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西班牙国宝级艺术家大师安东尼·蒙塔达斯的展览《蒙塔达斯：亚洲礼仪》是一项跨学科的艺术研究项目，旨在探究私人与公共礼仪影响社会和人们生活的方式。临展览开幕之际，三影堂+3画廊为大家带来了一份特别的惊喜：
ASIAN PROTOCOLS: THE EDITION, 2018
《ASIAN PROTOCOLS: THE EDITION, 2018》作为一项以中、日、韩文化背景为中心的视觉研究成果，由以下三个被展出的部分组成：
转译：海外，2016（3组海报版）
空间，亚洲礼仪（1个存有视频文件的U盘）
亚洲礼仪：图说，2014（25张图说）
《ASIAN PROTOCOLS: THE EDITION, 2018》限量发行9部，每部带有独立编号！
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ASIAN PROTOCOLS: THE EDITION, 2018
私人和公共礼仪组织和定义了社会和我们的生活。它们产生了一系列法规，对我们的私人行为和公共行为产生持续的影响。仪式、惯例、规则礼仪涵盖了各种程序，并以某种方式试图使用、定义、控制或行使权力。
亚洲礼仪是将图像和代码作为视觉体验的一部分来处理的一个尝试，采用对比的方法：更多与更少，近与远等。通过分享有关中国，韩国和日本的故事并追踪其不同的发展途径，我们得以一观他们的一致与分歧，它们的历史则展现了理解与冲突。西方世界的文化生产者（从画家到建筑师，从厨房到花园）如何融入这种想象力，这在过去两个世纪的文化产物中得到了体现。艺术家是这些情况的产物，他想通过亚洲礼仪学习和分享这些结构。
转译：海外，2016
"海外“ 是基于一项关于中日韩移民在彼此国家形成移民社区的研究，对象城市分别是东京、北京和首尔。
“东亚三个主要国家之间的移民模式——中国、韩国和日本——有着不同的规模和维度，这与它们独特的历史、政治和经济环境相互关联。在某种程度上，这些国家之间的不同冲突决定了是否需要移民，为什么移民，以及固定的移民比例。
观察海外的中国人：移民在规模较大的劳工社区中得到巩固。在韩国仁川和日本横滨，“唐人街”是一种“地方内”的地方，它对更多的文化和观众开放。其中有多少居民是中国人?
观察海外的韩国人：他们仅仅不是“韩国人”，他们隐藏在城市生活的“核心区域”。其中，以化妆品、音乐、时尚和美食展以其商业活动为主要标志，这在东京的信大久保(Shin-Okubo，日本)和北京的望京(Wangjing，中国北京)经常能看到。在北京，韩国人常常出现在网络中。在日本有多少韩国人?
观察海外的日本人：“扩张目的”推动的移民。
首尔的开放港口是一个庞大的日本社区所在地，这个社区定义了其文化、建筑和商业。他们还在韩国开设了第一家银行分支机构。与此同时，在北京的日本人正在逐渐地分散和减少。难以识别和隐形的日本人。他们在网络出现地较少，通常投入到了一些服务行业和餐馆中。日本的移民人数是难以估计的。
回到开头……
海外的移民人口体现在贸易上，并以此生活。他们移民的目的来自于生活的矛盾、竞争和恐惧。”
—安东尼·蒙塔达斯
“转译：海外，2016” 展览部分
空间，2004 | 影像装置（循环 4分13秒）
中国古代文化的传统家具里有一种类似榻榻米的地板，这种文化传统被传播到了日本和韩国。现在，榻榻米文化仍然存在于日本和韩国这两个国家，而中国已经使用了椅子和桌子类的家具作为替代。
亚洲礼仪：图说，2014
“图说”是在日本、韩国与中国进行的关于话语与影像关系的调研项目，涵盖了例如外交、政治、秩序、会议、体育以及宗教等43个关键词。其中英文的关键词被分别翻译成韩文、日文以及中文并用蓝、红、黄三色加以区分。
“亚洲礼仪：图说，2014”展览部分
这个项目是一个关于文化与语言的发现与反思之旅。对同一个词语的不同解读、不同文化通过词语产生的交汇、通过语言产生的文化构建-以及相反的- 文化上刻板印象的呈现、话语中的历史禁忌、母语对个人理解的影响、全球化对话语与文化的影响…所有这些概念与前提都可以被涉及、思考以及讨论。
安东尼·蒙塔达斯（1942年生于西班牙巴塞罗那）居住于纽约并在世界各地开展艺术项目。他的作品曾在纽约现代艺术博物馆，马德里雷纳索菲亚国家艺术中心博物馆，里约热内卢现代艺术博物馆以及巴塞罗那当代艺术博物馆等著名博物馆展出。
他曾入选卡塞尔双年展（1977，1997），美国惠特尼双年展（1991），第51届威尼斯双年展（2005）以及圣保罗、里昂、台北、光州及哈瓦那等国际双年展等国际盛事。同时也是古根汉姆基金会，洛克菲勒基金会，美国国家艺术基金会，纽约州艺术理事会，法国国家造型艺术奖，2005年的西班牙国家造型艺术奖以及2009年的委拉斯开兹造型艺术奖等多个机构颁发的国际奖项和奖金的获得者。
蒙塔达斯在马萨诸塞州剑桥市的麻省理工学院任教超过30年，并在欧洲、美国、拉丁美洲、中国的多个不同机构执教和主持研讨会。他也曾被世界各地的著名研究和教育中心邀请作为驻留艺术家和顾问，目前在威尼斯建筑大学（IUAV）担任教授。
The exhibition "MUNTADAS: ASIAN PROTOCOLS" is a multi disciplinary research art project by Spanish artist Antoni Muntadas that explores the influence of private and public protocols on the lives of people in three East Asian Countries. On the occasion of this exhibition, +3 Gallery is honored to present the official catalog ASIAN PROTOCOLS：THE EDITION, 2018
ASIAN PROTOCOLS: THE EDITION, 2018
The special book ASIAN PROTOCOLS THE EDITION, 2018 contains three sections:
On Translation: Abroad, 2016
(three sets of posters)
SPACE, 2004
(USB stick containing a video)
Asian Protocols: Cartographies, 2014
(25 images)
ASIAN PROTOCOLS：THE EDITION, 2018 is published with a limitation edition of nine, each of which has a unique serial number.
