VIEW观看 | 第二届天水摄影双年展邀请展——牛恒立( 中国)策展作品

第二届天水摄影双年展邀请展由观看艺术空间作为策展机构策划，由德国、法国、美国、中国和香港等国家和地区的著名策展人组成策展团队，邀请了国内外85位知名艺术家的900余幅（组）作品参加展览。

View Art Space is the curatorial institution of the invitational exhibition unit of the Second Image of Silk Road-Tianshui Photography Biennale. A curatorial team has been set up by famous curators from Germany, France, the United States, China and Hong Kong. This exhibition invited 85 well-known artists at home and abroad more than 900 (set) works to attend.

不一样的亚洲｜A DIFFERENT ASIA

策展人｜CURATOR

牛恒立( 中国)｜NIU HENGLI（CHINA）

艺术家 & 作品｜ARTISTS & WORKS

秦伟（中国香港）《另一段地平线》

TO ANOTHER HORIZON Chun Wai (Hong Kong, China) 

阿琳·柯林斯（美国）

ARLENE COLLINS (AMERICA) 

柯瑞娜·格尔茨（德国）《中国古代服饰》

ANCIENT CHINESE COSTUME Corina Gertz (Germany) 

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策展前言｜CURATORIAL PREFACE

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不一样的亚洲

——阿琳·柯林斯和秦伟关于亚洲的不同视角

牛恒立

在古代中国，如果说《山海经》是对当时西域和中亚的想象的话，在汉代以来的中国视野中，则通过实地踏勘，将玉门关、阳关以西，葱岭以东，天山南北，以及这一地区以西的所有国家都被编写进了《西域书》。张骞“凿空”西域以及最终控制这一地区，使得中国和中亚、南亚、西亚连为一体，也为欧亚大陆的联通准备了世界性的视野。

在英国地理学家麦金德的“大陆心脏说”（大陆腹地说）中，认为谁控制了东欧，谁就能控制亚欧大陆心脏；谁统治了亚欧大陆心脏地带，谁就能控制边缘地区，从而主宰世界。该提法虽然有着浓厚的对外扩张、地缘竞争和军事霸权色彩，但是却看到了中亚在整个世界格局中的中轴地位。俄罗斯就是从东欧一角沿着“东欧—中亚”的路线向东扩张，成吉思汗的“蒙古旋风”也是沿此路线西征（冈田英弘将蒙古建国看作世界史的诞生）。因此，麦金德在《历史的地理枢纽》中提醒：“我请求你们暂时地把欧洲和欧洲的历史看作隶属于亚洲和亚洲的历史，因为在非常真实的意义上说，欧洲文明是反对亚洲人入侵的长期斗争的结果。”这种观念打破了欧洲自我中心的“元地理学”神话，走出东西方二元对立结构，为多元共生、多极均衡提供了新的可能。

阿琳·柯林斯的这组作品，拍摄地集中在“中亚五国”的乌兹别克斯坦、土库曼斯坦，以及中国的新疆、南亚的巴基斯坦和印度。她的作品，有助于我们认识包括葱岭两侧在内的 “大中亚”地区当下丰富的文化样态和生活图景。特别是在“一带一路”背景下，突破民族国家的单一国别史叙事限制，从反“元地理学”的立场（但不是“倒置的欧洲中心论”）、超地域国家的角度来反身地理解中国、亚洲和世界，建构超出东- 西方和“三个世界”划分格局之外的、新的元地理学世界图景。

秦伟的《另一段地平线》，拍摄区域与阿琳·柯林斯的有相近和重复的地方，涉及南亚的孟加拉、印度，东南亚的柬埔寨、菲律宾，作为南亚、西亚和中亚交汇点的阿富汗，以及中亚的乌兹别克斯坦等亚洲地区。总而言之，两人的视角都集中在亚洲。

阿琳·柯林斯镜头下精神气质相近的“多元中亚”，秦伟眼里处于现代化困境中的“伤痕亚洲”，分别呈现了“不一样的亚洲”。但是，都可以成为我们在今天全球化时代对“何谓中国，何谓亚洲”的思考资源，以及亚洲各国超越隔阂建立共同体，从而“重述亚洲”的问题论域和切入点。中国内在于亚洲，亚洲离不开中国。正是经由边疆与邻国，中国与亚洲、与亚欧大陆相互联动。那么，在重塑亚洲体系，以至创造新的世界体系中，中国的建构性力量不可或缺。

