艺术档案 > 艺术生态 > 从沙漠出发:第二届银川双年展即将启幕


2018-07-21 14:08 来源: 银川当代美术馆 作者:

The Museum of Contemporary Art Yinchuan


Riding the galloping horse from the desert is the inherent character of the nomads. Lying on the bay of the mother river with the rolling yellow sand and bringing out the thinking about the culture of the sanding plain and the nomadism, here is the River Origins Art Town, based on the thinking about the history and territory and the understanding from present age of nomadism and farming, the Second Yinchuan Biennale Starting from the Desert –Ecologies on the Edge (confronting the choiceless ecology)  , sponsored by the Museum of Contemporary Art Yinchuan (MOCA Yinchuan) , sets to begin on 10th June 2018. This exhibition will last for a hundred days to 19th September 2018. The participating works will be located within the town involving the MOCA Yinchuan, the International Artists Village, and the Hui Nongqu Eco-Park.

Prabhakar Pachpute,Sea of Farmers, 2018.Courtesy: Moca Yinchuan

此次双年展由意大利策展人马可·斯科蒂尼(Marco Scotini)担任总策展人,邀请了丝绸之路沿线30个国家的80组(92位)参展艺术家,特别关注于中国西部边界(蒙古—中亚—东南亚)并予以思考和呈现。第二届银川双年展主题:“从沙漠出发——边界上的生态学”,旨在将此次展览置于宁夏既定的地理-历史情境中来被考量,基于当前的全球精神氛围,试图重新策划银川所代表的大西北中那些源自古中国诸多人民广大的游牧经验的精神-历史命运,并在目前的国际双年展体系内,故意将这一展览主题当作一种小语的形式来推出,以当代艺术的方法论,来求问这一令后人骄傲的伟大传统,以此来为处于人类纪和生态困境中的今天,人类所需要寻找的幸存的方向。

The Second Yinchuan Biennale, curated by Italian Marco Scotini, has invited 80 groups (92 individuals) of artists from 30 countries along the Silk Road, paying particular attention to the western borders of China (from Mongolia to Central and South East Asia) to think and exhibit. Conceived with the aim of measuring itself against a determinate geo-historic context of Ningxia, and based on the present global spiritual conditions, the theme of the Second Yinchuan Biennale: Starting from the Desert –Ecologies on the Edge attempts to re-write the spirit and historical destiny with the resource of vast nomadic experience from many people in ancient China among Yinchuan which stands for the North-West of China, and within the biennale system at present , comes up with this exhibition theme in a way of minor language deliberately through methodology of contemporary art to inquire the great proud tradition to let the human to search for the direction of survive in today with anthropogene and ecological predicament.


如今被视为偏远一隅的中国大西北,却曾是一个凭借古丝绸之路而有着巨大流动、文化杂糅的地区,它在人口、知识、语言、科技、宗教、动物、香料和货物上曾发生过广泛的交换,并成为被不断重新定义的通衢(qú)之地。丝绸之路穿越了高山、大漠、草原、绿洲,使中国与遥远的西方世界之间冲破地域的束缚,开始真正意义上的政治、经济、文化交流,极大地丰富并加速了世界文明的进程。而宁夏,作为丝绸之路的必经之地和商埠重镇,将这一历史文化脉搏悄然的继承、保留与融合。正如总策展人马可·斯科蒂尼所表述的:“人们通常认为沙漠只是一个地理学上的概念而非历史的沉淀,或许是因为沙漠拭去了痕迹,无法保留方向和记号。然而本次双年展正试图通过发掘历史记忆,去发现潜在视角去优化环境的可持续性。 茫茫戈壁沙漠之下,黄河水之上,贺兰山脚下,也曾有丝绸之路遗留的印记。在这里(宁夏),沙漠位于乡村的边缘,多种生态系统在这里交汇并且分层,使生物多样性得以保障:游牧和定居,牧人和农民,不同起源的少数民族,广阔的空间和起伏的旷野,非物质和物质文化并存。本届双年展也是艺术跨多学科研究的契机,但同样重要的是对菲利克斯·加塔利从游牧学出发最终止于生态哲学的追问。”

