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

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
银川当代美术馆

策马自沙漠,本是游牧人。依偎着母亲河翻滚的泥沙,绵延出来自塞上平原文化与游牧的思考。这里是华夏河图银川艺术小镇,基于对历史与地域的思考,基于对游牧与农耕的时代体悟,2018年6月10日,由银川当代美术馆主办的第二届银川双年展“从沙漠出发——边界上的生态学”(直面各种没有余地的生态)将由此启航,展览将持续至9月19日。为期百天的参展作品将会在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一一呈现。

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
普拉巴卡尔·帕克布奇,农民之海,2018,图片来源:银川当代美术馆

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
国际艺术家村

本届银川双年展具体架构在四个相互关联(时有交错)的主题板块之上,并不刻意地限制或框定它们,而是试图将其物质与非物质方面充分地视觉化。同样,这些板块试图直面伴随着现代性和资本崛起而产生的二元体制中的种种矛盾,定位它们,来给我们时代生态-社会计划的兑现提供尺度。因此在此次双年展的展陈中,将会着重于有关生态学和农耕的问题,部分作品则会专注在教育及文献上,另一部分作品会关注多民族文化共存的主题。

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


游牧空间与农耕空间

这一板块关注物理空间与诸生命形式的互动。它并不只提出这两个空间类型的不同性质,而且也强调彼此的交汇、交叉,以及从一个空间向另一个空间的过渡。如果沙漠不是纯粹由地质和气候专门设计出来,那么,乡村空间也并非完全由人类所创造,而且也同样被一系列的自然约束和机会所创造。与游牧民族和农民形象相关的社会、经济、文化和政治隐含,在这一板块中均被视作主体化之符号表现。

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

 

自然中的劳动与劳动中的自然

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
阿德里安·米西卡,达尔瓦扎,静帧截图,2011,图片来源:艺术家


声音与书籍

这一板块要在精神生态层面上加以干预,来解构音节和字形、口述和写作之间的对立,这也是要同时解构逻各斯中心主义的偏见——在西方,这种中心论规定了在历史中和历史之外到底发生了什么。将一种没有语言的人声看作是一种无声的语言,就直接涉及到知识的生产与再生产,因而也牵涉到了政治的维度。

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
加斯汀·伯马尼,人类纪,2018,图片来源:艺术家

 

少数性与多样性

这一主题板块讨论了活着的生命体之间的关联和关联形式:从微观社会到机构规模之间的关联形式。现代性赖以建立的共同体概念(由此开始考虑人类以外的自然)基于一个共同和共享世界这一观念,在这个共同和共享的世界中,平等的条件与身份和归属的条件之间不可分。出于这个原因,少数性多样性之间的关系,只是无限复制了融合与排斥之间的辩证法。与此相反,在社会生态的底部,多样性这一观念则不允许任何多数概念的存在。

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
次仁·夏尔巴,许愿树II,2018,图片来源:艺术家及ROSSI&ROSSI画廊香港/伦敦

同时双年展也将以独特的展陈设计,展示中国及多文化语境下的重要历史文物:集宁夏历史文物、革命文物、民俗文物、传世文物的收藏、陈列于一体的宁夏回族自治区博物馆,也将有岩画拓片、擦擦、地毯等19件作品在第二届银川双年展中展出。让宁夏博物馆的历史语汇与当今世界的当代语境进行一次时空对话,不仅是对双年展固有体系的一种突破,更是激活了博物馆本身的艺术底蕴,并延伸了宁夏当地文化的生命宽度。另一亮点是在此次双年展中,“视觉的调试:中国早期洋风画展”及“疆域的轮廓:历史典藏地图展”银川当代美术馆馆内典藏作品将与其它参展作品相互交错展出,郎世宁所作《乾隆皇帝半身冬装像》将成为引线,在观众熟悉与未知的作品间给予全新的视觉观感体验,其内在逻辑性的串联将进一步引发深入性的思考。

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
自由耕种,2014,图片来源:艺术家厉槟源

此外,与展览同时进行的还有银川当代美术馆公共教育的系列活动:馆方邀请策展人及部分参展艺术家走进当地高校进行主题讲座及工作坊。而开幕式当天多场行为表演更可谓是缤彩纷呈,值得期待!此次双年展较强的互动性和在地性,使得更多本地观众参与并沉浸于银川双年展中,如参展作品中所需要的诸多物料(床单被套旧衣服及一千册各类书籍),均来自宁夏本地市民的热心提供。而随着展览主题我们新开展的“留下家人的印记——手模制作”公共教育活动也将自2018年6月10日起面向全体宁夏市民开放。

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.

