2016 Para Site International Conference by Para Site

Para Site

Para Site is Hong Kong’s leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. It produces exhibitions, publications, discursive, and educational projects aimed at forging a critical understanding of local and international phenomena in art and society. Founded in 1996, Para Site is celebrating its 20th year of supporting artists and reinventing Hong Kong’s art scene. Beginning as an artist run space, Para Site was Hong Kong’s ﬁrst exhibition-making institution of contemporary art and a crucial selforganised structure within the city’s civil society, during the uncertain period preceding its handover to Mainland China. Throughout the years, Para Site has grown into a contemporary art centre, engaged in a wide array of activities and collaborations with other art institutions, museums, and academic structures in Hong Kong and the international landscape. In early 2015, Para Site moved to greatly increased premises, in North Point/Quarry Bay. Throughout its history, Para Site’s activities have included a range of different formats, such as P/S magazine (1997-2006), a bilingual publication, which was Hong Kong’s ﬁrst visual arts magazine and a central platform for the development of art writing and of a discursive scene in the city and the Curatorial Training Programme (2007-2010). Since 2012, Para Site has been running an International Art Residency Programme and has been organizing an annual international conference. This is accompanied, starting from 2015, by a new educational format aimed at training young curators and other art professionals. Para Site’s activities are made possible by the generous support of its patrons, and grants from foundations and the Government of the HKSAR.

Para Site 藝術空間為香港首屈一指的當代藝術中心，亦是亞洲

歷史最悠久、最活躍的獨立藝術機構之一。成立宗旨在透過展覽、

出版刊物及教育項目等活動，促進在地與國際間的對話，希冀打造一個對當代藝術、社會現象提出批判性論述及理解的平台。成立於

1996 年，今年 Para Site 慶祝 20 年來支持藝術創作及重塑香港藝術圈的努力。

Para Site 藝術空間 1996 年由一群香港藝術家成立，時值香港回

歸之際，空間的創立成了第一個展覽策劃的當代藝術機構。隨著時代變遷，Para Site 藝術空間晉身為一當代藝術中心，透過各種活動和

合作，連結香港與其他國際藝術機構、美術館、雙年展及學術單位

間的交流。2015 年初，Para Site 遷至目前活躍發展的北角／鰂魚涌一帶。歷年來 Para Site 策劃了各式活動，包括出版香港首本雙語視

覺藝術雜誌《P/S magazine》（1997-2006），為發展本土藝術寫作及論述氛圍提供重要平台，以及 2007 至 2010 年舉辦的「策展工作培

訓計劃」。2012 年起，Para Site 舉辦國際藝術駐留計劃（International Art Residency Programme）以及年度國際研討會，而於 2015 年，成

立連同國際研討會為新銳藝術工作者開放的培訓教育項目。本機構活動經費來自機構贊助，基金與香港特別行政區政府的慷慨捐獻。

20 Years of Para Site

Para Site is proud to present the 2016 edition of its International Conference, a major three-day gathering in Hong Kong of practitioners from around the world. On the occasion of Para Site’s 20th anniversary, the speakers in this edition will discuss the different waves of change that have shaped the art landscape of Hong Kong and the world in these past twenty years. Speakers at the conference include Tobias Berger, Roger M. Buergel, Amy Cheng, Freya Chou, Cosmin Costinas, Sofía Hernández Chong Cuy, Leung Chi-wo, Carol Yinghua Lu, Ute Meta Bauer, Joanna Mytkowska, Lucas Ospina, Pi Li, Russell Storer, Phoebe Wong, Sara Wong Chi-hang, Frances Wu Giarratano, Anthony Yung, and Tirdad Zolghadr. Taking each decade in which Para Site’s work was present, the 1990s, the 2000s, and the 2010s as the starting point of a separate day in the conference, we will suppose that this imperfect and conventional periodisation can nevertheless help us understand the deep transformations of this timeframe. The discussions will be looking both from the perspective of Hong Kong and China, and from that of the rest of the world, and the titles of each day are: The 1990s: Identity in the times of the handover and the age of the Biennial; The 2000s: The rise of China and the global art world; and The 2010s: Booms and crises in the age of the art fair. The 1990s may have been regarded in many parts of the world as the thriving years between the fall of the Berlin Wall and 9/11, when democratisation was on the march and an age of a global

community seemed possible. But for Hong Kong, this was the age of uncertainty, proceeding its handover to Mainland China, and the local art community was striving to seek alternative voices to express their anxiety. In response, Para Site was founded by a group of insightful local artists in 1996. In the first day of the Conference, we will look closely at one of the most recurrent themes in Hong Kong and around the world, the issue of identity and its politics, supported by the decade’s developments in theory and discourse. The 2000s brought the discussions of the post-colonial world closer to the forefront of an institutional landscape that expanded beyond the former centres of power along the North Atlantic. Globalisation started shifting the geography of the art world, particularly enhanced by the growth of Asia’s economy. Alongside a growing number of biennials, landmark regional exhibitions were taking place around the world, often controversially attempting to frame these areas in relation to Western perspectives and established art historical narratives. In Hong Kong, many of the previous discussions about identity in the 1990s morphed into attempts to associate, integrate or relocate within the Mainland Chinese art scene and the narrative of its boom experienced in that decade. The 2010s seem to us to be the decade of multiple crises, be it the crisis of state funding for the arts in Europe or the overall crisis of confidence on that continent, punctuated by various moments and places of booms in the art world, of which Hong Kong is a prime example. The biennial as the main forum for negotiating a global condition seems to have been replaced by the art fair, an obviously imperfect replacement for a claimed international civic space, making the boundary between art value/profits and aesthetics/ political paradigms murky and blurry. The relation between the Hong Kong and Mainland Chinese art scenes became more complicated, due to various political crises, but was also helped by the renewed confidence in the former’s own expanding art scene.

Para Site 20 周年 Workshops for Emerging Professionals For the second year in a row, Para Site is working with a group of emerging professionals from across the region and the world through a series of workshops, taking place alongside the International Conference from June 18–26. This groundbreaking programme for the region includes this year a group of participants selected from an outstanding international pool of applicants. The programme is designed to provide learning opportunities mediated by speakers from Para Site’s conference as well as by art practitioners from across Hong Kong’s diverse institutional landscape. Working with the topics covered in conference, the programme provides a laboratory for experimentation, posing fundamental questions and ideas that challenge various models of curatorial practice. The participants of the 2016 Workshops for Emerging Professionals include Shormi Ahmed (Hong Kong), André Chan (Hong Kong), Lisa Xiangming Chen (Hong Kong), Shivina Harjani (Hong Kong), Lai Jing Chu (Hong Kong), Alba Dawoon Lim (S. Korea), Tess Maunder (Australia), Mahan Moalemi (Iran), Ryan Nuckolls (USA/China), ShenShen Wu (USA), Wu Mo (China/Hong Kong), Yuanyuan Xu (China).

