The Collective Eye Symposium by The Collective Eye

THE COLLECTIVE EYE SY M P O S I U M “集体之眼”项目国际研讨会

Group subjectivity and its aesthetics in the light of cultural differences

由文化差异审视集体主观性及其美学

2014年5月30日 - 6月1日中央美术学院美术馆中国，北京

An International Symposium of the Franco-German The Collective Eye Project

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THE COLLECTIVE EYE SY M P O S I U M “集体之眼”项目国际研讨会

30. MAY – 01. JUNE 2014

2014年5月30日 - 6月1日

CAFA Art Museum Auditorium No.8 Hua Jia Di Nan St. Chao Yang District Beijing, P. R. China

北京市朝阳区花家地南街8号中央美术学院美术馆学术报告厅

30.May 10 am – 6.30 pm with simultaneous translation

5月30日 10 am - 6.30 pm 中/英同声传译

31.May 10 am – 6.30 pm with simultaneous translation

5月30日 10 am - 6.30 pm 中/英同声传译

01.Juin 10 am – 1.30 pm only in English

6月1日 10 am - 1.30 pm 仅英文

THE COLLECTIVE EYE SYMPOSIUM Group subjectivity and its aesthetics in the light of cultural differences As the most recent Documenta and Manifesta as well as diverse biennials demonstrate, in times of and under the conditions of globalisation the number of collectives increases, and alongside them the attention the art world devotes to them. The subject matter of the symposium “Collective Subjectivity and Its Aesthetics in Light of Cultural Differences” - initiated by “The Collective Eye” project - which will be held in Beijing on May 30th, 31st and June 1st 2014 will be dedicated to different questions. Why is the collective practice, which prevails in other areas like theatre, cinema or music, becoming increasingly important? What can a collective achieve? What are the motivations and intentions of collective thinking and seeing, working and acting? How different are the aesthetics that are developed collectively to those of an individual artist? What occurs in the moment when different subjectivities converge, cooperate with each 5

“集体之眼”项目国际研讨会由文化差异审视集体主观性及其美学

从近年来的众多艺术双年展和文献展中可以看出，在全球化的时代，以集体创作为核心形式的艺术小组正在不断增多。以此趋势为背景，艺术界对于艺术小组的组织及其呈现也给予了越来越多的正面关注。由 “集体之眼”(The Collective Eye) 项目组织筹备的“ 由文化差异审视集体主观性及其美学”国际研讨会将于2014年5月30 日至6月1日在中央美术学院美术馆举行。 “集体之眼”作为尝试联合不同国家的学术界人士进行国际合作的项目组织，在三年前就开始推动不同国家地区的艺术小组与理论家之间的相互对话。2012年10月由“集体之眼”项目在蒙特维多举办的艺术小组展览中，“集体之眼”成员发现展览中来自不同国家的艺术小组在其组织形式及作品呈现上存在

other and join forces in a collective, whether temporarily or over a longer period of time? Is there a significant difference in the creation of an aesthetic collectively or by an individual artist? How can artist collectives be politically, aesthetically, sociologically, historically and philosophically represented? Is the self-image of a collective different when it forms in a social system which understands itself as collective, such as communism (Russia, China, GDR) than in a society which advances the subject in the centre? At a time when the art world is becoming ever more internationalised and the country pavilions at the Venice Biennale are evermore disregarding the aspect of the national a mixing and decontextualisation of cultures is coming about. The question is, what consequences does the speed of globalisation have on aesthetic practice? That the symposium takes place in China also has to do with the fact that the concept of the collective plays a different role there with regards to historical materialism. Yet the question is also to what extent culture influences the intentions, subjects, practices, ideas and understanding of the strategy of 6

多重性差异。这种差异不仅来自于不同小组的主题及思想差异，而且在很大程度上来自于小组受到的地域文化背景的差异所影响。因此“ 集体之眼”项目有意将研讨重点转向集体中的文化差异。在如今这个艺术行业更加国际化的时代，威尼斯双年展上国家馆里，国家所具有的文化元素逐渐淡化，取而代之的是趋向文化融合与去语境化。文化差异的存在正在被削弱，使得这样的一个问题显得尤为重要：全球化进程究竟会对美学实践产生如何的影响？选择在中国举办此研讨会，其中一个重要原因也是因为，在唯物主义历史影响下，“集体”这一概念在中国社会扮演着不同的角色。问题也在于，文化在何种程度上沉淀为集体的意图、主题、实践、观念和策略理解。在一个集体社会里，“集体”又是如何对围绕其客观存在的隐含性文化作出回应。此次研讨会将邀请包括艺术小组、批评家、哲学家、艺术史学

collectives? To what extent do collectives react to the objective spirit of their culture in societies which consider themselves collective? How is this, to quote Jean-Paul Sartre, individuated? The symposium considers itself not only a place where lectures are given and discussions initiated but also an attempt to set in motion a theoretical discourse which is laid out rather phenomenologically, that is to say openly. In this way the most varied aspects will be treated in an exchange between theoreticians and collectives. In addition the symposium should have another character, namely that of a temporary association of collectives and theorists from any number of continents.

家、作家等不同领域的专业人士，以不同的思维视角对“集体性” 主题展开各个层面的深度解读与探讨。同时也为“集体之眼”项目组织计划于2015年在中国举办的艺术小组展览做学术准备。研讨会除了可以被理解为一个举行报告和讨论的活动外，更是引发理论讨论的一次现象学的尝试，其本身是开放的。在不同领域的学者、艺术家的交流中，会出现不同形式的组合进行共同探讨。由此，研讨会也将具有另外一种特性，即不同大洲的学者与艺术小组的一次暂时集合，形成短暂的“小组”概念。在小组的形式下探讨集体性观念的主题，使其成为更具即时性的理论与实践共通的研讨会。研讨会之后这样的探讨还将在项目平台上延续下去。

29. MAY 2014, 2 PM PRE-EVENT Orta Battleships Lucy + Jorge ORTA 1982-2014 Performance at Ullens Center of Contemporary Art (UCCA)

Lucy & Jorge ORTA一对奇特的组合，Lucy 早年是位服装设计师，而Jorge则是一位阿根廷艺术家。和一些孤高、深奥的艺术作品不同，他们尝试用哲学思考的方式做作品，作品中带有强烈的“入世”理念，探究的是当今全人类面临的共同问题，从环境条件、气候变化到人与人之间的交流等，各种媒介都被灵活运动到创作中来，从雕塑、装置、服装到丝网印刷及影像等。本次在尤伦斯当代艺术中心，二人将

Preceding the performance will be a lecture of two to three short texts regarding the efforts of our planet. The performance itself revolves around the questions: What kind of space stays for cooperation? In what ways do the development of solidarity and the notion of common good impact this? Can the collective reflection and action replace the dominating ambition of ‘always more for me and myself’? How does one define the real victory and real looser in a globalized world? The performance starts as a game. Composed of 12 numbers and 12 letters with a total of 144 square, there are several teams, who will form a large circle and simultaneously participate. The strategic objective is represented by: an aircraft carrier, a submarine, a torpedo boat, a nuclear power station, an airplane, a miner, a farmer, a fisher, a computer, a technologist and a work of art, etc. After the performance there will be an opportunity to be in discussion with Jorge Orta on collective art serving as a catalyst for action.

带来为“集体之眼”项目——“由文化差异审视集体主观性及其美学”研讨会开幕而预热的行为表演“战舰”。本次的行为表演，更像一场集体游戏，由12个数字，12 个字母，144平方组成，两位艺术家也将邀请一些现场观众围成圆圈，共同参与表演。演出结束后，两位艺术家将与观众一同探讨：艺术可以作为社会改良的催化剂这个议题。嘉宾介绍：Lucy ORTA（出生于萨顿科尔菲尔德，英国，1996年）以及Jorge ORTA（出生于奥萨里奥，阿根廷，1953 年）于1991年建立了奥尔塔工作室。Orta最为有代表性的系列是：《庇护之衣》以及《身体建筑》融合建筑与服饰双重含义的迷你便携“居所”;《回收之作》，全球及地区食物链;《70 x 7 餐点》，饭桌礼仪以及餐桌文化在社区关系建立中所起的作用; 《礼物》，以礼物比喻心脏，传达了器官捐献的医学伦理道德观;《奥塔之水》，揭示水资源稀缺的现实、水污染导致的一系列问题以及公司排污控制现状;《南极洲》，国际人权与国际自由移居;《亚马逊古陆》，与日常生活和人类生存有关的自然环境价值观。

Day 1, 2014/05/30 10 am – 6.30 pm ON THE DIFFERENCES OF COLLECTIVE PRACTICE

10.00 am: Opening Address + Welcome Speakers: Peter Anders, Director of the Goethe-Institut China Anthony Chaumuzeau, Counselor (Culture, Education and Cooperation), Director of the French Institute in China 10.15 am: Project Introduction Speakers: Heinz-Norbert Jocks and Dominique Lucien Garaudel 10.30 am: The introduction of the symposium subject; the „SelfOrganization“ of Guangzhou Triennial. Speaker: Wang Huangsheng 11.00 am: Lecture on the History of Groups in China from the Perspective of Collective Societies and Social Existence in China Speaker: Karen Smith 11.45 am: Lecture on Group Subjectivity and Political Subjectification in the Work of Deleuze and Guattari Speaker: Frédéric Rambeau 12.15 pm: Discussion on the Influence of Satre and Deleuze on Collective Practice Speakers: Heinz-Norbert Jocks, Frédéric Rambeau 1.00 pm: Alain Snyers (Paris) working together, be together - acting togetehr 1.45 pm: Intermission

