谁在赞助历史
WHO IS SPONSORING HISTORY
Editor's note: Founded in 2000, Asia Art Archive is a private non-profit art institution which has become one of the world’s most important organizations for contemporary art archive of Asia. Its distinct identity of folk, independent attitude, nonprofit operation, along with its international collection mode add power of times and fascinating elements to it. Its office is located
Classic of Folk Collecting History —Asia Art Archive 民间收藏历史的范本 —— 香港亚洲艺术文献库 策划：李琼波 By Qiongbo Li 采编：李 耀 By Li Yao
in the upper floor of a commercial building in Sheung Wan, HK Island, whose entrance is the same as the other common offices and whose low corridor is a little bit depressing. Inside it, books and reference materials are arranged orderly, showing its nature as an archive. Desks and chairs for use are scattered among the materials. Table lamps and electronic equipments are all ready. The staff is friendly and efficient. All of these make the user feel comfortable but at the same time curious about it. During the Art HK 2012 held in May, we made an interview with the partner of this
编者按：2000年成立于香港的亚洲艺术文献库（Asia Art
activity—colleagues of Asia Art Archive.
Archive）是由私人创建的非营利艺术机构，至今已成为全世界 最重要的亚洲当代艺术文献收藏机构之一。其清晰的民间身份、
(Note: Kennis Lai, Head of
独立姿态、非营利性质与国际化的历史收藏模式一道，为其成功
Communications in AAA; Janet Chan,
添注了时代的动力与迷人的色彩。走进其位于港岛上环一栋商厦
Assistant Head of Research; and Anthony
上层的所在地，其门口与常见的办公楼无异，低矮的楼道甚至稍
Yung, Researcher for China, who are
显压抑，等到进入内部，图书资料的井然安放立即显露了其文献
hereinafter referred to as Lai, Chan, and
馆属性——供读者使用的桌椅穿插其间，台灯与电子设备一应俱
Yung.)
全，工作人员友好而高效，让人的舒适感与好奇心油然而生。 在今年5月的香港国际艺术展举办期间，我们对其合作伙 伴——亚洲艺术文献库馆内同仁进行了采访。
Gallery: What’s the reason and fundamental objective of founding AAA? Kennis Lai (hereinafter referred to as Lai):
（注：黎珮琪是亚洲艺术文献库的传讯策划，陈静昕是其助 理首席研究员，翁子健是其中国大陆项目研究员）
82
ART GALLERY MAGAZINE
When our founder Ms. Claire Hsu studied in London, she chose Chinese contemporary
ART GALLERY MAGAZINE
83
谁在赞助历史
WHO IS SPONSORING HISTORY
art as her paper’s topic. When she got her tutor’s permission
So how to allocate resources has become a serious problem
on continuing this topic and began searching for materials
for us. We will refer to and recognize different scopes by
in library, she found that the materials were very few and
following the extending context. Compared to the horizontal
dispersed. When she went back to HK for summer intern,
development, we prefer the vertical construction. For
she worked in Mr. Chang Tsong-zung’s Hanart TZ Gallery.
example, we implemented a project on Roberto Chabet, a
Both of them consider it valuable to set up an institution
Philippine educator, curator and artist, whose materials are so
which is specialized in collecting such kinds of materials in
abundant that through which the situation of local history can
HK. When Ms. Hsu graduated and be back to HK in 2000,
be observed. We communicate with him and build a network
with Mr. Chang’s supporting, she founded the board of
for sharing information instead of sharing in the entity. The
directors and AAA.
data can be used for free. In addition, it’s impossible for us to cover all aspects in
Gallery: May I ask you to introduce the capital source and
Asia. Therefore we will encourage people in different areas
the organization structure of AAA?
to build their own archives, and will concentrate resources in
Lai: AAA is an independent organization. We receive
the areas like India where documents need to be systemized.
subsidize from the government, companies and individuals.