The North-West of China, notoriously considered a remote area, is also one which, since the time of the historic Silk Road, has been constantly re-defined as the thoroughfare place with broad exchanges of great flows, hybridizations and exchange between people, languages, technologies, animals, spices and goods. Throughout mountains, deserts, grasslands and oasis, the Silk Road makes China break through the territorial bind with remote western world and begin the real sense of the exchange on politics, economics and culture, not only enormously enriches but also accelerates the progress of world civilization. As obligatory stop and commercial port on Silk Road, Ningxia inherits, retains and integrates the pulse of history and culture quietly. Exactly as the chief curator Marco
Scotini“People always recognize desert as a concept of geography instead of the precipitation of history, maybe because desert has wiped off the trace which makes the direction and remarks cannot be retain. However, the Second Yinchuan Biennale is attempting to find out the sustainability to improve the environment from potential perspectives. Under the boundless Gobi Desert, beyond the Yellow River, beneath the feet of the Helan Mountain, here once left the remarks of Silk Road. Here (Ningxia), the desert locates on the edge of countryside, and here, multiple ecology systems meets and layers, which protects the biodiversity to achieve the coexistence between nomadism and settlement, nomad and peasant, the minorities of different origins, broad space and undulant wilderness, intangible and tangible culture. The Biennale is also the opportunity of interdisciplinary study of art, but as important as the trace of Felix Guattari from Nomadology to Ecological philosophy.”

International Artists Village


The Biennale’s framework is articulated over four interdependent (and often overlapping) thematic areas that, without seeking to limit or circumscribe, attempts to visualize their material and immaterial aspects. In the same way, these areas try to question the contradictions of the dualistic systems that have accompanied the rise of modernity and Capital, positioning them as limits to the realization of an ecological world. In consequence, the exhibition of the Biennale will focus on the problems of ecology and farming, part of the works concentrate on the education and literature, and the rest works pay attention to the theme of the coexistence of multinational culture.

Mao Tongqiang, Leasehold, installation, 2009-2018, courtesy artist and Prometeogallery di Ida Pisani
毛同强,《地契》,装置,2009-2018, 图片来源:艺术家及Prometeogallery by Ida Pisani画廊



Nomadic Space and Rural Space:
This area is concerned with the interaction of the physical environment with forms of life. It proposes less the different natures of the two spatial types, than their reciprocal meeting points, their intersections, and the passage from the one to the other. If it is true that the desert of sand is not an area designed exclusively by geology and the climate, it is equally true that rural spaces are not created solely by humans but also by a series of natural constraints and opportunities. The social, economic, cultural and political implications linked to the figures of the nomad and the peasant is seen as the semiotics of subjectification.

Alternando da uno a cento e viceversa, wool and cotton kilim, 300x300 cm, 1993, courtesy EFG Art Collection
阿利吉埃罗•博埃蒂,《从一到百,从百到一》,羊毛,棉织基里姆地毯,300x300 厘米,1993,图片来源:EFG艺术收藏



这两个说法取自杰森•摩尔(Jason W. Moore)所造的语汇,聚焦了与那些现代自然观念相关的生产力(商品化)和生产关系(占有、剥削、积累)。只有通过克服大自然与人类是分离(那一直是资本主义的命脉)的这一霸权主义视野,我们才能认识到,历史上业已确定的生产力其实已包含了人类——(妇女、奴隶、儿童)和人类之外的自然——(动物、森林、水路、土地)。

Labor-in-Nature and Nature-in-Labor:
These two statements, a coinage taken from Jason W. Moore, focuses on forces of production (commodification) and on the relations of production (appropriation, exploitation, accumulation) linked to modern ideas of nature. It is only by overcoming the hegemonic vision of nature as separate from humankind (that has been the lifeblood of capitalism) that we can acknowledge how, production forces–historically determined–have encompassed human- (women, slaves, children) and aside from human- (animals, forests, waterways, the land) nature.

Darvaza, frame of film, 2011, courtesy of the artist



The Voice and The Book:
This area intervenes at the level of mental ecology deconstructing the opposition between phonemes and graphemes, orality and writing, and the prejudices of a logocentrism, which in the West has defined what takes place in and beyond history. Considering voice without language a language without a voice, directly involves the questions of the production and reproduction of knowledge and, as a consequence, the dimensions of politics.

