第三届广州三年展
开幕时间：2008年9月10日
展览时间：2008年9月11日——11月16日
主办：广东美术馆
策展团队：高士明、萨拉·马哈拉吉、张颂仁
The Third Guangzhou Triennial
Opening Preview: September 10th, 2008
Exhibition Time: September 11th, 2008– November 16th, 2008
Organizer: Guangdong Museum of Art
Curatorial Committee: GAO Shiming, Sarat MAHARAJ and Johnson CHANG Tsong-zung
本届三年展抛出的第一个话语是“跟后殖民说再见”，这是策展工作的理论出发点，同时也是策展团所欲呈现的一个批评性视野。
For the curatorial discourse of this Triennial, we propose to say “Farewell to Post-Colonialism”. This represents the theoretical basis from which we hope to explore our critical vision.
“跟后殖民说再见”并不是对于后殖民主义的简单否定。一方面，作为一种现实处境，后殖民远未终结；另一方面，作为艺术策展与批评领域的主导性话语，后殖民主义已经高度意识形态化与机制化，不但日渐丧失其批判性，而且已经成为一种新的限制，阻碍了艺术创作新现实与新界面的呈现。
“Farewell to Post-colonialism” is not a denial of the importance and rewards of this intellectual tradition; in the real world, the political conditions criticised by post-colonialism have not receded, but in many ways are even further entrenched under the machinery of globalisation. However, as a leading discourse for art curatorial practice and criticism, post-colonialism is showing its limitations in being increasingly institutionalised as an ideological concept. Not only is it losing its edge as a critical tool, it has generated its own restrictions that hinder the emergence of artistic creativity and fresh theoretical interface.
所以“跟后殖民说再见”，不但是从后殖民“出走”，而且是一次“再出发”。
To say “Farewell to Post-Colonialism” is not simply a departure, but a re-visit and a re-start.
2008年是“68运动”的四十周年，近半个世纪以来，多元文化理论和新社会运动已经把社会与日常现实解构为一幅不同观念相互冲突的镶嵌画，而国际当代艺术实践也大多聚焦于身份、种族、阶级、性别等尖锐的社会、政治问题。在五十年后的今天，那些曾经作为革命力量的理念，已经在“政治正确性”的口号保证下转化成为一种主导性的权力话语。而这些理念和话语的核心，正是始终纠结在当代艺术-文化领域中的种种形态的后殖民主义话语。半个世纪以来，后殖民主义不但构成了一个理论批评与策略的集合体，一个无所不包的话语场，而且已经构成了一种意识形态。
2008 will be forty years since the heady days of 1968. In these forty years,waves of new social movement and multi-cultural theories have woven a tapestry of rich and clashing colours out of the world’s changing social realities. International contemporary art has also benefited from the attention to socio-political issues surrounding identity, race, gender and class. But in fifty years, revolutionary concepts have also transformed into leading discourses safely guarded by ‘political correctness’. Post-colonial discourse’s analysis of the power structure within cultural expressions has triggered a series of cultural resistance, as well as the construction of the self as the Subject in relation to the Other. However, this kind of analysis and construction have also adversely developed an institutionalised pluralistic landscape that has today turned into an ideology, a new form of stereotyping.
本届三年展策展团指出：在后殖民主义话语场中，文化多元主义、身份政治与后殖民主义理论共同建造的“他者政权”及其权力游戏已经构成了一种“漫无边际的正确性”。如何在一种差异的生产中确立起差异的伦理？如何在对他性的保持中预防“他者的暴政”？这是目前国际策展界必须面对的重大问题。
In this Triennial we wish to draw attention to the ‘political correctness at large’ that is the result of the power play of multi-culturalism, identity politics and post-colonial discourse. Urgent issues facing curatorial practice today are: How do we establish an ‘ethics of difference’ within the framework of difference in cultural production? How do we prevent a ‘tyranny of the Other’ without sacrificing the grounds already gained against the power status quo?
