十点睡觉艺术空间新展开幕 | 从安东到丹东-聚焦“地方”与“边界”

十点睡觉艺术空间新展开幕

《从安东到丹东：鸭绿江上的木筏、断桥与过客》

聚焦“地方”与“边界”

3月12日，聚焦于“地方”与“边界”的展览《从安东到丹东：鸭绿江上的木筏、断桥与过客》在十点睡觉艺术空间开幕。展览由建筑师、艺术家梁琛策划，展出岡田和裕、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，16位/组丹东籍和非丹东籍的不同视角的艺术家及小组的创作及项目，展期将持续至2022年6月5日。

策展人梁琛现场导览

诗人西川、策展人王春辰在开幕现场

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：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。

开幕现场

开幕现场

展览“从安东到丹东：鸭绿江上的木筏、断桥与过客”呈现出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。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。

铁笔山房

Stylus

铁笔山房，原是一家印刷局，它曾经为邓铁梅的抗日队伍印制钞票（俗称“邓票”）。后来，“铁笔山房”变成了一页纸，沉寂在了解放初期（1950年）安东工商业户的登记簿里。1965年，为了中朝友谊安东改叫丹东。而民间，一些人还是喜欢叫安东，他们凑在了一起，用了“铁笔山房”作为工作室，于是有了《安东历史影像志》，并开启了一段寻找收集讲述安东故事的旅程。

铁笔山房展览现场

方志小说工作组

Gazetteer-novel collective

而在虎年春节期间围绕丹东进行14天艺术驻留的方志小说工作组，驻留成果以“展中展”的形式，以三个策展人的三种叙述依次呈现，犹如一部小说的三个章节，或者是一部小说的三种演绎。策展人、艺术家与写作者之间反复沟通与协作，通过三次策展，试图呈现一个多重时空的“安东-丹东”。

方志小说工作组展览现场

 炮 火 . . .

   战 后 重 生  . . .

参展者以丹东的历史，社会环境，地缘文化作为创作背景，回顾过往的历史，丹东这座鸭绿江边的小城经历了数次炮火和战后重生，使出生在这里的艺术家有着旁观者和亲历者的双重身份，并执着于对精神世界的探索以及对精神性自我的思辨和剖析，他们对历史的特殊性保持着高度的敏感。

贾蔼力

JIA Aili

1979年出生在丹东的贾蔼力就是其中之一，贾蔼力的绘画带有一种自由的叙事性，并探索这种自由的叙事性中潜藏的解构意义的可能。贾蔼力试图通过绘画把手中的资料如历史、现场、人物等素材自然地舒展开来，并连通我们当代的视角，以当代人的价值观念与情感记忆复归历史的碎片。

贾蔼力，《节界的凝视》

梁琛

LIANG Chen

建筑师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。

梁琛，《阿莱夫No.1》局部

文化记忆 . . .

参展者尝试以不同媒介方式来创作，并试图挖掘丹东历史变迁中的文化记忆。

红杏

Hong Xing

青年诗人红杏多年来致力于更具有当下性的诗歌现场实践，他的作品《我在家乡或许迎来爆炸》选择用同名诗歌作为蓝本，盲文装置作为主体，并配合整首诗的朗诵音频共同呈现。

红杏，《我在家乡或许迎来爆炸》

张烁

ZHANG Shuo

平面设计师张烁则以尼龙织物、棉织物为媒介，张烁以丹东100多年历史变迁中各个时期的文字符号，参照对应时期的内容传播、销售物料的视觉特色，组织出融合了各个时期混杂记忆的“欢迎来到安东”混合视觉场。

张烁，《欢迎来到安东》

张推推

ZHANG Tuitui

影像艺术家张推推以身体行为的方式介入创作，在作品《绿江》中，张推推把一块长度21m的布撕成两段又再次缝合，用针线外化出“分界线”，以自己的身体横跨“江面”。

张推推，《绿江》

梁睿

LIANG Rui

建筑设计师梁睿作品以铝制饭盒为载体，试图重新仿生集体生态环境下的去个人化和重复性。用生产资料——燃烧过的煤炭，所产生的气味来连结参观者的记忆与知觉。

梁睿，《#1‘’‘’‘’‘’》

岡田和裕

Kazuhiro Okada

1937年出生于安东的岡田和裕，曾担任报纸记者和编辑，他的作品内容均以满洲和满洲国为主线，以其出生地安东的发生事件为素材。后来回国后，他以当年发生在安东的故事为背景，写下了《满洲安宁饭店》。

