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“新伊拉姆计划” 德国汉堡班霍夫美术馆展览现 场，2016年 New Eelam Installation view, Kunstverein Harburger Bahnhof, 2016
NEW DIRECTIONS
PHOTO: Michael Pfisterer, Annika Kuhlmann
一个国家如何以公司企业的形式组成？ 一个品牌又如何 作为一个艺术家进行沟通？ —“新伊拉姆计划”
How might a state be constituted in corporate form? And how could a brand communicate as an artist? — New Eelam
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CHRISTOPHER KULENDRAN THOMAS THE ARTIST'S STARTUP Chan Yu-Chieh 026
鮪2016妘榙楁儕妘嗴酽偧蹺䅕縟閔嗴䀏
At Berlin Biennale’s trade-fair-like exhibition space
∥艊裶䄄跤䯖昤㳚賣則⻈艊餚蹺頯梮咲陸㳚昤
in 2016, Sri Lanka-born British artist Christopher
怐媈·姈賣孭賣·怐䖂昤鮪酽䄄応鰱鲲樭椢嗙媀
Kulendran Thomas showed a video that resembles
艊䗮鄀咃鄭敡曑鑫晼絹鄅嫚穻剴絹鰱鲲咅
both a documentary film and real-estate commercial,
艊嬁穻䯖謾跤酁諦鑫證諍橭橉。昦䄋悞㭠。蟨
incorporating historical archives, news reports, science
叧嶗3D嬁絹訵踃棞、蠐囈䅵咅
犦悞躐侳䯖
films, and 3D animations, in a luxurious lounge that looks
㫤桹䗮橭赗閔淽褢艊䅘㛄、澑耡＃昦黥惛働
like a part of a display house. Surrounding the lounge are
㚧陝￥飨攝趵駡誒艊嫮媀薟粷䯖讜暚粷㦳鲋
promotional posters and display windows of high-end
賂墕儕妘嗴嶗孭蹺烲ー紬䈞俓銊梮䒛䯖貶醭
boutiques. Simultaneously exhibited at the Gwangju
匯翽鮪氥寳嗃漛䯖㠭莏麽呺鰱彾襫鑫駡誒。
Biennale and the Kunstverein Harburger Bahnhof in
攝襫鑫閔窅㫧駱縟趵㫜慘Ⅹ䗮蟨恖梥棾妢
Hamburg, the project New Eelam took the form of a
誼踵䗮橭応鲲艊氥寳縟閔、㛫㚧陝㳕羮邁讜
startup, yet it did not stop at a conceptual stage. The artist
愗桹応鰱鲲棈艊氥寳䯖邁鲶鮪瑪絑俋╙壈艊
founded an actual company, started a brand, and entered
揦舽賓呉䯖醮鞔俍嫕郹艊鰓鲶鄽牨晹婬䯖給䗮
into business, selling conceptual products of high-end
蟨恖㫔謭＃瑪靕誤誼倹雲邁鲲踽躏￥䯖牐誤咲嗋
housing in the image of a high-tech future. In sync with
艊氥寳夃熱昦嫮尓艊駡炓棈嶗牐誤艊㦳麋蹺
today’s sharing economy, the project advocates collective
晜㚪讜、醮＃昦黥惛働㚧陝￥邁讜嗴熱艊曧怐
ownership of global housing properties—meaning sharing
䖂昤躐頌酽跣䎋茩＃嫕鍈羠夠㜎彾踵嫮媀￥跤
fancy houses in cities around the world. It aims towards
艊慘閔䯖骼㠳駱昤㳚賣則嫕鰱艊昦蠻嫕魍頯梮
a “fully automated luxury communism” with advanced
咲䯒羗靧曧謚鈫酖頯梮䯓艊慘閔䯖鎢飨＃敘㬬￥
technologies, promoting new forms of citizenship, and
謚㫧駱蹺䅕壈鯫牐㬦䯖㬦㫓酽蟢＃錼㛗￥艊誤慘
fluid national and ethnic identification. Shown together
啔昤㳚賣則㛳乵跤忞㜙艊嫕魍頯梮㩸㛗勢瑪絑
are works from Thomas’s previous project When Platitudes
㛳乵嫕跤、䅵鑫頯梮咲誐謖艊恦彽䯖㫥桖曧彽
Become Form, in which he purchased works from emerging
㜗鑫嫕魍頯梮砎蓴彾㳟艊麽過羠鲲㫓蠿䯖鮪瑪
artists in Sri Lanka, and “transformed” the works before
絑誼瑪鎽酁艊嫕醣葁豈＃嫕魍屟￥呯躏跤＃嫕
circulating them in the international art market, thereby
醣￥醮＃邁暚￥艊孎傉蓎荋、
“translating” the so-called contemporary art (some of them even dubbed Post-Internet) in Sri Lanka’s local context into a global one. In addition to a play on the artist’s
自品牌设计和流通主义 鮪恊㛊謚鈫酖頯梮曀鲋㪴㚪嶗狆㠿艊載
signature, the project mocks the value production process
鯫銊叧嫮媀艊讜暚䯖㫥跏跣醭昢慁醁艊㚧陝醮
in contemporary art, pointing out the paradox between
醭㭤蠶撾䨺蕘謚鈫酖頯梮艊榙楁儕妘嗴詇嗴筧
“present” and “simultaneity” in “contemporaneity” in a
䄯DIS酽樭䯖 㰊赗鲋攝㬬閔窅。櫞羮剓鉢
globalized and hyper-connected present.
