新展预告｜我们共享的河流，从澜沧江到湄公河
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我们共享的河流，
从澜沧江到湄公河
策展人：林书传
展览时间：2023年4月29日—7月30日
地址：北京市海淀区杏石口路50号，中间美术馆
由北京中间美术馆与广州美术学院美术馆共同主办、林书传策划的“我们共享的河流，从澜沧江到湄公河”展将于2023年4月29日至7月30日在中间美术馆一、二层展厅展出。作为广州美术学院美术馆发起的首届泛东南亚研究序列的第7个项目，展览集结了中泰艺术家沿着跨越边界的同一条河流上下游两次行走进行的实地创作。
策划人林书传基于自己在东南亚区域长期考察的经验，面对在繁杂的区域生态中找到与我们相关且相对有效的问题本身，提出将湄公河作为该项目的切入口，并上溯河流的源头澜沧江。澜沧江-湄公河水系是流经赞米亚高地（zomia）[1] 最重要的大河，途径中国、缅甸、老挝、泰国、柬埔寨、越南六个国家，这里也是拥有世界上最多元人文、历史、信仰、生计方式的跨文化区域，在这片遍布高原、山岭、原始森林、野生动植物的崎岖地貌中，河流成为沿岸人群聚居并发生复杂交往的共享地界，这是一个既可以乘船长行至大海，又可以轻舟横渡到对岸探望亲邻的所在，因此也成为生活在这个区域中的艺术家们最显而易见的创作场所。
资佰，我的Mekong（其一），2008—
2020年，摄影
Zi Bai, FromMy Mekong, 2008-2020. Photography.
由于展览工作中所面临诸多无法通行的现实问题，澜沧江与湄公河的参与艺术家只能以相对集中的方式进行点状式的表达。本次展览邀请了多位生活或曾经生活于泰国北部的艺术家与工作生活在云南（昆明、西双版纳）区域中的中国艺术家，通过一条河流上下游的两次不同的行动来进行相应的在地性表达。艺术家通过在湄公河、澜沧江沿岸的居住与行走，在行走的过程中完成关于河流在地性问题的即兴讨论与创作，并生产影像、图片、文字等可被展示的“作品”，也试图在即将展示空间中达到一种文献与作品的共同生长状态。该项目试图在固有的展览运行模式下，在项目具体的工作中完成三组有关展览身份的转换：机构成为项目赞助人，策划人成为文献收录者，艺术家成为行走的居民。
河流具有复杂的生态系统，拥有不同的自然资源和人文资源。历史进程中，作为人类密集居住的自由选择地。每一条跨境河流下，河岸国家为了推动自身流域的经济发展与建设，都往往会将河流从共享转变为一种私享的状态。对河流的过分依赖与开发导致自然资源的大量流失，对当地生活和当地艺术文化产生了影响。我们希望通过“我们共享的河流”展览项目，通过上下游艺术家对于“河流”的多样性表达，完成这次特殊时期下，流动但不相聚的一次共同创作。
常雄，湄公图记，2017—2021年，行为影像，绘画
Chang Xiong, The Mekong Pictorials, 2017—2021, Performance video, paintings.
北京中间美术馆长期以来主要从两个工作方向展开当代艺术机构实践。一个方向是不断回到中国二十世纪下半叶的艺术与思想的现场中，认识和梳理中国当代艺术的历史进程，挖掘在今天仍发挥着影响的意识线索、语言逻辑和艺术观念，为中国当代艺术史研究的学科建设作出持续的努力。另一个同等重要的面向，是专注支持非商业性的艺术生产和思考，注重开展活跃的策展实验，借鉴文化研究的方法，用议题式的展览来及时把握今时今日重要的文化、社会和思想议题，与多个学科的出色学者一起，面向问题和现场，寻找合适的方法，参与全球领域关于相关议题的思考与争论。
