GM开幕论坛预告 | 作为中心的边缘：东北亚的界河、桥梁与记忆空间

东妮尔，《场域记录4：每一动都是仪式》，2020-2023，单通道4K影像，彩色、立体声，23分02秒，滩羊毛、染色颜料、人造毛、线、现成物，直径2.1米（6英尺10.7英寸）

作为中心的边缘：

东北亚的界河、桥梁与记忆空间

「边界经验」开幕主题论坛

嘉宾：梁琛、顾桃、徐盛哲、孙海霆、姚岚、张馨予

时间：2023.12.16 周六 15:30——16:30

地点：南京金鹰美术馆广场展厅

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从年初的“星象宇宙空间”，到年中“网络虚拟空间”。年末，南京金鹰美术馆将回归最本真的“地理空间”，将于2023年12月17日隆重呈现年底收官群展——《作为中心的边缘：东北亚的界河、桥梁与记忆空间》，围绕“界河”进行展览呈现。

侯子超，《扑胸里抱出场谁拍手》，2022，布面丙烯，165 x 150 cm

由于历史原因，中国东北的国境线主要由六条自然界河所勾勒，它们分别是作为中国与俄罗斯界河的乌苏里江、黑龙江和额尔古纳河，作为中国和蒙古界河的哈拉哈河，以及作为中国与朝鲜界河的图们江和鸭绿江。河流虽为边界，却也作为相邻国家与族群的生命之源。在北方漫长的冬季，冰冻期的河流成为两岸人们重要的公共空间、交通空间与贸易空间——河流成了桥梁本身，交流在此显得异常活跃和充分。通过口岸的连接，位处两岸的城市与乡村聚落空间，不再是地理意义上各自国家的尽头与末端。同河流一起，它们形成一个个中心和整体，不再分离。由此，展览将东北亚的界河空间作为一个整体来考察。呈现一个世纪以来，各国与各民族艺术家不同的创作视角。

顾桃, 《犴达罕》静帧

呼应盘桓于公路或地图之上的空间视角，摄影师孙海霆与徐盛哲，以扫描式的创作轨迹，分别在不同时间完成了对界河空间线路的整体观察，并以不同媒介呈现。艺术家王拓的一系列影像作品“东北四部曲”，也以整个东北为主体，探寻发生在这片土地和边境节点上的历史、空间以及个体命运的深层意识。艺术家蒲英玮呈现了在当今的政治环境下，关于全球化的综合思考。俄罗斯导演尼基塔·米哈尔科夫导演的电影《蒙古精神》（1991）以及中国导演冯小宁的作品《紫日》（2001）分别从空间和时间的不同角度探讨了中蒙俄三国交汇处所发生的故事。

孙海霆，《G331》，2021-2023，艺术微喷，Fantac 纯棉蚀刻艺术纸，尺寸可变

在极北的中俄边境，看似平静的自然中，似乎永远徘徊着反复无常的历史戏剧和驳杂的身份叙事。沙俄地理学家弗拉基米尔·阿尔谢尼耶夫在20世纪初的远东乌苏里江地区考察，留下游记《在乌苏里的莽林中》，已经成为自然主义文学的经典。日本导演黑泽明更是以此为故事背景在70年代初拍摄了电影《德尔苏·乌扎拉》。故事中描述的这位赫哲族游牧猎人，更是代替了列宁的雕像，成为了俄罗斯远东地区时代与精神象征。出生在远东的俄罗斯艺术家亚历山大·盖达利姆在一百年后追寻着阿尔谢尼耶夫的脚步重新探访，并记录了乌扎拉的后裔乌德盖人的生存现状。由于一战德国入侵俄国，致使一些俄国难民被迫越过边境来到中国的宏疆村。20世纪60年代，中苏交恶后，该村许多人被怀疑从事间谍活动，这里一度被称为“特务村”。艺术家沈少民在作品《我是中国人》中的这些俄罗斯族“移民”仍在努力融入中国社会。作者吴鞑靼将苏联远东诗人阿尔谢尼·涅斯梅洛夫的文本《老毛子》进行了翻译与重新创作，来寻找我们对于俄罗斯人“称呼”的源头，此文本后来被制作成了网页版的角色扮演游戏。艺术家马海蛟在空间上分别从俄罗斯与中国的两个视角，探讨兴凯湖（中俄界湖）及周边地区的景观以及人口迁徙。俄罗斯著名导演尼基塔·米哈尔科夫在1991年，上映了电影《蒙古精神》。