2.45 pm: Presentation of Specific Collectives in regard to the motives for forming a collective, collective topics versus the individual interests, the nature of the process of collective work, etcetera. Presented collectives include: 2.45 pm: AES+F 3.15 pm: Isola Art Center From Site-Specific Art to Fight-Specific Art: the Collective Isola Experience. 3.45 pm: Tian Yibin on his Work in New York and Elsewhere 4.15 pm: Sun Yuan & Peng Yu and HeinzNorbert Jocks discussing “What is a collective? Why?” Speaker: Sun Yuan & Peng Yu, HeinzNorbert Jocks 5.15 pm: Final debate on Practiced Individually as a Collective Panelists: Tian Yibin, AES+F, Karen Smith and Isola Art Center Moderation: Norbert Jocks 6.30 pm: End of Day 1

第一天 2014/05/30 10 am – 6.30 pm

集体实践的差异 10:00 am: 开场发言：安德斯，歌德学院中国分院院长、德国文化中心主任；周子牧，法国驻华使馆文化教育合作参赞、北京法国文化中心主任 2:45 pm: 特殊艺术小组的展示 10:15 am: 项目介绍

此环节将探讨促成集体形成的动机、集体

发言：海因茨-诺贝尔特·约克斯，多米尼

议题与个人利益的对立、集体实践过程的

克·吕西安·加拉奥

本质等。

10:30 am: 研讨会总结介绍；从广州三年展

讲演团体：

的“自我组织”谈起

2:45 pm: AES + F（俄罗斯）

发言：王璜生

3:15 pm: 伊索拉艺术中心（米兰）对抗特殊性艺术：伊索拉艺术中心体验

11:00 am: 从集体主义社会及社会存在的观

3:45 pm: 田益宾（中国）：在纽约、在别

点论述中国历史上的集体性

处，他在行动

发言：凯伦·史密斯 4:15 am: 讲演与对话：一个问题：什么是 11:45 pm: 德勒兹（ Deleuze）与加塔利

集体（艺术小组），为什么？

（Guattari）作品中的集体主观性及政治

发言：孙原 & 彭禹、海因茨－诺贝尔特·

主观化

约克斯

发言：弗雷德里克·朗博 5:15 pm: 辩论座谈：作为集体与个人的实践 12:15 pm: 对话：萨特（Sartre）与德勒兹

发言：田益宾、AES + F、凯伦·史密斯，

（ Deleuze）对美学实践的反思及其影响

伊索拉艺术中心

发言：海因茨-诺贝尔特·约克斯，弗雷德

主持：海因茨-诺贝尔特·约克斯

里克·朗博 6:30 pm: 本日议程结束 1:00 pm: 共同工作，共同相处－共同行为阿莱恩· 斯奈尔思 (巴黎) 1:45 pm: 午休

Day 2, 2014/05/31 10 am – 6.30 pm

HOW DOES CULTURE INFLUENCE THE ARTISTIC WORK OF A COLLECTIVE? 10.00 am: Opening Speakers: The Collective Eye Team

THE ‘UTOPIAN SURPLUS’ OF THE COLLECTIVE

Presentation of Collectives: 10.15 am: Su Wei & Carol Lu & Liu Ding (Beijing) 10.45 am: NBDBKP (Berlin)

1.00 pm: The Collectivism as a Practical Utopia Speaker: Ou Ning 1.45 pm: Intermission

11.15 am: Presentation on Collective Art Scenes and Social Intervention Practices in Hong Kong Speakers: Song Yi (Beijing) and Jeff Leung Chin Fung (Hong-Kong) 11.45 pm: Panel Discussion on BerlinBeijing-Paris-Hong Kong Panelists: Su Wei & Carol Lu & Liu Ding, NBDBKP, Alain Snyers, Jeff Leung Chin Fung Moderation: Heinz-Norbert Jocks

2.45 pm: Lecture on the Usological Turn in Collective Thought: “Usership 3.0 “ Speaker: Stephen Wright 3.30 pm: Panel Discussion on Collective Social Intervention Panelists: Isola Art Center, Ou Ning, Tian Yibin, Robin Kahn and Jeff Leung Chin Fung Moderation: Heinz-Norbert Jocks 4.45 pm: Discussion on Curatorial Work within the Context of Artist Collectives Panelists: Philip Tinari and Bao Dong Moderation: Zandie Brockett 5.30 pm: Panel Debate on the Future of the Collectives in the Art World Panelists: Sun Yuan & Peng Yu, Philip Tinari, Qiu Zhijie and Stephen Wright Moderation: Nataline Collonello 6.30 pm: End of Day 2

第二天 2014/05/31 10 am – 6.30 pm

文化如何影响集体的艺术实践 10:00 am：开场发言：“集体之眼”团队

集体的过剩乌托邦 1:00 pm：作为现实性乌托邦的集体主义

讲演团体

发言：欧宁

10:15 am：苏伟、卢迎华和刘鼎（北京） 10:45 am: NBDBKP（柏林）

1:45 pm: 午休

11:15am：香港艺术小组概况及香港集体

2:45 pm: 集体意识下的使用者趋势 -- 使

的社会干预

用者 3.0

宋轶（北京）、梁展峰（香港）

发言：史蒂芬· 怀特

12:00 pm：柏林－北京－巴黎－香港

3:30 pm：对话：集体的社会干预

发言：苏伟&卢迎华&刘鼎、NBDBKP、阿

发言：伊索拉艺术中心、欧宁、田益宾、

莱恩· 斯奈尔思、梁展峰

罗宾· 卡恩、梁展峰主持：海因茨-诺贝尔特·约克斯 4:45 pm: 对话：策展人视角审视艺术小组发言：田霏宇、鲍栋主持：张桂才 5:30 pm：辩论座谈：集体对艺术界未来的影响发言：孙原 & 彭禹、田霏宇、邱志杰、史蒂芬· 怀特主持：箫岭 6:30 pm: 本日议程结束

Day 3, 01.06.2014 10 am – 1.30 pm To be held in English without translation

第三天 2014/06/01

CULTURAL DIFFERENCES IN GLOBAL TIMES

全球化时代的文化差异

10.00 am: Opening Speakers: The Collective Eye Team Presentation of Collectives: 10.15 am: Portrait by Jochen Schmith

10 am – 1.30 pm 全程仅英文语言，无中英翻译

10:00 am: 开场“集体之眼”团队讲演团体 10:15 am: 尤亨·施密特：肖像

10.45 am: 20-year Overview of Collectively Authored Projects by Robin Kahn

10.45 am: 罗宾· 卡恩：二十年集体性创

11.15 am: On South America by Sebastian Alonso

11.15 am: 塞巴斯蒂安·阿隆索：关于南美

11.45 am: Lecture on The History of Collectives in (Communist) China Speaker: Qiu Zhijie 12.30 pm: Discussion on Cultural Difference in Global Times Panelists: Qiu Zhijie, Karen Smith, Alain Snyers, Robin Kahn, AEF+S, Sebastian Alonso, Jochen Schmith Moderation: Heinz-Norbert Jocks

作项目回顾

11.45 am: 从社会主义中国的集体性论及中国艺术小组发展史发言：邱志杰 12.30 pm: 关于全球化时代的文化差异的讨论发言：邱志杰，凯伦·史密斯，阿莱恩· 斯奈尔思，罗宾· 卡恩，AEF+S, 塞巴斯蒂安·阿隆索，尤亨·施密特。

1.30 pm: End of Symposium 1.30pm: 研讨会结束

Errors and changes to the contents as well as program modifications reserved.