As to the countries where artist documents are well collected
Nearly half of it is from the auctions of donated works from
and organized, we will decrease the investment.
artists or galleries, which demonstrates the recognition 《画廊》：请问文献库创立的缘起和基本目标是什么？
黎：我们策略性的发展规划都由董事会决议和监督，董
黎：我们是个只有三十人的小型机构，如何分配资源是
黎珮琪（以下简称“黎”）：缘起是最初我们的创办人
事会在顶层设计上把握我们的大方向，而其他的成员也
个大问题。我们会通过延伸的脉络去触及和识别不同的
徐文玠女士在伦敦念书时，她选定的论文题目是关于中
会参与团队的工作规划。具体项目的提出与执行都由团
范围，对于横向的覆盖，我们更在乎纵向深度的建设。
国当代艺术的，而当她说服导师同意选题并到图书馆寻
队成员承担，他们向董事会提交方案，通过就可以独立
比如我们已完成的一个项目是关于菲律宾一个叫罗伯
找资料时，发现关于中国当代艺术的资料非常少且分散。
调配资源开展工作。
特·察比 （Roberto Chabet） 的教育家、 策展人和艺术家。
当她回香港做暑期工时，她到张颂仁的汉雅轩帮忙。他
这个人的资料丰富到可以透视当地的历史面貌，我们通
们觉得在香港成立一个专门收藏这些资料的机构是有价
《画廊》 ：亚洲艺术文献库的机构命名落足于“文献库”，
过与他联系和搭建信息分享网络，让需要的人免费使用，
值的，而当徐女士毕业回到香港，就在张先生的支持下，
你们的工作定位是什么？
而不是把资料都搬回实体空间。
建立了一个董事会并创立文献库，当时是 2000 年。
黎：在工作中，我们会不断拓展自己的工作范围。命名
另外，我们不可能覆盖整个亚洲和所有层面，所以我们
里有三个关键词：亚洲 + 艺术 + 文献库，就“亚洲”而言，
会鼓励不同地区文献库的创建，也会把资源集中到一些
《画廊》：请介绍一下你们的资金来源与组织情况吧？
我们并不局限于地理上的亚洲艺术，而是把在法国、美
缺乏文献整理的地区，比如印度。而对日本、韩国这些
黎：我们是一个非常独立的组织，在资金方面，我们接
国等较多亚洲艺术家旅居地区的亚裔艺术包括在内； “艺
在艺术文献上已较完善的国家，则节约投入。
受来自政府、公司和个人名义的资助，其中接近半数由
术”呢，我们主要关注当代艺术；“文献库”是指我们
艺术家或画廊捐赠作品的拍卖所得提供，这反映了来自
的主体是个类档案馆或图书馆的实体，对文献资料的搜
艺术圈的认同和支持。而我们所在地荷里活商业中心的
集、整理与发布是我们的主要工作，此外我们还会组织
这两层楼，由于地产商的支持，其中一层的租金是全免
一些专题式的研究项目或展览会、论坛等活动以增进对
的。我们没有单一的资金源，这保证了我们的独立性。
当代艺术的理解。
到现在为止，我们整个团队有三十人，包括常驻香港和 驻海外的成员在内，总监就是徐文玠女士。
《画廊》：你们以亚洲给自己命名，在工作中如何平 衡香港、中国大陆、台湾、日韩、东南亚、南亚等地
《画廊》：你们是如何确定发展方向及开展工作的呢？
84
ART GALLERY MAGAZINE
区的关系呢？
《画廊》：你是文献库的助理首席研究员，请介绍一 下你们的工作特点吧？ 陈静昕（以简称“陈”）：我 07 年加入文献库，最初 是做研究统筹。所谓研究统筹，就是和我们的首席研究 员以及研究团队配合制定工作计划。而我们的研究团队， 往往拥有多重身份，可以是特派员，像记者一样跟踪相 应艺术事件的进展，记录常规展览和游击式的艺术事件， 追求尽量从现场开始建立文献，甚至参与到事件中去。
and supporting from the art circle. Our office occupies two
Gallery: Can you introduce your work as an Assistant Head
floors in Hollywood Centre. Because of the support from
of Research in archive for us?
land agent, one of it is rent for free. Our capital is from
Janet Chan (hereinafter referred to as Chan): I joined AAA
multi-channel, which guarantees our independence. So far,
in 2007 as a Research Manager at the beginning. The job
our team includes thirty people, including HK and foreign
for a Research Manager is to determine the work plan with
countries staff. Ms. Claire Hsu is our Executive Director.
the Head of Research and the rest of the team. And our team may have different identities at the same time. We can work
Gallery: How do you determine your direction and carry out
as specials that follow relative art events like journalists and
working?
Our concept of “Asian art” includes works of immigrant
record conventional exhibitions and occasional art events.