长期以来，众多的国际艺术大展致力于构造所谓“众语喧哗的话语现场”以及“不同价值的协商空间”，强调文化身份与政治的正确性，而忽视了创造力的展现以及当代艺术对于可能世界的追求。“身份”、“多元”、“差异”等概念已经失去了往昔分析、批判的锋芒，而转化成为国际化组织平台上的意识形态表达；这些意识形态化的概念共同编织出“多元文化主义的管理机制”，并因而构成了对于当代艺术创造的一种新的限制，同时也遮蔽许多新的问题界面。
For some years major international contemporary exhibitions around the world have worked towards building up ‘discursive sites for a cacophony of voices’ and ‘negotiated spaces of diverse values’, emphasising ‘correctness’ in cultural politics; these have inadvertently succeeded to the neglect of independent pursuit of artistic creativity and alternative imaginative worlds. Concepts of identity, multiplicity and difference are changed into ideological and institutional. On the theoretical basis of post-colonialism, they are now slowly losing their edge to develop a multi-cultural ‘managerialism’ that become a new restriction for artistic creation.
所以，2008广州三年展的策展工作首先就要提醒大家注意“多元文化主义的限度”，并且勇于“跟后殖民说再见”。
In response to this, the curatorial team of the 3rd Guangzhou Triennial wants to bring attention to the ‘limits of multi-culturalism’, and say ‘Farewell to the Post-Colonial’.
这就要求三年展的策展实践主动刷新理论界面，从目前主导性的、泛政治-社会学的话语意识形态中出走，通过一系列学术动员与视觉组织工作，与艺术家共同研究、合作，从当下的现实经验与想象中共同孵化出艺术创造的新的话题与气象。
By saying ‘Farewell to the Post-Colonial’ we call for the renovation of the theoretical interface of contemporary art, to depart from its all pervasive socio-political discourse, and work together with artists and critics to discover new modes of thinking and develop new analytical tools for dealing with today’s world.
三年展演习：否定与提问
Excises of the GZ Triennial: Negations and Questionnaire
第三届广州三年展是一个自我发现的过程。
策展团队不希望宣称本届三年展“是什么”，而首先希望理清它“不是什么”。
The curators hope this Triennial will be a process of discovery for ourselves; not just the fulfilling of preconceived ideas.
Instead of claiming what this Triennial ‘is’, we wish to find out what it should not be.
第三届广州三年展可以被视为向国际艺术界的一系列提问，提问方式由两方面构成：一方面是“否定演习”，即声明什么是本届三年展所不要的，希望艺术家们共同想象和思考——除了现行的这些整体论的泛政治-社会学议题之外，当代艺术还可以开辟怎样的创作空间？
This Triennial may be understood as a locus of questions for the international art world, starting with an Exercise in Negation. We hope artists and critics will works with us to discover what new modes and imaginative worlds are possible for art beyond the boundaries of socio-political discourses.
第三届广州三年展的自我想象，否定演习……
不是西方-非西方，不是全球-本土化，不是国际主义-民族主义，不是左或右，不是世界主义，不是多元文化主义，不是族群主义，不是后殖民主义，不是后现代主义，不是身份政治，不是文化政治，不是社会学报告，不是关系美学，不是第三世界、第三空间，不是第三条道路，不是他者的政权，不是另类现代性，不是杂糅文化，不是旅游奇观，不是民俗学景观，不是新人秀场，不是艺术大都会……
The Self Imagining of Guangzhou Triennial 2008:
An Exercise in Negation …
Neither Western nor non-western; neither global nor local; neither international nor national; neither left nor right; neither the third world not the third space; neither tourist spectacle nor ethno-scape.
Not cosmopolitanism; Not multi-culturalism, Not tribalism; Not post-colonialism; Not identity politics; Not sociological report; Not relational aesthetics; Not regime of the Other; Not alternative modernity; Not hybridity; Not showcase of new stars; Not metropolis of art; …
另一方面，本届三年展还设置了名为“艺术家提问演习”的特别计划。艺术家们可以通过三年展这个平台，向策展人、批评家以及国际艺术界的其他同仁自由发问。“提问演习”是本届三年展前期的一个重要平台，策展团希望与艺术家们共同探讨当代艺术创作的理论处境，并在问答中清理出一些纠缠在艺术界的伪问题，同时使艺术家关心的最新的问题界面浮现出来：
In addition, the Triennial has prepared a platform for a Questionnaire Exercise, through which artists can approach curators, critics and fellow artists to discuss the predicament of contemporary artistic production. It is hoped that through the concerted effort of the art world we can clarify many false issues and presumptions embedded in art practices, thereby permitting fresh questions to surface.
