展览预告 | 地方音景：苏州的声音地理
由寒山美术馆主办的“地方音景：苏州的声音地理”展览将在2021年1月15日，正式面向公众开放。本次展览项目由寒山美术馆馆长布达策划发起，欧宁担任主持。整个项目分为工作坊、田野录音、声音艺术展三大主要板块，是寒山美术馆探讨如何用艺术创作和策展来增进地方感，形成地方认同的探索；同时也是美术馆借用声音艺术链接城市人文的一次新式试验。
主办方 | ORGANIZER
寒山美术馆 Han Shan Art Museum
发起人｜INITIATOR
布达 Buda
主持人｜FACILITATOR
欧宁 Ou Ning
展览空间设计｜EXHIBITION DESIGNER
郭廖辉 Guo Liaohui
工作坊特邀讲者 | GUEST LECTURERS
李劲松 王基宇 王婧 颜峻 张安定
Li Chin Sung, Wang Jiyu, Wang Jing, Yan Jun, Zafka
参展人 | PARTICIPANTS
（按首字母顺序排名）
常兰 陈刚 陈景声 陈然 丁敏 杜丹 傅茝嵉 范炜焱 方奋筹 金佐宁 矫英 李佳宜 李欣麟 李依蔓 林意欣 刘呗宁 刘潇 陆佳伊 毛雅丹 聂俊 沈鹏飞 王翌旭 王玉 吴寒月 张大静 张枢 张一丁 郑丽虹 周沛勇 周诗怡 朱芳琼 朱琳
Chang Lan, Chen Gang, Chen Jingsheng, Chen Ran, Ding Min, Du Dan, Fu Zhiting, Fan Weiyan, Fang Fenchou, Gwendoline Cho-ning Kam, Jiao Ying, Li Jiayi, Li Xinlin, Li Yiman, Lin Yixin, Liu Beining, Liu Xiao, Lu Jiayi, Mao Yadan, Nie Jun, Shen Pengfei, Wang Yixu, Wang Yu, Wu Hanyue, Zhang Dajing, Zhang Shu, Zhang Yiding, Zheng Lihong, Zhou Peiyong, Zhou Shiyi, Zhu Fangqiong, Zhu Lin
这个展览是“策展实践与地方营造”工作坊的成果之一。启始自冷战结束后的全球经济一体化，是新自由主义的胜利，除了带来世界各地的经济繁荣，也引发了贫富极化和区域冲突，并把全球文化导向同质化，即便不是因为新冠疫情的突然打断，也到了要全面深入检视和反思它的时候。“策展实践与地方营造”是欧宁2017年在哥伦比亚大学建筑、规划与保护研究生院的春季课程题目，在标举“流动”和“国际”的全球化时代，把焦点转向段义孚(Yi-Fu Tuan)和马克·欧热(Marc Augé)所说的“暂停”和“地方”，致力于讨论如何挖掘詹姆斯·斯科特 (James C. Scott)所说的地方知识(metis)，如何识别土著精神和风土基因，如何通过艺术活动和策展实践去创造异质化的文化，进而强化社群联系，培育历史记忆，形成地方认同，以抵御“千城一面”的单向度文化侵蚀，从而走向多元主义的文化格局。在苏州的同题工作坊在全球新冠疫情转向第二阶段的严峻情形下，把研讨和实践的焦点指向这个具有2500年历史的城市，追溯这个“地方”的来路和变迁，寻找形塑它的当代风土(contemporary vernacular)的可能，探索“地方营造”在文化建设和全球治理中的作用，无疑赋予了原本的课程“落地”和“应时”的意义。
“策展实践与地方营造”工作坊，寒山美术馆，2020年12月12日
The "Curatorial Practice and Placemaking" workshop, Han Shan Art Museum, December 12, 2020
田野录音，苏州东园，2020年12月14日
Field recording, the East Garden, Suzhou, December 14, 2020
苏州工作坊选择了“地方音景”作为研究这个城市的切入点。在2020年11月18日至12月18日期间，寒山美术馆通过公开招募的形式，邀请了来自中国各地近40位音乐人、艺术家、作家、设计师、建筑师、剧场工作者、声音研究者、城市研究者、民俗研究者、历史研究者和人类学者，到苏州参与工作坊，进行演讲分享和讨论活动，并分组展开田野录音。之后再经过一个月的提案和多次线上集体讨论，产生了共30个参展项目，包括了从唐代张继的《枫桥夜泊》所传播的苏州历史声音标志寒山寺钟声转化而来的作品，从清代蔡云的《吴歈百绝》和顾禄的《清嘉录》等苏州风土文献中整理出来的历史音景，与耳聆网合作的当代苏州声音地图，市民参与录制的“我最喜爱的苏州声音”和“新年祈愿”声轨，一年365天每天一分钟的个人声音档案，手工制陶瓷音响乐器，以及涉及昆曲、评话、儿歌、方言、民俗、宗教、生产、娱乐、移民、交通、街巷、日常生活场景的声音装置、绘画、摄影、视频、行为表演和剧场作品。参与者们参考了工作坊中讨论到的情境主义国际的“漂移”(dérive)和“异轨”(détournement)方法，对他们的田野录音素材进行转化创作。在展览所使用的每条声轨中，都对应着一个录音的地点，由此构成了“苏州的声音地理”。
展厅导览图，空间布局设计：郭廖辉
Exhibtion guide map. Spatial design by Guo Liaohui
诚如工作坊演讲者王婧所说，默里·谢弗(R. Murray Schafer)在上世纪六十年代从landscape（风景）和landmark（地标）演绎出来的soundscape（音景）和soundmark（声音标志）概念仍然带有视觉中心主义的倾向，为此她提出acoustic milieu（音境）这个更偏向声音本体论的概念。在人文地理学中，landscape是从外观看的；当主体变成每天生活在其中的人时，它便变成了place（“地方”）。按此理解，谢弗的“音景”和王婧的“音境”的不同在于主体安放的位置：当主体在外，便是“音景”；主体在内，则成“音境”。王婧的新概念中包含了“谁的声音”和“什么是代表性声音”的质问，导入了个人权利、反对“被代表”的观念。而在欧宁的演讲中，他提到了“代表性政治”的危机，以及在后冷战时代兴起的“社会参与艺术”(socially engaged art)所出现的“去作者化”(de-authorization)和“去美学化”(de-aestheticization)的特点，主张通过艺术和策展实践去激活普通人的权利意识和创造潜能，而不仅仅是自上而下的“赋权”或“赋能”。所以这个展览强调公众参与，每个人所采集的声音和所创作的作品仅代表自己，它是一个“众声喧哗”的展览。