行程安排及相关信息以实际情况为准

THEORISTS 理论家

Heinz-Norbert Jocks 海因茨-诺贝尔特·约克斯 (Düsseldorf 杜塞尔多夫)

Ou Ning 欧宁 (Huangshan, Anhui 安徽黄山)

Frédéric Rambeau 弗雷德里克·朗博 (Paris 巴黎)

Wang Huangsheng 王璜生 (Beijing 北京)

Stephen Wright 史蒂芬· 怀特 (Paris 巴黎)

Qiu Zhijie 邱志杰 (Beijing 北京)

Zandie Brockett 张桂才北京 (Beijing 北京)

Bao Dong 鲍栋 (Beijing 北京)

Karen Smith 凯伦·史密斯 (Beijing 北京)

Philip Tinari 田霏宇 (Beijing 北京)

Nataline Colonnello 箫岭 (Beijing 北京)

Song Yi 宋轶 (Beijing 北京) Jeff Leung Chin Fung 梁展峰 (Hong Kong 香港)

ARTISTS / ART COLLECTIVES 艺术家 / 艺术小组

Bert Theis 贝尔特·泰斯 Mariette Schiltz 玛丽埃特·希尔茨 / Isola Art Center 伊索拉艺术中心 (Milan 米兰) Jorge Orta 豪尔赫·奥尔塔 / Lucy+Jorge Orta 露西&豪尔赫·奥尔塔 (Paris 巴黎) Alain Snyers 阿莱恩· 斯奈尔思 (Paris 巴黎) Peter Hoppe 皮特·霍珀 Peter Steckroth 皮特·施戴克霍特 / Jochen Schmith 尤亨·施密特 (Hamburg 汉堡) Niels Betori Diehl 尼尔斯· 贝托力· 蒂尔 Barbara K. Prokop 芭芭拉· 普罗克普 / NBDBKP (Berlin 柏林)

Robin Kahn 罗宾· 卡恩 (New York 纽约) Sebastian Alonso 塞巴斯蒂安·阿隆索 (Montevideo ) Tatiana Arzamasova 塔蒂阿娜·阿扎马索娃 Lev Evzovich / 列夫·艾乌佐维奇 AES+F (Moscow 莫斯科) Tian Yibin 田益宾 (Beijing 北京) Sunyuan & Pengyu 孙原 & 彭禹 (Beijing 北京) Su Wei, Carol Lu & Liu Ding 苏伟，卢迎华，刘鼎 (Beijing 北京)

参会人员（国内）

BAO DONG 鲍栋

Bao Dong (b. 1979, China, Anhui province) is an Art critic and independent curator. He graduated from the Sichuan Fine Arts Academy in 2006 with an M.A. in Art History, and has since 2005 curated exhibitions for a wide range of art organizations. By contributing with essays to the artistic dialogue and other forms of involvement, Bao has established himself as a leading curator and Art critic of the “new generation.”

鲍栋是工作居住在北京的中国新一代评论家与策展人。1979年生于安徽芜湖，2006 年硕士毕业于四川美术学院艺术史系。2003年至今，他在UCCA、广州时代美术馆、A4艺术中心、何香凝美术馆等诸多艺术机构策划过大量的展览，并受邀参加各种学术论坛及研究项目。他是《艺术界》杂志的特约编辑与主要撰稿人，纽约时报中文网的特约撰稿人，他的文章曾发表于《读书》、《Yi Shu》、《艺术世界》、《艺术当代》、《今日美术》、《艺术评论》、《美术文献》、《荣宝斋》、《画刊》等诸多杂志以及各种机构出版物。

KAREN SMITH 凯伦·史密斯

British-born writer and curator Karen Smith first came to China from Hong Kong in 1992, with the express aim of researching and documenting the new art emerging there. Based in Beijing since, she has been instrumental in her contribution to the contemporary Chinese scene through extensive writings and interviews, and exhibitions conceived to articulate art and artists at the forefront of creative developments in China. Smith is the author of a number of books including Nine Lives; The Birth of Avant Garde Art in New China (Timezone 8, 2006), Ai Weiwei (Phaidon, 2009), and As Seen 1 and 2 (2011 and 2013). She is currently working on As Seen 3. Among the many exhibitions she has curated are “Revolutionary Capitals” (ICA, London, 1999), “The Real Thing” (Tate Liverpool, UK, 2007) and, more recently, “Life Most Intense” (Ma Ke solo exhibition, Platform China, 2012). In 2012, Smith was appointed executive director of OCAT Xi‘an, the newest contemporary art centre in the Shenzhenbased OCAT museum group.

凯伦·史密斯女士出生于英国，当代艺术评论家，著名策展人。她于1992年来到中国大陆，至此定居北京。怀揣对中国当代艺术的热情，凯伦用她的文字作品，向世界解读这片土地上当代艺术的萌芽与发展历程。凯伦对中国创意产业的发展做出了许多贡献。她时刻关注着中国最前沿的艺术家、艺术作品，参与和策划了多个艺术展，并且著有大量以中国当代艺术为主题的评论和采访报道。史密斯女士著有：《九条命: 新中国先锋艺术的诞生》 (Timezone 8, 2006)，艾未未 (Phaidon, 2009),《发光体》系列丛书第一卷（2011）及第二卷（2013），第三卷也正在编纂中。她策划的展览包括“北京—— 伦敦:创意之都” (ICA, London, 1999), “真实事件”(Tate Liverpool, UK, 2007)以及“ 杯弓蛇影”(马轲个展, 站台中国, 2012). 2012年，史密斯女士被任命为西安OCAT 当代艺术馆的执行董事（OCAT中文全称为华侨城当代艺术中心馆群，总部位于深圳）。

TIAN YIBIN (LAOLIU) 田益宾（老六）

Also referred by his artistic name Laoliu, Tian Ybin (Daqing, 1963) is a Chinese photographer. His practice intertwines video and sculpture as well. Currently residing in Beijing, Tian‘s work has been acclaimed by the critique all over the globe, having successfully exhibited individually and collectively in numerous events and locations both in China as internationally. Of these occasions one may point out: Chelsea Art Museum, New York; Asian Contemporary Art Fair, New York; TS1 Contemporary Gallery, Beijing; Asia Art International Exhibition, South Korea; Pingyao International Photography Festival; SOHO456 Gallery, New York; Book House, Seoul; The 4th Chengdu Biennale, Chengdu Contemporary Art Museum; Asia Art Festival, Busan.

田益宾，又名老六，1963年出生于中国黑龙江省大庆, 现居北京。中国著名摄影师，同时在纪实拍摄及雕塑创作方面也颇有造诣。田益宾的作品受到国际艺术界的广泛关注与认同，多次以个展和群展的形式在海内外成功展出。展出地包括纽约切尔西美术馆，纽约亚洲当代艺术馆，北京TS1当代艺术馆，韩国首尔亚洲国际美术展，平遥国际摄影节，纽约SOHO456画廊，韩国首尔Book House 画廊；第四届成都艺术双年展；成都当代美术馆；韩国釜山亚洲艺术节。

LIU DING SU WEI CAROL LU 刘鼎, 苏伟, 卢迎华

LIU DING Liu Ding (Changzhou, 1976) is a Beijingbased artist and curator whose work investigates the various mechanisms and rules of the art system. With curatorial work as a crux of his artistic practice, many of his projects engage the notion of an artwork and the audience in unique ways. His project the Liu Ding’s Store presents the various mechanisms that lead towards value, both visible and invisible in the art system. His work has been shown at various international art institutions.

刘鼎, 1976 生于中国江苏常州，独立艺术家、策展人，现居北京。刘鼎的创作从机械理论出发，质疑和思考艺术系统中的规则和发展模式。他策划的展览以其独特的角度，在艺术理论范畴下，对“作品”以及“观众”等此类抽象词语的语义进行解读。他的项目“刘鼎的商店”向观众展现了了艺术体系中，在泛机械理论引导下所创造的可见价值与隐形价值。他的作品在许多海外的艺术机构和美术馆

SU WEI Su Wei (Beijing, 1982) is a Beijingbased critic, curator. He holds a Ph.D from the Chinese Academy of Social Sciences in Germanistics. He contributes to various international art magazines and publications. He focuses on the theoretical practice and writing about contemporary art. He was the assistant curator of Little Movements: SelfPractices in Contemporary Art at the OCT Contemporary Art Terminal and co-curated the 7th Shenzhen Sculpture Biennale in 2012.

展出。

CAROL YINGHUA LU Carol Yinghua Lu (Chaozhou, 1977) is a Beijing-based critic and curator. She is currently a contributing editor at Frieze Magazine, and sits on the editorial board for the Arnolfini Art Center’s Far West magazine. She was a jury member of Venice Biennale’s Golden Lion Award 2011, and was one of the co-artistic directors for Gwangju Biennial 2012.

卢迎华1977年出生于中国广东省潮州市，艺

苏伟，1982年出生于中国北京。中国社会科学院日耳曼语言文学系博士，现为艺术评论人、策展人。他曾为许多国际性艺术杂志和出版社撰稿，作品关注当代艺术以及当代艺术的理论性实践。他是OCT当代艺术中心

“小运动——当代

艺术中的自我实践”展览的助理策展人，并联合策划了2012年第七届深圳雕塑双年展。

术评论人、策展人，现居北京。 Frieze艺术杂志特约编辑，Arnolfini艺术中心主办的 Far West杂志编辑。2011年威尼斯双年展金狮奖评委，2012年光州双年展艺术总监之一。

NATALINE COLONNELLO 箫岭

Nataline Colonnello is a contemporary art critic and curator based in Beijing since 2001. Born in Pordenone, Italy in 1976, she is a Chinese language graduate with a master in Chinese contemporary Art (University of Venice). Between 2002 and 2003, Colonnello worked as the editor and art critic at chinese-art.com. From 2003 to 2012 she worked as the Beijing Artistic Director of Galerie Urs Meile Beijing-Lucerne. She collaborated with international art institutions, organizations and art collections, such as: Ullens Center for Contemporary Art (UCCA) (Beijing), China Art Archives & Warehouse CAAW (Beijing), Dashanzi International Art Festival, (Beijing), Guangdong Museum of Art (Guangzhou), Kunstmuseum Luzern (Switzerland), Manchester Art Gallery (UK), and the Sigg Collection (Switzerland). She participated in international panels, workshops, consulting and research programs and her articles and interviews appeared in numerous magazines worldwide as well as in exhibition catalogues and monographs. Currently, Colonnello is working as the Executive Director of Ink Studio, Beijing, an experimental art space focused on Chinese contemporary ink art, and as an independent writer and curator.