適逢 Para Site 藝術空間成立二十周年，今年的國際研討會將邀

請來自世界各地的藝術工作者齊聚三天，共同探討過去二十年來，形塑香港與全球藝術風貌的種種潮流演進。

此次獲邀參與研討會的講者包括 Tobias Berger，Roger M.

Buergel，鄭慧華，周安曼，康喆明，Sofía Hernández Chong Cuy，梁志和，盧迎華， Ute Meta Bauer， Joanna Mytkowska，

Lucas Ospina，皮力，Russell Storer，黃小燕，黃志恆，吳天如，翁子健以及 Tirdad Zolghadr。

三天的研討會將以 Para Site 過去的展覽及計畫為起始點，分別

就 1990 年代、 2000 年代，以及 2010 年代三個十年進行討論，分成三天不同的主題，以深入了解不同階段下的歷史軌跡：《1990 年

代：回歸時期的身份認同及雙年展時代》（The 1990s: Identity in the times of the handover and the age of the Biennial）、《2000 年代：

中國的崛起及全球藝術世界》（The 2000s: The rise of China and the

The International Conference is free of charge to the public.

global art world）、《2010 年代：藝術展會時代的榮景與危機》（The

Live streaming is available during the Conference, and video documentation will be published online after the event, for both please visit: http://www.para-site.org.hk/en/conference/2015-para-siteinternational-conference

2010s: Booms and crises in the age of the art fair）。儘管這樣的劃

分稍嫌粗略，但我們仍希望可以藉由香港、中國與世界其他地方的不同觀點，一起來檢視並更加理解這段時程的深刻轉變。

從柏林圍牆的倒塌到紐約世貿的九一一攻擊事件， 1990 年代在

The 2016 International Conference is a Para Site project, co-presented by Asia Society Hong Kong Centre.

世人眼中或許是個興盛的年代⸺民主化運動方興未艾，一個屬於 6

地球村的年代似乎就要到來。但是對香港而言，這卻是個不確定的

時期，時值回歸中國之際，在地的藝術圈亟欲尋求不同的發聲管道，來表達內在的焦慮。 1996 年，正是基於如此需求，一

群有遠見的香港藝術家成立了 Para Site 藝術空間。在研討會的第一天，我們將聚焦香港與全球最普及所見的議題：身份認同

新銳藝術人才工作坊延續去年首度推出的教育培訓計畫， Para Site 將配合本屆國際

及其政治，並以這十年的演變作為相關論述的縱深。

及至 2000 年代，關於後殖民的討論已經不再侷限於昔日

研討會，於 6 月 18 至 26 日舉辦一系列工作坊，從世界各地的優

以歐美強權為中心的觀點。全球化的趨勢造成藝術世界板塊位

秀申請者當中遴選出參與這次活動的新銳藝術人才。活動宗旨乃在

移，亞洲經濟的成長更加對此現象推波助瀾。除了越來越多

提供多元的策展學習機會，讓工作坊的成員能與研討會的講者及香

的雙年展之外，世界各地也紛紛推出具有指標意義的區域性展

港傑出的藝術工作者，近距離的交流，就研討會上延伸的各類議題

覽，並且經常以頗具爭議的心態，企圖將這些區域收編到西方

深入探討，思辨不同模式的策展實踐。

觀點與既有藝術史的敘事框架裡。而香港在上個十年所進行的

2016 新銳藝術人才工作坊的參與者包括 Shormi Ahmed（香港），

關於身份認同的探討，也在此時漸漸轉型，試著結合、融入中

陳子瀓（香港），陳薌茗 ( 香港），Shivina Harjani（香港），諸荔晶

國大陸逐漸興起的藝術產業，希望能在那繁榮的光景中找到自

（香港），Alba Dawoon Lim（南韓）， Tess Maunder（澳洲），Mahan

己的定位。

Moalemi（伊朗），Ryan Nuckolls（美國／中國），伍治瑄（美國），武漠

2010 年代則充滿了重重危機，無論是歐洲各國在藝術補助

（中國／香港）以及徐媛媛（中國）。

上的窘境，還是對本身整體上的信心問題，同時並穿插藝術界此起彼落的蓬勃發展⸺香港即是一個典型的例子。雙年展曾

是我們用以交涉全球化競態的主要平台，如今似乎退位給了藝

本國籍研討會全程免費對外開放，並於 Para Site 官網提供同步線上直播及會後影音紀錄，請見：http://www.para-site.org. hk/zh-HK/conference/2015-para-site-international-conference

術展會；儘管後者自詡為一個新的國際公民空間，但卻模糊了藝術的價值／收益與美學／政治典範之間的界線，做為雙年展

的替代品誠然不盡完善。同時，香港與中國大陸兩地藝術圈的關係則隨著大大小小的政治危機日益複雜；但香港也隨著本身藝術圈的拓展而重拾信心，繼而改變了雙方關係的擺渡。

2016 國際研討會由 Para Site 藝術空間主辦，亞洲協會香港中心協辦。

Schedule｜日程

June 21 6 月 21 日

June 22 6 月 22 日

14.00 - 14.20

Introduction ｜引言

June 23 6 月 23 日

The 1990s: Identity in the times of the handover and the age of the biennial 1990 年代：回歸時期的身份認同及雙年展時代 14.20 - 15.00

Phoebe Wong｜黃小燕

15.00 - 15.40

Carol Yinghua Lu｜盧迎華

15.40 - 15.50

Break｜休息

15.50 - 16.30

Amy Cheng｜鄭慧華

16.30 - 17.10

Ute Meta Bauer

17.10 - 17.20

Break｜休息

17.20 - 18.30

Conversation moderated by Anthony Yung 對談討論由翁子健主持

Pi Li｜皮力

14.40 - 15.20

Russell Storer

15.20 - 15.30

Break｜休息

15.30 - 16.10

Roger M. Buergel

16.10 - 16.50

Joanna Mytkowska

16.50 - 17.00

Break｜休息

17.00 - 17.40

Sara Wong Chi-hang & Leung Chi-wo with Cosmin Costinas 黃志恆，梁志和與康喆明對談

17.40 - 19.00

Conversation moderated by Cosmin Costinas 對談討論由康喆明主持

14.00 - 14.40

Sofía Hernández Chong Cuy

14.40 - 15.20

Lucas Ospina

15.20 - 15.30

Break｜休息

15.30 - 16.10

Tirdad Zolghadr

16.10 - 16.50

Tobias Berger

16.50 - 17.00

Break｜休息

17.00 - 18.20

Conversation moderated by Frances Wu Giarratano 對談討論由吳天如主持

18.20 – 18.30 18.30 – 19.30

The 2000s: The rise of China and the global art world 2000 年代：中國的崛起及全球藝術世界 14.00 - 14.40

