展览预告 | 从安东到丹东：鸭绿江上的木筏、断桥与过客
从安东到丹东：鸭绿江上的木筏、断桥与过客
From Antung to Dandong
——Rafts, Broken Bridges and Strangers on the Yalu River
展期：2022.3.13 - 6.5
Duration: March 13–June 5, 2022
策展人：梁琛
Curator: LIANG Chen
参展人：
（丹东籍）
何翔宇/红杏/贾蔼力/梁琛/梁睿/谭振邦/铁笔山房/王宁德/尹吉男/张推推/赵亮
方志小说工作组/绘造社/孙海霆/张烁
Artists:
(Dandong Origin)
HE Xiangyu/ Hong Xing/ JIA Aili/ LIANG Chen/ LIANG Rui/ TAN Zhenbang/ Stylus/ WANG Ningde/ YIN Jinan/ ZHANG Tuitui/ ZHAO Liang
Gazetteer-novel collective / Drawing Architecture Studio/ SUN Haiting/ ZHANG Shuo
主办: 十点睡觉艺术空间
Organizer: Click Ten Art Space
协办：山中天艺术中心
Co-organizer: Wind H Art Center
地址：北京市朝阳区798艺术区南门万红里甲31号
Add: No.31a Wanhongli, South Gate, 798 Art Zone, Chaoyang, Beijing
聚焦于“地方”与“边界”的《从安东到丹东：鸭绿江上的木筏、断桥与过客》展览将于2022年3月13日展出。展览由建筑师、艺术家梁琛策划，展出十五位/个艺术家及小组的创作及项目。
文/梁琛
在建筑系读书期间，我开始对东北城市规划建筑图纸和摄影画册进行广泛收集。随着研究工作的开展，我逐渐发现自己的家乡辽宁丹东同样是一个由旧城（或旧聚集地）、铁路附属地（南满的满铁附属地与北满的中东铁路附属地）和商埠地（由开埠通商而划定的“原住民”与“外来者”进行自由贸易的区域）三部分组成的典型东北城市，这成为了我对丹东重新认知的开始。
从中朝地台到郯庐断裂带，长白山的火山运动到鸭绿江的形成，从战国时期燕长城的修建到满清“龙兴之地”的柳条边，上游顺江而下的原木木筏到下游木材交易的江口“木都”，从甲午海战（1894-1895）到日俄战争（1905-1906），日本殖民者1904年强筑安奉铁路进入中国的首站到1945年败撤中国的最后一站，从1950年被美军炸断的鸭绿江大桥到战争胜利后通达北朝鲜的重要口岸，从1965年前的“安东”到1965年后的“丹东”，大唐的安东都护府到社会主义盟友国的“红色东方”，从建国前以贸易、丝绸等手工业为先导，到建国后成为轻工业明星城市，再到现在网红旅游城市的崛起——丹东，是东北亚视角下的“中心”，亦是中国最大的边境城市。千百年来，鸭绿江上过客匆匆。有做木筏生意的汉人、满人和朝鲜人，也曾涌动着蠢蠢欲动的日俄军人；有修天后宫、财神庙、龙王庙、城隍庙的中国人，有修神社和佛堂的日本人，也有不远万里来此修建教堂、医院和孤儿院的丹麦传教士；有冷战前夜的苏联和美国军队，也有来自祖国各地的人民志愿军。丰富的历史文脉使得丹东不仅成为进入东北大地纵横交织的时空的切口，也成为了一个国际化的、多文化交流与冲突的边界要塞。
在这次展览中，我们希望展现不同时代的作者们基于丹东进行的小说、诗歌、绘画、摄影、影像、装置等媒介的创作。展览既注意呈现丹东籍作者的内部视角，也关注非丹东籍作者的他者观察。参展者既有扎根丹东的文史档案研究小组、长期关注地方文化的驻留创作者，也有出生于安东的日本作家、在丹东从事新闻活动的路透社记者。作品既包含对中朝边境进行的详实影像记录，也有对朝鲜国家景观的想象；既有朝鲜族学者关于丹东的私人回忆，也有年轻导演对丹东未来的畅想。他们的全部个人史勾勒出了丹东历史空间的轮廓。因此，本次展览不仅呈现史实与文献，更重要的是希望通过作者们各自独特的观看视角，拼合、重构、复现出一个个“地方景观”。另外，作为一个整体，展览也将鸭绿江的空间地理微缩于展厅之中，尝试探讨地方研究与空间叙事的新可能。
近年来，朝鲜的改革开放、核试验以及“脱北者”现象等获得了社会的普遍关注，边境的故事看似离我们每一个人很远，但恰恰是边境勾勒出了祖国的领土和国家间的空间范围。事物的定义，正是来自于它们的边界。本次展览亦是以艺术、建筑、人类学等跨学科研究为基础的“边界计划”的一部分。作为后现代全球文化景观的重要现象，发源于现代西方的当代艺术和“地方文化”间的时空差序正在逐步消解，并在互相引用中重构着全球公共文化的秩序和边界。正因此，对“地方性知识”的研究不仅成为理解当代知识生产之具体情境的必需，也是在全球化语境中发展立足本土的当代中国艺术的重要路径。“边界计划”聚焦于中国广阔的地方文化资源，特别是处于知识生成与交换的前沿的边境地带。从地理边界出发，我们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，探寻艺术创新的更多可能。
Article by LIANG Chen
During my school days at the Department of Architecture, I started to collect a wide range of architectural drawings and photographic albums of urban planning in Northeast China. As my research work progressed, I gradually discovered that my hometown Dandong, Liaoning Province is also a typical Chinese Northestern city consisted of three parts: the old city (or the old gathering place), railroad dependent territory (the Manchurian Railway dependent territory in South Manchuria and the Middle East Railway dependent territory in North Manchuria), and the trading port (the designated free trade zone for "aborigines" and "outsiders" as a result of the port opening for commerce). This was the beginning of my understanding of Dandong in a new way.
