从威尼斯到深圳——全球性双年展模式的本土化
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摘要
双年展通常被认为是新自由主义经济体中用来创建世界"创意城市"形象的工具。威尼斯双年展可被视为从概念和空间设计这两个方面创建这种展览体系的基本范例:自威尼斯双年展开始举办以来,许多城市相应地创建了其"X年展"。此外,自20世纪90年代以来,在亚洲、在中国,此类展览的数量大幅增加。全球化现象与其在当地背景下的再诠释此二者之间的关系是什么样的?它意味着什么样的做法和实践?双年展在这里被视为一种"全球性实践",是跨文化背景交流的载体,主办者试图在全球巡演的展览中协商他们的立场,并尝试用新方式参与这一"创意"讨论。文章将探讨这一对话的两个维度:一方面,中国建筑师如何逐渐熟悉威尼斯双年展的模式;另一方面,威尼斯双年展这种全球性模式如何被中国当地的双年展所借鉴和改编,文章将以深圳·香港城市\建筑双城双年展(UABB)为例。
Biennials are commonly considered tools used in neo-liberal economies to foster the image of the "creative city" worldwide. Venice Biennale could be considered as a basic paradigm for the creation of such exhibition system in both conceptual and spatial design aspects: following its foundation,many cities created their own-ennials exhibitions. Since the 1990s, moreover, Asia and China are witnessing a great increase in the number of exhibitions of such kind. What is the relationship between what is considered a global phenomenon and its reinterpretation in a local context? What kind of practices and relationships does it imply? Biennial exhibition is considered here as a "world practice" and as a vector of exchange in cross-cultural contexts, a situated experiment adopted by host cities trying to negotiate their position in the global circuit and trying to test new ways of participating in the "creative" debate. This article will examine two dimensions of this dialogue: on one side, how Chinese architects became familiar with the model of Venice Biennale; on the other side, how the global model of Venice Biennale has been borrowed and adapted by a local Chinese biennial, Shenzhen/HongKong Bi-City Biennale of Urbanism\Architecture.
Biennials are commonly considered tools used in neo-liberal economies to foster the image of the "creative city" worldwide. Venice Biennale could be considered as a basic paradigm for the creation of such exhibition system in both conceptual and spatial design aspects: following its foundation,many cities created their own-ennials exhibitions. Since the 1990s, moreover, Asia and China are witnessing a great increase in the number of exhibitions of such kind. What is the relationship between what is considered a global phenomenon and its reinterpretation in a local context? What kind of practices and relationships does it imply? Biennial exhibition is considered here as a "world practice" and as a vector of exchange in cross-cultural contexts, a situated experiment adopted by host cities trying to negotiate their position in the global circuit and trying to test new ways of participating in the "creative" debate. This article will examine two dimensions of this dialogue: on one side, how Chinese architects became familiar with the model of Venice Biennale; on the other side, how the global model of Venice Biennale has been borrowed and adapted by a local Chinese biennial, Shenzhen/HongKong Bi-City Biennale of Urbanism\Architecture.
引文
[1]RICHARDS G, PALMER R. Eventful Cities:Cultural Management and Urban Revitalisation[M].Amsterdam:Elsevier, 2010.
[2]JONES C. Biennial Culture. A Longer History[M]//FILIPOVIC E, VAN HAL M,(?)VSTEB(?)S. The Biennial Reader:An Anthology on Large-Scale Perennial Exhibitions of Contemporary Art.Ostfildem and Bergen:Hatje Cantz Verlag, Bergen Kunsthall, 2010:66-87.
[3]VOGEL S B. Biennials-Art on a Global Scale[M].New York:Springer, 2010.
[4]SMITH T. Thinking Contemporary Curating[M].New York:Independent Curators International(ICI)2012.
[5]CINAR A. BENDER T. Urban Imaginaries:Locating the Modem City[M]. London:University of Minnesota Press, 2007.
[6]GREEN C, GARDNER A. Biennials, Triennials,and Documenta:The Exhibitions That Created Contemporary Art[M]. Oxford:Wiley-Blackwell,2016.
[7]BYDLER C. The Global ArtWorld Inc.:On the Globalization of Contemporary Art[D]. Uppsala:Acta Universitatis Upsaliensis, 2004.
[8]CLARK J. Biennials as Structures for the Writing of Art History:The Asian Perspective[M]//FILIPOVIC E, VAN H M,(?)VSTEB(?)S. The Biennial Reader:An Anthology on Large-Scale Perennial Exhibitions of Contemporary Art. Ostfildern and Bergen:Hatje Cantz Verlag, Bergen Kunsthall,2010:164-183.
[9]ROY A, ONG A. Worlding Cities:Asian Experiments and the Art of Being Global[M]. Oxford:WileyBlackwell, 2011.
