Miscellaneous of Rockbund Art Museum Research Program: Curatorial Practices in Asia
上海外滩美术馆研究项目： 亚洲策展实践其他
Organized by Biljana Ciric and Rockbund Art Museum
The research platform kicks off in March with the final seminar in November 2018
About Second Assembly: Exhibition-Making Practices in China and Southeast Asia in the 1990s
From a History of Exhibitions towards a Future of Exhibition-Making is a platform of seminars initiated and organized by Biljana Ciric with different institutions in the region, including St Paul Street Gallery, AUT (Auckland) and Rockbund Art Museum (Shanghai). The platform proposes to revisit the importance of the exhibition, which beyond the artworks themselves is one of the key elements linking art to its wider social contexts.
The seminars will look specifically at the history of exhibitions in China and Southeast Asia. This will be done through a series of case studies examining how the exhibition as form and medium determines our understanding of artistic practices and how exhibitions as a medium are read and understood in different social and cultural contexts. Addressing this geo-political sphere might provide new approaches to art historical mapping and methodologies as well as anchors for comparative research. This path highlights a route that is based on proximity as the changing climate of attention and redefinition of the region and its inner dynamics.
While the First Assembly in Auckland examined early exhibitions of contemporary art in different local contexts, the Second Assembly will look at exhibition-making practices during the 1990s in China and Southeast Asia. This specific focus on the 90s attempts to look at the number of complex issues that appear during this period, taking exhibition-making practices as a main vehicle.
In 1993 the first Asia Pacific Triennale provided a new model of exhibition and art history writing beyond the boundaries of the nation-state, while during this period artists from the region started appearing in international biennials. The 1990s in the region also constituted a critical moment in the history of intellectual exchange fostered by the idea of a shared set of Asian values in the context of larger political shifts such as the end of Cold War and the rise of Asian economies.
While Japan and Australia have played important roles in research and in comparative studies beyond the nation-state in trying to frame the region, there is at the same time important attempts to establish South-South relationships through exhibition-making that have once again been revived today. These facts bring about an important rethinking of the relation of the global and the local and its dynamics.
This seminar will focus on case studies of exhibitions during the 1990s that re-define the parameters of how art history has been written while also considering how these new situations and encounters challenged local contexts of exhibition-making on a micro level, from artist-organized exhibitions to the introduction of the role of the curator.
This series of seminars attempt to provide a platform to create an archive around case studies and around a discourse surrounding exhibitions, enabling further comparative research in the future.
Observing from the local contexts of China where the Second Assembly is to take place, the 1994 seminar “The Potential of Asian Thought: Contemporary Art Symposium” (organized by the Japan Foundation) seems an important connection of the gap in time. This 1994 seminar involved several practitioners from China, including the curator Li Xianting and a then-young artist named Cai Guoqiang. These important moments in time provide important insights of connectivity within a region that was attempting to be created during this period and the importance of this seminar to revive these connections
While the seminar will be presented in November 2018, the Rockbund Art Museum will start with public programs devoted to exhibition histories, revealing the research in progress which will ultimately be presented in the seminar. At the same time, from April onwards a reading room devoted to the study of exhibition histories—with rare publications devoted to this yet to be studied topic—will be on view at the Rockbund Art Museum.
