Editor’s Note

As time and events seem to accelerate, history becomes an ever more slippery concept. With mainland China’s transformation since the late 1970s, the previous era of the Cultural Revolution is receding from the consciousness of many Chinese citizens. The first three texts in this issue demonstrate the importance of remembering and of not letting the past, something that can serve as a lesson for the present, disappear. Ai Weiwei recounts his experiences as a child during the Cultural Revolution, his entry into making art, and his years as a young Chinese artist in New York. Photographers Shao Yinong and Muchen examine the shifting uses of traditional assembly halls from their original functions and their politicization during the Cultural Revolution to their current state of disrepair or repurposing. He Chongyue, also a photographer, determinedly explores the recent past by researching wall and stone tablet messaging as forms of political and cultural communication, the One-Child Policy, and the aging population in China and its diminished role within a modern Chinese society.

Yishu 59 also features texts on two women artists, Cai Jin, from Beijing, and Au Hoi Lam, from Hong Kong; we are given overviews of their respective work and how it has evolved over the years. These women demonstrate quite different sensibilities; Cai Jin is notable for her expressive use of paint, and Au Hoi Lam exhibits a contemplative restraint in her drawings, paintings, and sculptures.

Nikita Yingqian Cai and Carol Yinghua Lu continue their Curatorial Inquiries discussions with a fourteenth edition, exploring the idea of institutional critique as proposed by Andrea Fraser. They too look at the recent past, and how critics and curators remain stuck within accepted terminologies when analyzing artwork. In conclusion, we feature two reviews, one covering the 5th Auckland Triennial under the directorship of Hou Hanru, and one considering Xu Tan’s exhibition in Guangzhou that combined recent projects with some of his earlier work.

Keith Wallace

Image (top): He Chongyue, A Billion to One: Dictated Parenthood and the Feudal Mind No. 7, 2006, colour photograph, 152 x 190 cm. Courtesy of the artist.

Editor’s Note:

In its 55th edition, the Venice Biennale remains among the most important large-scale exhibitions in the world, and its reputation continues to grow as participating nations, coupled with collateral group exhibitions, increase in number. Yishu 58 has three texts pertaining to this prestigious event. Jo-Anne Birnie Danzker offers an overview of several of the exhibitions featuring Chinese artists—in 2013 there were more than ever before—and Alice Schmatzberger interviews Wang Chunchen, curator for the China Pavilion, who discusses the premise behind this year’s exhibition, as well as the role of Chinese artists internationally. Lu Pei-Yi excavates the histories of both the Taiwan and Hong Kong Pavilions and their struggle to establish a “national” identity without having official national status within the Biennale.

Nikita Yingqian Cai and Carol Yinghua Lu present another of their ongoing Curatorial Inquiries, with Carol proposing a text on curatorial practice for Nikita to debate. Curatorial Inquiries 13 challenges traditional notions of connoisseurship and critical thinking by using intuition, independence, and instinct to understand contemporary art. Yu Hsiao Hwei interviews Alexandra Munroe and Ted Lipman

about the generous support of ten million dollars provided by the Robert N. H. Ho Family Foundation towards an Asian art program at the Guggenheim Museum. The arm’s length funding given by the Ho Family Foundation sets a productive example that other museums around the world can learn from.

Wang Ruobing has contributed an intriguing text on two trips made to Bali, fifty years apart, by two different generations of Singaporean-Chinese artists. These trips, the second clearly referencing the first, are an exploration into Singaporean identity relative to the Chinese descent of many of its citizens as well as Singapore’s cultural positioning within the region. We close Yishu 58 with two reviews from Beijing. One, by Edward Sanderson, examines the ambitious exhibition ON I OFF, which showcased younger artists in an attempt to keep abreast of China’s burgeoning art scene. Sanderson points out how difficult it is to articulate the diverse art production that the show represents. The other, by Jonathan Goodman, looks at an exhibition of work by Feng Yan, an artist whose spare photographs eschew spectacle, are cloaked in the mystery of the everyday, and immersed in their own quiet beauty.