箫岭，1976年出生于意大利波代诺内，威尼斯大学中文学士，威尼斯大学中国当代艺术硕士。2001年来到北京，在此工作和生活至今。现为艺术评论人，策展人。 2002至2003年，箫岭担任chinese-art. com的编辑、艺术评论员。2003至2012 年，担任北京麦勒画廊的艺术总监。她曾与许多国际艺术协会和艺术中心合作，其中包括北京尤伦斯当代艺术中心，北京艺术文件仓库，北京大山子国际艺术节，广东美术馆，瑞士卢塞恩美术馆，英国曼彻斯特艺术馆,瑞士希克收藏艺术馆。箫岭多次参于国际艺术评论活动，艺术论坛，以及研究项目。她的文章和采访报道被刊登在各国杂志,展览目录以及书籍专著中。身兼独立撰稿人、策展人，她目前还担任北京墨斋画廊（关注中国水墨当代艺术作品的实验性画廊）的馆长。

OU NING 欧宁

Ou Ning was born in Guangdong, China in 1969. Currently lives and works in Beijing. As an activist, he founded U-theque (1999-2004), an independent film and video organization, and Bishan Commune (from 2011). As a publisher Ning is known for his seminal book New Sound of Beijing (1997) and the journal Chutzpah! (from 2011). As a curator, he initiated the biennial exhibition Get It Louder (2005, 2007, 2010), curated the sound project Awakening Battersea (2006) part of the China Power Station exhibitions , was the chief curator of the 2009 Shenzhen & Hong Kong Bi-city Biennale of Urbanism and Architecture; curated “The Solutions: Design and Social Engineering” for the 2011 Chengdu Biennale and co-curated Liu Xiaodong’s Hotan Project with Hou Hanru in 2012 and 2013. As an artist, he is known for urban research projects such as San Yuan Li (2003), commissioned by the 50th Venice Biennale, and Meishi Street (2006), commissioned by the Kulturstiftung des Bundes. He is a frequent contributor with published writings and has lectured around the globe. He just published Young Asia: The Emergence of the PostCold War Generation, a special issue of Modern Weekly with Modern Media Group in China.

欧宁，1969年出生于中国广东，现居北京。作为一个积极活动家,

1999至2004年，他

创建并管理独立电影和影像创作组织--缘影会,

2011年建立碧山共同体计划。作为

一位知名出版人，欧宁1997年创办了学术丛书——《北京新声》, 2011年的《天南》双月刊。作为策展人,

他曾牵头组织策划

了2005年、2007年以及2010年的大声展, 2006年受邀在伦敦巴特西电站策划了中国声音艺术的展览项目《唤醒巴特西》,2009 年出任深圳香港“城市\建筑”双城双年展总策展人, 2011年成都双年展“谋断有道:国际设计展”策展人， 2012年至2013年2014 年参与《刘晓东在和田·新疆新观察》该书的策划和设计。作为艺术家,他以其对城市的研究而闻名, 例如2003年的纪录片项目《三元里》曾在第50届威尼斯艺术双年展(2003)上展出，以及由德国联邦文化基金会支持赞助的《煤市街》。他是一个产量和效率极高的撰稿人，经常去世界各地进行演讲。最新文章《新锐亚洲:后冷战一代的崛起》发表在现代集团的《周末画报》特刊上。

PHILIP TINARI 田霏宇

Philip Tinari is the director of the Ullens Center for Contemporary Art in Beijing. There, he oversees an exhibition program devoted to established figures and rising talents both Chinese and international, aimed at an annual public of more than half a million visitors. Prior to joining UCCA in 2011 he was the founding editorial director of the bilingual, international art magazine LEAP. He previously served as China‘s advisor to Art Basel, was the founding editor of Artforum’s Chinese-language edition, and lecturer at the Central Academy of Fine Arts. He has written and lectured extensively on contemporary art in China, and sits on advisory boards including the Guggenheim Asian Art Council, the Asia Society Hong Kong Center gallery committee, and the Future Generation Art Prize jury. In March 2014, he curated the exhibition Focus: China section of The Armory Show in New York.

田霏宇，北京尤伦斯当代艺术中心馆长。在这里，他亲历了一个个展览从最初抽象的设想变成实在、摸得着的展览，他见证了新一代中外艺术家的成长。他的目标是尤伦斯的观众能够达到每年五十万人次。 2011年加入UCCA以前，田霏宇曾任双语国际杂志《艺术界LEAP 》的总编。担任巴塞尔展的中国顾问，《艺术论坛》中文版总编，并任中央美术学院客座教授。他撰写和发表了大量关于中国当代艺术的著作和讲演，担任古根海姆博物馆亚洲艺术委员会顾问，亚洲香港亚洲协会美术馆委员会顾问，以及《未来艺术之星》艺术大赛评审。2014年3月，他策划了纽约“军械库焦点：中国”单元。

QIU ZHIJIE 邱志杰

Qiu Zhijie was born in the Fujian Province, Republic of China, in 1969 Currently living in Beijing as a full time artist, art critic and curator. In 1992 Graduated from The National Academy Of Fine Art - Printmaking department. As an artist Qiu is known for his calligraphy, photography and videoinstallation works. He has exhibited his works in various relevant sites. In the middle 90s Qiu wrote intensively on the Chinese conceptual and performance art leading to the „controversy of signification“, the most important debate in art theory in the Chinese art world. In 1996, Qiu Zhijie co-organized the first video art exhibition PHENONMENA & IMAGE in the Academy of Fine Arts in Hangzhou. Edited two books including important documents in the world wide video art history, hence becoming one of the most important propellent in the field of new medial art in China. In 1999, Qiu curated Post-sense Sensibility-Alien Bodies & Delusion, showing radical experimental works by the artistic young generation. Since, Qiu is regarded as the leader and prolocutor of the young artistic generation. In 2001, Qiu was a chief director of NEXTWAVE art magazine. Became in 2002 the co-curator of the Long march project. 26

邱志杰，1969年出生于中国福建省。现居北京，职业艺术家，艺术评论人，策展人。 1992年毕业于中国美术学院版画系。作为一个艺术家，邱志杰以其书法、摄影、以及录像艺术作品而闻名于世。他的作品在世界各地曾多次被展出。 20世纪90年代中期，邱志杰发表了多篇文章对中国观念艺术和行为艺术进行检讨和批判，由此引发了中国美术理论界最重要的，对“意义”的论证。 1996年，邱志杰在中国美院组织了中国第一个录像艺术展“现象与影像”。他还集结多篇世界录像艺术史上的重要文献，编撰并出版两本艺术理论著作，成为中国新媒体艺术发展的重要推动力。 1999年，邱志杰策划了展览“后感性：异形与幻想“，展出了新一代艺术家激进的实验性作品。由此，邱志杰奠定了其在中国新生代艺术家中领军者的地位。 2001年，邱志杰担任《NEXTWAVE》艺术杂志主编，2002年联合策划“长征“艺术活动。

SUN YUAN & PENG YU 孙原 & 彭禹

Sun Yuan (1972 Beijing), and Peng Yu (1974 Heilongjiang) are a duo of contemporary conceptual artists living and working collaboratively in Beijing. Both graduated from the High School of the Central Academy of Fine Arts in Beijing, and later from the Central Academy of Fine Arts oil painting department, also in Beijing. Collaborators since the late 1990s, Chinese artists Sun Yuan and Peng Yu create provocative works that take as their subject some of the most compelling and complex issues of our day. Their work has a reputation for being confrontational and produced with very extreme mediums. This attitude has made Sun and Peng part of the most controversial artists in China nowadays. Their work has been exhibited in numerous solo and group exhibitions in spaces and events such as: Galerie Perrotin, Paris; ICA Gallery 1, Singapore; Hammer Museum, Los Angeles; Arario Gallery, Seoul; Tang Contemporary Art, Beijing; Conciergerie, Paris; National Taiwan Museum Of Fine Arts; National Portrait Gallery, Sydney; dOCUMENTA(13) Kassel; 3rd Moscow Biennale; Groninger Museum, Holland; National Art Center, Tokyo; Saatchi Gallery, London; Tilton Gallery, New York; 51st Venice Biennale.