Justin Ponmany,Anthroproscenium, 2018. Courtesy: the artist




Minorities and Multiplicity:
This thematic area discusses associations and the associative forms of living beings: from the micro-social to the institutional scale. The concept of community on which modernity is founded (and through which extra-human nature is also considered) is based on the idea of a common and shared world in which the condition of equality is indivisible from that of identity and belonging. For this reason, the relation between minorities and a majority does nothing but infinitely reproduce the dialectics between integration and exclusion. The idea of multiplicity, at the base of social ecology, does not permit, on the contrary, any concept of a majority.

Ang Tsherin Sherpa ,Wish Fulfilling Tree II, 2018. Courtesy: the artist; ROSSI&ROSSI, Hong Kong / London


At the same time, the Biennale will be displayed in a unique design to exhibit China and important historical relics in a multicultural context: the Museum of Ningxia Hui Autonomous Region (Ningxia Museum), where collects and exhibits the historical cultural relics, revolutionary cultural relics, folk cultural relics and the relics handed down from ancient times, will be exhibited in the Second Yinchuan Biennale with 19 pieces of works including rock rubbings, tsha-tsha, carpets and so on. The dialogue traveling space and time between the historical vocabulary of Ningxia museum and the contemporary context of the today’s world, not only breaks through the inherent system of biennale and activates the artistic roots of the museum itself, but also extends the life width of Ningxia local culture. Another bright spot placed in the Biennale is the collection works of MOCA Yinchuan with two exhibitions of Accommodation of Vision-- Early Chinese Western-style Paintings and The Outline of Territory-- Historical Map Collections, interlaced to exhibit with other participating works. With the lead works of Portrait of Emperor Qianlong in Wintersuit which painted by Giuseppe Castiglione, will give the audience a whole new experience in vision and impression blending with familiar works and unknown works to provoke the deep thinking further through the logical connects.

Freedom Farming, 2014. Courtesy: the artist Li Binyuan


In addition, a series of activities of the public education in MOCA Yinchuan will begin with the exhibition at the same time: the museum will invite the curators and some participating artists to walk into the local colleges to give lectures and open workshops. And many performances on opening ceremony are truly multiple and worth to expect!The interactivity and locality of the Biennale will make more local audience participate in and enjoy the Yinchuan Biennale. For instance, a lot of material of the participating works (sheets, quilt covers, used clothes and one thousand various books), is all kindly provided by Ningxia local people. Furthermore, according to the theme of this Biennale, the public education activity Leave your Families Marks –Make Hand Print will open to all Ningxia citizens on 10th June 2018.

River Origins,Yinchuan Artistic Town


In 2016, MOCA Yinchuan sponsored the first edition of Yinchuan Biennale, it not only makes the city image of Yinchuan raise the concern from international art world, but creates an opportunity for local people to be close to international art, opens the eyesight of the culture and art for Ningxia citizens and further improves the cultural ecological environment of Yinchuan in the meantime. Moreover, the theme of the Second Yinchuan Biennale Starting from the Desert –Ecologies on the Edge is connected with history and culture of Ningxia region, and even the western cities, meanwhile, combines many historical factors with contemporary life. In this angle, it will arouse a lot of artists to think more deeply and broader. What is more, this Biennale no matter in the theme or the form, both expand the strategy and horizon of those Biennales hosted in other cities of China, and set the theme as a kind of structure with infinite boundary and further development –a free physical space of the exhibition, to help audience to think but not limit to the visual pleasure. Beyond that, this exhibition will not only stimulates people to get a whole new recognition on how contemporary art comes into being and develops, but also bring the possibility of tourism development, because people always gain the knowledge of city, the enjoyment of life and the affirmation of the quality of tourism project during cultural and artistic activities. Through the efforts, MOCA Yinchuan is constructing a steady and energetic brand image of the Biennale.


