downs’s work is the collision between the ‘Euclidian’ nature of our architectural environment (right angles, perfect verticals and horizontals etc) and the Fractal aspects of nature (where dimensions may be 1.8 or 2.4 as opposed to a strict one, two or three). In one sense the Euclidean/Fractal dissonance can be seen as a metaphor for the current political and environmental state of China. Although the government attempts to establish ‘order’ amongst one and a half billion people and direct another Great Leap Forward, there are many tensions and contradictions. Too many non-linear systems are in motion to guarantee a predictable outcome. This sense of tension has informed Downs’s new work as quite radical disturbances of ‘settled’ rectilinearity caused the composition to break out in unpredictable ways. 30

唐斯一直以非直线的方式作画，他的画笔早在三十年前就越过了画框，而且再也没有回来。风景中的“能量”是他想象的源泉。多年以来，这些作品逐渐从以地质和自然物理学为出发点的大型雕塑式绘画演变成试图让填充风景中物体之间空间的声音得以显现的一长串系列作品。“空气” 不是没有生命的，它们浸透着噪音、电子信号、风、污染物，当然，假如能克服这些，你偶尔也能听到一声鸟的鸣叫。最近，唐斯有大量时间在北京工作。他的作品试图直面一个处在巨大活动漩涡中的城市和国家所拥有的惊人力量。在北京的一天，是没有落脚、没有停滞的一天。数百万人顺着18道环城公路前进，沿途有 80层的摩天大厦以及垃圾遍地的胡同，噪音、污染、无休止的来来往往，交织在一起，对人的感官造成重大刺激。在唐斯作品中长期出现的一个现象就是“ 欧几里得”性质的建筑环境（正确的角度、完美的垂线和水平线）和自然的不规则性（尺寸可能是1.8或者是2.4，而不是严格的整数）之间的冲突。在某种意义上, 欧氏（自然之间的矛盾）可以被视作当前中国政治和环境状况的一种隐喻。尽管政府试图在十五亿人中建立“秩序”，并试图指导另一次大跃进，但是还是会有很多紧张的关系和矛盾。太多非线性的系统在运作，以至于无法保证实现预期的结果。我们在唐斯的新作中了解到了这一紧张感，它是对固定线性的理性干预，会让作品以一种不可预期的方式突破自身。

Georg Frauenschuh Transit Shrine - 过境圣殿 Mix-media - 混合媒材

These sketches for an installation, which is not yet carried out, are based upon a visit to the Confucius Temple in Beijing when I was already tired and only had one eye on what was happening. After the visit I tried to remember what I had seen. I was intrigued by the Hall Of Great Achievements, as I reconstructed it in my mind. Intentionally, I tried neither to understand nor to decode this vague impression and started instead with a kind of translation into a personal pictorial “vocabulary“. I was particularly interested in the setting and the proportionality of the subjectively categorized elements. This kind of translation intends to loosely incorporate achievements of a sacral real34

ity into my sometimes sceptical activity. I am aware of the potential for non sequiturs and am even interested in actively developing misconceptions, and in exploring what meanings or effects these “mistakes” might give rise to. Considering fragments of common manifestations unverified, via an assumption of their standard presence, my work in general considers implied fields of stress. The work strategically explores these implications through conflicting pairings, such as the following: critique and a contrasting optimism about imagesloss of information (entropy) and potential meaning calculation and empathy.

这是为一个装置所绘的草图，装置尚未实施。构想来自我去北京孔庙的一次参观，当时我已累坏了，并不能专注周围正在发生什么。后来我试图回想我的所见。我被大成殿迷住了，开始在脑中重建它，不是试着去理解或是解码模糊的印象，而是转换成个人的图像词汇。对于那些被主观分类的元素，其设置和比例正是我的兴趣点所在。这种转化需要将自己间或出现的怀疑行为与神圣事实的成就松散地结合起来。我知晓不合理推论的潜在可能，甚至我很感兴趣于积极发展这种错误的理念，感兴趣于探究这种“错误” 可能引发的意义和影响。考虑到很多未经证实的共同表现的碎片，通过假定它们的标准存在，我的作品基本上有关隐含的应力场作用。有策略地通过矛盾的组合探索其中的涵义，譬如：对于图像的批评及与之形成鲜明对比的乐观态度，信息的损熵以及可能的含义，深思熟虑与移情作用。 35

Bernhard Gwiggner Dao ji jing - 道记经 Drawings - 素描

My artistic involvement with the famous „Dao de jing“ by Laozi began in 2001, in preparation for my first visit to China.

2001年，为了预备我的第一次中国之行，我的创作和老子那本著名的《道德经》牵连上了。

Every day over the course of four years I transcribed a phrase of this basis text of Chinese heritage – reproducing it sentence by sentence both in its original lettering as well as in two German translations. As if having them spoken by various existing people, I added a drawn portrait, based on a picture in a current daily newspaper to each sentence. This resulted in the production of 81 leporellos with a total of 701 pieces of paper each page signed with the first name of the person depicted and my (own) last name.

这四年中的每一天，我都在抄写这本中国国学经典中的短句，一句一句地重复抄写。我会按原始的刻本来抄写，也会按两种德文译本抄写。

Thus I slipped into the role of those persons – published in the newspaper and having therefore become persons in the public eye – considering the proverbs of the wise Laozi for their current relevance. As a result of the total otherness of the Chinese linguistic culture, the German translations differ significantly from each other in wording and meaning. Furthermore, my introduction of the “speakers” shifts or changes the connotation of the message itself.

我以日报上的图片为蓝本给每句话都画了一张肖像，就好像他们正在被当下不同的人所说一样。这样就成了这81本册页，一共701张。每页都签上了被描绘人的名字，还有我自己的姓。按照老子的箴言，这样我便进入到他们的角色之中了，成为了报纸上的角色，也因此进入了公众的视野。因为中国语言文化是一种完全陌生的文化，因此几个不同的德文译本在修辞和意义上都有很大差异。此外，我引入的“讲述者”交换或者改变了信息本身的内涵。正如我的木盒子所暗示的，将道教教义，乃至东方人生哲学翻译到所谓的西方，在本质上是可能的吗？东西方文化交流可以不顾误解，甚至会因为所有误解而丰富起来吗？

Is it possible to transfer – in essentials – the Taoist doctrine or even Asian philosophy of life into the so-called West, as my wooden box suggests? Can cultural exchange between Asia and Europe prove to be fertile despite – or even because – of all the (possible) misunderstandings?

Richard Hoeck Grotesque 2010 - 怪诞2010 Installation - 装置

Upside-down Conditions – Real Facts The spatial installation “Grotesque“ shows a shop window mannequin hanging from the ceiling. The dropping down dress opens the view on the mannequin’s body thus lending the mannequin a literally abysmal eroticism. The black clothing and the long dark hair position the mannequin in the local context, as if it were one of the girls that define the townscape of the Chinese capital. Thus Richard Hoeck creates a possibility of identification of viewers and work but tilts our usual perspective on this type of woman literally out of kilter. As we usually encounter these women as consumers on a shopping spree, their puppet-like likeness thematizes and provokes a voyeurism that does not only refer to the commodity nature of the female body in a to the core capitalistic society but also alludes to the dominance of the venal as a distinctive feature of this social body as such. If we perceive the shop window mannequin as a symbol of consumer behavior and commodity fetishism, its exposure also shows and strips, so to speak, the otherwise hidden eroticism of fetishisizing advertising quite plainly. That our libido is always prone to camouflaged seduction in the context of commercial exploitation, which works all the better the less it is noticed, is a grotesque fact. The big cities of modern China are not only focal points of commercial seduction but also scenarios where, grotesquely enough, the opposing ideologies of communism and capitalism are mutually camouflaging and fueling each other, in order to meet their individual targets all the more effectively. All established notions of ideological principles and their oppositeness are exposed as naïve thinking and turned upside down. This turbo-capitalistic communism is a veritable setting of a work of art that seems to confront humankind like the profane version of a fallen angel. Itself turned upside down, this artistic figure allows us to 46

at least critically straighten out seemingly absurd sociopolitical conditions. And, first and foremost, it is the upside-down conditions that sharpen our perception of real facts. text by Rainer Fuchs

颠倒的情境 ——事实空间装置“怪诞”展示了一个橱窗模特倒挂在天花板上。垂下的裙子提供了窥视模特身体的视角，真的赋予了模特无限的色情倾向。黑色的衣服和黑色的长发决定了模特的文化背景，就好像是某个代表着中国首都风景的女孩。这样 Richard Hoeck 就创造了观众和作品之间一种辨识的可能性，还通过这个夸张的失去了平衡的女人倾覆了我们常规的视角。通常我们遇到这些女人时，她们是疯狂的购物者，她们傀儡般的肖像所激起的是一种窥阴癖，不仅指向资本主义社会女性身体的商品化，也暗指了金钱贿赂的统治是这一社会的鲜明特征。如果我们察觉到商店橱窗的模特象征着消费行为和商品拜物教，可以这样说，它的暴露显示和揭露了那些直白恋物广告背后隐藏的色情。有一种奇怪的现象，在商业炒作中，我们的性欲总是更容易屈服于隐性的诱惑，越少人注意，效果越好。现代中国的大城市不仅是商业诱惑的焦点，还是怪诞情境的发生地。共产主义和资本主义这两种对立的意识形态为了更加有效地达到它们各自的目的，便相互掩饰、相互促进。所有既定的意识形态以及它们的对立面都被揭露为天真幼稚的想法，并被完全颠覆，这一艺术形象至少让我们可以批判性地理清那看似荒谬的社会政治语境。最重要的是这种颠倒情境锐化了我们对事实的知觉。 Rainer Fuchs 撰文 47

Barbara Anna Husar CORD OF REXA Mix-media - 混合媒材

“Xianglong zhaoi” - flying dragon, is the name scientists gave a lizard from the Cretaceous period discovered in China in 2007. The little winged reptile glided down from the trees on the hunt for insects 125 million years ago. Unusual creatures from ancient times are found in the work of European artist Barbara Anna Husar (b. 1975, Austria). Giant lizards are born in her studio. Mystical, archaic, and yet bright and cheerfully coloured, her living fossils are powerful ambassadors between times past and the present. For her larger-than-life acrylic paintings she employs seed and rice sacks as her canvas - a metaphor for the growth, evolution, and transformation of cultures. Some of her creatures are hybrids between dinosaurs and architecture. “Guggosauros Bilbao Titan” is an example of this, a combination of a reptile and the Guggenheim Museum in Bilbao. Bones or stone, Husar is interested in both as the backbone and storage media for the most widely varied forms of life, as data media for genetic - biological and cultural - codes that constantly develop and yet at heart remain the same. Of all places, the exploding metropolis of Shanghai, whose transformation accelerated once again through the Expo 2010, offers numerous points of contact with its conjunction of ultramodern and traditional life. As a magical mythical creature, the Chinese dragon is able to take on other forms. Why not that of a museum? For her artist-in-residence stay at stageBACK, Husar chooses as the first motif of her “Archisaurus” transformations the Shanghai Art Museum, a historic building near the People’s Square that nowadays houses Shanghais leading museum of modern art. The latest thing need not mean the elimination of the old; what is old can be filled with new, up-to-date contents, without losing its connection to its origin. The new arises from the old: Barbara Anna Husar sees her artistic activities as an um50

bilical cord, as a transfer of energy between times and cultures - lizards and dragons fly on the skyline of Shanghai. Text by Susanne Längle, 2010

2007年，一只白垩纪蜥蜴在中国被发现，中国科学家将其命名为“赵氏翔龙”—— 飞龙之意。一亿两千五百万年前这只长着翅膀的小爬行动物从树上滑行而下捕食昆虫。在欧洲艺术家Barbara Anna Husar（1975年生于奥地利）的作品中我们可以发现很多奇异的远古生物。巨型蜥蜴就在她的工作室诞生。她的活化石神秘古老，却有着明亮欢快的色彩，乃是过去和现在之间有力的使者。在她富有传奇色彩的丙烯画里，她用种子和米袋作为画布——这是一种对文化的生长、进化与转变的隐喻。她的某些生物是恐龙和建筑的杂交。“Guggosauros Bilbao Titan” ——“ 古根海姆毕尔巴鄂巨龙”就是这样一个例子，它是一个爬行动物和毕尔巴鄂古根海姆博物馆的结合体。Husar对骨头和石头都很感兴趣，它们是千万生物的脊梁和储存媒介，是生物基因和文化基因的数据媒介，这些代码千秋万代还在本质上保持不变。上海，这个迅猛发展的大都市，正借 2010世博会之机再次加快了变化的步伐，同时也为超现代化生活与传统生活提供了更多的接触点。作为神秘而有魔力的神兽，中国龙能千变万化，为什么就不能呈现为一个美术馆呢？作为候台机构（stageBACK）的驻场艺术家，Husar将转换上海美术馆作为她“建筑恐龙“项目的第一个主题。上海美术馆是人民广场附近的一个历史性建筑，现为上海首要的现代美术馆。接受最新事物未必意味着要淘汰旧事物，旧的事物也可以在不失其根本的前提下容纳下新的内容。老树发新芽：Barbara Anna Husar把她的艺术活动视为时间与文化的脐带和能量转换——蜥蜴和腾龙在上海的天际飞翔。 Susanne Längle, 2010 51

Eline Jongsma & Kel O’Neill The Empire Project - 帝国项目 Video installation - 装置和录像

ABOUT EMPIRE: 5º00’ N, 120º00’E Empire’s second video installation, Empire: 5º00’ N, 120º00’E, was filmed on location in Manado, Sulawesi and Cibubur, Java. Empire: 5º00’ N, 120º00’E tells the stories of two men on a mission. They don’t know each other and their stories never meet, but their identities are deeply intertwined with the Dutch interference in Indonesia. On one side, Permadi is a member of the World War II re enactor group called “Niederlande Kampfgruppe”. On weekends, he and his group dress up in the uniforms of the Waffen SS. Their efforts are rooted in history; according to Permadi and his friends, about 20 Dutch-Indonesiansliving in occupied Holland signed up to join the Waffen SS in the 1940’s. On the other side is Yaakov. He grew up in Manado, born of Dutch-Indonesian parents. A few years ago, he found out that his family’s religious background was not Christian, but Jewish. Since then, he has embraced the Jewish faith wholeheartedly, and has put all of his efforts into fostering a small Jewish community in Manado. Judaism is not a state recognized religion in Indonesia, so Yaakov’s beliefs and practices put him in great danger. While Empire confronts large themes, it does so by telling personal stories. The focus is on building a compelling set of human characters, each one a personification of a different aspect of the post-colonial experience. 54

关于《帝国：北纬5º00’东经120º00’》：《帝国》的第二个视频装置——《帝国：北纬5º 00’东经120º 00’》拍摄于万鸦老、苏拉威西岛、克布奔以及爪哇岛。《帝国：北纬5º00’东经120º00’》讲述了执行任务的两个男人的故事。他们不认识彼此，他们的故事也没有交集，但是他们的命运却因为荷兰人对印尼的干涉而深深地纠缠在一起。一方面，Permadi是重演二战小组“尼德兰战团”中的一员。周末，他和他的组员就穿着党卫队的制服。他们的举动是植根于历史的。据Permadi和他的朋友所说，大约有20名在荷兰占领区的荷兰裔印尼人在19世纪40年代登记参加了党卫队。另一边是Yaakov。他生长在万鸦老的荷兰裔印尼人的家庭。几年前，他发现他家的宗教背景不是基督教，而是犹太教。从此之后，他就全身心地投入到犹太教之中，并倾其所有在万鸦老支撑着一个犹太教小社团。犹太教在印尼并不被国家承认，所以Yaakov的信仰和活动是很危险的。尽管《帝国》面对的是宏大的主题，但它是通过讲述小人物的故事来实现的。关键是塑造一群富感染力的人物形象，每一个人都代表了后殖民经验的其中一个方面。 55

Jan Krogsgaard & Thomas Weber Carlsen Voices of Khmer Rouge -红色高棉之声 Video - 录像

“Voices of Khmer Rouge” is a 43-hour-long media installation containing 30 personal narratives by former low ranking Khmer Rouge cadres about their lives, thoughts, ideologies, human values, feelings, actions, and experiences during the 33-year-long civil war in Cambodia and up to this day. The work consists of 30 monitors, one for each narrative. The “Voices of Khmer Rouge” project is placed in the cross-field between art, media theory, history, and information. It has historical as well as contemporary relevance. Implicit in the work is the more theoretical aspect of communication as such, represented by the volume and character of the work. By placing such a document in art museums, a cross reference will spontaneously occur between the project as a document and the project as a work of art, and several leads could be followed from there depending on the individual receiver. Apart from being a work of art, the “Voices of Khmer Rouge” is also intended as a study document for researchers in the form of video tapes, DVDs etc. in public archives, universities, film institutes and the like. As such specific professional groups as historians, art historians, journalists, media researchers, sociologists, psychologists, anthropologists, and other professionals may take an interest in the document. Finally, by showing it in Cambodia it will have another and more direct impact, and the target group would be virtually every Cambodian. The document would become an exchange between “victim” and “perpetrator” in a “neutral” room. Such an exhibition of the work would be supposed to have a healing effect on the individual Cambodian. Many Cambodians still carry traumatic sufferings of sorrow and hatred related to the war, and very few are capable of talking freely to one another about it. The history of “Voices of Khmer Rouge”: From December 2002 through May 2003 we shot the Khmer Rouge interviews on loca60

tion in the north-western and northern parts of Cambodia along the Thai border. These land mine infested regions were until recently the last remaining strongholds of the Khmer Rouge in the 33-year-long bloody civil war. With the aid of our interpreter Leang Kham - himself a former Khmer Rouge cadre and military medic we located and interviewed 30 ex-Khmer Rouge who agreed to answer our questions. For the first time, they spoke publicly about their lives and experiences with the Khmer Rouge organisation. The public image of the Khmer Rouge: Khmer Rouge as an institution appears in history books worldwide as one of the universal incarnations of evil. Invariably when the Khmer Rouge is mentioned, a horrific picture appears. Something incomprehensible: A picture of a unified mass of killers guilty in the murders of nearly 3 million people. Anybody with any attachment to the Khmer Rouge is considered an inhuman monster. This overwhelmingly monochrome picture is presented in the vast majority of works on the Khmer Rouge - in history books, films (such as “The Killing Fields”), and newspaper articles alike. With our project we have - in all modesty - attempted to add a few more nuances to this picture. The basic aim of the project: Our aim with this work has been to let the ordinary Khmer Rouge members get a chance to relate their own personal accounts of their experiences with the Khmer Rouge organisation. Today they live as historical losers on the outskirts of the Cambodian society, without access to communicative media and written history. Are there human faces behind the monstrosities, the thousands of skulls exhibited in memory of the terrors of the Khmer Rouge regime, or were they indeed all murderers? How does the ordinary Khmer Rouge person understand and describe his/her own

part in these historical events? How do they regard themselves? What do they remember? How do they remember? Method: We asked our interviewees to proceed chronologically, and we divided our questions into chapters from childhood up to the present day. We chose to put our questions in this way in order to stimulate long sequences of memory because we believe that this will benefit the overall presentation. We edited the raw video material as little as possible in order to let the stories follow their own rhythm whether it be broken or smooth, depending on the personality of the narrator/interviewee. By doing this we were aiming at staying true to the original document where playing time equals recorded time. The time of the narrator/interviewee will roughly equal that of the spectator. The narrators and the chronology of the narratives: The 30 narrators are between 38 and 70 years of age. There are 12 women and 18 men. All of them belong to the peasant class or lower middle class. All belong to the last remaining group of Khmer Rouge who surrendered to the government only a few years ago. The majority are today making a living as farmers, often with other secondary incomes. The narratives are set against the following historical background: - until 1953: Late French colonial period and Issarak movement 1954-1970: Independence and Sangkum Reastr Niyum – Prince Sihanouk’s regime and time in power, often regarded as modern Cambodia’s “Golden Age”. There were, however, frequent and severe crackdowns on political dissidents. 1970-1975: Coup d’Etat against Prince Sihanouk. General Lon Nol takes power. Civil war between the Khmer Rouge resistance movement supported by North Vietnam and China, and the Lon Nol government forces backed by the south Vietnamese and heavy American

bombings. 1975-1979: The Khmer Rouge seize power. Pol Pot is leading Cambodia. The country is devastated and shut off from the outside world. Purges, forced labour and migrations, collectivisation, and border skirmishes with the Vietnamese. 1979-1989: The Vietnamese liberate/occupy Cambodia. Fighting between Vietnamese troops and the Khmer Rouge. The Khmer Rouge is supported by the United Nations, the United States and others. Large Khmer Rouge refugee camps are set up in Thailand. 1989-1999: Fighting between the troops of the present prime minister (and former Khmer Rouge) Hun Sen, and the Khmer Rouge. The United Nations intervene, and the first democratic elections are held in non-Khmer Rouge territories. 2000 - Present time and peace. Preparations for the international trial against the former leaders of the Khmer Rouge who are being charged with crimes against humanity (genocide). Within this framework the interviewees relate their personal stories from early childhood until today. Why they joined the Khmer Rouge. How the Khmer Rouge affected their lives for better or worse. What kind of ideals they found in the teachings of Pol Pot. About the war, the victories, and the defeats. Every one of them has enough experiences to fill a whole lifetime, mentally speaking. At the end they talk about life in Cambodia today and touch upon political, economical and social conditions seen from their own personal perspectives. They talk about the UN sponsored trial against the old Khmer Rouge leadership and their feelings about it. All of the stories are unique and share a common theme at the same time. They are 30 autobiographies with reflections about life, ideas, feelings and actions during three decades of civil war. To this day there is a widespread mistrust amongst Cambodians. Few know for sure who is a victim and who is a perpetrator. Nobody trusts each other. Large segments of the population are traumatised. 61

