The Rockbund Art Museum is proud to initiate its first project under ‘Curatorial Practices in Asia’, a new research platform dedicated to different local contexts situated in the region. For 2018, the platform has been organized in collaboration with the independent curator Biljana Ciric dedicated to exhibition histories in China and Southeast Asia. Since the beginning of this year, a series of public events and activities have been dedicated to this regional exchange in extension to the second installment of an on-going project by the curator, which culminates into a two-day assembly on the 24th and 25th November 2018, held in partnership with Shanghai Study Centre, The University of Hong Kong.
In addition to these discursive events, a Reading Room and an open-call research grant provide another important layer to the project. Currently on display in the museum first floor, the Reading Room provides a diverse collection of resources available to the public: primary archival material, critical readers, original catalogues, artist books, and out-of-print locally produced publications. The museum has also organized an open-call grant to support young researchers to initiate research into overlooked histories related to Mainland China.
2018 年，上海外滩美术馆与独立策展人比利安娜·思瑞克联合发起“亚洲策展实践”平台下的首个项目，该研究平台旨在关注亚洲各地不同本土语境。而今年的项目将聚焦中国及东南亚地区的展览史研究，这也是比利安娜·思瑞克长期项目的第二次集会。自今年年初以来已延伸出一系列公众活动，促进了地区性交流；11月24日至25日的研讨会将联合香港大学上海学习中心共同举办。
除了衍生活动，“阅览室”和公开招募的研究资助计划也是本项目中的重要部分。阅览室位于上海外滩美术馆一楼，向公众展示原始档案资料、重要读物、原版展览目录、艺术家著作和已绝版的本地刊物等丰富资源。此外，上海外滩美术馆还推出了公开招募的研究资助计划，支持年轻研究学者探索鲜受关注的中国大陆展览历史。
Promo of From a History of Exhibitions towards a Future of Exhibition-Making---“Second Assembly: Exhibition-Making Practices in China and Southeast Asia in the 1990s”
“从展览的历史到展览制造的未来” ——“第二次集会：1990 年代中国及东南亚地区的策展实践”研讨会宣传片
Looking specifically at exhibitions from China and Southeast Asia during the 90s, a series of case studies, roundtable discussions, and keynote speeches will examine the possibilities of exhibitions as a form and medium. They will explore how exhibitions can be read and understood across different social and cultural contexts, highlighting differences within the region, whilst also inviting new approaches and methodologies to pin-point areas for comparative forms of research. The research platform looks to draw further awareness towards the specificity and diversity of practices found within Asia—thereby looking to contribute decisively towards a (re)mapping of exhibition practices and histories using the different perspectives and local contexts found in this region.
The keynote speakers include Qiu Zhijie, who will discuss exhibition-making practices in China through the prism of the Post Sensibility movement; Patrick D. Flores will provide a context of Southeast Asia in relationship to his concept of the ‘exhibitionary’; and Zdenka Badovinac will reflect on the gestures of re-enacting exhibitions from the era of Yugoslavia, raising questions about what actions to take once a historical exhibition archive is created and how it can be activated in the future again. Other presentations and discussions featured will expand these topics towards other directions, engaging with themes related to the question of temporality, performativity, festival formats, nation identities, gender and representation—from a survey of different historical overviews, the legacy of artist-organized exhibitions will be considered, as well as the roles operated by curators during this period. From these histories, this collective platform will further enable comparative research to go beyond the project into future collaborations.
The assembly is an important component to an on-going curatorial project initiated by Biljana Ciric titled From a History of Exhibitions Towards a Future of Exhibition-Making. In collaboration with different institutions across the region, including St Paul Street Gallery (Auckland) and Rockbund Art Museum (Shanghai), the platform revisits the importance of the exhibition, exploring issues that go beyond the reflection of artworks in order to link art to a wider social context.