Keith Wallace

image (top): Lee Kit, ‘You (you).’, 2013, installation, 2013 Venice Biennale. Courtesy of the Hong Kong Arts Development Council.

Editor’s Note:

Hong Kong has a history of contemporary art that long precedes its “handover” to mainland China, yet the extensive attention given to the latter over the past twenty years has created a sense of uncertainty within the Hong Kong cultural community. In the past few years, however, that uncertainty appears to be shifting, and Yishu 57 opens with three texts that explore various aspects of the Hong Kong art scene today—from its growing profile internationally and its socially engaged art practices to the growing issue of its migrant workers.

In 1982, Andy Warhol made a visit to Hong Kong and mainland China, but it is not widely known how and why he went there. Zheng Shengtian, in his ongoing research on the influence of foreign visitors on contemporary Chinese art, speaks with Hong Kong businessman Alfred Siu about Siu’s invitation that year to one of the world’s most famous artists and, ironically, how little attention was paid to Warhol during his visit to Beijing.

Clara Galeazzi speaks with Hou Hanru and Ou Ning about their Hotan Project. This ambitious, collaborative multi- disciplinary artistic/ethnographic endeavour engaged with a part of mainland China— southwestern Xinjiang—that is located at a strategic historical and cultural crossroad between China and Central Asia, but it previously received little attention from the art world. Lisa Claypool talks with Feng Mengbo about his ongoing development of ideas around art, the body, and new technologies, an area in which he has been a pioneer in China. Wrapping up Yishu 57 are three substantive reviews of exhibitions from London, Shanghai, and New York that examine the work of artists Zhao Yao, Duan Jianyu, Hu Xiaoyuan, and Song Dong.

Keith Wallace

image (top): Liu Xiaodong, West, 2012, oil on canvas, 300 x 250 cm. Courtesy of the artist.

Event: “The Future of Biennials in Local and Global Context”
Time: June 14, Friday, 1-2pm. Hall 1 of Art Basel

photo 1 (from left to right): Carol Yinghua Lu, Artistic Director, OCAT, Shenzhen/Beijing; Riyas Komu, Director of Programs, Kochi-Muziris Biennale 2012 and Secretary of Kochi Biennale Foundation, Mumbai/Kochi; Marieke van Hal, Founding Director of Biennial Foundation and Member, International Advisory Committee, 4th Thessaloniki Biennale, Athens; Jessica Morgan, Director of the Gwangju Biennale 2014; President of the International Jury of the 55th Venice Biennale and The Daskalopoulos Curator, International Art, Tate Modern, London; Shengtian Zheng, Trustee, Vancouver Art Gallery; Senior Curator of Asia, for the Vancouver Biennale and Managing Editor, Yishu: Journal of Contemporary Chinese Art, Vancouver

photo 2 (from left to right): Carol Yinghua Lu, Riyas Komu, Marieke van Hal

photo 3 (from left to right): Carol Yinghua Lu, Riyas Komu, Marieke van Hal

photo 4 : Jessica Morgan

photo 5 (from left to right): Carol Yinghua Lu, Riyas Komu, Marieke van Hal, Jessica Morgan, Shengtian Zheng

Event: “The Future of Biennials in Local and Global Context”
Time: June 14, Friday, 1-2pm. Hall 1 of Art Basel

Marieke van Hal, Founding Director of Biennial Foundation and Member, International Advisory Committee, 4th Thessaloniki Biennale, Athens

Riyas Komu, Director of Programs, Kochi-Muziris Biennale 2012 and Secretary of Kochi Biennale Foundation, Mumbai/Kochi;

Carol Lu Yinghua, Artistic Director, OCAT, Shenzhen/Beijing;