通过否定演习以及提问演习，2008广州三年展希望与所有艺术界同仁一起思考，共同想象本次展览的实现方式。对于策展团来说，重要的是通过话语反话语，是在话语清盘中获得创作的自由和释放——由此，策展人才可能与艺术家一起，“通过视觉进行思想”。
Through the Exercise in Negation and the Questionnaire, the Triennial invites all colleagues in the art field to help imagine ways to realise the 2008 Triennial. For the curators, the important thing is to liberate discourse through discourse, and to liberate artistic production by scrutinising our intellectual tools. It is our wish to bring curators and artists together in order to think through the visual.
提问举例：
您对于双年展、三年展体制满意吗？是否可以提出更加有效的方式？
您认为文化身份对于自己的创作重要吗？
“全球-本土”的讨论对于您起作用吗？是在什么意义上起作用？
女权、种族等多元文化主义问题对于您是必要的吗？您认为这些是艺术问题吗？
政治的正确性是否已经转化为一种压迫？
“国际性”对您意味着什么？
艺术家的创作一定需要一个共同的知识-价值基础吗？
在多元文化主义的语境中如何讨论创造？
在多元文化主义所导致的族群化现实中，艺术家们如何去共建一个知识和感性的文化共同体？
您对于2008年的第三届广州三年展的建议与期待？
……
请针对国际当代艺术的状况以及本届广州三年展，提出你的问题：
Questionnaire (a suggestion):
- Are you satisfied with the institution of biennials and triennials? Can you suggest better alternatives?
- Do you consider cultural identity important to your creative work?
- Are discourses on ‘global-local’ useful for your work? If so, in what ways?
- Are issues about pluralism such as sexual politics and race important for you?
- Do you feel political correctness has turned into a form of oppression?
- What does ‘international’ mean to you?
- Is a universal basis of knowledge and value critical for creativity?
- Under the aegis of diversity of multi-culturalism, how may artists construct a common cultural ground of knowledge and sensibilities?
- How should we discuss creativity within the discourse of multi-culturalism?
- Do you have any expectations or suggestions for The Third Guangzhou Triennial in 2008?
……
Please make your own Questionnaire and send to Guangzhou Triennial 2008.
E-mail: gztriennial@gmail.com
2008广州三年展将继续开放“三角洲实验室”，并将之作为广州三年展的基本语法。第一次实验室将在2007年11月正式启动，活动内容包括：
A国际论坛：“多元文化主义的限度”，讨论多元文化主义与后殖民话语的意识形态化和体制化，以及作为个体生存经验的“多元”与“差异”等问题。
B圆桌会议：“亚洲再出发：双年展在亚洲语境中的策略”，探讨在国际大展日渐疲惫的时代，双年展、三年展在亚洲语境中的发展状况与可能性。
Guangzhou Triennial 2008 will continue the initiative of D-Lab (Delta Laboratory) started three years ago. The first D-Lab opens in November 2007, activities include:
A. International Symposium: “Limits of Multi-Culturalism”, to discuss the ideological tendencies and institutionalisation of multi-culturalism and post-colonial discourse; and to investigate issues of ‘plurality’ and ‘difference’ from the point of view of individual lived experience.
B. Round-table forum: “Re-starting from Asia: Fatigue of large international exhibitions, and case study of Asia”, to discuss opportunities for large international exhibitions within the Asian context under the general fatigue for such events today.