比利安娜·思瑞克与上海外滩美术馆联合策划
该研究项目将于 2018 年 3 月启动，11 月举行最终成果研讨会
“从展览的历史到展览制造的未来”研讨项目由比利安娜•思瑞克与奥克兰 St Paul Street Gallery 美术馆和上海外滩美术馆等机构联合发起并举办，旨在重新审视展览本身，超越其展示艺术作品的单一属性，成为联接艺术与社会语境的关键因素。
该研讨会将聚焦中国及东南亚地区的展览史，通过一系列案例分析，了解展览这种形式与媒介如何影响我们对艺术实践的理解，我们又如何在不同社会和文化语境下解读、了解这一媒介。由于人们关注点和区域及其内部动态因素不断变化，该研究项目采取了基于地缘政治相似性的研究路径。突出地缘政治因素或可提供记录艺术史的新方式和方法，为比较研究奠定基础。
在奥克兰举办的第一次集会分析了不同本土背景下的早期当代艺术展览，第二次集会将聚焦1990年代中国及东南亚地区的策展实践，以研究展览策划实践为主要手段，探究当时出现的复杂问题。
1993年，第一届亚太三年展举办，打破民族和国家的界限，创造了新的展览模式和艺术史记录方式。这一时期，亚太地区艺术家开始出现在国际双年展上。在冷战结束和亚洲经济体崛起等政治变化的大背景下，共同的亚洲价值观也令1990年代成为该地区知识交流的关键时期。
为构建亚太区框架，日本和澳大利亚在研究以及打破民族和国家界限的比较研究方面发挥着重要作用。与此同时，艺术界也积极探索通过策展建立南南关系，如今这一关系已再次复苏发展。这些举措均促使人们重新思考全球与本土及其内部动态因素间的关系。
本研讨会将聚焦 1990 年代那些划时代的展览案例，它们重新定义了艺术史的书写方式，同时探讨了一些新背景、新境遇如何从微观角度挑战本土展览策划，从艺术家个人组织展览转变为策展人策展。
该系列研讨会旨在提供平台，围绕案例分析和关于展览的论述创建文献库，以便未来开展比较研究。
纵观第二次集会举办地中国的本土环境，1994 年日本国际交流基金举办的“亚洲思想的潜力：当代艺术研讨会”（The Potential of Asian Thought: Contemporary Art Symposium）似乎是填补90年代空白的重要时间节点。当时，多位来自中国的艺术人士参加了该研讨会，包括策展人栗宪庭和当时的青年艺术家蔡国强。这些重要事件表明该时期试图建立的地区内互动与联系，以及 1994 年研讨会在重建这些联系方面的重要作用。
研讨会将于 2018 年 11 月举行。在此之前，上海外滩美术馆将推出有关展览史的公共项目，并随时汇报研究进程。同时，上海外滩美术馆还将在四月开始设立展览史研究专题阅览室，提供与待研究课题相关的珍贵出版物。
The Rockbund Art Museum regards research programs to be a substantial set of practices in a contemporary art institution, practices which support artists, curators, audiences as well as the RAM team itself.
Research programs should be conceived with the following objectives:
—activating an on-going process of thinking inside an institution;
—remaking and contributing to art histories with original angles/perspectives for the future development of contemporary art;
—supporting the conception of new curatorial, education, and art projects;
—sharing new ideas and challenges in contemporary art with audiences;
—networking the museum with researchers and academics who have a strong interest in contemporary art, especially in the contexts of Greater China and Asia.
Besides the ongoing process of producing and programming exhibitions, it is extremely important for RAM to welcome research projects that provide sufficient time, careful consideration and support for forward-looking perspectives, analyses, research and networking. By offering an impulse, sharing ideas, debating, as well as looking at the past, present and future, research programs make a museum stronger and more sustainable. RAM is not only a place to showcase art products but also a platform to generate exchange, discussions, paradoxes and contradictions.
In 2018 the Rockbund Art Museum launches a research program entitled “Curatorial Practices in Asia”, the main objective of which is to develop a strong network in Asia with artists, academics, art organizations, independent curators and researchers—with people engaged in innovative research and artistic projects that support a better understanding of contemporary artistic practices in Asia.
The “Curatorial Practices in Asia” research program will develop different activities such as:
—connections, meetings and seminars with researchers in Shanghai or elsewhere in Asia, which can help structure the network;
—seminars and symposia;
—publications;
—exhibitions or other formats of visibility that can help and support research and art projects.
The research program “Curatorial Practices in Asia” will have a specific interest in the following:
—(re)making histories of curatorial practices in contemporary art within Asia;
—prospecting innovative curatorial practices that support artists’ projects in Asia;
—Consolidating collaborations between exhibition-making institutions in Asia and art research institutions in Asia (such as Asia Art Archive and universities with specialties in cultural studies of Asia).
In 2018, the Rockbund Art Museum is proud to announce its collaboration with Biljana Ciric, which is connected to her substantial and distinctive research and publications on the archives of contemporary art exhibition practices in Asia.