The thematic parts of the work: We find that the work has several facets, and we would like to highlight six of them here: 1. The personal narration. The work seen as an exchange of human experiences - in this particular case experiences during more than thirty years of civil war: geopolitical consequences in a microcosm. We learn about each individual’s emotional and mental conditions, and socio-cultural associations. 2. Historically. The statement of the work is historically linked to the Vietnam War and its lasting implications, especially in the United States and France in the Western world, and Cambodia, China and Vietnam/Russia in Asia. 3. Contemporarily. The work as a statement and commentary to the political present in Cambodia, and its vulnerable democratic condition. And as a statement and commentary to the upcoming international UN supported tribunal in Phnom Penh. 4. Media theoretically. How history is written. What is representation / audio visual representation? Audio visual history writing? History writing? And the conditions for representation: how is information delivered through the media? Who has access to deliver information through the media? Who do not have access to deliver information through the media, in this case history writing as national / international self-understanding? Who is writing the history? 5. Ethnographically. The narrator’s own autobiographical construction, the monologue. 6. Artistically. Only the universe of art seems capable 62

of containing a work of these dimensions, where conventional representations are being challenged. The work on display - its images, setup, and possible receptions: The motives/recordings displayed are very simple. One camera has been fixed on a tripod to capture the person in total in his/ her home environment, like a naturalistic painting/picture/photo with the person’s life immediately visible around him/her. For example a man telling the story of his torture while his children are playing lazily behind him. More than a third of the men appear as disabled after land mine accidents - a dimension of simple implicit information. The other camera has been hand held and used solely to portray the face/voice and the mimetic expression - what story does the face tell? What story do the eyes tell? What do they mirror? The recorded material of the two cameras has been mixed in order not to disturb the spoken word. The setup of the work is simple but flexible. It consists of 30 units, one unit consisting of a video projector or monitor, a speaker with a narrow sound emission (so as not to disturb others), and a DVD player. One unit for each recorded person. The 30 units can then be arranged according to specific wishes, as a linear presentation, or scattered across a given exhibition space. The setup will be adapted to the given room. The end-receiver may perceive the work as an overwhelming amassment of individual statements - the different voices, the sheer volume of material to be digested before the usual process of discriminate selection and generalisation has taken place. How many statements are required to make a whole? How many to create uncertainty? One may become absorbed in one story only, or move around randomly and pick bits and pieces according to ones desire and fancy. The experience will thus be based on coincidence (where and when does one step

into a story), as well as on ones personal references - which interests and previous experiences does one bring into a given narrative and into the work as a whole? “Voices of Khmer Rouge” was filmed during 20022003, edited, translated and subtitled 20042008, and finalised in 2011. “红色高棉之声”是一个长43小时的媒体装置，包含了30位前红色高棉的基层干部的讲述，讲述他们在长达33年的柬埔寨内战中的的生活、思想、意识形态、人生价值、感觉、行动和经验。每一份叙述都会在独立的监视屏中出现，30个监视屏组成了这部作品。“红色高棉之声”计划定位在艺术、传媒理论、历史和信息的交叉领域。它有历史性和现实相关性。隐含在作品中的是由作品的音量和特点所代表的传播中更为理论的方面。通过把这样的文献放置在美术馆中，一种自发的相互对照将发生在作为文献的项目和作为艺术作品的项目之间。取决于个体接收者，一些线索将从此展开。除了作为一个艺术品之外，“红色高棉之声”DVD录影带也被公共档案馆、大学和电影学院的研究人员们当做了可供研究的文献。例如一些特定的历史学家小组、艺术史家、记者、传媒研究员、社会学家、心理学家、人类学家和一些其他的学者或许会对这样的文献感兴趣。最后，在柬埔寨的播放将带来另一更加直接的冲击，冲击的目标实际上是每个柬埔寨人。该文献将是“受害人”和“犯罪者”在“中立”房间中的一次交流。这样的展览应该会是对柬埔寨人的一次治愈。很多柬埔寨人仍带着悲痛的创伤和对战争的憎恨，很少有人能自如地和别人谈起这段历史。 “红色高棉之声”的历史：从2002年11月到2003年５月，我们拍摄了沿泰国边界的柬埔寨西北部和北部的受访者。这些地雷密布区是红色高棉33年血腥内战留存至今的最后一块根据地。在我们的翻译Leang Kham（他自己也是红色高棉的军官和军医）的帮助下，我们找到并采访了30位愿意回答我们问题的前

红色高棉人员。这是他们第一次公开地谈论在红色高棉组织中的生活和经历。红色高棉的公众形象：红色高棉作为一种制度已经在全世界的历史书本中被作为典型的恶魔来叙述了。只要一提到红色高棉，必定会出现一张可怕的照片。简直让人难以接受：照片表现了一群整齐划一的杀手，谋杀了近三百万人的性命。任何和红色高棉有任何牵连的人都被看成是没人性的禽兽。这张让人无法抵抗的黑白单色图片出现在大量关于红色高棉的作品中：在历史书中、电影中（例如《杀场》）和报纸文章中。通过我们的项目，我们——谦逊地说——给这幅图片增添了一些可咀嚼的细微之处。本计划的根本宗旨：我们这个作品的宗旨就是为了让那些普通的红色高棉成员有机会来叙述他们个人在红色高棉组织中的经历。今天，他们作为被历史遗弃的人生活在柬埔寨社会的郊区，没有机会去接触媒体和书写历史。这些可怖的记忆背后有没有一张张人性的面孔呢？在为了纪念红色高棉政权而展出的成千上万的头骨背后？或者他们真的都是杀人凶手？这些普通的红色高棉成员是如何描述在历史事件中他/她自己的那部分？他们如何看待他们自己的？他们还记得什么？他们如何记住的？方法：我们按照时间的顺序来向受访者提问，我们把问题分成好几个章节，从童年一直到现今。我们选择如此安排问题是要激起更久远的记忆序列，因为我们相信这对整个描述是有好处的。为了让故事跟着它们自己的节奏，我们尽量少去编辑原始影像。它们是断断续续还是流畅则取决于叙述者/受访人的个性。我们这样做是为了保持原始文献的真实性：播放时间等于摄影时间。叙述者/受访者的时间和观众的时间将大致相等。叙述者和年代的叙述： 30位叙述者年龄在38到70岁之间，其中 12位女性，18位男性。他们都是农民阶级和中产阶级的下层。都是剩下的最后一 63

批红色高棉成员，他们前几年才向政府投降。他们中的大多数现今是农民，常常还有第二收入来源。叙事是被设置在以下的历史背景之中的： 1953年之前：法国殖民统治晚期和伊沙拉运动 1954-1970：独立和人民社会同盟——西哈努克掌权时期，常被视作柬埔寨的“黄金时代”。然而，还是经常会有些政治镇压。1970-1975：反对西哈努克的政变。郎诺将军夺权。北越和中国支持的红色高棉抵抗运动与南越和美军武器支持的郎诺政府发生了内战。1975-1979：红色高棉夺权。波尔布特领导柬埔寨。国家遭受重创，与外界完全脱节。大清洗、强制劳动和移民，集体化还有和越南的边界冲突。 1979-1989：越南人解放/占领柬埔寨。越南军和红色高棉发生战争。红色高棉得到联合国、美国和其他国家的支持。很多的红色高棉难民营设在泰国。1989-1999：现任首相洪森（前红色高棉成员）的军队和红色高棉发生战争。联合国介入，第一次民主选举在没有红色高棉的地区举行。 2000-现在：和平。准备在国际法庭审判前红色高棉领导人的反人类罪名。在这样的框架之下，受访人叙述他们从童年至今的故事。他们为何参加红色高棉；红色高棉是怎样影响他们的生活的，好还是坏？他们在波尔布特的教导下树立了怎样的意识。关于战争、胜利和失败。精神上来说，他们每个人都有足够的经历来填满他们的一生。最后他们将讲述他们自己观察到的今日柬埔寨生活，涉及到政治、经济和社会情况。他们谈到联合国发起的对老红色高棉领导的审判，和他们自己对此的感受。所有的故事都是独特的，同时又在同一个主题之下。他们是三十部自传，反思了在三十年内战中的生活、理念、感觉和行动。直到今天，在柬埔寨人中还存在着广泛的不信任，很少有人知道谁是受害者谁是凶手。大家相互猜忌。人们很大部分受到精神重创。作品的各部分主题：我们发现作品有几个方面，在这里我们将其中的六个强调出来： 64

1.个人的叙述作品作为人类经验的一种交流——在这个特定的案例中，这种经验是三十年内战：地缘政治后果的缩影。我们了解到每个个体的情感和精神状况，还有社会文化的关联。 2.历史性作品的陈述在历史上与越战及其持续的影响联系起来，特别是对于西方的美国和法国，以及亚洲的柬埔寨、中国、越南以及俄罗斯。 3.现时性作品作为对当下柬埔寨政治以及它那脆弱的民主环境的陈述和评注；作为对即将到来的联合国在金边裁决的陈述和评注。 4.媒体理论性。历史是如何被书写的。什么是再现？视听再现？视听历史书写？历史书写？再现的情形是：信息是如何通过媒体传播的？谁有权通过媒体传播信息？谁无权通过媒体传播信息，在这里，历史书写作为一种国家/国际的自我理解？谁在书写历史？ 5.民族志式叙述者自己的自传式建构，独白 6.艺术性似乎只有艺术的宇宙才能包含这样规模的作品，在那里再现的惯例受到了挑战。展览的作品——它的图像、装置以及可能的反应；主题以及记录的表现都非常简洁。把摄像机安置在三脚架上，完整地拍摄在自己家中的受访者，就像自然主义的绘画/图片/照片那样，人的生活立马展现出来。例如，一个男人正在讲述他拷问的事而与此同时他的孩子正在他身后闲散地玩耍着。受访男性中有超过三分之一因地雷致残——这从侧面说明了一个简单的问题。另一台摄像机是手持的，被用来特写面部/语态和模仿的表情——这张脸讲述了什么故事？眼睛又讲述了什么？它们反映了什么？为了不打扰陈述，两台摄像机被交替使用。

中。具体的安置得适应给定的展厅。最终的接受者也许会将这部作品视作个人陈述的巨型集合，——不同的声音、仅仅是在常规的分门别类发生之前需要被消化的大量材料。需要多少陈述才能做出一个整体？需要多少陈述来制造不确定？有人可能只会受其中个别故事吸引，或者随便走走依他的喜好来看些片断。这种体验因此是基于巧合的（某个人何时何地走进了一个故事）以及其个人的参考——哪些个人兴趣或此前的经历会被带入给定的陈述，或者带入作品整体？“红色高棉之声”拍摄于2002-2003年，编辑、翻译、加载字幕于2004-2008年，完成于2011年。

作品的装置简单但却很灵活。它包含30个单元，一个单元由一个投影仪或监视器、一个小音量喇叭（为了不影响其他播放器）和一台DVD播放机组成。一个单元一个叙述者。30个单元可以根据特殊的要求来安排，线性的呈现或者是散放在展厅 65

Sylvia Kummer China-Dialogue - 对话中国 Mix-media - 混合媒材

Sylvia Kummer has studied not only painting, but also ethnology, formerly known as “peoples’ studies”. When the Europeans began to discover foreign continents, it was the missionaries who first went into the villages to proselytise the natives. Only in the 19th century scientists followed in their footsteps – not to force anything upon the people, on the contrary: they were curious and wanted to learn from them, to find out what their life was like, what they thought, why they did something and what it meant to them. It took some more time before researchers came to realise that such an encounter between two cultures couldn’t remain without influence and effect – on both sides. The encounter leaves traces. The researcher returns home and has not only experienced something new; he has also been transformed to a certain extent. But even the “explored natives” are no longer exactly the same as they were before they began to talk to the researcher. It is impossible to explore people neutrally, to observe them merely from outside; every encounter changes both parties and leaves traces behind. Both will react, each in their own way. This explains why we also see paintings and installations by Sylvia Kummer on display. Her encounters not only leave trances on the video and in the exhibition space, they also touch the artist’s feelings and emotions. Hence, after every encounter she retreats to her studio and starts to paint. She searches with herself to gage what emotions a particular person has triggered within her and then tries to express those emotions through painting. She finds out what the conversation has done to her; then 68

implements the influences, impressions and changes within her through the use of her medium: painting. In this she often chooses the motif of a head. Yet, that head isn’t a portrait or the representation of anyone in particular; it’s an abstract generalised head simply indicating that she is dealing with a person. The term “person” is derived from ancient Greek and originally means “mask”. To Sylvia Kummer the surface of that mask becomes a canvas where she executes her painting and records her inner tensions, emotions and the traces the encounter has left behind. Accordingly, the installations with leather skins can be understood in the same way. The skin, after all, is the organ of touch, of being touched – physically as well as emotionally. When the artist paints on skins, it is yet again to record traces: the traces left behind by each and every encounter with a human being. Apart from the heads that cannot be recognised, we also find writings in her pictures; writings that cannot be read, as well as membranes installed in space and dissecting, distorting the projected images. Sylvia Kummer boldly works against the recognisable, the easily tangible. What matters to her, what she wants to focus on, according to herself, is “to record the intangible”. Sylvia Kummer enters the heart of a community, pulls people from the centre and finally reunites them in her exhibition. And here we are, at the heart of ourselves, at the centre of it all, in the midst. Excerpt of: Wolfgang Pauser, Encounters and Permanent Traces, 2010 69

Sylvia Kummer不仅已经学习了绘画，还学习了人种学，即以前被熟知的“民族志研究”。当欧洲人开始探索其它大陆的时候，是传教士们首先进入村庄中给原住民传教的。只有到了19世纪，科学家们才跟随了传教士们的脚步——不是去强加什么给原住民。相反，科学家们很好奇，想向他们学点什么，去探究他们的生活是什么样的，他们的思想，他们为什么做一些事情，那些事情对他们来说又意味着什么。然而研究者在很长时间之后才意识到两个文化遭遇彼此并不能保持互不影响。相遇留下了轨迹。研究者回家了，他不仅体验到了一些新的事物，还在一定程度上被转换了。甚至被探访的原住民也不是从前的他们了，他们开始和研究者交谈了。不可能中立地去探访人，不可能仅仅从外部观察他们。每次相遇都会改变彼此并且留下轨迹。它们以各自的方式相互影响。这解释了为什么我们也看见了Sylvia Kummer的绘画和装置在展出。她的邂逅不仅在影像和展览空间中留下了轨迹，它们也触及了艺术家的感觉和心境。因此，每次邂逅之后，她都回到她的工作室开始作画。她自己钻研一个特定的人给她引爆了怎样的情绪，并将这种情绪表达在绘画中。她探究那些在她身上发生的对话，然后用她的理念通过绘画作为媒介来实现这些影响、印象和变 70

化。在此，她经常表现的一个主题是头像，这头像不是肖像，也不是对某个特定人的再现。这是一个抽象的概括的头像来简洁地表明她正在与之对话的那个人。“person”这个词源自古希腊，它最初的意思是“mask”（面具）。对于Sylvia Kummer来说，面具的外表变成了一个画布，在那里她作画来记录她内心的张力、情绪和邂逅留下来的轨迹。因此，可以用同样的思路去理解那个皮质装置。皮肤终究是触摸和被触摸的器官，无论是在身体上还是情感上。当艺术家在皮肤上作画，其实还是为了记录痕迹：每一次和每一个人的相遇留下的痕迹。除了那些不可以被辨识的头像，我们还在她的画中发现了书写，无法识别的书写，还有装置在空间中的薄膜，不断分裂和扭曲着投影的图象。Sylvia Kummer大胆地向可辨识的有形之物发起挑战。根据她自己的看法，她所关心和聚焦的是“记录无形之物”。 Sylvia Kummer进入了群落的中心地带，她从那儿把人们拉出，最终把他们重新聚集在她的展览上。在这里，我们正处在我们自己内心之中，我们内心的中央。摘自：Wolfgang Pauser，邂逅和永恒的轨迹，2010 71

Roberta Lima Traveling the Space Together - 起遨游太空 Video - 录像

In June 2009 I invited Fearghus to “invade” my space. Alternatively, he suggested that we should “travel the space together”. For that, we decided to use wire as a tool for both linking and limiting out bodies. The wire was the cord of the spy camera attached to my chest and connected to the monitor: this broadcast the images of the two of us dancing. Another camera was placed in a tripod, facing the monitor, recording the images from the spy camera. As result, I rediscovered Beigao Studio 5 from other perspectives: my body, the camera, and the monitor had their own way of looking, perceiving and communicating the space. Traveling the Space Together refers to an apparently simple human interaction. Yet that interaction resulted in a complex set of images layered in the video: the black and white images generated by the spy camera were captured with the interferences of the analog monitor and the color reflections of the room on the screen. In addition, Traveling the Space Together shows the people, objects, and the process of its own making. 74

2009年6月我邀请Fearghus“入侵”我的空间。或者，他建议我们应该“一起在空间旅行”。为此，我们决定用电线把彼此的身体连接和限制。电线是系于我胸口上的摄像头的数据线，它连接着一台播放我们俩舞蹈画面的监视器。另一台相机放在三脚架上，正对着监视器，记录着摄像头的影像。结果，从它们的视点展示中我重新发现了北皋5号工作室，我的身体、相机和监视器都有它们自己的观看、感知和交流空间的方式。“共同空间旅行”涉及到看似简单的人际互动。但是互动的结果是一系列复杂影像的叠合：摄像头捕获的黑白图像受到了模拟监视器和在屏幕上的房间的有色投射的影响。另外，共同空间旅行展示了人、物体和它自己的制作过程。 75

Meta House Four shorts from the factories - 工厂四部曲 Video - 录像

Cambodia’s garment industry a major pillar of the country’s post-war economy. In 2007, garment factories employed more than 350,000 workers and generated exports worth around US$3.7 billion. Most factories produce for well known US and European brands including Gap, Adidas, Levis and H&M. In 2009 the global economic crisis has led to to more than 70.000 workers being laid off. Most of them are young women from rural areas with limited education, who support an average of three to five family members. Through their remittances these women often crucially contribute to their family’s survival and to the education of their siblings. Migrating from rural areas to big cities they find themselves displaced from their origins. FOUR SHORTS FROM THE FACTORIES (2010, 4 x 8 mins) look at the economic downturn viewed through the prism of workers, a female Cambodian manager, union representatives, entrepreneurs and small businesses surrounding the factories. The films A DAY AT THE FACTORY, A DAY AROUND THE FACTORIES, A DAY OFF FROM THE FACTORY and A WEEKEND WITH THE MANAGER have been produced by international filmmakers and Cambodian 80

media students under the roof of the “Media Education and Training Academy” (M.E.T.A.), supported by Better Factories Cambodia/ILO and Friedrich-Ebert-Foundation (FES) Singapore. Students participating in the research and production of FOUR SHORTS FROM THE FACTORIES were Sao Sopheak (28), Borei Sylyvann (25), Lim Seang Heng (21) and Ream Chamrouen (18). The films were directed by US filmmaker Mark Hammond (“L’Amour Cache”) and “Meta House”-founder Nico Mesterharm from Germany. Other professionals involved were the cameramen Lach Chantha (Cambodia), Marc Eberle (Germany), Pascal-Mario Geisler (Germany), French editor Jean Mathis and German sound designer/music producer Jan Mueller. The soundtrack contains an original song by “The Messenger Band” – Cambodian’s only girl group with a cause. The band consists of garment factory workers and was brought to life with the help of the local grass roots NGO “Womyn’s Agenda for Change” (WAC). The seven singers regularly perform at Meta House, in Phnom Penh and also in rural areas for the communities.