The 2010s: Booms and crises in the age of the art fair 2010 年代：藝術展會時代的榮景與危機

Break | 休息

Plenary discussion | 綜合討論

The 1990s: Identity in the times of the handover and the age of the biennial 1990 年代：回歸時期的身份認同及雙年展時代

Speakers | 講者

Phoebe Wong 黃小燕 Amy Cheng 鄭慧華 12

Moderator | 主持

Anthony Yung 翁子健

Carol Yinghua Lu 盧迎華 Ute Meta Bauer

Mapping the 1990s: Hongkongology, Northbound Imaginary, and the Pink Paper

九〇年代拼圖：香港學、北進想像及粉紅書

Phoebe Wong 黃小燕

Phoebe Wong is an independent researcher and writer based in Hong Kong. She is currently a member of the International Association of Art

What were the forces that shaped the Hong Kong art scene in the

Critics, Hong Kong. She was the Head Researcher at Asia Art Archive until

1990s? The 1990s saw the rise of globalisation and creative industries,

2011, during which time, she took part in the major research project Materials

which led to the rapid expansion of the art infrastructure in Hong Kong,

of the Future: Contemporary Chinese Art in the 1980s, which launched

then a culturally regressive city. If the recent advocacy of Hong Kong’s

worldwide in 2010. Her writings have been published in Asia Art Archive,

independence sounds like a belated radicalism, perhaps the almost-forgotten

Art Plus, Artforum China, and the International Association of Art Critics HK,

notions such as ‘Hongkongology’ and ‘Northbound imaginary’ from the

among others.

1990s deserve a revisit.....

黃小燕，獨立研究員及作家，目前為國際藝評人協會香港分會會員之一，

是什麼形塑香港九〇年代的藝術文化發展？我們看到九〇年代因為全球

定居香港。她曾於亞洲藝術文獻庫擔任首席研究員直到 2011 年，期間參與「未

化及創意產業的興起，帶動整體藝術圈的蓬勃發展，甚至如香港這般文化後

來的材料紀錄：1980-1990 中國當代藝術」的研究計劃。該計畫為一龐大針對中國當代藝術的資料收集與整理，於 2010 年正式對外發表。黃小燕的文章可見於亞洲藝術文獻庫、Art Plus，藝術論壇及國際藝評人協會香港分會等。

進的城市，在藝術基礎建設上都得到前所未有的快速擴展。另則，如果近期 14

對於香港獨立的擁護聲浪似是遲來的激進，那麼似乎值得再訪九〇年代曾廣為談論，如今已幾被遺忘的「香港學」及「北進想像」。

問題在於行動

The Issue Lies in Actions “Issues” and “Projects” in Contemporary Art Practice in China from 1988 to 1996

年－ 1996 年 1988 中國當代藝術實踐中的﹁問題﹂和﹁方案﹂

Carol Yinghua Lu 盧迎華

Carol Yinghua Lu lives in Beijing. She is a PhD candidate in art history at the University of Melbourne. She is a contributing editor at Frieze and is on the advisory board of The Exhibitionist. Lu was on the jury for the Golden Lion Award at the 2011 Venice Biennale. She also served as co-artistic

This presentation takes the research on the New Measurement Group

director of the 2012 Gwangju Biennale and co-curator of the 7th Shenzhen

(xinkedu) and Qian Weikang as a starting point for a consideration of the

Sculpture Biennale in 2012. From 2012 to 2015, she was the artistic director

Chinese contemporary art ﬁeld in the period from 1988 to 1996. It will

and chief curator of OCAT Shenzhen. Lu was the ﬁrst visiting fellow in the

revisit the heated discussion surrounding the issue of “purifying language”

Asia-Paciﬁc Fellowship program at the Tate Research Centre in 2013. She

(a discussion around formalism in essence) following the “’85 New Wave

recently showcased a project with artist, Liu Ding, titled Reef: A Prequel at

Art Movement” in China in the late 1980s. While analyzing the intellectual

the Bonnefanten Museum, Netherlands (2015).

origin and positions behind this critical debate around the subject of “artistic

Her publications include Little Movements: Self-Practices in Contemporary

language,” I will examine the artistic movements spurred by such a debate

Art I, Little Movements: Self-Practices in Contemporary Art II, Accidental

and its persisting inﬂuence on artistic practice into the 1990s. In this lecture,

Message: Art is Not a System, Not a World (co-edited by Liu Ding) and Art

I will also look at the value system, the pragmatist and functionalist spirits

History After Modernism (translated by Su Wei and annotated by Lu).

in the Chinese art world after 1989, against a social and political backdrop characterized by the emergence of globalization and a neo-liberal economy.

盧迎華定居北京，目前為墨爾本大學美術史博士生。她是 Frieze 雜誌的

It will discuss the reactions and actions by artists, critics and curators in

特約編輯及 The Exhibitionist 雜誌的諮詢委員之一。 2011 年，盧迎華擔任威

response to the new set of conditions for practice from 1989 to 1996.

尼斯雙年展金獅獎的評委。 2012 年，擔任光洲雙年展的聯合藝術總監及第

此次演講將以新刻度與錢餵康的研究作為引子，回溯在 1980 年代中期

七屆深圳雕塑雙年展的聯合策展人。 2012 － 2015 年間，擔任深圳 OCT 當

「美術新潮」運動之後中國當代藝術領域中圍繞「語言純化」的問題所出現的

代藝術中心的總策展人。 2013 年，她成為英國泰特研究中心的首位亞太區

激烈討論，分析這場「藝術語言」之爭背後的思想來源和立場，並討論這場

研究員。近年她與藝術家劉鼎合作《Reef: A Prequel》的研究計畫於 2015 年

爭論所引發的創作現象和它在進入九十年代之後所產生的持續回響。與此同

在荷蘭 Bonnefanten 美術館中展出。

時，演講中還將著重探討 1989 年之後更為顯性的以全球化和新自由主義經

盧迎華發表過許多文章及書籍，包括「小運動 - 當代藝術中的自我實踐

濟興起為背景的社會和政治潮流對於塑造藝術領域的價值觀和實用主義、功

（1）」，「小運動 - 當代藝術中的自我實踐（2）」，「第七届深圳雕塑雙年展：偶然的信息：藝術不是一個體系，也不是一個世界」（與劉鼎共同編輯）及

「現實主義後的藝術史」（蘇偉翻譯，盧迎華註釋）。

能主義精神的影響，以及藝術家、批評家和策展人在創作和實踐上所做出的回應和採取的行動。

The Post-Martial-Law Era (1987-2000) and the Age of Curating in Taiwan

後解嚴時代︵ 1987–2000 ︶與台灣策展年代

Amy Cheng 鄭慧華

Amy Cheng is a curator and writer based in Taipei. She co-founded TheCube Project Space with Jeph Lo in 2010, which serves as an independent art space devoted to the research, production and presentation

