Double Infinity: “The Last Two Decades Revisited”
SATURDAY, May 15, 2010
11:00 – 12:30 PM
Panel Discussion: Cracking Open Once Again: The Timeline of Chinese Art History. Part 1 1979-1995 (approx) Participants: Song Haidong (artist), Chen Tong (artist/publisher), Dr. Paul Gladston (art historian), moderated by Carol Yinghua Lu.
Is there ever an agreed history? What are the possible narratives for Chinese contemporary art history? What kind of timelines could be drawn throughout Chinese art history? Does this way of thinking about cultural developments in China make sense, or does it borrow too much from western art historical models? The soft Chinese art history takes its twists and turns, both from 1979 and 1989 onwards. What happened between these points and since then? What were the consequences of the diaspora after 1989? What could be meant by the continuation of points of encounters from 1920s onwards?
12:30 – 13:15 PM
A screening of Asia Art Archive documentary- “From Jean-Paul Sartre to Teresa Teng: Contemporary Cantonese Art in the 1980s”
Based on primary research, rare film footage and personal interviews with key artists, AAA’s documentary bears witness not only to the “reading fever” that gripped the Chinese art world in the 1980s. It also highlights the experimentalism and verve of artists and critics in South China whose contributions to the development of contemporary art have been deep and long lasting.
14:30-16:00 PM
Panel Discussion: Points of Encounter: the reception of Chinese art as shaped abroad - perceptions and exoticism. Part II: 1995-2010.
Participants: Li Zhenhua, Qiu Zhijie, Hu Jieming, moderated by Davide Quadrio. Respondent: Zhang Peili
Why is China adopting western models and structures? Has Chinese contemporary art been instrumentalised by the international art system, and does this continue to occur? Did Chinese artists play the game, not realising the long-term effects of this process on the artistic environment in China? Where does the “mainstream” start that artists are so concerned about? Isn’t art more about the media and impact these days? How much of an outsider can one be? How can contemporary art deal with itself when fenced within creative industries? Why does everybody seem so fed up with talking about China in relation to the West? Is there a possible way of approaching this exhausted theme, making it new and relevant? Is there any hope for cultural exchange?
16:00 PM-17:00 PM
Rites of Passage by Julika Rudelius. Originally conceived as a film, Rudelius organises a live work around the notion of translation. Her piece will be simultaneously translated, creating a continuous shifting of meaning in the work.
SUNDAY, May 16, 2010
11:00-12:15 PM
A keynote lecture on Globalism/Internationalism/Localism by Pieter van Wesemael puts the Shanghai World Exhibition into its historical context and looks at how World Expos have reflected international and globalist politics since their inception.
12:15-13:45 PM
Panel discussion: Global Claims, Local Effects
Participants: Defne Ayas, Charles Esche, Kim Hyun Jin, and Georg Schöllhammer
Panelists look at inter-European cultural conditions, particularly since 1989, and introduce specific cases from elsewhere in the non-western world, including the post-Soviet Caucasus and Republic of Korea. What might it mean to connect Chinese and other non-western situations in cultural production and presentation? Is a new kind of non-aligned cultural movement useful or possible? How are artistic histories in these regions recorded and written and how might the received narratives be questioned? What is the influence of European modernism on the extra-European world given that it was exported as a universalist form alongside colonialism and socialism in former Third World countries? To what extent do developments in countries such as former Eastern Europe or Turkey mirror the post-1989 experience in China? How do they differ?
14.30-16:00 PM
Panel Discussion: Localism and Social Engagement in the City. Participants: Tsuyoshi Ozawa (Xijing Men), Jin Shan (Shu Fu Collective), Alexander Brandt, Beatrice Leanza, moderated byDefne Ayas. Respondent: Gao Shiming
Panelists will address socially engaged forms of artistic production in urban context, highlighting collective/collaborative efforts, multiplicity, and open-ended experimentation, both historically and currently, in China and across Asia. Is an autonomous art practice a possibility at all? Must contemporary practices be isolated, out of public view? What is the meaning of avant-garde? What are the problems of translating artistic practices?
