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第二届安仁双年展“共同的神话”即将在四川安仁举办

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2019年5月30日，第二届安仁双年展（ANREN BIENNALE）业内通告会在北京展览馆举办，宣布第二届安仁双年展将于10月12日开幕，本届展览的主题是“共同的神话”（A CONFRONTATION OF IDEALS）。

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安仁双年展是基于中国四川大邑县安仁古镇的特殊风貌及现实状况，由华侨城主办，由国内顶尖的学者、策展人组成的专业团队所策划的品牌文化活动。展览期间的安仁古镇将变为使游客感受沉浸式体验的整体艺术空间，借由这种方式促使游客“寻宝式”的探寻展览，从而带动游客在各区域之间的互动与串联，实现游客对安仁全角度的理解与参与。

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第二届安仁双年展业内通告会现场，嘉宾合影

华侨城集团是国务院国资委直管的大型中央企业，也是国内最早支持当代艺术发展并创办专业非盈利艺术机构的企业。作为主办单位的华侨城西部集团，紧跟“中国文化产业领跑者、中国新型城镇化引领者、中国全域旅游示范者” 的集团发展战略，不仅着力产业发展，迅猛推进各项目进程，还致力于用艺术提升城市文化品位，用生态连接自然，用公益回馈社会，传承和保护民族文化，构建充满人文关怀、绿色低碳、和谐共处的美好生活，以成为中国西部第一的文化旅游集团和自然景区运营集团为目标而不断探索新的突破。

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安仁古镇

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安仁展馆

生活即艺术，让安仁古镇成为一种艺术美学，这是华侨城希望为古镇达成的艺术塑造。华侨城始终贯彻着将美好艺术融入生活中的理念，以此令生活本身更有质感，并且以艺术产业带动整体创意文化产业生态发展。在安仁古镇的安仁华侨城创意文化园，现已展出包括安仁双年展在内的众多高规格高水准艺术展，丰富了安仁艺术文化产品形态。未来华侨城还将为安仁华侨城创意文化园赋予更多产业功能，推动古镇艺术产业的蓬勃新生。

关于主题“共同的神话”

第二届安仁双年展主题为“共同的神话”（A Confrontation of Ideals）。策展人吕澎告诉我们，第二届安仁双年展借用东西方两个历史的隐喻，来表达全球化时代当代艺术的主题。在复杂而充满戏剧性冲突的时代，在这个时代，不同文明对世界的观望、相互之间的对话以及交流该如何进行？更多的问题是，什么是全球化时代崭新的宝船，以致将亚洲和其他区域的人们带往地球他乡；而什么样的新的地球仪能够建立人类全新的视野，理解人类文明的昨天、今天和未来？人类如何来建立一个可以共同面对未来挑战的文化共同体？

The Second Anren Biennale draws on two historical metaphors regarding East and West to express the main themes of contemporary art in the age of globalization: In an era of complex and dramatic conflict, in which rival civilizations observe the world, how do we talk and communicate with each other? Further questions are: What do the new treasure ships in the era of globalization bring from the people of Asia to other regions of the world? And what new kind of globe can embody a new vision of humanity and an understanding of the past, present and future of human civilization? How can humanity build a shared community of civilizations that can face the challenges of the future together?

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联合策展人吕澎致辞

“郑和下西洋”（Zheng He's Voyages）拜访了 30 多个国家和地区，无论当初的主要目的是不是建立稳固的朝贡体系，探索更多的人类空间与世界互通有无无疑是下西洋的目的之一。1492 年，德国航海家马丁·贝海姆 (Martin Behaim) 与一位画家的合作，制作出世界上第一个地球仪。这个地球仪构成了今天人们熟悉的地球概念。以后，欧洲人到达了亚洲，到达了中国和日本。人类进入了早期的全球化阶段。从16世纪开始，葡萄牙人、荷兰人、西班牙人以及英国人陆续到达中国，到今天人类的网络全球化时代，人类的文化与不同的文明发生了目不暇接并深刻的变化，但是，这完全不意味着人类已经进入了一个大同的世界。