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詇耚怇駱壈鯫、偧䧸竑·諍孭鎑啯忞㛺䯖＃牐㬦
Self-branding and Circulationism
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is not about keeping a distance but inter-
While criticizing the easy recognizabil-
vention, like the Situationist traditions of
僨壉 䯖醮蛼鲮鈫酖醢
ity and consumption of post-Internet art’s
disrupting the established market value
艊駡饅徏妭鶯艊饅跀桖踵哣賽、敘㬬昤㳚賣則
marketplace aesthetics, these two ongoing
system. In the current atmosphere of a new
頯梮咲艊慘閔徏鰱鲲妭鶯䯖㰊曧鮪攝㬬嶗諎絔
projects exhibit the same branding and
institutionalism, knowing that all forms
酽跣駡
閔窅艊嫮㝧䯖晹婬鲋駡饅駡誒徏鈫
marketing expertise with that of DIS, the
of critique, no matter how radical, will be
䀏艊墡慘、醭㛀曧鮪跣鳏䯒頯梮咲䯓。駡誒
2016 Berlin Biennale’s curatorial team
absorbed by the system, the new form of
麟趵㫤曧蹺咲艊嗃䉳䯖䯒靕䯓閔窅艊㛄㚧醮怇
and a forefront promoter of post-Internet
critique deliberately enters the system by
㬬㰊曧㫧駱牐㬦艊宍侕棷鬣、
art. As Hito Steyerl has pointed out,
catering to its preferences, and disrupts it
旝誼㮰鞶憃羮
“circulationism” no longer has anything
from within. As shown in New Eelam’s video,
縟趵㓉㓌㛄㚧䯖頯梮咲讜暚憃羮剓鉢嶗閔窅
to do with the fabrication and production
multinational corporations like Amazon are
扢妭詇耚䯖啔頯梮㚧陝㩸誼踵桖曀鲋牐㬦艊
of art, but with “post-production”; it’s
already larger, more complex, and efficient
嫮媀䯖偧讜㛇樞壈鯫䉯熴廟鄡鲮曀艊誤慘鞯駱
about releasing to the world and the public,
in terms of circulating and distributing
壈鯫廟㯵䯖㬬彾頯梮＃麽過￥羠鲲艊蓪㣵、＃閔
closely tied with PR, advertising, and social
resources than many nation states. Ap-
窅㛄㚧￥㫥跣酭＃鈫酖
䀏￥躐謚艊饅䀽叄䯖
media. Appropriating Sri Lankan artists’
propriating the form of startup industries
澐曧怇㬬頯梮咲誐謖艊鍈恦彽、鍖嗴甡酽跣
works and real estate ads are both acts of
and intervening in circulation and brand
閔窅徏嫮㝧㦳麋䯖怇㬬鮪
鳏菋跤艊㦳麽䯖
branding—creating and managing the
value production mirror the strategies of
嶯嚌菑莏澐艊麽過徏㦳麋暆喥䇏飨翨呯、嫕
image of a brand—which has no difference
the leftist accelerationists: corporations’
怐䖂昤啔訅醑跫翨頯梮咲艊慘閔慘踵靕墰慘
from the work of PR and Internet marketing
high-tech organizational systems shall
閔艊囑棞旿暚䯖跏鍎躐䄄艊綈麽墬婬澐儂曑
companies. (Self-)branding has become a
surpass commercial interests, and regain
㚪讜醮謾畝粷醭畝飨鐉㦳踵豈、徏偧＃謚鳏
熱頯梮閔麽過羠鲲艊蓎荋䯖閔窅嫮㝧艊羠鲲
requisite for circulation, for everyone from
control over the direction of technological
貙￥艊㦳鉢氥寳䯖㦳鉢唻侳婩敡䯖醮鈫酖嶗梽
諎絔醮悅㡊柟濕峘曧酽鉢艊跏䉳、
individuals (artists), companies, to nations.
development.
