中间实践新展预告 | 从艺术到Yishu，从Yishu到艺术

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中间美术馆视出版为一种创作实践，其“中间实践”项目专注于呈现艺术领域的出版实践。

从艺术到Yishu, 从Yishu到艺术

展期：2020.12.19 —2021.3.19

策展人：黄文珑，刘语丝

地址：中间美术馆，北京海淀区杏石口路50号

最新一期的“中间实践”聚焦《Yishu》（典藏国际版）杂志（以下简称《Yishu》）。2000年以来，中国艺术进入加速全球化的轨道；同时，全球的艺术世界也日益向彼此开放。《Yishu》杂志创刊于2002年，以向英语世界推介有关中国艺术的话语，生产并引领有关中国艺术的话语为志，至今已有近20年的出版历史。《Yishu》设编辑部于加拿大温哥华，由台湾《典藏》杂志社社长简秀枝赞助出版，面向全球发行，是英语世界中第一份以当代华人艺术文化为内容的严肃刊物。

在一定程度上，《Yishu》是文化多元主义的化身。创立《Yishu》并担任总策划的华裔艺术家、学者郑胜天先生自1990年定居温哥华，长期在全球，特别是北美地区引介中国艺术和华人艺术家。创刊初期至2004年，加拿大华裔艺术家林荫庭（Ken Lum）担任主编。此后，加拿大策展人和学者华睿思（Keith Wallace）接任主编一职至2020年。虽然是英语刊物，但《Yishu》独特的细长开本则是按传统中国线装书的比例设计的。《Yishu》名称取自“艺术”的拼音“Yishu”，这既表明它关注华语语境中的当代艺术，也以此说明英文的“Art”一词不能完全等同于中文的“艺术”。但《Yishu》自身为英语世界进入中文实践领域中的思考和创作提供一个重要的桥梁。为《Yishu》撰稿的既有长期研究中国和华语世界艺术创作的外国观察者和学者，也有生活在海外的中国学者和艺术家，还有立足于中国和亚洲现场的艺术家、评论家和策展人。

Yishu 第1期封面

自创刊号起，《Yishu》每期约120页，包含6至21篇文章不等，文章的篇幅不限。自2008年起，它从季刊转为双月刊，至今共刊发文章近千余篇，数百万字评论中国当代艺术的文章。其中包括有关华人艺术焦点话题的深入的学术专文、与艺术家、策展人和史学家的专访、重要的学术研讨成果，以及对新近展览、书刊和艺术现场的实录等，是记录了近20年来中国艺术生态和历程的一份笔记。至今，围绕《Yishu》形成的大家庭，既包括了一千多位撰稿者和被报道的人物，还包括了世界各地数不胜数的热心读者。《Yishu》还曾从2011年起出版过13期的中文选编文集，聘請卢迎华兼任主編。此外，还自2010年起设立了Yishu中国当代华人艺评奖，进一步助推中国艺术的评论实践。

Yishu 第100期封面

2020年11月，《Yishu》出版第100期，迎来了《Yishu》一个意义非凡的历史节点。为此，“中间实践”以“中间实践”以“从艺术到Yishu，从Yishu到艺术”为题，，回顾《Yishu》100期的出版历程，从抽象的、无所不包的“艺术”概念落实到《Yishu》杂志的观点、编辑、写作、出版等切实的工作本身，以丰富我们对艺术的认知。同时，我们也考察了《Yishu》的核心人物，郑胜天的部分个人历程。他从1980年代逐渐开放活跃起来的中国艺术现场走出国门后，始终带着开放和包容的态度，面向中国和全球艺术世界，并将他宽阔的艺术和历史视野带进《Yishu》，使《Yishu》形成它今天深厚的积淀、民主多元和热忱坚实的品格。