柬埔寨的服装制造业是这个国家战后的支柱产业。在2007年，服装制造业雇佣了超过350,000名工人并创造了37亿美元的出口总额。大多数工厂为欧美大牌代工，例如 Gap、Adidas、Levis还有H&M。2009年的经济危机导致了超过70,000名工人失业。其中的很多人是来自乡下的受到有限教育的年轻妇女，她们支持着平均三到五口人的家庭。通过汇款的方式，这些妇女通常对她们家庭的生存和子女的教育起到至关重要的作用。那些从乡村移民到大城市的人发现他们已经远离了原点。《工厂四部曲》（2010,4x8分钟）透过工人们、一个柬埔寨女经理、工会代表们、企业家和工厂附近的小生意人的视角来反思经济的下滑。电影《工厂的一天》、《工厂附近的一天》、《工厂的一个休息日》和《和经理共度的一个周末》已经制作完成，它们是由国际制片人和柬埔寨传媒专业的学生

在“传媒教育培训学院”完成的。以下同学参与了《工厂四部曲》的研究和制作。他们是Sao Sopheak (28), Borei Sylyvann (25), Lim Seang Heng (21) and Ream Chamrouen (18)。导演是美国制片人Mark Hammond(“L’Amour Cache”)和柬埔寨媒体教育与培训学院创始人德国的Nico Mesterharm。其他参与其中的人员是：摄影师Lach Chantha (柬埔寨)，Marc Eberle（德国），Pascal-Mario Geisler（德国），法国编辑Jean Mathis和德国的音效设计/配乐 Jan Mueller. 电影原声来自“信使乐团”的原创歌曲，一个柬埔寨的女子乐团。乐团的成员是由服装厂的工人组成，她们靠地方草根非盈利机构 “Women’s Agenda for Change (妇女求变议程)” (WAC)提供生活援助。这七位歌手定期在金边地柬埔寨媒体教育与培训学院以及乡下演出。

Christine Pellikan Roll-Pictures and Space-Sculpture - 卷轴画和空间雕塑 ink on paper - 水墨纸本

Themes of the artworks: harmony in between of nature and death Technique of the two paperworks: inked, cracked and mounted Chinese paper Technique of the Space Sculpture: found and red-painted “dead” wood It is a pleasure to present my thoughts about my work to you: Paper is the medium I frequently use for my artworks. In Beijing, I’ve learned the handicraft of mounting traditional Chinese roll pictures. With that technique, I was able to go from papercutting to cracking and mounting paper. Within one decade, I created extensive series of roll pictures and ink paintings. In 2004, the Gallery 3818 Warehouse 798 in Beijing commented on their invitation card about my exhibition, “With Chinese traditional painting materials, rice paper and Chinese ink, as the medium to combine traditional Chinese painting and the western way of expression, that raises a feeling of nature, harmony and elegancy.” For this exhibition: The abstract works remind of structures of trees inspired by Chinese traditional ink paintings as well as the traditional technique of mounting paper. In the series for this exhibition, I combine roll pictures with a sculpture (found and red-painted “dead” wood). The aspects of the artwork themes are nature, death and transitoriness and go hand in hand in a formal way with one another. The paperworks are two-dimensional and the sculpture is three-dimensional and enter into a dialogue with one another. A larger amount of Chinese artists are painting with oil on canvas (a technique which derived from the Western world). Despite my Austria roots I paint with Chinese ink and working with Chinese hand-made paper. Only some Western artists are working in their consciously with the influences of Chinese culture. Over time, I have turned into a so called ‘bi-cultural human being’. In a way 84

my heart, my mind and my artworks are influenced by both the Chinese and the Austrian culture.

作品的主题：自然和死亡之间的和谐；两件纸本作品的技术：蘸过墨、开裂过、装裱过的中国纸张；空间雕塑的技术：天然的有红色彩绘的枯木。很乐意向您介绍我作品的理念：纸张是我经常使用的媒介。在北京，我学会了手工装裱传统中国卷轴画。有了这个技术，我就能从剪纸走向裂纸和裱纸了。十年里，我创作了大量的卷轴画和水墨画。2004年，北京798的3818画廊在为我的展览所制作的请柬上这样写道：“通过传统的中国绘画材料，宣纸和墨水，作为联接中国画和西方表现方式的媒介，它引发了一种自然、和谐和优美的感受。” 关于展览：抽象的作品让人想起树的结构，这种灵感是从中国传统水墨画和传统装裱技术而来的。在一系列这样的展览中，我将卷轴画和一座雕塑（天然的画着红色“dead”字样的木头）联系起来。作品的主题是自然、死亡和转瞬，这些主题有条理地联系着彼此。纸质作品是二维的，雕塑是三维的，它们相互进入对话之中。很多中国画家在画布上用油彩作画（来源于西方的技术），尽管我的根基在奥地利，我还是用中国水墨和中国的手工宣纸作画。只有少数西方画家自觉地接受中国文化的影响来工作。随着时间的流逝，我已经转变成所谓的“双文化人”了。我的内心、我的理念和我的作品都同时受到中国文化和奥地利文化的影响。

Ella Raidel Play Life Series - 玩命系列 Video - 录像

The soap opera is not just a popular pastime, but also a reflection of its sociopolitical space, that in turn can be arrested by its visual image and language as the public belief. Viewers can project their identifications over whatever the protagonists portray. Soap operas can be realized as the social consensus where the collective desire can be repetitively transformed as a political allegory. During her stay in Beijing, 2011, Ella Raidel came to examine what is lurked behind the scene of Chinese soap operas. The results are several video sequences that witness the making-of and mis-en–scene for different productions. Through re-editing the making-of of these dramas, visual evidence in repetition she resample a new narrative that insists in the trope of Chinese imagemaking. Play Life Series is not only about the making-of these soap operas, but also about the commentary of the making-of for the very social space that realizes these visual narratives, that in turn become the mirror image of its people. While it can be revealed by the hyperbolic acting where the long last crying unfolded in the slow-motion, or by the highly choreographed fighting techniques swirling in the air, the Play Life series characterizes these soaps as the public gaze that persists in the everyday reality of China.

肥皂剧不仅仅是一种流行的消遣方式，更能反映其社会政治空间，即作为公众信仰反过来被其视觉形象及语言所左右，观众往往存在对号入座的倾向。如此说来肥皂剧可以被视作一种社会共识，即作为一个政治寓言将集体欲望加以反复改变。 2011年，Ella Raidel在京期间着手探究中国肥皂剧背后的奥秘，最终的成果便是多个记录了几部肥皂剧的制作过程和调度现场的拍摄记录片。在反复整理这些拍摄纪录片及其视觉材料的过程中，她重新取样了一种强调中国式影像制作手法的新叙事。 “演绎人生系列”不仅仅是关于肥皂剧的制作，同时关注了人们对视觉叙事赖以实现的社会空间的形成的反响，这些反响恰恰是人们的真实写照。这些可以通过一种夸张的方式加以表现，例如慢镜头中不加掩饰的长久恸哭，或是精心设计的空中缠斗场面。“演绎人生系列”将肥皂剧形容为中国日常现实中持续存在的公众凝视。

Tommy Schneider Chinese Minutes - 中国备忘录 Video - 录像

The documentary scenes in Chinese Minutes show people, animals, things and machines in continuos motion within the choreography of everyday live. The intensive impression of situations or moments is to be established without comment. By repetition of scenes, the sound level produces a significance that enables a unique perception ‐ comparable to a way of comprehension, where somebody understands what was said, without knowing a word of the spoken language. Chinese Minutes is part of an experimental documentary series, which is to arrange authentic situations and moments in a particular time system to transfer reality without a spoken comment. 94

《中国备忘录》将人类、动物、物品和机器在生活这支舞蹈中未曾间断的灵动舞姿展现于世人眼前，无需加以评论便已刻下对情境和瞬间的的强烈印象。通过场景的重复，不同的音高创造出一种独一无二的感知——这与认知有相似之处，有时候对陌生语言一无所知也不妨碍我们对于内涵的理解。用一种全然不同的时间体系来转化现实，摈弃口头评论，展现真正的情境和瞬间，这便是《中国备忘录》作为一个实验纪录片系列的一部分所要实现的价值。

Christian Schwarzwald PARTITUR:MAKULATUR - 评分: 废物 wooden construction, mixed media on paper - 木结构，纸上混合材料

The relationship between music and the visual arts is one of modernism’s formative commonplaces. The idea that music pointed the visual arts the way toward abstraction is a firmly established element of the narrative of how nonrepresentational and purely selfreferential painting came into existence. In the postmodern era, too, the intensity and emotional and physical directness of music seems to the visual arts to be an irreducible aim, though one that must for structural reasons remain unattainable. From the perspective of the music business, the art world is conversely often perceived as a more reputable sector of cultural production, one that has not been quite so fully appropriated by the entertainment industry; even though this difference appears to be an effect of different market structures, powered by the excessive value of the irreproducible and exclusive individual work, a rather dubious advantage. PARTITUR:MAKULATUR was conceived to tie the problem of the relationship between music and image back to the concrete questions of their mutual translatability. Rather than striving for the intensity and enveloping immediate presence of music’s acoustic means, the picture presents itself as a sort of notation. A board wall was set against the wall of the exhibition space so that visitors entering from the stairwell first saw its back. Mounted on it were drawings of various motifs, their arrangement suggesting that they can be read left to right, in analogy with linear writing. Two rows of moiré patterns in black and blue with upward and downward deviations denote a sort of bass line; heads and paint spills serve as note heads, pieces of ladder scattered between them as scales. The question of the translation between sound and image is thus related in illustrative fashion to the unspectacular technique of notation. What comes into play as a common denominator of music and the visual arts is the question of translation and transformation itself. Just as electronic music 98

manipulates original material given in the form of an electronic file, distorting and resampling it, the visual arts likewise feed existing visual materials into a multistage production process: repetition, defamiliarization, seriality, the detection of harmonies and sequences, the variation of motifs, etc., are strategies the visual arts and music share on the level of their technical processes. This is not to say that the work aims to assimilate one to the other in terms of their reception-aesthetic effects; rather, it examines real analogies in the processes of the production of imagery and music.

音乐和视觉艺术之间的关系是现代主义老生常谈的话题。要使无指代性的纯自我指向绘画介入存在，其固定叙事认知之一，便是音乐指引视觉艺术走向了抽象。后现代时代亦是如此，尽管音乐的建构原理仍然无法阐释，但音乐激烈、感性而有形，它似乎要将视觉艺术变成无法再分解的极致。相比音乐的商业性，通常艺术界反而被看成是一个声誉更好的文化事业，它的运作能源是非再生性和个人作品唯一性的超级价值，其影响因不同的市场结构而异。即使这还是个值得怀疑的优势，但艺术还未完全被娱乐产业吞噬。旨在将音乐与图像的关系回归到转译上，我酝酿了这件作品。并非追求紧张感或捕捉即兴声乐的存在感，而是让图片作为一个符号来呈现自己。一面墙板直立安装在

展场的墙上，于是从楼梯间进入的观众可以首先看到墙背面。各种各样的装饰图案置于其上，用线形类推暗示着从左到右的阅读方向。两排黑蓝上下相间的云纹表示一种低音线，颜料像符头一样倾洒，碎片状的梯阶散落其间当作音阶。声音与图像之间的互译就这样，从言说变成了朴实的符号技法。音乐与视觉艺术的共同特性，则是转译和变换本身。正如电子乐将取自源电子文件中的材料加以操作，视觉艺术也将现有的可视材料进行多重加工：重复、陌生化、连续化、和谐化、序列化、图案变异等等，都是视觉艺术和音乐共通的技术战略。这并不是说，这项工作旨在接连同化每个物件的接收美学效应，而是检验图像和音乐的生产过程中真实的类比.

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Ulrike Sladek Big House Beijing - 北京大宅门 Audio Installation - 音频装置

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Big House Beijing

北京大宅门

Chinese born writer and filmmaker Xiaolu Guo in her book Village of Stone pictures a certain Beijing lifestyle as that of hermit crabs, which live in their portable shells and can crawl out from under their shells and move into a new and more fitting one any time they please. This depiction gives a good idea of how I felt living that far out in the suburbs of Feijacun as well as of my impression of Beijing in general, as an offer of multiple shelters to dive in. Between those ports long distances were streched out and had to be managed. Public transport was my mean of choice, avoiding to be encapsulated, once more in the casing of a taxicab. I felt at home during those long trips by bus and underground, entertained by advertising screens powered by CCTV, in the lap of the manifold chinese travelers. To be on the road meant to be part of the so called Non-Places, a world of its own, defined only by the transitory companionship of the passengers, changing from district to district. There I experienced the rhythms of Beijing’s every day life, learned about the pronounciation of Mandarin comparing the indicated stops with the announcement, learned about the politeness and friendliness and shyness and the punch of the chinese people. You could call Beijing the megalopolis of communities and specialised supply centers spread all over town. Therefore operating the metropolitan area is challenging and takes it’s time. Every now and then a shifting of the original destination to another place happens due to the needs of an expanding city, a much-discussed process which forces a lot of people to new orientations. The steady flow of Beijing is that of a permanent change, entailing alterations with heavy influence on the persons concerned. Migrant workers have to move their sheds, following the villagers to the far-out periphery and onward, art districts continue along that path. The point is that the communities keep obviously intact, just shifted. You will find the same greengrocers, the same garbage collectors with their precisely assorted goods you had next door yesterday in new arrangements and surroundings tomorrow. As a visitor sharing space with the inhabitants in a terminated period of time, Beijing provides many opportunities to participate, be it amusement, shopping or serious affairs, in an elusive way, but be member of a community to get hold of the drive.

出生于中国的作家、电影制作人郭小橹在她的《我心中的石头镇》一书中图示了北京的某种类似于寄居蟹的生活方式。他们生活在便携的贝壳中，只要他们乐意，任何时候都能从一个贝壳爬到另一个更舒适的贝壳中。这种描述与我在北京远郊费家村生活的感受还有我对北京的总体印象是一致的，北京为我提供了多个避难所。只是这些不同的地点之间的距离很长，不得不去管理。我想坐公交，但为了避免被挤爆，我再一次打车了。在巴士和地铁上度过的漫长旅途却给我家一般的惬意，各色各样的中国乘客膝上放的移动装置里面播放着CCTV广告片，更让我不亦乐乎。在路上意味着成为“非场所”的一部分，一个自己的世界，通过乘客间短暂的相伴来定义，从一个地区到另一个地区。在那儿，我体验到了北京日常生活的节奏，通过聆听和比较每一次报站学习普通话的发音，并由此了解到中国人的礼貌、友好、害羞及冲动。北京可以被称为拥有众多社区和遍布各地的专门化供给中心的超大型都市集合。管理这样的大都市是很有挑战性的，也需要时间。城市扩张的需要不时导致原目的地的变更，一些人可能会被迫迁离，这是一个引起广泛讨论的过程。稳定的流动对北京来说是一种永恒的改变，其中包括对相关的个人造成重大的影响。民工们不得不离开他们的棚屋，随村民搬到远郊，艺术区也是同样的命运。有趣的一点是，这些社区看起来却保持了其完整，只是位置变了。你会发现一样的菜贩子，一样的收垃圾的人，拿着昨天你在隔壁分类好的垃圾，只是换了一种排列顺序，换了环境。作为一个在有限时间里和当地居民分享空间的访客，北京为我提供了许多参与其中的机会，包括娱乐、购物乃至严肃问题，但只能以一种旁敲侧击的方式—— 却无法真正成为社区的一员，把握其变化的驱动力。

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Maria Tupay Duque Mix-media - 混合媒材 106

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From a Moravian summer August 1981 In a few days I am going to take a plane to China. I have a one-way ticket, to Moscow, then to Beijing. I have no imagination, no idea what China would be like. MADE IN CHINA was yet unknown. It was more than just a far away, closed country. Rather a place of some kind of mysterious longing. I recall these distant summer afternoons, with their light, the soft colors, which were like music to me. There was this spirit of departure, some unspeakable sensation of a timeless farewell, not knowing whether there will be a return.

Again there is this light, the colors and the music inside me and going to China is like returning home. So I try to find a way to write down this music.

来自一个摩拉维亚人的夏天 1981年8月

如今，30年之后我再次踏上了去中国的道路。离开属于摩拉维亚美景的夏天，古斯塔夫·马勒的土地，大街小巷里的樱桃树，盛开着的菩提树，还有白色罂粟花的园地。我的日子满是音乐。

几天之后我就坐飞机去中国了。我有张单程票，去莫斯科，然后再去北京。我没有去想象，不知道中国会是什么样子的。 “中国制造”还是未知这不仅仅是一个遥远的、封闭的国度，还是一个充满某种神秘渴望的地方。我记得这遥远夏日午后，它们的光线、柔和的颜色，对我而言就像音乐。有一种离别之感，一种不可言说的永恒告别的感觉，不知道还能否归来。

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Now, 30 years later I am again on my way to China. Leaving from a summer in a Moravian landscape, the land of Gustav Mahler, with endless alleys of cherry trees, blooming linden trees, fields of white poppy. My days are filled with music.

telc / Moravia summer 2011

再次遇见那光线、那颜色和那我内心的音乐。去中国就像回家。于是我试图找到一种方式来写下这音乐。泰尔奇/摩拉维亚 2011年夏

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Uebermorgen Chinese Gold- 中国黄金 Light Boxes & Video - 灯箱 & 影像

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In China there are over 2000 Online-Gaming Workshops that hire people (over 500,000) to play online games such as World of Warcraft (WoW) day and night. The gaming workers produce in-game currency, equipments, and whole characters that are sold to American and European Gamers via Ebay. These people are called „Chinese Gold Farmers”. The future is now! Keywords: Metallic - Alternative Energy Sources - Trade Agreements - Ghostbuster, Roaming - Steel, sugar and services - Consumer-made content and value - 1500 Gold $ 131.99 - close Internet cafés in Beijing to prevent the spread of SARS - Modified sees/crop, hydrogen – The Myspace angle – Media Hacking – prepaid Pass9 - a group of WOW players in China committed mass suicide, virtual dieins – Taxes, copyright and Freedom of Speach, in game civil rights - Unions fighting Louis Vuitton living oceanfront - Boomtimes in Kuala Lumpur – Kaogma Festival - Megaphone diplomacy - New cartoon uproar Economy / Inflation In Warcraft, it’s the currency itself that’s being overproduced, not just any product. That means it’ll take more units of that currency to exchange for any product. Inflation. The price of everything goes up. Everything you worked so hard to save up suddenly becomes worth so much less. The Warcraft economy appears to be on the lip of this plunge and administrators are taking steps to curb inflation. When they find a career farmer, they ban the character. Now the farming company has to re-buy the game and set up a new account. This makes the process of creating these goods overseas more expensive, and functions similar to a tariff (which is a protective tax). There is a balance, which in the real world, the Treasury, and the Federal Reserve, and International Organizations try to maintain. And by maintain, I mean getting as much cheap shit for themselves as possible without throwing the system completely out of whack. (In the finance industry, human rights is a footnote, if anything.) What lies ahead for the Warcraft economy? Let’s keep watching it in the future.

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在中国，有超过2000个网游工作坊，它们雇人（超过500000人）来没日没夜地打网游，例如像魔兽世界这类的游戏。游戏工人生产游戏币，装备和全套游戏人物，通过易趣卖给美国和欧洲的玩家。这些人被称为“中国金农”。未来就在眼前！关键词：金属的-替代能源--贸易协定-捉鬼敢死队漫游-钢铁，糖和服务（Steel, sugar and services）-顾客-创造内容和价值-1500金币兑换131.99美元-关闭北京的网吧来防止非典的扩散-转基因农作物，氢气-聚友空间的角落-传媒黑客行为-预付九城-中国魔兽玩家集体自杀，虚拟拟死示威-网游公民权利中的税收、版权及言论自由-工会抵制海滨的路易威登-吉隆坡的轰隆- Kaogma节（菲律宾最热的季节时的狂欢节）-扩音器外交-新卡通骚动经济/通货膨胀在魔兽世界里，不是别的商品，而恰恰是货币过度发行了。这就意味着得花更多的钱来买东西，这就是通货膨胀。所有东西的价格都上涨了，你努力攒钱买下存起来的一切都贬值了。魔兽世界的经济出现下滑，管理者则采取措施来阻止通胀。他们发现职业金农之后便封了他们的账号，金农公司必须重新买游戏建立新账号了，这便使得在海外生产这些商品的成本更高了，这和关税（一种保护税）的功能是一样的。在现实世界中，财政部、美联储和国际组织也试图维持这种平衡。我所说的维持，不过是他们自己能捞一笔是一笔，但是又不至于让整个系统崩溃（在金融业，人权只是脚注，如果有的话）魔兽世界经济的前途是什么？让我们拭目以待。

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Ugo Untoro Drawings - 素描 118

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Painting and drawing are basically two of the same art, only the medium used is different. Both equally visualize the unspeakable, the ineffable, or that which is beyond words. They are both wild worlds in themselves and are often unknown to us. They are strange, natural places of adventure where what we see, hear, feel, think or touch is existing. 120

色彩和素描大体上讲是同种艺术，都是将不可言传或者不可言喻的对象可视化，只是使用的媒介不同。它们本身就是两个狂野的世界，对此，我们了解的并不多。奇异而自然，充满冒险，它们是我们所见、所闻、所想、所感的存在。 121

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Winkler Sylvia & Koeperl Stephan Medicare & Xiao Wu - 米迪凯尔 & 小吴 Video - 录像

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Since 1997 we are working together as an artist couple in the field of “urban interventions” which we are realizing in various places around the globe. Our projects usually develop from observations in public space and are elaborated site specifically. The process of planning, implementing and mediating our projects provides us an unique insight into the individual areas and communities. It makes us getting involved into the everyday life of the spot and its inhabitants, which is an important part of our practice. Our first stay in China in 1997 had a wide impact on our way of working. At that time we examined the provincial capital Kunming under the prognostics of rapid urban development and reflected these in various artworks. Ten years later we had the opportunity to go to China again and we have worked for 3 months respectively in a village in the mountains of Yunnan and in the city of Chengdu. Our production made in China is focussing on “the street”; respectively on what we find and encounter there. It is also “the street” where we preferably are doing our interventions. The fundamental restructuring of the social life in China is accompanied by a ruthless reorganization of public areas. Here humans meet in their new, often unexpected, roles as deprived or privileged ones, as consumers or resourceful strategists in a restrictive system. During our stays we have observed the strategies people are developing to deal with their everyday life. The mutual influence of the constructed surroundings and its utilization by the people was particularly interesting to us.