华夏河图银川艺术小镇
River Origins,Yinchuan Artistic Town

2016年,银川当代美术馆举办了首届银川双年展,不仅让银川的城市形象引起了国际艺术领域的关注,也为当地民众带来了一次亲近国际艺术的机会,打开了宁夏市民文化艺术视野的同时,也进一步改善了银川的文化生态环境。而2018年第二届银川双年展“从沙漠出发——边界上的生态学”这一主题与宁夏地区甚至西域城市的历史文化有联系,同时又将不少的历史因素与当代生活结合起来,这样的视角可以唤起不少艺术家对更广更深问题的思考,进而带动对艺术的创新。而且,本次双年展无论是在主题还是形式上,都拓展了在中国其他城市举办的双年展的策略和视野,将主题安排为一种无限边界又有纵深发展的结构——展览的物理空间也十分自由,这能够帮助观众进入思考,而不仅仅限于视觉的愉悦。此次展览还能够刺激人们对当代艺术的发展产生全新的认识,也可以带来旅游发展的可能性,人们总是在文化艺术活动中获得对城市的了解、对生活的享用、对旅游项目品质的认定。通过努力,银川当代美术馆正在建立起一个稳定而富于活力的双年展品牌形象。

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.

第二届银川双年展“从沙漠出发——边界上的生态学”由银川当代美术馆和银川滨河新区投资发展(集团)有限公司主办;宁夏回族自治区文化厅、银川滨河新区管理委员会、银川市文化新闻出版广电局为指导单位;北控民生集团、宁夏华夏河图文化旅游运营管理有限公司为支持单位;宁夏民生文化教育基金会为赞助单位,合作机构有宁夏回族自治区博物馆。

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.

 

关于展览
About the Second Yinchuan Biennale—

展览名称:从沙漠出发——边界上的生态学
Exhibition Theme: Starting from the Desert –Ecology on the Edge
总策展人:马可•斯科蒂尼
Chief Curator: Marco Scotini
策展团队:安德里斯•布林克马尼斯,保罗•卡法尼,萨沙•科拉,陆兴华
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

银川当代美术馆第二届银川双年展参展艺术家名单:
 
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)
 
 
主办单位:
Host Organizers:
银川当代美术馆
The Museum of Contemporary Art Yinchuan (MOCA Yinchuan)
银川滨河新区投资发展(集团)有限公司
Binhe New District Investment Development (Group) co., LTD

指导单位:
Guiding Organizations:
宁夏回族自治区文化厅
Cultural Department of Ningxia Hui Autonomous Region
银川滨河新区管理委员会
Management Committee of Yinchuan Binhe New District
银川市文化新闻出版广电局
Yinchuan Municipal Bureau of Press Publication Radio Film and Television

支持单位:
Supporting Organizations:
北控民生集团
BEHL Minsheng Group
宁夏华夏河图文化旅游运营管理有限公司
Ningxia River Origins Cultural Tourism Operation Management Co.Ltd

赞助单位:
Sponsor:
宁夏民生文化艺术教育基金会
Ningxia Minsheng Culture and Art Education Foundation

合作机构:
Cooperative Organization:
宁夏回族自治区博物馆
The Museum of Ningxia Hui Autonomous Region

 

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银川当代美术馆联系方式:

电话:0951-8426111
网站:moca-yinchuan.com
邮箱:ycmoca@moca-yinchuan.com
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)

银川当代美术馆夏季开闭馆时间:
早晨10:00点——下午18:00点

华夏河图银川艺术小镇:

电话:0951-8426114
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)
公交:
601路公交支线(周六、周日发车)
银川汽车站发车时间:上午10:00
华夏河图发车时间:下午17:30
3个站点:银川汽车站、大团结广场北、华夏河图银川艺术小镇

温馨提示:
仅此一趟,过时不候哦!以上公交信息为试运营期间信息
具体详情请咨询601路公交负责人,电话:13895681091

自驾线路:
南线:银川市区→109国道望远路段→望通路→望滨路→滨河大道→华夏河图
北线:北京西路→河西高架桥→滨河大道→华夏河图

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