“历史是一种建构的东西”（本雅明），阿琳·柯林斯和秦伟关于亚洲当下的图像叙事，也在微观的意义上参与了这样的观察和历史建构。

A DIFFERENT ASIA

- Different Perspectives of Arlene Collins and Chun Wai Regarding Asia

In ancient China, if we say "The Classic of Mountains and Rivers" was the imagination of the western regions and Central Asia at that time, then in the Chinese field of vision since the Han Dynasty, through field investigation, the area to the west of the Yumenguan Pass and Yangguan Pass and the east of the Congling ridge, including the north and south side of the Tianshan Mountains, and all the countries to the west of that area were compiled into Book of West Regions. Zhang Qian’s thorough exploration and ultimate control of the region made China and Central Asia, South Asia, Western Asia as one, and also prepare for the Eurasian Unicom a world vision.

In the "Continental heart theory" (Continental hinterland theory) of the British geologist Mackinder, he believed that whoever controlled Eastern Europe could control the heart of the Eurasian continent; whoever ruled the heart of the Eurasian continent could control the marginal area, and further dominate the world. Although this formulation features strong sense of external expansion, geopolitical competition and military hegemony, it has seen the central position of Central Asia in the whole world pattern. Russia expanded eastward along the Eastern European - Central Asia line, and Genghis Khan’s "Mongolia whirlwind" also followed this route westward (Okada Eihiro regarded the founding of the Mongolia nation as the beginning of the world history). As a result, Mackinder reminded us in his The Geographical Pivot of History that: "I request you to see the history of Europe and European Continent temporarily as subordinate to the history of Asia and Asia Continent, because in a very real sense, European civilization is the result of the long struggle against the invasion of Asians." This concept has broken the self - centered "meta geography" myth in the European, constructs the dual structure of the East and the West, and provides a new possibility for multiple symbiosis and multipolar equilibrium.

This group of works by Arlene Collins concentrates on the five Central Asian countries/areas, including Uzbekistan, Turkmenistan, Xinjiang province in China, and Pakistan and India in South Asia. Her works will help us to understand the rich cultural patterns and life prospects of the "Great Central Asia" region, including the two sides of the Congling Ridge. Especially under the background of the "The Belt and Road", she broke the narrative restriction of a single country history of a nation, starting from an "anti-meta-geography" (but not the "inverted" Euro-centrism) and supranational perspective to reach a reflexive understanding of Chinese, Asia and the world, and thus fulfilled the construction of a new world prospect of meta geography beyond East – West pattern and "three world” pattern.

Talking of Chun Wai's "another horizon", his shooting area and that of Arlene Collins have some similar parts and overlaps, including India and Bangladesh in South Asia, Kampuchea, Philippines in Southeast Asia, and Afghanistan, the intersection of South Asia, West Asia and Central Asia, as well as Uzbekistan and other regions in Central Asia. All in all, the two person's perspectives are concentrated in Asia. 

The "multiple central Asia" with similar spiritual temperament under Arlene Collins's lens, and “scar Asia" in the modern predicament in Chun Wai's eye, respectively present" a different Asia". However, both of them can serve as our thinking resources of the question "what China is, what Asia is” in the era of globalization, as well as the question range and the entry point of "retelling Asia" by the Asian countries that transcend the estrangement to establish a community. China lies in Asia and Asia cannot be separated from China. It is through the border and neighboring countries that China interacts with the Asia and the whole Eurasian continents. China's constructive force is indispensable in reshaping the Asian system and creating a new world system.

"History is to be constructed" (Walter Benjamin), Arlene Collins and Chun Wai's image narrative about the contemporary Asia is also involved in such observation and historical construction in a microcosmic sense.