Jessica Morgan, Director of the Gwangju Biennale 2014; President of the International Jury of the 55th Venice Biennial and The Daskalopoulos Curator, International Art, Tate Modern, London

Moderator: Shengtian Zheng, Trustee, Vancouver Art Gallery; Senior Curator of Asia, for the Vancouver Biennale and Managing Editor, Yishu: Journal of Contemporary Chinese Art, Vancouver

In correlation with Yishu‘s special issue on World Biennial Forum No 1

SALON

The afternoon Salon program serves as an open platform for short presentations such as artist talks, panels, lectures and performances – often informal – with a range of speakers including artists, academics, curators, collectors, architects, art lawyers, critics and many other cultural players.

Salon is held daily from Thursday, June 13 to Sunday, June 16 from 1pm to 7pm (Sunday to 5pm) in Hall 1 of Art Basel; Access with Art Basel Ticket.

Videos of Salon talks will be available at artbasel.com shortly after the show.

The June 2013 issue of Yishu‘s Chinese-language edition is now available. This is a special issue dedicated to the World Biennial Forum No 1. We would like to thank the writers and presenters for their contributions to an important and timely discourse, the World Biennial Forum No 1 co-directors Hou Hanru and Ute Meta Bauer for inviting Yishu to participate in this important event, Olga Hatzidaki of the Biennial Foundation, and Sohl Lee of the Gwangju Biennale Foundation, as well as all the others who have assisted with this publication. We would also like to thank JNBY for their generous contribution to the publication of Yishu‘s Chinese edition.

目录:

第一届世界双年展论坛：引力转移——引言
文：侯瀚如、乌塔·梅塔·鲍尔（Ute Meta Bauer）
译：斯然畅畅

美学世界主义观中的世界
文：尼科斯·帕帕斯特里亚迪斯（Nikos Papastergiadis）
译：苏东悦

上上下下：越转越快的双年展旋转木马
文：雷内·布拉克（René Block）
译：郑晶晶

案例研究：亚太地区——第一部分
亚太当代艺术三年展（选例）
文：凯洛琳·特纳（Caroline Turner）
译：宋一辰

案例研究：亚太地区——第二部分
台北双年展（选例）
文：张芳薇
译：张大军

亚洲的双年展
文：郑妍，主持人

案例研究：双年展——建筑- 设计- 基础设施
深圳·香港城市\ 建筑双城双年展（选例）
文：欧宁
译：张大军

案例研究：紧急—替代性
文：玛丽·勒素（Marie Le Sourd），主持人
译：魏颖

印度科钦—穆吉里斯双年展
文：瑞亚斯·科穆（Riyas Komu）
译：斯然畅畅

蒙古大地艺术360°
文：马克·施米茨（Marc Schmitz）
译：张大军

紧急—替代性单元讨论
文：玛丽·勒素（Marie Le Sourd），主持人
译：魏颖

案例研究：韩国
文：金弘姬（Kim Hong-Hee），主持人
译：潘自意

光州双年展
文：李龙雨（Yongwoo Lee）
译：潘自意

首尔国际媒体艺术双年展
文：刘振相（Jinsang Yoo）
译：潘自意

安养公共艺术计划
文：白智淑（Beck Jee-Sook）
译：潘自意

韩国单元讨论
文：金弘姬（Kim Hong-Hee），主持人
译：潘自意

双年展列表

封面: 崔正化（Choi Jeong Hwa）《会呼吸的花》装置 韩国光州金大中会议中

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编辑手记

在我们编辑部紧张准备这一期《典藏国际版文选》的时候，中国艺术行业正在面临着另一种紧迫性，一种参与的紧迫性。近几个月来，很多同行们都在准备前往或谈论着即将到来的威尼斯双年展。今年，除了中国馆以外，还将有超过十个由来自中国的主办方或策展人在威尼斯组织的，由中国艺术家参加的外围展。显然，在过去几年中充满自满的情绪并出现了自我封闭倾向的中国艺术界将再一次准备出发，前所未有地提出了渴望在场的强烈诉求，纷纷以各自的方式去尝试发声，试图参与和介入在世界领域中发生的艺术事件。