春蓬·阿皮苏克，湄公河的触摸，2021年，
行为，影像，19分钟52秒
Chumpon Apisuk, The Touch of Mekong River,
2021. Performance, video, 19min52sec.
在过去的三年中，广州美术学院美术馆以序列研究展的形式逐步开展泛东南亚研究项目，在面对疫情防控的多重挑战下形成一种灵活有效的展览形式，坚韧地保持着与他者连接和对话的热忱，让在中国的同道深受启发。我们很荣幸成为这个序列展中的“共享的河流”展的共同主办方，我们也共享着广州美术学院美术馆透过“泛东南亚序列研究项目”这个展览机制去与我们一衣带水的近邻在文化艺术的实践中促进交流和互动的愿望。在我们重启全球流动之际，我们应该以更谦卑也更好奇的心态去了解彼此，敞露心扉，建立有意义的联结，使边界在我们的文化和思想领域中淡化直至消失。“共享的河流”展中的艺术家们早已对此了然于心，他们在这个计划中的创作展现了一种基于具体深入的在地经验所产生的艺术思考可能具有的开放性。地理名称提供的不是一个望远镜或一扇窗户，而是我们自身的影子。借助这些作品，我们可以设身处地地去“透视”湄公河与澜沧江，也使这样一个远离我们的地点产生了与我们的关联，以及无限的诱惑。
注释：
[1]参见[美]詹姆士·斯科特：《逃避统治的艺术》，王晓毅译，北京：三联书店，2016 年。“赞米亚”的概念来自荷兰地理学家Willemvan Schendel。但在斯科特的观点中，主要指二战前“包括了从越南中部高地到印度东北部地区的所有海拔300米以上的地方，它横括了东南亚5个国家（越南、柬埔寨、老挝、泰国和缅甸），以及中国的四个省（云南、贵州、广西和部分四川）”。
From Lancang to Mekong
Curator: Lin Shuchuan
Dates: 29th April-30th July, 2023
Venue: Beijing Inside-Out Art Museum, No.50, Xingshikou Road, Haidian District, Beijing
The River We Share, From Lancang to Mekong, co-hosted by Beijing Inside-Out Art Museum (IOAM) and the Art Museum of Guangzhou Academy of Fine Arts (GAFAM) and curated by Lin Shuchuan, will be open from April 29 to July 30, 2023 on the first and second floor of IOAM. As the seventh project of research exhibition series of the first Trans-Southeast Asia Triennial, this exhibition will present on-site works created by Chinese and Thai artists along their walks by this cross-border river.
This exhibition is based on a long-term study conducted by Lin Shuchuan in the Southeast Asian region. In order to determine issues relevant and relatively meaningful to the audience in a complex regional ecosystem, he proposed to choose Mekong River as a focal point, and went further upstream along the water (e.g. the Lancang River). The Lancang-Mekong River system is the most important water flowing through the Zomia1 highlands from China, Myanmar, Laos, Thailand, Cambodia to Vietnam. It is also a cross-cultural region with one of the most diverse peoples, histories, faiths, and ways of life in the world. In this rugged landscape of highlands, mountains, virgin forests, and wildlife, the river has become a shared boundary where people along its bank gather to live and interact in complex ways. It is a place where long-haul boat trips can take you to the sea or crossing to the opposite bank can take you to families and neighbours, and thus becomes the most obvious choice for artists living in this region for creativity.
克莱伊·斯莱迪，未知的土地，2021年，
综合材料装置
Krai Sridee, Terra Incognita, 2021. Installation.
At the time, travel restrictions created a lot of challenges on the ground, so the participating artists had to travel in two groups along the Lancang River and Mekong River respectively whilst working on their own creations. It is our great pleasure to have invited on board a number of Thai artists who either live or used to live in the north of the country and their Chinese counterparts who live and work in Yunnan (more specifically, in Kunming and Xishuangbanna) for this project. In these two separate trips - one in the upstream basin and one in the downstream one, they came up with their own artistic response based on local inspirations. They lived and walked along the Mekong/Lancang River, improvising discussions and creations about the river's localness. In the meantime, they produced "works" that can go on display, such as videos, images, and texts, with which we try to achieve a kind of co-existence of documents and artworks in the exhibition space. Working within the current exhibition operation model, we are also looking to do role-switching in this project in three ways: switching the institution to sponsor, curator to documents keeper, and artists to residents on the move.
Each river has its complex ecosystem with different natural and cultural resources. Historically, rivers and their adjacent land have been the natural choice for dense human habitation. In the case of trans-boundary rivers, the riparian countries tend to change the rivers' "shared" property to "private" in order to promote economic development within their own territory. Over-dependence on and over-development of the rivers are hugely detrimental to natural resources and have impacted local ways of life, art and culture. In "The River We Share", we hope to achieve this mobile-but-not- gathered creative collaboration with diverse artistic outputs about the concept of "river" by artists upstream and downstream in a special period of time like this.
程新皓，象征，2022年，单频道录像，
彩色，有声，41分钟21秒
Cheng Xinhao, March of the Elephants, 2022. Signle-channel color video with sound, 41min21sec.