马海蛟，《不见彼岸 II之二》，2023，三联摄影，收藏级喷墨打印，液体水彩在照片上绘制，单幅尺寸 53 x 79 cm; 装裱后整体展示尺寸 55 x 245 cm

离开与宏大叙述的博弈，在更为微观的角度，摄影师孙一冰记录了从室韦到满洲里，沿额尔古纳河一路南下的神秘瞬间。出生于漠河村的作家迟子建在其小说《额尔古纳河的右岸》中讲述了17世纪自贝加尔湖畔迁徙而至，与驯鹿相依为命的鄂温克人的生动故事。摄影师顾德清在80年代对鄂温克人进行了拍摄，出版《猎民生活日记》。常年随着父亲在边地工作的顾桃，以纪录片系列敖鲁古雅三部曲为代表，呈现了维佳、柳霞和雨果等一系列更为鲜活的鄂温克人形象。顾瀚如在木板上对怪兽的涂鸦，无意间呼应了父亲顾桃，以及祖父顾德清所记录的森林中树木上的图腾。艺术家侯子超也曾在大兴安岭与鄂温克族人的短暂接触，随后在个展“厄尔塔”中，集中呈现了他对“树”的题材深入的考察。

顾德清，《猎民生活日记》，20世纪80年代，摄影、研究笔记，尺寸可变

在边境，富有地方特色的物质材料，往往在敏感的艺术家手中焕发无限活力。蒙古艺术家额尔德尼巴雅尔·孟克乎日的装置探讨了马与车轮对游牧民族的影响。出生于中蒙边境的舞者东妮尔犹如西西弗斯一般在草原推动着巨大的“草球” 。艺术家琴嘎的“围栏计划”探讨了蒙古族从游牧到定牧的生活转变。在克鲁伦河流经中蒙边境线的河段，艺术家李怒抽取冰下河水于河面上冻结了一堵长36米、高2.4米、宽60公分的冰墙，将河流一分为二，但冰墙既是分界，却也是桥梁。作家村上春树曾在其小说《奇鸟行状录》中探讨了发生在1939年中蒙边境的一场日本与苏联的战争-诺门罕战役。作者在撰写第三卷时决定前往中国和蒙古，从两个视角观察一条边界。游记收录在其《远境，近境》当中，随行的摄影师松村映三也留下了1994年中蒙边境的真实影像。

琴嘎，《围栏计划》，2019-，视频短片、采访视频、喷绘墙纸、照片、铁丝网、钢等，尺寸可变

而当我们行至东北界河的南端，中朝之间的互动似乎呈现着更为亲密和疏松的社会景观。艺术家刘雨佳的影像作品讲诉了三江源头长白山区域的一位朝鲜族萨满的故事。韩国摄影师曹天铉将呈现他长期在中国拍摄的图们江与鸭绿江上的木筏传统，以及从中国一侧所拍摄的朝鲜风光。我们邀请朝鲜画家金有光到丹东进行驻留创作，从鸭绿江对岸回望自己的故乡。同时一位匿名作者也将呈现其在朝鲜的观察与纪录。丹东也作为艺术家张晓海岸线系列的最北端，也成为这次界河之旅的重要节点。

刘雨佳, 《三江源头故事集 》静帧, 2023，双通道 4K 影像 ，彩色，立体声 ，48 分 40 秒

看似遥远的东北界河，亦和本次展览地产生着深层空间共振。作为一个同样自古充斥河流和桥梁空间经验的城市，在南京，城市景观在200m高的金鹰美术馆空间内一览无余。同时，链接两个塔楼的美术馆中央展厅也同样作为桥梁空间构建着城市制高点上的流动与边界。此时此刻，我们希望将东北亚界河两岸不同国家，不同民族，不同语言，不同文化的人们的故事与记忆，共时异地地并置在一个宛如河流的桥梁空间中：空间、作品之间相互关联，甚至我们能从不同作品、作品内外看到一样的人、物与风景。