16:00-17:00 PM
Golden Ghost (Double happiness comes to the door) by Surasi Kusolwong. Thai artist, Surasi Kusolwong has installed a whole room full of waste thread material in which a golden necklace is hidden every week and can be found by lucky visitors. The finder is able to keep the necklace, making the “game” a potentially profitable experience, while also playing with the extremes of value within society.
The symposium is organised by Arthub (Defne Ayas, Davide Quadrio) and the Van Abbemuseum (Charles Esche).
Venue: Dutch Cultural Centre at 800 Chang De Lu at Changping Lu Shanghai
Translation will be provided.
About Double Infinity
Double Infinity is a collaborative encounter between the Van Abbemuseum and Arthub Asia, situated in and around the Dutch Culture Centre in Shanghai, parallel to the World Expo 2010. The Double Infinity project loops through and crosses over itself time and again. It is at one and the same moment an exhibition, a performance series, a lecture programme, a publication, a promotional tool, a celebration, a collaboration and a playful look at international relations. It marks the first time that a European museum opens itself and its collection to the responses of artists living and working in China – responses that form a host of enriching, humorous and critical insights.
Participating artists
Lara Almacergui, Johanna Billing, Stanley Brouwn, Comfortable Collective (Jin Shan, Gao Mingyan, Li Mu, Maya Kramer), Cao Fei, Alicia Framis, Liu Gang, HHD_FUN (Wang Zhenfei & Wang Luming), Job Koelewijn, John Körmeling, Surasi Kusolwong, El Lissitzky, David Maljkovic, Julika Rudelius, Speedism, Xu Tan, Zhou Xiaohu, Xijing Men (Chen Shaoxiong, Gimhongsok, Tsuyoshi Ozawa).
Curators
Charles Esche, Defne Ayas, Davide Quadrio, Remco de Blaaij
Location
Dutch Culture Centre
800 Show, 800 Changde Road 200040 Shanghai, China
Opening hours: Tuesday – Sunday: 11 am – 7 pm
More information on www.arthubasia.org
Partners
Netherlands China Arts Foundation, Gemeente Eindhoven, Dutch Culture Centre, Mondriaan Foundation, DutchDFA (Dutch Design Fashion and Architecture), Shama Xujiahui
Arthub Asia is a multi-disciplinary organization devoted to
contemporary art creation in China and rest of Asia, founded in 2007. In collaboration with museums and other public / private spaces and institutions, it initiates and delivers ambitious art projects through a sustained dialogue with visual, performance, and new media artists. Arthub Asia is committed to furthering experimentation, knowledge-production and diversity among dedicated artists, art professionals, scholars, and arts organizations in the region.
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Same document with Chinese additions:
Double Infinity: “The Last Two Decades Revisited”
Saturday 15 May (11am - 5pm) and Sunday 16 May 2010 (11am – 5pm) Dutch Cultural Centre at 800 Chang De Lu at Changping Lu Shanghai
《双倍无限：过去二十年回顾》
2010年5月15日（周六，11点至17点）和5月16日（周日，11点至17点）, 荷兰文化中心,上海常德路800号（近昌平路）
With participants:
Chen Tong, Li Zhenhua, Alexander Brandt, Hu Jieming, Song Haidong, Carol Lu, Jin Shan, Georg Schöllhammer, Liu Jianhua, Zhang Peili, Hyunjin Kim, Dr. Pieter van Wesemael, 毕月, Tsuyoshi Ozawa (of Xijing Men), Dr. Paul Gladston, Dr. Gao Shiming, and more. Curators Charles Esche, Defne Ayas, Davide Quadrio, as well as Carol Lu, will moderate. During this period, a film screening by Asia Art Achive and performances by Surasi Kusolwong and Julika Rudelius will also take place.
参与者：
陈侗、李振华、飞苹果、胡介鸣、宋海东、卢迎华、靳山、Georg Schöllhammer、刘建华、张培力、Hyunjin Kim、Georg Schöllhammer ,Paul Gladstone, Pieter van Wesemael、 高士明, 毕月、小泽刚（西京人组合成员）等。策展人Charles Esche、Defne Ayas、乐大豆以及卢迎华将主持会议。在此期间，还将举行亚洲艺术文献库的影片放映活动以及Surasi Kusolwong和Julika Rudelius的行为艺术项目。
Translation will be provided.
