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2020年“女性宣言”集会活动：
乌隆他尼（泰国）：尼塔雅·乌尔丽沃拉库（Tuk）、吉达玛斯·斯里拉科萨（Nuch）、蒂卡蓬·法偶帕拉（Krin）、克里希纳·瓦纳克汉姆（Nah）、考露蒂·萨米帕克（Ja-eh）、米纳·乌尔丽沃拉库（Meena）、Ouy等
巴罗达（印度）：瓦莎·那雅尔、阿纳尼娅·帕特尔、乌仁娜·辛哈、阿努拉·乌波托耶、库娜萨拉杰·穆如杜拉、阿姆茹塔·帕特尔
悉尼（澳大利亚）：普塔万·苏万纳库提、陈淑霞、海伦·格蕾丝、托比、苏·佩德利、凯娅蒂、夏洛特、弗吉尼亚·希尔亚德与母亲雪梨·希尔亚德
巴塞尔（瑞士）：莉娜·埃里克森、妮可·博伊利亚特、克丽丝·雷根、克丽丝·亨特、玛蒂娜·亨兹、玛蒂娜·格莫尔、吉姆·欧斯萨奇克
柏林（德国）：卡拉·萨克斯、苏珊娜·杜布罗沃达、安·诺埃尔、加布里埃拉·瓦斯克斯-帕切科、莱娅·玛特克罗兹
伦敦（英国）：尼洛法·阿克姆特、莉莉亚娜·康斯坦丁、斯苔芳诺·博林、安卡·迪莫夫特、青柳玲子
“友谊精神”
项目讨论的艺术家包括：五人组丨十人组丨娜塔莎沙龙丨河内三人组丨家常丨一点废话丨摩加斯艺术工作站丨无限丨美妙区丨Zenei五人组丨螺旋桨小组丨河内链接丨艺术平台丨OM丨新空间艺术基金会丨河内纪录片实验室丨河内-西贡雕塑小组丨附录小组丨Chập小组丨艺术劳动丨那时小组丨新类型丨XEM丨苏拉丨闹市
Womanifesto 2020 Gatherings Joining Gatherings:
in Udonthani: Nitaya Ueareeworakul (Tuk), Jidamas Sriraksa (Nuch), Tikamporn Faioopara (Krin), Krisanah Wannakham (Nah), Khaunrudi Sameapak (Ja-eh), Meena Ueareeworakul (Meena) and Ouy.
in Baroda: Varsha Nair, Ananya Patel, Rashmimala, Urna Sinha, Anuradha Upadhyaya, Ku- natharaju Mrudula and Amruta Patel.
in Sydney: Phaptawan Suwannakudt with Shuxia Chen, Helen Grace with Toby, Sue Pedley with Kyati and Charlotte and Virginia Hilyard with her mother Shirley Hilyard.
in Basel: Lena Eriksson, Nicole Boillat, Chris Regn, Chris Hunter, Martina Henzi, Martina Gmür and Jim Osthaarchic.
in Berlin: Karla Sachse, Susanne Dobrovoda, Ann Noël, Gabriela Vasquez-Pacheco and Lea Mat- tenklotz.
in London: Nilofar Akmut, Liliana Constantin, Stefano Boring, Anca Dimofte and Reiko Aoyagi
Spirit of Friendship
Artist groups discussed in the project: Gang of Five | Group of 10 | Salon Natasha | Hanoi Triad | Nhà Sàn | a lit- tle blah blah | Mogas Station | Infinity | Wonderful District | Zenei Gang of Five | The Propeller Group | HanoiLink | Sàn Art | OM | New Space Arts Foundation | Hanoi Doclab | Hanoi-Saigon Sculpture Group | Phụ Lục | Chaap Collective | Art Labor | Then Group | New Form | XEM | Sao La | Chaosdowntown
“同音反复，声深入心”策展阐述
在策划的过程中，我们并非把东南亚作为一个宽泛的整体来看待，而聚焦于其中缔造不同本土艺术语境多元而错综的连接与关系。项目侧重艺术内部的关联性和地缘性，试图将其还原为生活的有机组成部分，而非归并为某种“体系”，力求把目光投向在各个本土情境中塑造了思考和行动的各种声音。
过去十余年中，这一策展方向深深植根于我个人的研究之中，也让我收获了诸多友谊。每次前往东南亚地区，都是一场聆听和学习之旅。在缺乏机构体系建设和其他支持的情况下，友谊曾为研究、对话和主动倾听创造了空间。
在疫情阴霾下，人与人不得不保持距离，本项目力图通过展览的形式对知识生产相关的思考和行动展开反思。我们希望通过“同音反复”的方式，对过往的重要展览进行梳理和回顾。这“反复”绝非被动之举，而是能够启迪新事物的主动行为。
艺术体系的维持建立在竞争和曝光率等维度之上，这就导致必须不断生产新作品的压力。在我们的策展实践中，我们希望重访与本土语境息息相关的各个公共时刻。在这个过程中，让我们能够真正摒弃既往的工作模式以及生产展览中惯常的提取主义思想。
在身体和思想都面临日益加剧的隔阂之时，我们希望能够通过我们的策划实践“隔空”投射关照之光，并且找到体现并记录当下体验的方式。
项目第一部分围绕对东南亚地区各重大展览/活动的还原、重演和再访，反思艺术社区的运营机制及其核心价值观。“反复”让我们有机会回顾、反思并重新阅读过往的重要时刻——重新挖掘其在当前语境中之意义。同时，“反复”也让我们得以更深入地了解当地语境，让更多当地的知识生产积极推动者参与进来，为当地艺术社区提供更多关切和支持，这也正是本次三年展的主旨之一。