孙原，1972年出生于中国北京。彭禹，1974 年出生于中国黑龙江。他们现居北京，是中国当代观念艺术领域重要的艺术家组合。孙原和彭禹毕业于中央美院附属高中，随后进入中央美院油画专业学习。自1990年起，孙原和彭禹共同完成了许多极具争议性的作品。这些作品使用极端的素材，通过激烈的方式，表达人类生存状态的复杂性。极具挑战性和冲击性的创作曾引起艺术界的大量关注，也由此让孙原彭禹组合成为中国现今最具争议的艺术家之一。孙原和彭禹多次举办个展，作品也经常出现在国际性群展中，展出地包括巴黎的贝浩登画廊，新加坡ICA美术馆，洛杉矶汉莫尔美术馆，首尔阿拉里奥画廊; 北京当代唐人艺术中心，巴黎古监狱; 国立台湾美术馆; 悉尼国家肖像画廊; 德国卡塞尔文献展; 第三届莫斯科双年展; 荷兰格罗林郡博物馆; 日本东京国立新美术馆;伦敦萨奇画廊; 纽约蒂尔顿画廊； 51界威尼斯双年展.

WANG HUANGSHENG 王璜生

Born in 1956, Guangdong. Wang Huangsheng obtained his master from the Nanjing Art Institute (Art History) in 1990 and his doctorate in 2006 respectively. Since 2009 has been the Director of CAFA Art Museum from July 2009, member from the Committee of the Chinese Art Society, vice chairman of the Guangdong Artist Association, member of the Expert Committee of the China National Art Gallery and member of the Chinese Museum, specially-appointed professor in Guangzhou Academy of Fine Arts, Nanjing Art Institute and an outstanding art expert. Wang‘s paintings have been included in major exhibitions across China and have been collected by major Government Chinese institutions. Academically, he has published several books including “Series of Research regarding Chinese Master Painters in Ming and Qing Dynasties”, “Serene Universe”, and “Art and Life”, amongst others. His dissertations and critical texts have been frequently published in journals in China and internationally, such as Research on Art and Literature, Art, Art Observation, Art Trend, Art Gallery Magazine and Jiangsu Art Monthly. Furthermore, he is also the chief-editor of Art Museum periodical.

王璜生， 1956年出生于中国广东，中国著名画家。他于1990年和2006年分别获得南京美院艺术史专业硕士、博士学位。2009 年7月起，担任中央美术学院美术馆馆长，中国艺术家协会会员，广州艺术家协会副会长，中国国家美术馆专家委员会委员，中国美院会员，广州美术学院特聘教授，南京美院特聘教授。王璜生的作品曾在全国范围内展出，并被国内各大公立美术馆和艺术协会收藏。学术方面，王璜生著有《中国明清国画大师研究丛书》，《天地悠然》，《艺术与人生》等。他的艺术评论多次发表在国内外杂志期刊上，例如《文学与艺术研究》，《美术》，《美术观察》，《艺术趋势》，《画廊杂志》，《江苏画刊》，并担任期刊《美术馆》主编。

JEFF LEUNG CHIN FUNG 梁展峰

Living and working in Hong Kong, Chin Fung Jeff Leung is Project Manager of the Hong Kong Arts Centre, responsible for the coordination and curating of exhibitions, as well as an arts administrator, curator, and writer. Recently, his writing has focused on an attempt to collate the history of exhibition in Hong Kong contemporary art. He graduated with a B.A. in fine arts (2001) from the Chinese University of Hong Kong and obtained a professional certificate in arts management (2003) from The Art School, The Hong Kong Arts Centre. As a curator has worked both in Hong Kong and internationally, having participated in numerous relevant spaces and projects. His own artworks have been exhibited in a number of local and international art exhibitions.

梁展峰，现居香港。香港艺术中心项目经理，负责展览的策划和执行，同时也是一位艺术品管理员，策展人以及作家。他的近期工作着重于梳理香港的当代艺术展览史。香港中文大学美学硕士（2001），2003 年获得香港艺术中心艺术学院艺术颁发的艺术管理资格证。作为一个策展人，梁展峰在香港和海外参与组织过多个国际项目。他的个人艺术作品也曾在国内外展览中展出。

SONG YI 宋轶

Born in Chengdu in 1983, Song Yi enrolled in the Sichuan Fine Arts Institute in 2002. After graduation, Song worked as the editor of Contemporary Art and Investment and later as executive and planner for the Long March Project, where he played key roles in projects such as Yanchuan Primary School Papercutting Education Project(2009), the Ho Chi Minh Trail Project (2010) and the alternative arts and culture-oriented Rhizome Forum (2011). Since 2013, he has served as a senior editor of LEAP.

1983年生干成都，2002年考入四川美术学院版画系。2007年任《当代艺术与投资》杂志编辑。2008年在艺术机构“长征计划”参与项目策划和执行工作，包括2009 年的“延川中小学剪纸教育”项目、2010 年的“胡志明小道”项目；2011年独立策划国内不同类型文化艺术机构参与的“根茎论坛”项目。2013年起，担任《艺术界》杂志资深编辑。

ZANDIE BROCKETT 张桂才

Zandie Brockett is a Beijing-based independent curator, collaborator and project consultant from Los Angeles. Founder and chief curator of Bactagon Projects, a curatorial platform dedicated to theoretical and practice-based investigations into interdisciplinary creative methodologies. The platform serves as an experimental tool for the collective production and dissemination of research generated by Beijing-based creatives. It contains monthly talk series, curated experiential exhibitions, and an independent publication with Zandie as its editor-in-chief. Zandie received the 2014 Transnational Dialogue grant, allowing her to join the cross-continental Research Caravan, investigating alternative modes of organizational structures and the means by which independent curators challenge conventional notions of funding and public engagement. Graduated with a B.A. in sociology and photography (Duke University), she also holds an M.A. in management (Fuqua School of Business). Zandie additionally works as the international project liaison for Liu Xiaodong. With essays published in a variety of Chinese periodicals, artist catalogs and journals, has also translated several Chinese texts.

张桂才，来自洛杉矶，现居北京。独立策展人，项目合伙人，项目咨询师。 8actagon 创立者，主要组织者。这是一个以展览策划为核心内容的平台，从理论和实践的角度对跨学科理论下的创意方法论进行深入探讨和研究。此平台是一个具有实验性质的工具，致力于为集体性的艺术创作创建一个沟通渠道，同时促进北京本地艺术家们的宣传,帮助其开展调查和研究。8actagon项目内容包括每月的座谈互动，不定期主办实验性展览，并拥有独立出版物，由张桂才女士亲自出任主编。张桂才女士近期获得了 2 0 1 4 Transnational Dialogue组织的资助，她将加入穿越国度和大陆的研究车队，沿途调查分析非传统模式艺术组织的架构,并探讨独立策展人如何挑战“资金赞助“ 和 ”公众参与“的固守概念。张桂才女士是杜克大学社会学和摄影专业双学位学士，随后又获得了杜克大学福库商学院的管理硕士学位。除此之外，张桂才女士还担任刘小东工作室的国际联络人。她的论文和评论多次被翻译成中文，刊登在杂志、期刊以及艺术家目录上。

参会人员（国外）

AES+F AES+F

AES Group was originally formed in 1987 by conceptual architects Tatiana Arzamasova and Lev Evzovich and multidisciplinary designer Evgeny Svyatsky. Exhibiting abroad since 1989, the group expanded its personnel and name with the addition of photographer Vladimir Fridkes in 1995. AES+F’s recent work develops at the intersection of photography, video, and digital technologies, although it is nurtured by a persistent interest in more traditional media – sculpture especially, but also painting, drawing, and architecture. Deploying a sophisticated, poetic dialogue among these media, and plumbing the depths of art history and other cultural canons, AES+F’s grand visual narratives explore the values, vices, and conflicts of contemporary culture in the global sphere. For more than a decade, works by AES+F have been showcased in signature festivals and biennial exhibitions of contemporary art around the world. Their work has also been featured in influential events devoted to new media and photography. AES+F works have been shown in prestigious venues, museums and institutions, their works can be found among the private collections of important European institutions.

AES+F，世界著名艺术家组合，成立于1987年，最初由概念建筑师Tatiana Arzamasova、Lev Evzovich 以及跨界设计师 Evgeny Svyatsky组成。他们的作品于 1989年开始在世界范围内展出。组合名字由每个艺术家的姓名首字母构成。1995年，摄影师Vladimir Fridkes 加入，四人共同创作，直至今日。他们近期的创作从传统艺术形式——雕塑、油画、素描的作品中汲取灵感，通过平面摄影、视频、以及电子多媒体科技手段，在传统与现代之间展开了一场精妙绝伦、充满诗意的对话。该作品探究艺术史的深度，拓宽文化的艺术视角，用华丽的多层次叙事手法，拷问世界当代文化的价值、罪恶以及冲突。 20多年中，AES+F的作品多次受邀参加世界各大当代艺术节、双年展，也经常出现在各大世界高水平的新媒体及摄影展中。除此之外，他们的作品也常见于颇具声望的场所、博物馆与公共机构，在欧洲某些著名的公共机构的独家管藏中，也可以找到他们的作品。

ALAIN SNYERS 阿莱恩· 斯奈尔思

Alain Snyers, born in 1951, is an artist currently living and working in France. Studied at École des Beaux-arts of Paris and later graduated from the École Nationale Supérieure des Arts Décoratifs of Paris in painting. In Paris, in 1975, founded with JeanPaul Albinet and Philippe Cazal the group UNTEL. Between 1975 and 1980 UNTEL was highly active exhibiting and performing in numerous cities across France. Snyers was an active member of the group until 1979. Between 1979 and 1980 he collaborated with Hervé Fischer to carry out sociological art maneuvers in Germany, Holland and Quebec. Throughout his career and still in present time, Snyers has frequently exhibited in France and internationally both in solo and group shows. He was Head of the École des Beaux-Arts d‘ Amiens (France) from 1991 to 2004. Alain has been developing a practice of urban interventions and installations giving focus to the city and everyday life. He develops an observation process, diversion and parody. Snyers’s theorical research deals mainly with performing art and its social links.

