“家乡家”展览
2012-10-14 10:25:11 来自: 老猪 (暫住中國)
Gertjan Zuilhof为现象艺术中心策划的“家乡家”展览。有艾未未等7位艺术家和导演的参加。先发个开幕当天的图片。
2012-10-14 11:21:17 老猪 (暫住中國)
家乡家
一个无预算的独立的现象展览
葛江-祝鸿Gertjan Zuilhof
我是一个外来人，最多算一个远远的观察者。我对中国了解不多，也无法阅读或说中文。我是一个电影节策划人，也曾经策划过一些展览。在有空特别是在午夜的时候，我画一些奇怪的画。但我并不把这些画太当回事。去年我曾在现象艺术中心办过一个叫做“一百张送人的画”的展览，在展览开幕三四个钟头（等于开幕和闭幕在同一时候）后把一百张我的画送给来看展览的人。现象希望我再做一次这样的活动；不过我想这样的展览更应该是爱好而不应该重复。于是我建议策划一个展览来代替。我明白现象没有什么真正的预算来做这个展览（我想现象还是会需要花一点钱），不过我觉得这是一个很有挑战的事，同时也很适合同样是致力于低成本电影创作的现象机构。
我在宋庄呆了不少一些时间并逐渐喜欢这里。我在这里完成了一个跟非洲电影导演有关的项目，这个过程中现象给了我很多帮助（因此我也乐意做点事情作为回报）。在这个过程中我注意到了一些你们应该早已经熟悉的东西。来参与项目的中国电影人过些时间离开，总是说回家乡去。我过去以为中国人只是在春节期间回家的印象因而被改变了。有的人经常回老家去；或者在那里呆很长时间，也许他们依然就住在家乡。我还注意到，每一个我在宋庄认识的人，他们都很清楚他们来自哪个省份。他们并没有被看做是北京人或者宋庄人，而依然被认为是某个外省人。他们的家也许是已经在宋庄，但那并不是故乡的家。
因此考虑选题的时候，我选择了这个对许多人来说非常普通和容易理解的主题；而且我考虑的艺术家并不是住在宋庄，而是可能分布更广。
一个展览最花钱的地方常是差旅和运输。曾经我在邀请台湾的蔡明亮来鹿特丹做过一个展览，结果他从马来西亚运来50把电影院的老座椅。为了避免这种成本，我寻找离现象不远的电影人和艺术家。
事实上这确实可行。这些艺术家和电影人中，有些生活和创作的地方离现象走路也就几分钟的时间。他们在独立观念跟现象也非常的接近。我和他们都是在现象见过一次面甚至多次。故此这个展览也无需提供机票和住宿。创作方面，艺术家也可以自由的决定如何用经济或者昂贵的方式来完成作品。他们都知道没有预算。所以这种展览你不能到处轻易就去组织，也无法经常尝试。
我还是跟自己找了个难题，我坚持这个展览必须有一件作品是可以长期保留的。艾未未说他可以在现象的院子里做一个地下室。这个像一个窝坑的地下室在当年他还是孩子的时候跟被遣送到偏远省份的家人一起住过。也许这不仅是个窝棚的艺术作品，而更是一个可以实际生活的房屋。因此我建议这个作品在展览后长期保留。我曾经问艾未未是否愿意在这个房子里住一些时间。他喜欢这个提议。不过最终他是否会真住，还得看他后面的表现。
我还邀请的这几个参加展览的艺术家和电影人都是差异很大的。除了著名艺术家如艾未未，还有重要的行为艺术家杨志超，和重要的摄影师海波。许多很棒的艺术家离现象特别近，这足够组织更多的展览。
现象也是学习独立电影的学生和年轻独立电影人的基地，理所当然这个展览也需要年轻电影人参与其中。丛峰，观察式纪录片的重要作者；黄骥，去年最引人瞩目的独立剧情影片之一的导演：他们代表了新一代的电影创作者。
周丽和吴幼明这对夫妇是年轻的艺术家。我本来请他们合作一个作品。但是也许因为家乡的家的差异的原因，他们最终每人完成一个不同的作品。
这个展览跟通常的美术馆和画廊的展览不同。艺术家可以使用现象的整个场地；但是使用时，还是得不妨碍这个场所日常的功能。比如现象咖啡厅虽然也展出作品，但是依然按照对顾客开放。
我提议了主题和艺术家。但是具体的工作是由我的朋友朱日坤来完成的。
（翻译：朱日坤）
Hometown Home
An independent no budget exhibition in fanHall.
Gertjan Zuilhof
I am an outsider. A distant observer at best. I do not know too much about China and do not read or speak the language. I am a film festival programmer and curated some exhibitions before. In my spare time, mostly around midnight, I make sometimes strange drawings. Nothing serious. Last year I showed a hundred of them in fanHall and gave them away to the visitors of the opening (that was the closing at the same time). I was asked to do such an event again, but thought that was too much honor for something that should stay a hobby. I proposed to curate an exhibition instead. I was aware that there was no real budget for that (although I guess fanHall will lose money on this), but that I saw as a challenge and fitting for a venue that devotes itself to low budget filmmaking.