本次研讨会将聚焦 1990 年代中国及东南亚地区的策展实践，通过一系列案例研究、圆桌讨论和主旨演讲，探索展览作为一种形式和媒介的可能性，并探讨如何在不同的社会和文化语境下解读展览，突显亚洲各地的差异，同时拥抱新途径和方法，试图以不同的角度切入多样化的研究形式。该研究平台旨在吸引更多人关注亚洲策展实践的独特性和多样性，进而从不同视角及本土背景出发，对（重新）展现亚洲策展实践和展览史作出重要贡献。
本次研讨会将邀请邱志杰、帕特里克·D·弗洛雷斯（Patrick D. Flores）和仁卡·帕朵维尼克（Zdenka Badovinac）发表主旨演讲。邱志杰将透过“后感性”运动探讨中国的策展实践；帕特里克·D·弗洛雷斯将结合东南亚语境谈论他对“展览性”的理解；仁卡·帕朵维尼克则将围绕近年重新展出的南斯拉夫解体前的艺术展，反思这一重展行为，探讨建立历史展览档案后应采取哪些举措，在将来又如何重新发挥这一档案的价值。除此之外，其他演讲和圆桌讨论还将从不同角度延伸以上话题，关注展览的时限性、表演性、艺术节形式、国家身份建构、性别等问题。与会人员将通过研究不同历史叙述，思考艺术家举办的展览留下了哪些宝贵价值，以及在这段时期内策展人所扮演的角色。依托这些有关展览史的讨论，该集体性的研究平台还将为学者们今后合作开展比较研究提供可能性。
本届第二次集会是比利安娜·思瑞克发起的长期策展项目“从展览的历史到展览制造的未来”的一个重要部分。该长期项目由思瑞克与奥克兰 St Paul Street Gallery 美术馆、上海外滩美术馆等多家机构联合举办，旨在重新审视展览本身，超越其展示艺术作品的单一属性，探索展览将艺术与社会语境联系在一起的可能性。
2018.11.24
10:00-10:30 Opening Remarks
Larys FROGIER (Director of Rockbund Art Museum)
Biljana CIRIC (Curator of the project From a History of Exhibitions Towards a Future of Exhibition-Making)
10:30-11:15 Keynote Speech: Exhibition History of Contemporary Art in China in the 1990s
by QIU Zhijie
11:15-11:30 Q&A
13:00-13:45 Keynote Speech: The Exhibition Problematic and the Asian Dislocal
by Patrick D. FLORES
13:45-14:00 Q&A
14:15-14:45 Translocalism and Contemporaneity: Chiang Mai Social Installation, 1992-1998
by David TEH
14:45-15:15 Latitudes of Region, Dispersals of the Curatorial
by Carlos QUIJON, Jr.
15:15-15:45 State-Funded International Exhibitions from 1990s to Now
by Grace SAMBOH
15:45-16:15 Waste, Noise and Local Art Exhibitions: A Probe into Cultural Practice at the Edge of Taipei Basin During the First Half of the 1990s
by Wei YU
16:15-16:45 Round Table with Q&A led by Nikita Yingqian CAI
17:00-17:30 Cycles with Ends: Swidden Cultivation and Ethnographic Exhibits in Yunnan
by Maggie J ZHENG
17:30-17:45 Q&A
17:45 Closing Remarks
Larys FROGIER (Director of Rockbund Art Museum)
2018.11.25
10:00-10:30 Opening Remarks
Larys FROGIER (Director of Rockbund Art Museum)
Biljana CIRIC (Curator of the project From a History of Exhibitions Towards a Future of Exhibition-Making)
10:30-11:15 Keynote Speech: Preserving the Heritage by Using It
by Zdenka BADOVINAC
11:15-11:30 Q&A
Two sessions in the afternoon:
13:00-13:30 Vietnam’s Art Scene 1990s — An Overview on Two Artists’ Practice
by Nhung WALSH
13:30-14:00 Exhibitionary Time: The Artists Village's Time Show
by SENG Yujin
14:00-14:30 What’s the Meaning of an Engagement that Failed? — About No Room, the 4th Exhibition of the Big Tail Elephants in 1994 at Guangzhou’s No.14 Sanyu Road
by Nikita Yingqian CAI
14:30-15:00 An Art Project in Text and Archives — The Self-Organization and Cross-Regional Practice of "Wildlife Starting from 1997 Jingzhe"