The Second Yinchuan Biennale“Starting from the Desert –Ecologies on the Edge”is Hosted by MOCA Yinchuan and the Yinchuan Binhe New District Investment Group. Guided by the Cultural Department of the Ningxia Hui Autonomous Region, and the Management Committee of Yinchuan Binhe New District , and Yinchuan Municipal Burea of Culture, Press, Publication, Radio and Television. Supported by BEHL Minsheng Group and Ningxia River Origins Cultural Tourism Operation Management Co,ltd. Suponsed by Ningxia Minsheng Cultural and Art Education Foundation. Cooperated by the Museum of Ningxia Hui Autonomous Region.


About the Second Yinchuan Biennale—

Exhibition Theme: Starting from the Desert –Ecology on the Edge
Chief Curator: Marco Scotini
Curatorial Team: Andris Brinkmanis, Paolo Caffoni, Zasha Colah, and Lu Xinghua
展 期:2018年6月10日——2018年9月19日
Exhibition Duration: 10th June 2018 –19th September 2018
地 点:华夏河图银川艺术小镇内的银川当代美术馆、国际艺术家村和惠农渠生态公园
Exhibition Venue: MOCA Yinchuan in River Origins Art Town, the International Artists Village, and the Hui Nongqu Eco-Park

Ravi Agarwal拉维·阿加尔瓦(印度,1958)、Vyacheslav Akhunov维亚切斯拉夫·阿库诺夫(乌兹别克斯坦,1948)、Navjot Altaf 纳夫乔特·阿尔塔夫(印度,1949)、Can Altay强·阿泰勒(土耳其,1975)、Nazgol Ansarinia纳高•安萨里利亚(伊朗,1979)、Arahmaiani哈拉海麦尼(印度尼西亚,1961)、Said Atabekov沙伊德·阿塔贝可(乌兹别克斯坦,1965)、Baatarzorig Batjargal巴特尔佐力格(蒙古,1983)、Sammy Baloji萨米·巴罗基(刚果,1978)、Massimo Bartolini马西默·巴托利尼(意大利,1962)、Felice Beato费利斯·比特(意大利,1832-1909) 、Erick Beltran艾瑞克·贝特伦(墨西哥,1974)、Alighiero Boetti阿利吉埃罗•博埃蒂(意大利,1940-1994)、Nomin Bold诺敏(蒙古,1982)、Giuseppe Castiglione郎世宁 (意大利,1688-1766)、Filipa Cesar菲利普·塞萨尔(葡萄牙,1975)、Sheba Chhachhi希芭·贾奇(埃塞俄比亚,1958)、Nikhil Chopra 尼基尔·乔普拉(印度,1974)、Emory Douglas艾莫里·道格拉斯(美国,1943)、Duan Zhengqu段正渠 (中国,1958)、  Enkhbold Togmidshiirev英格包尔德(蒙古,1978)、 Peter Fend彼得·芬德(美国,1950)、Mariam Ghani马里阿姆·迦尼(美国,1978)、Yervant Gianikian & Angela Ricci Lucchi伊凡·吉亚尼谦与安吉拉·里基路琪(意大利,1942&1942)、Piero Gilardi 皮耶罗·吉拉迪(意大利,1942)、Shiva Gor 希瓦·戈尔(印度,1986)、Raphael Grisey & Bouba Touré 拉斐尔·格里赛(法国,1979)与博白·图雷合作(塞内加尔,1949)、Grupo Suma绪论小组(墨西哥)、Salima Hashmi萨利玛·哈什米(印度,1942)、Kiluanji Kia Henda基努安奇·基亚·亨达(安哥拉,1979)、Hiwa K(伊拉克,1975)、Ho Rui An 何锐安(新加坡,1990)、Huxian Peasant Painting 户县农民画 (中国:Chen Jianchun陈建春, Du Zhilian杜志濂, Jiaoxi Culture Station焦西文化站, Li Fenglan李凤兰, Li Naiti李乃悌, Liu Huisheng刘会生, Ma