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Medicare Along the roads around a village in SouthWest China we find old medicine boxes. From the names of the medicaments we write a song and perform it in different pharmacies in the nearby city of Lijiang. Video 3´, 2007 Xiao Wu We are re-enacting the final scene of the film »Xiao Wu« by Jia Zhang-Ke (1997). “After having been arrested by a police officer the notorious pickpocket »Xiao Wu« is handcuffed to the cable of a concrete mast. The police officer leaves the scene. More and more people start to gather around the squatting protagonist. Finally, the credits start to roll. We get some handcuffs in Chengdu and search for a location similar to the one in the movie. Sylvia handcuffs me, takes a picture and then leaves with the keys...” The work consists of 3 photographies, one with the image of Stephan, one with the original film still and one with the text documenting the actual intervention (in Chinese and English). Chengdu 2007 自1997年以来，我们一直以艺术家双人组的身份在世界各地进行“都市介入” ，我们的工作通常来自对公共空间的观察，并且在特定的现场实施。酝酿、实施和周旋的过程让我们能以一种独特的视角看待每一个区域和社群，使我们融入了当地和居民的日常生活，这是我们实践的一个重要部分。 1997年，在中国的第一次停留对我们日后的工作方法有重大影响。当时我们调查了云南省会昆明，其城市快速发展的前兆，被我们反映在各种艺术作品中。

十年之后，我们有机会再次来到中国，在云南的一个山村和成都分别工作了三个月。在中国我们的主要关注点在“街道”，以及我们在“街道”发现和偶遇的事物，也是在“街道”实施我们的介入。中国社会生活的基础重建伴随着对公共场域的无情重组，正是在这里，人们遇到了新的，往往是始料不及的角色，可能成为被剥夺者，也可能成为特权者，可能是消费者，也可能是富有资源的战略者，在一个充满限制的系统内。在逗留期间我们观察了人们在安排日常生活中逐渐形成的一些策略。让我们尤为感兴趣的是，已建成的周边建筑物之间的相互影响，以及人们对它们的使用情况。

医疗保险在中国西南一个村庄的路上，我们发现了些旧药箱。我们写了首歌，歌词从那些药物的名字中来，并在丽江附近的很多药店演奏了。 3号视频 2007 小武我们在成都重演贾樟柯电影《小武》（1997）的最后一场戏。 “臭名昭著的扒手小武让一名警察逮捕后，被拷在电线杆的缆索上。警察离开现场。主人公蹲在地上，身边围观的人渐渐多了起来。最后字幕开始滚动。我们在成都弄了一些手铐并寻找和电影中近似的地点。Sylvia把我铐住，拍了张照片，然后拿着钥匙离开了...” 这件作品由3张照片组成。一张是Stephan的肖像，一张是原影片中的剧照，还有一张是介绍实际介入的文本（中英文）。成都 2007 125

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Andrea Witzmann Beijing punches - 出拳北京 Photographs - 摄影

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TUE 29.12.2009 OS0063 2FC7OU W 20:15 12:50 Vienna - Beijing WED 30.12.2009 Chrystal Bell and Jenny Lou were awaiting us, Yuan withdrawal, arriving in Beigao, Feijacun, shower and sleep. THUR 31.12.2009 Fireworks, waltz and Taittinger twin pack on New Year’s Eve in the studio. FRI 01.01.2010 Heavy snowfalls, no orientation, taking cabs to every place we wanted to go, even when it was just around the corner. SAT 02.01.2010 Having dinner with the other residents, fully dressed, till the food and we heated up the room. Drank hot water as a drink for the first time. The dishes were made for european taste buds. I was disappointed. 132

SUN 03.01.2010 Stayed in the studio. Our blog was blocked. MON 04.01.2010 Minus 20 degrees Celsius. Went to the village for some food. The vegetable woman showed frozen cheeks like the cabbage she sold. Bought eggs, pídàn, peanuts, silk tofu, soy sprouts, string beans, spring onions, chinese chives, red chillies, garlic and fresh yellow noodles. Got rice, soy sauce, fish sauce, peanut oil, five bottles of Tsingtao and one bottle of Great Wall at the super market, and sand cookies in a shop where a young women, packed like an Eskimo, prepared a very colourful birthday cake. Couldn’t resist eating hot won ton soup and fresh yóutiáo on my way back. TUE 05.01.2010 Went by bike to the next village behind Feijacun. It was freezing cold,

but sunny. Icy roads, the breaks didn’t work, I was surfing the streets. Here it looked all the same. Bought a fluffy jacket and a Jacky Chan shampoo for black hair (my hair remained blond). Also tried several shoes, but the one I liked was a single piece; the woman who was serving me couldn’t find the matching second one. WED 06.01.2010 The cleaning lady entered in the early hours. We were still asleep. She was very elegantly dressed and asked questions in Mandarin while we lay in bed. I told her that the cooking stove was broken. She phoned and after a while six people were standing in the kitchen. After hours of discussion they left and we could get dressed. THUR 07.01.2010 Still snow everywhere, compressed by all the cars, now getting more and more grey from the coal dust. Still not much idea of the surroundings and where the studio was located, we decided to explore downtown Beijing and the center of the city by bus. Rush hour, darkness and frozen windows prevented us from an easy return. Far behind the airport we jumped off a rapid bus with rare stops and returned home by taxi. Similar incidents happened several times till we found the way back on our own. That was the beginning of the love affair with Beijing.

2009.12.29 周二 OS0063 2FC7OU W 20:15 12:50 维也纳—北京 2009.12.30 周三克里斯托·贝尔和珍妮· 卢正在等我们，取了人民币，到达北皋费家村，洗澡睡觉 2009.12.31 周四烟火表演，华尔兹，新年前夜在工作室享用双组装的泰坦瑞香槟酒

2010.01.01 周五，下大雪，毫无方向感，去哪儿都打车，有时目的地就在拐角处 2010.01.02 周六，盛装出席与其他居民共进的晚餐，直到食物和我们把屋子暖起来了，第一次把热水当饮品，餐具是欧式风格，我很失望 2010.01.03 周日，待在工作室，我们的博客被墙了 2010.01.04 周一，零下20℃，去村子里买点吃的，卖蔬菜妇女的脸冻得和她卖的白菜差不多，买了鸡蛋、皮蛋、花生，豆腐丝，豆芽，菜豆，韭菜，葱，红辣椒，大蒜和新鲜的黄面条。在超市买了大米，豆酱，鱼酱，花生油，五瓶青岛啤酒和一瓶长城啤酒。在小店里买到了酥饼，那里的妇女们穿得像爱斯基摩人，她们做了个五颜六色的生日蛋糕。回去的路上，我忍不住吃了热腾腾的馄饨和现炸的油条。 2010.01.05 周二，骑车去费家村后面的村子。天寒地冻，不过却阳光灿烂。刹车在冰冻的路面上失灵了，我简直是在路上冲浪。在这儿，它们看起来是一回事儿。买了件蓬松的夹克，还有成龙代言的黑发洗发水（我头发是金黄的）。试了些鞋子，但是我看上的鞋居然是单只，女服务员找不到另一只了。 2010.01.06 周三，清洁女工早早就进来了，我们还在睡觉。我告诉她炉子坏了，她打了个电话，不一会儿六个人就到厨房了，他们讨论了许久之后离开了，我们终于能穿衣服了。 2010.01.07 周四，遍地的雪被车碾压而过，在煤尘的污染下愈发肮脏。对工作室的周边环境仍是没什么太多想法，我们决定坐公交去探索下北京郊区和市中心。交通高峰期、昏暗的天色、结冰的窗户让我们的归程变得困难。在远离机场的地方，我们跳下了一辆很少停车的快速公交，打车回家了。类似的事情发生过好几次，直到我们自己找到了回去的路。这便是与北京相爱的故事的开端。 133

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and Helmut Schäfer Noise as language Music - 音乐 14.08.1969 - 20.04.2007

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“问题在于语词无处不在，我们则越来越擅于用它们掩盖事实。声音也有同样的用途，能够在混沌中触发温情。但我们都应该时常触发一些严苛、清晰、强烈、直接的东西，释放愤怒，直面生存之本真。噪音可以被看作进入事物背面的工具，它是一种治疗手段，令我们在面对生命中不那么美好的一面时不至于丧失信心。把它视作某种特殊能量的源头，它会让你看清世界、逆流而上。” 《作为语言的噪音》— 海尔默· 谢弗 “So the point is that so much words existing, and we get better and better to use them for hiding the truth. You can use sound in the same way, stimulating some nice and warm feeling in middle of chaos, but from time to time we all should stimulate strictness, clearness, intensity, directness, set free some anger to bring up the basic truth of our present. Noise can be seen as the chance to go into the back of things, as a therapy which is able to confront ourselves with others lesser good looking sides of life without getting frustrated by this. See it as a source of very special energies, it gives power to see more clear and swim against.” (Noise as a language - Helmut Schäfer)

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Special Feature Austrian Films

ASAP film screenings in co-operation with the Austrian Cultural Forum Beijing at the Beijing New Youth Film Festival and Beijing Film Academy ASAP与奥地利北京文化论坛合作, 在北京青年电影节以及北京电影学院放映了今年的独立电影系列 138

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Austria Is Where You Are and Wherever You Are There Can Be China. 9 Austrian movies +1, a selection by Karel Dudesek and Sarah Linder The foreigner is not necessarily an enemy, the local and the foreigner can become friends and it is no necessity that the local’s or the foreigner’s intention is to cheat each other. The Austrian movies we selected show a variety of methods and aesthetics how to approach society. They are not mainstream, made to be sold as products fitting to the global entertainment market. They address the concerns we all have about the changes of the world in a very individual way. They span from professional movies which are classically produced up to art house movies which have neither beginning nor end. Some also neglect the usual narration. Like “Core of the Flock” or “Kafkanistan” are more artistic performative works where artists themselves taking part in front of the camera. Some movies speak with a strong visual language, showing the hidden, others show people in their irritation towards the world today. Questions are welcome – where is the way out, only through hard work and little money? By selecting these movies, we try to show how some Austrian directors represent and capture the unknown. Our intention is not to promote the East or the West, or democracy, we promote the view on people living here and there. We do not question the motives of each individual director; we let the images speak for themselves. The world is a global place, market place, work place, living place, a place to love and to die, to give birth to the new or to build something. As In the movie “Follow me”, the other side of idyllic family life is shown; with people`s desires, their searching for change and emanzipation. People have desires; their lives being increasingly forced into a global shopping mall, the consumerist way of life has become the super star – shopping mall, shopping for trees, rare earth metals, shop140

ping for the cheapest t-shirt, for orang utans, for water and fields, or oil and iron. People’s relationships are based on economical benefit, the shopping mall is a global mindset of selling and buying and nothing else. Economically motivated small talk leads to boredom and dullness – who cheats who? Luxury and design are predators and the caretakers of the subtle corruption of men and women, mechanical and sportive. There is no deeper meaning inside them besides getting the bills paid. Such a fabric of society exchanges only the common interest in tax and parking tickets cheating. People live in the global space sharing one planet, but all are living on different timelines, different histories, different confusions – and their evolution speed is not synced. Some can shop for more and some not. Big political and religious mappings have outlived their expiration date but still remain in place, maintaining and, for the better or worse, defending their positions. As more and more global processes – financial, economical, health, environment – become critical, the local governments have little experience in acting globally. We are still acting like in postwar times, where the battlefield was shifted to economic wars between neighbours. This shift belongs to past times and has expired, not because it failed but because the global became really global, the virus does not ask for a visa to cross national borders. The Austrian movie selection opens several windows out of many onto one world. The movie “Inside America” shows how paradise can be brutal and a naive illusion, even to the extent that it does not become desirable to go for. People and races mix, and people live far away from their place of birth, they try to adopt and live their own culture openly, in an alien environment, like in the movie “OceanMare”. Only if economical hardship and greed impacts, intolerance strikes.

Sometimes changes happen faster than any planning can foresee. The movie”Socialism failed, capitalism bankrupt, what comes next” addresses these changes. Confucianism followed the teachings of Tao. Do Confucianism and capitalism fit better together than Christianity and capitalism? And what about Islam and socialism? The movies “Our daily Bread” and “Abendland” shows how we can survive in cities – we need to eat, we need to feel safe, we need to safeguard the cities from intruders and an unemployed young generation that has fallen out of the social frame work. The movie “Every 7 person is a farmer”, addresses the tension between cities an rural areas. The wealth of the industrial nations is built on the farmers’ shoulders, on their hands digging the earth. It’s time to pay back and improve the farmers’ lives. Liberation does not necessarily go along with prosperity, democratisation and free speech can turn out highly disappointing. The movie “A day in the factory” shows how big money is installing itself on borders, in grey zones of law; large scale sweatshops are touring the world, looking out for the cheapest labor to maximise profits. Most of the time women are exploited in the workforce because the little they get is more than nothing. No one can make everyone rich and happy. The West has built its present living standard on the exploitation of the rest of the world. We in the West are living surrounded by nations we used to enslave and exploit in past times. Now others claim the right to do the same. The selected movies show this and make you aware of this, so that everyone can find his or her individual window to look through and see and observe what he or she can understand and wants to understand. Karel Dudesek

奥地利就在你所在之处而无论你在哪里那里都会有中国九部奥地利影片+一部德国影片由卡雷尔·杜德塞克和萨拉·琳达甄选外来者未必是敌人，本地人和外来者也可以成为朋友。任何一方都没有必要怀着欺骗对方的意图。我们选出的这些奥地利影片展现出各种各样如何研究社会的方法与美学。它们并非主流，并非为被当作适合广泛娱乐市场的产品出售而拍摄。它们以非常个人的方式表达了我们都有的对于世界变化的关注。它们包括传统制作的专业电影乃至无开端亦无终结的艺术电影，其中一些也不讲求常规叙事。比如《羊群之心》和《卡夫卡国一日游》便是更加艺术化表达的作品，在这里艺术家本人参与在摄影机前。一些影片以强有力的视觉语言发声来展现隐秘，另一些则展示了人们对于当今世界的愤怒。影片也乐于提出问题——出路在哪里？只有承受繁重的工作与极少的收入吗？通过选取这些影片，我们试图展现一些奥地利导演是如何描写和捕捉默默无闻的人事。我们的目的不是宣传东方或西方，或是民主，我们宣扬的是生活在各处的人们的观念。我们并不质询每一个独立导演的动机，我们让影像为他们自己说话。世界是一个统一体，是市场、工作场所、居住地，是爱与死之地，是孕育新生命或建造之地。正如在影片《跟我来》之中，田园般家庭生活的另一面被展现出来，人们的欲望，他们对改变和解放的寻求。人们拥有欲望，他们的生活日益被逼入一个全球大商场，消费主义的生活方式成为了超级明星——大商场，购买树木，稀土金属；购买最便宜的T恤，黑猩猩，水和田地，石油和钢铁。人们的关系建立在经济利益的基础之上，这个大商场是全世界的精神状态，只有买卖，别无它物。由经济激发的闲谈导向乏味与迟钝——是谁欺骗谁呢？奢侈品和工艺美术制品是男人和女人微妙堕落的捕食者和看管人，机械且享乐。除了支付账单，它们并没有什么更深的意义。如此的社会结构下人们只能交换对于税金、违规停车罚单和欺骗的共同兴趣。 141

人们居住在统一的空间，共享同一个星球，但却生活于不同的时间轴、不同的历史、不同的困惑之中——而且他们的进化速度也并不同步。一些人可以购买更多的东西，一些人则不能。大片的政治与宗教版图早已该寿终正寝，但仍然存在并维系着，向着更好或更坏的方向保卫它们的阵地。随着越来越多的全球化进程——金融，经济，健康，环境——变得紧要起来，地方政府毫无参与全球化的经验。我们仍然像在战后时期一样行事，战场则转移到了邻国之间的经济战。这种转变是属于旧时代的，早该淘汰，并不是因为它已失败而是因为全球化已然成真，病毒穿越国境也无需申请签证了。这次选取的奥地利影片打开了映射到同一个世界的众多窗口中的数个。影片《美国内部》指出了天堂如何可以残忍而且可以是一个天真的幻觉，甚至到了人们不再想要去追寻的地步。各种民族与种族交汇，人们住在远离他们出生地之处。正如影片《大海》之中那样，在一个相异的环境中，他们试图公开采用他们自己的文化来生活。只有在遭受经济困难和贪婪的冲击之时，不甘忍受才会爆发。有时候改变发生得太快，任何计划都无法预见。影片《社会主义失败了，资本主义破产了，接下来是什么》道出了这样的变化。儒家学说在道家学说之后出现。儒家思想和资本主义合流是否比基督教义与资本主义合流更加合适呢？伊斯兰教和社会主义相融又如何呢？影片《我们每日的面包》和《夜晚的世界》展现了我们如何能在城市中生存——我们需要饮食，需要安全感，需要保卫城市不受入侵者和堕出社会框架的年青无业一代的威胁。影片《步步高》讲述了城市和农村之间的紧张关系。工业国家的财富是建立在农民的肩膀之上的，是建立在他们开掘土地的双手之上的。是时候报答农民并改善他们的生活了。繁荣未必带来解放，民主化和言论自由会变得令人非常失望。影片《工厂的一天》展现了大量金钱如何置身于边缘，法律的灰色地带。大规模的剥削劳力的工厂正周游全世界，寻找最廉价的劳动力来尽可能获得最大收益。大多数时候妇女职工都受到剥削，因为她们所 142

得的那点钱仅仅聊胜于无。没人可以令所有人富有而幸福。西方通过剥削世界其它地方而建立起了如今的生活标准。我们西方人生活在我们曾经奴役和剥削过的国家的包围之中。现在其他人主张他们也有权利做同样的事情。所选的影片阐明了这一点，也让你意识到了这一点，这样每个人都可以找到他（她）自己的那扇窗，透过窗户看见并观察那些他（她）可以理解的和想要去理解的。文/卡雷尔·杜德塞克策展人奥地利中国艺术项目共同创始人

ASAP FIlm coordination by Sarah Linder sarah.linder@austrosinoartsprogram.org

OCEANUL MARE Year: 2009 Director: Katharina Copony Lenght: 78min Language: Chinese, Rumanian Subtitles: Chinese and English

大海完成年份:2009 导演: Katharina Copony 时长:78min 语言:中英字幕: 中英文字幕

“The rule of the ocean is that big fish eat little fish! The phrase ‘business ocean’ implies that it’s tough and really hard! If you don’t pay attention, you’ll be eaten and will drown! If you’re successful, you’ll glide across the ocean like a triumphant sailboat!”

影片拍摄了三位上世纪九十年代初期移民罗马尼亚布加勒斯特的中国人,跟随他们穿过罗马尼亚的都市,以及他们与座落在城市边缘的、欧洲最大的中国市场的各种联系。通过一个个的章节,它展示了几位主角的日常生活和交易环境,由此讲述了作为“外国人”和“ 异文化人”的感受。

The film center’s on three Chinese people in Bucharest, who migrated there in the early 1990s. It follows their paths through Romania’s metropolis and traces their varying connections with Europe’s largest Chinese market on the periphery of the city. Episode by episode, it accompanies the central characters through the striking contrasts of their daily routines and business milieus, telling a story of what it is like to be foreign and of cultural displacement. Ultimately, the story underscores the challenge to immerse oneself into the unknown while continually reinventing oneself in the process.

参展、获奖情况杜伊斯堡纪录片节最佳德语纪录片奖

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INSIDE AMERICA Year: 2010 Director: Barbara Eder & Constanze Schumann Lenght: 107min Language: English, Spanish Subtitles: Chinese INSIDE AMERICA is a portrait of six High School kids in a small border town in Texas. The American flag is proudly raised at school every morning and the dream of prosperity and freedom is invested in their mind, but the reality is tough; drugs, violence and security at the school gate are a part of the daily routine. The six teenagers fight for their future in between ROTC Class and Home Economics, somehow managing to retain their vitality and dreams. 144

美国内部

完成年份: 2010 导演: Barbara Eder & Constanze Schumann 时长: 107min 语言:英语, 西班牙英语字幕:中文影片根据导演芭芭拉·艾德本人高中时在得克萨斯州布朗斯维尔交换学习的经历改编，以类纪录片的手法和高度戏剧化的情节，真实的展现了边陲小城中六名高中生闭塞乏味的生活，沉迷毒品与暴力的青春期，以及他们形态各异却无一例外破灭的梦想。在她充满人情味的镜头中，我们得以与这个美墨边境上构成复杂的贫穷移民社群共同经历他们的迷茫、痛苦、失落、绝望，并由此发现、质疑当代美国社会和美国梦背后亟待填补的巨大空洞。

EVERY SEVENTH PERSON Year: 2006 Director: Elke Groen & Ina Ivanceanu Lenght: 75min Language: Mandarin, Naxi Subtitles: Chinese Each and every 7th person on earth is living in a Chinese village. The film directors Elke Groen and Ina Ivanceanu have portrayed Chinese life in the 3 different villages- Beisuzha, San Yuan und Jiangjiazhai, between 2002& 2005. During that time interviews with the villagers were accomplished and the everyday life of the villagers was documented with cameras. Not only Elke Groen was filming, but also the villagers were involved in the filming process, shooting short films about their hopes& dreams. The concept of those short films, the cinematographic work and the editing was created by farmers, youths, and factory workers. It is those people who created the Film Every 7th person.