现场将提供翻译服务。
DAY I 第一天
May 15, 2010 2010年5月15日
11:00 – 12:30 PM
Panel Discussion: Cracking Open Once Again: The Timeline of Chinese Art History. Part 1 1979-1995 (approx)
Participants: Song Haidong (artist), Chen Tong (artist/publisher), Dr. Paul Gladston (art historian), moderated by Carol Lu.
专题讨论：《再次叩开大门：与世界相关的中国艺术史大事年表》
第一部分 1979-1995年（左右）
参与者：宋海东（艺术家）、陈侗（艺术家/出版人）、Paul Gladston（艺术历史学家）、 卢迎华主持
Is there ever an agreed history? What are the possible narratives for Chinese contemporary art history? What kind of timelines could be drawn throughout Chinese art history? Does this way of thinking about cultural developments in China make sense, or does it borrow too much from western art historical models? The soft Chinese art history takes its twists and turns, both from 1979 and 1989 onwards. What happened between these points and since then? What were the consequences of the diaspora after 1989? Is an autonomous art practice a possibility at all? Must contemporary practices be isolated, out of public view? What is the meaning of avant-garde? What could be meant by the continuation of points of encounters from 1920s onwards?
是否存在公认的历史？中国当代艺术史的叙述手法可能是什么？怎样的大事年表才能勾勒出中国艺术史？在中国发展情况方面，这种思维方式有意义吗？亦或者，它过多借鉴了西方艺术史模式呢？中国艺术史在1979和1989年经历了两次转折，那以后又发生了什么呢？1989年后的移民潮造成了什么后果？艺术自治可能吗？先锋是什么意思？20世纪20年代以来的中西频繁交汇现象意味着什么？实践与公众视野的分离？
12:30 – 13:15
A screening of Asia Art Archive documentary- “From Jean-Paul Sartre to Teresa Teng: Contemporary Cantonese Art in the 1980s” as part of Double Infinity.
亚洲艺术文献库（AAA）纪录片放映——《从让·保罗·萨特到邓丽君：20世纪80年代的当代广东艺术》，《双倍无限》展组成部分
Based on primary research, rare film footage and personal interviews with key artists, AAA’s documentary bears witness not only to the “reading fever” that gripped the Chinese art world in the 1980s. It also highlights the experimentalism and verve of artists and critics in South China whose contributions to the development of contemporary art have been deep and long lasting.
在主要研究、珍贵影片以及重要艺术家采访的基础上，亚洲艺术文献库不仅验证了20世纪80年代在中国艺术界掀起的“阅读热”，还突出表现了那些对当代艺术发展做出了深远贡献的中国南方艺术家和批评家们的经验和活力。
13:15 – 13:30 Q& A 15min 13:15 – 13:30 15分钟问答时间
LUNCH BREAK 午休
14:30-16:00
Panel Discussion: Points of Encounter: the reception of Chinese art as shaped abroad - perceptions and exoticism. Part II: 1995-2010.
Participants: Li Zhenhua, Qiu Zhijie, Hu Jieming, moderated by Davide Quadrio. Respondent: Zhang Peili
专题讨论：《交汇点：国外对中国艺术受容的塑造——观念和异化》
第二部分 1995-2010年
参与者：李振华、邱志杰、胡介鸣，乐大豆主持
发言人：张培力
Why is China adopting western models and structures? Has Chinese contemporary art been instrumentalised by the international art system, and does this continue to occur? Did Chinese artists play the game, not realising the long-term effects of this process on the artistic environment in China? Where does the “mainstream” start,that artists are so concerned about? Isn’t art more about the media and impact these days? How much of an outsider can one be? How can contemporary art deal with itself when fenced within creative industries? Why does everybody seem so fed up with talking about China in relation to the West? Is there a possible way of approaching this exhausted theme, making it new and relevant? What are the problems of translating artistic practices? Is there any hope for cultural exchange?