From the Sino-Korean Plateau to the Tan-Lu Fault Zone, from the volcanic activity of the Changbai Mountains to the formation of the Yalu River, from the construction of the Great Wall of Yan during the Warring States Period to the Liutiaobian site, where is the birthplace of the Manchu Qing Dynasty, from the log rafts going downstream to the "wood city" at the estuary for timber trade; from the Sino-Japanese naval war (1894-1895) to the Russo-Japanese war (1905-1906), from the first stop of the An-Feng Railway which was constructed by the Japanese colonialist in China in 1904 to the last stop after their defeat in China in 1945, from the Yalu River Bridge that was blown up by the American army in 1950 to the critical port to North Korea after Korean War, from the name changed from "Antung (Andong)" before 1965 to "Dandong" after 1965, from the Protectorate General to Pacify the East in the Tang Dynasty to the Red East of the socialist allies, from the pioneer of trade and silk handicrafts before the founding of China to the star city of light industry after the founding of country and the rising of the internet-famous tourist city, Dandong is the center of Northeast Asia and the largest border city in P.R. China. For thousands of years, the Yalu River has seen countless passers-by. There were Han Chinese, Manchus, and Koreans in raft business, and Japanese and Russian soldiers ready to attack. There were Chinese who built the Tianhou Palace, the Temple of the God of Wealth, the Dragon King Temple and the City God Temple; Japanese who built Shinto shrines and Buddhist temples; and Danish missionaries who traveled from afar to build churches, hospitals and orphanages. There were Soviet and American troops on the eve of the Cold War, and also Chinese people's volunteer army from all over the country. The rich historical heritage has made Dandong an entry point into the intertwined space and time of the Northeast of China and a cosmopolitan border fortress of multi-cultural exchanges and conflicts.
With this exhibition, we hope to present fiction, poetry, painting, photography, video, installation and other media created based on Dandong by creators from different eras. It aims to present the internal view of Dandong-born creators and etic observations of "outsiders." The exhibitors include local research groups of cultural and historical archives in Dandong, creators-in-residence who have long been concerned with local culture, as well as Japanese writers born in Antung and Reuters journalists based in Dandong. The works contain detailed visual records of the Sino-North Korean border and imaginations of the national landscape of North Korea, private memories of Dandong by scholars from Chinese Korean ethnic community, and young directors' visions of Dandong's future. All their personal histories outline the historical space of Dandong (Antung). Therefore, this exhibition presents historical facts and archives, and more importantly, hopes to assemble, reconstruct and recreate local landscapes through the artists' unique perspectives. In addition, the exhibition miniaturizes the spatial geography of the Yalu River in the exhibition hall, trying to explore new possibilities of local studies and spatial narratives.
In recent years, the reform and opening up, nuclear tests and the phenomenon of defectors in North Korea have gained widespread attention in society. The story near the border may seem far away from us, but it precisely outlines the territory of our motherland and the spatial scope between countries. It is the borders that define things. This exhibition is also part of the Border Project based on interdisciplinary research in art, architecture, and anthropology. As an important phenomenon in the postmodern global cultural landscape, the disparity in time and space between contemporary art originated from the modern West and the local culture is gradually dissolving, reconstructing the order and boundaries of global public culture by referencing each other. Therefore, the study of local knowledge has become necessary for understanding the specific context of contemporary knowledge generation and is an essential path for developing locally-based contemporary Chinese art in globalization. Border Project focuses on the vast local cultural resources in China, especially the borderlands at the forefront of knowledge generation and exchange. From the geographical borders, we attempt to take an interdisciplinary view to observe the boundary of culture, history, language, and social psychology, which is broader and more complex, and explore more possibilities for artistic innovation.
策展人简介
梁琛
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，开始独立建筑与艺术实践，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。
LIANG Chen was born in Dandong, Liaoning, China, in 1987. He graduated with a degree of Bachelor of Architecture from Jilin Jianzhu University. From 2011 to 2015, as former associate and senior project architect at Vector Architects, Liang completed projects including Aranya Seashore Library (also known as "Lonely Library"). In 2017, Liang established his independent architecture and art studio Aleph-Liangchen. His representative architecture projects include Singer House, Erguna, China. His solo exhibitions include 1976/2020, DRC No.12, Beijing (2020); Liang Chen: Aleph, Luxelakes·A4 Art Museum, Chengdu, China(2019). As a curator, Liang's curatorial practices include Space Discipline, OCAT Shanghai, Shanghai (2020).
Liang focuses on the flow and temporal accumulation of a definite collection (a specific concept, object, space, etc.) over a long period, multiple periods and large scale in his dual practice of architecture and art. Since 2013, Liang began to observe his hometown Dandong, Liaoning, in the aforementioned way, which anchored the departure point and source for his work. Built on his research and project experience in Erguna, Dandong and Xinjiang, Liang initiated interdisciplinary research "Border Project" in art, architecture and anthropology, which focuses on geographical borders, namely the forefront of knowledge production and exchange, to further explore the broader borders of culture, history, language, and social milieu.
✦ 《从安东到丹东：鸭绿江上的木筏、断桥与过客》✦
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票务信息：
正价票：72元
早鸟票：55元
早鸟票限时：
即日起 — 2022年3月12日
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