惟因桥梁空间也像一条河流，它如河流一样弥合土地上的裂痕，孕育一切发生。

——梁琛

For historical reasons, the national border of Northeast China is mainly outlined by six natural rivers: the Ussuri River, Heilongjiang River, and Erguna River, which serve as the border between China and Russia; The Halaha River, which forms the border between China and Mongolia; and the Tumen River and Yalu River, which mark the border between China and North Korea. These rivers outline political borders but also as sources of life for neighboring countries and ethnic groups. During the long winter in the Far East, frozen rivers become a crucial public space for communities on both sides, especially for transportation and trade—in this way, riverine borders become quasi-bridges, where transboundary communication is vibrant. By connecting ports and urban and rural settlement spaces, riverine borders are no longer the end of their respective countries in the geographical sense. Rather, they, with people surrounded, form a center and are no longer separated. This exhibition tries to examine the riverine borders in Northeast China as a whole. It presents the divergent perspectives of artists from different countries and with variant identities over the past century. 

Echoing the panoramic landscape shown on highway systems or maps, we can first turn our attention to photographers Sun Haiting and Xu Shengzhe, who have completed their observations of river borders at different time and presented them in various media. Wang Tuo's video "The Northeast Tetralogy" focuses on Northeast China as a whole, exploring the history, space, and individual destiny of this land and its border nodes. Pu Yingwei presents his comprehensive reflection on globalization in today's political environment. All of their works mirror some classic literature: the film Urga (1991) by Russian director Nikita Mikhalkov and Purple Sunset (2001) by Chinese director Feng Xiaoning. These two films explore the stories that take place at the intersection of China, Mongolia, and Russia/USSR from different perspectives of space and time, respectively.

In the far north, capricious historical dramas and heterogeneous identity narratives seem to hover perpetually in the calm nature of Russian-Chinese borderland. Vladimir Arsenyev, a tsarist geographer, was on an expedition to the Ussuri River region at the beginning of the 20th century. During his expedition, he finished his travelogue In the Mangrove of Ussuri, which later became a classic of naturalistic literature. Japanese director Akira Kurosawa used this story as the background for his movie Delsu Uzala in the early 1970s. The Herzhe nomadic hunter depicted in the mangrove of Ussuri has even replaced the statue of Lenin as a symbol of Russian Far East. After the vicissitudes, contemporary Russian artist Alexander Gaidalym revisits this region a hundred years later and documents the survival of Udege people, who are considered to be the descendants of Uzala. On the other side of the coin, influenced by the German invasion of Russia in World War I, some Russian refugees were forced to cross the border to villages of Hongjian. China. In the 1960s, after the Sino-Soviet Split, some Russian refugees living in these villages were suspected of espionage, leading to the village being falsely convicted as “villages of spies". In his work "I am Chinese", artist Shen Shaomin documents how these ethnic Russians struggled to integrate into Chinese society. The author Wu Dada translates and reworks the text "Lao Maozi" by the Soviet Far Eastern poet Arseny Nesmailov. He later turns the text into a role-playing game to find out the origin of naming for Russians in China. Artist Ma Haijiao explores the landscape of Xingkai Lake (the Sino-Russian border lake) and the surrounding area, as well as the migration of people from a dual spatial perspective. As mentioned earlier, these works would remind us with Nikita Mikhalkov's significant film Urga released in 1991.

Yet border is not a concept that exists solely in grand narratives. From a more microscopic standpoint, photographer Sun Yibing records mysterious moments of the journey from Shiwei to Manzhouli, all the way south along the Ergunar River. In his famous book The Last Quarter of the Moon, writer Chi Zijian, who was born in a village of Mohe, Heilongjiang, tells the vivid story of the Ewenki people, who migrated from the shores of Lake Baikal in the 17th century and lived with the reindeer. Photographer Gu Deqing photographed the Ewenki community in the 80s and published Diary of a Hunter's Life. Gu Tao, who often worked with his father in the borderland, represented by the documentary series Ooluguya Trilogy, presents a series of vivid images of Ewenki people such as Vijia, Liuxia, and Yuguo. Gu Hanru's drawing of monsters on wooden boards unintentionally echoes the totems on trees in the forest documented by his father Gu Tao and his grandfather Gu Deqing. Artist Hou Zichao also has a brief encounter with the Ewenki people in Daxinganling, and then in his solo exhibition "Erta", he focuses on his in-depth investigation of trees.