by WANG Ziyun
15:00-15:30 Round Table with Q&A led by David Teh
15:45-16:15 An Exploration of METALLURGY: Khin One and the Changing Art Scene of Yangon in 1997
by Nathalie JOHNSTON
16:15-16:45 Towards a Mythical Reality
by Michelle WONG
16:45-17:15 Mapping Apartment Art
by MIAO Zijin
17:15-17:45 From Women's Art to All-Female Group Exhibitions: The Emergence of a Female Consciousness in 1990s China
by Julia HARTMANN
17:45-18:15 Round Table with Q&A led by Grace SAMBOH
18:30 Closing Remarks
Biljana CIRIC (Curator of the project From a History of Exhibitions Towards a Future of Exhibition-Making)
2018.11.24
10:00-10:30 开幕辞
拉瑞斯·弗洛乔（上海外滩美术馆馆长）
比利安娜·思瑞克（“从展览的历史到展览制造的未来”项目策展人）
10:30-11:15 主旨演讲《九十年代的当代中国艺术展览史》
发言学者：邱志杰
*11:15-11:30 问答环节
13:00-13:45 主旨演讲《展览难题与亚洲地域性消亡》
发言学者：帕特里克·D·弗洛雷斯
*13:45-14:00 问答环节
14:15-14:45《跨地主义与当代性：清迈社会装置 1992-1998》
发言学者：郑大卫
14:45-15:15 《区域的界限，展览的传播》
发言学者：小卡洛斯·奎洪
15:15-15:45《1990年代至今由国家资助的国际展览》
发言学者：葛蕾丝·珊保
15:45-16:15《垃圾、噪音与地方美展：1990年代前半台北盆地边缘的文化实验》
发言学者：游崴
16:15-16:45 圆桌讨论与问答环节，由蔡影茜主持
17:00-17:30 《轮歇：云南的刀耕火种与民族展览》
发言学者：郑晋加
17:30-17:45 问答环节
17:45 闭幕辞
拉瑞斯·弗洛乔（上海外滩美术馆馆长）
2018.11.25
10:00-10:30 开幕辞
拉瑞斯·弗洛乔（上海外滩美术馆馆长）
比利安娜·思瑞克（ “从展览的历史到展览制造的未来”项目策展人）
10:30-11:15 主旨演讲《通过使用遗产来进行保护》
发言学者：仁卡·帕朵维尼克
11:15-11:30 问答环节
下午分两场：
13:00-13:30《20世纪90年代的越南艺术界——两位艺术家的实践概览》
发言学者：戎·沃什
13:30-14:00 《展览时间：艺术家村的“Time Show”展览》
发言学者：辛友仁
14:00-14:30《一次失败的介入，意义何在？——关于大尾象在广州三育路14号的展览“没有空间”》
发言学者：蔡影茜
14:30-15:00 《纸上也能“谈兵”——“野生1997惊蛰始”的自我组织和跨地域实践》
发言学者：王子云
15:00-15:30 圆桌讨论与问答环节，由郑大卫主持
15:45-16:15《回望“炼金术”展：Khin One与1997年变化中的仰光艺术界》
发言学者：娜塔莉·约翰斯顿
16:15-16:45 《在现实中与神话相逢》
发言学者：黄湲婷
16:45-17:15 《重访公寓艺术》
发言学者：缪子衿
17:15-17:45《从女性艺术到女性群展：女性意识觉醒于90年代中国》
发言学者：尤莉亚·哈特曼
17:45-18:15 圆桌讨论与问答环节，由葛蕾丝·珊保主持
18:30 闭幕辞
比利安娜·思瑞克（“从展览的历史到展览制造的未来”项目策展人）
The Faculty of Architecture at The University of Hong Kong established Shanghai Study Centre in 2008. It is housed in the historical Post Office Building, on Suzhou Creek.
The Study Centre aims to be a place where new ideas emerge about urban development in the fastest urbanizing region in the world. The public program at HKU/SSC invites critics with challenging opinions, architects with provoking viewpoints, planners with innovative solutions and academics with new theories – all with the aim of understanding the current condition in Chinese cities, and to explore beyond today and tomorrow. The goal is to be able to generate new ideas that can contribute to better, more intelligent and more interesting cities and architecture.
香港大学上海学习中心由香港大学建筑学院在2008年建立，坐落于苏州河畔的邮政博物馆办公楼内。
香港大学上海学习中心致力于成为各种思想交汇的平台。中心的公共项目汇聚了来自批评者的观点，来自建筑师的实践经验，来自规划者的大局策略，来自学者的创新理论，让学界和业界倾听声音，交流思想。我们希望能够激发更多的新的思路，同公众一道认识更好、更智慧、更有趣的城市和建筑。