The concept of “curating” and “curator” was introduced to Taiwan in

of contemporary art in Taipei. She has curated various exhibitions including

the mid-1990s, and the 1998 Taipei Biennial, curated by Fumio Nanjo, is

The Heard and the Unheard: Soundscape Taiwan, Taiwan Pavilion at the 54th

generally considered the beginning of the curatorial era in Taiwan. However,

International Art Exhibition – La Biennale di Venezia (2011), the exhibition

as a result, art movements and activities prior to this period have been

series Re-envisioning Society (Taipei, 2011-2013), Shamans and Dissent (Hong

ignored in the curatorial discourse. This lecture attempts to look at how

Kong, 2013) and Towards Mysterious Realities (2016). She also co-curated

the history of curatorial practice in Taiwan has been written since the end

these exhibitions: Melancholy in Progress: The 3rd Taiwan International Video

of martial law in 1987. It takes into consideration the parallel tracks of the

Art Exhibition (Taipei, 2012), ALTERing NATIVism Sound Cultures in Post War

institutional (national and international) curatorial mechanisms and the

Taiwan (Taipei, Kaohsiung, 2015), Phantom of Civilization (Luxembourg, 2015)

curatorial efforts outside of such establishments from the late 1980s to

and Tell Me a Story – Locality and Narrative (Shanghai, 2016).

the 1990s, and examines how they jointly constructed the discourse of the history of curating in Taiwan.

鄭慧華，策展人與作家，目前定居台北。2010 年她與羅悅全共同成立

本次演講將回顧以 1987 年台灣的解嚴作為分斷的當代策展歷史過程，重

「立方計劃空間」，提供台北藝文社群一個兼具展場，研究，交流的當代藝術

看台灣在地策展的發展。從一般所知的主流史觀和八〇年代末至九〇年代體制

空間。鄭慧華策劃許多展覽，包括第五十四屆威尼斯雙年展台灣館－《聽見，

外的行動兩條路線，去看待如何書寫台灣策展史的問題。

以及那些未被聽見的─台灣社會聲音圖景》(2011)，《重見 / 建社會》展覽系列

談及台灣當代藝術的策展，一般會以 1998 年第一屆台北國際雙年展邀請

（台北， 2011 － 2013），《巫士與異見》（香港， 2013），《現實秘境》（台

了南條史生為策展人作為台灣「策展年代」的一個重要起點，然在九〇年代中

北， 2016）。此外，她也共同策劃了第三屆台灣國際錄像藝術展《憂鬱的進步》

期以前（「策展」與「策展人」一詞尚未被使用），台灣的策展概念和實踐為何？

（台北， 2012），《造音翻土 ── 戰後台灣聲響文化的探索》（台北，高雄

2015），《文明幻魅》（盧森堡，2015）及《告訴我一個故事－地方性與敘事》

（上海， 2016）。

而這段歷程又如何在西方「策展機制」的橫向引入後，成為了未來「策展史」中始終欠缺討論的一環？

Ute Meta Bauer

Anthony Yung 翁子健

Ute Meta Bauer is currently Founding Director of the Centre for Contemporary Art Singapore at Nanyang Technological University (NTU). She formerly was Associate Professor in the Department of Architecture at MIT (Massachusetts Institute of Technology), Cambridge, where she also served as Founding Director of the MIT Program in Art, Culture, and Technology (20052012). From 2012–2013, she was the Dean of Fine Art at the Royal College of Art, London, UK. Bauer was Co-Curator for Documenta11 (2001/2002) and Artistic Director for the 3rd Berlin Biennale for Contemporary Art (2004). As Founding Director of the Ofﬁce for Contemporary Art Norway (2002-05) she was also Commissioner for the Nordic Pavilion at the 50th Venice Biennale (2003) and the Norwegian contribution for the 26th São Paulo Biennale (2004). Most recently in 2015, she co-curated with MIT List Centre for Visual Art Director Paul Ha, the US Pavilion at the 56th Venice Biennale presenting eminent artist Joan Jonas. Bauer has edited numerous publications in the ﬁeld of contemporary art, most recently Intellectual Birdhouse, Artistic Practice as Research (co-edited with Florian Dombois, Michael Schwab and Claudia Mareis, 2012), World Biennale Forum No 1 – Shifting Gravity (co-edited with Hou Hanru) and AR –

Anthony Yung is senior researcher at Asia Art Archive, specializing

Artistic Research (co-edited with Thomas D. Trummer), both 2013.

in China-related archives and research projects, including Materials of the Future: Documenting Contemporary Chinese Art 1980-1990 which produced

Ute Meta Bauer 現為南洋理工大學新加坡當代藝術中心創始館長。在此

an extensive archive of primary materials and interviews about China during

之前她任職於多間知名學院，包括 2005-2012 年擔任麻省理工學院助理教

the 1980s. Yung is also co-founder of Observation Society, an independent

授，並主持藝術文化與科技計劃項目，以及 2012-2013 年擔任倫敦皇家藝術

art space in Guangzhou. He is the awardee of ‘The Fourth Yishu Awards for

學院院長。Bauer 策劃許多重要展覽，包括擔任第十一屆文件大展聯合策展人

Critical Writing on Contemporary Chinese Art’ (2014) and co-curator of A

（2001-2002），第三屆柏林雙年展藝術總監 (2004)。 2002 - 2005 年間她擔

Hundred Years of Shame – Songs of Resistance and Scenarios for Chinese

任挪威當代藝術機構董事，策劃第 50 屆威尼斯雙年展北歐館及第 26 屆聖保

Nations (Para Site, Hong Kong, 2015).

羅雙年展。 2015 年她與麻省理工學院視覺藝術中心主任 Paul Ha 共同策劃第

翁子健現任亞洲藝術文獻庫（Asia Art Archive）資深研究員，主要負責中

56 屆威尼斯雙年展美國館，該屆參展藝術家為美國重要藝術家 Joan Jonas。

國項目的研究，包括重要研究計劃「未來的材料︰紀錄 1980-1990 中國當代

Bauer 同時編輯許多重要當代藝術刊物，包括近期的 Intellectual

藝術」，其中收集大量中國八〇年代的文獻及訪談。他同時也是廣州獨立藝術

Birdhouse， Artistic Practice as Research ( 與 Florian Dombois， Michael

空間「觀察社」的創始人之一，第四屆 Yishu 當代中國藝術評論寫作獎的得主，

Schwab 及 Claudia Mareis 共同編輯， 2012)， World Biennale Forum No 1 –

Shifting Gravity ( 與侯瀚如共同編輯， 2013) 及 AR – Artistic Research ( 與

Thomas D. Trummer 共同編輯， 2013)。

並策劃《土尾世界－抵抗的轉喻和中華國家想像》（聯合策展， Para Site，香港， 2015)。

The 2000s: The rise of China and the global art world 2000 年代：中國的崛起及全球藝術世界

Speakers | 講者

Pi Li 皮力 Russell Storer Roger M. Buergel Joanna Mytkowska Sara Wong Chi-hang & Leung Chi-wo 黃志恆與梁志和 22

