展览前言｜谷神变，10/21开幕，上海斯沃琪艺术中心
“谷神变”展览将于2016年10月21日（周五）晚上17:30，在上海斯沃琪和平饭店艺术中心二楼（上海市黄浦区南京东路23号）正式开幕。
The opening of the “Grain God Narrative” exhibition will be on October 21st on the 1st floor of Swatch Art Peace Hotel ( 23, East Nanjing Road, Shanghai, China ).
视觉：郑邦谦、题字：栗宪庭
谷 神 变
展 览 前 言
今日乡村，更多赖于现代人之于自然田园的某种幻觉，还是赖于城乡供给当中，人之于生活的基础需求？作为情动之地，乡村或幸存于所谓乡愁、乡恋的审美话语，或重构于相对比较封闭和保守的底层话语，或收编于城市发展的权力话语，再或者，混同于网络视频的残酷话语……
仅仅一个世纪，现代性早已大获全胜，传统的乡村连同自然、乡土社会及其人情世故，似乎很轻易就烟消云散了。与此同时，全球化力量恰似地心引力一般不可抵挡（比尔·克林顿语），它抹平城市乡村、上海纽约……任何饱含差异的空间。在全球化叙事里，就像排队登机的旅客依次走入廊桥：世界在那一刻也无非是航程中的一个位置点。
在“不可抵挡”之抵挡的拉扯中，以及在“烟消云散”之未散的争执中，有些晦暗的、微弱的、曾经暗流涌动的部分裸露出来，散逸在世纪的废墟与集市之间，独自生成时间的“墟市”：乡野的魂在爆炸，植物的灵在尖叫，城乡的神在着火。这是有关不可还原与不可再现之时空旅行的展览。
褶皱就这样产生了，时空被折叠：来自1933年福建宁化的“借谷券”，就像巫师画下的符咒，标记着一个激进乡村的叙事现场。它让现代性的大获全胜恍然如梦，让全球化的资本狂潮形同波折。
围绕“借谷券”，这个展览考察并展现城乡赠予性的当代脉络，追踪被借走谷物的流变路径与谱系，重识城乡与全球一体化语境下的中国乡村叙事：稻谷、乡野乃至整个乡村，与其说是债务性的，不如说是礼物性的。我们将这种激进乡村的礼物性或地方事件的赠予性，称为“谷神”，而将如此礼物性或赠予性之于当代中国的流变称为“谷神变”。
时间的“墟市”为谷神凝望的廊道所贯穿，入口与出口幻化为一：翻开2033年的都市启示录，越过当下的上海情境，穿行宁化地方叙事的丛林，抵达1933年的礼物现场，继而折回，进入回转迭合的褶皱地带，仿佛从一个时空进入另一个时空。旅途中，还会经历多次剧变，几番谈话，在临时搭建的帐篷里充满疑虑地回忆，并在不经意间邂逅一家荒野图书馆——在那里，一切稳固的结构变得模糊，一种激进的测量、制作与写作，回应着荒野的魂、灵与火。
“谷神变”截取了这段旅程的一个褶皱片段，搬演进上海外滩斯沃琪和平饭店艺术中心。时间的墟市，在空间的历史回响与当下叩问之间，敲打着时代骨节的脱落与断裂。此时此地，或将是古老礼物与现代资本的独自繁育之地。在这样一个地方，我们试图激发乡村对城市化景观的一次逆写，哪怕是虚构的，我们试图重启地方与全球化贸易的空间协商，哪怕是临时的
GRAIN GOD NARRATIVE
P r e f a c e
Does today’s countryside rely on some kind of illusion about the pastoral, or on the supply system between the urban and the rural that fulfills the basic needs of daily life? As a place awaking sentiments, the rural either survives in theaesthetic language of so-called nostalgia, or is reconstructed by a relatively closed and conservative language of the underclass, or is incorporated into the authoritarian language of urban development, or is even confused with the brutal language in online videos……
Over the last century, modernity has totally won the game. The traditionalcountryside, along with nature, rural society and its ways, seems to disappeareasily. Meanwhile, the power of globalization seems irresistible like gravity(Bill Clinton). It erases the differences between the urban and the rural, between Shanghai and New York City, between any two unique places. In the narrative of globalization, just like at the moment when passengers cross the jet bridge one by one, the world is nothing but a point in the voyage.
