Rockbund Art Museum 上海外滩美术馆

When Trinh T. Minh-ha published her significant text Woman, Native, Other: Writing Postcoloniality and Feminism in 1989, some of the turbulent and transformative events of the world’s recent history were yet to happen, such as the end of the Cold War, the so-called East Asian Miracle, and the aggressive global expansion of identitarianism. But Minh-ha had already proposed a non-dualistic affirmation of women by stating: “The idea of two illusorily separated identities, one ethnic, the other woman (or more precisely female), again, partakes in the Euro-American system of dualistic reasoning and its age-old divide-and-conquer tactics.” Before that she had explored and demonstrated a possible position for female creators in her film Reassemblage (1982): “I do not intend to speak about; just speak nearby.” The videos, images and texts featured in Traveling in the Dark at RAM offer audience an opportunity to gain insights into“speaking nearby” and how this approach runs through Trinh T. Minh-ha’s diverse practices.

Inspired by Trinh T. Minh-ha’s belief in the empowerment of writing and storytelling, Nikita Yingqian Cai curated an exhibition entitled Neither Black/Red/Yellow NorWoman in 2019 (Times Art Center, Berlin). Delving into her own multiple identities as reader, viewer, creator and woman, she revisited, conceptually, works and archives of Theresa Hak Kyung Cha (1951–1982), Pan Yuliang (1895–1977), and Trinh T. Minh-ha (b. 1952), which unfolded mesmerizing star charts featuring a mixture of historic memories and imagination. She attempted to integrate the voices and narratives of these Asian woman artists into the exhibition by applying “speaking nearby” into her curatorial practice – a testimony and response to “speaking nearby”.

The lecture will begin with the speaker reading curatorial statements from her previous practices, presenting texts, videos by different woman artists as well as monologues in Trinh T. Minh-ha’s films. Together with the audience, the speaker will try to transcend differences lying in cultures, geopolitics and historical contexts to approach the subjects living on the margins and in silence. Speaking from her curatorial practices, the speaker will show how “speaking nearby” has empoweredwomen’s creative practices; and in particular, how it has inspired her own curatorial practices and writings. We hope the lecture will also offer inspiration for audience and, despite the possibly different perspectives and stances, enable them to find the same sense of “empowerment” and “inspiration” on subjects they are interested in

在郑明河写作和影像的启发之下，本次讲座的讲者蔡影茜在2019年策划了展览“非黑/非红/非黄/非女”（时代艺术中心，柏林）。

她审视了自己作为读者、观众、创作者和女性的多重身份，重访了艺术家车学庆（1951-1982）、潘玉良（1895-1977）和郑明河（生于1952年）的作品及文献，由此打开一幅历史记忆和想象力交互的星图。她把这些亚洲女性的众声讲述编织进展览，通过将“在旁言说”用于自身的策展实践的经历，对“在旁言说”有了证明和回应。

本次讲座将从讲者阅读曾经的策展实践的展览人语开始，展现不同女性的文本与影像创作、郑明河电影中的独白等，讲者将和现场观众一同试图穿越文化、地缘和历史语境的差异，接近那些身处边缘和沉默之中的主体。

在自身策展实践的引用和阐释中，讲者将体现“在旁言说”如何为她以及其他女性创作者的创作进行赋权、为其策展实践和写作带来了启发，从而为现场观众带来灵感，可以从自身不同的角度和立场出发，在感兴趣的议题上同样找到这种“赋权”与“启发”。

蔡影茜，现为广东时代美术馆学术副馆长及首席策展人。她策划了时代异托邦三部曲等系列群展，罗曼·欧达科、奥尔马·法斯特、周滔、林从欣等职业中期艺术家的在中国的首次机构个展，以及“大尾象：一小时、没空间、五回展”（2016）、“潘玉良：沉默的旅程”（2017）、“非黑/非红/非黄/非女”（柏林，2019）等研究性群展。

她的大量写作见于各类艺术媒体及出版物，也是泛策展系列和“一路向南”驻地研究网络的发起者，电子期刊On Our Times的主编及“生滚粥”主播，并于2019年获得亚洲文化协会的研究奖学金。