[10]FABRICIUSD. Exhibition:"Mission:Postmodern——Heinrich Klotz and the Wunderkammer DAM"[J].Journal of Architecture, 2014(5):812-817.
[11]王明贤.超越城市和国界的瓦园——威尼斯双年展第10届国际建筑展中国国家馆[J].艺苑,2006(11):12-14.
[12]刘敦祯.中国古代建筑史[M].北京:中国建筑工业出版社,1984.
[13]冯艺佳.2014威尼斯双年展中国馆:山外山[J].建筑师,2014(3):124.
[14]魏春雨,张光,沈昕.原初——第13届威尼斯国际建筑双年展中国馆[J].建筑技艺,2012(6):56-61.
[15]LIANG J Y. Pavilion of China at the 15th International Architecture Exhibition-La Biennale di Venezia[EB/OL].[2016-04-24].http://www.ikuku.cn/post/109920.
[16]刘梦零.第12届威尼斯国际建筑双年展中国馆:意园[J].世界建筑,2011(1):106-110.
[17]李娜亭.“虫形馆”亮相威尼斯双年展[J].风景园林,2014(6):16.
[18]O'DONNELL M A, WONG W, BACH J. Learning from Shenzhen:China's Post-Mao Experiment from Special Zone to Model City[M]. London:University of Chicago Press, 2017.
[19]JONES C. The Global Work of Art:World's Fairs,Biennials, and the Aesthetics of Experience[M].Chicago:University of Chicago Press, 2016.
[20]CORMIER B. Volume#39:Urban Border[M].Amsterdam:Archis, 2014.
[21]SHAPIRO G F. Re-living the City:UABB 2015Catalogue[M]. New York:Actar, 2016.
(1)网络平台“双年展基金会”统计世界各地的双年展和经常性展览数量为230个,而Oncurating的报告显示全球有320个经常性展览,显然,这一数据是不断变化的。参见:http://www.biennialfoundation.org/home/biennial-map/和Oncurating Issue 39:Draft:Global Biennial Survey2018, 2018。
(2)第一届威尼斯双年展由威尼斯市议会于1893年举办,并成为“两年一度的全国性艺术展”, 1895年4月,该展览被提议作为国际性展览。参见:https://www.labiennale.org/en/history-biennale-arte。
(3)由于情况不断变化,因此很难评估中国双年展的数量,本文参考“双年展基金会”的统计数据。参见:http://www.biennialfoundation.org/home/biennial-map/。
(4)具体内容参见:https://www.labiennale.org/en/history-biennale-architettura。
(5)即“Reporting from the Front”,2016年的威尼斯建筑双年展主题。参见:https://www.labiennale.org/it/architettura/2016。
(6)本文参考王美琴的定义,她认为北京双年展可被视为“中国特色双年展”。参见:Meiqin Wang,“Reflecting on International Biennials and Triennials in Asia”, Asia Art Archive, 2008https://aaa.org.hk/en/ideas/ideas/reflecting-oninternational-biennials-and-triennials-in-asia。
(7)具体内容参见:http://szhkbiennale.org/default.aspx。
(8)UABB的前三届于2005、2007、2009年由中国策展人(分别为张永和、马清运和欧宁)执导。自2011年以来,国际策展人也逐渐熟悉深圳双年展:2011年UABB由泰伦斯·瑞莱(Terence Riley)策展;2013年由奥雷·伯曼(Ole Bouman)、李翔宁和杰夫里·约翰逊(Jeffrey Johnson)策展;2015年由艾伦·贝斯奇(Aaron Betsky)、刘珩和阿尔弗雷多·布林伯格(Alfredo Brillembourg)与胡博特·克伦普纳(Hubert Klumpner)策展。
(9)威尼斯双年展是一个历史性的有力案例,借此可以了解这种展览综合体在城市中扮演的角色:在艺术宫(Palazzo Pro Arte)和意大利国家馆(Padiglione Italia)进行的临时建筑改造,绿堡花园(Giardini)附近城市系统的增量开放,对军械库(Corderie dell'Arsenale)的再利用,以及向丽都区(Lido Area)扩张,并定义了能被其他展览学习模仿的“线索”(例如,伊斯坦布尔双年展使用了更新的旧烟草工厂,柏林双年展使用了更新的废弃黄油工厂)。参见:C. Jones, The Global Work of Art:World's Fairs, Biennials, and the Aesthetics of Experience,Chicago and London:University of Chicago Press,2016。
(10)具体内容参见:http://www.urbanus.com.cn。
(11)2013年UABB有两个会场:价值工厂(Value Factory),由创意总监奥雷·伯曼(Ole Bouma)策展;和蛇口客运码头旧仓库,由学术总监李翔宁和杰夫里·约翰逊(Jeffrey Johnson)策展。只有广东浮法玻璃厂空间改造是在UABB之后被实行的。
(12)具体内容参见:http://www.worldcitiescultureforum.com/case_studies/i-factory。
(13)具体内容参见:http://www.nodeoffice.com/。
(14)刘晓都和孟岩为都市实践的三位合伙人之二,他们的建筑实践主要位于深圳。参见:www.urbanus.com。