Moderator | 主持

Cosmin Costinas 康喆明

The Plight of Post-Olympic Chinese Art

後奧運時代中國藝術的困境

Pi Li 皮力

Pi Li is a renowned art critic and curator of contemporary Chinese Prior to the turbulence of the 1980s art movement, there was an era in

art, and has served as Sigg Senior Curator at the M+ Museum of Visual Culture since 2012. Pi Li was a lecturer at the Central Academy of Fine Arts,

China’s history of thought, in which the establishment of individuality, social

Beijing (2001-2012), where he received a PhD in Art Theory in 2009. He

ethics, and values―much akin to the discourse of the Enlightenment of 18th

has worked with major institutions in Europe such as the Centre Pompidou,

century Europe―was attempted. Within that discourse, the creative act of

Paris and Tate Modern, London as well as written for various publications

making art was considered an integral component to realising self-liberation,

internationally, including ArtForum, Art Value and Flash Art. He co-founded

and its opponent was the authoritarian state and its ideology. The 1989

the Boers-Li Gallery, Beijing, in 2005 and has curated various exhibitions

Student Movement can be considered as one of the ﬁnal acts of the Cold

worldwide including Mediacity Seoul 2006 at the Seoul Museum of Art,

War. The protests ended in bloodshed and the loss of student lives within

Super Organism at the Museum of Central Academy of Fine Arts, Beijing

China, and on a global scale, they were accompanied by the unexpected

(2011) Right is Wrong: Four Decades of Chinese Art in M+ Sigg Collection at

political dissolution of the Soviet Union and Eastern Bloc. Both events have

Bildemuseet, Umea, Sweden (2014) and most recently, M+ Sigg Collection:

provided contemporary Chinese art a recent history from which to draw from,

Four Decades of Chinese Contemporary Art, Hong Kong (2016).

one coloured with tragedy and rich ideology that has continued to impact art well into the 21st-century.

皮力為當代中國藝術著名策展人及藝評，2012 年起擔任 M+ 資深策展人。

前衛藝術風起雲湧的八十年代在中國思想史中是一個試圖建立個人主

2001 至 2012 年間，皮力任教於中央美院，並於 2009 年獲得中央美院藝術理論博士學位。他曾於歐洲許多重要藝術機構工作，包括巴黎龐畢度中心，

義社會倫理和價值標準的時代，在與之相關的啟蒙主義的話語中，藝術創

年在北京成立 Boers-Li 畫廊。皮力同時也策劃許多重要展覽，包括 Mediacity

形態。 1989 年中國發生的學生運動可以被看作是冷戰結束的一部分，雖然

作則被看做是個體解放的重要組成部分，其對立面則是專制國家及其意識

倫敦泰特美術館；近年發表文章可見 ArtForum， Art Value 及 Flash Art。2005

該運動以學生的流血傷亡結束，中國也沒有像蘇聯和東歐那樣在政治上解

Seoul 2006 (Seoul Museum of Art)， Super Organism ( 北京中央美院， 2011)

Right is Wrong: Four Decades of Chinese Art in M+ Sigg Collection (Bildemuseet，

Umea， 2014) 以及近期的《 M+ 希克藏品：中國當代四十年》（香港， 2016）。

體，但這一結果卻賦予當代中國藝術富有悲情色彩的歷史資本和道德遺產一致延續到 21 世紀的今天。

From Here to There and Back Again: the Fluid Terrain of Biennales in A Global Age

由此到彼，再回首：全球時代下雙年展的流動地帶

Russell Storer

Russell Storer is a Senior Curator at the National Gallery Singapore. He was previously Head of Asian and Paciﬁc Art at the Queensland Art Gallery | Gallery of Modern Art, Brisbane, where he was on the curatorial teams for the 6th, 7th and 8th Asia Paciﬁc Triennials (2009, 2012 and 2015). Other The 2000s was a period when globalisation moved to the forefront of

exhibitions include Matthew Ngui: Points of View (2007), Simryn Gill: Gathering (2008), the 3rd Singapore Biennale, Open House (co-curator, 2011), Cai

our consciousness, with biennales the ideal cultural platform to explore its

Guo-Qiang: Falling Back to Earth (2013), and most recently, A Fact Has No

operations and effects. In Asia, with the art market boom driving attention

Appearance: Art Beyond the Object (co-curator, 2016).

toward the region, new biennales emerged and established ones shifted their focus. This presentation will discuss several exhibitions across the Asia Paciﬁc

Russell Storer 現為新加坡國家美術館資深策展人。在此之前他主導昆

and how they reﬂected on and interacted with the dynamics of their time.

士蘭博物館及布里斯本現代美術館的亞太藝術部，並加入第 6、 7、 8 屆亞

太三年展策展團隊。其他展覽計劃包括 Matthew Ngui: Points of View (2007)，

雙年展在 2000 年代的全球化下，扮演了一個探討其運作及效應的理想

Simryn Gill: Gathering (2008)，第三屆新加坡雙年展， Open House ( 聯合策展， 2011)，《蔡國強：歸去來兮》(2013)，以及近期 A Fact Has No Appearance: Art Beyond the Object ( 聯合策展， 2016)。

文化平台。隨著藝術市場的蓬勃發展，目光轉向了亞洲，繼而帶動新型態雙 26

年展的出現。這次演講將以亞太地區的展覽為例，探討藝術展覽如何在此多變的時代下進行回應與交涉。

Indulging complexity

沈迷複雜性

Roger M. Buergel

Roger M. Buergel, from Berlin, is the Founding Director of Johann Jacobs Museum, Zurich. He was previously appointed as artistic director for Documenta XII Kassel (2007) and Busan Biennale (2012). Buergel has curated numerous critically acclaimed exhibitions including OmoshirogaraJapan’s Path to Modernity (Johann Jacobs Museum, 2016), Barely Something. On Ai Weiwei (Museum DKM, 2010) and The Government, a traveling exhibition jointly conceived with Ruth Noack at the University Art Gallery Luneburg, Museum d’Art Contemporani de Barcelona, Miami Art Central, Witte de With Center for Contemporary Art, Rotterdam, Secession (2003-05). He also taught in Luneburg University from 2002–2005 and the Academy of Fine Arts from 2007–2009, Karlsruhe. Together with curator Zhang Qing, Buergel is currently preparing an exhibition about China’s transcultural past. Suzhou Documents will open this fall in Suzhou (China). Roger M. Buergel 來自柏林，目前為蘇黎世 Johann Jacobs 美術館館長。

他曾擔任 2007 年卡塞爾文件大展藝術總監及 2012 年釜山雙年展藝術總監。

A look at the present in our global context is enough to banish any

Buergel 策劃許多重要展覽包括 Omoshirogara - Japan’ s Path to Modernity

notion of a simple chronology. The transnational experience of time is a

DKM， 2010) 以及與 Ruth Noack 聯合策劃的 The Government，該展陸續巡

decipherable pattern. The key, I think, is art – with its peculiar, ultimately only

( Johann Jacobs Museum， 2016)， Barely Something. On Ai Weiwei (Museum

fragmented one, but this fragmentation already suggests a complex, yet

迴至 University Art Gallery Luneburg, Museum d’ Art Contemporari de Barcelona,

formally stabilized combination of knowledge and imagination.