牛恒立( 中国)

策展人，艺术家，收藏家，中国摄影家协会会员，甘肃省摄影家协会副主席，兰州摄影艺术家联合会副会长，侯登科纪实摄影奖理事会理事，观看艺术空间艺术总监。2013 年，与其他艺术家发起并成立观看艺术小组，关注并推动甘肃乃至西北当代艺术摄影的探索与发展，倡导“寻求艺术灵光，回归摄影本真，崇尚主观表达”。截至目前，已经成功策划组织了三届“观看当代影像双年展”，主编出版了三辑《观看》以及一本《观看别册壹——消费》学术刊物，举办了三届“观看艺术论坛”。2017 年，发起并成立甘肃省第一家摄影画廊“观看艺术画廊”，策划艺术家驻地交流，推动甘肃摄影艺术作品收藏。

积极参与国际摄影节会的策展工作，先后策划参加了“2014 平遥国际摄影大展”“2014 北京国际摄影周”“2015 第六届大理国际影会”“2015 平遥国际摄影大展”等。在2017 年的第七届大理国际影会上，总策展甘青宁三省（区）当代艺术机构和艺术家作品共同亮相大理，共有17位艺术家的22 组220 多幅作品展出，其策展的摄影师赵晋龙获得最佳摄影师提名奖，《“消费”影像》专题展策展人马应海获得最佳策展人提名奖。这次参加展览的所有作品都以博物馆收藏级标准输出制作，并在展览现场限量开版销售，共有40 幅（套）作品被知名收藏家、画廊总监和艺术家收藏。这一举措开创了西部影像艺术家集体参加大型艺术展览并在现场销售作品之先河，为促进大众对影像作品收藏的认知与传播，起到了十分积极的宣传和推动作用。

同时，积极探索摄影媒介在当代艺术领域的表达，近年来创作了《白马 · 昼》《失重》《白日梦》《寻隐》《记忆的行囊》《玩具》《白马 · 相》《空山》等一系列当代影像作品。

NIU HENGLI

Niu Hengli, curator, artist, collector, a member of China Photographers Association, vice chairman of Gansu Photographers Association, vice president of Lanzhou photographic Artists Federation, and the director of the Council of the Hou Dengke Documentary Photography Award, and the art director of View Art Space. In 2013, he worked with other artists to initiate and found View Art Group, paying attention to and promote the exploration and development of contemporary art photography in Gansu and even the whole northwest China, advocating "seeking artistic spirit, returning to the authenticity of photography, advocating subjective expression". Up to now, "View Contemporary Image Biennale" has been successfully organized three times, three editions of "View" and an academic journal "View: special issue one consumption" have been published, and three consecutive "View Art Forum" have been held. In 2017, he initiated and founded the first photography gallery "View Art Gallery” in Gansu province to organize the exchange of artists and to promote the collection of photography works in Gansu.

He has actively participated in major international photography festivals, and has successively planned to participate in "2014 Pingyao International Photography Exhibition", "Beijing International Photography week 2014", "2015 sixth Dali international photography conference", "2015 Pingyao International Photography Exhibition" and other important international photography festivals. At the seventh Dali International Photography conference in 2017, a number of contemporary art institutions and artists' works of a united exhibition under the general planning the general curator Niu Hengli made a joint appearance. All the institutions and artists were from Gansu, Qinghai and Ningxia. There were 22 groups and more than 220 works of 17 artists. The photographer Zhao Jinlong of the exhibition organized by Niu Hengli was nominated for the best photographer."Consumer" image exhibition curator, Ma Yinghai won the best curator nomination award. All the works of the exhibition were produced presumably for museum collection and sold in a limited number at the site of the exhibition. A total of 40 pieces (sets) of works were collected by wellknown collectors, gallery directors and artists. This initiative pioneered the collective participation and workselling of Western image artists in large art exhibitions and. It has played a very active role in promoting the public's recognition and dissemination of the collection of image works.

At the same time, he actively explore the expression of the media in the field of contemporary art. In recent years, he has created a series of contemporary image works, such as "Baima Zhou", "Weightlessness", "Daydreaming", "Find Hidden", "the Bag of Memory", "Toys", "Baima Image", "Invisibe Mountain", etc.

秦伟（中国香港）《另一段地平线》

TO ANOTHER HORIZON Chun Wai (Hong Kong, China) 

阿琳·柯林斯（美国）

ARLENE COLLINS (AMERICA) 

柯瑞娜·格尔茨（德国）《中国古代服饰》

ANCIENT CHINESE COSTUME Corina Gertz (Germany) 

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本期编辑：牛恒立  刘明伟

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