布展现场，寒山美术馆。
Installation in process, Han Shan Art Museum
从工作坊到展览，是对“另类教育学”(alternative pedagogy)的探索，是一次去中心化的“共学”(mutual learning)实验。参与者从公开招募而来，打破了美术馆和惯常策展人的圈层关系，每个人都有自己不熟悉的专业领域，有的毫无创作或参展经验，有的从未试过田野录音，更不了解声音艺术。整个项目不采用传统的导师制，也不设策展人，只有发起人、主持人、参与者和观察员的身份区别。主持人既分享，也学习，其主要角色是创构平台、搭建桥梁、激发思想、协调合作、催化行动。每个人都是导师，每个人同时又是学生。工作坊是理论学习和话语分享，采用民主化的“环形讨论”(ring discussions)形式；田野录音是抛开书本，走向街头。创作提案是个人发想，展览制作是集体实践。所有人在你来我往的激荡中和互助的氛围里参与工作坊，产出展览，并要编辑出版一本文集。就像博伊斯所说，“人人都是艺术家”，它把美术馆制度的“垂直权力”变为“水平权力”，它不是权力的夺取和垄断，而是激活和分享，从而走向一种平等政治。如果每个人都参与，把社会视为整体，那么社会就可以变成由所有人不断塑造和完善的“社会雕塑”(Soziale Plastik)。这就是他所欣赏的蜂群的集体智能。
EXHIBITION
Native Soundscape: The Sonic Geography of Suzhou
January 15 – March 21, 2021
WORKSHOP
Curatorial Practice and Placemaking
November 18 – December 18, 2020
The so-called “globalization,” which started after the Cold War, was the victory of neoliberalism. It has been in practice for years, which not only brings economic prosperity around the world, but also leads to polarization between rich and poor and regional conflicts, at the same time causes homogenization of global culture. Even if it is not because of the sudden interruption of the Covid-19 pandemic, it is time to comprehensively and deeply examine and reflect on it. "Curatorial Practice and Placemaking" was the course topic which Ou Ning designed and delivered for the Columbia University Graduate School of Architecture, Planning and Preservation in Spring 2017. In the era of globalization, which trumpeted and benchmarked "mobility" and "internationality," the course turned its focus to "pause" and "place" as described by Yi-Fu Tuan and Marc Augé. It was devoted to discussing how to dig out the metis (local knowledge) mentioned by James C. Scott, how to identify the DNAs of nativeness and vernacular, and how to create heterogeneous culture through artistic activities and curatorial practices, so as to strengthen community ties, cultivate historical memory and local identity, and to resist the single-dimensional cultural erosion of "same faces of a thousand cities," moving towards a pluralistic cultural pattern. Under the severe situation that the Covid-19 pandemic turned to the second stage globally, the Suzhou workshop which felt under the same title as Columbia’s, focused its discussion and practices on the city with a history of 2500 years, traced the origin and changes of this "place," looked for the possibility of shaping its contemporary vernacular culture, and explored the role of "placemaking" in cultural construction and global governance. Series activities performed in this project, undoubtedly offer the original curriculum the meaning of "landing" and "responding to the times".