AlainSnyers出生于1951年，目前在法国工作和生活。 Snyers曾就读于巴黎美术学院（École des Beaux-arts

Paris），毕业于法国国

立高等装饰艺术学院（École

Nationale

SupérieuredesArtsDécoratifsofParis）的油画专业。 1975年，Alain Snyers 与 Jean-Paul Albinet 和Philippe Cazal一起创立了UNTEL 团体。1975至

1980年期间，该团体活

跃于法国各地，组织承办了多个艺术展览。Snyers在1979年之后渐渐淡出该艺术组织。 1979至1980年，他与HervéFischer合作，在德国、荷兰以及加拿大魁北克进行社会化艺术项目的创作和实践。在整个艺术生涯之中，包括到现在为止，Snyers经常在法国及世界各地举办各占、参与群展。 1999-2004年期间，Snyers担任法国 Amiens艺术设计学院院长。 Snyers先生的创作灵来源于对城市和日常生活的关注和观察，他用反讽的模仿作为表现形式，完成其城市干预和装置艺术的实践。艺术实践之外，他还对行为艺术，以及行为艺术的社会化功能等相关理论进行研究。

FRÉDÉRIC RAMBEAU 弗雷德里克·朗博

Frédéric Rambeau (1977) lives and works in Paris. He is a lecturer in Philosophy at the University of Paris 8 Vincennes-Saint Denis and a permanent researcher at the LLCP. His main areas of research are post-structuralism and contemporary French philosophy, forms of subjectification, theories of emancipation, and links between philosophy and psychoanalysis. His doctorate explored “Paradox, Problems and Disidentification” in the philosophies of Deleuze, Foucault and Derrida. His publications include various articles on 20th Century French Theory and, as an editor, La Volonté de Savoir, Michel Foucault (Gallimard, 2006). He is currently working on a book entitled Subjectivation et dé-subjectivation : Deleuze, Foucault, Lacan.

FrédéricRambeau，出生于1977年，目前在法国巴黎工作和生活。作为巴黎第八大学（University of Paris 8

Vincennes-Saint

师，LLCP终身研究员，他的研究课题包括后结构主义，法国当代哲学，主体化的构成，释放理论，哲学与精神分析学之间的关系等。他的博士论文以德勒兹、福柯、德里达的哲学体系为理论基础，探讨“悖论，问题以及否认的认同“ 等概念。他曾发表多篇论述20世纪法国理论的文章，并曾任 2006年出版的米歇尔·福柯《认知的意志（LaVolontédeSavoir）》（Gallimard出版社）一书的编辑。目前，FrédéricRambeau 正在编纂一本书名为《Subjectivation et dé-subjectivation: Deleuze, Foucault, Lacan.》的新书.

Denis）的哲学系讲

ISOLA ART CENTER 伊索拉艺术中心

Isola

艺术中心是一个以当代艺术为核心

的，开放的、实验性的平台，位于米兰的 Isola Art Center is an open, experimental platform for contemporary art based in Milan‘s Isola neighborhood. Over the years it took several names: Isola Art Project (2001-2002), Isola dell‘arte (20032004), and finally Isola Art Center (20052013). It is powered by energy, enthusiasm and solidarity. The last decade Isola Art Center has confronted an urban situation marked by conflict and extensive transformations. Its projects continue to be „no-budget“, precarious and hyperlocal. Doing away with conventional hierarchical structures, Isola Art Center rhizomatically brings together Italian and international artists, critics and curators, artists‘ collectives, activists, architects, researchers, students and neighborhood groups. From 2001 to 2002 the project worked without an own space, participating in events of the neighborhood associations. Then, from 2003 to 2007 the Center occupied 1500 m2 of an industrial building called the Stecca, and worked on the space of two nearby parks to defend them from privatization and gentrification. After the eviction of the Stecca building in 2007, Isola Art Center is hosted until today by friendly venues in the Isola district, and works in its public sphere.

Isola街区。短短几年间，艺术中心的名字几经调整，从2001至2002年的“Isola艺术项目”，到2003至2004年改为“Isola

艺

术”，再到2004年更名为“Isola艺术中心”，并最终确定下来沿用至今。这是一个对艺术充满激情、活力以及团结精神的集体。在过往的十几年中，Isola 艺术中心历经坎坷，在一次次冲突和城市改造所带来的挑战中艰难成长。该艺术中心的项目一直坚持“无预算”形式，并以本地化为中心，使其充满了诸多不确定性。抵御住政府官僚组织结构所带来的障碍和压力，Isola成功的将意大利本国、世界其他地区的艺术家、评论人、策展人、画家、社会活动家、建筑设计师、学者、学生和该地区的居民融合在一起。 2001至2002年，Isola在没有自有空间的条件下，借用其他机构的空间，举办了多次展览，强化了该地区公众对艺术的参与热情。2003年至2007年，艺术中心拥有1500平方米的活动空间——一座名为

Stecca的工业建筑。这5年间，他们一

直在与附近两个公园的管理者一起，尽全力阻止这片土地的私有化与高档化。最终，Isola还是在2007年失去了Stecc。直到今天为止，他们仍没有属于自己的空间，所有的工作、展览和活动都依靠Isola地区其他机构的提供和支持。

JOCHEN SCHMITH 尤亨·施密特

Jochen Schmith‘s works are often marked by the character of a heterogeneous arrangement. Besides the use of different formats such as video, photography, audio, painting and text, Schmith combines this with spatial interventions which refer, among the rest, to conditions in the space. These spatial stagings involve the visitor into a multi-layered play and demonstrate the exhibition often as a narrative piece. Besides, conditions play a central role in connection with artistic production itself, as well as phenomena which become productive in the visiting of places, like hotel lobbies, trade conferences and exclusive clubs, but also special economy zones or the agency for labor. The question of understanding value and production often plays a central role in Schmith‘s creation. By being aware of the split authorship Jochen Schmith sets the working process by combining awarding with sharing. The form of the work plays in the surroundings of an utopian democratic and collective base, it uses also the draught of the single character of an artist as a potential form to question possibilities of a reception normative.

Jochen Schmith 的作品总是因其独到的、多样化的组合方式而被人们所熟知。他们结合多种媒体形式，例如视频、摄影、声音、油画以及文本等，对空间进行干预。此种空间艺术的表现形式将参观者带入一个多层次的世界，从而实现其作品的完整叙事表达。艺术作品所被呈现的场合，与艺术作品本身同样重要。这就如同在某些观光场所所观察到的一样，酒店一定要有个像样的大堂、会议中心、高级俱乐部，或是特殊经济区内一定会设立劳动服务中心等等，辅助设施可以使得主体更具生命力并获得更大产出。对如何理解价值和产品之间的关系的拷问，始终是Jochen Schmith作品的核心。 Jochen Schmith的成员共同拥有作品的著作权，他们分享奖项和荣誉。这样的工作形式衍生出了一个民主的、群体性的乌托邦，任何一位艺术家的单一性格特征，都可能成为试探群体可接受的行为规范的潜在模式，为整个群体带来多元发展的可能。

LUCY & JORGE ORTA 露西&豪尔赫· 奥尔塔

Lucy Orta (Sutton Coldfield, UK, 1966) and Jorge Orta (Rosario, Argentina, 1953) founded Studio Orta in 1991. Lucy and Jorge Orta’s collaborative practice focuses on the social and ecological factors of environmental sustainability to realize major bodies of work employing drawing, sculpture, installation, object making, couture, painting and silkscreen printing, as well staging workshops, ephemeral interventions and performances. Orta’s artwork has been the focus of major solo and collective exhibitions in numerous international relevant locations and events including. In 2007, Lucy + Jorge Orta received the Green Leaf Award for artistic excellence with an environmental message. In 2013 Lucy and Jorge Orta were selected for the inaugural commission of Terrace Wires at St Pancras International London. In parallel dialogue with practice Lucy and Jorge Orta founded Les Moulins, a cultural heritage regeneration project situated outside Paris in Marne-la-Vallée, France. At Les Moulins, former industrial sites will be transformed into a non-profit research centre for interdisciplinary workshops and residencies to promote the creation and presentation of experimental in-situ artworks.