According to records, one of “Zheng He’s voyages” comprised as many as two hundred ships and twenty-seven thousand mariners, the Chinese fleets visited more than thirty states. Whether or not the main purpose was to establish and consolidate a tributary system, exploration of previously unknown societies and the establishment of international exchanges were undoubtedly among the purposes of Zheng He’s expeditions to the “Western Ocean”.The German mariner Martin Behaim collaborated with a painter to produce the world’s first globe. the globe conceptually embodied a map of the Earth largely as we know it today: the vast Eurasian continent, the oceans adjoining Asia and Europe, and even St. Thomas Island. Later, Europeans reached Asia and arrived in China and Japan, signaling mankind’s entry into the early stage of globalization. From the beginning of the sixteenth century, the Portuguese, Dutch, Spanish, and English have continuously arrived in China and, now, in today’s era of networked human globalization, different cultures and different civilizations have undergone dizzyingly profound changes, but this does not mean that mankind has yet entered a shared and integrated world.

众所周知，这个世界没有任何一个时期像今天这样充满复杂性，作为基因单一永不重复的生命个体，生活在不同国家、地区和文化背景下的艺术家对世界的看法和表达呈现出必须通过不断对话的方式才能够沟通和理解的差异程度。

As we all know, no period in world history was as complex as today and, as genetically unique and non-recurring living individuals, artists living in different national, regional, and cultural contexts necessarily perceive and express the world with differences in communication and understanding that must be elucidated through constant dialogue.

艺术家的敏感性和艺术思想的丰富性是本届双年展要呈现的面貌，尤其是在世界的格局正在发生深刻变化的时候，艺术的声音会显得特别具有感染力和启发性。艺术对未来经常表现出有价值的预言。基于世界的变化，文化开始成为更有效的政治策略与沟通工具。文化的组织能力和结构能力经常超越意识形态，文化的冲突也往往突破意识形态的一致性。安仁双年展的基本策略是：通过艺术家的个人观察，以及他们与观众之间的对话，为这个复杂而多样的世界提供观察与分析的可能，通过美学的角度，去模拟人类文化交流中凸显的各种有趣的问题。

The sensitivity of artists and the richness of artistic ideas form the faces to be presented at this Biennale and, especially at a time when the world’s pattern is undergoing profound change, the voices of art will appear particularly influential and enlightening. Based on the lessons of history, art often makes valuable prophecies about the future. Based on the changes in the world, culture is beginning to become a more effective political strategy and communication tool. The organizational and structural abilities of culture often transcend ideology, and cultural conflicts often break through the consistency of ideology. The basic strategy of the Anren Biennale is to provide the opportunity to observe and analyze this complex and diverse world through the artist’s personal observation, as well as to enter into their dialogue with the audience, and to simulate the various interesting issues highlighted in human cultural exchanges through an aesthetic perspective.

“共同的神话”意味着建立人类文化共同体的理想、问题与努力。所谓共同体，是一个和谐至善的承诺，这是人类依赖其发展所需的生命个体的要求。不同的国家文明背景具有明显的差异，不同国家的利益与操作集团的特殊目的和策略上的问题，使得建立共同体变得十分的困难，因此，在具体的政治与经济规则的制定的同时，利用价值观的讨论、文化的交流、人类伦理的商议以及艺术盲点的试错，也许是我们建立文明共同体的机会所在。由于文明或者文化的传统和留存的事实，我们可以在尊重不同文明的历史和传统的基础上，讨论如何来塑造适合人类共同体的全球化时代的新文明。

“Shared mythology” signifies the ideals, questions, and efforts required to establish a human civilized community. Community itself is a promise of harmony and goodness, which human beings require to build the individual life they require for their development. However, different national civilized backgrounds have obvious differences. At the same time, the question of the special purposes and strategies of the interests and operating groups of different countries makes it very difficult to establish a shared community and so at the same time as we formulate specific political and economic rules, we may have the opportunity to establish a civilized community by taking advantage of our discussion of values and our cultural exchanges to negotiate human ethics and indulge in the trial and error of artistic blind spots. Because of the existence of traditions and residues of civilization or culture, we can discuss how to shape a new civilization in an era of globalization suited to the human community, on the basis of respect for the history and traditions of different civilizations.