Lai: Our development strategies are decided and supervised
artists in the areas where many Asian artists sojourn such
We try to set up documents at the spot, or even to participate
by the Board of Directors who determines our developing
as France and America. As to “art”, we mainly focus on
in the events.
direction on the top. While other team members also take
contemporary art. And “archive” means it’s an entity of
Traditional archive work is defined as collecting, defining
part in their team’s working planning. Specific projects are
various archives or libraries, and our main duty lies in
and displaying, which is mechanical and inane and is easy
proposed and implemented by team members. They submit
collecting, systemizing and publishing document literature.
to become dependency of the official historical narration.
proposal to the Board of Directors, get the approval and start
What’s more, we will hold specific activities such as research
We hope to break through this one-dimensional narration,
working by allocating resources independently.
projects, exhibitions or forums which help enhancing the
and to acquire different information from front researchers’
understanding on contemporary art.
work and the operation of the libraries. We try to collect
Gallery: The focus of AAA’s name is on the word “archive”.
materials from different aspects and different points of view
So what’s your working positioning?
Gallery: You use “Asia” in your name, so how do you
on different fields, from artists’ creational elements, process
Lai: We keep expanding our scope of work. There are three
balance the work among Hong Kong, Mainland China,
and their works to the historians’ research and positioning.
keywords in our name— “Asia”, “art” and “archive”. As to
Taiwan, Japan and korea, Southeast and South Asia?
“Asia”, we are not limited within the geographic concept.
Lai: AAA is a small institution with only thirty colleagues.
Our collections are first-hand materials made by researchers by interviewing the artists. For example,
ART GALLERY MAGAZINE
85
谁在赞助历史
WHO IS SPONSORING HISTORY
传统的文献工作往往被定性为收编、界定和陈列，这种
驻场计划等，我们不希望作为一个静止的图书馆存在，
social significance and the historical value. Our collection is
Chan: We take much count of the independency of the
工作模式显得机械而空洞，还易于沦为官方历史叙述的
而是很主动地带出我们的关注来。我们也会以区域研究
open to the public, breaking through the collection’s nature
researchers. That’s because we consider them the main body
附庸。我们希望打破这种单向度的历史论述，从不同的
的视角开展一些项目，而避免以一种整体化的方式去定
of privately owned and showing and increasing its public
to create history and to reveal the abundance of art. AAA
前线研究员的工作与图书馆的运作去获得不同的信息。
义亚洲。
property. Besides open the library to the public, we are
is a young institution, and we encourage the researchers to
carrying out the digitalization of the documents which enable
propose their own ideas. They are often acquainted with
我们务求从不同层面、多元视角搜集从艺术家的素材、 过程、成品到历史学家的研究、定位的资料。 我们有的馆藏，是通过研究员与艺术家访谈取得的第一
《画廊》：你们研究员的独立性如何？
more people to know and use them through the Internet.
the people in art circle, and they own their networks and
陈：我们很重视研究员的独立性。这是基于我们把他们
When people are able to refer to and to use our collection
judgments within the circle, which are our requirement to the
手资料。比如研究员翁子健做的中国上世纪 80 年代当
视为 参与创造历史与揭示当代艺术 发展状况的主体。
through various channels, we are creating the history or
researchers. That’s because the temperament and sensibility
代艺术的项目；我们也有对越南 90 年代开放后的独立
我们是一个年轻的机构，希望研究员可以提出自己的方
creating a way to save the history.
of an institution sometimes can only be discovered and
艺术空间的记录项目。当我们把这些平衡的文献摆在一
案。通常他们都是熟悉艺术圈的人，在行内具有其网络
起时，就同时看到了中国、越南的状态，对它们进行比
和判断，这也是我们对研究员的要求，因为机构的气质
Gallery: Is the work of each researcher the same?
and we are not intended to expand our scale, because if
较研究。我们想通过这种文献收藏去揭开有关亚洲复杂
和触角有时只能由其从业者去挖掘与培养。我们在乎自
Chan: There are several kinds of researchers. We have full-
the institution becomes over-expanded, the controllability
性的面目，而不是简单化地去定性。
己的在地性，也无意急速扩展规模，因为若机构在短时
time and part-time researchers and researchers on projects.