Lucy

Orta，1966年出生于英国（Sutton

Coldfield）。Jorge Orta，1953年出生于阿根廷（Rosario）。他们于1991年一同建立了 Orta工作室。 Lucy Orta和Jorge Orta的艺术实践使用绘画、雕塑、艺术装置、手工创作、服装设计、油画、丝网印刷、灯光效果、舞台艺术、短暂干预与表演艺术等形式传达艺术家对生态环境与社会可持续发展的深刻思考。他们曾多次举办个展，作品经常在国际性的展览和艺术节上展出。 ORTA是2007年Green Leaf Award的获奖者，以鼓励其在环境保护中的做出的杰出贡献。2013年，他们受邀为伦敦圣潘克勒斯国际火车站（St Pancras International ）的“Terrace Wires”艺术项目创作开幕作品。 2007年，ORTA创立了历史文化遗产改造项目Les

Moulins。他们将工作室搬至

位于巴黎郊外的马恩河谷镇（Marne-laVallée），在这里，ORTA帮助之前的工业区成功转型为一个非盈利性质的研究中心。通过组织跨学科研讨会与艺术家驻地项目的方式，大力发展与宣传当代实验现场艺术，提升该区地区民众对艺术兴趣和参与性。

NBDBKP 尼尔斯· 贝托力· 蒂尔（Niels Betori Diehl）和芭芭拉· 普罗克普（Barbara K. Prokop） Niels Betori Diehl与Barbara K. Proko，在德国柏林艺术大学（UniversitätderKünste）读书时相识。2006年，他们开始共同合作，策展大型跨学科展览；展览的主题， Niels Betori Diehl and Barbara K. Prokop started collaborating in 2006, as they began working on interdisciplinary large scale exhibition projects based on theme complexes arising in their individual research and practices. They met while studying at the Universität der Künste in Berlin. Niels Betori Diehl (Rome, 1975), studied architecture in Rome and in Berlin, to where he moved in 1999 and completed his BFA in Architecture in 2004 and his BFA and MFA at the Universität der Künste in 2010. Barbara K. Prokop (Vienna, 1973) completed her MFA in Studio Arts at the Concordia University in Montréal in 1998 and moved to Berlin in 1999 where, she completed her MFA in Art at the Universität der Künste in 2010. Alongside their communal projects, both engaged in their individual art practices, which over time have become increasingly intertwined. They work in a variety of media such as video, sculpture and installation. Currently they are completing a book project in dialogue form, titled Niels Betori Diehl and Barbara K. Prokop – Volume I, which documents their communal and individual practices, and is understood as a critical analysis of current forms of presentation of artists and their work.

则源自他们各自研究与实践领域的课题的融合。 Niels Betori Diehl （罗马，1975）曾在罗马与柏林学习建筑学；1999年迁至柏林后，在德国柏林艺术大学（Universität der Künste）继续进行研修，并于2004年与 2010年相继获得了建筑学学士学位与艺术学士与艺术硕士学位。 Barbara K. Prokop（维也纳，1973），1998年毕业于加拿大蒙特利尔康考拉大学（Concordia University in Montréal），获得实验艺术专业硕士学位。1999年迁至柏林，并于2010年获得了德国柏林艺术大学颁发的艺术硕士学位。除共同策展的项目外，他们也单独开展各自的艺术实践。随着合作的时间的增长，这些个人项目的交集也日益增多。他们的艺术创作并不局限于介质，视频、雕塑、装置都可以成为他们进行艺术表达的载体。目前，他们正在撰写一本对话录形式的书，并将其名为《Niels Betori Diehl 与 Barbara K. Prokop —— 第一卷（Niels Betori Diehl and Barbara K. Prokop – Volume I）》。这本书不仅记录了他们共同参与的与独立完成的艺术实践，也将从批判性的视角出发，对艺术的表现形式与他们的艺术作品进行评论分析。

HEINZ NORBERT JOCKS 海因茨－诺贝尔特·约克斯

Heinz

Norbert

Jocks，德国作家、艺

术评论家、策展人。现居于德国杜塞尔多夫（Düsseldorf），工作于巴黎。1979 年，Jocks开始担任《国际艺术论坛 Heinz Norbert Jocks is a German author, art critic and curator, currently based in Düsseldorf and working in Paris. In addition to being a regular contributor and editor for the magazine Kunstforum International since 1979, Jocks has recorded thousands of interview hours between artists such as Georg Baselitz, Bill Viola, Mike Kelley, and Cindy Sherman, curators such as Massimilliano Gioni, Hans Ulrich Obrist and Harald Szeemann, as well as philosophers such as Jean Baudrillard, Paul Virilio and François Jullien. Additionally, he has written extensively on contemporary art in China, including the works of Qiu Zhijie, Liu Xiaodong and Yu Hong. Furthermore, he was the author and editor of two Kunstforum issues about “Art in Beijing”. Jocks has taught at the Fachhochschule für Design und Photographie-Düsseldorf, Muthesius Academy-Kiel, Heinrich-Heine UniversityDüsseldorf and at the Hochschule der Künste-Karlsruhe. Additionally he lectured a workshop for art writers and journalists during the ninth Shanghai Biennale. In 2011, Jocks along with Dominique Lucien Garaudel created The Collective Eye, which held their first symposium and collective exhibition in Montevideo, Uruguay.

（Kunstforum

期撰稿人及编辑；除此之外，他还与多位艺术界人士进行了千余小时的访谈，其中不乏乔治·巴塞利兹（Georg 、比尔·维奥拉（Bill 利（Mike

Baselitz）

Viola）、麦克·凯

Kelley）、辛蒂·雪曼（Cindy

Sherman）等著名艺术家， Massimilliano Gioni、

Hans

Ulrich

Obrist与Harald

Szeemann等策展人，让·鲍德里亚（Jean Baudrillard）、保罗·维瑞里奥（Paul Virilio）和François Jullien等哲学家。此外，他还撰写了大量与中国当代艺术相关的文章，谈及过邱志杰、刘小东和喻红的作品。不仅如此，他还担任过两期《国际艺术论坛（KunstforumInternational）》以“艺术在北京”为专题的特刊的主笔与编辑。Jocks也在Fachhochschule für DesignundPhotographie-Düsseldorf、德国基尔艺术学院（Muthesius Academy-Kiel）、德国杜塞尔多夫大学（Heinrich-Heine University-Düsseldorf）与Hochschule der Künste-Karlsruhe任教。第九届上海双年展期间，他曾参与了一个面向艺术作家与记者开设的授课工作坊，并进行了讲演。 2011年，Jocks与Dominique

Lucien

Garaudel共同创办了“集体之眼”，并于乌拉圭首都蒙得维特亚举办了首次研讨会及群展。

International）》杂志定

ROBIN KAHN 罗宾· 卡恩

1961年，罗宾·卡恩（RobinKahn）出生于纽约，自此，她便一直在那里生活与工作。1989年起，她开始在美国及世界各地 Robin Kahn was born in 1961 in New York where she lives and works. She has exhibited since 1989 throughout the US and abroad. Kahn established herself as a painter, a public artist, an editor of anti-copyright artist anthologies a selfpublished author and an organizer of interactive installations and collective events. All of these activities are integral and complementary to her artistic practice as they explore new ways to engage ideas, to share perspectives and to structure modes of production. In 2012, Kahn was commissioned by dOCUMENTA(13) to create “The Art of Sahrawi Cooking”, an interactive installation and a series of collaborative events with women from Western Sahara. Kahn’s projects have been collected by and included in exhibitions at The Museum of Modern Art, Museo Nacional Centro de Arte Reina Sofia (Madrid), The Brooklyn Museum, The Smithsonian Museum of Women in the Arts, The Whitney Museum of Art, The Brooklyn Museum, The New Museum of Contemporary Art, Kunstlerhaus Bethanien, and The Carnegie-Mellon Museum. She is the recipient of several awards including a National Endowment for the Arts Fellowship.

举办自己的展览。卡恩（Kahn）是一位画家、公共艺术家、反著作权艺术家选集编辑、自助出版书籍作家及互动装置艺术与集体活动的组织者。参与这些活动，使得她探寻到了融合想法、分享观点以及构建作品的新方式，作为补充，完满了她的艺术实践。2012年，卡恩（Kahn）受托于第十三届卡塞尔文献展（dOCUMENTA(13)），负责与来自西撒哈拉沙漠的女人一起，共同创造“萨拉威人的烹饪艺术（The Art of Sahrawi Cooking）”这一互动装置展及系列集体活动。纽约约现代艺术博物馆（The Museum of Modern Art）、马德里索菲亚王后国家博物馆和艺术中心（Museo Nacional Centro de Arte Reina Sofia (Madrid)）、布鲁克林博物馆（The Brooklyn Museum）、惠特尼博物馆（The Whitney Museum of Art）、国家女性艺术博物馆（The Smithsonian Museum of Women in the Arts）、当代艺术博物馆（The

New

Museum

Contemporary

Art）、贝桑尼艺术之家

（Kunstlerhaus

Bethanien）、卡内基博

物馆（The Carnegie-Mellon Museum）都曾选用卡恩（Kahn）的艺术项目进行展出。她也是多项大奖的获得者，National Endowment for the Arts Fellowship便是所获奖项的其中之一。

SEBASTIÁN ALONSO 塞巴斯蒂安·阿隆索

塞巴斯蒂安·阿朗索（Sebastián Born in 1972 at Montevideo, Sebastián Alonso is an Uruguayan established artist. Crurrently living and working at Montevideo where he teaches at the National School of Fine Arts, Uruguay. Alonso has been working for twenty years in lines of activity that hybridize the organization in art and curatorial works. He actively organizes meetings and other events, impulses critical writing and publishes. His works derives across different media such as installation, photography, video, artist books, etc. Alonso is a member of collective Alonso+Craciun since 2004; „The collective eye“ project; „CasaMario“ (Montevideo); and “Nucleus Research in Visual Culture, Education and Construction of Identity”. Has lectured in numerous seminars, and has participated individually and collectively in biennials, exhibitions, and events of different orders in Montevideo and throughout Europe and South America. Featured Projects: CasaMario, Montevideo); AMORIR, place of artistic practices aesthetic and politics, Alonso+Craciun; Bienal of Montevideo, El gran sur, Alonso+Craciun; 12th International Architecture Exhibition of the Venice Biennale.