步步高

完成年份: 2006 导演: Elke Groen & Ina Ivanceanu 时长: 75min 语言: 中英文字幕: 中英文世界上每七个人中就有一个生活在中国的农村。导演纪录了三个中国的村落在2002年到2005年之间的生活片段。他们在村子里做了大量的访谈，拍摄了村民们的日常生活。同时，村民们也自己用摄影机拍摄了纪录他们梦想和愿望的小短片。这些小短片的主题，拍摄和剪辑都是由农民，工人和年轻人自己完成的。他们共同成就了这部电影。 145

FOLLOW ME Year: 2010 Director: Johannes Hammel Lenght: 109min Language: German Subtitles: Chinese

跟着我完成年份:2010 导演: Johannes Hammel 时长:109 min 语言:德语字幕:中文字幕

先锋影人哈默尔把作为叙事主体的黑白35毫米电影与自己儿时和父亲拍摄的彩色超8毫米家庭录像以非线性方式接合在一起：在灰暗的黑白影像中，导演通过一个被回忆、幻觉和恐惧折磨的女人的意识流，展现了一个在痛苦和封闭中分崩离析的四口之家；鲜艳的彩色影像则记录了导演快乐的童年。前者似乎是影片的现实，而后者与之平行，成为前者理想家庭生活的投射。此外，影片的个人化风格和松散结构有意模糊现实与梦境的界限，使观影者可以任意改变他对真实与虚幻的设 A still drama about a broken family. One of many. 定，从而强调了人类记忆的可塑与不可靠。 (Birgit Kohler) A family of four lives on the edge of a city, in an apartment with a view of the port. The youngest son is tyrannized by his religion teacher, while the oldest has a serious accident. The mother is in a constant state of anxiety, stepping out of line again and again. The father simply cannot cope. They are all battered souls. The everyday order and strictness of the family are succeeded by collapse and disintegration. Follow me finds an unusual form to convey this: the radiant black-and-white Cinemascope images are not put together chronologically and the narrative remains fragmented.

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CORE OF FLOCK Year: 2009 Director:Barbara Anna Husar Lenght: 62min Language: English Subtitles: Chinese CORE OF FLOCK is documenting the process DATA EXCHANGE of Barbara Anna Husar. The austrian artist owns a flock of goats in the desert of Sinai (Egypt). She is collecting sun dried umbilical cords from her goats. An old bedouin woman is taking care of her flock, as well as other women inside of the mountains, who live a traditional nomadic life are collecting umbilical cords for the artist. These cords are transporting information between times, cultures, existing and non existing. Husar is in touch with this tribe more than 16 years. Her special way of interacting is documented in an experimental way. CORE OF FLOCK reflects the flow of information and the coordinates of digital society. Tuned to real(analog)interconnection this film is transporting DATA EXCHANGE between archaic beat and our system of values. The final act of Data Exchange will be a hammock made out of umbilical cords.

羊群之心完成年份:2009

导演: Barbara Anna Husar 时长:62 min 语言:英文字幕: 中英文字幕《羊群之心》是奥地利多媒体艺术家芭芭拉·胡萨尔创作中的艺术项目“数据交换过程”的一部分。在片中，女艺术家来到埃及西奈半岛，与游牧的贝都因人生活在一起，影片展现了双方复杂而不断变化的关系。 147

ABENDLAND Year: 2010 Director: Nikolaus Geyrhalter Lenght: 88min Language: English, German Subtitles: Chinese Darkness can help us see things more clearly. In Abendland, Nikolaus Geyrhalter undertakes a long associative journey across nighttime Europe. Pulsating service economy and affluent society, the wall of security and exclusion, urban civilization, hedonist Temple of Pleasure, at once inspired and weighed down by history, tradition and high culture. Night work, self-abandon, noise and silence, confusion of tongues, birth, illness, death and desperate attempts to cross the border. Geyrhalter’s camera and the congenial editing by Wolfgang Widerhofer create a compelling film essay about one continent and the principle of the West. What enables this continents privileged life is exclusivity, restricting enjoyment of the benefits, and limiting participation, for the simple reason that the available resources wouldn`t be sufficient otherwise. That`s why this paradise is sealed off by an insurmountable electrified fence. Whoever lives in paradise must be prepared to protect it. A film about Europe in the early 21st century. 148

我们每日的面包

夜晚的世界

完成年份: 2010 导演: Nikolaus Geyrhalter 时长: 88min 语言:英语、德语字幕:中文字幕影片是对傍晚欧洲不同地域以及人群生活的真实纪录。浮华躁动、享乐主义、繁荣、高度城市化，这一切都与城市的历史、传统以及文化息息相连。参展、获奖情况奥地利对角线电影节最佳纪录片艺术剪辑奖

OUR DAILY BREAD Year: 2005 Director: Nikolaus Geyrhalter Lenght: 92min Language: English, German Subtitles: Chinese The film depicts how modern food production companies employ technology to maximize efficiency, consumer safety and profit. It consists mainly of actual working situations without voice-over narration or interviews as the director tries to let viewers form their own opinion on the subject. The names of the companies where the footage was filmed are purposely not shown. The director’s goal is to provide a realistic view on the internal workings of multiple food production companies in our modern society.

完成年份: 2005 导演: Nikolaus Geyrhalter 时长: 92min 语言:英语、德语字幕:中文字幕导演用了两年时间，辗转于欧洲各国的大食品生产基地和工厂，拍摄了这部影片。他向我们展示了一个日常生活背面的关于食物的世界，在欧洲高度现代化的农业和畜牧业生产流水线下，一切有别于人们印象中的田园牧歌或是拖泥带水。事实上，这个世界高速，精确，冷静，整齐，它被各种各样的生产流水线、电脑、机器人、大机器以及我们——人所引导。无论是在农场，养殖场，还是在屠宰场，几乎每一项细小的操作都会伴随一种相应的机器，其分工细致令人叹为观止。影片极其详尽地展示了这些千奇百怪的机器是如何迅速准确地完成指令，而人被置于某种和机器同等的地位。 149

SOCIALISM FAILED, CAPITALISM IS BANKRUPT. WHAT COMES NEXT? Year: 2010 Director: Oliver Ressler Lenght: 19 minutes Language:English & German Subtitles: Chinese Ressler’s recent film “Socialism Failed, Capitalism is Bankrupt. What comes Next?” focuses on the political and economic situation in the Republic of Armenia, one of the successor states of the Soviet Union. The film was recorded in summer 2010 in Yerevan’s largest bazaar, called “Bangladesh”. Every day more than 1000 people try to survive as traders in the “Bangladesh” bazaar, where an average vendor does not earn more than 100 to 250 Euros per month. In the film, the market’s traders talk about their struggles to survive during crises in a post-socialist state that closed most Soviet-era factories and dissolved social safety nets. The market’s traders, primarily former factory-workers, describe how their living conditions worsened after the end of the Soviet Union; they speak about their hopes and expectations for social change. While they live in misery, a small but highly influential class of corrupt politicians and super-rich oligarchs team up with international corporations in order to fill their pockets with profits from transferring state property and licenses for mining. 150

SOCIALISM FAILED, CAPITALISM IS BANKRUPT. WHAT COMES NEXT? 完成年份: 导演: Oliver Ressler 时长: 19 min 语言: 英语、德语字幕: 中文字幕雷斯勒最新的电影《社会主义失败了,资本主义破产了，接下来是什么？》的重点是在亚美尼亚共和国,苏联的继承国之一的政治和经济形势。这部影片记录在2010年夏天在埃里温的最大市场——“孟加拉”的情形。每天有超过1000人试图在“孟加拉”集市谋生,在那里没有人的月平均收入超过100至250欧元。在影片中,市场的交易者谈论他们求生过程中经历的一个后社会主义国家的危机,最封闭的苏联时代的工厂,已解散社会安全网。市场的交易者,主要是以前的工厂工人,影片描述他们因苏联的解体而恶化的生活条件,他们的希望和对社会变革的期望。

KAFKANISTAN - Tourism to conflict zones Year: 2009 Director: Lukas Birk Lenght: 52 minutes Language: English & German Subtitles: Chinese Kafkanistan – is a world created by Austrian multimedia artist Lukas Birk and Sean Foley. It explores present day tourism to conflict zones in Afghanistan and neighboring countries. The name Kafkanistan was inspired by Kafka’s The Castle, a book whose protagonist journeys through a world unknown to him, full of rumors and misleading stories. He’s never sure whom to trust or what to believe in.

卡夫卡国一日游完成年份:2009 导演:Lukas Birk 时长:52min 语言:英语、德语字幕:中文字幕

卡夫卡国是奥地利多媒体艺术家 Lukas Birk和爱尔兰人种志学者Sean Foley所创造的世界。他们通过现今的旅行探索阿富汗这个赋有争议的地区,以及周边的国家,卡夫卡国的灵感来源于卡夫卡的小说《城堡》,书中的主人公在他完全不了解的世界中旅行,其中充满幽默和令人误解的故事。他从不知道应该去信任谁或是相信什么。 151

Special Feature Salzburg in China Salzburg - China Residences 萨尔茨堡——中国居留交流计划

The comprehensive studio-exchange programme organised by the Province of Salzburg has been extended to China for the past three years. Since the 1980s, many grants and scholarships have been available to artists from Salzburg to spend periods abroad. They can apply for studio residences of one to three months in Italy, Paris (Salzburg has a studio of its own in the Cité des Arts), Budapest, Warsaw, Vilnius, the USA or Mexico. In addition, since 2009 the Province of Salzburg has organised an artists’ exchange with various partners in Beijing and Shanghai. These activities started with the painter and fine art photographer Wang Jixin, who, after being introduced to me in Beijing, immediately showed great interest in coming to Salzburg, offering in exchange to find and finance accommodation in Beijing for Austrian artists. He has already made two visits to our guest studio in the Salzburg Künstlerhaus (“artist’s house”), and twice organised a suitable apartment in an art centre in the north of Beijing for Salzburg artists. In 2010, Karla Spiluttini and Moira Zoitl spent two months there; this year was the turn of the young painter Claudia Bauer, who was also allowed to work in Wang Jixin’s fine spacious studio. Also in 2010, Salzburg painter Georg Bernsteiner lived and worked in Shanghai with the young artist Yang Jiwen, who in 152

exchange spent two months in Austria. This autumn, fine art photographer Patrick Schaudy was also in Beijing – an exchange we organised with the young painter Yang Liming, who had spent time this summer in the Salzburg live-in studio and taken part in the “Saltworks” symposium organised by the Galerie im Traklhaus. Besides this direct exchange with individual artists, we have been collaborating since 2010 with the HuanTie Times Art Museum, which includes an Academy of Art with a large number of studios. Christa Kempf and Anja Hitzenberger, the first Salzburg artists to take advantage of this collaboration, are currently (September/October 2011) occupying a studio each in this art centre. In exchange, we are expecting a Chinese artist to visit Salzburg, from December 2011. Our exchange programme is to be continued next year, offering further three Salzburg artists the opportunity of spending a period in Beijing. The closing date for applications is the end of February; in March, a panel of experts will decide who is to travel to China. Dietgard Grimmer Responsible for the Fine Arts Section of the Salzburg Regional Government

由萨尔茨堡州组织的综合工作室交流计划在过去的三年里已经延伸到了中国。自20世纪80年代以来，萨尔茨堡的艺术家们可以获得许多补助金和奖学金以便出国待一段时间。他们可以申请在意大利、巴黎（萨尔茨堡在艺术城中有个自己的工作室）、布达佩斯、华沙、维尔纽斯、美国或墨西哥一到三个月的工作室居留。此外，自2009年以来萨尔茨堡州已经组织了同北京与上海的各方面的合作伙伴进行的艺术家交流。这些活动始于身为画家和艺术摄影师的王霁昕，他在经人介绍于北京与我相识之后，立刻表现出对前往萨尔茨堡的极大兴趣，提出将寻求为奥地利艺术家在北京负担膳宿经费作为交换。他已经在我们于萨尔茨堡艺术家之家的待客工作室作客了两次，并且在北京北部的一个艺术中心两次安排了合适的公寓接待萨尔茨堡的艺术家们。2010年，卡拉·斯皮鲁迪尼和莫伊拉·佐伊特尔在那里待了两个月；今年轮到了年轻的画家克劳迪奥·鲍尔，她也被允许在王霁昕宽敞的工作室工作。也是在2010年，萨尔茨堡画家格奥尔格·

伯恩施泰纳同年轻的艺术家杨纪文在上海生活和工作，杨纪文也被交流到奥地利工作了两个月。今秋，艺术摄影师帕特里克·绍迪也在北京——由我们安排的与年轻画家杨黎明的互换交流。杨黎明与今夏寄宿在萨尔茨堡的工作室，并参与了由托克豪斯画廊组织的“盐厂”讨论会。除了单独艺术家的直接交换，我们从 2010年开始已同包含一个拥有大量工作室的艺术学院的环铁时代美术馆合作。克丽丝塔·肯芙和阿尼娅·希岑伯格，作为第一批享用此合作益处的萨尔茨堡艺术家，她们目前（2011年9月/10月）正在此艺术中心各自居于一个工作室内。作为交换，我们期待一位中国艺术家从2011 年12月开始到萨尔茨堡作客。我们的交流计划明年也将继续，将再为三名萨尔茨堡艺术家提供在北京居留一段时间的机会。申请的截止日期为二月底。三月份，一个专家小组将决定前往中国的人选。迪特加德·格里默萨尔茨堡地方政府美术部负责人 153

Anja Hitzenberger

阿尼娅·希岑伯格

Christa Kempf

克丽丝塔·肯芙

Work in progress Beijing: Food and what people put into their bodies has been interesting to me for quite a while. The work of authors Eric Schlosser (“Fast Food Nation”) and Michael Pollan (“In Defense of Food”), who write about the way the western society deals with food and eating habits, inspires me. This series, a work in progress created here in Beijing, is a study on the chinese approach of visually presenting and selling Fast Food.

北京的工作过程：在相当长的一段时间里，食品以及人们输送进身体里的东西很令我感兴趣。埃里克·施洛瑟（《快餐王国》）以及迈克尔·博兰（《捍卫食品》）这些作家的作品都写到了西方社会是如何对待食品和饮食习惯的，这给了我灵感。在北京这里创作的这一系列进行中的作品，是关于中国形象地展示以及售卖快餐方式的研究。

Work in progress Beijing: In my recent work in Beijing I have been dealing with wide open places and the gathering of people. Beijing is a city where everything is changing very quickly and people are moving constantly. I would call the theme I’m working on during my residency “steady movement”.

北京的工作过程：我在模拟摄影领域工作，大部分时候是用针孔照相机拍照。光线穿过一个极小的孔洞使胶片曝光，没有镜片。

In addition to exploring food and how it can affect people’s lives, this work melts in with my ongoing project “The Body and Space,” where I photograph people of different builds, sizes and backgrounds in architectural surroundings. Anja Hitzenberger is a photographer, filmmaker and video artist whose work focuses on the body and its relationship to architecture and space.

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除了探索食品及其如何影响人们的生活，这个作品也汇入了我的进行中的计划“身体与空间”。在这个计划中我拍摄了不同体形、尺寸、背景的人在建筑环境之中的照片。阿尼娅·希岑伯格是一位照相师、电影导演和录像艺术家，她的作品集中研究身体以及它同建筑和空间的关系。

I work in the field of analogue photography and mostly the photos are taken with a pinhole camera. The light goes through a very little hole, without a lens, and exposes the film. Christa Kempf born in Salzburg/A 1966, lives and works in Puchenau, Austria. Studied Sculpture at the University of Art and Industrial Design in Linz, Austria and at the International Summer Academy of Fine Arts Salzburg, Austria. Grants and Residency in Germany, Sardinia, Italy and China.

在我最近于北京的工作中，我已在处理开阔地和聚集的人群。北京是个一切都十分迅速地变化的城市，这里的人们不断流动。我想把我在实习期间工作的主题称为“稳定的流动”。克丽丝塔·肯芙1966年出生于奥地利萨尔茨堡，如今在奥地利普切诺生活和工作。她曾在奥地利林茨艺术与工业设计大学以及萨尔茨堡国际夏季艺术学院学习雕塑。受补助在德国、意大利撒丁岛和中国实习。

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Special Feature Indonesia Austro Indonesian Arts Program Residency in Yogyakarta SewonArtSpace ToKnowTheUnkown Exhibition with collaborations by: Arya Sukapura & Karel Dudesek Baskoro Latu & Lukas Birk Nurul Hayat â&#x20AC;&#x153;Acilâ&#x20AC;? & Marbod Fritsch

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AIAP is founded by Lukas Birk and Karel Dudesek. AIAP is a non profit private run art foundation. The primary use of the AIAP house is dedicated for commissioned works and projects. The AIAP house is located in South Yogyakarta, in Sewon, Bantul, 10 minutes from the city center. AIAP hosts the annual AIR Program, artist in residency program of the Austrian Federal Ministry of Art, Culture and Education. Two times a year, 1 artist will work for 3 months in the SewonArtSpace and will be accommodated in the guest rooms of the AIAP house. AIAP hosts the SewonArtSpace, an indoor space of 120m2 and a outdoor space of 100 m2, which are dedicated to exhibitions and studio space with attached guest-rooms. The SewonArtSpace will host selected artists and artist project from Indonesia, Austria and Europe and make them accessible to the public. The artworks themselves, can be multidisciplinary touching areas of visual arts, technology, science, craft, music and environment. SewonArtSpace is a subsidiary of AIAP, director and curator of SewonArtSpace is Dya Soemarno. AIAP mission statement: AIAP has an special interest focus on the interplay between man and nature. Artworks dealing with this subject will be preferred. Subject areas may involve cooperations with botanists, agriculture indoor and outdoor, plants and objects, Land art, integration of build and grown, manmade and natural grown objects . We can imagine that nature is a friend of men, we use nature as food as nature sees men as food, men is part of nature. Still this relation is crucial and causes if misunderstood a lot of irritations, on the other hand nature stands also for an emotional and romantic view of beauty and purity. Nature can heal and also destroy, men vice versa. AIAP tries to address this process with artistic means and methods.

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Programming

AIAP will hold general events, exhibitions, and special interest programming throughout the year. AIAP events programming, publications, and key objectives include: Showcasing recent Indonesian, Austrian and European works of art. Providing resources for interested international and local academics, students the general public in Indonesia, as well as for incoming European and Austrian artists. Producing on-going Austrian AIR Indonesia programming. Holding lectures and workshops. AIAP’s regular programming will be in alignment with organizational goals and objectives. The members of the steering committee will oversee programming in the following areas: Artist in residence program shows and results. Book presentations on literature, philosophy, and theory Environmental studies. Textile design. Film and Video. Fine arts. Interdisciplinary arts. Media art. Music. Performance and installation art. Photography. Public art. Sculpting.

International Advisory Board

AIAP’s international advisory board consists of representatives from organizational partners, legal and finance professionals, and cultural ambassadors from Indonesia, Austria and Europe.

Background

Two members of the AIAP steering committee founded the Austro Sino Arts Program (ASAP), which is based in Beijing, in 2008. Since then ASAP has organized three annual exhibitions in 798 Art district with works by more than 60 contemporary artists from Austria. Yogyakarta is one of the most important centers for contemporary art in South East Asia. Yogyakarta has a long-established art scene and is a historic center of Javanese and Indonesian culture – crafts, visual art, dance, music and architecture. Yogyakarta’s art scene is a grown and living community of artists, designers, street artists, galleries and museums, which is internationally well connected. The historical influence of Javanese culture is unique. From Animism, Hinduism, Buddhism, Islam and Christianity up to modern living forms of society, enriching and influencing the local artists. The intensity of cultural space, people, climate, nature and existing production possibilities are rare to find in such constellation. Certainly this offers enrichment and inspiration for artistic processes.

AIAP programming will generate local and international interest; providing a comprehensive platform for the current contemporary community, and facilitate Indonesian, Austrian and European cultural dialogue.

Austrian Residency Program

The Austrian residency program in cooperation with AIAP is funded by the Austrian Federal Ministry for Culture, Arts and Education and is supported by the Austrian Embassy in Jakarta. Every year, two Austrian artists will live and work in the Sewon Art Space, Yogyakarta, for 3 months, starting 2012 on an individual basis. The Main Goals of AIAP: Facilitating collaboration and discourse between Indonesian Austrian and European artists. AIAP supports the cultural activities of partner organizations within Indonesia, with the purpose of promoting contemporary art of various disciplines. Providing the Yogyakarta community with open access to Austrian and European contemporary arts and culture through a stable venue in which they may engage and build future relationships with Austrian and European artists.