(15)除主会场之外,还有五个分会场:盐田大梅沙村(建筑策展人:刘珩,艺术策展人:杨勇);罗湖清水河一路工业站(策展人:唐克扬);龙华上围村(策展团队:未来+城乡营造学院);龙华浪口村(策展人:马立安(Mary Ann O'Donnell));光明迳口社区(策展人:尹毓俊)。
(16)具体内容参见:Men Yang,“Exhibition Venue Design Concept. Curating in Nantou:A Case of Village/City Coexistence and Regeneration",http://szhkbiennale.org/EN/News/Details.aspx?id=10001013。
(17)具体内容参见:http://www.urbanus.com.cn/projects/nantou-old-town/?lang=en。
(18)具体内容参见:http://szhkbiennale.org/EN/News/Details.aspx?id=10001013。
(19)具体内容参见:J.Clark,"Contemporary Asian Art at Biennales and Triennales:The 2005Venice Biennale and Fukuoka Asian Triennale,the Sigg Collection, and the Yokohama and Guangzhou Triennales", College Art Association,7 September 2006, http://www.caareviews.org/reviews/884。
[2]JONES C. Biennial Culture. A Longer History[M]//FILIPOVIC E, VAN HAL M,(?)VSTEB(?)S. The Biennial Reader:An Anthology on Large-Scale Perennial Exhibitions of Contemporary Art.Ostfildem and Bergen:Hatje Cantz Verlag, Bergen Kunsthall, 2010:66-87.
[3]VOGEL S B. Biennials-Art on a Global Scale[M].New York:Springer, 2010.
[4]SMITH T. Thinking Contemporary Curating[M].New York:Independent Curators International(ICI)2012.
[5]CINAR A. BENDER T. Urban Imaginaries:Locating the Modem City[M]. London:University of Minnesota Press, 2007.
[6]GREEN C, GARDNER A. Biennials, Triennials,and Documenta:The Exhibitions That Created Contemporary Art[M]. Oxford:Wiley-Blackwell,2016.
[7]BYDLER C. The Global ArtWorld Inc.:On the Globalization of Contemporary Art[D]. Uppsala:Acta Universitatis Upsaliensis, 2004.
[8]CLARK J. Biennials as Structures for the Writing of Art History:The Asian Perspective[M]//FILIPOVIC E, VAN H M,(?)VSTEB(?)S. The Biennial Reader:An Anthology on Large-Scale Perennial Exhibitions of Contemporary Art. Ostfildern and Bergen:Hatje Cantz Verlag, Bergen Kunsthall,2010:164-183.
[9]ROY A, ONG A. Worlding Cities:Asian Experiments and the Art of Being Global[M]. Oxford:WileyBlackwell, 2011.
[10]FABRICIUSD. Exhibition:"Mission:Postmodern——Heinrich Klotz and the Wunderkammer DAM"[J].Journal of Architecture, 2014(5):812-817.
[11]王明贤.超越城市和国界的瓦园——威尼斯双年展第10届国际建筑展中国国家馆[J].艺苑,2006(11):12-14.
[12]刘敦祯.中国古代建筑史[M].北京:中国建筑工业出版社,1984.
[13]冯艺佳.2014威尼斯双年展中国馆:山外山[J].建筑师,2014(3):124.
[14]魏春雨,张光,沈昕.原初——第13届威尼斯国际建筑双年展中国馆[J].建筑技艺,2012(6):56-61.
[15]LIANG J Y. Pavilion of China at the 15th International Architecture Exhibition-La Biennale di Venezia[EB/OL].[2016-04-24].http://www.ikuku.cn/post/109920.
[16]刘梦零.第12届威尼斯国际建筑双年展中国馆:意园[J].世界建筑,2011(1):106-110.
[17]李娜亭.“虫形馆”亮相威尼斯双年展[J].风景园林,2014(6):16.
[18]O'DONNELL M A, WONG W, BACH J. Learning from Shenzhen:China's Post-Mao Experiment from Special Zone to Model City[M]. London:University of Chicago Press, 2017.
[19]JONES C. The Global Work of Art:World's Fairs,Biennials, and the Aesthetics of Experience[M].Chicago:University of Chicago Press, 2016.
[20]CORMIER B. Volume#39:Urban Border[M].Amsterdam:Archis, 2014.