本期《典藏国际版文选》刊登的所有内容均来自2012 年10 月27 日至31日由光州双年展基金会、双年展基金会(BF) 和德国对外关系学院在韩国光州举办的首届世界双年展论坛的部分演讲。这个论坛发生在第九届光州双年展期间。本届的光州双年展由六位来自亚洲的策展人担任艺术总监，作为其中一员，我深感光州双年展基金会对于该双年展能够在世界的双年展中扮演重要角色，特别是在推动亚洲对于国际艺术事务的参与方面所付出的种种努力。

这个为期三天的论坛包括了四位策展人、哲学家和文化批评家的主题发言和几场分组讨论。该论坛的联合总监，乌塔·梅塔·鲍尔(Ute Meta Bauer) 和侯瀚如以“引力转移”为题目，邀请了威斯敏斯特大学民主研究中心主任尚塔尔·墨菲（Chantal Mouffe）教授、墨尔本大学文化研究与媒体研究学院的尼克斯·帕帕斯特吉亚迪斯（Nikos Papastergiadis）教授以及清华大学人文学院的汪晖教授发表了主题演讲。本届论坛的特别嘉宾策展人雷内·布拉克（René Block）在将近半个世纪的职业生涯中见证了全球从上个世纪60 年代初期仅有两个双年展到今天出现了将近150 个双年展的转变，在演讲中回顾了他所亲历的世界双年展发展的几个重要节点及其历史语境，分析了双年展的存在对艺术系统的意义，和双年展模式的多次变迁。在主题发言以外，研讨会设置了六个研讨单元：“紧急—替代性”、“亚太地区”（两场）、“建筑·设计·公共建设”、“韩国”，和“亚洲及周边”，分别邀请曾经参与或正在参与主要发生在亚洲的双年展的主办者和策展人来描述和探讨他们与双年展的经历和对于双年展的发生、组织和策划的理解和认识。

这些从艺术史的角度和在哲学层面上对于双年展作为艺术系统中一种生产机制和一个想象世界的平台的讨论，以及双年展的实践者们在前沿的、在不同区域和具体语境中工作的经验的分享对于我们了解双年展形态的丰富性和可能性，以及双年展在全球艺术系统以及区域性的艺术生态中的位置和作用提供了宝贵的资料和视角。由于篇幅的限制，本期《典藏国际版文选》只能选取其中的部分演讲稿刊登，我们也邀请演讲者对于文稿为刊登的需要进行了编辑。

每个双年展的诞生有不同的动机、历史背景以及问题感，并且在发展的过程中受到各种局限或者可能性的激发，研发出不同的展览模式和机制，有一些相当带有创造性。将这些在亚洲范围内发生的双年展放在一起讨论提供了一种长远的视野，使我们产生了对于双年展更积极的态度和想象。在过去的十几年中，中国也开始借鉴双年展的机制，出现了越来越多的城市双年展，这种趋势还将继续延续下去。如何认识双年展对于艺术家个体，对于艺术系统，对于社会和政治所扮演和可能扮演的角色，涉足双年展工作的实践者们如何深入到切身的语境中去深究和发现自己所面对的问题感，并且将这种问题感转化为实践和创作的基础可能是迫切需要展开的一项工作。

帕帕斯特吉亚迪斯教授在他题为《美学世界主义观中的世界》的演讲稿中描绘了当代艺术与世界主义之间的关联，他提到当代艺术和文化能为我们提供一种跨历史想象。而要激发我们各自心中的这种潜质，需要我们调动对于世上万物的感官认识，并且关注世界作为一个人们相伴的空间。这种对于关联性的想象超越了地域、国家和历史时间的边界，让我们产生在这个宇宙中同伴比邻的体验。就这种意义而言，双年展的确是激发并制造这种想象和体验的一个生动的平台。

–卢迎华

The Biennial Foundation is happy to announce the publication and launch of the book Shifting Gravity, edited by Ute Meta Bauer and Hou Hanru, on May 30th, 6-8pm at Hotel Monaco & Grand Canal in Venice, Italy. Yishu 56 will also be available for view at the book launch of Shifting Gravity.