Zhenlong马振龙, Wang Zhenying王振英,Zhang Chunxia张春霞、Ge Zhengmin葛正民)、Saodat Ismailova萨达特·伊斯梅洛娃(乌兹别克斯坦,1981)、Joris Ivens尤里斯·伊文思(荷兰,1898-1989)、Francesco Jodice弗朗西斯科•尤迪奇(意大利,1967)、Alimjan Jorobaev阿里米安•尤罗巴耶夫(吉尔吉斯斯坦,1962)、Kan Xuan阚萱(中国,1972)、Muratbek Kasmalieva & Gulnara Djumaliev古那拉‧卡斯马里法与慕拉特贝克‧朱马里夫(吉尔吉斯坦,1960&1965)、Kimsooja金守子(韩国,1957)、Li Juchuan 李巨川(中国,1964)、Li Binyuan 厉槟源(中国1985)、Liu Ding 刘鼎(中国,1976)、Juan Pablo Macias胡安·巴勃罗·马尔夏斯(墨西哥,1974)、Taus Makhacheva陶丝·马赫切娃(俄罗斯,1983)、Mao Chenyu 毛晨雨(中国,1976)、Mao Tongqiang 毛同强(中国,1960)、Helen Mirra海伦·米伦(美国,1970)、Adrien Missika阿德里安·米西卡(法国,1981)、Tina Modotti蒂娜·莫多蒂(意大利,1896-1942)、Moataz Nasr莫塔兹·纳赛尔(埃及,1961)、佩德罗·内维斯·马尔库斯Pedro Neves Marques(葡萄牙,1984)、Nils Norman尼尔斯·纽曼(英国,1966)、Uriel Orlow尤利•奥罗(瑞士,1973)、Prabhakar Pachpute普拉巴卡尔·帕克布奇(印度,1986)、Kyong Park朴景(韩国,1955)、Gianni Pettena詹尼·佩特纳(意大利,1940)、Thao-Nguyen Phan潘濤阮(越南,1987)、Justin Ponmany加斯汀•伯马尼(印度,1974)、Marjetica Potrč玛杰提卡·波图奇(斯洛文尼亚,1953)、Leang Seckon梁西贡(柬埔寨,1970)、Tsherin Sherpa 次仁·夏尔巴(尼泊尔,1968)、Karan Shrestha卡兰•施勒斯塔(尼泊尔,1985))、Song Dong 宋冬(中国,1966)、Demetrio Stratos德梅特里奥•斯特拉托斯(埃及,1945-1979)、Alexander Ugay亚历山大•吴盖(哈萨克斯坦,1978)、u-ra-mi-li小组 (印度:Iswar Srikumar 伊思瓦•斯库马尔,1979& Anushka Meenakshi阿努斯卡•米那什,1980,)、Wang Sishun 王思顺(中国,1979)、Wang Wei 王卫(中国,1972)、Penba Wangdu 孜强·边巴旺堆(中国,1969)、WUXU Group 务虚小组(郑宁远1989,王开1995 ,孙艺丛 1993 ,刘京1989,中国)、Xu Bing 徐冰(中国,1955)、Xu Tan 徐坦(中国,1957)、Yang Kailin 杨凯麟(中国台湾,1968)、Sawangwongse Yawnghwe萨旺望泽•亚恩维(缅甸,1971)、Zai Tang蔡唐(英国,1984)、Katarina Zdjelar卡塔丽娜·兹杰拉尔(塞尔维亚,1979)、Robert Zhao Renhui赵仁辉(新加坡,1983)、Zheng Bo 郑波(中国,1974)、Zhuang Hui 庄辉(中国,1963)
Host Organizers:
The Museum of Contemporary Art Yinchuan (MOCA Yinchuan)
Binhe New District Investment Development (Group) co., LTD

Guiding Organizations:
Cultural Department of Ningxia Hui Autonomous Region
Management Committee of Yinchuan Binhe New District
Yinchuan Municipal Bureau of Press Publication Radio Film and Television

Supporting Organizations:
BEHL Minsheng Group
Ningxia River Origins Cultural Tourism Operation Management Co.Ltd

Ningxia Minsheng Culture and Art Education Foundation

Cooperative Organization:
The Museum of Ningxia Hui Autonomous Region




地址:宁夏银川市兴庆区禾乐路12号 (华夏河图银川艺术小镇内)



地址:宁夏银川市鱼悦南街2号 (望通路与滨河大道交汇处向北两公里)



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