Promo of CPA Talk | Researching on Exhibitions Histories: A Decisive Challenge for the Development of Contemporary Art in Asia
CPA 系列讲座 | 展览史研究：亚洲当代艺术的关键挑战宣传片
In many local contexts including China, before and with the rise of numerous art institutions and major art events in Asia, exhibition practices in the past decades have played major roles in the making of contemporary art scenes and histories. These decisive practices and histories are often forgotten, neglected or excluded from the official global contemporary art history and Asian art institution references. Thus, they deserve to be urgently researched, archived and questioned in order to develop a better knowledge of the modern and contemporary arts specific to Asia and to evince new angles of the global contemporary art history.
This talk will look at the exhibition histories starting from China’s local context in relation to the upcoming assembly, co-organized by the Rockbund Art Museum and Biljana Ciric titled From Exhibition Histories towards a Future of Exhibition Making with a focus on the 90’s in China and Southeast Asia. Through this period, we witnessed the rise of biennials (including Shanghai Bienniale established in 1996) and other large-scale exhibitions throughout Asia as a response to weak infrastructure of local art institutions to support more experimental contemporary productions.
Conversation around exhibition histories between Larys Frogier (Director of the Rockbund Art Museum), Biljana Ciric (Independent Curator) and Cuauhtémoc Medina ( Chief Curator of the 12th Shanghai Biennale) will open up questions on how exhibition histories turned into active knowledge; through which prism we can reflect upon our practice of curators and artists today, as well as how we can challenge standardized modes of production today.
过去几十年间，在大量艺术机构及大型艺术活动兴起前，展览对中国和亚洲其他地区当代艺术界和艺术史的发展起到了重要作用。这些展览实践意义重大，却常常被人遗忘、忽视、排除在主流世界当代艺术史之外，甚至没有在亚洲艺术机构的档案中留下只言片语。为了更好地了解亚洲现代和当代艺术，同时为世界当代艺术史研究开辟新视角，我们应尽快着手研究、记录并思考这些宝贵实践。
2018年上海外滩美术馆与独立策展人比利安娜·思瑞克共同举办的“从展览的历史到展览制造的未来”研讨会聚焦 1990 年代中国及东南亚地区的策展实践之际，本次讲座将探讨中国本土的展览史。在这段重要时期，亚洲地区还产生了双年展（包括创立于 1996 年的上海双年展）及其他大型展览，在当地艺术机构基础设施薄弱的阶段，为更多当代艺术的实验性创作提供助力。
本次讲座邀请到上海外滩美术馆馆长拉瑞斯·弗洛乔、独立策展人比利安娜·思瑞克以及第12届上海双年展主策展人夸特莫克·梅迪纳，三人将围绕展览史展开讨论，并鼓励观众思考：展览史如何变成了助力我们反思当今策展人和艺术家实践的“主动知识”，以及我们该如何挑战当今标准化的生产模式。
Biljana Ciric is an independent curator based in Shanghai. Her recent exhibition programs include: Institution for the Future (2011), Taking the Stage OVER (2011–12), Alternatives to Ritual (2012–13), and One Step Forward, Two Steps Back—Us and Institution, Us and Institution (2013). Her upcoming exhibitions in 2013 include Tino Sehgal solo exhibition at UCCA Beijing and exhibition hosted by Times Museum titled One Step Forward, Two Steps Back- Us and Institution, Us as Institution. In 2013 Ciric initiated "From History of Exhibitions towards Future of Exhibitions Making", ongoing seminar platform that proposes to revisit the importance of exhibition making; beyond art work itself, such is one of the key factors in the arts pertinent to social contexts. The seminar will look specifically at the history of exhibitions in China, South East Asia, Australia and New Zealand. Ciric is a regular contributor to Broadsheet and Yi Shu journal, and has been nominated for an ICI Independent Vision Curatorial Award.
Larys Frogier is the Director of the Rockbund Art Museum (RAM) in Shanghai. Curator, critic and art historian. He is involved in artistic and social challenges in post-global contexts, where ongoing social, economical, cultural transformations demand new ways of interrelations, citizenship and reinvented creativity.
He curated numerous exhibitions and published extensive essays on the works of international artists: Adel Abdessemed, Nan Goldin, Felix Gonzalez-Torres, Paola Pivi, Ugo Rondinone, Wang Du, Yang Jiechang.
Previously the Director of the contemporary art centre La Criée in Rennes (France), he curated long-term projects (symposiums, residencies, exhibitions, publications) that question the links and ruptures between broadening transcontinental areas. Chair of the HUGO BOSS ASIA ART jury since 2013 at the Rockbund Art Museum, he conceived this new award, exhibition and research program to be an evolving platform to promote emerging artists and to question Asia as an investigative construction, rather than a monolithic area or fixed identities.
Larys Frogier taught art theory, history of art and curatorial studies at the University of Rennes, while he was researching at the École des Hautes Études en Sciences Sociales (EHESS) and at the Archives for Art Criticism.