左：岡田和裕，《满洲安宁饭店》

朝 鲜 

国 家 景 观

参展作品既有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。

王宁德

WANG Ningde

丹东籍影像艺术家王宁德的作品《对岸》，作品图像即来源于一张在朝鲜对岸拍摄的照片。

王宁德，《对岸》

何翔宇

HE Xiangyu

1986年出生于一个鸭绿江畔的中朝边境小镇的何翔宇，将在边境地带的一处黑市上获得的多件废铜丝、生锈的管道残片以及五金件制作成了一系列巧妙的雕塑。

何翔宇仿照这些现成品进行了多次“复制”，以此重新创造并切身思考这些复杂而被压迫的雕塑形态。

何翔宇，《证据》

绘造社

Drawing Architecture Studio

绘造社的《朝鲜碎片》通过互联网上流传的零散影像，从个体的角度去想象、描绘一个普通朝鲜城市的普通街景，以及普通人的日常生活。

绘造社，《朝鲜碎片》

赵亮

ZHAO Liang

纪录片导演赵亮的作品《江边》一部分影像来自赵亮近几年在丹东家中对对岸朝鲜的长期拍摄。另一部分影像来自2003年左右拍摄的《在江边》的素材，记录了江边两岸人们的日常生活与交流。

赵亮，《远方的目光》

孙海霆

SUN Haiting

专注于建筑设计与文化遗产保护相关设计工作的孙海霆，此次作品试图以鸭绿江作为地理线索，通过静态影像去观察丹东作为边境城市与界河之间的彼此影响。

孙海霆，《丹东，二O二一年第四季度》

回 忆 

     未 来 

展览作品中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。

尹吉男

YIN Jinan

有着多重身份的艺术史学者尹吉男此次以家乡丹东作为背景，作品《说说我的鸭绿江》是关于尹吉男在丹东从出生到大学前的回忆与自述。

尹吉男，《说说我的鸭绿江》

谭振邦

TAN Zhenbang

1989年出生于丹东的谭振邦，他的作品《夫妻不是同林鸟》是一部以丹东普通中产阶级家庭生活为背景的纪录片，以一对离婚十五年的夫妇为主角，展现二次婚姻的现状——导演本人的父母婚姻现状，以及他们对婚姻、爱情的观点和看法。

谭振邦，左：《家庭录像》，右：《夫妻不是同林鸟》

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。

 事物的定义，

    正是来自于它们的边界。

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，展览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。

开幕现场

开幕现场

开幕现场

十点睡觉艺术空间外景

Swipe Up to Read

The new exhibition From Antung to Dandong: Rafts, Broken Bridges and Passers-by on the Yalu River  at the Click Ten Art Space focuses on “locality” and “border”.

On March 12, the Click Ten Art Space will unveil its new exhibition “From Antung to Dandong: Rafts, Broken Bridges and Passers-by on the Yalu River”, focusing on “locality” and “border”. Curated by architect and artist Liang Chen, the exhibition features the works and projects by 16 artists and groups based in and out of Dandong from different perspectives. The full list of artists includes Kazuhiro Okada, He Xiangyu, Hong Xing, Jia Aili, Liang Chen, Liang Rui, Tan Zhenbang, Stylus, Wang Ningde, Yin Ji’nan, Zhang Tuitui, Zhao Liang, Gazetteer-novel collective, Drawing Architecture Studio, Sun Haiting, and Zhang Shuo. The exhibition will run till June 5, 2022.

The rich historical heritage in Dandong has made it an entry point into the intertwined space and time of the Northeast China, and also an international border fortress of multi-cultural exchange and conflict: 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 exhibition “From Antung to Dandong—Rafts, Broken Bridges and Strangers on the Yalu River” presents 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.

Stylus is a printing office to produce banknotes for Deng Tiehmei's anti-Japanese army (commonly known as Deng ticket). Later, Stylus became a piece of paper silently kept in the register of industrial and commercial households in Antung in the early years of liberation (1950). In 1965 A.D., for the sake of Sino-North Korean friendship, its name was changed from Antung to Dandong, though the folk preferred to call it Antung. So those who loved Antung got together and founded a studio named after Stylus. Later, The Journal of Antung History Images was published, marking a journey to collect and tell the story of Antung. Moreover, during the Spring Festival of the Year of the Tiger, Gazetteer-novel Collective initiated a 14-day art residency program in the border city of Dandong, and the results were presented as an “exhibition within an exhibition” as part of the whole project. The exhibition will be presented in three narratives by three curators, like three chapters or interpretations of a novel. After rounds of communication and collaboration between the curators, the artists, and the writers, and through three curatorial plans, we try to present “Antung-Dandong” in multiple spaces and times.