在“中间实践”里，我们通过呈现自创刊以来的一百期杂志，以及早期郑胜天主持的中外通讯报刊《世界美术信息》《艺术中国通讯》等，探究从艺术到《Yishu》再回到艺术的多维度进程。我们将陆续与幕后的编辑与写作者们进行对话，并在美术馆空间持续更新我们的研究和交流。

我们会于12月20日北京时间上午11点开启本项目的第一场线上讲座，我们将邀请郑胜天先生分享他与《Yishu》近二十年的历程。明年1月，我们将分别邀请两位主编 Ken Lum 和 Keith Wallace 进行线上讲座，敬请期待！ 

  策展人简介

黄文珑 澳洲国立大学信息技术学士，巴黎第一大学艺术史学士。2018年参与蓬皮杜艺术中心在成都的策展项目“全球都市#1.5 延展智慧”，其中包括帮助艺术家组合阿尔弗雷德&伊莎贝尔·阿奎礼赞与成都的社区共同完成创作。自2019年加入北京中间美术馆研究与策展部，她梳理了编舞家文慧的创作经历与文献、协助准备她的首个美术馆展览并编辑她的展览画册。

刘语丝 青年学术研究者，是美国布林莫尔学院西洋古典和小亚细亚考古部门的硕博连读博士生。她的研究方向包括空间与记忆、文化遗产、考古思想史和古希腊罗马艺术图像接受史，尤其是在现当代东亚视觉文化环境中的接受史。她对解读古典艺术考古和现当代艺术的交集的方法论以及这种现象在当下政治语境中的表达和意义尤其感兴趣。刘语丝目前是北京中间美术馆的访问策展人。

我们在此特别感谢郑胜天先生，岑嘉炜女士，刁雪女士，侯克平先生，刘千芊女士，三影堂摄影艺术中心给予本项目的大力支持与协助。

海报设计：Onion

排版：黄文珑

From Art to Yishu, From Yishu to Art

Duration：2020.12.19 —2021.3.19

Curators: Huang Wenlong, Liu Yusi

Location: Inside-Out Art Museum, No.50 Xingshikou Road, Haidian District, Beijing

Beijing Inside-Out Art Museum considers publishing as an act of creativity, and its “Inside-Out Practice” program aims to present pioneering and visionary practices in art publishing. The eighth episode of “Inside-Out Practice” focuses on Yishu: Journal of Contemporary Chinese Art. Since 2000, contemporary Chinese art has entered a path of accelerated globalization. At the same time, the art world as a whole has become increasingly open. Yishu journal was established in 2002 with a focus on producing and leading discourses on Chinese art for an English-speaking audience; it has now been in print for nearly 20 years. Yishu is edited in Vancouver, Canada, and it is published under the sponsorship of President Katy Hsiu Chih Chien of Art & Collection Group Ltd. in Taiwan and is distributed internationally. Yishu is the premier journal in the English-speaking world devoted to contemporary Chinese art and culture.

Yishu is a manifestation of cultural pluralism. The Founding Managing Editor of the journal, Zheng Shengtian, is a Chinese-Canadian artist and scholar who has resided in Vancouver since 1990. He has been a leading figure in promoting Chinese and overseas Chinese artists across the world, and especially in North America. Chinese-Canadian artist Ken Lum served as Yishu’s Founding Editor-in-Chief from its inauguration until 2004. Thereafter, Canadian curator and art writer Keith Wallace took over as Editor-in-Chief until 2020. Although the journal is an English publication, an identifying characteristic of Yishu is its slender format; the publication is designed along the standards of traditional Chinese thread-bound books. The title of the journal, yishu, is taken from the pinyin of the two Chinese characters for art. This title demonstrates the journal’s commitment to art in a Chinese context as well as how the word “art” in English cannot be completely equivalent to the Chinese term for art. Yishu serves as a significant bridge between Chinese art practitioners and the English-speaking world. Contributors to the journal include long-term foreign observers and scholars of Chinese and overseas Chinese art, Chinese artists and scholars living abroad, and Chinese artists, critics, and curators residing in China and Asia.