Steering Committee

AIAP is an artist-founded, artist-run, notfor-profit, proactive program. The founding members are Austrian and Indonesian artists with extensive experience in program management, events coordination, Indonesian culture, and Austrian contemporary art, with backgrounds in multiple art mediums. AIAP’s founding members believe in the importance of intercultural dialogue and cooperation. The steering committee is made up of AIAP’s founding members and is responsible for the development of AIAP’s mission, goals, and objectives. The members are: Lukas Birk, AT, Karel Dudesek, AT, Sugiharto Soeleman, ID. Apply for residency at residency@austroindonesianartsprogram.org

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To Know The Unknown Mengenal Yang Tidak Dikenal Introduced SewonArtSpace with a collaboration between 3 Indonesian and 3 Austrian Artists. Phase 1. The inauguration of SewonArtSpace was officiated by His Excellency the Austrian Ambassador to Indonesia, Dr. Klaus WĂślfer and the Austrian Honorary Consul in Yogyakarta Sulaiman Suigiharto. With the opening exhibition of this open art space we are trying to address our entry into this country, which is so foreign and unknown to us, and start to cooperate with locals. Three artists from Indonesia and three artists from Austria (Nurul Hayat â&#x20AC;&#x2DC;Acilâ&#x20AC;&#x2122;, Baskoro Latu, Arya Sukapura Putra, Lukas Birk, Karel Dudesek, Marbod Fritsch) are collaborating in a first art project, experimenting with words, colors, forms, time and space. In comparison to music, film and performance the cooperation in visual arts is rare and unusual. To increase the irritation the collaborating artists themselves do not know each other, nor do they know their works.

for public spaces have been cut out. The motives were not recognizable due to the cutout from a bigger image, which was always a digital print. The cutout has already marks from viral advertisers advertising their own services. Furthermore, these marks have been over-painted by the authorities because of their illegality. These multi-layered images traveled across countries to be once again re-processed by a different personal understanding. 3) Three photographs printed on canvas were captured by the artist during his travels. They represent stages of his understanding and his personal circumstances. These images were selected for their strong iconography and variety of interpretation due to different cultural backgrounds. First, the receiving artist reflects on the given image, then (s)he visually recodes the received image. SewonArtSpace contact: Dyah Soemarno +62 856 267 0177 dyahsoemarno@sewonartspace.org

Three basic methods have been defined as a starting point: 1) Work descriptions of three art works by one artist were translated and given to the collaborating artist without any visual reference. The artist himself translates his own interpretation into a visual form. 2) Three advertisements made by designers 160

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Arya Sukapura, Bandung, Indonesia Personal statement on the collaboration with Karel Dudesek in To Know The Unkown: The art project â&#x20AC;&#x153;To Know The Unknownâ&#x20AC;? is an interesting experience for me. In this process I see two people with different backgrounds meeting each other in a the landscape of a visual territory. There is no information, just pictures of high-rise buildings. By trying to look deeper into these 3 paintings I received, I made collages of green areas on top of these urban environments. This is my effort in communicating a landscape object based on my personal memory about living spaces. 162

Karel Dudesek, Vienna, Austria Personal statement on the collaboration with Arya Sukapura for To Know The Unknown: I see cities as manmade canvases and objects. In my tradition I have been fascinated by traces and designs which the inhabitants draw or mark on walls and streets. In China such a combination represents a strong contrast towards the official design and architecture of the city scape and marks and traces of the inhabitants. Here two worlds collide by meaning and aesthetics. Beside such a man made interplay with his environment, nature is a significant game changer. Either showing us the merciless, or our own illusionary imagination towards plants and animals. 163

Baskoro Latu, Yogyakarta, Indonesia Personal statement to the collaboration with Lukas Birk in To Know The Unknown: I see an image given to me that talks a lot about politics and the history of humans. I rarely use political issues in direct form in my artwork. Therefore I try to see another perspective to each photo given to me. Like the image with rubble of buildings that might have been caused by war. To explore this image I tried to discover the effect of the war for the children. Or the image about a mosque as a religious symbol. How come religion is so misguided in itâ&#x20AC;&#x2122;s momentary ways? Religion is not about God anymore. It is about benefit. 164

Lukas Birk Bregenz, Austria Personal statement on the collaboration with Baskoro Latu for To Know The Unknown: Losing control is a difficult but exciting process in creating work. I tend to be very organized and structured with my projects. The concept of To know the unknown forced me to give up certain controls and allow a collaboration on, to me, unmapped territory. As a traveller I am very often in situations were differences in reflection and interpretation create a temporary or even permanent widening of one owns perception. The artistic system applied in this collaboration forms such an augmentation of comprehension. 165

Nurul Hayat (Acil) Tasikmalaya, Indonesia. Personal statement to the collaboration with Marbod Fritsch in To Know The Unknown There is a difficulty in language. Not only in literal translations but in interpretations too for example in poetry. Out of this interpretation I materialize visual imagery. There is a lot of possibilities to translate these interpretations. They could be video, an installation or a painting. Overall, I conclude it as drama in life. Therefore I use ‘gunungan’ as representation for this drama. In which the beginning and ending of a story appear in one object. I compare it with stories from different places in different visual shapes. The used language is ‘gunungan’ language. 166

Marbod Fritsch Bregenz, Austria. Personal statement on the collaboration with Nurul Hayat for To Know The Unknown I am looking forward to the moment when I finally can see my “double translated” picture. This visual result is a logical and radical continuation of my artwork investigating the precision and potential of misunderstanding of language. 167

Special Feature Off space in Beijing

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BLACKBRIDGEOFF 黑桥OFF空间 Bianca Regl Anna Hofbauer

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黑桥OFF空间

黑桥OFF是一个在中国北京由艺术家组织的非商业空间，由 Anna Hofbauer和Bianca Regl建立和经营。它位于于Bianca Regl的黑桥工作室，每月会邀请一位艺术家策展人用视觉的方式来讨论一个他或她感兴趣的现代议题。策展人被要求不把重点放在单一的立场上，但试图找到能产生强烈现代艺术形状的不同作品间的联系。黑桥OFF空间试图远离为市场设计的艺术，而更关注于年轻的和职业生涯中期的艺术家，以及进行创作之前和创作之中的他们。 170

BLACKBRIDGE OFFSPACE

Blackbridge Off used to be an artist-run, non-commercial space in Beijing, China, initiated and run by Anna Hofbauer and Bianca Regl. Located in Bianca Regl‘s studio in Heiqiao, it invited artistcurators to visually discuss a contemporary issue of his/her interest. Curators were asked not to focus on singular positions but find linkage between works which designate strong forms of contemporary art production. The main emphasis of Blackbridge Off was to turn away from artworks designed for the market and question notions relevant to young and mid-career artists before and during their work. 171

马葭 Ma Jia / 张新军 Zhang Xin Jun/ Anna Hofbauer /刘文涛 Liu Wentao/王光乐 Wang Guangle/ 杨心广 Yang Xin Guang/ 张新军 Zhang Xin Jun/ 闫冰 Yan Bing/ 张新军 Zhang Xin Jun/ Anna Hofbauer/ Martin Wehmer/ Eddie Weki/ 王光乐 Wang Guangle

是与否 / 一个似另一个 - 特殊的笔画 YES AND NO / ONE IS LIKE THE OTHER SPACIAL STROKES

刘文涛 Liu Wentao/ 马葭 Ma Jia/ 王光乐 Wang Guangle/ Martin Wehmer/ Eddie Weki/ 闫冰 Yan Bing/ 杨心广 Yang Xin Guang/ 张新军 Zhang Xin Jun/ Anna Hofbauer

第二眼. (再)架构现实 At Second Sight.(Re)constructing Reality

戴亮 Dai Liang/ 何意达 He Yida/ 简策 Jian Ce/ 梁硕 Liang Shuo/ 吕松 Lv Song/ Bianca Regl/原晓光 Yuan Xiaoguang 策展人: 简策 curated by Jian Ce

策展人curated by Anna Hofbauer 最低限度 THE LOWEST POINT

刘晓辉 Liu Xiaohui / 温凌 Wen Ling

苏文祥 Su Wenxiang / 王思顺 Wang Sishun / 徐渠 Xu Qu

策展人: 王光乐 curated by Wang Guangle

策展人: 王思顺 curated by Wang Sishun

爸爸、妈妈和恰切叙事 DAD, MUM AND APPROPRIATE NARRATIVES

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Eddie Weki

Anna Hofbauer /刘文涛 Liu Wentao/ 王光乐 Wang Guangle

温凌 Wen Ling

刘晓辉 Liu Xiaohui

王思顺 Wang Sishun

梁硕 Liang Shuo

何意达 He Yida

苏文祥 Su Wenxiang

温凌 Wen Ling / 刘晓辉 Liu Xiaohui 徐渠 Xu Qu / 苏文祥 Su Wenxiang

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黑桥OFF空间 BLACKBRIDGE OFFSPACE

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Artist’s curiculum vitae 艺术家简历 178

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Agus Heru

Irene Dapunt

born 1977 in Yogyakarta, Indonesia.

born: 8.6.1963 in Innsbruck, Austria 1991 graduated in painting University of Applied art, Vienna Lives and works in Vienna

Studied Art and Anthropology at Gadjah Mada University and Indonesian Institute of Art, Yogyakarta, Indonesia.He is a lecturer at the Indonesian Institute of Art at the Faculty of Fine Art in Surakarta, Indonesia. Exhibitions 2011 Young Art Taipei 2011, Taiwan Photography Exhibition ‘Angsana Party’, SIngapore Visual Art Exhibition ‘House of Markisa’, Yogyakarta, Indonesia 2010 2009

Visual Art Exhibition ‘Art Jog’, Yogyakarta, Indonesia Visual Art Exhibition `Reunion ` FSMR Indonesian Institute of Art, Yogyakarta, Indonesia Visual Art Exhibition ‘Sue Ora Jamu’, Solo, Indonesia Visual Art Exhibition ‘Pesona Sumatera Barat’, Padang, Indonesia

Elisabeth Czihak Born 1966, lives in Vienna since 2000. Studied at the University of Arts in Linz/A and the Berlin University of the Arts, working as artist in the fields of drawing and photography. Awards / grants: 2011 Acknowledgement at the European Architectural Photography Prize, Frankfurt; 2010/11 Beijing Scholarship awarded by the Ministry of Culture; 2008 Warsaw Scholarship awarded by the Province of Salzburg; 2007 Paris Scholarship awarded by the Province of Salzburg; 2000 Talent Award by the Province of Upper Austria; 1999 1st Prize awarded by the Federal Chancellery at the International Ceramics Biennial, Kapfenberg/A. Since 1989 numerous solo and group exhibitions, amongst others A vol d’artiste, Traklhaus, Salzburg; Espace Monterey, Luxembourg (2011); Fermé au Public, Galerie Jeune Création, Paris (2011); Open Art, summerstage, Wien (2011); In Between, Deutsches Architekturmuseum, Frankfurt; Architekturzentrum, Kassel (2011); Fröhlich am Bau, Galerie OÖ Kunstverein, Linz (2010); Believe in Doubt, Österreichisches Kulturforum, Bratislava/SK (2010); Ich sehe Wölfe, anika handelt Galerie, Wien (2010); Places and Spaces, Arendt & Medernach, Luxembourg (2009/10); Einführung in die Kunstgeschichte VI, Landesgalerie, Linz (2009); formuliert, Lentos Kunstmuseum, Linz/A (2009); unORTnung V, Ankerbrotfabrik, Wien (2009); Die Entstellung des Augenblicks, Galerie Heike Curtze, Wien (2009); Linz.Blick, Lentos Kunstmuseum, Linz (2009); Lichtspuren, Lentos Kunstmuseum, Linz (2008); Maß nehmen, Österreichisches Kulturforum, Warschau/PL (2008); Dynamisch–Intuitiv–Informel, Salzburg Museum, Salzburg (2009); Die Wand, Künstlerhaus, Salzburg (2007) 180

Exhibitions 2011 Auch die Magie macht Mittagspause / Also magic makes lunch time- Gallery Rhomberg, Innsbruck 2010 Hinter den Spiegeln / Behind the mirrors, ORF Landesstudio Tyrol, Innsbruck Museum of Art, Ningbo, China (with Richard Hoeck and Hans Scharnagl) 2009 Zauber der Zeichnung-La Magia del Disegno, Drawings in Austria 1946-2009, Gallery at the Lanserhaus Eppan 2008 Gallery Rhomberg-Innsbruck, Tyrol 2007 Rouge.Noir -Irene Dapunt: Tiroler Landesmuseum, Innsbruck,Tyrol Menschenbilder-Gallery 422 Gmunden 2005 Lostinthefunhouse- Irene Dapunt: Steirischer Herbst 2005, Graz, Styria 2004 Le je et le moi: Gallery of the city of Schwaz (Martin Janda), Tyrol 2003 Me and you: Kunstpavillon, Innsbruck,Tyrol 2002 Enactments of the Self: Enactments Stage,Steirischer Herbst 2002, Graz, Styria Vienna Contemporary 2-Wonderwomen; Christies Wien Desire: Ursula Blickle Stiftung, Kraichtal & Galleria d´ Arte Moderna, Bologna 2001 Days of Hope: Frame Program, 49th Venice Biennial, Ausgesucht/ Selected: Gallery Krinzinger, Vienna Zauber der Zeichnung / Charm of the drawing: works on paper from the collection of the Rupertinum Museum, Gallery Traklhaus Salzburg 2000 Sammlerkabinett: Gallery Krinzinger, Salzburg Irene Dapunt, Ulrike Lienbacher: Galerie Gallery,Vienna New austrian Spotlight. Contemporary Art from Austria: Marmara University Fine Arts Faculty, Istanbul 1998 collezione tirolo -99 Positionen zeitgenössischer Kunst: Complesso Monumentale di San Michele a Ripa & Forum Austriaco di Cultura a Roma, Rome The collection of 1000 Projects: Villa Medici, Rome 1997 Form and function of the drawing today: Art Frankfurt, Frankfurt am Main, Germany 1996 Irene Dapunt, Elmar Trenkwalder: Gallery Krinzinger, Vienna Irene Dapunt: Gallery Tanja Rumpff, Amsterdam 1995 Irene Dapunt, Galerie Prisma, Bolzano, Italy 1992 12 Tyroleans artists: Künstlerhaus Palais Thurn und Taxis, Bregenz 1989 60 days Austrian museum of the 21th century: University of Applied Art, Vienna Junge Szene / Recent scene 89: Secesssion , Vienna 1988 Born in Tirol: Galerie Krinzinger, Innsbruck,Tyrol

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MICHAEL DOWNS Born Skipton, England, 26 December 1953 Bath Academy of Art, Corsham, England, 1972-76 UNSW College of Fine Arts, Sydney, Australia, 1992-94 University of Newcastle, Australia 2011-2013 Living and working in Sydney, Australia 1991- 2011

B.A. (Hons) M.F.A. (Hons) First Class PhD Research

Fellowships and awards APA Research Award 2010-2013 NAS Travel Scholarship (Barcelona) 2000 Churchill Fellowship (to work in London and New York) 1996-97 Australia Council Grant (Paris to attend La Ville) 1994 Solo shows Twenty-nine solo shows between 1977 and 2011 including: 2011 China Works, Art Atrium Gallery, Bondi Junction, Sydney 2011 SLOT Gallery, Redfern, Sydney 2010 China Works, New Sun Art Museum, Beijing, China 2006 Soundscapes, Seymour Centre, Sydney 2006 New Constructions, Defiance Gallery, Enmore, Sydney

Georg Frauenschuh 1979 1999 - 2004 2002 - 2003 2005 2006 2007 2010 2011

geb. in Salzburg Akademie der bildenden Künste Wien (Klasse Damisch) National Academy for Fine Arts, Sofia Preis des Theodor Körner Fonds Frankfurtstipendium der Stadt Wien Projektstipendium für Nanjing (China) durch das bmukk Konzeption und Gestaltung des Franz Braumann-Raumes in Köstendorf b. Salzburg Projektstipendium für Beijing (China) durch das bmukk

Solo exhibitions 2009 Fenster C., Wien Kunstforum Unterland, Neumarkt, Italien “Taktfest”, fea (Forum Experimentelle Architektur), MQ, Wien 2007 “Aktfest”, fea (Forum Experimentelle Architektur), MQ, Wien 2006 Ausstellungshalle, Frankfurt/ Main gugler forum melk 182

2005 2004 2003

Plattform - Raum für Kunst, Wien “Alhambra”, Swingr - raumaufzeit, Wien “HAUS”, Galerie Pro Arte, Hallein (mit Gerlind Zeilner) “Nullsumme. Illusion als Prozess”, galerie5020., Salzburg Black Dragon Society, Wien “die geschichte ist mir weggelaufen”, Galerie der Stadt Wien “Alte Schmiede” “Big in Alcatraz”, Galerie im Alcatraz, Hallein “galerei malerie“, Kunstmagazin Hell, Bruck/Mur “sofiatage- buch“, ATA Center/ Institute for Contemporary Art, Sofia

Bernhard GWIGGNER 1963 Born in Wörgl. Lives and works in Salzburg, (A). 1981–87 Art education studies at the Academy “Mozarteum”, Salzburg, (A) 1989-94 Sculpture studies at the Academy of Fine Arts, Vienna, (A) 1989 Symposium at the power station, Riedersbach, (A) 1993 Max Weiler-Prize since 1994 Teacher for sculture at the University “Mozarteum”, Salzburg, (A) 1997 Symposium at the Salzachdamm, Oberndorf, (A) 2000 Studio Grant, “Cité Internationale des Arts”, Paris, (F) 2002 Artist in Residence at the Luxun Academy of Fine Arts, Shenyang, China 2003 International Symposium „ORTung“, Strobl, Salzburg, (A) 2010 Podium 10-Prize (with Hildegard Fraueneder), Salzburg, (A) Solo exhibitions (selection) 1987 Gallery Eboran, Salzburg, (A) 1992 Gallery Altnöder, Salzburg, (A) 1993 Gallery Carinthia, Klagenfurt, (A) 1994 Gallery Jochum, Feldkirch, (A) 1995 Inn-Gallery, Kufstein, (A) 1996 Gallery 5020, Salzburg, “strange”, (A) 1998 Gallery at the Andechshof, Innsbruck, “1stHelp-Art”, (A) 2001 New Gallery, Gmünd, “Special Section…”, (A) 2002 Kunstverein, Salzburg, „Paris Daily“, (A) Luxun Academy of Fine Arts, Shenyang, (with Markus Krön), China 2004 Museum of Modern Art – Foundation Wörlen, Passau, Germany, (with Ferdinand Ruef), (G) 2006 Artspace St. Virgil, Salzburg, “Peripheral necessities”, (A) 2007 Gallery Eboran, Salzburg, “Zhong Guo”, (A) 2009 Deutschvilla, Strobl, “Kamikaze” (with Eva Musil + Peter Haas), (A) 2010 Galleries of the city of Salzburg – Museum pavilion, Salzburg, “Thorak…???”, (A)

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Richard Hoeck, born 10.10.1965 in Hall in Tirol, Austria studied at the University of Applied arts, class Oswald Oberhuber, Vienna 1994 PS1 New York, USA 2000 Blinky Palermo award - Gallery for contemporary art, Leipzig, Germany Exhibitions: (selection) 2010 Delivery in the Rear, ORF Landesstudio-Tirol, Austria 2010 Original- Functional, Vienna Art Foundation 2009 Top Ten Allegories, Gallery Francesca Pia, Zuerich, 2009 Cave Painting, PSM Gallery Berlin und Greshams Ghost New York, 2009 No Comedy, No tragedy...(organised by Bob Nickas), Light Industry, New York 2008 Go West, Kunsthalle Krems, Austria 2008 Camouflage on a Mannequin, KOER- Wien, Austria 2007 Carte Blanche, Elisabeth Dee Gallery, New York, USA 2007 Social Sculpture, Cultural Design, Michael Hall Contemporary, Vienna, Austria

Die Entzückungsspitze der Infogenese / eine Datenorgie / Schloss Amberg Feldkirch / A Soloshow für 11 Pfeilgiftfrösche und tote Poolmauerasseln / Kuranstalt Montafon / Schruns / A I am the medium / Galerie Konzett / Wien / Meine zweite Herde / Galerie Vorstadt 6 / Feldkirch / A Kunststrom / Ortner 2 / Judith Ortner / Wien / A 2009/ Hintergrundrauschen / Galerie Vorstadt 6 / Feldkirch / A Medulla Ossium und Ziegenbock / Ortner 2 / Judith Ortner / Wien / A Data Exchange - Phase 09 / Atelier 35 / Bukarest / RO Big Fisch - am Ursprung des Kunststroms / Kunst.Box / Bregenz / A 2008/ My second herd / Copenhagen Office / Kopenhagen / DK Data Exchange - MAK-nite / Museum für angewandte Kunst / Wien / A 2007/ Data Exchange / Kunstraum Englaenderbau / Vaduz / FL 2006/ Zusammenschnallungen / Theater Kosmos / Bregenz / A 2005/ Die Meteoritenfalle / Schloss Gayenhofen / Bludenz / A Degravitation / RBK Liechtenstein / Vaduz / FL Boxes / Vitrine 0-port / Q21 / Wien / A 2004/ Gedanken zwischen den Landschaften / Palais Liechtenstein / Feldkirch / A Landschaften zwischen den Gedanken / RBK Liechtenstein / Vaduz / FL Synaptic Jumps / Palais Schey / Wien / A 2003/ Landschaften zwischen den Gedanken / Galerie Kandinsky / Wien / A Galaktische Lich twüsten / Lichtwellenbad / Wien / A 2002/ Galaktische Lichtwüsten / Galerie Kandinsky / Wien / A Brachland / Lichtwellenbad / Wien / A 2001/ Brachland / Bildungshaus Batschuns / Vorarlberg / A

Anna Barbara Husar 1975 Feldkirch / A 1995 Hochschule für angewandte Kunst / Freie Graphik / Prof. Mario Terzic / Wien / A 1998/99 Gerrit Rietveld Academy / Erasmusstipendium / Amsterdam / NL School of visual Arts / Halfscholarship / New York / US 2000 Diplom / Universität für angewandte Kunst / Wien / A lebt und arbeitet als freischaffende Künstlerin in Wien und Nuweiba / EG Preise, Stipendien, Residencies 2007 Staatsstipendium für bildende Kunst / Österreich / A 2008 Silvrettatelier, Bielerhöhe / Artist in residence / A CPH AIR, Kopenhagen / Artist in residence / CPH 2009 Hubert Berchtold Preis / Bregenz / A Fundacion Bilbao Arte / Bilbao / Artist in residence / ES 2010 StageBACK / Shanghai / Artist in Residence / CHN Exhibitions 2012/ Knochenzirkus / Naturhistorisches Museum / Wien / A 2011/ Hot Dock / ORF Funkhaus / Dornbirn / A Dolby Surround / Galeie Eugen Lendl / Graz / A Intakt / Ortner2 / Judith Ortner / Wien / ( Exchange with Kunsthaus Bregenz ) 2010/ Cord of Rexa / StageBack / Shanghai / CHN Pink Carrots / Bustani ya Tushikamane / Morogoro / Tansania / TZ Flock of Spiralgalaxies / African Comics Studio / the Godown Artcenter / Nairobi/ KE 184