and efficiency will be affected. Maintaining the current
现在越来越多的研究人员需要这种资料去展开和论证他
间内变得过于膨胀，除了可控性和效率上都会出问题，
Their working focuses are not the same. For example,
operation, ensuring the solid foundation of our projects and
们的论述。我们希望让保存变得易于获取，以激活其社
也容易陷入只能行政主导或技术官僚的局面。维持目前
in Tokyo and Seoul we hire part-time researchers whose
the first-hand information, and enabling our researchers to
会意义和历史价值。我们的收藏是面向公众的，打破收
的运作，让我们的项目有坚实的基础与第一手的信息，
responsibility is to promote, not to take charge in specific
communicate with their study objects and to go into their life
藏的私有属性便于体现和增进其公共属性。除了向公众
让研究员与研究对象面对面，走入他们的生活与创作之
projects. They are something like reporters who are to
and work, are the qualities that we cherish and the guarantee
开放的图书馆，我们也在进行文献数码化的工作，希望
中，这些都是我们珍惜的品质，也保证了我们的工作质
send the updated information about local art circle or to
of our working quality. The work we are working on is
通过网络让更多的人了解和使用它们，也同时成就了一
量。我们从事的是一种由民间主导的记录历史工作，所
introduce AAA to the local art groups. We also have several
recording and collecting history which is led the folk, so we
种历史的保存方式。
以会努力保留历史主体的现场感和清晰度。
researchers on key projects, for example, Mr. Yung who is
will try our best to preserve the liveness and sharpness on the
following the development of art in and after 1990s besides
historical body.
the one in 1980s.
《画廊》：你们研究员的工作性质都一样么？
《画廊》：你们在香港的艺术生态中处于何种位置？文
陈：我们的研究员分很多种，有全职研究员、兼职研究
献库是如何平衡传统艺术的余脉与当代艺术实践的？
员，也有项目性质的研究员。他们的工作重心不同，比
陈：我觉得文献库是介乎草根与官方之间。所以我们的
Gallery: How is the researchers’ work connected to AAA?
does AAA balance the traditional art and the contemporary
如我们在东京、首尔聘用的是兼职研究员，主要负责广
研究员要很小心，既关注官方的艺术，也要跟踪民间自
Chan: As for an archive, the coordination of these two parts
practice?
度上的推介，而非负责具体的典藏项目。他们有点像通
发的艺术。当我们从零开始时，这很好地帮助我们取得
is crucial. The researchers collect, systemize and decide
Chan: I think AAA is positioned between the grass-roots and
讯员，负责提供当地艺术圈的最新信息，或者把文献库
各方的注意，以建立相应的地区资源。现在我们会考虑
materials, while as our backup, the library provide a platform
the official. Therefore, our researchers must be very careful,
介绍给当地的艺术团体；我们也有一些重点项目的研究
在横向和纵向上自己做得是否充分和取得平衡？我们也
for assembling, saving and displaying the works. They are
and concerning both the official and the folk art events. We
员，比如翁子健，他除了负责 80 年代的中国当代艺术，
会在方法论上反思自己的合理性与有效性的问题。
an unbreakable entirety. Moreover, we will hold specific
start from scratch. It helps us to catch the eyes of all parties so
现在也跟踪 90 年代及之后的艺术发展。
对于传统范畴的艺术，我们肯定没办法全覆盖，哪怕在
events to display and restore the collective materials, the
as to set up relevant regional resources. Now we are checking
understandings and the relationships, in order to activate
whether we have horizontally done well or not. We are also self-
AAA and to promote professional communication and
examining our rationality and effectiveness.