Miami Art Central， Witte de with Center for Contemporary Art， Rotterdam

在現今全球脈絡下，我們很容易排除單一時間軸的概念。跨國時間經

(2003-05)。他曾於 Luneburg University (2002-2005) 以及 Academy of Fine Arts， Karlsruhe (2007–2009) 任教。目前與中國大陸策展人張晴共同策劃

《蘇州文獻》，預計於今年秋天在蘇州開幕。

驗是一種碎片，而這碎片提出了一個複雜但足以辨認的模式，關鍵在於藝術，因其獨特且專斷穩定知識及想像的結合。

Joanna Mytkowska

Leung Chi-wo 梁志和

Joanna Mytkowska is a curator and art critic. Since 2007 she has been director of the Museum of Modern Art in Warsaw. Formerly she worked as a curator at the Centre Pompidou, Paris. She is also co-founder of the Foksal Gallery Foundation, where she worked from 2001-2007. In 2005 she curated the Polish Pavilion at the 51st Venice Biennale.

Leung Chi-wo is an artist as well as co-founder of Para Site. He has

She has also curated among other exhibitions: Alina Szapocznikow,

participated in numerous major solo and group exhibitions, including Tracing

Scultpures Undone 1955 – 1972 (Centre Art Contemporain Wiels in Brussels,

some places: Leung Chi-wo, which was Mills Gallery’s inaugural exhibition

Hammer Museum in Los Angeles, Museum of Modern Art in New York, 2012 –

(Hong Kong, 2015), ohne Start kein Ziel (Kunsthaus Mürz, Austria, 2016)

2013), Les promesses du passé (Centre Pompidou, Paris, 2010), Awkward

and The Part In The Story Where A Part Becomes A Part of Something Else

Objects (Museum of Modern Art in Warsaw, 2009). She has edited publications

(Witte de With Center for Contemporary Art, Rotterdam, 2014). He frequently

including Henryk Sta żewski. Economy of Thought and Perception (2006) and

works in collaboration with artist, Sara Wong Chi-hang in durational projects,

Edward Krasi ński (1997).

most recent of which is Museum of the Lost. He has participated in the 4th Guangzhou Triennial: The Unseen (2012) as well as biennales in Shanghai,

Joanna Mytkowska，策展人及藝評。自 2007 年便擔任波蘭華沙現代藝

Busan, Marrakech and Manchester, among others.

術博物館館長。曾於巴黎龐畢度中心擔任策展人，創立並任職 Foksal Gallery 基金會。2005 年擔任第五十一屆威尼斯雙年展波蘭館策展人。

梁志和，藝術家，同時為 Para Site 藝術空間創辦人之一。他參加過許

Mytkowska 策劃過許多展覽包括 Alina Szapocznikow, Scultpures

多重要展覽，包括南豐六廠的開幕展《梁志和：那時那處》（香港， 2015）

Undone 1955 -1972 ( 布魯塞爾 Wiels 當代藝術中心、洛杉磯 Hammer 美

ohne Start kein Ziel（Kunsthaus Mürz， Austria， 2016)， The Part In The

黎龐畢度中心， 2010) 及 Awkward Objects ( 波蘭華沙現代藝術博物館，

for Contemporary Art， Rotterdam， 2014)。他長期與藝術家黃志恆合作，包

術館及紐約現代藝術博物館， 2012 - 2013)， Les promesses du passé ( 巴 2009)。 Mytkowska 編輯許多出版物包括 Henryk Stażewski. Economy of Thought and Perception(2006) 及 Edward Krasiński (1997)。

Story Where A Part Becomes A Part of Something Else (Witte de With Center

括近期最新計劃《遺失博物館》（刺點畫廊， 2015)。曾參加第四屆廣州三年展以及上海、釜山、馬拉咯什、曼徹斯特等地的雙年展。

Sara Wong Chi-hang 黃志恆

Cosmin Costinas 康喆明

Cosmin Costinas is Executive Director/Curator of Para Site. He co-curated Afterwork (2016), The World is Our Home. A Poem on Abstraction (2015) A Hundred Years of Shame – Songs of Resistance and Scenarios for Chinese Nations (2015), Islands Off the Shores of Asia (2014), Ten Million Rooms of Yearning (2014), and A Journal of the Plague Year (2013), among others. He co-curated the 10th Shanghai Biennial: Social Factory (2014-15), and the First Ural Industrial Biennial: Shockworkers of the Mobile Image in Ekaterinburg

Sara Wong Chi-hang is a Hong Kong-based artist, and a co-founder and current board member of Para Site. She has participated in numerous

(2010). Prior to Para Site, he was Curator of BAK, Utrecht (2008-11) where

solo and group exhibitions, including Déjà Disparu (Pearl Lam Galleries,

he organized several group and one-person exhibitions (including the ﬁrst solo

2013), Light Out (Museum of Image and Sound, Bazil, 2008), the 50th Venice

presentation of Rabih Mroué). Costinas was Editor of documenta 12 magazines,

Biennale (2003) and Gwangju Biennale (2002). Her latest collaborative work,

based in Vienna and Kassel (2006-07).

with artist Leung Chi-wo, a ﬁve-year project titled Museum of the Lost was

康喆明為 Para Site 執行總監及策展人。在任期間共同策劃《工餘》(2016)，

shown at Blindspot Gallery in 2015. Wong is currently Senior Lecturer at the

《世界一家 • 抽象詩意》(2015)，《土尾世界－抵抗的轉喻和中華國家想像》

Hong Kong Design Institute.