鏍荁 䯖鐉㦳靕彿艊翨鄡狆媗䯖靕彿彾踵跫翨
踽躏￥醭畝曧饅鲋頯梮艊壽慘羠鲲䯖鍖曧＃謚 梕￥壽慘䯖曧䃾跫嶗駡
酖
醭誆絹燆杚頯梮憃羮俋
嬁穻跤忞㛺艊＃㒄飨粷醣鄽牨鉢壽
The artist’s appropriation of commer-
艊㛳烰㢋㢐呅靕墰￥雩鉢粷鑫敱鏖㡊梪踽躏
cial imagery is much more than Pop Art’s
Super-hybridity and Managing
鲮攝＃昦￥艊嗁䉳醣䯖㦳麋蹺晜㚪讜艊詵镾屟
慘踵恊繩艊＃謚恊繩￥㣵嬛飨倀㒄瀷呅桖踵
appropriation of popular culture. The artist
Investments in the Future
黌嬱鴛鰓哃䄤、
咅
“新伊拉姆计划”，第9届柏林双年展展览现场，2016年 New Eelam, installation view at the 9th Berlin Biennale, 2016
嶗鈫酖艊酽㯵鰓、鮪澑醭昢唻侳婩敡。醭昢棇
Courtesy the artist and New Galerie, Paris PHOTO: Laura Fiorio
発㫧艊＃鎢㬫踽躏￥詇耚、偧閾啯·螆昤竑忞
appropriates media and branding tactics,
The curator Jörg Heiser raised the
昤㳚賣則鮪2009妘忴酁棴鲈鴛妘廟徔䯖
Sri Lanka only ended its twenty years
㛺䯖＃謚恊繩￥醭曧醎慁㣣蟇鍖桖曧＃鞯駱￥䯖酽
turning art projects into forms that are easier
idea of “super-hybridity”: with the rapid
敤姛聶澲瞔啀烢箏襫艊靕熎啢蹺䯖俋㳝嘇棅
of civil war in 2009. The government army
偧嵔乵踽躏
酛妔怽怇龉晼呯艊壈鯫麽過羠
to circulate, short-circuiting the artworks’
accelerations of the Internet and global-
謚壈鯫靕羾婩敡䯖㒂昷悅㡊狋駱䯖鄽牨褃䏳篞
eliminated the small autonomous Marxist
Equating art practice with a startup
鲲鉢跀、飨＃畝発㫧艊恊繩桭鄮㰊∥⺖敒釆￥
value production, just like illegal insider
ization, the open constructions of identity
㫧䯖釣僨鑫嫕鰱嫕魍頯梮艊鰿綫僨嗴、怐䖂昤
state with massacres, after which the market
venture stripped off the fetishistic worship
踵頌抲忞㫧 艊恊繩䯖鮪昦梽壽踽躏艊俋炣縶
trading in the stock market. “Branding,”
and contending negotiations between
艊㫥跏跣㚧陝柟䉃熱昦蠻嫕魍頯梮壈鯫鑨謚
opened up and the economy boomed as
people have towards the creative power of
跤䯖悅謾忞偡茻扟㫧駱梽壽鉢廟䯖鞲廟㯵㫧
this keyword after “Internet marketing,”
two cultures in Homi K. Bhabha’s 1990s
陮艊謚濗炓證諍嶗瑪絑誼艊椥覜柟撾Ⅹ惸酘
Western investments poured in, fostering
artists—revolutions or endless imaginations
妔怽敘㬬、剴偧嬁穻跤忞鰓椷艊䯖鲡䖂㬖訵㣮
is the same old trick with the artist’s sig-
postcolonial theory of “hybridity” have
棇鲮徏晹熴扟糴敘黌䯖啔晹飨羠叅、＃昦黥惛
the development of local contemporary
to change the world have become the new
蹺墤俧墱鄽瀷㚾侸蹺咲桖姟俋。桖侟棇。桖桹
nature. Presenting a brand identity, and
become too complicated and entangled for
働㚧陝￥鮪嫕魍頯梮妕詬醢扢妭昦艊羠牆嫮
art. Thomas’s projects expose the bloody
selling points. Artists have long been the
敱籹鰱鄩鄬㡊瑧牐㬦鰓㱚、憃羮攝趵鲲趵嫮媀
forging one’s value in public view means
the hybridized cultures to be named. With
尓䯖怇蕚㫅翨嶗呺㠮聛╪婠椨垁昦艊牐誤駡
postcolonial history behind the emerging
champions of the Midas touch, even as they
徏鞯駱＃牐㬦￥醮＃閔窅￥麽過羠鲲艊撋慘䯖澐
that the actual value or identity is no longer
people’s online self-performing in the am-
炓㦳麋䯖竑時曧鮪嫕醣漥爳䇏炓戰梽躐䅕䯖
contemporary art market, and the extreme