一个范畴之内，也必须有所侧重。我们通过不断地反问， 《画廊》：你们研究员的工作与文献库是如何衔接的？
努力澄清自己对当代艺术的定位与思路，包括什么是亚
陈：对文献库而言，两部分工作的配合至关重要，一是
洲、什么是艺术、什么是当代性等等。在进行文献搜集
前线研究员的资料采集、整理和判断，另一部分是图书
和梳理的同时，我们也会介入一些评论工作，在集中收
馆，作为我们的后方，提供了一个集合、储存与展示工
藏当代艺术文献之余，也力图折射一些对被我们所忽略
作的平台。这两部分是不可或缺的整体。此外，我们还
的艺术的评价与观照。
会通过一些专门活动把收集到的资料、形成的理解和结
86
cultivated by its practitioners. We care about our localization
成的关系进行展示、碰撞和沉淀，以激活文献并推动专
《画廊》：你觉得文献库能在香港存在和发展的原
业交流与合作。这些活动包括展览、圆桌会议、讲座或
因是？
ART GALLERY MAGAZINE
Gallery: What’s AAA’s position in HK’s artistic ecology? How
陈：香港处于一个充满复杂性的境况：一方面，这里一
Anthony Yung carries out a project on the contemporary
直处于被评为「文化沙漠」的论调下，另一方面，这里
art of China in the 1980s; and we have a project recording
又举办了全亚洲最大型的艺博会和艺术拍卖，即使同时
the development of independent art space of Vietnam since
有不少人认为这些艺博会和艺术拍卖未必与本地艺术界
its opening-up in the 1990s. We collect these documents
有紧密的关系。香港同时犹如一个大型的国际中转站，
that are on the same level together and we can observe the
区内活跃的当代艺术家、理论家和策展人都会不时经过
status of both China and Vietnam at the same time and
这里，而一直以来由各个阶层自发营运的空间实践也培
make comparison between them. We intend to reveal the
养了深植港人的自由价值与开放意识。从某些角度看香
complexity of Asia by these documents collecting instead of
港社会的确很大程度上由经济主导，但从另一角度看这
defining simply.
里直至现时为止包容了不同待政见或政治立场。我想因
More and more researchers need these materials to carry
为政治的开放让我们拥有了很多的发展空间和机会。至
out and demonstrate their point of view. We hope to make
今为止，香港有很多像我们这样由民间主导的事物存在。
the preserved easy to be gotten in order to activate their
cooperation. This kind of events includes exhibitions, round
As to the traditional art, we are not able to cover it all. Even
tables, lectures and residency plan. We hope to exist not only
if it’s only within one field, we shall have the highlighted. By
as a still library, but also with our concentration. We will also
self-inspecting, we make effort to clarify our positioning and
implement project with regional research, avoiding defining
thinking toward contemporary art. The questions include “what’s
Asia with the way of integration.
Asia?” “What’s art?” and “What’s contemporary?” etc. When collecting and systemizing the documents, we will do some
Gallery: How’s the independency of the researchers?
reviewing jobs, in order to reflect some comments and insights
ART GALLERY MAGAZINE
87
谁在赞助历史
WHO IS SPONSORING HISTORY
on art which are easy to be ignored. Gallery: In your opinion, what’s reason for AAA to exist and develop in HK? Chan: Some people consider Hong Kong a cultural desert. As a matter of fact, Hong Kong has held the largest art fair in Asia and some top auctions of the Christie’s and the Sotheby’s. It’s a large international transfer station where active contemporary artists, theoreticians and curators in the region often visit. And the long-term spatial practice cultivates the value of freedom and the awareness of opening
Age: 1980s, China.
of concept. Which regions and what types are you referring to
in Hong Kong people’s mind. Though we are mainly led
Purpose: It’s important. Many people are interested in
more?
by the fund, we keep our political neutrality relatively. I
researching this topic, but there are not concentrated
Yung: It’s decided by the need of the researching project. As
think that the openness of politics gives us many space and
documents for them. Much of the information is heard of,
for the 1980s project, there were several milestones in 1980s
opportunities to develop. So far, there are a lot organizations
without supporting materials.
including Star Star Group, 85 New Wave, New Academism
led by the folk in Hong Kong. So we feel it common to talk
Pointcut: The cultural craze in 1980s and the relationship
and Vag Artists. We know the representatives in these issues,
about “non-government” and “non-profit” which help AAA
between art and social transformation.
and they will tell us about other people and other issues. So a network is built.
to grow in Hong Kong. It’s the power of the civil society,
Methodology: Interview and data collection.
这些因素都有助于文献库在香港的成长，这既是民间社
方法论：访问及资料收集；
八五新潮、新学院派、盲流艺术家，我们知道这些事件
and also our obligation. In the past twelve years since AAA
Working method: We decide an interview name list. Then
会的权力，甚至还是我们的义务。成立至今 12 年，我
做法：我们先定一个访问名单，再通过访问扩大这个名
里比较重要的代表人物是谁，这些人物又会告诉我们其
was founded, we have integrated well with the society and
supplement the name list by the interviews. In the end, we
Gallery: Is there any new plan about Mainland China?