Alonso），于1972年出生于乌拉圭首都蒙得维特亚（Montevideo），是乌拉圭卓有建树的艺术家。现在，工作和生活于蒙特维的亚（Montevideo）他，也在乌拉圭国家艺术学院（National School of Fine Arts）担任教职。阿朗索（Alonso）从事与艺术及策展相关的工作已有20余年，期间不遗余力的组织相关会议及活动，并推动批判性写作与出版。他善用多种媒介进行艺术创作，如装置、摄影、影像、艺术书籍等等。阿朗索（Alonso）也是多个艺术项目的成员，其中包括Alonso + Craciun（2004年起）、“集体之眼”、“CasaMario（蒙得维特亚）”与“Nucleus Research in Visual Culture, Education and Construction of Identity”。他曾在多个研讨会发表讲演，并以个人或集体形式参与了多次于蒙特维的亚、欧洲及南美开展的双年展及活动。代表项目：CasaMario（蒙特维的亚）；AMORIR —— 艺术实践、美学、与政治 by Alonso + Cracium，蒙得维特亚双年展（Bienal of Montevideo）；EI gran sur by Alonso + Cracium，第十二届威尼斯建筑双年展（2th International Architecture Exhibition of the Venice Biennale）。

STEPHEN WRIGHT 史蒂芬· 怀特

Born in 1963 in Vancouver Canada, Stephen Wright is a Paris-based art writer and teaches the practice of theory at the European School of Visual Arts. His writing has focused primarily on the politics of usership, particularly in contexts of collaborative, extra-disciplinary practices with variable coefficients of art. His current research seeks to understand the ongoing usological turn in art and society in terms of contemporary escapological theory and practice. In 2004, he curated The Future of the Reciprocal Readymade (Apexart, New York), in 2005 In Absentia (Passerelle, Brest), in 2006 Rumour as Media (Aksanat, Istanbul) and Dataesthetics (WHW, Zagreb). Currently Wright has been preparing, amongst other projects, Withdrawal: The Performative Document (New York) as part of a series of exhibitions examining art practices with low coefficients of artistic visibility, which raise the prospect of art without artworks, authorship or spectatorship. He is a founding user of the collective blog n.e.w.s.

史蒂芬·怀特（Stephen Wright），1963 年出生于加拿大温哥华，艺术作家，现居巴黎，并在欧洲视觉艺术学院（European School of Visual Arts）担任教职。他的著作主要着眼于使用者政治，尤其是集体、跨学科实践语境下艺术的协同作用。他目前的研究旨在了解当代逃脱者理论及其实践下使用者在艺术及社会领域的影响及趋势。2004年到2006年间，他负责策划了多个展览，如2004年的“The

Future

the Reciprocal Readymade”（Apexart，纽约）艺术展，2005年的”In Absentia” （

Passerelle，法国布雷斯特），2006

年的“Rumour as Media”（Aksanat，伊斯坦布尔）。怀特（Wright）目前正在筹备的多个策展项目，其中一个名为“Withdrawal:

The

Performative

Document”（纽约）的展览，是一个系列展出的一部分。这个展出旨在检验具有较低艺术显性的艺术实践的效果，进而试探弱化了艺术作品、著作权及艺术观赏人角色的艺术表达的未来。他是集体博客n.e.w.s的创始人。

THE COLLECTIVE EYE SYMPOSIUM TEAM

“集体之眼”项目研讨会团队

HEINZ-NORBERT JOCKS 海因茨-诺贝尔特·约克斯 project director curator + chief editor ORGANISATION: Jeanne Garaudel Zandie Brockett EDITOR, BIOGRAPHIES Maria Trabulo

DOMINIQUE LUCIEN GARAUDEL 多米尼克· 吕西安· 加拉奥 project director concept + communication moxie.de / garaudel.de

TRANSLATION Kan Jingjing Luis Nuo GRAPHIC DESIGN: Thomas Artur Spallek moxie.de / thsp.de GOETHE INSTITUT: Peter Anders, Yu Xiao, Feng Shuo, He Jian www.goethe.de/china

LUIS NUO 路易斯诺 co-project director editor + comunication luisnuo.com

AMBASSADE DE FRANCE EN CHINE: M. Anthony Chaumuzeau Berenice Angremy, Nicolas Idier, Bernadette Huang www.ambafrance-cn.org

WWW.THECOLLECTIVEEYE.ORG 45

ABOUT THE COLLECTIVE EYE PROJECT It was presumably the idea of the “collective”, which brought us together and which connected us with each other. We wanted to know more about the difference between a collective and the practice of an individual. Furthermore we wanted to understand and to learn about the special and particular conditions of collectives and also, how other collectives came together as a group. What were their motives and reasons for it? What motivates the individual to join forces with and inside of a group? How are collective designs produced? What role does the subjectivity of the individual play in the process, and to what extent does a collective depend on a form of intersubjectivity or group subjectivity? How can this be described? Are there societal, social or cultural conditions, which favor collective practice or produce a balance? In what way do collective strategies distinguish themselves? In short, the instant of diversity, the varied forms of expression and approaches of collectives.

关于“集体之眼” （The Collective Eye）

“集体之眼”是一个长期性的项目组织。组织最初由海因茨-诺伯特·约克斯（Heinz-Norbert Jocks），多米尼克·吕西安· 加罗代尔（Dominique Lucien Garaudel），马丁·克拉昆（Martin Cracun）和塞巴斯蒂安· 阿隆索（Sebastian Alonso）在乌拉圭首都蒙特维多以小组形式组成。该项目组织围绕“集体” （collective）的主题在全球范围内不定期举行展览、工作坊、论坛、研讨会等项目。其目的在于推动理论家与艺术小组之间的对话交流，从而创造一种新的更贴近集体美学实践的理论形式。因此，“集体之眼”也将自身视为一个提供不同国家地区的艺术小组与理论家相互对话的项目平台。 “集体之眼”对文化差异十分感兴趣，因此他们一直在寻找在世界社会的全球化进程中仍然将文化及语

The Collective Eye Project is an ongoing project with exhibitions, workshops, talks and symposiums all over the world.

言差异理解为自身财富的另类观

It is realized in partnership with the Goethe Institut and the Institut Français, supportet by Franco-German Cultural Fund

字、采访、信息相结合的“艺术小

www.thecollectiveeye.org

点。同时“集体之眼”也是一个拥有文

组”档案馆。 “集体之眼”于2012年10月在蒙特维多SUBTE美术馆举办了艺术小组展览。来自南美洲、北美洲、欧洲、亚洲的30个艺术小组参加了此次展览。之后，“集体之眼”在巴黎举行了“艺术小组之夜”，来自 8个艺术小组的成员交流讨论了不同艺术小组中不同的组织形式及合作方式。2014年5月30日，“集体之眼”将在中央美术学院美术馆举办“由文化差异审视集体主观性及其美学”国际研讨会。 “集体之眼”项目组织与德国文化中心、法国文化中心为合作伙伴，由法德文化基金支持。

MANY THANKS TO: 致谢名单：

Peter Anders Nicolas Idier Wang Huangsheng Philip Tinari Deng Guoyuan Liu Xiaodong Yu Hong Elisabeth Lattaro Joel Hubaut Jean-Jacques Lebel Martina Köppel-Yang Luc Boltanski Antonia Birnbaum Frédéric Keck Robert Bernell Michael Müller-Verweyen Andrea und Dieter Bechtloff Thea Barkhoff Vincent Voillat Sun Guosheng Zhao Fang Didier Eribon Gerard Couty Stefan Tüshaus Marius Obiegala Wang Lijie Martin Craciun

THE COLLECTIVE EYE SYMPOSIUM PARTNERS “集体之眼”项目研讨会合作伙伴

IT IS REALIZED IN PARTNERSHIP WITH THE GOETHE INSTITUT AND THE INSTITUT FRANÇAIS, SUPPORTET BY FRANCO-GERMAN CULTURAL FUND. 该项目与北京德国文化中心·歌德学院（中国）与北京法国文化中心为合作伙伴，由法德文化基金支持。

MEDIA PARTNERS 媒体合作伙伴

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