About the Book: Shifting Gravity

Biennial case studies with a focus on Asia examine innovative and contextually relevant models of biennials in the Asia Pacific region through contributions by: Tarek Abou El Fetouh, Hoor Al Qasimi, Shahidul Alam, Elke aus dem Moore, Ute Meta Bauer, Beck Jee-Sook, René Block, Fang-Wei Chang, Raphael Chikukwa, Joseph Grima, Ranjit Hoskote, Hou Hanru, JEON Joonho, Evelyne Jouanno, Kim Hong-Hee, Riyas Komu, Lian Ladia, Marie Le Sourd, Yongwoo Lee, Chantal Mouffe, Hans Ulrich Obrist, Bige Örer, Eriko Osaka, Ou Ning, Hyungmin Pai, Nikos Papastergiadis, Mauro Petroni, MOON Kyungwon, Alisa Prudnikova, Marc Schmitz, Alya Sebti, Basak Senova, Alia Swastika, Ritsuko Taho, Arlette Quynh-Anh Tran, Wato Tsereteli, Caroline Turner, Marieke van Hal, Wang Huangsheng, Wang Hui, Jonathan Watkins, Jinsang Yoo, Ursula Zeller, Zhang Qing, Zheng Yan.

About Yishu 56:

The Biennial Foundation is grateful to Yishu for devoting an entire issue to the World Biennial Forum No 1.

Yishu 56 pays attention to a selection of the case studies in the World Biennial Forum No 1, focusing on the Asia Pacific region, architecture and design, emergent and alternative biennials, biennials in South Korea, and “Asia” and its margins. Yishu 56 represents not only some of the more established biennials in Asia, but also newer models that may be overlooked due to an emphasis on the local or access to only a modest means of production. The issue also includes extensive visual material.

Yishu: Journal of Contemporary Chinese Art is the first English language journal to focus on Chinese contemporary art and culture. Each bi-monthly issue features scholarly essays on topical issues, interviews with artists and curators, conference proceedings, and critical commentary on exhibitions and books.

Yishu 56 (May/ June 2013 Issue, Volume 12, Number 3) can be ordered at: http://yishu-online.com/

For RSVP (book launch) please contact: Serene Pac, shiftinggravity@gwangjubiennale.org

For more info, visit: http://www.biennialfoundation.org/2013/05/biennial-foundation-is-happy-to-announce-the-publication-and-launch-of-the-book-shifting-gravity-on-the-30th-of-may-at-hotel-monaco-grand-canal-in-venice-italy/

Or: http://www.biennialfoundation.org/2013/05/now-available-yishu-56-journal-of-contemporary-chinese-art-a-special-issue-on-world-biennial-forum-no-1/

“Writing Across Cultures” was a meeting that was part of Asia Art Archive’s community programme, entitled “Open Platform.” The discussion was about some of the differences and challenges that writers and publishers have to face while working with different languages, readers, discourses, and distribution targets.

photo 1 (from left to right): Our sponsor JNBY Co-Owner and Designer Li Lin, President of Art & Collection Katy Hsiu-chih Chien, Director of Canadian Foundation for Asian Art Yu Yu, and Yishu Editor-in-Chief Keith Wallace.

photo 2 (left): Carol Lu Yinghua, Executive Editor-in-Chief, Yishu (Chinese Version)

photo 3: With Keith Wallace, Christina Yu Yu, Assistant Curator of Chinese Art, Los Angeles County Museum of Art (LACMA), and Carol Lu Yinghua

photo 4: With Keith Wallace, Christina Yu Yu, and Carol Lu Yinghua.

photo 5: With Stephanie Bailey, Chia Chi Jason Wang, Taiwan, Juror of the 2012 Yishu Award and Yu-Ling Chou, 2012 Yishu Award recipient.

photo 6: Chou Yu-Ling receiving the 2012 Yishu Award certificate.

photo 7: Li Lin receiving the 2012 Yishu Award certificate on behalf of Lu Peng.