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首届安仁双年展现场

首届“安仁双年展”已于 2017 年在安仁古镇成功呈现，主题为“ 今日之往昔”——顾及到历史、今天与未来，设置了四个板块，分别为： “谱系修辞”、 “十字街头”、“回不去的未来”、“四川故事——戏剧与历史”。除此之外，还设置特别邀请展单元，分布在不同的空间和场馆，成为主展的有机补充。来自二十余个国家和地区的 170 余位艺术家参与了首届展览。为了使展览的呈现方面与安仁古镇形成有机结合，邀请了对安仁古镇非常熟悉的建筑师刘家琨主持改造了一座废旧厂房作为主场馆，并以其为“安仁双年展”的永久展馆。首届安仁双年展是一个开端，搭建起了一个国内外不同代际艺术家展示与交流的两年一届的双年展学术平台，持续地通过双年展及相关活动增强安仁古镇的人文内容和当代影响力。

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联合策展人何桂彦发言

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联合策展人赛伯·泰德若致辞

第二届 “安仁双年展”采取联合策展人机制，本届展览由艺术史学家吕澎、四川美术学院教授何桂彦、荷兰著名策展人塞伯·泰德若（Siebe Tettero）作为联合策展人。遵照专业、学术、国际等原则搭建展览结构，制定展览的主题和架构选择参展的艺术作品、拟定参展的艺术家名单，保证展览的学术性效果及影响。

关于策展团队

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联合策展人吕澎

联合策展人吕澎，是当代著名的艺术史家和专业策展人，现为那特艺术学院院长，四川美术学院与西安美术学院教授。曾任中国美术学院艺术人文学院副教授、成都当代美术馆馆长。担任过53 届威尼斯双年展特别邀请展“给马可波罗的礼物”、“改造历史：2000-2009 年中国新艺术”策展人、伦敦Louise Blouin Foundation “溪山清远——中国当代新绘画”策展、美国旧金山亚洲艺术博物馆主办的“溪山清远——中国当代新绘画”、布拉格市立美术馆“诗哲重逢：张晓刚、王广义艺术展”策展人，以及美展“HISTORICODE: 萧条与供给”、首届安仁双年展“今日之往昔”总策展人。主要著作有：《欧洲现代绘画美学》《现代绘画：新的形象语言》、《20世纪艺术文化》、《现代艺术与文化批判》等。

LU (Lü) PENG, Curator

Art Historian, Art Critic, Curator Born Chongqing, China.1982 Graduated from the Political Education Department of Sichuan Normal University.2004 Obtained a PhD in Critical Theory from the China Academy of Art.

EXPERIENCE

1982-1985 Chief editor of the journal Theatre and Film

1986-1991 Vice-secretary of the Sichuan Dramatists Society

1990-1993 Executive editor at the magazine Art and Market

2005-2016 Director of Institutions of CHINART

2011-2014 Director of Chengdu MoCA

2015 to present Artistic Director of Yinchuan MoCA

2017 to present Founder of L-Art University

2007 to present Associate Professor, Department of Art History and Theory, China Academy of Art, Hangzhou, China

2017 to present Professor at Sichuan Fine Arts Institute, Chongqing, China

CURATORIAL PROJECTS (SELECTED)

1992 Artistic Director of First Guangzhou Biennale, Guangzhou, China

2009 A Gift to Marco Polo, Venice Biennale, Italy

2010 Reshaping History, Beijing, China

Pure Views: New Painting from China, Louise Blouin Foundation, London

2011 2011 Art Changsha, Changsha, China

Chengdu Biennale, Chengdu, China

Pure Views: New Painting from China, Asia Art Museum, San Francisco

2012 New Art History from Long Collection, Long Museum, Shanghai, China

2013 Pure Views: New Painting from China: Traditions Reactivated, Fukuoka Asian Art Museum, Fukuoka, Japan

Passage to History 20 Years, Venice Biennale

Pure Views: Transforms of Chinese Contemporary Art, Arts Santa Monica, Barcelona

2014 Our Generation：The Context and Portraits of History, Chengdu MoCA, China

2015 Painting: 20x20, Poly Art Museum, Beijing, China

2016 Time.Turning Pages, Artron Art Centre, Shenzhen, China

2017 Nanjing International Art Festival, Historicode: Scarcity and Supply, BaiJia Lake Art Museum, Nanjing, China

2017 First Anren Biennial, Anren, China

2018 40 x 40: Art History Shaped by 40 Artists, Powerlong Musuem, Shanghai, China

PUBLICATION (SELECTED)

Modern European Aesthetics of Painting (Lingnan Fine Arts Press, 1989)