At the border, materials rich in local features often come to life through hands of sensitive artists. Mongolian artist Erdenebayar Monkhor’s explores the duality of horse and wheel on nomadic tradition through installation art. Born in the border area between China and Mongolia, dancer NiNi Dongnier pushes a giant grass ball across grassland like Sisyphus. Artist Qinga's Fence Project explores the transition from nomadic to set stocking in inner Mongolia. In the section of Kherlen River that flows through the border between PRC and the Mongolian People's Republic, artist Li Nu extracted water from the river and froze a 36-meter-long, 2.4-meter-high, 60-centimeter-wide ice wall on the river’s frozen surface. Splitting the river in two, the ice wall formulates a boundary as well as a bridge. Moreover, it is worthy of remark that, in The Book of Strange Birds, Haruki Murakami once explored the Battle of Nomonhan, a war between Japan and Soviet Union that took place along the Sino-Mongolian border in 1939. While working on the third volume, the author decided to travel to China and Mongolia to observe a border from two perspectives. Later, Haruki’s travelogue was included in his book Far Border, Near Border, and the accompanying photographer, Eizo Matsumura, left valuable images of the border area in 1994.

As we travel to the southern end of China’s Northeast riverine borders, interaction between China and North Korea might present a more intimate society of spectacle. Artist Liu Yuja's video presents the story of a Korean shaman living in the Changbai/Beakdu Mountain area. While South Korean photographer Cho Chon Hyon presents his on-the-spot record of raft traditions on Tumen and Yalu Rivers in China, as well as North Korean landscapes taken from the Chinese side. We also invited North Korean painter Kim Yoo Kwang to Dandong, China for an artist residency, looking back at his homeland from the other side of Yalu River. An anonymous author will also present his observations and documentation from DPRK. Moreover, Dandong serves as the northernmost point of Zhang Xiao's Coastline Series, which has become a key node of his photographic journey across river borders.

It is well worth noting that the seemingly distant Northeast riverine borders also contain a deep spatial resonance with the exhibition site. As a city that has also been highlighted by rivers and bridges since ancient times, Nanjing is visible from the 200-meter-high G Museum exhibition hall. Meanwhile, linking the two towers, G Museum also serves as a bridge to build up the fluidity and boundaries of the city's high point. Here and now, we are juxtaposing the stories and memories of artists from different countries, nationalities, languages, and cultures on both sides of China’s Northeast borderline in a bridge-like museum, where space and works are related to each other, where viewers can even see the same protagonists, objects and landscapes inside and outside the works in this liminal space.

For we will understand, bridge space will eventually become a river, like a river that bridges cracks in our land and nurtures everything to happen.

——Liang Chen

徐盛哲, 《钢铁蜗牛》,  2023，摄影书，A4大小，铜版纸锁线胶装

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梁琛

Liang Chen

建筑师，艺术家。1987年生于辽宁丹东，2011年毕业于吉林建筑工程学院，获建筑学学士。2011—2015年工作于直向建筑，任理事；作为项目建筑师完成阿那亚三联海边图书馆（“孤独图书馆”）。2017年开始独立建筑与艺术实践，成立工作室阿莱夫时空研究所（www.aleph-liangchen.com），建筑代表作品：众方纪；曾在A4美术馆，外交公寓12号举办个展；曾在北京山中天艺术中心策划展览《从安东到丹东》，上海OCAT策划展览《空间规训》。

在建筑和艺术的双重实践中，梁琛关注一个确定集合（具体概念、物体、空间等）在时间上长时段、多时段、大尺度的流变与时空积累。自2013年开始，梁琛在对家乡辽宁丹东长时段、多时段的观察研究与自我分析中层层推进，构建起他创作的起点和源泉。基于近年来在丹东、额尔古纳、新疆等地丰富的地方文化研究和建筑实践，梁琛亦发起了以艺术、建筑、人类学等跨学科研究为基础的“边界计划”。聚焦于知识生成与交换之前沿的边境地带，他试图以跨学科的视角管窥更为广阔复杂的文化、历史、语言和社会心理的边界。