Kel O’Neill & Eline Jongsma Kel O’Neill (US) & Eline Jongsma (NL) are a cross-Atlantic filmmaking team. Their approach is solidly DoIt-Yourself: they work as a two-person crew, and use small, low-cost camera equipment. They first collaborated in 2006 while attending an artist residency in Prishtine, Kosovo. While there, they made and exhibited a new media installation shot partially on the largest US-led military base in Europe. Kel and Eline explore the boundaries between visual art, film and journalism. Their pieces have shown at galleries and art events (Apex Art, New York; The International Architecture Biennale Rotterdam), in screenings at film festivals in the US and Europe (Los Angeles Film Festival, Los Angeles; IDFA, Amsterdam;), as well as on television (VPRO, NOS Journaal, VARA). They are also Global Correspondents for the VJ Movement, an international videojournalism agency founded by the Dutch journalist Thomas Loudon, and US Correspondents for “Metropolis TV”, a documentary program produced by VPRO Television. They have received grants and project support from The European Cultural Foundation, The Ford Foundation, The Mondriaan Stichting and numerous other sources. Their work is an attempt to manifest the perspectives of underrepresented individuals and communities; to give viewers a look at the world through the eyes of people whose viewpoints 185

normally get lost in the shuffle. They focus on documenting communities of outsiders, and seek out people who choose to live their lives in opposition to societal norms. Their films and videos investigate displacement, selfdeception and the spiritual impulse. Credites fo Video Installation shown at Chuan Men Exhibition Directed & produced by Eline Jongsma & Kel O’Neill Additional on-site production, Java by Lexy Rambadeta Title design & graphics by Kramer O’Neill Local Indonesia partner: House of Natural Fiber, Yogyakarta

Jan holds a Masters of Arts degree in Theories of Theatre from Copenhagen University. External links: Burma VJ, “Behind the Lens”, interview with Jan Krogsgaard: http://www.irrawaddy.org/article.php?art_id=16307 Burma VJ, behind the making of the movie, Joshua’s Mission: http://rushprint.no/2010/3/burma-vj--joshuas-farlige-reise B-time for Nancy, art video with H. Brahe: http://www.youtube.com/watch?v=NB7fGl9Hvbg TST 12, art video with H. Brahe: http://www.youtube.com/watch?v=cTKpgM-VO_M&feature=mfu_in_order&list=UL Immergrüne Stunde, art video, with S. Käszner: http://www.youtube.com/watch?v=SxuO0hHpJb0&feature=related

Jan Krogsgaard Danish director and video artist Jan Krogsgaard has for almost two decades worked with video as art. His works have been shown around the world, in museums, festivals, galleries and aired on TV-stations. In 2002, Jan Krogsgaard expanded his field of work into art-documentary and documentary film, focusing on two major projects: the “Voices of Khmer Rouge” project together with Thomas Weber Carlsen, and his Burma Film project, ending up as the Oscar nominated and multi award winning movie “ Burma VJ - Reporting from a Closed Country “. “Burma VJ” is a movie on undercover journalism in Burma, with the large demonstrations in Rangoon 2007 September, and the Burmese regimes bloody crackdown of the demonstrations, as the setting of the story. “Burma VJ” has been shown at the most documentary festivals around the world, aired on a significant amount of TV-stations, and used by several national and transnational Human Rights organisations in their work and campaigns, e.g. by the Czechs during their chairmanship of the EU, in their campaign for human rights. “Burma VJ” was made in collaboration with Danish producer Lise Lense-Møller and director Anders Østergaard, who joined the project in 2005. In collaboration with fellow Danish artist Smike Käszner, Jan Krogsgaard has made the art and film work “101 Regrets”, where 101 old Danish people reveal what they regret they did not do in their lives. 101 answers of unrealized dreams, thoughts, possible acts, wishes and hopes. The movie has later been cut up as fillers for TV, and been shown, on and off, between programs on Danish Public Service TV, for 4 years. Smike Käszner and Jan Krogsgaard are this year implementing an international/global “Regrets of Man” project, asking old people around the world the same question “what do you regret you did not do in your life.” Through more than 15 years of traveling, working and living on and off in Southeast Asia, some of Jan’s main focusing has been on issues of communicative diversity and representation of war. 186

Thomas Weber Carlsen Thomas Weber Carlsen is Danish and holds a Bachelor degree in Art History and a Masters degree in Architecture and Industrial Design. His work includes the video documentary “Anger of the Spirits” (2002), featuring the Tampuan people in their plight between animism and globalization. After finishing “Anger of the Spirits”, Thomas Weber Carlsen and Jan Krogsgaard, initiated their “Voices of Khmer Rouge” project. He has been living and working in Cambodia since 1995. Eksternal links: Anger of the Spirits: http://www.angkor.dk/english/filmside.htm Support by Bophana Audiovisual Resource Centre: Kosal Sar, event manager, email: kosal.sar@ bophana.org Voices of Khmer Rouge has been supported by: The Danish Center for Culture and Development, Dansk Metal, Politikens Fond, Danish Film Directors Union, Danish TV & Film Workers Union, The Danish Film Institute’s Video Workshop, The Film Workshop Aarhus, Aarhus Kulturforvaltning.

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Sylvia Kummer 1959 1978 1980-1981 1984-1987 1989-1993 1997-1998 since 2000 2005

born in Vienna studyed History of art and ethnology at the University of Vienna lived and worked in Paris liveed and worked in Canada University of Applied Arts, Vienna, Diploma lived and worked in Australia Adjunct Professor, Webster University Vienna Adjunct Professor, Webster University St. Louis

lives and works in Vienna and Seitzersdorf/ Wolfpassing, Austria

Meta House CO-DIRECTOR/PRODUCER: German journalist Nico Mesterharm directed his first feature-length documentary THE TRIP in the year 2000. It premiered at the Berlinale Film Festival in Berlin. Since then his films focus mostly on social and cultural issues in South-East-Asia, where Mesterharm has been living since 2001. In Phnom Penh/Cambodia he founded his media production company Meta Art Cambodia (2005) and the arts/media/communication center Meta House. In 2006 German State TV WDR aired Nico Mesterharm’s documentary LIFE`S A BEACH on the economic developments of the Cambodian coast, seen through the eyes of a teenage fruit seller. 2008 European Cultural TV ARTE broadcasted THE WIDOWS’ FARM – an insider report about the civil war in the Deep South of Thailand. CO-DIRECTOR/DOP: Mark Hammond has worked as a director, producer and writer of film, television and theatre for the last 20 years. More recently he directed the feature film JOHNNY WAS (UK/ Irish/Danish co-production) starring Vinnie Jones, Samatha Mumba and Patrick Bergin and produced “L’AMOUR CACHE” starring star actresses Isabelle Huppert and Greta Scacchi – which premiered at the 2007 Toronto Film Festival. Mr. Hammond is currently filming a four-part-doc film series on counterfeit medicine (PHARMACIDE) in the Mekong sub-region and prepares the feature film production THIS MAN, THIS WOMAN in Bangkok, Thailand.

Roberta Lima was born in 1974 in Manaus, Brazil. After graduating with a degree in architecture in 2002, she moved to Europe where she now lives. In 2007, after earning a Master’s degree in Fine Arts, she began her PhD studies at the Academy of Fine Arts Vienna. Roberta focuses on her own body as theme for her work and uses various media, such as photographs, video and installations. Additionally she investigates space and appropriates aspects of different places and contexts – from subculture to science, from popular media to historical reference and feminist theory – for producing art and starting discussions on the role of artist and viewer. Website: http://www.robertalima.com Solo Exhibitions 2009 “From Transgression to Transcription” (Stadtgalerie Schwaz, Tyrol) 2008 “Into Pieces” (das weisse haus, Vienna) “6teen Stitches” (Donau Festival, Krems) “Lights Out!” (Kunstraum NOE, Vienna) “Cut it Out!” (Kapelica Gallery, Ljubljana).

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Christine Pellikan 1975 – 1984 I’ve studied stage design at the Academy of Fine Art in Vienna (Austria) and in Munich (Germany). Since 1988 Lectures at the University of Applied Arts, Vienna Since end of 1990 Work and Exhibition programs in Taiwan and China Before, I did papercuttings, using scissors to cut into paper in order to draw on it.

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Ella Raidel Ella Raidel (1970, Austria) is a videoartist and filmmaker. She is showing her work in international exhibitions, videoand film festivals. She was living and working in Berlin (1994-2002) and Taipei (2002-2009). Her Ph.d. Thesis „Subversive Identitäten – Tsai Ming-Liang und seine Filme“ is published 2011 Schüren Verlag. Since 2009 she is tutor at the Art University Linz, Institute for Time Based Media.

Tommy Schneider born 1956 in O.Ö. University for Art. & Industr. Design, Linz< Austria Stadtwerkstatt Linz University for Applied Arts, Vienna Talent price of Upper Austria, 1991 Price of the city of Vienna, 1987 exhibitions and film presentations - selection 2011 musee de arte contemperáneo, Requena, Spain MOMA, Lleida, Spain 2010 welcomeV, WUK, Vienna 2009 Maniége, St. Petersburg, Russia 2006 Kubinhaus Zwickledt, O.Ö. Austrian Cultural Forum Bratislava, Slovakia Arts Institute, Nanjing, China 2005 ENA, Dakar, Senegal Arts Institute, Nanjing, China fotogalerie wien, Vienna Galerie 5020, Salzburg 2004 Cankarjev Dom, Ljubljana, Slovenia Off-Biennale de Dakar, Senegal SundayIn, Vienna 2003 Center Of Visual Arts, St.Petersburg 2002 Galleria Libreria, Tremp, Spain welcome II, WUK, Vienna 190

2001 2000 1999 1998 1997 1996 1993 1992 1988 1987 1986 1985 1983 1982

sat - city after the war - sarajevo welcome, WUK, Vienna Sarajever Winter, Sarajevo, Bosnia ADBA, Damascus, Syria Arabic Cultural Center, Damascus National Museum, Tirana, Albania Austrian filmdays, Graz Adalbert Stifter Galerie, Linz Kunstcanaal, Amsterdam, Netherlands FESPACO, Ouagadougou, Burkina Faso SKC Gallery, Belgrade, Serbia Galerie 5020, Salzburg Diagonale, Salzburg Galerija Skuz, Ljubljana MAK, Wien The Kitchen, New York Europalia, Brussels, Belgium Arte et Scienza, Trieste, Italy int. Videofestival, Tokyo, Japan österr. Filmtage, Wels MOMA, Budapest, Hungary MOMA Palais Liechtenstein, Wien Forum Stadtpark, Graz Stadtkino Wien

Christian Schwarzwald born 1971 Salzburg, Austria Solo exhibitions 2010 2009 2008 2007 2006

BOXED, Derek Eller Gallery, New York SIEBEN:WOLKEN, Accenture Office, Börse Wien Vol.1:DEPARTURE, Bawag Contemporary, Wien Helfant, Rauchsalon. Wien SPIEL, Galerie Krinzinger, Wien UNICAMENTE LA VERDAD, MUCA Roma, Mexico City GOLDEN CAGE, Nina Menocal Gallery, Mexico City Derek Eller Gallery, New York Paolo Deanesi Gallery, Rovereto OFFEN, mit Monika Kapfer, Galerie Royal / München 191

2005 2004 2003 2002 2001 2000 1998 1997 1995 1994 1993 1992 1990

R WIE RÄUBER, CONTACT _Con-43CFC5BE94 \c \s \l Eva Winkeler Galerie / Frankfurt DIE STUMMEN, DIE TAUBEN, DIE BLINDEN, Strabag Kunstforum / Wien NACHBARN, Galerie Krinzinger / Wien GEHEGE, Förderkoje, Art Frankfurt ANTECHAMBER, Derek Eller Gallery, New York FILMOGRAPHIE, Galerie Koch und Kesslau, Berlin HALBE HÖHE, Krinzinger Projekte, Wien ROOMS FULFILLED, Buro Empty, Amsterdam LOBBY, forever and a day Büro, Berlin GET LOST, supersaat, Wien OHNE TITEL (FENCE), mit Lee Taylor, Mülheimer Bunker, Köln WUNSCH, INDIANER ZU WERDEN, Kunstraum Steinhude, Wunstorf FUSSNOTEN UND ANAMORPHOSE, Hospitalhof, Stuttgart HINTERGRÜNDE/REMAKES, Kulturverein/Museumsverein, Werfen ILLUMINATION VS. ILLUSTRATION, Foerderkoje, Inh. Ralf Schmitt, Berlin GEISTERBAHN, Galerie Krinzinger, Wien Galerie Schlehn, Neustadt Galerie im Alcatraz, Int. Sommerakademie, Hallein ZEICHNUNGEN, Galerie Krinzinger Projekt Raum, Wien Institut für Gegenwartskunst, mit Harald Hasler, Akademie der Bildenden Künste, Wien WANDZEICHNUNG Kommunikationsbüro, Wien ANSTATT FEUERBACH, Akademie der Bildenden Künste, Wien HIMMEL S13, mit Musikperformance Anus D Galerie der Cselley-Mühle, mit Christoph Urwalek PECHBRENNER, Abtei Seckau Galerie der Stadt Salzburg im alten Rathaus,

1987 1988 1990 1991 1992 1993 1996 1998 1999 2001 2002 2003 2004 2005

Vienna Dramatisches Zentrum, Installation “ Chinesische street” Vienna International culture centre Beijing International Art Gallery Hong Kong Gallery 97 Beijing Traditional Painting Research Institute “ International Ink and Wash Exhibi tion”, Group Show Beijing “ New Literati “ Spring Exhibition, Group Show Beijing “ New Literati “ Autumn Exhibition, Group Show Hong Kong The Touchstone Gallery Shanghai Metropolitan Library “The Art and Reality of Paper”, Group Show Beijing “Fan Exhibition”, Group Show Beijing The Painting Den Paris gallery Eonnet - Dupuy Paris “6ieme, ateliers d’artistes”, Participation Paris gallery Mohanjeet Gmunden HIPP-Halle “UCQBAR EXCAVATION PROJECT ”/ Installation, Zeutschach “FIRESCULPTURES” / Installation Ansfelden “GHOSTS” Kubinhaus/Zwickledt Symposion “ALTER EGO” – Artist in Residencev Wels “ FORT.SCHREIBEN.ODYSSEE” Vienna Künstlerhaus , “FORMULIERUNGEN” Group Show Linz “SENSUAL ORGY” / Installation, Group Show Linz Kunst.Linz Artfair Linz Landestheater “ Prova d’orchestra” Giorgio Battistelli Gmunden HIPP Halle “DEPARTURE” / Installation Zhaji / Anhui Province, China Artist in residence, papermaking and printing workshop Linz Ursulinenhof “DAS ENDE DER REISE/ RETURN” Installation Wiener Neustadt KUBIN.Annäherung und Begegnung. Group Show Linz Landestheater “The love to the three oranges” S. Prokofjev Linz gallery, Upper Austrian Kunstverein, “ROSE…”

Maria Tupay Duque 1956 born in Vienna 1974 – 1980 studies at the Academy of Fine Arts in Vienna 1981 – 1983 studies at the Central Academy of Fine Arts in Beijing (Department of Traditional Landscape Painting and Calligraphy) 1984 - 1985 lives in Venezuela 1986 – 1992 lives in Beijing and Hong Kong Travels in China, Japan, Mexico Cooperation, workshops and exhibitions with Chinese Artists in the fields of paper making and printing since 1992 residence in Austria. website: http://web.mac.com/mariatupayduque Exhibitions 1983 Beijing Central Academy of Fine Arts 192

UBERMORGEN.COM (AT/CH/USA, *1995) UBERMORGEN.COM is an artist duo created in Vienna (AT) by lizvlx and Hans Bernhard. Behind UBERMORGEN.COM we can find one of the most unmatchable identities – controversial and iconoclastic – of the contemporary European fine-art avant-garde. Their open circuit of conceptual art, software art, pixel painting, large scaled installations, legal art (the judges never get us!), Net. Art and Media Hacking transforms their brand into a hybrid Gesamtkunstwerk. The computer and the network are (ab)used and the permanent amalgamation of fact and fiction points toward an extremely expanded concept of one’s working materials: i.e. international rights, piracy, e-commerce, torture, democracy and global communication. Their work is always inherently materialist, flexible and formal. Their thinking is deeply political, but unlike “political art”, UM.COM seek to capture the present and the future and amplify it, without preconceived opinion or vision. “Ubermorgen” is the German word both for “the day after tomorrow” and “super-tomorrow”. Currently UBERMORGEN. 193

COM is represented by Fabio Paris Art Gallery Brescia and Gallery [DAM] Berlin... http://www.UBERMORGEN.COM lizvlx (A/CH, *1973) UBERMORGEN.COM lizvlx is an austrian artist based in Vienna and St. Moritz. She is a net.artist working in the fields of painting with pixels, installation, digital actionism and performance, video and codeart. She studied commercial sciences (MBA School of Economics Vienna) and fine art (Academy of Fine Arts Vienna). Using technology, computers, and foriginal documents as media since 1994, she has exhibited in venues like the Konsthall Malmoe, Ars Electronica, NTT ICC Museum Tokyo, ARCO Madrid, Sidney Biennale or Lentos Kunstmuseum. lizvlx was a founding member of 194.152.164.137 and of netznetz. net and is allergic to milk protein and enjoys changing hair colors every now and then...

2006 2006 2007 2008 2009 2011

My Lonely Riot, Biasa Art Space, Kuta Bali. Short – Short Stories, Valentine Willie Fine Art, Kuala Lumpur Word’s of Ugo Art Forum Singapore. Poem of Blood, Taman Budaya Yogyakarta, Yogyakarta. Poem of Blood, National Gallery, Jakarta. Terrible Desire, Langgeng Gallery, HK Art Fair, Hongkong Poem of Blood, Biasa Art Space-Bali, Shanghai Art Fair Poem of Blood, in Rome Contemporary Art Fair, Italy Paper & Ugo, Taman Budaya Yogyakarta, Yogyakarta

Hans Bernhard (USA/CH/A, *1973) UBERMORGEN.COM Hans Bernhard is a swiss-american artist living and working in Vienna and St. Moritz. He is working in the field of conceptual art, media hacking, installation, photography, video, performance and net. art. Since the mid-1990’s he is a regular speaker at conferences and universities, and has exhibited his work in venues such as SFMOMA, ZKM, New Museum New York, Kunsthaus Graz, Museum of Contemporary Art Tokyo, Laboral Gijon, MOCA Taipei, Centre Pompidou Paris, Prague Biennale or Mumok Vienna. Hans Bernhard is a co-founder of etoy. He was trained at the University of applied arts in Vienna (Prof. Weibel), UC San Diego (Prof. Manovich), Art Center College of Design Pasadena (Prof. Lunenfeld), and University of Wuppertal (Prof. Brock). Hans Bernhard weighs 1~30 Kgs (2~90 pounds) and gets a new haircut in every city he travels to...