In the tension of resisting the “irresistible”, and in the confrontation betweenwhat has disappeared and its remnants, some obscure, feeble, and latent things come to light. They dissipate into the gap between the century’s ruins and bazaars, and generate a “bazaar” of time by themselves: wandering ghosts are exploding in the wilderness, spirits of plants are screaming, and urban and rural deitiesare burning. This exhibition is a journey in time and space, a journey about the irreducible and the irrepresentable.
The folds are thus created. Time and space are folded: the “Receipt of Grain Loan” from 1933, from Ninghua County, Fujian Province, is just like a charm drawn by a wizard. It records a radical narrative scene of the rural. It makes the total victory of the modernity become a dream, and transform the global surge of capital into trickles.
The exhibition focuses closely on the “Receipt of Grain Loan” to investigate and present the contemporary lineage of the giveness between the rural and the urban, to trace the whereabouts of the borrowed grain and its genealogy, and to rethink the narrative of rural China in the context of globalization: the paddy, the countryside, and even all that is rural point more to gift than to debt. This giftness or giveness of the radical village and its local events is what we called “Grain God”, and its vicissitudes incontemporary China is what we called “Grain God Narrative”.
The “Bazaar” of time is traversed by a corridor under the gaze of the Grain God, and the entrance and the exit are combined into one: visitors will first open the book of Urban Revelation of 2033, then cross the current situation of Shanghai, and then walk through the jungle of the local narrative of Ninghua County, and finally arrive at the scene of the gift in 1933. While walking back, they will enter the superimposed zones of folds, as though traveling from one time-space to another. During the journey, visitors will experiencemany drastic changes and several rounds of talks. In the temporarily constructed tent, visitors will remember doubtfully, and come across a library in the wilderness — there, all solid structures become vague, and radical measurement, production, and writing are responding to the ghosts, spirits and fire.
Grain God Narrative selects a fragment of the folds from this journey and put it into the space of the Swatch Art Peace Hotel right by the Bund. Between the historical echoes of space and the questioning from the present, the “Bazaar” of time strikes the epoch’s dislocated, fractured bones. Here and now, the exhibition hall may be the breeding place for the ancient gift and the modern capital. In such a place, we attempt to invoke a reverse writing, albeit fictional, between rural and urban landscapes; we attempt to restart the spatial negotiation, albeit provisional, between local and global commerce.
《谷神变》
第十一届上海双年展城市项目
斯沃琪和平饭店艺术中心 启动仪式
GRAIN GOD NARRATIVE
11th Shanghai Biennale City Project
Launching in Swatch Art Peace Hotel
开幕：2016年10月21日（周五）晚上17:30
17:30 - 18:00 酒会 Vernissage | 大堂 Ground Floor
18:00 - 19:00 导览、 现场表演 Curator's tour & Performance | 一楼展厅 1F Exhibition Room
展期：2016年10月22日至2017年2月14日
地点：斯沃琪和平饭店艺术中心
（上海市黄浦区南京东路23号）
策展人
毛晨雨、周净、芬雷
展览协作
刘加、杨云鬯
参展艺术家
宁化项目组（孔德林、鬼叔中、黄国孥、杨韬）、小珂X子涵、周贞徵（中国台湾）、童末、黎幺、左靖、Cedric Van Parys（比利时）、戴建勇、吴珏辉、谢英俊（中国台湾）、卢意、Jean-Charles Kien（法国）、Roman Stolyar（俄罗斯）、郑邦谦
Running Time: Oct. 21, 2016 - Feb. 14, 2017
Venue: Swatch Art Peace Hotel
23, East Nanjing Road, Shanghai, China
Curators:
Mao Chenyu, Zhou Jing, Fen Lei
Assistants:
Liu Jia, Yang Yunchang
Artists:
Ninghua Country Group (Kong Delin, Gui Shuzhong, Huang Guonu, Yang Tao), Xiao Ke and Zi Han, Jenny Chou (Taiwan Province), Tong Mo, Li Yao, Zuo Jing, Cedric Van Parys (Belgium), Dai Jianyong, Wu Juehui, Hsien Ying-Chun (Taiwan Province), Lu Yi, Jean-Charles Kien (France), Roman Stolyar(Russia), Zheng Bangqian.