Click Read More to purchase
Contact us: Email: info@plus3gallery.com Tel: +86（10）64319063
Private and public protocols organize and definesociety and our lives. They generate a set of regulations that exercise asustained influence over our private as well as over our public behavior. Rituals, conventions, rules-protocols cover a variety of procedures and, in one way or another, they attempt to use, define, control or exercise power.
Asian Protocols is an attempt to deal with images and codes as part of visual experiences, with contrasting approaches: more versus less, near versus far, etc. By sharing stories about China, Korean and Japan and tracing their different paths of development we get a glimpse of moments of agreement and of disagreement. The history of these countriess how‘s these moments of understanding and conflict. How the cultural producers of the Western world (from painters to architects, from kitchens to gardens) have incorporated this imaginaire is revealed in the cultural products of the last two centuries. I myself am probably a product of these very circumstances, and I would like to learn and share these constructs through Asian Protocols.
On Translation: Abroad, 2016
The section Abroad is based in a research about how Chinese, Japanese and Korean citizen communities are installed as expats in Tokyo, Beijing and Seoul.
Patterns of emigration between the three major countries in East Asia-China, Korea and Japan-have occurred on a wide variety of scales and dimensions, interlinked with unique historical, political and economic circumstances. In a way, the diverse conflicts among these nations define if, why and in what proportion emigration is consolidated.
China abroad
Emigration consolidated in large labour communities. In Incheon, Korea and Yokohama, Japan, "Chinatowns" are "places inside places" but open to larger cultural audiences. How many residents could be identified as Chinese?
Korea abroad
Integrated into urban areas, they are no tregarded as "Koreatowns but as "areas inside areas." Distinguished by their commercial activities, cosmetics, music, fashion and food showcases are recurrent sights in Shin-Okubo (Tokyo, Japan) and Wangjing (Beijing, China). In Beijing, a Korean presence is increasingly evident in the city network. How many Koreans can be identified in Japan?
Japan abroad
Emigration motivated by an ‘expansion intention’. The Open Port in Seoul was home to a large Japanese community that defined culture, architecture and business they opened the first bank branch in Korea, meanwhile in Beijing, Japanese are disperse, diminishing, nearly unrecognizable and non-existent. Its little and specific presence in the city network is insome restoration businesses and restaurants. Japanese emigration will be difficult to estimate.
Going back to the beginning…
Populations abroad emerged and lived from trade. Their emigration motivations rely on conflict, competition and fear.
—Muntadas
On Translation: Abroad, 2016 in exibition
SPACE, 2004 | Video Installation
(loop 4’13’’)
A group of women is going round an empty space made of tatami beds. The culture of Ancient China had a floor-level furniture tradition, which was disseminated to Japan and Korea. Tatami culture is still present in both the latter countries, while China has changed it for a historical tradition of chairs and desk-level furniture. Modernization brought Westernse technology in to the region, maybe that is the reason why these women are revolving around traditional beds in such a ritualist spatial ceremony.
Asian Protocols: Cartographies, 2014
Cartographies is a project about words/images-relationship in Japan, Korea (The Republic of Korea) and China (The People s Republic of China) that uses 43 keywords such as diplomacy, politics, order, meeting, sports or religion. Among the English keywords were translated into Korean，Japanese and Chinese and indexed with blue, red and yellow colors.
Asian Protocols: Cartographies, 2014
The project is a journey of discovery and reflection around culture and language. The different interpretation that a word can have, the meeting points between different cultures through words, the construction of culture derived from language and vice versa, the presence of cultural stereotypes and historical prohibitions in words, the influence of native language in personal interpretations, the impact of globalization in the pairing word+culture…
All these notions and premises could be approached, thought and discussed.
Antoni Muntadas (born in 1942 in Barcelona, Spain) lives in New York City and develops art projects around the world. His projects have been exhibited in prestigious museums such as the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Museu de Arte Moderna in Rio de Janeiro, and the Museu d’Art Contemporani de Barcelona.
He has been selected to participate in international events such as Documenta Kassel (1977, 1997), the Whitney Biennial of American Art (1991), the 51st Venice Biennial (2005) and other international biennales in São Paulo, Lyon, Taipei, Gwangju, La Havana. He has been the recipient of several international prizes and grants from institutions like the John Simon Guggenheim Memorial Foundation, the Rockefeller Foundation, the National Endowment for the Arts, the New York State Council on the Arts, the Premi Nacional d’Arts Plàstiques, the Premio Nacional de Artes Plásticas in 2005, and the Premio Velázquez de las Artes Plásticas in 2009.
Muntadas has been a Professor at MIT in Cambridge, Massachusetts for more than 30 years. He has taught and directed seminars at diverse institutions throughout Europe, the United States, Latin America and China. He has been welcomed as a resident artist and consulting advisor by various prestigious research and education centers around the world, and is currently a professor at the Instituto Universitario di Architettura del Veneto (IUAV) in Venice.
来源： 三影堂摄影艺术中心
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