Modern Painting: New Imagery Language (Shandong Literature and Art Press, 1987)

Art-Revelation of Man (Lingnan Fine Arts Press, 1990)

Twentieth-Century Art Culture (with Yi Dan ,Hunan Fine Arts Press, 1990)

Critique of Modern Art and Culture, (Sichuan Fine Arts Press, 1992)

History of China Modern Art: 1979-1989, (with Yi Dan, Hunan Fine Arts Press, 1992)

The Operation of Art (Chengdu Publishing House, 1994)

History of China Modern Art: 1990-1999 (Hunan Fine Arts Press, 2000)

Pure Views-Remote from Streams and Mountain: Chinese Landscape Painting in the 10th - 13th Centuries, (Chinese People’s University Press, 2004)

A History of Art in Twentieth-Century China (Peking University Press, 2006)

Artists in Art History (Hunan Fine Arts Press, 2008)

A History of Art in Twentieth-Century China ( Revised Edition, Peking University Press, 2008)

China Contemporary Art in the Historical Process and Market Trends (Peking University Press, 2010)

A History of Art in Twentieth-Century China ( English Edition, Charta Press, Italy, 2010)

From San Servolo to Amalfi (Charta, 2011)

China's Art History from 1979[coauthor Yi Dan] (China Youth Publishing House, 2011)

A Pocket History of 20th-Century (Charta, 2011)

Annals of China’s Fine Arts : 1900-2010, Document of China 's Contemporary Art History [collaborating withKong Lingwei] (China Youth Publishing House, 2012)

Fragmented Reality - Contemporary Art in 21st-Century (Charta, 2013)

A History of Art in 20th-Century China (English and French edition published by Somogy Publishing House,2013)

How to Learn and Study Art History ( Beijing University Press, 2013)

China’s Contemporary Art History: 2000-2010 (Shanghai People’s Publishing House, 2014)

Collections of Lu Peng (Beiyue Literature & Art Publishing House, 2015)

A History of Art in 20th-Century China (Somogy Art Publishers, 2016)

Bloodliness: The Zhang Xiaogang Story (Skira, 2017)

Chinese Contemporary Art since 1989 (Somogy Art Publisher, 2019)

TRANSLATED BOOKS (SELECTED)

Herschel B. Chipp, Selected Letters of Paul Cezanne (Sichuan Fine Arts Press, 1986; 2nd edition: Guangxi

Normal University Press, 2003; 3rd edition: Chinese People’s University Publishing House, 2004)

W. Kandinsky, The Spirit in Art, (Sichuan Fine Arts Press, 1986)

Kenneth Clark, Landscape into Art, (Sichuan Fine Arts Press, 1988)

Various critical writings on Paul Cezanne, Vincent Van Gogh and Paul Gauguin

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联合策展人何桂彦

联合策展人何桂彦，为四川美院美术学系教授，现任四川美院美术学系系主任、中国批评家年会学术委员、中国策展委员会委员、重庆雕塑协会副会长。主要研究领域为当代艺术批评与艺术理论，艺术管理与展览策划、中国当代艺术思潮等。曾在国内学术期刊发表批评文章70 余篇，出版个人著作与编著13 本。2010 年以来，曾策划数十个当代艺术展，如 “清晰的地平线——1978 年以来的中国当代雕塑展”、“社会风景”——当代艺术邀请展、“当代雕塑的方位”——2013 年大同国际雕塑双年展（主题展策展人）、“日常之名”——中国当代艺术中的日常话语与观念生成、“神话、叙事、想象——当代艺术邀请展”、“社会剧场”——第四届重庆青年美术双年展、“与时代同行”——四川油画邀请展等。

He Guiyan, Curator

Being Doctor of Fine Arts, and teaches in the Department of Art History at Sichuan Fine Arts Institute (SFAI) as a professor. Being dean of Department of Art History at SFAI, academic member of Annual Meeting of Chinese Critics, director of China Sculpture Institute, member of Curatorial Committee at China Artists Association, member of China Urban Sculpture Institute, and vice president of Chongqing Sculpture Institute.