The artists take the history, social environment, and geo-culture of Dandong as the clues of their creation. Looking back at history, they find that the small city of Dandong by the Yalu River has experienced several post-war reorientations so that the local artists have the dual identities of spectators and witnesses. They are obsessed with the exploration of the spiritual world and the discernment and analysis of their spiritual selves and remain highly sensitive to the peculiarities of history. Jia Aili, born in Dandong in 1979, is one of them. Jia’s paintings have a kind of free narrative, he explores the possibility of the underlying deconstructive meanings in this free narrative. He tries to naturally unfold the materials such as history, scenes, people by painting, and restore the fragments of history with contemporary values and emotional memories. The architect Liang Chen 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. 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.

The exhibitors experiment on different media and attempt to tap into the cultural memory of Dandong’s historical changes. The young poet Hong Xing has devoted himself to more contemporary poetry practice, his work Might get bombarded in my hometown chooses a homonymous poem as the blueprint, and the Braille installation as the main body, to present together with audio reciting the entire poem. The graphic designer Zhang Shuo uses the text symbols of more than 100 years in Dandong’s historical changes, refers to the visual characteristics of the content dissemination and sales materials of the corresponding period, and organizes the nylon and cotton fabrics to make a visual field of “Welcome to Antung” which integrates the mixed memory of each period. The photographer and artist Zhang Tuitui chooses the medium by physical body and performance. In her work The Green River, she tore a piece of cloth of 21 meters in length into two parts in the middle. Then she sewed them together with needle and thread. The “demarcation line” exposed by the needle and thread is also a process to close the invisible disseverance. Her body is used as a bridge to cross the “river”. The Architecture Designer, Liang Rui uses aluminum lunch boxes as a vehicle, to re-mimic the de-individualization and repetitive nature of the collective ecological environment. The smell of burned coal which is a means of production is used to link the visitor’s memory and perception. Born in 1937 in Antung, Kazuhiro Okada worked as a newspaper reporter and editor. His works are created with Manchuria and Manchukuo as the main clue, based on the historical events in his birthplace. After returning to Japan, he wrote: “Manchurian Peace Hotel” with the story of what happened in Antung.

The works contain detailed visual records of the Sino-North Korean border and imaginations of the national landscape of North Korea. Dandong-born photographer Wang Ningde’s work The Opposite Bank is based on a photograph taken across the river of North Korea. He Xiangyu, who was born in 1986 in a small town on the border, made a series of delicate sculptures by fragments of patinated tubing and pieces of ironmongery obtained in a black market, he created several "copies” after the found objects, to re-create and haptically consider their complex and compressed sculptural forms. Shards of North K. by Drawing Architecture Studio, through the scattered images circulating on the Internet, the work imagines and depicts the ordinary street scenes in an ordinary North Korean city and the daily lives of ordinary people from an individual perspective. In the work By the River of the documentary filmmaker Zhao Liang, a portion of the video comes from his long-term photography of a North Korean village across the Yalu River. The other part is re-edited from the footage of Zhao Liang's Return to the Border (2004), which records the daily life and interaction of people on both sides of the Yalu River. Haiting Sun focuses his work on architectural design and cultural heritage preservation. Sun used the Yalu River as a geographical cue to observe the involution between the border city Dandong and the border river Yalu River through still images.

The works in the exhibition include private memories of Dandong by scholars from the Chinese Korean ethnic community and young directors’ visions of Dandong's future. Born in Dandong in 1989, Yin Ji’nan is an art historian with multiple identities. His work My Yalu River talks about his memories and autobiography from his birth in Dandong to his pre-college days. Tan Zhenbang was born in Dandong in 1989. His work The Couple Is Not the Same Birds is a documentary film based on the life of an ordinary middle-class family in China shows the status of the second marriages of the filmmaker’s parents, as well as their views on marriage and love through the point of views of a couple who have been divorced for fifteen years.

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, the exhibition 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.

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《从安东到丹东：鸭绿江上的木筏、断桥与过客》

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*购票须知：

1.一人一票，持电子票码入场，门票仅供单次入场使用；

2.门票是具有时效性的特殊产品，售出恕不退换，逾期作废。观众可现场购票；

3.优惠票政策：学生（硕士研究生及以下）、残障人士、65周岁以上（含65周岁）的老年人可享受优惠票政策，请持相关有效证件入场观展；

4.场馆保留检查优惠票使用者相关身份证明的权利；

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