中国为什么采用西方的模式与体系？中国当代艺术是否已经（并一直）被国际艺术体系所左右？在过去，中国艺术家是否一直抱着游戏的态度，且并没有意识到这对于中国艺术环境所造成的长期影响呢？艺术家们关注的主流来自何处？目前，艺术难道不是关于媒体和影响吗？一个人在多大程度上可以置身事外？当当代艺术被创意产业等环境所包围时，它该如何自处？为什么似乎所有人都厌倦了讨论中国与西方的关系？有没有方法处理这个永无止境的主题，让它焕然一新、紧跟形势？调整艺术实践译介方向的问题是什么？文化交流是否有希望？
COFFEE BREAK 休息
16:00 PM-17:00 PM 16:00 – 17:00
Rites of Passage by Julika Rudelius. Originally conceived as a film, Rudelius organises a live work around the notion of translation. Her piece will be simultaneously translated, creating a continuous shifting of meaning in the work.
《成人礼》，Julika Rudelius
Rudelius起初将该作品设计成影片形式，此次则将通过现场表演来呈现。作品围绕翻译这一概念展开：在现场表演语境下，作品将同时被翻译成汉语、荷兰语和英语，从而使观众体验到作品意义的持续转换。
DAY II 第二天
SUNDAY MAY 16 5月16日（周日）
11:00-12:15 PM
Globalism/Internationalism/Localism 全球化/国际化/本土化
A keynote lecture by Pieter van Wesemael puts the Shanghai World Exhibition into its historical context and looks at how World Expos have reflected international and globalist politics since their inception.
Pieter van Wesemael的主题演讲将上海世博会放在历史语境中进行考察，也对世博会自诞生之日起是如何反映国际和全球政治局面的这一议题进行了探究。
12:15-13:45 PM
Panel discussion: Global Claims, Local Effects
Defne Ayas, Charles Esche, Kim Hyun Jin, and Georg Schöllhammer look at inter-European cultural conditions, particularly since 1989, and introduce specific cases from elsewhere in the non-western world, including the post-Soviet Caucasus and Republic of Korea.
专题讨论：全球需求，本土影响
Defne Ayas、Charles Esche、Kim Hyun Jin和Georg Schöllhammer将共同探究1989年以来的欧洲文化状况，并向大家介绍非西方地区（包括后苏联时代的高加索地区以及韩国）的一些特别案例。
What might it mean to connect Chinese and other non-western situations in cultural production and presentation? Is a new kind of non-aligned cultural movement useful or possible? How are artistic histories in these regions recorded and written and how might the received narratives be questioned? What is the influence of European modernism on the extra-European world given that it was exported as a universalist form alongside colonialism and socialism in former Third World countries? To what extent do developments in countries such as former Eastern Europe or Turkey mirror the post-1989 experience in China? How do they differ?
将中国的文化生产和介绍现状与其他非西方国家的现状联系起来有什么意义？是否可能出现一种全新的不结盟文化运动形式，这种形式又是否有用？这些地区的艺术历史是如何被记录下来的？而这些广为流传的故事可能受到怎样的质疑？欧洲现代主义曾与殖民主义和社会主义一起作为一种普遍形式传播到前第三世界国家中，那么它对欧洲以外的世界产生了什么样的影响呢？前东欧与土耳其等国家的发展在多大程度上反映了中国1989年后的经验呢？它们又有何不同之处？
LUNCH BREAK 午休
14.30-16:00
Panel Discussion: Localism and Social Engagement in the City.
14:30-16:00 专题讨论：城市本土化和社会参与
Panelists will address socially engaged forms of artistic production in urban context, highlighting collective/collaborative efforts, multiplicity, and open-ended experimentation, both historically and currently, in China and across Asia.
小组成员将从历史角度和现实角度出发，讨论在城市语境中艺术生产的社会参与形式,并突出强调集体努力、多样性和开放性试验等问题。
Participants: Tsuyoshi Ozawa (Xijing Men), Jin Shan (Shu Fu Collective), Alexander Brandt, Beatrice Leanza, moderated by Defne Ayas. Respondent: Gao Shiming
参与者：小泽刚（西京人组合）、靳山（舒服组合）、飞苹果、毕月等参与，Defne Ayas主持。发言人：高士明。
Coffee break 休息
16:00-17:00 (in the exhibition area 展区)
Golden Ghost (Double happiness comes to the door) by Surasi Kusolwong. Thai artist, Surasi Kusolwong has installed a whole room full of waste thread material in which a golden necklace is hidden every week and can be found by lucky visitors. The finder is able to keep the necklace, making the “game” a potentially profitable experience, while also playing with the extremes of value within society.