Ugo Untoro Born in Purbalingga, Central Java, 28 juni 1970. Graduated from Indonesia Institute of Art ( ISI ), Yogyakarta Solo Exhibition: 1995 Corat – Coret, Bentara Budaya Yogyakarta. 1996 Cemeti Gallery, Yogyakarta. 1999 Sika Contemporary Art Gallery, Bali. 2000 Java Gallery, Jakarta. 2001 Boneka dan Buku Rakuti Gallery, Surabaya. Embun Gallery, Yogyakarta. 2002 Goro – Goro, Nadi Gallery, Jakarta. 2004 Silent Texts, Edwin’s Gallery, Jakarta. 194

Sylvia Winkler Sylvia Winkler (*1969 / Austria) and Stephan Koeperl (*1966 / West Germany) got their degrees from the State Academy of Fine Arts Stuttgart. Their collaboration started 1997 in Kunming/P.R. China. Since then they have realized urban interventions in numerous different places around the world like Bangkok, Cairo, Samara RU, Mexico-City, Montreál, New Delhi as well as all over Europe. Selected exhibitions of the last 5 years: 2011 “STATION” Konsthall C, Stockholm “Khoj – a space of art in New Delhi” IFA (Institute for Foreign Cultural Relations) Stuttgart/ Berlin, Germany (C) “Stuttgart, how are you doing?” Künstlerhaus, Stuttgart, Germany “Living on the Edge of a Silver Future” Galerie 5020, Salzburg, Austria “Sprawl - structures, feedbacks and disturbances” symposium, Innsbruck, Austria 2010 „The Art of Not Being Governed like That “ Württembergischer Kunstverein, Stuttgart, Germany (C) „Countdown“ <rotor> u. Institute for Art in Public Space/Steiermark, Mureck, Austria (S)(C) „When the fat get thin, the thin die” Stuttgarter Kunstverein, Germany (S) „urbang“ Optica, Montreal, Canada (S) „In context : Public.Art.Ecology“ Khoj, New Delhi, India „Tabu“ Karton Gallery, Budapest, Hungary /The Fridge, Sofia, Bulgaria / CK Center Skopje, Mazedonia „Visitors - International Video Art Activity“ Canakkale, Istanbul, Turkey (C) „Fugue urbaine“ Darling Foundry, Montreal, Canada 2009 „LAB 09 - Lulea Art Biennial“ Lulea, Sweden (C) 195

2010 2009 2008 2007 2006 2005

„Re: Development Re: Considered“ Oberwelt e.V. Stuttgart, Germany (S) „Contemporary Flanerie: Reconfiguring Cities“ Oakland University Art Gallery, USA (C) „Subversivmesse“ Linz - European Cultural Capital, Austria 2009 „Visions in the Nunnery” The Nunnery, London, GB 2008 „...SIGN HERE“ Fonderie Darling, Montréal, Canada (S) „Glück gehabt_Kunst im Untergrund“ NGBK Berlin, Germany (C) „wie.du.mir“ <rotor>, Graz, Austria (C) „Another China“ Kunstverein Nord, Berlin, Germany (C) „SEWN“ Shang Elements Cont. Art Museum Beijing / Shanghai East Asia Cont. Gallery, P.R.China (C) „Ecology of Perception 2“ Samara, Russia „Memory Circus“ Salzburger Kunstverein, Austria 2007 „Passive Park“ Kunstverein Gästezimmer e.V., Stuttgart (S) „another take - another taste“ Shangri-La Studio/Zhongdian und Haidong Art Center/Lijiang, P.R. China „Lijiang Studio at 140 sqm Gallery“ 140 sqm Gallery, Shanghai, P.R. China „Ghosts of Presence- International Emerging Artists´Video“ Art Gallery of York University Toronto, Kanada (C) „urban potentials“ Galerie 5020, Salzburg, Austria „To Raise a Question One After Another“ Songzhuang Art Festival, Beijing, P.R.China

Pinacoteca Natzionale, Bologna „la fotografias’ industria“ NAMOC National Art Museum, Beijing „In Between. Austria Contemporary“ Landesgalerie Linz, OÖ, „Triennale Linz 1.0“ Tokyo Wonder Site - Shibuya, Japan “Psychoanalysis- Gazes on Photo and Video Art from Austria“ Public Space Karlsplatz, Vienna „fan box“ Anzengruber Biennale, Vienna „Black Pages ANDREA“ KUNSTHALLE Wien Museumsquartier „ fading the facts“ Sonderausstellung im Parlament der Republik Österreich „Hommage an die Fotografie“ layr:wüstenhagen contemporary, Vienna „In The Rush of Monotony“ Rita McBride, Park Heintz, Luxembourg „second_nature“ Museum der Moderne Salzburg, Salzburg „Reise/Wege“ Gallery Motte & Rouart Paris, „PetrodollART“ Galerie Eugen Lendl, Graz „Hungrig macht was köstlich war“ Austrian cultural Institute New York „21 positions“ Camera Austria, Kunsthaus Graz „You are here” Fotohof Salzburg, „Who Killed Bambi?“ Städtische Galerie Ravensburg, Germany „sach.gemäß” Kunstpavillon der Tiroler Künstlerschaft, Innsbruck „disappear. Reflexionen zu Weiß“ Photo book „Suddenly all alone“ Schlebrügge.Editor

and Helmut Schäfer Andrea Witzmann 1970 born in Vienna 1990-1997 University of Technology Vienna, Faculty of Architecture 1997-2002 Academy of Fine Arts Vienna (Eva Schlegel) 2004 Scholarship at the Cité International des Arts Paris 2005 National Grant of Photography Austria Förderungspreis der Stadt Wien 2006 Residency Foundation B.a.d. Rotterdam 2007 Pilotprojekt Gropiusstadt Berlin 2008 Theodor Körner Preis Vienna Austrian Award of Photography 2010 Scholarship Atelier Red Gate Gallery, Beijing Scholarship Studio Budapest Galéria 2011 Grant for Photography New York exhibitions (selected) 2011 www.andreawitzmann.com „at the crack of dawn“ CAC Contemporary Art Centre Vilnius, Litauen „In Between. Austria Contemporary“ We hit the Road, Rotterdam „Thinking Distance“ 196

Helmut Schäfer was born in Graz / Austria 1969. Up from 1983 he got inspired by the use of electronic music tools like TB 303 and DR 606, Commodore and Atari computers, first 16 bit Sampler (Casio FZ 1), different sample players and various other midi tools. So he started to study audio engineering and spend several years learning techniques to use electronic music tools and understand sound. Then he started working all over Austria as audio engineer. 1997 he had the first success as artist with realization of an earthquake simulation project “ IP Zentrum” for Steweag Kunstpreis 1997. This project was afterwards also shown at ARS electronica festival 1997 and at Documenta in Kassel 1997. In 1997 he created also a four weeks long studio/lab/workshop about the recent developments in the fields of electronic and computer music and it’s tools. This project was presented as a part of “Technoscope Endoscape” programmed during Steirischer Herbst Festival 97. During this project he met for the first time with Zbigniew Karkowski and they started collaborating together. This collaboration resulted in two works the piece “don’t touch me I am electric” released on compilation sampler ‘End ID’ by Digital Narcis label in Osaka, and cd “Disruptor” released by OR label in London. After this Schaefer stopped with making audio engineering work for others and started to focus on his own music only. Since then - his sound work is characterized by the use of very intense and direct musical language which powerfully describes his personal experiences and reflections on society structures, the blindness of modern and informed masses and everyday functionalism in between civilization. These are existential terms, which Schaefer likes to abstract, by processing them with his sound language in order to stimulate the sub consciousness. Sch..fer was the last 10 years collaborating on various projects with following artist: Zbigniew Karkowski, Atau Tanaka, Kasper Toeplitz, Settel Zack, Edwin van der Heide, Laurent Dailleau, Randy Yau, Scott Arford, Bob Ostertag, Graham Haynes, Will Guthrie, Zvonka Simcic, Theatre Gromki, KDES, Zenial - Palsecam, Karl Jensac, Christian F. Schiller, Geever, Elisabeth Gmeiner, Walter Kratner, Carmel Zekri, Aly Keita, Yacouba Moumouni and others. He has performed his music in Japan, America, Africa, Europe and China. 197

Film festival director’s curiculum vitae 电影节导演的课程简章

Barbara Eder & Constanze Schumann Lukas Birk Lukas Birk born in Bregenz, Austria. Resident in Beijing since 2007.Worked as radio presenter and journalist in Austria and Germany. After extensive travels to India and South East Asia at age 20 he decided to take his photographic experimentations a step further and held his first Solo Show in Austria showing images and collages from his travels. He studied digital art and photography in London where he worked as freelance photographer for prominent publications. His multimedia projects have included documentary work about war zones, experimental animations and films as well as large scale light installations. He has worked as freelance photographer and filmmaker in Europe, the Middle East and East Asia. His in April 2008 published book and film Kafkanistan reflects a three year research on tourism in conflict zones such as Afghanistan and the tribal areas in the Pakistani North Western provinces. This project has been shown in the USA, U.K., Greece, China, Korea and Israel.

Barbara Eder was born in Eisenstadt, Austria in 1976. In 1994 she did a student exchange year in Brownsville, Texas, on which she based her film INSIDE AMERICA (2010). Previous to that she studied film directing at the University of Music and Performing Arts in Vienna and made numerous short films. INSIDE AMERICA is her first long feature film. Filmography: 2008 hianznorthsouth (Documentary) 2006 Harald Serafin at the high seas (Documentary) 2005Heaven, Hell, rosary (Documentary) 2004 Death, Devil & commerce (Short) 2002 Sleepless (Short) Festivals/ Rewards: 2011 Max Ophüls Festival 2011Special Jury Award 2011 SXSW South By South West Film Festival, Austin, 2010 Toronto Independent Film Festival, 2010 Pusan International Film Festival, 2010 Sarajevo Film Festival, Bosnia Herzegowina, 2010 Diagonale, Festival of Austrian Film, Graz.

Katharina Copony Born 26th December 1972, Graz, Austria. Studied media-arts at the University of Applied Arts in Vienna. During the 90ies various exhibitions in Austria and abroad. Since 2001 working as a filmmaker. Lives and works in Berlin and Vienna. Filmography (selection) 2009 “OCEANUL MARE” (HdV/DVCam, 78min) 2006 „IL PALAZZO“ (S16mm/DigiBeta, 45min) 2004 „KANEGRA“ (DV, 50 min) 2001 ”DER WACKELATLAS – SAMMELN UND JAGEN MIT H.C. ARTMANN” (DV CAM, 60min) Grants 2003 grant for art-photography, London 2002 grant for art-photography, Rome 1998 „Arcus Artist in Residence”, Moriya, Japan Awards 2009 “Oceanul Mare” - 3 sat-documentary award, Duisburger Filmwoche 06 2006 „Il Palazzo“ - arte-documentary award, Duisburger Filmwoche 06 2002 ”der wackelatlas – sammeln und jagen mit H.C. Artmann” tv-award for public education, Austria 2002

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Elke Groen & Ina Ivanceanu Elke Groen: Studied Architecture and Photography in Vienna. Films: Tito Material (Austria) 1998 Austrian Autumn Programming for “The art for the moment is resistance” “Bunica” (Together with Ina Ivanceanu) Ina Ivanceanu: Studied African Studies and Development Studies in Vienna and Leiden (Netherlands). She has spent numerous research stays in Africa, Asia and Eastern Europe. Films: “Bunica” (Together with Elke Groen) Festivals: Vienna International Film Festival

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Johannes Hammel Johannes Hammel was born on October 10, 1963 in Basel. He completed studies in camera work at the Vienna Film Academy. Since 1986, he has lived and worked in Vienna as a freelance filmmaker, cameraman, and producer. After several short films, Follow me is his debut as director of a feature film. Filmography: 2010 Follow Me (feature) 2005 Last Supper (short) 2004 The Lovers (short) 2003 The Bathers (short) 2003 Mazy – system of transitions (short) 1992 Black Sun (short) Festivals:

Nikolaus Geyrhalter Born 1972 in Vienna Nikolaus Geyrhalter has worked as Director, Producer and Cinematographer. He is focusing on directing documentaries. In 2003 he has founded the Nikolaus Geyrhalter Filmproduction Company together with his partners Markus Glaser, Michael Kitzberger and Wolgfang Widerhofer. NGF is specialized on producing documentaries and feature films for cinema and television. NGF is specializing in the production of cinema & TV documentaries with special attention on the author’s point of view. Filmography: 1994 WASHED ASHORE documentary, 1997 THE YEAR AFTER DAYTON documentary, 1999 PRIPYAT documentary, 2001 ELSEWHERE documentary, 2005 OUR DAYLY BREAD documentary, 2008 7915 KM Feature documentary, 2010 ALLENTSTEIG TV- Documentary, 2011 ABENDLAND Documentary

2010 Vienna International Film Festival, 2011 Diagonale, Festival of Austrian Film, Graz, 2011 Berlin International Film Festival, 2011 WROCLAW 11th Era New Horizons International Film Festival (Poland). Oliver Ressler

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Oliver Ressler (born 1970 in Austria) produces exhibitions, projects in the public space and films on issues such as economy, democracy, forms of resistance, social alternatives, racism and global warming. His projects have been exhibited in solo-exhibitions at the Berkeley Art Museum; Platform Garanti Contemporary Art Center, Istanbul; Museum of Contemporary Art Belgrade; Kunstraum der Universität Lüneburg, Germany; Centro Cultural Conde Duque, Madrid and in Alexandria Contemporary Arts Forum, Egypt. Ressler participated in more than 200 group exhibitions, including the MASS MoCA – Massachusetts Museum of Contemporary Art, USA; Itaucultural Institute, Sao Paulo; National Museum of Contemporary Art, Athens; Van Abbe Museum, Eindhoven and in the Prague, Seville, Moscow, Taipei and Lyon Biennials. For the Taipei Biennial 2008 Ressler curated an exhibition on the counter-globalisation movement, “A World Where Many Worlds Fit”, which was also shown at Foreman Art Gallery of Bishop’s University in Sherbrooke, Canada in 2010. Films have been screened at Duisburger Filmwoche; International Media Art Biennale WRO, Wroclaw; Image Forum Festival, Tokyo; Centre Pompidou, Paris; ICA, London; New Museum, New York; Serralves Museum of Contemporary Art, Porto; Museo de Bellas Artes, Caracas; Moderna Museet, Stockholm, and in hundreds of screenings organised by activists all over the world. In 2002, Ressler won the 1st prize of the International Media Art Award of the ZKM. His book “Alternative Economics, Alternative Societies” was published by the Wyspa Institute of Art, Gdansk in 2007.

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ASAP exhibition 2010, 打包 da-bao,

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in 798 Art district, Beijing

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da-bao Get involved ASAP is collecting biographical and project information on all current and past Austrian artists who have worked in China as well as Chinese artists who have worked in Austria. Please contact ASAP. Programming ASAP is holding general events, exhibitions, and special interest programming throughout the year. ASAP events programming, publications, and centre objectives include: Showcasing recent China-produced works by Austrian artists in China. Creating an multimedia arts archive of past artistic creations by Austrian artists in China. Providing resources for interested international and local academics, students the general public in China, as well as incoming Austrian artists. Producing on-going Austrian AIR China Programming. Holding lectures and workshops. ASAP’s regular programming is in alignment with organizational goals and objectives. Steering Committee members will oversee programming in the following areas of focus: Artist in residence Program shows and results. Architecture and Urban studies. Book presentations on literature, philosophy, and theory. Fashion and textile design. Film and Video. Fine arts. Interdisciplinary arts. Media art. Music. Open source software and hardware. Performance and Live art. Photography. International advisory board ASAP’s international advisory board consists of representatives from organizational partners, legal and finance professionals, and cultural ambassadors from China and Austria. Steering committee ASAP is an artist founded, artist run, not-for-profit, proactive organization. The founding members are Austrian artists with extensive experience in Chinese culture, Austrian contemporary art, multiple art mediums as well as backgrounds in program management and events coordination. Passionate about arts programming and community networking, ASAP’s founding members believe in the importance of intercultural dialogue and cooperation. The steering committee is made up of ASAP’s founding members and is responsible for the development of ASAP’s mission, goals, and objectives. The acting members are: Lukas Birk, AT, Karel Dudesek, AT, Nikolaus Gansterer, AT, Ingrid Fischer-Schreiber, AT. 206

Background In 2008 the Austrian ministry of education culture and art had six years of formal investment in Austro-Sino arts initiatives conducted in China. The full impact of these developments had yet to be presented to the public in an accessible format. ASAP seeks to create a Beijing based, multifunctional, arts venue to serve as exhibition, and resource space for information exchange between Chinese and Austrian artists. ASAP programming is shedding light on past initiatives and bringing them to international attention, providing a comprehensive platform for the current contemporary community, and better facilitating the Austro-Sino arts and culture dialogue. ASAP held an informal needs assessment of Austrian artists currently in China. Primary concerns were listed as a desire to show China-produced work in China, a need for assistance regarding networking, and a desire for a stronger Austrian community abroad. In conjunction with these needs and the thriving international arts interest in Beijing, ASAP was founded. Though mainly sponsored by two funding body, artists come to China on an individual basis. Many Austrian artists stay on to continue the development of their works and many more return annually. ASAP seeks to unite these individual creative efforts to showcase Austrian contemporary arts and more formally offer an open invitation for engagement and collaboration to the Chinese community. ASAP does not seek to be a gallery or a museum but a flexible functioning cultural space, showcasing the Austrian-Sino ongoing arts dialogue by presenting Austrian artistic works of all mediums in an accessible open environment for the general public. The main goals of ASAP are Raise awareness of Austrian artists which lived and worked in China. Facilitate collaboration and discourse between Austrian and Chinese artists. Support the cultural activities of partner organizations within China, with the purpose of promoting contemporary Austrians in various disciplines. Provide the Chinese community with open access to Austrian contemporary arts culture through a stable venue in which they may engage and build future relationships with Austrian artists and the Austrian culture. 207

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da-bao 加入我们 ASAP目前面向所有曾在或正在中国工作的奥地利艺术家以及奥地利的中国艺术家征集简历和艺术项目信息。请联系我们。

规划 ASAP将全年举办各种活动、展览以及特别的艺术项目。 ASAP的项目及其目标包括：为中国的奥地利艺术家举办展览，展示他们的近期作品；建立多媒体资料库，记录在中国的奥地利艺术家之前的艺术创作；为感兴趣的国际和当地学院、学生、公众以及即将到中国的奥地利艺术家提供资源；推进中奥艺术项目的合作；举办讲座和研讨会等。 ASAP举办的项目将与其组织目标保持一致。筹划指导委员负责以下几个主要方面：访问艺术家项目的进展和成果；建筑物和城市研究；文学、哲学和理论方面的书籍展示；服装设计和纺织品图案设计；电影和录像；美术和跨学科艺术；传媒艺术；音乐；开源软件和硬件；行为艺术和现场艺术；摄影等。

国际咨询委员会

鉴于北京繁荣的国际艺术市场能够满足艺术家的这些愿望，ASAP在北京成立。尽管艺术家有资助方，他们还是以个人身份来到中国。许多奥地利艺术家继续在中国创作，也有一些艺术家每年返回奥地利。 ASAP试图把中国的奥地利艺术家联合起来，共同表现奥地利艺术并与中国的艺术群体合作。 ASAP不希望发展成为画廊或美术馆，而是成为一个灵活的文化空间，通过展示奥地利艺术家的多样化作品推进中奥艺术的对话和交流。 ASAP的主要目标是：提升在中国生活和工作的奥地利艺术家的国际意识；促进奥地利和中国艺术家之间的对话和合作；支持中国的合作机构举办的文化活动，旨在丰富奥地利当代艺术的多样化形式；提供一个固定的场所，方便中国的艺术团体了解奥地利的当代艺术和文化，与奥地利艺术家之间建立紧密的合作。

ASAP的国际咨询委员会成员包括ASAP的合作者、法律和金融方面的专业人士、来自中国和奥地利的文化大使等。

策划指导委员会 ASAP是由艺术家创立和经营的非赢利性组织。创始成员是几位奥地利艺术家，他们在项目管理、协调和活动策划方面有丰富的经验，熟知中国文化和奥地利当代艺术，在多媒体艺术方面也颇有建树。ASAP成员对艺术项目和团队合作充满热情，相信跨文化交流和合作的重要性。策划指导委员会是由ASAP创始成员组成，主要负责ASAP的项目和发展目标。成员包括：Lukas Birk, AT, Karel Dudesek, AT, Nikolaus Gansterer, AT, Ingrid Fischer-Schreiber, AT。

Contact ASAP – Austro Sino Arts Program, Beijing 朝阳区水碓子东路22号606室。 ChaoYang Qu Shui Dui Zi Dong Lu 22hao 606shi 100026 BeiJing shi Telephone: 186 1005 6552 E mail: beijing@austrosinoartsprogram.org

背景介绍奥地利政府在中国投资中奥艺术项目已有6年，其发展和产生的影响清晰的呈现在大众眼前。ASAP寻求北京的艺术基地来举办展览，以便为中国和奥地利艺术家的交流提供多功能的展示空间。ASAP项目也关注艺术家过去的创作，并致力于把它们推向国际舞台，为当代艺术提供全面化的平台，更好的促进中奥艺术与文化的交流和对话。ASAP分析了目前在中国的奥地利艺术家的需求：他们希望展示在中国创作的作品；希望得到多方面的资源；需要在国外拥有一个更为强大的奥地利群体。 208

ASAP – Austro Sino Arts Program, Vienna Alxingergasse 26/1 A-1100 Wien Telephone: 0699 19900370 E mail: vienna@austrosinoartsprogram.org

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串门儿 chuan men Austria is in China and China is in Austria

Published by Mazine.ws Publishing, Vienna 2011 Copyright © Mazine.ws and all respected artists All rights reserved. Without limiting the rights under copyright reserved above, no part of the publication may be reproduced, stored in or introduced into a retrieval system, or by any means (electronics, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book. These regulations do not apply for educational purposes world wide. ASAP online at www.austrosinoartsprogram.org Printed in the Global Marketplace. Sehr schön Design, Vorarlberg, Austria. I S B N: 978-3-9502829-2-4 Editorial by Karel Dudesek + Layout by Lukas Birk + Production Assistant April Zhang+ Translated by April Zhang, Liang Xing Yi and Li ChengXu Text polishing by Otmar Lichtenwoerther

We would like to thank In China: Gudrun Hardiman-Pollross, Hermine Pfeiffer, Eric Messerschmidt, Rose Wang, Kate Lu, Stella Wang, Zhang Hui, Robin Cong, Felicia Schwartz, Tobias Zuser, Juan Silvestre, Martin Wehmer, Kat Don, Dong Mei, Lao He, Anni Ma, Xudu, Flying Monk, Enji Tu, Genevieve Carmel. In Austria: Bert Estl, Martin Birk, Tobias Prinz, Olga Okunev, Gerda Seebacher, Christian F. Schiller. In Indonesia: Klaus Wölfer, Sulaiman Suigiharto, Dyah Somerano, Yusuf Kurniawan, Pramujiyana, Brahm, Erich Pichler-Krutzler, Rainer Prohaska, Marbot Fritsch, Ali Banget, “A’an” Erdian Cahya, Puri, Mr Noor Landlord. AIAP official doping LekLek Warung, Yogyakarta Kraton tea. ASAP inofficial doping by Healthy Salad bar 606, TuanjieHu, Beijing. AIAP official doping Yogyakarta by Warung Kembul Dhahar - Jumbu Juice. Artists project support Friends of the house

With generous support by

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