常兰×刘呗宁，《卧游/去苏州》，显示屏幕，耳机，豆袋, 乌篷船(400cm x 120 cm)，纸本综合材料，2021年（绘画部分）
Chang Lan×Liu Beining, Traveling without Moving, or A Dreamy Trip, screens, earphones, bean bags, awning boat (400 cm x 120 cm), ink and color paintings on papers, 2021 (the painting part)
陈然，《景声·声景》，投影仪，平板电脑，耳机，观众席，茶几，2021年（视频截屏）
Chen Ran, Mr. Soundscape, projector, iPads, earphones, spectator seats, tea table, 2021 (captured image)
The exhibition is a ramification of the workshop, which chose “Native Soundscape” as the starting point to study the city. From November 18 to December 18, 2020, through open call, Han Shan Art Museum invited nearly 40 musicians, artists, writers, designers, architects, dramatists, sound researchers, urban researchers, historical researchers and anthropologists from all over China to participate in the workshop for lectures, seminars and field recordings in Suzhou. After a month for proposals, through numerous online collective discussions, a total of 30 participating projects are produced for the exhibition, including the work based on Suzhou’s historical soundmark — the Han Shan Temple bells recorded in Zhang Ji's famous poem in the Tang Dynasty (618 - 907); the historical soundscape sorted out from the books on the local customs such as Cai Yun's Wu Yu Bai Jue and Gu Lu's Qing Jia Lu in the Qing Dynasty (1644 - 1912); the online sound map which is designed according to collective field recordings; the "My Favorite Suzhou Sound" and "New Year's Wish" tracks recorded by the ordinary people collected in cooperation with ear0.com; the 365 soundtracks recorded for one minute per day in a year; the hand-made ceramic instruments and speakers; the sound installations, paintings, photographs, videos, performing arts and theater pieces about Kunqu, Pinghua, children's songs, dialects, folk customs, religion, production scenes, entertainment, immigration, transportation, streets and lanes, and daily life scenes. The participants referred to the methods of dérive and détournement from Situationist International which were discussed in the workshop, and created works based on their field recordings. Every soundtrack demonstrated in the exhibition corresponded to a recording site, which constituted the "Sonic Geography of Suzhou."
金佐宁，《归》，显示屏幕, 锣鼓（板鼓, 大锣, 铙钹, 小锣）, 亚克力板, 水彩画纸，2021年（手稿）
Gwendoline Cho-ning Kam, ‘F’ to Bill, screen, Luogu (Bangu, Big Gongs, Cymbals, Small Gongs), acrylic plate, water-color paper, 2021 (manuscript)
林意欣，《漂流者》，蓝⽛⾳箱，声音，⾯包车，⽇常杂物，2021年
Lin Yixin, Flow, bluetooth speakers, sound, minivan, daily sundries, 2021
As Wang Jing, one of the lecturers of the workshop, said, the concepts of "soundscape" and "soundmark" borrowed by R. Murray Schafer from "landscape" and "landmark" in late 1960s still have the tendency towards visual centralism, so she put forward the new concept of "acoustic milieu," which is more inclined to sound ontology. In human geography, “landscape” is viewed by the actor from the outside; when the actor becomes a person who lives in it, it becomes a “place.” According to this understanding, the difference between Schaefer's "soundscape" and Wang Jing's "acoustic milieu" lies in the position where the actor is placed: when the actor is outside, it is "soundscape"; when the actor is inside, it becomes "acoustic milieu." Wang Jing's new concept contains the queries of "whose sound" and "what should be representative sound," and introduces the conceptof individual rights and opposition to "being represented." In Ou Ning's lectures, he mentioned the crisis of "representative politics" and the characteristics of "de-authorization" and "de-aestheticization" in the socially engaged art that emerged during the post-Cold War era. He also advocated that ordinary people's rights awareness and creative potential should be activated through art activities and curatorial practices. This exhibition, therefore, emphasizes public participation,and “sounds” being heard represent solely that of the artists. A “noisy” exhibition as it is.