《金色幽灵（双喜临门）》，Surasi Kusolwong。泰国艺术家Surasi Kusolwong在整座房间中堆满废弃边角料，并每周在其中隐藏一根金项链，静待幸运的参观者前来发掘，而发现者则可以保留项链。这一做法不仅使“游戏”成为一次真正难以忘怀的体验，还对社会价值的极端进行了探究与把玩。
结束
The symposium is organised by Arthub (Defne Ayas, Davide Quadrio) and the Van Abbemuseum (Charles Esche).
研讨会由Arthub（Defne Ayas，乐大豆）& AMP，以及Van Abbe博物馆（Charles Esche）共同组织。
Participants: 参与者：
Charles ESCHE (born 1962, England) is a curator and writer. Since 2004, he is Director of the Van Abbemuseum, Eindhoven, Netherlands. He is co-founder and co-editor of Afterall Journal and Afterall Books with Mark Lewis. Afterall is a contemporary art publication which was first launched in 1998 and is based at Central St. Martins College of Art and Design, London. He is a theoretical advisor at the Rijksakademie, Amsterdam. In 2009 and 2007 he was co-curator with Khalil Rabah of the 2nd RIWAQ Biennial, Ramallah, Palestine. In 2005 he was co-curator of the 9th International Istanbul Biennial with Vasif Kortun[1] and in 2002 the co-curator with Hou Hanru and Song Wan Kyung of the Gwangju Biennale[2], Republic of Korea. Between 2000 and 2004 he was the Director of Rooseum Center for Contemporary Art, Malmo, Sweden.
Charles ESCHE （1962年出生于英国），策展人，作家。从2004年起，担任荷兰埃因霍温市Van Abbe博物馆馆长。他与Mark Lewis共同创办并编辑《Afterall》刊物和书籍。《Afterall》是一本创刊于1998年的当代艺术读物，坐落在伦敦中央圣马丁艺术与设计学院。他也是阿姆斯特丹里克斯美术学院的研究指导。2007年和2009年，Charles两次与Khalil Rabah 合作策划第二届巴勒斯坦RIWAQ 双年展。2005年，他与Vasif Kortun[1]共同策划第九届伊斯坦布尔国际双年展。2002年，他与侯瀚如、Song Wan Kyung 共同担任韩国光州双年展[2]策展人。2002到2004年期间，Esche担任瑞典马尔默Rooseum当代艺术中心馆长。
Julika RUDELIUS was born in 1968 in Cologne, Germany, and is currently based in Amsterdam. She attended the Hochschule für Bildende Künste in Hamburg, Germany, from 1993-1994, the Gerrit Rietveld Academy in Amsterdam from 1995-1996 and participated in the Rijksakademie artist-in-residence programme from 1999-2001. Her work has been exhibited in various solo and group shows in Europe. Her videos, usually showing people in “everyday” interactions, are marked by an ambiguity between “staged” and “spontaneous” situations. The works look on social behaviour patterns as well as on physical and verbal communication, especially with respect to the question how these contribute to the creation and reproduction of social hierarchy. This intersects with an exploration of issues of sexuality, including shifting dynamics of sex and power and our cultural need to verbally express sexual detail.
Julika RUDELIUS 1968年出生于德国科隆，目前定居阿姆斯特丹。1993至1994年，她任职于德国汉堡造型艺术学院；1995至1996年，任职于里特维德艺术学院；1999至2001年，参加Rijksakademie 艺术家居留项目。她的作品在欧洲各大个人展和团体展上进行过展出。她的录像作品常常表现人们的“日常”互动，“表演性”和“自发性”的模糊成为其作品的主要特征。她的作品关注的是社会行为模式、身体接触和口头交际，特别是这些行为是如何创造和复制社会等级的。她的这一研究与性行为问题的探索相互交织，包括改变性动力、性权利以及口头表达性细节的文化需要。
Hyunjin KIM (born 1975, South Korea) is a curator and a writer living and working in Seoul. Since 2001, Kim has worked as a curator to produce exhibitions in a number of institutions, including the Vanabbemuseum (Eindhoven), Gallery27 at the Kaywon Art & Des