2008广州三年展策展团队介绍
Introducing the Curators of the Guangzhou Triennial 2008
高士明，中国美术学院展示文化研究中心主任，副教授，研究领域包括视觉文化研究、当代艺术研究以及策展实践。自2002年起，他参与策划了许多大型学术性展览，包括2002年至2004年的“亚洲当代艺术的迁徙与地缘政治”系列研究计划、2004年的“影像生存：第五届上海双年展”、2005年的“现实深处：中国当代艺术邀请展”和“亚洲时间：新媒体艺术展”、2006年的“显微学：中国当代艺术展”以及“黄盒子：中国空间里的当代艺术与建筑”学术邀请展等。高士明还编辑出版了《视觉的思想》、《地之缘：亚洲当代艺术与地缘政治视觉报告》等学术著作，并即将出版专著《镜子与面具：关于现实与实在的视觉研究》。策展对于高士明来说，不止是表述或再现方式，而且是一种创造、塑型方式。他坚信行动的力量与主观知识在当代的意义，坚信策展是一种直接在历史暗房中进行的实践性的写作。他2002年以来的策展工作中始终存在着一条特定的文化思考的轨迹，即：如何从后殖民话语出走，摆脱身份政治和关系美学的思维惯性，从中国当代深层现实经验出发，激发起视觉创造的活力，重新构筑一种当代艺术与视觉文化的介入性的表述体系。
GAO Shiming, Director of the Visual Culture Research Center of the China Art Academy, associate professor. His subject is visual culture research, contemporary art studies and curatorial practice. He has participate in many large exhibitions of academic standing, including the research project “The Migration of Asian Contemporary Art and Geo-politics” 2002-2004, “Techniques of the Visible” the 5th Shanghai Biennial 2004, “In the Depth of Reality: Contemporary Chinese Art” and “Asian Time: New Media Art” in 2005, “Micrology: Micro-politics in Chinese Contemporary Art” and “The Yellow Box: Contemporary Art and Architecture in a Chinese Space”. He has edited the publications “Visual Thinking”, “Edges of the Earth: Asian Contemporary Art and Geo-politics”. Curatorial practice for Gao is neither presentation nor re-presentation, but a creative process. He firmly believes in the contemporary significance of bringing together action and subjective knowledge. He also firmly believes in curatorial work as a form of ‘writing in practice’ within the dark room of history. Since 2002 his work has been guided by a special form of cultural thinking, which is: how to start afresh from intellectual discourse, depart from the habits of identity politics and contextual studies, and seek inspiration from the depth of Chinese contemporary reality, in order to stimulate creativity, and find a form of interventional narrative for contemporary art and visual culture.
萨拉·马哈拉吉（Sarat Maharaj），印度裔，生于南非。伦敦大学歌德史密斯学院教授，瑞典隆德大学教授，同时还担任柏林洪堡大学的首位鲁道夫·阿恩海姆教授（Rudolf Arnheim Professor）、荷兰扬·凡·艾克学院的高级研究员。马哈拉吉是文化研究领域举足轻重的学者，他与斯图加特·霍尔共同创办的国际视觉艺术协会(INIVA)对于近年来的文化理论和视觉思考产生了巨大的影响。近年来，马哈拉吉的策展活动包括：担任2002年第11届卡塞尔文献展的联合策展人；2002年，在鹿特丹策划题为 “视网膜、光学、视觉、概念……”学术展览；2005年策划柏林世界文化宫的“认知实验室”计划；2006年策划“柏林/慕尼黑”视觉研究系列计划。他还担任《第三文本》和《视觉文化》等国际重要学刊的学术顾问，他的策展与写作对国际当代艺术产生了广泛而深刻的影响。其出版的著作包括《审问认同》（Interrogating Identity，与Kellie Jones、Thomas W. Sokolowski合著）以及《现代性及其差异》(Annotations 6: Modernity and Difference，与Stuart Hall合著)。今年，马哈拉吉还将出版两部重要专著：《行进：思想-言说-写作过程中的实验》（Progress: Experiments in Think-speak-write Sequences）以及《言语的争斗：汉密尔顿、杜尚和乔伊斯》（A Strife of Tongues: Richard Hamilton/Marcel Duchamp/James Joyce）。
Sarat Maharaj was born in South Africa and educated in one of the segregated universities of the Apartheid era. He is currently Professor of Visual Art and Knowledge Systems, Lund University, Sweden and Visiting Professor, Goldsmiths’ College, London. He was the first Rudolf Arnheim Professor, Humboldt University, Berlin (2001-02) and Research Fellow at the Jan Van Eyck Akademie, Maastricht (1999-2001). In 2007, he is Visiting Professor of Art History & Theory at the Institut de l’art histoire, Paris. His specialist research covers Marcel Duchamp, James Joyce and Richard Hamilton. His current research spans Visual Art as Knowledge Production & Non-Knowledge – and the concept of ‘thinking through the visual’. His expanded research, writing and publications cover, Visual Art as Knowledge Production, Textiles, Cultural Translation and Difference in the global system—and the contemporary ‘convergence’ of image, sound and movement and consciousness studies curated in (Knowledge Lab 2005 & 2006. Berlin and New Media Art Lab, Banff Canada 2007). Sarat Maharaj is a theoretical armoury of contemporary curatorial practices. He was co-curator of Documenta 11, 2002. With Ecke Bonk and Richard Hamilton, he curated retinal.optical.visual.conceptual……on Marcel Duchamp, 2002. He is curator of the Knowledge Lab (Haus der Kulturen der Welt), 2005 and Berlin/Munich 2006, as well as sound/image/movement experiments with Liu Sola (Beijing/NY) and Kofi Koko (Benin/Paris). Maharaj’s publications include Modernity & Difference (INIVA. London) and A Strife of Tongues: Richard Hamilton/Marcel Duchamp/James Joyce (Typosophic Society). In 2008 he will publish his new book Work in Pregross: Collected Writings (MIT. Cambridge. 2008). Maharaj's theoretical competence, combined with his willingness to bring the concepts of cultural, diversity and difference to a more public forum, makes him a key intellectual voice on the Continent today.