[21]SHAPIRO G F. Re-living the City:UABB 2015Catalogue[M]. New York:Actar, 2016.
(1)网络平台“双年展基金会”统计世界各地的双年展和经常性展览数量为230个,而Oncurating的报告显示全球有320个经常性展览,显然,这一数据是不断变化的。参见:http://www.biennialfoundation.org/home/biennial-map/和Oncurating Issue 39:Draft:Global Biennial Survey2018, 2018。
(2)第一届威尼斯双年展由威尼斯市议会于1893年举办,并成为“两年一度的全国性艺术展”, 1895年4月,该展览被提议作为国际性展览。参见:https://www.labiennale.org/en/history-biennale-arte。
(3)由于情况不断变化,因此很难评估中国双年展的数量,本文参考“双年展基金会”的统计数据。参见:http://www.biennialfoundation.org/home/biennial-map/。
(4)具体内容参见:https://www.labiennale.org/en/history-biennale-architettura。
(5)即“Reporting from the Front”,2016年的威尼斯建筑双年展主题。参见:https://www.labiennale.org/it/architettura/2016。
(6)本文参考王美琴的定义,她认为北京双年展可被视为“中国特色双年展”。参见:Meiqin Wang,“Reflecting on International Biennials and Triennials in Asia”, Asia Art Archive, 2008https://aaa.org.hk/en/ideas/ideas/reflecting-oninternational-biennials-and-triennials-in-asia。
(7)具体内容参见:http://szhkbiennale.org/default.aspx。
(8)UABB的前三届于2005、2007、2009年由中国策展人(分别为张永和、马清运和欧宁)执导。自2011年以来,国际策展人也逐渐熟悉深圳双年展:2011年UABB由泰伦斯·瑞莱(Terence Riley)策展;2013年由奥雷·伯曼(Ole Bouman)、李翔宁和杰夫里·约翰逊(Jeffrey Johnson)策展;2015年由艾伦·贝斯奇(Aaron Betsky)、刘珩和阿尔弗雷多·布林伯格(Alfredo Brillembourg)与胡博特·克伦普纳(Hubert Klumpner)策展。
(9)威尼斯双年展是一个历史性的有力案例,借此可以了解这种展览综合体在城市中扮演的角色:在艺术宫(Palazzo Pro Arte)和意大利国家馆(Padiglione Italia)进行的临时建筑改造,绿堡花园(Giardini)附近城市系统的增量开放,对军械库(Corderie dell'Arsenale)的再利用,以及向丽都区(Lido Area)扩张,并定义了能被其他展览学习模仿的“线索”(例如,伊斯坦布尔双年展使用了更新的旧烟草工厂,柏林双年展使用了更新的废弃黄油工厂)。参见:C. Jones, The Global Work of Art:World's Fairs, Biennials, and the Aesthetics of Experience,Chicago and London:University of Chicago Press,2016。
(10)具体内容参见:http://www.urbanus.com.cn。
(11)2013年UABB有两个会场:价值工厂(Value Factory),由创意总监奥雷·伯曼(Ole Bouma)策展;和蛇口客运码头旧仓库,由学术总监李翔宁和杰夫里·约翰逊(Jeffrey Johnson)策展。只有广东浮法玻璃厂空间改造是在UABB之后被实行的。
(12)具体内容参见:http://www.worldcitiescultureforum.com/case_studies/i-factory。
(13)具体内容参见:http://www.nodeoffice.com/。
(14)刘晓都和孟岩为都市实践的三位合伙人之二,他们的建筑实践主要位于深圳。参见:www.urbanus.com。
(15)除主会场之外,还有五个分会场:盐田大梅沙村(建筑策展人:刘珩,艺术策展人:杨勇);罗湖清水河一路工业站(策展人:唐克扬);龙华上围村(策展团队:未来+城乡营造学院);龙华浪口村(策展人:马立安(Mary Ann O'Donnell));光明迳口社区(策展人:尹毓俊)。
(16)具体内容参见:Men Yang,“Exhibition Venue Design Concept. Curating in Nantou:A Case of Village/City Coexistence and Regeneration",http://szhkbiennale.org/EN/News/Details.aspx?id=10001013。
(17)具体内容参见:http://www.urbanus.com.cn/projects/nantou-old-town/?lang=en。
(18)具体内容参见:http://szhkbiennale.org/EN/News/Details.aspx?id=10001013。
(19)具体内容参见:J.Clark,"Contemporary Asian Art at Biennales and Triennales:The 2005Venice Biennale and Fukuoka Asian Triennale,the Sigg Collection, and the Yokohama and Guangzhou Triennales", College Art Association,7 September 2006, http://www.caareviews.org/reviews/884。