HOW驻留丨昊国际策展人驻留项目，策展人瓦莱里娅·马塔

昊国际策展人驻留项目

迎来2019年度第2位驻留策展人

来自墨西哥的瓦莱里亚·马塔（Valeria Mata）

她的驻留将从2019年3月1日持续到3月24日

昊国际策展人驻留项目由昊美术馆和万和昊美艺术酒店共同发起，面向全球公开征募对希望深入了解中国当代艺术界的策展人、学者和艺术写作者。旨在促进全球驻留交换、并建立与各机构的长期合作，该驻留项目根据每位驻留策展人的兴趣，协助定制与艺术专业人士的会面、工作室参观，画廊和机构参访以及出席其他相关活动。此外，驻留策展人还将与美术馆团队协作，并撰写文章、举办公共讲座等。

2018年驻留项目请戳链接：

未来已来丨HOW的2018——驻留篇

瓦莱里娅·马塔（Valeria Mata）是一位社会人类学家、编辑和研究者。 自2015年起，马塔开始负责管理项目“MUEVE”，该项目旨在建立促进墨西哥和拉丁美洲独立出版流通替代性渠道的平台。

在过去五年中，她在拉丁美洲的数个艺术书展代理墨西哥的独立编辑出版项目。 2016年，她联合组织了在墨西哥普埃布拉举办的独立出版书展“其他书籍，其他形式” （Otros Libros · Otras Formas，OLOF）。该书展包括关于墨西哥独立编辑和出版议题的工作坊、表演及特邀嘉宾对谈。

“MUEVE”流动平台在公共空间，2017

MUEVE roving platform circulating in public space, 2017

近年来，她的工作重点主要集中在人类学和艺术实践的跨学科研究。 她最近完成了在越南、老挝、缅甸和马来西亚的研究之旅。这次研究成果将以收集的纪录和视觉材料为基础通过出版物呈现。

《抄袭、复制、修改、窃取、重写此书》，该文讨论了复制和抄袭在视觉艺术与文学中作为关键工具的议题，2018

Plagie, copie, manipule, robe, reescriba este libro (“Plagiarize, Copy, Modify, Steal, Rewrite This Book”) Publication on copies and plagiarism as critical tools in visual art and literature, 2018

2018年，她出版了名为《抄袭、复制、修改、窃取、重写此书》（“Plagie，copie，manipule，robe，reescriba este libro”）的论文。该文讨论了复制和抄袭在视觉艺术与文学中作为关键工具的议题，其篇幅近乎一本书。马塔也策划了项目“抄袭图书馆”（“La biblioteca del plagio”），作为对该议题圆桌会议的补充。

 “抄袭图书馆”项目，2018

The Plagiarism Library Project, 2018

在专注研究这一主题的拉丁美洲艺术案例三年后，瓦莱里娅·马塔将兴趣转向对不同文化中复制和伪造、作者身份和原创性的概念和想象的比较研究。她对探索中国传统和当代艺术家作品中模仿的实践并思考艺术中的模仿和复制尤为感兴趣。她认为这些实践或图像引发的张力可以促使我们思考不同形式的艺术表现形式及其文化变体。

独立出版书展“其他书籍，其他形式”，墨西哥普埃布拉，2016

Otros Libros·Otras Formas (Other Books·Other Models, OLOF) book fair for independent publishers in Puebla, Mexico, 2016

复制、抄袭、挪用和互文都是存在争议的议题。在艺术和创意领域，复制常会受到惩戒，它一般被认为是一种会受到社会否定的不道德做法，是对“原创性”的威胁。无论如何，重点是要承认对真实性的要求和对复制的社会制裁会因不同文化和不同艺术领域而异。

复制或抄袭的行为尽管常如上所说，但仍不是被普世认为是违犯道德或行为准则的。在昊国际策展人驻留项目期间，马塔的策展研究方向包括批判性地质疑已规范的各种概念，譬如原创性、创作者的天赋，以及艺术作品作为私有财产。

HOW International Curatorial Residency Programwelcomes the second curator-in-residence of 2019, Valeria Mata from Mexico. 

Valeria Mata

Valeria Mata is a social anthropologist, editor, and researcher. Since 2015, she has directed the project MUEVE, a roving platform that aims to foster alternative channels for circulating independent Mexican and Latin American publications.

For the last five years, she has represented independent Mexican editorial projects at several art book fairs in Latin America. In 2016, she co-organized Otros Libros·Otras Formas (Other Books · Other Models, OLOF), a book fair for independent publishers in Puebla, Mexico, which included workshops, performances, and conversations with guest speakers about independent editing and publishing in Mexico.

In recent years, her work has focused on interdisciplinary research on anthropology and artistic practices. She has recently made a research trip to Vietnam, Laos, Burma and Malaysia, that would result in a publication based on both the documentary and visual gathered material.

In 2018, she published “Plagie, copie, manipule, robe, reescriba este libro” (“Plagiarize,

Copy, Modify, Steal, Rewrite This Book”), a book-length essay about copies and plagiarism as critical tools in visual art and literature. She curated the project “La biblioteca del plagio” (“The Plagiarism Library”), in addition to organizing roundtables about the topic.

After having worked on this subject for three years, with a focus on cases in the Latin American art world, Valeria Mata is interested in conducting a comparative study of the conceptions and imaginaries of copies and falsifications, authorship and originality in different cultures.

She is especially interested in exploring the work of historical and contemporary artists in China who have explored imitative practices and have contemplated mimesis and copies in art; the tension sparked by these practices or images -she thinks- can prompt us to think about different forms of artistic representation and their cultural variants.

Mata’s Research at HOW

Copying, plagiarism, appropriation, and intertextuality are all controversial subjects. Copying, typically punished in the artistic and creative realm, is generally considered an unethical practice charged with social repudiation, a threat to “originality.” However, it is important to acknowledge that the demands of authenticity and social sanctions on copying can vary between cultures, as well as between different artistic fields.

The act of copying or plagiarism is hardly a universal transgression, as is typically asserted. At the HOW International Curatorial Residency Program, Mata’s curatorial research interests would include critically questioning various concepts that have been normalized, such as originality, the genius of original authorship, and works of art as private property.