上海外滩美术馆认为开展研究项目对于任何一家当代艺术机构而言，都是至为重要的，无论是对艺术家、策展人、观众，还是上海外滩美术馆团队自身，均有裨益。
开展研究项目应实现下列目标：
—启迪机构内部不断思考；
—以独创性角度/视角重塑、推动艺术史，进而促进当代艺术的未来发展；
—催生新型策展、教育、艺术项目；
—与观众分享当代艺术的新理念及面临的挑战；
—加强美术馆与对当代艺术具有浓厚兴趣的研究人员和学者之间的联系，特别是大中华及亚洲其他地区。
除了持续不断地策划、举办各种展览，上海外滩美术馆还将积极推出准备充裕、思量周全且可推动前瞻性观点、分析、研究和交流的研究项目。研究项目能够激发观点分享和讨论，通过回顾过去、思索当下、展望未来，提高美术馆的实力与可持续性。上海外滩美术馆不只是艺术品的展示舞台，也是交流、探讨甚至悖论与矛盾的交融之地。
2018 年，上海外滩美术馆将启动名为“亚洲策展实践”的研究项目，目的是在亚洲建立强大广泛的关系网络，网罗艺术家、学者、艺术机构、独立策展人及研究人员，以及投身于创新型研究及艺术项目以更好地理解亚洲当代艺术实践的人士。
“亚洲策展实践”研究项目将包括下列内容：
—加强与上海及亚洲其他地区研究人员的联系，举办会议和研讨会，建立关系网络；
—开展研讨会和专题讨论会；
—发表研究成果；
—举办展览或其他有影响力的活动，为研究和艺术项目提供帮助和支持。
“亚洲策展实践”研究项目将致力于：
—（重新）塑造亚洲当代艺术策展实践的历史；
—探索创新策展实践，为亚洲艺术家开展项目提供支持；
—加强亚洲展览策划机构与亚洲艺术研究机构（如亚洲艺术文献库和开设亚洲文化研究专业的高校）的合作。
2018 年，上海外滩美术馆有幸将与比利安娜·思瑞克开展合作。这些机构支持比利安娜就亚洲当代艺术展览实践的文献开展大量独特研究，并发表相关研究成果。
For over eight years Rockbund Art Museum has been at the forefront of the growing contemporary art scene in China, presenting world-class programs in a unique museum setting. A boutique museum of the utmost quality, RAM holds a unique position within Shanghai’s continually expanding cultural scene. The museum is located within the Bund district and housed in an exquisite heritage Art Deco building, which was renovated by the architect David Chipperfield before opening in 2010.
The museum’s exemplary curatorial, education and research programs showcase acclaimed and emerging Chinese and international artists, responding to and reflecting on present and urgent challenges of society locally and internationally. RAM presents a bold and pioneering program of three exhibitions and a special project “RAM HIGHLIGHT” per year, exploring and realizing artists’ most ambitious projects and working with them to tailor exhibitions to the Museum and to the Shanghai context, often with a large proportion of works being new commissions. RAM devises, produces and curates its program in-house, in conjunction with carefully selected international collaborations of the highest quality.
For more information, please visit: www.rockbundartmuseum.org
成立8年来，上海外滩美术馆一直走在中国当代艺术发展的前沿，以独特的精品美术馆定位举办世界级展览及活动，成为上海日益扩张的艺术版图中的一个亮点。美术馆位处上海外滩地段，选址设立于历史悠久的艺术装饰风格建筑内。建筑于2010年美术馆开幕前由著名建筑师大卫·奇普菲尔德修复改建成为今日的面貌。
上海外滩美术馆的策展和教育项目呼应了现今本土及国际社会种种迫切议题。上海外滩美术馆策划大胆创新的展览及活动项目，每年举办4场展览深度探索、实践艺术家最具雄心的艺术项目，以展览从未示人的新作为主，并以独特的上海及精品美术馆视角将展览呈献于观众眼前。美术馆也策划组织形式多样的教育和公众活动，为公众参与相关艺术和社会议题的讨论提供丰富的入口，并借此将美术馆建构成为激发想象、思考和辩论的公共平台。
Biljana Ciric works as an independent curator.
Her recent exhibitions include When the Other Meets the Other Other presented by Cultural Center Belgrade (2017),Proposals for Surrender presented by McAM in Shanghai(2016/2017_, and This exhibition Will Tell You Everything About FY Art Foundations in FY Art Foundation space in Shen Zhen(2017).