*开幕现场将呈现“谷神变”参展艺术家Roman Stolyar的声音表演，敬请期待！
“谷神变”展览源自并属于上海当代艺术博物馆（PSA）发起的2016年青策展计划，同时作为2016年上海双年展的城市馆项目，由毛晨雨、周净、芬雷共同策展，由上海当代艺术博物馆和斯沃琪和平饭店艺术中心联合主办。
“Grain God Narrative” exhibition was initiated by the 2016 “Emerging Curators” project from the Power Station of Art, and is now honored to be 11th Shanghai Biennale City Project. The exhibition is co-organized by Power Station of Art and Swatch Art Peace Hotel and curated by Mao Chenyu, Zhou Jing and Fen Lei.
作为中国当代艺术的一个聚焦点，斯沃琪和平饭店艺术中心拥有一个独一无二的艺术家驻地项目。自2011年11月启动以来，这座地处上海外滩的地标性艺术酒店共接待了来自中国和其他40多个国家的220多位艺术家，为他们提供最一流的工作室和居所。驻地让艺术家们有机会交流、探索理念，了解彼此的创作。这座城市本身不断地激发对新技术、新材料和新方法的实验，身在此处也是对当代中国的体验。在斯沃琪和平饭店艺术中心，任何时候都有多达18位艺术家在此生活、创作，他们包括画家、电影人、音乐家、作曲家、舞蹈家、声音艺术家及其他领域的艺术家。建筑二层是8位艺术家的起居空间及各自的独立工作室。三层是10间带工作室的公寓。另有两间工作室、一个餐厨区、图书馆、休憩区和咖啡角由驻地艺术家们共用。此外，艺术中心还有一个展厅展示着驻地艺术家和非驻地艺术家的作品，参观者可借此难得机会，邂逅进行中的当代艺术。
斯沃琪和平饭店艺术中心位于上海历史金融区南京路与外滩的交叉路口。每天，数以千计的参观者涌入这一带的画廊、餐馆、奢侈品店和时装店，特别活动则会吸引更多人群。斯沃琪和平饭店艺术中心充满着新颖的理念和创意能量，它随时欢迎艺术界那些新锐生猛的青年策展人、艺术家，还有他们的观众。
A focal point for the contemporary arts in China, Swatch Art Peace Hotel is home to a unique artist residency. Since it opened in November 2011, the landmark hotel on the Bund in Shanghai has welcomed more than 220 artists from China and more than 40 other countries to its state-of-the-art workshops and apartments. The residency gives artists an opportunity to exchange and explore ideas and to learn about each other’s work. The city itself is a constant challenge to experiment with new technologies, materials and processes, and an invitation to experience modern China. At any one time, up to 18 painters, filmmakers, musicians, composers, dancers, sound artists and others live and make art in the premises. The second floor has living quarters for 8 artists, each of whom has a separate workshop. The third floor has 10 apartments with integrated workshops. Two additional workshops, a kitchen and dining area, library, lounge and coffee corner are shared by the residents. In addition, a spacious exhibition hall showcases work by resident and non-resident artists alike, offering visitors an exceptional opportunity to encounter contemporary art in the making.
Swatch Art Peace Hotel lies at the crossroads of Nanjing Road and the Bund in Shanghai’s historic former financial district. Thousands of visitors flock every day to the area's art galleries, restaurants, luxury boutiques and fashion houses, and special events attract even more. Alive with ideas and creative energies, the Swatch Art Peace Hotel offers an open door to young curators, artists and their audiences as they engage with the edgy, live-wire world of art.
围绕来自1933年苏区红军发给福建宁化当地农民的“借谷券”，“谷神变”展览试图考察并展现城乡赠予性的当代脉络，追踪被借走谷物的流变路径与谱系，重识城乡与全球一体化语境下的中国乡村叙事：稻谷、乡野乃至整个乡村，与其说是债务性的，不如说是礼物性的。我们将这种激进乡村的礼物性或地方事件的赠予性，称为“谷神”，而将如此礼物性或赠予性之于当代中国的流变称为“谷神变”。