I spent quite some time in Songzhuang and came to like it. I did a project with young African filmmakers for which fanHall helped me a lot (so I am happy to do something in return). During my stay I noticed something that you will all know already. Every now and then people from the group of helping filmmakers left for sometimes weeks. Back to their hometown it was explained. So my idea that the Chinese only go back to their hometown once a year with Chinese New Year was changed. Some go very often and for sometimes quite long periods. Somehow they still live there. I also noticed that of all the people I got to know in Songzhuang everybody knew from which province they were. They were not seen as from Beijing or Songzhuang; they were all still inhabitants of some other province. Their home might be in Songzhuang, but not there hometown home.
So when I had to come up with a theme for the exhibition I chose the most common and most obvious of all and I also was sure that non would refer to Songzhuang, but to as many places as artists involved.
What can make an exhibition expensive is travel and shipping costs of unique materials. I once made an exhibition in Rotterdam for which I invited Tsai Ming-Liang who had to come from Taiwan and the work contained 50 old cinema chairs that had to come from Malaysia. To avoid this kind of costs I asked filmmakers and artists that were close to fanHall. Close in practical distance. Some live and work only a few minutes walking away from fanHall. And close to the independent idea of fanHall. All of them I have met at one or the other occasion in the building. So no costs for flight tickets and hotel nights and it was up to the artists to make a cheap or expensive work. They knew that they would not be reimbursed. This is a way of exhibition making you can not do everywhere and maybe also you can not do it too often.
To contradict myself I point out that the exhibition will contain at least one work that will be hard to move afterwards. Ai Weiwei proposed to make an underground house in the yard. A hole in the ground he said where he lived as a kid when his father was sent to live in a far away province. Maybe more a house than a hole it is an art work you can actually live in and I suppose it wil stay after the exhibition. I asked Ai Weiwei if he would live in the house for a while. He liked the idea, but maybe not totally up to him to actually do it.
I asked very different artists and filmmakers for the exhibition. Established artist like Ai Weiwei and also the great performance artist Yang Zhichao and the great photographer Hai Bo. Good so many great artists live near to fanHall. Enough for many more exhibitions.
FanHall is a place for students in independent film so also younger people had to be involved and also filmmakers. Cong Feng, maker of strong observational documentaries and Huang Ji, who made one of the most remarkable independent fiction films of the last year, are representing the younger generation of filmmakers.
The artist couple Zhou Li and Wu Youming are younger artists. I asked them together, but as it goes with hometowns, each has its own one and they decided to make separate works.
The exhibition will not be like or look like the usual museum or gallery exhibition. The whole building will be used, but it will stay normally in use. The fanHall cafe will contain works but will also be open to visitors.
I proposed the theme and the artists, but the real work is done by my friend Zhu Rikun.
一个无预算的独立的现象展览
葛江-祝鸿Gertjan Zuilhof
我是一个外来人，最多算一个远远的观察者。我对中国了解不多，也无法阅读或说中文。我是一个电影节策划人，也曾经策划过一些展览。在有空特别是在午夜的时候，我画一些奇怪的画。但我并不把这些画太当回事。去年我曾在现象艺术中心办过一个叫做“一百张送人的画”的展览，在展览开幕三四个钟头（等于开幕和闭幕在同一时候）后把一百张我的画送给来看展览的人。现象希望我再做一次这样的活动；不过我想这样的展览更应该是爱好而不应该重复。于是我建议策划一个展览来代替。我明白现象没有什么真正的预算来做这个展览（我想现象还是会需要花一点钱），不过我觉得这是一个很有挑战的事，同时也很适合同样是致力于低成本电影创作的现象机构。
我在宋庄呆了不少一些时间并逐渐喜欢这里。我在这里完成了一个跟非洲电影导演有关的项目，这个过程中现象给了我很多帮助（因此我也乐意做点事情作为回报）。在这个过程中我注意到了一些你们应该早已经熟悉的东西。来参与项目的中国电影人过些时间离开，总是说回家乡去。我过去以为中国人只是在春节期间回家的印象因而被改变了。有的人经常回老家去；或者在那里呆很长时间，也许他们依然就住在家乡。我还注意到，每一个我在宋庄认识的人，他们都很清楚他们来自哪个省份。他们并没有被看做是北京人或者宋庄人，而依然被认为是某个外省人。他们的家也许是已经在宋庄，但那并不是故乡的家。
因此考虑选题的时候，我选择了这个对许多人来说非常普通和容易理解的主题；而且我考虑的艺术家并不是住在宋庄，而是可能分布更广。
一个展览最花钱的地方常是差旅和运输。曾经我在邀请台湾的蔡明亮来鹿特丹做过一个展览，结果他从马来西亚运来50把电影院的老座椅。为了避免这种成本，我寻找离现象不远的电影人和艺术家。
事实上这确实可行。这些艺术家和电影人中，有些生活和创作的地方离现象走路也就几分钟的时间。他们在独立观念跟现象也非常的接近。我和他们都是在现象见过一次面甚至多次。故此这个展览也无需提供机票和住宿。创作方面，艺术家也可以自由的决定如何用经济或者昂贵的方式来完成作品。他们都知道没有预算。所以这种展览你不能到处轻易就去组织，也无法经常尝试。
我还是跟自己找了个难题，我坚持这个展览必须有一件作品是可以长期保留的。艾未未说他可以在现象的院子里做一个地下室。这个像一个窝坑的地下室在当年他还是孩子的时候跟被遣送到偏远省份的家人一起住过。也许这不仅是个窝棚的艺术作品，而更是一个可以实际生活的房屋。因此我建议这个作品在展览后长期保留。我曾经问艾未未是否愿意在这个房子里住一些时间。他喜欢这个提议。不过最终他是否会真住，还得看他后面的表现。
我还邀请的这几个参加展览的艺术家和电影人都是差异很大的。除了著名艺术家如艾未未，还有重要的行为艺术家杨志超，和重要的摄影师海波。许多很棒的艺术家离现象特别近，这足够组织更多的展览。