在“反复”的过程中，作为策展人我亦在实践对研究对象的深度聆听和认知，以期能够更深层地与他们进行交流，而不是笼统地一概而论。“反复”不仅是进入超越自身以外知识范畴的途径，更是让我们学着欣赏并认识其迫切性的手段。
《同音反复，声深入心》将呈现两个项目以及它们背后两大艺术社区的不同工作方式。《女性宣言》是由女性艺术家团体于1995年在泰国发起的一项国际女性艺术联盟。《友谊精神》是一项进行中的展览和研究项目，由胡志明市工厂当代艺术中心策划（最初由佐伊·巴特、比尔·阮和黎千葆共同发起，后加入闻杜和黎顺渊），探讨1975年以来实验性艺术实践在越南的发展过程中艺术家友谊所发挥的功能。
“女性宣言”项目的呈现既有历史部分，也关注疫情下的重新激发。即将在3月开幕的《同音反复》展中，我们将展出“女性宣言”的两部分文献档案，包括出版物/画册、影像纪录片和联盟成员及其各自本土社区在2020/21年封城政策下发起的各项活动。这些集会活动分别在6名女性艺术家的倡导下在6处不同地点发生，分别是：乌隆他尼府（尼塔雅·乌尔丽沃拉库的农场）、悉尼（普塔万·苏万纳库提）、巴罗达（瓦莎·纳尔）、巴塞尔（莉娜·埃里克森）、柏林（卡拉·萨克斯）、伦敦（尼洛法·阿克姆特）。这几位艺术家扮演东道主的角色，根据各地不同的社交距离准则，她们分别在自己的工作室、住所或在线上集聚2-5名艺术家。疫情下的集会让人更深刻地感受到距离上的亲近和物理存在的意义，也在隔离时期不断拓展人与人之间纽带的重要性。由于每组成员所处的封锁环境程度不同，大家的集会方式也不尽相同。最终将以展览的形式体现不同地区和人们的存在，并且在一部分地点呈现集会中创作的作品和故事。
集会的部分成果将在3月的展览中呈现；在今年底举办的三年展最后阶段上将呈现集会的完整版本。
《女性宣言》开放日 Womanifesto open day
“友谊精神”
“友谊精神”由胡志明市工厂当代艺术中心于2017年在越南首度呈现。
该项目试图以展览作为研究线索和艺术教育之素材。项目将焦点投向“友谊”。在越南当时的主流认识、教育和展示活动之外，“友谊”极大地推动了艺术家的探索和思想碰撞，因为他们相信自己的艺术价值远不止服务于意识形态/官方和旅游/商业需求。
“本次展览年表时间跨度为1975年至今，文献资料包括相关人士的发言、资料照片和影像、展览画册和部分艺术家团体的作品，展示了越南国内实验性艺术活动的兴起。
从对家庭客厅的利用到对传统建筑的再挪用、从对艺术家工作室的公共性开发到酒吧型工作室的出现、从以旅社为主场到占领外交区域作为艺术生产场所，从中我们看到了一种企业家式战略求生才能：在一个自身角色被大大低估的社会环境中，艺术家们努力地发声。展览的策展重点在于分享艺术家如何研究前辈艺术家的生平，以此作为一种学习途径，并向他们所留下的宝贵遗产致敬；同时，展览也重点介绍了部分艺术家团体的实践，包括娜塔莎沙龙、家常、十人组、艺术平台等。他们极大地推动了生产、思考、谈论和传播艺术理念的不同方式和手段，对各自社区参与和理解艺术体验的能力产生新的影响，通过艺术来感受和体会对当代生活的多元认知。”（节选自佐伊·巴特、比尔·阮和黎千葆联合撰写的策展前言，2017）
上述艺术家在创作过程中普遍遇到一个难题，即难以获得公开展示作品的机会，因此他们常常转而将自己的家庭空间向公众开放，或者临时性地占领公共空间。这样的情况在其他地区也出现过。例如，在80、90年代的中国，当时，思想性在艺术标准化模式中被完全抹去。
正在进行中的“友谊精神”项目推动人们思索全球疫情的大背景下（社会和政府限制重重），我们需要怎样的公共领域，以及艺术家可以发挥怎样的作用。
在今年底举行的三年展最后阶段中，“友谊精神”将深入介绍艺术家、策展人、教育家陈龙的艺术实践和思考。
《友谊精神》艺术家及工作人员合影 SOF-Group Photo
每个项目的发展与完成都是与合作伙伴紧密合作的产物。实体展览的呈现凸显了距离亲近性、触知性和与实物直接互动的重要性，向传统的美术馆展呈方式及与其相配套的保护措施提出挑战，同时也促使我们思考如何在全球新常态下继续保持亲密性。
届时，我们还将推出一系列围绕展览所呈现的公共时刻策划并组织的公共项目。
注：英文标题中“deep listening”（深度聆听）一词源于澳大利亚原住民的一种行为实践，对他们来说，深度聆听是一种需要灵性的技能，而其根基则建立在尊重之上。听在这里指的是内心深处的聆听和宁静的意识。
Repetition as a gesture towards deep listening will be presenting two projects, along with their methodologies of working with two communities. Firstly, Womanifesto: an international women’s art event established in Thailand in 1995 by a group of female artists. Secondly, Spirit of Friendship: an ongoing research project and exhibition organized by The Factory Contemporary Arts Centre (initially Zoe Butt, Bill Nguyen and Le Thien Bao and now with additional contribu- tions from Van Do and Le Thuan Uyen), which has been looking at the role of artists’ friendships in developing experimental practices in Vietnam since 1975.