张大静×周沛勇×方奋筹，《曲终人散》，免漆板木盒，油泥雕塑群像（20cm高），电动转盘，黑胶时钟，迪斯科发声灯，绒布，镜子，声音，2021年（雕塑部分）
Zhang Dajing×Zhou Peiyong×Fang Fenchou, As the Curtain Fell, paint-free plates boxes, plastocene sculptures (20cm high), electric turntable, vinyl clock, sounding Disco ball lamp, flannelette, mirror, sound, 2021(sculpture part)
张枢，《追忆逝水年华》，显示屏幕，耳机，现场表演纪录视频，2021年（演出纪念照片）
Zhang Shu, À la recherche du temps perdu, screen, earphones, documentary of live performances, 2021 (group photo of the children performers)
From workshop to exhibition, it is an exploration of "alternative pedagogy" and a decentralized "mutual learning" experiment. Participants were recruited from the public, which broke the closed loop relationship among art museums and usual curators. Everyone has their own unfamiliar professional fields, some have no experience in art or exhibition making, some have never tried field recording, and perhaps, do not know much about sound art. The whole project does not adopt the traditional tutorial system, and there is no curator, only roles of initiator, facilitator, participants and observers. The facilitator’s main role is to create a platform, build a bridge, stimulate ideas, initiate cooperation, and catalyze actions. While not only offering lectures, the facilitator also learns actively, demonstrating how everyone can switch between the roles of tutor/student. The workshop involves theoretical study and discourse sharing with the democratic "ring discussions," while field recording is about throwing away books and going on to the streets. Proposals are from personal/individual ideas, whereas exhibition production is a collective practice. To further from what was showcased in the exhibition, an anthology will be edited and published after all events - a process that happened in the atmosphere of stirring interaction and mutual aid. As Joseph Beuys said, "Everyone is an artist." This concept denotes the move from "vertical power" of art institutions into "horizontal power"; in other words, rather than the seizure and monopoly of power, the activation and sharing of it, which thus enables a move towards an equal politics. If everyone participates and regards society as a whole, then society can become a "Soziale Plastik" which is constantly shaped and perfected by everyone. This is the collective intelligence of the bee colony that Beuys appreciated.
支持单位 ｜SUPPORTERS
苏州高新文旅集团 SND CULTURE&TOURISM GROUP
佳库声景创意机构 BestCrews Environmental Technology
苏州清听声学科技有限公司Audfly Technology (Suzhou) Co.,Ltd
耳聆网 www.ear0.com
同期录音网 www.LocationSound.cn
苏州宁翔电子有限公司 Suzhou Ningxiang Electron Co.,Ltd.
特别鸣谢 | ACKNOWLEDGEMENT
苏州市体育局 Suzhou Sports Bureau
苏州市体育文化研究会 Suzhou Sports Culture Research Association
疫情防控期间本次展览不设开幕仪式，1月15日（周五）下午3点会有官方导览及行为作品表演，如需到场观看请添加官方客服微信号或电话预约（0512-69580894）。
2021年1月15日-3月21日（春节开放时间另行通知）
周二-周日 10:00-18:00 （周一闭馆，17:00停止入场）
展览免费对公众开放
展览地址:苏州市高新区科技城太湖大道999号
疫情防控期间，我馆实行实名制预约参观制度。观众可提前1至7天进行线上/现场预约有序进场参观。
请于预约日期到馆，需全程佩戴口罩，出示个人“苏康码”，显示绿码方可入馆。入馆时须在前台测量体温，如有体温异常者（≥37.3℃）或有咳嗽、气促等异常现象者谢绝入馆。
预约方法，添加寒山美术馆客服号或致电0512-69580894进行线上预约。
寒山美术馆客服微信号