们在香港很好地融入社会并参与了不同地区的工作，你
单，最后做了九十个访问。我们会向每一位受访者收取
他的人和事，这样就构成一个网络。
taken part in different regional work. You can see that our
have made ninety interviews. We collect materials either
Yung: The new project is focused on some profiles in the end
可以看到我们有来自不同国家和地区的同事，我们的团
相关资料，可能是原件，也可以是扫描件。（上面提到
colleagues are from different countries and regions, and our
original or scanning copy from each interviewee. (People
of 1980s and the beginning of 1990s, which is not suitable to
队本身就是一个开放的群体。
的一些人，是给了我们特别多资料的。）
team is an open group.
mentioned above give us particularly many.)
be revealed. There are many precious materials about it. What’s
《画廊》：文献库关于中国大陆当代艺术的收藏主要
《画廊》：你们在大陆有建立什么形式的工作网络么？
人档案，暂时还不适宜公布，但都有很多很珍贵的材料。
Gallery: What are the main collections about Mainland
Gallery: Is there any working network in Mainland China?
plenty of data collected by us previously will be uploaded,
有哪些呢？
与大陆艺术界的合作如何展开？
另外，我们新的网站上有了新的数码平台，我们会将以
China’s contemporary art in AAA?
What’s the form? And how is the cooperation with the art circle
including pictures and detailed index.
翁子健（以下简称“翁”） ：我们既收藏一般性的展览目录、
翁：我们没有跟大陆的具体机构开展合作，而一般都是
前收集的大量资料，上传到网络上，包括图片和详细的
Anthony Yung (hereinafter referred to as Yung): We collect
in Mainland China carried out?
参考书和期刊等，也有特別收藏，里面很多是通过 80 年
直接找艺术家。由于我们从事这个工作已经好几年，通
目录等。
general exhibition index, reference books and periodicals,
Yung: We don’t have cooperation with certain organizations
Gallery: What’s your reason to work in AAA? Can you share
代研究计划收集的，包括艺术家张晓刚、毛旭辉等等，
过各种机会，比如展览、讨论会、活动等等，已经跟很
as well as special collections many of which are gathered
in Mainland China. We use to contact the artists directly. For
your impression of it with us?
策展人吕彭、费大为和学者郑胜天等的个人档案。
多艺术家和机构认识了，他们也知道和理解我们的工作，
《画廊》：能介绍下你个人与文献库的接触缘起和印
through the project on the 1980s’ art, including profiles of
we have worked on this job for several years, we have met
Yung: When I was a college student, I began to take up
当我们要做与他们相关的研究工作，他们一般都很支持。
象么？
artists Zhang Xiaogang, Mao Xuhui, curators Lv Peng, Fei
many artists and institutions by various opportunities such as
some light work in AAA. Many of my knowledge about
翁：我是读大学时已在文献库帮忙做点小工作，很多亚
Dawei and scholar Zheng Shengtian.
exhibitions, forums and events. And they also understand our
contemporary art in Asia are learnt from here, which have great
work. When we are carrying out research work related to them,
influence on me, especially the part about Chinese art. Because
they will always support us.
the archive was working on Wu Shanzhuan’s album, I had the
《画廊》：你们有什么关于大陆的新计划么？ 翁：新的项目是一些重点在于 80 年代末 90 年代初的个
《画廊》：你负责了一个叫“80 年代中国当代艺术” 的项目，能否从该项目的立项、执行和成果介绍文献
《画廊》：这种工作关系是常态式的还是偶然性的呢？
洲当代艺术的知识都是在这里学的，影响了我挺大，特
库的工作模式？
翁：我们的工作都以研究项目为主导，不会特别跟踪某
别是关于中国的部分。因为当时文献库正在出版吴山专
Gallery: You are taking charge of a project named China’s
个艺术家，所以还没有固定的模式和常态化。
的专集，我看到他的很多资料，觉得他很棒，对中国当
Contemporary Art in 1980s. Will you describe the work
翁：首先我们会定一个计划的大纲，比如年代、出发点、 切入点、方法论等等。具体到这个项目就是：“年代：
88
more, there is a new digital platform on our new website where
opportunity to read much about him. I thought he was great
代艺术便产生了兴趣。后来我到过上海的当代艺术馆做
pattern of AAA by introducing the approval, the implement
Gallery: Is this working relationship conventional or occasional?
and I became interested with Chinese contemporary art. Later,
80 年代中国”。
《画廊》：对于大陆这么大范围的当代艺术，你们涉
实习生，对于中国大陆的当代艺术又多了一点了解。毕
and the outcome of the project?