Womanifesto 2020 Gatherings
Womanifesto’s presentation explores past and present through , but it also focuses on the current re-activization during the pandemic. The presentation within Repetition in March will present two parts of Womanifesto’s archive, composed of publications/albums and video documentaries, as well as ongoing activities initiated in 2020/21 during lockdowns by members of Womanifesto and their local communities. Gatherings are happening in six different locations: Nitaya Uearee- worakul in Udon Thani, on her farm; Phaptawan Suwannakudt in Sydney; Varsha Nair in Baroda; Lena Eriksson in Basel; Karla Sachse in Berlin; Nilofar Akmut in London. Each artist acts as a host and gathers 2 to 5 artists in their place in their studio, house or online – depending on social distancing measures. The gatherings during the pandemic pertain to the importance of proximity and physical presence, and they continue to expand the importance of relationality during times of separation. As each group is in a different stage of lockdown and gathering, their existence will be acknowledged through the exhibition, and some places will present works and stories created dur- ing these gatherings.
While the outcome of the current gathering will be presented in March, the full version will be presented within the final triennial exhibition at the end of 2021.
Spirit of Friendship
The Spirit of Friendship was presented for the first time in 2017 by The Factory Contemporary Arts Centre in Vietnam.
The project proposes to think about the exhibition as an introduction, as an educational display. It gives recognition to how ‘friendship’ continues to further the testing and encouraging of ideas among artists, beyond what was officially understood, taught, or predominantly exhibited in Viet- nam at that time, believing their art worthy of more than catering to ideological/formal and touris- tic (commercial) demand.
“This exhibition’s chronology will chart from 1975 until the present-day, where evidence – such as quoted testimonial, documentary photographs and videos, exhibition catalogs and artwork from a few of the artist groups themselves – will illustrate the rise of experimental artistic activity across the country.
From the utilization of domestic living rooms, to the re-appropriation of traditional architecture; from public activation of artist studio space to the bar-cum-studio; from the hostel as art host to the occupation of diplomatic zone as site of artistic production – what we observe in this land- scape is an entrepreneurial flair for strategic survival as artists strive to be heard in a context great- ly underestimating their role in society. Curatorial focus inside this exhibition will share how artists study the lives of artists before them, as a means of learning, and paying homage to their legacy; while also highlighting the practices of particular artist groups – Salon Natasha, Nha San, Group of 10 and San Art – for their facilitation of differing means and modes of making, thinking, talking and disseminating artistic ideas, thus influencing their community’s capacity to participate and understand the experience of art as a conduit with which to grapple differing per- ceptions of contemporary life.” (Excerpt from curatorial statement by Zoe Butt, Bill Nguyen and Le Thien Bao, 2017)
The above-mentioned artists variously live and struggle with making their art publicly accessible, often resorting to making their domestic spaces open to a general public, or temporarily taking over the public places, that are similarly found in many local contexts, such as in China during the 80s and 90s before the dissemination of ideas had been filtered through the standardization of art.
The Spirit of Friendship ongoing project tellingly unpacks a public sphere that, during the condi- tions of a global pandemic (its social limits and official restrictions), are pertinent reminders of what the role of an artist can be.
This re-presentation of ‘Spirit of Friendship’ will precede an in-depth presentation of artist, curator and educator Tran Luong in the final stage of this triennial at the end of 2021.
Each project’s physical presentation has been carefully developed with collaborators. Physical presentations highlight the proximity, tactility and importance of being able to engage with actual objects in a more direct way, challenging museological displays and protective measures usually imposed, but also creating the possibility to think about how we can continue to be intimate in the new world unfolding in front of us.
Each project will be followed by public program structures around these public moments.
note: The concept of deep listening has been inspired by Aboriginal people’s practice of deep listening, an almost spiritual skill, based on respect. Listening here suggests inner deep listening and quiet still awareness.
(点击图片了解“首届泛东南亚三年展”详情）
作者：广州美术学院美术馆
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