Issues of Yishu are approximately 120 pages and include six to twenty-one articles, unrestricted in length. After 2008, the journal transitioned from being published quarterly to being published bi-monthly. Thus far, nearly a thousand articles have been published, with the total number of characters dedicated to commenting on contemporary Chinese art numbering over one million. Articles in the journal have included in-depth scholarly articles on Chinese art, interviews with artists, curators, and historians, the results of important academic research, and up-to-date coverage of recent exhibitions, books, and art scenes etc. All of these works have served as a record of the Chinese art world in the past twenty years. Yishu has become a community with more than a thousand contributors and featured practitioners as well as the countless, enthusiastic readers of the journal around the world. Since 2011, Yishu has published thirteen Chinese-language editions of selected works, of which Carol Yinghua Lu was the Editor-in-Chief. The journal also has given the Yishu Awards for Critical Writing on Contemporary Chinese Art annually in order to encourage critical thinking and writing.

In November of 2020, Yishu published its 100th edition, marking a milestone in the history of the journal. On this occasion, “Inside-Out Practice” presents From Art to Yishu, From Yishu to Art, a retrospective of the publishing history of one hundred issues of Yishu. From the abstract and all-encompassing concept of “art,” to the practical work of the journal’s viewpoints, editing, writing, and publishing, all of these specific aspects of the journal have enriched our understanding of art. At the same time, we have studied the person at the heart of Yishu, Zheng Shengtian, and his history with the journal. Zheng travelled outside China in the 1980s when the country had gradually opened up and the Chinese art scene became more vigorous, he thus held an open and tolerant attitude towards the Chinese and global art worlds. He has brought his artistic and historical vision to Yishu, endowing it with the deep cultural accumulation, democratic pluralism, and grounded character that the journal possesses today.

In the space of “Inside-Out Practice,” we present the entirety of the hundred issues of the journal as well as World Art News and Chinese Art Newsletter, two newspapers that Zheng was involved with prior to Yishu, revealing the multi-dimensional process that takes us from art to Yishu and back again. We will organize lectures with the editors and writers behind Yishu, and update our gallery presentation with documentations from these public programs.

On 20th December, we will launch the first online talk of this project at 11am, Beijing Time (19th December at 7pm, Vancouver Time). In this talk, Zheng Shengtian will share his nearly 20-year journey working with Yishu. Following on this talk, we will invite Ken Lum and Keith Wallace, Yishu's former Editors-in-Chief to each present a talk in January, 2021. Please stay tuned!

Curators' Bio

Huang Wenlong, graduated from the Australian National University with a Bachelor of Information Technology, and later earned a Bachelor of Art History at the University of Paris I Pantheon-Sorbonne. In 2018, she participated in producing Centre Pompidou's exhibition Cosmopolis #1.5: Enlarged Intelligence in Chengdu in which she helped Isabel & Alfredo Aquilizan to create their work with local communities. She has been working in the research and curatorial department at the Beijing Inside-Out Art Museum (IOAM) since 2019: she researched on the Chinese choreographer Wen Hui's practice, helped organise her first solo exhibition and edited her catalogue.

Liu Yusi grew up in Beijing and is pursuing a PhD in the Department of Classical and Near Eastern Archaeology at Bryn Mawr College in the United States. Her research interests include space and memory, cultural heritage and museum, intellectual history, and classical reception. She is particularly interested in the convergence of archaeology and contemporary art and its relation to the global political sphere. Yusi is currently a visiting curator at Beijing Inside-Out Art Museum.

We would like to thank Mr. Zheng Shengtian, Ms. Cen Jiawei, Ms. Diao Xue, Mr. Hou Keping, Ms. Liu Qianqian and the Three Shadows Photography Art Centre for their support and assistance in this project.

Poster Design: Onion

Wechat Editing: Huang Wenlong

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