are nearly caught up by capitalism, they still
偧発㫧艊墢牋鎢㬫踽躏謎梐㬦㫓憃羮麟趵䗮
definable. When Thomas used Sri Lankan
biguous spaces between private and public,
㢋㢐䯒䉯䯓頯梮詛嶎絹昦艊靕彿嶗㦳麋㚪讜。
violence of globalization—hybridize or
manage to turn the tables on appropriated
蟨恖艊鄩鄬昷媀䯖給撾懲撾㢋㢐縟趵濕苩䯖㳛
artists’ works as materials for his own art,
identity has shifted from self-expression
昦艊羠牆嶗墡慘昷媀䯤偧瑪靕誤誼倹雲邁鲲踽
you can’t survive. On a contemporary art
powers. The high-speed mutual appro-
俵蟨恖僨嗴艊昷謭苾艊詇耚屒醎、
the discrepancy in sales price between the
to a dialogic mode, self-identification and
躏䯖鮪＃謚墡慘￥艊䗮蟨恖梥棾跤䯖梽鏍鳏醮鳏
platform, New Eelam promotes new ways
priations are again absorbed into a new
two reflects the paradox in artworks’ value
its representation no longer conform to
墡杶镾杚倀䯖糴鵱墡慘狆俢䯖瑪炓▕梪墡㡊呺
of living, breaking the boundaries of solid
landscape of super-hybridity: the future
production. Branding management and
the body. As in the post-human concept,
昻䯖鳏貙鲶糴靕誤誼鍖醭畝䈑踵珕䒆鍖墡慘、
territories to formulate a brand new, fluid
is gradually realized as we are imagining
colossal profits of finance are two sides of
bodies become open and extended, merged
啔 頯 梮 攝 慘 醮攝 趵 陝 醢訵 誑䯖酽 觠砎
citizenship, especially against the backdrop
it. (Translated by Lai Fei)
the same coin.
with networks and machines. Boundaries
蕚鑫鳏髦唻頯梮咲攝＃昦￥镾撾艊岤窹媀圷
of the European migrant crisis. It seeks to
超级杂交与对未来的投资管理 詇嗴鳏郿樴·犦緥桪抲熱㢋鄀䯒旝誼䯓棇鲮 艊氥寳䯤䈞貏·墴墴謦鴛妘魍艊謚濗炓絔㛀＃旝 誼棇鲮￥跤跏蟢旝誼躐䄄艊㚪讜。㜎繩㓕撾艊
New Eelam aims to surpass the current
between the body and self disintegrate, the
愊Ⅹ䉺噯徏敘黌跫翨艊醭䄄昢嶎絹彾踵桭
imagine a new self and identity, and new
婩敡婠椨訵䯖鄽羾鈫酖醮瑪絑誼屜㮊鎢㬫䯖醭
economic system with its own terms, exhib-
self becomes a part of the world and the
樮宆艊載砎、頯梮咲酽茻鰩愗砎蓴彾㳟艊橀
ways of life and work above art: in a high-
畝曧侸㳛旝誼艊䇗諦Ⅹ謾棾瑧黌嬱㫓鲋逫棇
iting a “post-critical” pathway of imitating
network. In this “innovating” situation of
獰䯖麹磢竊豸⺖㬉㡼醢貶漲儂㫓俧棾䯖悅謾
tech “post-work” future of fully automated
醭玜。罌㬫姪㫓寚鍖䇏飨㪴㚪、畝賒䯖 鳏鮪
capitalism as a critical model, and the even
endless opening-up and hybridization, the
忞偡給撾懲撾恄螻酽╙、㫥跣䗮䎣艊荁鲒憃
luxury communism, with the abundance
謚鈫酖暚魍駡蟔䇏㪴艊裶䄄跤醭昢靕彿嗴甡䯖
more aggressive “accelerationist” strategy.
possibilities of national identities become
羮⺖敒釆彾踵㢋鄀棇鲮艊昦嗁䉳䯤鮪嶎絹躐
of robots and AIs, paid work disappears,
㦳麋㚪讜鞲靕彿
According to Hal Foster, “post-critical”
immense.
䅕䯖梥棾墱鄽㬜澒呺粷、
everyone receives a basic income and enjoys
㫼㩸踵唻㛣浧媀䯖跣鳏靕彿
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an automated world where no one has to work to survive.