Yung: Our work is project-oriented, and we are not following a
I worked as an intern in Shanghai Contemporary Art Museum,
出发点：很重要，很多人有研究的兴趣，但是文献不集
及哪些地域和类型比较多呢？
业后，他们正在开展这个 80 年代的计划，于是我有幸
Yung: Firstly we will make an outline of the plan, including
certain artist, so there is not fixed mode or normalization.
and I got more knowledge about Chinese art. After I graduating
中，很多事情只是听说，没有材料；
翁：我们也是根据研究项目的需要而定。比如 80 年代
被邀请从事这个项目。
the age of the art, the purpose, pointcut and methodology,
切入点：80 年代的文化热，艺术与社会变革的关系；
这个项目，比如 80 年代的几个重要事件，星星画展、
ART GALLERY MAGAZINE
etc. About this project, points are:
from college, the archive is carrying out this 1980s project, so I Gallery: Contemporary art in Mainland China is a large scope
am lucky to be invited to work on it.
ART GALLERY MAGAZINE
89
谁在赞助历史
WHO IS SPONSORING HISTORY
The Founding and Growing of AAA
徐文玠：
文献库的创建与成长 采编：李 耀 By Li Yao
徐文玠： 亚洲艺术文献库 联合创办人及行政总监
source material culled by individual practitioners and
Materials of the Future: Documenting Contemporary
archive from individual level.
researchers in cities across Asia, with much of this material
Chinese Art from 1980-1990. We have spent four years
Asia Art Archive is my first child. It’s been a very powerful
available to the public for the first time.
in collecting, systemizing and saving these precious
experience to start AAA from scratch, and watch it take on an
In September we will welcome Hammad Nasar as AAA’s
documentary and original materials. We collect hundreds of
independent life of its own. I could never have predicted the
new Head of Research and Programmes. Nasar will play
publications in 1980s, implement 75 video interviews and
徐：2012 年是文献库发展的一座里程碑。今年 6 月份，
《画廊》：你们与中国大陆艺术圈的合作状况如何？
changes it has undergone in the last 12 years and I am proud
a major strategic role in developing AAA's collection and
finish a documentary. We also scan the collections of many
我们把库藏上线并推出了新的网站，这两者都有助于我
徐：我们有一个专题文献项目：“未来的材料：记录
of the role that it plays in promoting a critical foundation for
guiding its growth as a platform for research. Through
famous curators and artists (including Fei Dawei, Zhang
们通向使库藏便于公众接触的目标。在线的库藏就是座
1980—1990 当代中国艺术”，花了 4 年时间，收集、
the art of the region.
new initiatives and programmes, Nasar will help AAA to
Xiaogang, Zheng Shengtian, Lv Peng, Mao Xuhui, Wu
《画廊》：请从个人角度谈谈你与文献库的关系吧？
持续生长的数码文献库，提供由亚洲不同城市的个体实
整理和保存这些弥足珍贵的纪实和原始素材。我们汇集
generate new thinking around the material in the collection
Shanzhuan, etc), building the world’s largest and the most
徐文玠（以下简称“徐”）：亚洲艺术文献库（以下简
践者和研究者甄选的主要原始资料，其中的许多材料是
了数百本 80 年代的出版物，完成了 75 次录像采访及
Gallery: In the twelve years since AAA was founded, what’s
and about the art of the region.
systemized archive of the art in 1980s. Now these materials
称“文献库”）就好比我的第一个孩子。从创始到目睹
首次向公众开放。
一部纪录片的制作，并将一批著名策展人和艺术家 ( 如
the biggest difficulty you have ever met?