Cuauhtémoc Medina, Art critic, curator and historian, holds a Ph.D. in History and Theory of Art from the University of Essex in Britain and a BA in History from the National Autonomous University of Mexico (UNAM).
Since 1993, he has been a full-time researcher at the Instituto de Investigaciones Estéticas at the National Autonomous University of Mexico (UNAM), lecturer at the Philosophy Faculty and the Postgraduate Department of Art History of the same university. Between 2002 and 2008, he acted as the first Associate Curator of Latin American Art Collections at the Tate Modern.
He has widely published texts in books, catalogues and periodicals, among others between 1999 and 2013. He was also in charge of the art critical section of the Reforma newspaper in Mexico City, titled “Ojo Breve”. A recent compilation on his critical interventions on art in Mexico has been published with the title Abuso Mutuo (Mutual Abuse) by Cubo Blanco and RM in 2017.
Among other projects, he has organized multiple international exhibitions and art projects, such as When Faith Moves Mountains (Lima, Peru, 2001) by Francis Alÿs; The Age of Discrepancies, Art and Visual Culture in Mexico 1968–1997, (in collaboration with Olivier Debroise, Pilar García and Alvaro Vazquez, 2007-08); Teresa Margolles's project for the Mexican Pavilion at the Venice Biennale 2009, What Else Could We Talk About?, Dominó Canibal (Cannibal Dominoes) (2010), one year long series for, the Contemporary Art Project (PAC) in Murcia, Spain. He has also recently curated Francis Alÿs A Story of Negotiation, (2014-) a travelling show organized for museums in Mexico, Argentina, Cuba, Canada and the USA.
比利安娜·思瑞克，独立策展人，常驻上海。她最近的展览项目包括：“未来机构”(2011)，“占领舞台” (2011–12)，“惯例下的狂欢” (2012–13)等。她2013年即将进行的展览项目包括：于北京尤伦斯当代艺术中心举办的提诺·赛格尔个展以及将于时代美术馆举办的“进一步，退两步——我们与机构/我们作为机构”。2013年，她创建长期的座谈会平台“从展览的历史到展览制造的未来”，旨在重新审视展览策划行为作为超越艺术作品本身，成为使艺术与社会语境发生关联之关键因素的重要性。座谈会平台将聚焦于中国、东南亚、澳大利亚及新西兰的展览史，比利安娜•斯瑞克长期为《典藏国际版》《Broadsheet》撰稿，并已获ICI独立视野策展奖提名。
拉瑞斯·弗洛乔，上海外滩美术馆馆长。作为一名策展人、评论家与艺术史学家，他深入参与到后全球化语境中的艺术挑战与社会变革中，持续生发的社会、经济与文化转变同时也要求全新的关联方式、公民身份与重新研发的创造力。
他策划了多档展览，发表过多部专著与论文，研究并探讨了来自如下艺术家的创作：阿德尔·阿贝德赛梅、南·戈丁、菲利克斯·冈萨雷斯-托雷斯、保拉·彼薇、乌戈·罗迪纳、王度和杨诘苍。
他曾担任法国雷恩市La Criée当代艺术中心总监，曾策划长期研讨会、驻地、展览与出版物项目，不断挑战广泛的全球地域之间的联结与断裂。作为2013年首届HUGO BOSS亚洲艺术大奖的评委会主席，他将该项目构想为一个全新的奖项、一场展览与一系列研究项目，作为一个持续演变的平台，推广新锐艺术家，将亚洲作为一个持续的构建和亟待调研的问题而非一个单一的地区和固定的身份。
拉瑞斯·弗洛乔曾任教于法国雷恩大学，教授艺术理论，艺术史和策展课程。他同时也是巴黎社会科学高等学院与艺术批评文献库的研究员。
夸特莫克·梅迪纳，策展人、评论家和艺术史学家，1965年12月5日生于墨西哥。拥有墨西哥国立自治大学历史学学士学位，以及英国埃塞克斯大学艺术史及艺术理论博士学位。
1993年起任教于墨西哥国立自治大学，并担任其艺术研究所全职研究员。2002年至2008年间担任伦敦泰特美术馆首位拉丁美洲当代艺术收藏联合策展人。
他的艺术观点广泛地著述于各类杂志、期刊与出版物。1999年至2013年间负责墨西哥城《改革报》艺评专栏；2017年出版名为《双向滥用》的专著，回顾了其有关墨西哥的主要艺术研究。
他曾参与组织、策划多个国际大型展览和艺术项目，包括弗朗西斯·埃利斯的《当信仰移动山脉》（2001，秘鲁利马）；《差异时代：墨西哥1968-1997艺术和视觉文化》（2007–08）；第53届威尼斯双年展墨西哥国家馆的项目《我们还能谈什么？》（2009）；西班牙穆尔西亚当代艺术计划的展览项目《食人多米诺》（2010）。于近期担任了《谈判的故事》项目策展人，该展先后于墨西哥、阿根廷、古巴、加拿大及美国巡回展出。