(2015)，《亞洲的離岸島嶼》(2014)，《熱望之房》(2014)，《疫年日誌》

黃志恆，香港藝術家， Para Site 藝術空間創辦人之一。曾參加許多展覽

(2013) 及其他。他同時是第十屆上海雙年展《社會工廠》(2014-2015) 協同

包括 Déjà Disparu (Pearl Lam Galleries， 2013)， Light Out (Museum of Image

策展人，第一屆烏拉爾工業雙年展 (2010) 策展人。任職 Para Site 前，他於

and Sound， Bazil， 2008)，第五十屆威尼斯雙年展 (2003) 以及光州雙年展 (2002)。她長期與藝術家梁志和合作，包括近期發展長達五年的《遺失博物館》( 刺點畫廊， 2015)。目前擔任香港知專設計學院資深講師。

2008-2011 年擔任烏特勒支 BAK 藝術機構策展人，策劃許多個／群展，包 32

括 Rabih Mroue 的首次個展。他同時也是 12 屆卡塞爾文件大展編輯，並於 2006-2007 年定居維也納及卡塞爾。

The 2010s: Booms and crises in the age of the art fair 2010 年代：藝術展會時代的榮景與危機

Speakers | 講者

Sofía Hernández Chong Cuy Tirdad Zolghadr

Moderator | 主持

Frances Wu Giarratano 吳天如

Lucas Ospina Tobias Berger

Sofía Hernández Chong Cuy

Sofía Hernández Chong Cuy is an art curator, an occasional writer and a constant traveler. Since 2011, she has been the curator of contemporary art for Colección Patricia Phelps de Cisneros. She also teaches at the School of the Visual Arts, and is as a member of the board of directors of Triple Canopy. Previously, she has been director of Museo Tamayo in Mexico City, held curatorial positions in New York at Art in General and Americas Society, and guest-curated exhibitions for Kadist Art Foundation in Paris, MALBA in Buenos Aires, and the Center for Contemporary Art in Vilnius, among other places. In 2013, Sofía was artistic director and chief curator of the 9a Bienal do Mercosul | Porto Alegre in Brazil; before that, she was an agent of dOCUMENTA 13 in Kassel. In 2009, she initiated the slow-but-ongoing editorial project Murmur. Cuy was born in Mexicali, and lives in Brooklyn. Sofía Hernández Chong Cuy，策展人，偶爾寫作，時常旅行。 2011 年起

她擔任 Colección Patricia Phelps de Cisneros 的當代藝術策展人，並於 School

of the Visual Arts 任教，同時也是 Triple Canopy 的董事成員之一。曾於不同機構工作並參與策展計畫，包括墨西哥的 Museo Tamayo，紐約的 Art in General 與 Americas Society，巴黎 Kadist 基金會，阿根廷 MALBA 以及立陶宛當代藝

術中心等。 2013 年擔任第九屆 Mercosul 雙年展策展人，並參與第 13 屆卡塞

爾文件大展策展團隊。 2009 年成立編輯出版計劃《murmur》目前緩慢持續進行中。Cuy 出生於墨西卡利，目前定居布魯克林。

Art in Latin America: Art Fair Boom, Local Colour and New Questions

拉丁美洲的藝術：藝術展會的興起，在地色彩與新提問

Lucas Ospina

At the World Cup of national identities, ﬁrst we were political muralists, and later fantasy surrealists. Now, in the clinical judgement of the most recent

Lucas Ospina is an artist, writer and curator based in Bogotá, Colombia. He is also a professor of the Department of Arts at Universidad de Los

curatorial clichés, we are said to have suffered from incomplete modernity,

Andes. He runs a Spanish-language publication blog on the political site

validators of the modern canon, cannibals, Tropicalistas, natural-resource

La Silla Vacía, is a participant in the art site Esfera Pública and is the co-

explorers, poetic conceptualists, subjects torn between the aesthetic and the

founder-editor of Valdez magazine among writing for other outlets. He has

political in the ups and downs of autocratic regimens. And of course we will

participated in many solo and group exhibitions including The Enlightened

continue to be these things: languages are global, themes are local and there

(Tanya Leighton, Berlin, 2010), Luleå Art Biennal LAB09 (Sweden, 2009)

will always be a local colour that, as in any region, for purposes of exoticism

and MDE 07 (Medellín, 2007). Ospina has curated a number of shows in

and self-exoticism, we can provide. But perhaps we can begin this new

Colombia, including Las Edades (Bogotá, 2012), Malicia Indígena (Medellín,

period of shakeup with new questions.

2012) and A collection: Alejandro Castaño’s works (Bogotá, 2007).

國家認同在猶如世界盃的競賽中，我們從服膺政治的畫家，到成為充滿

Lucas Ospina 藝術家，作家及策展人，目前定居波哥大，任教哥倫比

想像的超現實主義者。如今，在以科學方法檢視當代策展的濫調時，我們似

亞安第斯大學藝術系。 Ospina 創立西班牙雜誌 La Silla Vacilla，為藝術空

乎掙扎於：現代性的不完整，尋求現代正統的認可，人吃人的社會機制，熱

間 Esfera Pública 的成員之一，創辦 Valdez 並擔任主編。Ospina 參與許多展

帶主義運動帶來的餘音，自然資源的掠奪，詩意的觀念主義者，以及在極權

覽，包括 The Enlightened (Tanya Leighton，2012)，Luleå Art Biennal LAB09 (Sweden， 2009)；也同時策劃 Las Edades ( 波哥大，2012) Malicia Indígena

(Medellín， 2012) 及 A collection: Alejandro Castaño’s works ( 波哥大，2007)。

獨裁統治的興衰下，美學與政治主體間的角力之爭。儘管如此，我們還是堅 38

信不論在何區域，以訴說全球共同語言來提出具有在地色彩的主題為目的。於此在進入這個新時代之際，也許我們能以提問作為開端。

(and is there anything contemporary art can offer in return)

當代藝術可以從學運份子身上學到些什麼？

What Can Contemporary Art Learn from Student Activists

︵又有什麼可以回饋？︶

Tirdad Zolghadr

These days, “student activism” sounds like an oxymoron. Leading universities remain deeply conservative institutions, even increasingly so, as student fees and debts become ever more crippling. At the same time, the university-at-large is being democratized. BAs are a mass phenomenon, and the category of “student” no longer enjoys the auratic vanguard energy it once did. But even if the university is the last place you’d expect cuttingedge activism, it remains a force to be reckoned with. Funnily enough, contemporary art is subject to a similar twin process of stratification. This talk will address the contentious combination of two charged terms (“student” and “activism”) in order to dwell on the possibility of activism within the international field of contemporary art as we know it. This in turn will allow me to discuss specificities of location, and internationalist agendas, by means of examples from Oxford, Ramallah and East Asia.

Tirdad Zolghadr is a curator and writer. He teaches at the Dutch Art Institute in Arnhem, among other institutions. His curatorial work includes a

這陣子，「學生運動」彷彿成了一個自相矛盾的名詞。高等學府的立場依

number of discreet durational projects and several biennial settings, including

舊十分保守，學雜費用與助學貸款更是日益沉重；而在同時，大學整體走向

the 2010 Taipei Biennial. Traction, a curatorial polemic, will be published by

民主化，幾乎人人都能擁有一紙大學文憑，「學生」一詞不再享有「走在時代

Sternberg Press in Summer 2016. The working title of Zolghadr’s third novel

尖端」的光環。話雖如此，即使校園已經不是我們期待前衛運動的地方，大

is Headbanger.