它获取自身独立的生命是个非常强烈的体验。在过去的
9 月份我们将迎来哈马德 • 纳沙（Hammad Nasar）
费大为、张晓刚、郑胜天、吕澎、毛旭辉、吴山专等 )
Hsu: I think the biggest trouble lies in responding to the inner
Gallery: What’s the direction and target of development of
2010, led by Prof. Jane Debevoise, professor on Chinese
12 年里，我从来都无法预知它所经历的变化，对于它
作为我们新任的研究和项目主管。纳沙将在拓展文献库
的个人珍藏进行数字扫描，这成为世上最具规模和最有
needs of the art circle. Secondly, it’s not easy even for a large
AAA?
contemporary art and Chair of Broad of Directors of AAA,
发展成为激励区域内艺术的重要基地，我感到很欣慰。
的库藏并将文献库导向一个研究型平台方面发挥关键作
系统的 80 年代艺术文献库。现在这批资料已经在网站
institution to cover all the scopes of Asian art, not mentioning
Over the next decade, AAA will continue to build the
AAA launched news conferences in Beijing, Shanghai, Hong
用。通过新的举措与项目，纳沙将帮助文献库围绕库藏
www.china1980s.org 免费开放。于 2010 年 10 月，由
that AAA is only a small team. What’s more, fund raising in
general collection but will allocate the majority of its
Kong and New York with MoMA.
材料和就区域内的艺术生发新的思维。
中国当代艺术的专家、文献库董事会主席杜柏贞博士领
Hong Kong is relatively difficult. As a non-profit visual art
resources to identifying and building up areas of depth
Besides, there are important scholars on Chinese art in
导，文献库还与美国现代艺术博物馆 (MoMA) 在北京、
institution, we have to hold some effective but interesting
through specialised research and digitisation projects.
AAA’s Advisory board, for instance, Dr Gao Shiming, Lv
events to raise fund.
《画廊》：从创立文献库至今 12 年，你所遭遇的最大 困难是什么？
90
Gallery: Please talk about the relation between you and the
are available on www.china1980s.org for free. In October
AAA will also establish itself as a research institute for
Peng and Prof. Wu Hung, who will often advise on AAA’s
contemporary art in Asia as well as one of the leading
development.
Gallery: How do you assess AAA’s current operation status
arts organisations in the region, pioneering the use of the
The cooperation between the art circles in Hong Kong and in
and quality of work?
‘archive’ to generate projects and new thinking about the
Pearl River Delta area or even in Mainland China is always
其实香港的艺术界与珠三角甚至中国大陆艺术圈的合作
2012 is a milestone for Asia Art Archive. In June of this year,
art of the region. AAA will also work to increase global
close. For example, we have invited Song Dong to AAA as
本来就挺紧密的。比如今年我们邀请到宋冬在文献库作
we launched the Collection Online and our new website,
accessibility to its collection, to grow local and global
a resident artist. After studying in AAA for several months,
库”实践成为区内艺术项目与新思维的策源地。文献库
驻场艺术家，结果经过在文献库几个月的研究之后，宋
both of which will help us move towards our goal of making
audiences, and to establish a permanent home in Hong
Song decides to hold a large exhibition in Hong Kong on this
《画廊》：请问你如何评价文献库目前的运营状态与
也将致力于增强其库藏的全球可访问性，以增加本地与
冬决定来年一月份于香港举办一个有关这次驻场计划的
our collection more accessible to the public.. The Collection
Kong.
residency plan in the January of the coming year.
工作质量呢？
环球的观众，并努力在香港建立永久性驻地。
大型展览。
Online is a continuously growing digital archive of primary
Hsu: We launch a special documents project titled as
徐：我认为最有难度的是如何回应艺术界的内在需要。
《画廊》：请问文献库未来的发展方向与目标是？
上海、香港和纽约联袂推出发布会。
其次是要覆盖亚洲艺术的范围 , 对再大型的机构来说都
徐：未来的 10 年，文献库将继续完善其常规库藏，也
另外，文献库的咨询委员会中也有举足轻重的中国艺术
非易事 , 更何况我们这个相对较小规模的团队呢。另外 ,
将通过特别研究和数码化项目对其主要资源进行优化配
学者，如高士明、吕澎、巫鸿等，他们会不时对文献库
在香港 , 资金筹集亦有一定的难度。作为一家非牟利的
置，以便确认和建立其在本领域的深度。
的发展提出建议。
视觉艺术机构 , 我们一定要策划一些比较有效和有趣的
文献库也将把建设亚洲当代艺术的研究机构，成为区域
方案去筹款。
内具领导性的艺术机构作为目标，并开创性地把“文献
ART GALLERY MAGAZINE
ART GALLERY MAGAZINE
91
谁在赞助历史
92
WHO IS SPONSORING HISTORY
ART GALLERY MAGAZINE
ART GALLERY MAGAZINE
93