现象也是学习独立电影的学生和年轻独立电影人的基地，理所当然这个展览也需要年轻电影人参与其中。丛峰，观察式纪录片的重要作者；黄骥，去年最引人瞩目的独立剧情影片之一的导演：他们代表了新一代的电影创作者。
周丽和吴幼明这对夫妇是年轻的艺术家。我本来请他们合作一个作品。但是也许因为家乡的家的差异的原因，他们最终每人完成一个不同的作品。
这个展览跟通常的美术馆和画廊的展览不同。艺术家可以使用现象的整个场地；但是使用时，还是得不妨碍这个场所日常的功能。比如现象咖啡厅虽然也展出作品，但是依然按照对顾客开放。
我提议了主题和艺术家。但是具体的工作是由我的朋友朱日坤来完成的。
（翻译：朱日坤）
Hometown Home
An independent no budget exhibition in fanHall.
Gertjan Zuilhof
I am an outsider. A distant observer at best. I do not know too much about China and do not read or speak the language. I am a film festival programmer and curated some exhibitions before. In my spare time, mostly around midnight, I make sometimes strange drawings. Nothing serious. Last year I showed a hundred of them in fanHall and gave them away to the visitors of the opening (that was the closing at the same time). I was asked to do such an event again, but thought that was too much honor for something that should stay a hobby. I proposed to curate an exhibition instead. I was aware that there was no real budget for that (although I guess fanHall will lose money on this), but that I saw as a challenge and fitting for a venue that devotes itself to low budget filmmaking.
I spent quite some time in Songzhuang and came to like it. I did a project with young African filmmakers for which fanHall helped me a lot (so I am happy to do something in return). During my stay I noticed something that you will all know already. Every now and then people from the group of helping filmmakers left for sometimes weeks. Back to their hometown it was explained. So my idea that the Chinese only go back to their hometown once a year with Chinese New Year was changed. Some go very often and for sometimes quite long periods. Somehow they still live there. I also noticed that of all the people I got to know in Songzhuang everybody knew from which province they were. They were not seen as from Beijing or Songzhuang; they were all still inhabitants of some other province. Their home might be in Songzhuang, but not there hometown home.
So when I had to come up with a theme for the exhibition I chose the most common and most obvious of all and I also was sure that non would refer to Songzhuang, but to as many places as artists involved.
What can make an exhibition expensive is travel and shipping costs of unique materials. I once made an exhibition in Rotterdam for which I invited Tsai Ming-Liang who had to come from Taiwan and the work contained 50 old cinema chairs that had to come from Malaysia. To avoid this kind of costs I asked filmmakers and artists that were close to fanHall. Close in practical distance. Some live and work only a few minutes walking away from fanHall. And close to the independent idea of fanHall. All of them I have met at one or the other occasion in the building. So no costs for flight tickets and hotel nights and it was up to the artists to make a cheap or expensive work. They knew that they would not be reimbursed. This is a way of exhibition making you can not do everywhere and maybe also you can not do it too often.
To contradict myself I point out that the exhibition will contain at least one work that will be hard to move afterwards. Ai Weiwei proposed to make an underground house in the yard. A hole in the ground he said where he lived as a kid when his father was sent to live in a far away province. Maybe more a house than a hole it is an art work you can actually live in and I suppose it wil stay after the exhibition. I asked Ai Weiwei if he would live in the house for a while. He liked the idea, but maybe not totally up to him to actually do it.
I asked very different artists and filmmakers for the exhibition. Established artist like Ai Weiwei and also the great performance artist Yang Zhichao and the great photographer Hai Bo. Good so many great artists live near to fanHall. Enough for many more exhibitions.
FanHall is a place for students in independent film so also younger people had to be involved and also filmmakers. Cong Feng, maker of strong observational documentaries and Huang Ji, who made one of the most remarkable independent fiction films of the last year, are representing the younger generation of filmmakers.
The artist couple Zhou Li and Wu Youming are younger artists. I asked them together, but as it goes with hometowns, each has its own one and they decided to make separate works.
The exhibition will not be like or look like the usual museum or gallery exhibition. The whole building will be used, but it will stay normally in use. The fanHall cafe will contain works but will also be open to visitors.
I proposed the theme and the artists, but the real work is done by my friend Zhu Rikun.