By Canadian Art

http://www.canadianart.ca/talks/2013/05/13/zheng-shengtian-asia-contemporary-speaker-series/

On April 18, 2013, Zheng Shengtian, managing editor of Yishu: Journal of Contemporary Chinese Art gave the lecture “From Cultural Revolution to Avant-Garde: The Rise of Chinese Contemporary Art” at the Glenbow Museum in Calgary.

This lecture is now viewable in full by clicking on the link above:

The talk was part of the Asia Contemporary Speaker Series, a partnership between the Canadian Art Foundation and the Asia Pacific Foundation of Canada‘s National Conversation on Asia and its sponsors.

Yishu‘s Editor-in-Chief Keith Wallace is going to host “Writing Across Cultures,” a meeting which is part of Asia Art Archive’s community programme, entitled “Open Platform.” It is going to take place at Art Basel Hong Kong, on May 23rd, Thursday, 4-5:30pm.

Writing Across Cultures

A discussion about some of the differences and challenges that writers and publishers are facing when working with different languages, readers, discourses, and distribution targets.

Moderator:

Keith Wallace, Editor-in-Chief, Yishu: Journal of Contemporary Chinese Art

Participants:

Chia Chi Jason Wang, Taiwan, Juror of the 2012 Yishu Award

Yu-Ling Chou, 2012 Yishu Award recipient

Carol Yinghua Lu, Executive Editor-in-Chief, Yishu (Chinese Version)

Christina Yu Yu, Assistant Curator of Chinese Art, Los Angeles County Museum of Art (LACMA)

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About Open Platform

Open Platform is an extension of Asia Art Archive’s endeavour to enable new thinking in the field. Following an open call, selected cultural practitioners will use the Archive’s network to host meetings in AAA’s booth at Art Basel in Hong Kong. These “meetings without doors” will be a place for the hosts to further their ongoing projects, catalyse new ones, or simply be an opportunity to make connections.

Meetings (and their hosts) include:

A Generation: Cross-Cultural Connections | Zoë Marden & Julia Marchand

Art Ecology and Education | Ting Wing Yan Vivian & Emma Watts, Hong Kong Baptist University

Artistic Research in the Economies of “Post-“ | Elaine W Ho

Asian Art Worlds/Western Gatekeepers | Jonathan Harris, University of Southampton

Collaboration as Method | Jane DeBevoise, Asia Art Archive

Comparative Contemporaries | Lee Weng Choy

Contemporary Reframing of Ink | Britta Erickson

Institutional Change in Post-2000 Asia | Menene Gras, Casa Asia

Mapping Asia | Claire Hsu & Chantal Wong, Asia Art Archive

Meet the Parents | Clara Cheung & Gum Cheng, C&G Artpartment

The Gallerist Programme | Ann Demeester, De Appel Arts Centre

Vernacular Art Education in Asia | Sophia McKinnon

Writing Across Cultures | Keith Wallace, Yishu: Journal of Contemporary Chinese Art

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When May 23 – 26, 2013

Where Booth P1, Hong Kong edition of Art Basel, Hong Kong Convention and Exhibition Centre

In conjunction with the Hong Kong edition of Art Basel.

Booth supported by Elaine and Anto Marden

Design Partners: Art Lab x Milkxhake

Mapping Asia supported by Mondriaan Foundation

For more info, visit: http://www.aaa.org.hk/Programme/Details/421