IOAM has been committed to two key streams of art practice in the capacity of a contemporary art institution. One is to keep revisiting China's art and intellectual scene in the second half of the 20th century. In doing so, we are looking to understand and go through the development of Chinese contemporary art, to uncover traces of consciousness, linguistic logic and art concepts that are still influential today, and to continue contributing to the academic development of Chinese contemporary art history studies. The other equally important stream is to focus on supporting non-commercial art production and thinking, as well as engaging in dynamic curatorial experiments. To this end, we draw on methods of cultural studies and use thematic exhibitions to grasp trending and important cultural, social and intellectual issues of the moment as they happen. We collaborate with acclaimed scholars from a range of disciplines to confront the issues and be on the site as we identify appropriate ways to engage in the thinking and debates on relevant topics on a global level.
GAFAM initiated the first Trans- Southeast Asia Triennial and has rolled out research exhibition series over the past three years. This has proved to be a flexible and effective exhibition format in the face of constant challenges imposed by Covid-19 restrictions, and managed to tenaciously maintain the passion for connection and dialogue with the others, which is very inspiring for fellow art practitioners in China. We are honoured to have co-organised The River We Share as part of the exhibition series, and we share GAFAM's aspiration to promote exchange and interaction with our close neighbours separated only by a strip of water using culture and art through the Triennial exhibition mechanism. As global travel resumes, we should be more humble and more curious to understand each other by opening our hearts and building meaningful connections, so that the cultural and intellectual boundaries will fade away until disappearing altogether. The participating artists of The River We Share know this all too well. Their work in the project demonstrates the potential openness of art thinking that builds on concrete, in- depth local experiences. The geographical term is not a telescope or a window, but a shadow of ourselves. The artworks put us on the spot to "see through" the Mekong- Lancang River, and bond us with such a distant location while creating some indefinite temptation.
参展艺术家
Participating Artists
春蓬·阿皮苏克，查克里特·奇姆诺克，帕特里，奇姆诺克，常雄，程新皓，阿努查·赫马拉，和丽斌，鸿雁（秦红艳），纳罗多姆·卡门赫特维特，罗菲，李有杰，李玉明，普拉萨特·尼兰帕赛特，吉蒂玛·福尔萨维克，克莱伊·斯莱迪，马里万·塞通，瓦桑·西蒂克特，基蒂·特雷拉吉，薛滔，资佰，郑宏昌
Chumpon Apisuk, Chakkrit Chimnok, Pattree Chimnok, Chang Xiong, Cheng Xinhao, Anucha Hemmala, He Libin, Hong Yan (Qin Hongyan), Narodom Kamenkhetvit, Luo Fei, Li Youjie, Li Yuming, Prasart Niranprasert, Jittima Pholsawek, Krai Sridee, Maliwan Saithong, Vasan Sitthiket, Kitti Treeraj, Xue Tao, Zi Bai, Zheng Hongchang
注：艺术家姓名按姓氏拼音排序。
Artists are listed in alphabetical order.
策展人
Curator
林书传
Lin Shuchuan
1986 年出生于湖南，策展人，纪录片制片人。现任职南京艺术学院美术馆，担任副馆长。2012 年开始以展览、文献、 纪录片方式关注亚洲年轻艺术家的生活与创作状态。曾策划或执行“复调”——中国艺术生态调查江浙沪站、北京站、珠三角站、云贵川站及东南亚站，2017年发起研究策展本体问题的“策展研究计划”，2018 年发起“24小时美术馆”公共艺术项目。并于北京、上海、南京、杭州、长沙、伦敦、巴黎等地策划多个艺术家个人项目与艺术群展。
Lin Shuchuan (b. 1986, Hunan province, China) is a curator and documentary filmmaker who currently serves as Deputy Director at the Art Museum of Nanjing University of the Arts (AMNUA), China. Since 2012, he has been focusing on the living and creative states of young artists in Asia through exhibitions, documents and documentaries. He masterminded or delivered the "Polyphony: Chinese Art Ecological Survey" series in Jiangsu-Zhejiang-Shanghai region, Beijing, the Pearl River Delta, Yunnan- Guizhou-Sichuan region, and Southeast Asia. He initiated the "Curatorial Research Project" to study the ontology of curating in 2017 and a public art project "24-hour Art Museum" in 2018. He has also curated several solo artist programs and group exhibitions in Beijing, Shanghai, Nanjing, Hangzhou, Changsha, London and Paris.
海报设计：杨柳
排版：朱雅楠