She was co-curator of the 2015 Third Ural Industrial Biennale for Contemporary Art (Yekaterinburg, Russia) and she was curator in residency at Kadist Art Foundation (Paris) where she recently curated exhibition Habits and customs of_____are so different from ours that we visit them with the same sentiment that we visit exhibitions. She also curated exhibition Encounters with Pompidou within exhibition Museum On/off, Centre Pompidou (2016).
Biljana Ciric was research fellow for 2016 at Henie Onstad Kunstsenter in Norway.
Her exhibitions also include Just as Money is the Paper, the Gallery is the Room (2014) presented by Osage Art Foundation (Hong Kong), One Step Forward, Two Steps Back—Us and Institution, Us as Institution (2013) presented by Times Guangzhou Museum (Guangzhou), Tino Sehgal Solo Exhibition (2013) in UCCA (Beijing), Alternatives to Ritual (2012–13) in Goethe Open Space (Shanghai) and OCAT (Shenzhen), Taking the Stage OVER (2011–12) presented in different institutions in Shanghai, Institution for the Future - Asia Triennale (2011) in Manchester among others.
Her project Migration Addicts was presented in the Collateral Events program of the 52nd Venetian Biennale in 2007, and at the Biennale of Urbanism and Architecture in Shenzhen/Hong Kong in 2008.
She published number of books including recent ones History of Exhibitions: Shanghai 1979-2006, published by CFCCA, revising history of artists organized exhibitions and Life and Deaths of Institutional Critique co-edited by Nikita Yingqian Cai and published by Black Dog Publishing.
In 2013, Ciric initiated the seminar platform From a History of Exhibitions Towards a Future of Exhibition Making; she regularly publishes in Broadsheet and Yi Shu among other magazines.
Ciric was a jury for a number awards including Hugo Boss Asia Art Award (2013) and she is on the nominating council for Vera List Prize for Art and Politics (2014/2015). She has been nominated for an ICI Independent Vision Curatorial Award (2012).
比利安娜∙思瑞克是独立策展人。她近期的展览包括：为纪念贝尔格莱德文化中心（Cultural Center of Belgrade）六十周年的 “When the Other Meets the Other Other”（2017）、由明当代美术馆主办的“把一切都交给你”（2017）、 “所见非所得-一个关于杨峰艺术与教育基金会的展览（2017）。
她是2015年第三届乌拉尔工业双年展（俄罗斯叶卡捷琳堡市）的策展人；她近期的工作包括巴黎卡蒂斯特艺术基金会的展览《 ______的风俗习惯与我们如此不同，观看他们所得到的感受如同在观看展览》（2016）, 《遭遇蓬皮杜》蓬皮杜艺术中心(2016)。
同时，思瑞克也是2016年挪威奥斯陆亨尼欧斯塔德艺术中心的特邀研究员。
近年来由她担任策展的展览和艺术项目包括：“正如金钱不过纸造，展厅也就是几间房”，奥沙艺术基金会（2014）；“进一步，退两步——我们与机构/我们作为机构”，广州时代美术馆（2013）；“提诺•赛格尔”个展，北京尤伦斯当代艺术中心（2013）；“惯例下的狂欢”（系列展览及同名出版物），歌德开放空间及深圳OCT当代艺术中心（2012-13）； “占领舞台”（系列现场项目2011-12）以及“未来机构——曼彻斯特亚洲三年展”（展览及同名出版物，2011）等。
她的作品“迁移嗜好者”曾受邀参加 2007 年第 52 届威尼斯双年展的特别机构邀请展，以及 2008 年深圳/香港的都市及建筑双城双年展。
思瑞克著作颇丰，最新力作之一是由英国曼彻斯特华人艺术中心 (CFCCA) 出版的《上海展览史：1979-2006》，书中回顾了艺术家在上海策划的一系列展览。另一最新作品《无为而为——机制批判的生与死》与蔡影茜合编，由英国黑狗出版社出版。
2013年，她发起并建立了“从展览史到展览制作的未来”系列研讨会平台。她定期为《Broadsheet》和《典藏国际版》等杂志撰稿。
思瑞克曾任 2013 年 HUGO BOSS 亚洲新锐艺术家大奖等艺术奖项评审团成员，以及 2014 和 2015 年维拉•李斯特中心艺术与政治奖提名委员会成员，曾获 2012 年 ICI 独立视野策展奖提名。