张颂仁，著名策展人，香港亚洲艺术文献库创办人，国际艺术批评家委员会（AICA）香港分会创办人，目前为中国美术学院客座教授。1990年代以来，张颂仁长期从事当代艺术策展工作，对中国当代艺术的国际化做出了重大贡献。他的策展实践在中国艺术与威尼斯双年展、圣保罗双年展等国际大展之间设立了第一座桥梁，他的策展论述塑造了1990年代中国当代艺术的国际形象。作为一位具有强烈文人情结的国际策展人，张颂仁坚信当代艺术在不同文化语境中有不同的责任和命运，他最为关心的问题是中国当代艺术以何种方式对世界做出回馈。近年来，他的文化思考与策展实践围绕“中国视觉文化的复兴”这一命题展开，涉及器物、空间与仪式等各个方面，构成了中国当代艺术史上独特而重要的一页。他策展的项目包括：“后89：中国新艺术”系列展、1994圣保罗双年展中国特展、1996圣保罗双年展中国特展及香港馆、2001威尼斯双年展香港馆、“文字的力量”系列展、“幻影天堂：中国新摄影”展、“开放的亚洲：2005威尼斯国际雕塑年展”以及“黄盒子：当代艺术与中国空间”系列研究计划等重要艺术活动。张颂仁在国际艺术界具有重要的影响力，他是古根海姆博物馆亚洲艺术顾问，曾经两度入选国际著名杂志《艺术评论》（Art Review）评选出的“最具世界影响力的100位权威人士”。
Johnson CHANG Tsong-zung, curator, founder of the Asia Art Archive in Hong Kong, founder of the Hong Kong chapter of AICA, guest professor of China Art Academy. He has been active in curating Chinese exhibitions since the 1980s; he pioneered participation of Chinese art in international exhibitions, and was instrumental in establishing the international image of Chinese contemporary art of the 1990s. As a curator with strong attachments to the literati tradition, he firmly believes that contemporary art should have unique responsibilities under different contexts and take diverse paths. One of his main interests is the type and manner of contribution Chinese art may open up to the world. In recent years, his activities have centred around the theme: “revival of Chinese visual and material culture” through the intervention of curatorial practice. These projects involve artefacts, space and ritual, forming a special and unique chapter in Chinese contemporary art. His exhibitions include “China’s New Art Post-1989” in 1993, Special Exhibitions at the Sao Paulo International Biennial in 1994 and 1996, Hong Kong participation at Sao Paulo Biennial 1996 and Venice Biennial 2001, the “Power of the Word’ series of exhibitions, “Strange Heaven: Chinese Contemporary Photography”, “Open Asia International Sculpture Exhibition” in Venice 2005, “Yellow Box” series of research projects about contemporary art practice and Chinese space.
Thank you very much! Do you have any criticisms or suggestions to make? Or do you want to tell us something else? Please feel free to contact:
Guangzhou Triennial 2008
Guangdong Museum of Art
38 Yanyu Road, Er-Sha Island, Guangzhou, China
E-mail: gztriennial@gmail.com
Tel: 86 20 87351261
Fax: 86 20 87351326
Tel. ++86/20/87351261
相关阅读：与后殖民说再见
相关阅读：Farewell to Post-Colonialism
相关阅读：2008广州三年展宣传片