學依舊具備一股不容忽視的勢力。有趣的是，當代藝術同樣遭遇類似的分裂

Tirdad Zolghadr，策展人及作家，任教許多藝術學院及機構，包括荷蘭

狀況。此次演講將談及「學生」和「運動」這兩個詞彙，從它們充滿張力的組

藝術學院。曾策劃許多長期發展的策展項目以及重要的國際雙年展，包括

2010 年台北雙年展。Sternberg Press 將於 2016 年夏天出版他所編寫的策展論集《Traction》。目前正著手他的第三本小說《Headbanger》（書名暫定）。

合切入，探討前衛運動在全球當代藝術裡所具有的各種可能。並藉由各地不 40

同的例子，如英國的牛津、巴勒斯坦的拉姆安拉，或是東亞一帶，討論地緣的獨特性，以及國際主義的議程。

Let’s Talk About Space

談空間

Tobias Berger

Tobias Berger is the Head of Arts at Old Bailey Galleries / Tai Kwun in Hong Kong. Previously, he has worked at the Kunsthalle Fridericianum, the Triennial in Vilnius, ARTSPACE in Auckland, and Para/Site Art Space in Hong Kong. He was Chief Curator at the Nam June Paik Art Center in Korea and curator for visual arts at M+ in Hong Kong. Tobias Berger 目前為大館／奧卑利美術館的藝術主管。他曾任職

This lecture will explore how politics of space inﬂuenced the perception

Kunsthalle Fridericianum，策劃 Vilnius 三年展，並擔任新西蘭奧克蘭 ARTSPACE

的總監，Para Site 藝術空間的行政總監，南韓首爾白南準藝術中心的總策展

人，以及香港西九文化區 M+ 視覺文化博物館管理策展人及視覺藝術策展人。

of contemporary art in the last decade. 42

本次演講將探討空間政治如何影響過去十年對當代藝術的理解。

Frances Wu Giarratano 吳天如

Frances Wu Giarratano is Deputy Director at Para Site. Prior to that, she was the Associate Director of Exhibitions at Independent Curators International (ICI), New York, where she still serves as Exhibitions and Publications Advisor. While at ICI, she oversaw all aspects of the organisation’s touring exhibitions programme, which included 14 exhibitions a year. She worked with more than 100 international institutions (including Para Site in 2009), and directed the production of nine ICI publications, including the award-winning Martha Wilson Sourcebook (2011) and Hans Ulrich Obrist’s do it: the compendium (2013). 吳天如目前為 Para Site 副總監。任職 Para Site 之前，她為紐約 ICI 展覽

副總監，目前仍擔任該機構展覽與出版顧問。在 ICI 期間，她監督一年 14 檔

的巡迴展覽項目，與超過 100 間國際機構合作，包括 2009 年與 Para Site 的合作展覽。她指導並編輯 ICI 共 9 本出版刊物，包括得獎作品 Martha Wilson

Sourcebook (2011) 以及 Hans Ulrich Obrist’s do it: the compendium (2013)。

Acknowledgements

PARA SITE TEAM

Cosmin Costinas 康喆明 Executive Director/Curator

Frances Wu Giarratano 吴天如 Deputy Director Freya Chou 周安曼 Curator of Education and Public Programmes Qu Chang 瞿暢 Associate Curator

Fanny Chan 陳趣源 Project Coordinator/ Curatorial Assistant Olivia Chow 周宛昀 Gallery Manager/ Curatorial Assistant

Apoorva Rajagopal Development and Communications Coordinator

PARA SITE BOARD Yana Peel Co-Chair

Alan Lau Ka Ming 劉家明 Co-Chair

Jehan Pei Chung Chu 朱沛宗 Vice Chairman

Bonnie Chan Woo Tak Chi 胡陳德姿 Treasurer

LEADING CORPORATE SPONSORS THE OUTNET.COM PHILLIPS

FRIENDS Christine and James Boyle Jane DeBevoise Doryun Chong Lawrence Chu

FOUNDING FRIENDS Mimi Brown and Alp Ercil Burger Collection, Hong Kong Mimi and Chris Gradel De Sarthe Gallery, Hong Kong

Andrew L. Cohen Faux Amandine and Edouard Hervey Ada Lam and Stephanie Ho Poon

Yuri and Jane Mirkin Elaine W. Ng and Fabio Rossi

K11 Art Foundation

Nadine Ouellet

Wendy Lee

Mina Park

Lisina and Nick Leung

Emma and Magnus Renfrew

Edouard and Lorraine Malingue

Andrew & Lily Riddick

Yana and Stephen Peel Stefan Rihs Honus Tandijono Benjamin Vuchot Virginia Yee

Para Site is ﬁnancially supported by the Springboard Grant under the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region.

David Legg

Inna and Tucker Highﬁeld

marc & chantal design

Para Site is Hong Kong’s leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. It produces exhibitions, publications and discursive projects aimed at forging a critical understanding of local and international phenomena in art and society. Founded in 1996, Para Site is celebrating its 20th year of supporting artists and reinventing Hong Kong’s art scene.

Esther Schipper / Johnen Galerie Silverlens TICOLAT TAMURA Zelie Walker Frank F. Yang

The 2016 International Conference is a Para Site project, co-presented by Asia Society Hong Kong Centre. 2016 國際研討會由 Para Site 藝術空間主辦，亞洲協會香港中心協辦

Special thanks to Spring Workshop 特別感謝春天工作室

The content of these activities does not reﬂect the views of the Government of the Hong Kong Special Administrative Region.

Para Site 藝術空間為香港首屈一指的當代藝術中心，亦

是亞洲歷史最悠久、最活躍的獨立藝術中心之一。成立

宗旨在透過展覽、出版刊物等活動，開展並促進在地與國際間的對話，希冀打造一個對當代藝術、社會現象

提出批判性論述及理解的平台。成立於 1996 年，今年 Para Site 慶祝 20 年來支持藝術創作及重塑香港藝術圈的努力。

Media Partner 合作媒體 : ArtAsiaPaciﬁc

Para Site 藝術空間獲香港特別行政區政府「藝能發展資助計劃」的躍進資助。

活動內容並不反映香港特別行政區政府的意見

Sara Wong Chi Hang 黃志恆 Secretary

Kurt Chan Yuk Keung 陳育強 Mimi Chun Mei-Lor 秦美娜 Alan Y Lo 羅揚傑 Alexandra Seno

Para Site 22/F, Wing Wah Industrial Building 677 King’s Road, Quarry Bay, Hong Kong 香港鰂魚涌英皇道 677 號榮華工業大廈 22 樓

t. +852 25174620 f. +852 25176850 e. info@para-site.org.hk www.para-site.org.hk

Conference Venue | 研討會地點 Asia Society Hong Kong Centre 9 Justice Drive, Admiralty, Hong Kong 亞洲協會香港中心香港金鐘正義道 9 號

design: good morning