Major research areas: criticism and theories of contemporary art, arts management and exhibition planning, Chinese contemporary artistic trends etc. More than 70 critical writings with a total of 500,000 words have been published in national academic journals such as Art Criticism, Literature & Art Studies, Art Research, and Art China. Totally 13 monographs and compilations have been published, such as Walking towards the Post Abstract (Hebei Fine Arts Publishing House, 2008), The End of Formalist Criticism (Culture and Art Publishing House, 2009), Dimensionality of Construction: Case Studies of Contemporary Artists (Associate Editor-in-Chief, China Youth Publishing House, 2010), Start from the Horizon--Chinese Contemporary Sculpture since 1978 (Hebei Fine Arts Publishing House, 2011), Social Landscape: the “Landscape Narration” in Chinese Contemporary Painting as well as its Cultural Concept Changes (Hebei Fine Arts Publishing House, 2014), The Declining of the Avant-garde (Shanghai People’s Fine Arts Publishing House, 2015), and Social Theater: Participation and Sharing (Associate Editor-in-Chief, Chongqing Fine Arts Publishing House, 2017).

Dozens of art exhibitions have been planned since 2010, such as “Start from the Horizon--Chinese Contemporary Sculpture since 1978”, “Social Landscape”--Contemporary Art Exhibition, “The Orientation of Contemporary Sculpture”--Datong International Sculpture Biennial 2013 (curator of theme exhibition), “By the Name of Dailiness”-Daily Discourse and Generation of Ideas in Chinese Contemporary Art, “Myths, Narration, Imagination--Contemporary Art Invitational Exhibition, “Social Theater”--The 4th Chongqing Biennial for Young Artists, and “Resonating with the Times”--Sichuan Oil Painting Invitational Exhibition.

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联合策展人塞伯·泰德若

联合策展人塞伯·泰德若，活跃于国际当代艺术世界, 最近成功创立了一个设立于阿姆斯特丹、纽约、香港的咨询事务所，建立和管理艺术与设计收藏，并为国际专业私人客户和艺术家提供战后以及当代艺术的作品代理和项目委托服务。他曾在阿姆斯特丹苏富比拍卖行(Sotheby's Amsterdam) 担任现当代艺术主管，在阿姆斯特丹国立博物馆(Rijksmuseum)担任展览主管，重组阿姆斯特丹苏富比拍卖团队。塞伯·泰德若策划了许多国际知名展览，包括伦敦巴比肯艺术画廊的 The House of Viktor & Rolf (2008)、阿姆斯特丹新教堂（Nieuwe Kerk）的 Passion for Perfection – the Nasser David Khalili Collection (2010)、阿姆斯特丹的 chambres des canaux | the tolerant home (2013) 以及与小野洋子和艾未未合作的 the life of the Buddha (2018-2019)。 2015 年，Siebe Tettero 作为董事会成员参与了欧洲当代艺术双年年展 “Manifesta”。此外，Tettero 还参与了阿姆斯特丹市的众多艺术项目、瑞士韦尔比耶的艺术理论峰会和不同私人基金会。

Siebe Tettero, Curator

For the past eighteen years Siebe Tettero have been actively involved in the international contemporary art world, most recently having established a successful consultancy practice in Amsterdam, New York and Hong Kong, building and managing art and design collections as well as brokering works and developing commissions of post-war and contemporary art to an international group of private and professional clients and artists. www.tettero.net

Siebe Tettero has also in recent years been director of an Amsterdam-based foundation that stimulates research into the work of Jean Tinguely. The program included commissioning contemporary artists to further investigate their affinities with his work, scholarly research in partnership with the VU University in Amsterdam, an exhibition program, and a series of publications. The program was rounded up at the beginning of 2014, with a publication of all writings and paper research to be issued middle 2015 www. metamaticresearch.info

Prior to setting up a private practice Siebe Tettero’s honed his commercial experience as Head of Modern and Contemporary Art at Sotheby’s Amsterdam. In 2007 he was headhunted from his post as Head of Exhibitions at the Rijksmuseum to reorganize and expand Sotheby’s Amsterdam office with the aim of making it a center for twentiethand twenty-first-century Northern European art. Although the economic climate forced Sotheby’s to close the Amsterdam office within two years (it has recently reopened), the experience has been fundamental in the success of his private practice.

This commercial acumen is backed up by solid experience in the academic/museum field, having gained an MA in the history of art (Manchester University, 2003) and having served for 4 years as Head of Exhibitions at the Centraal Synopsis Siebe Tettero Amsterdam, 19 April 2019 Reference: 19.04.19/ ST/SYN! Museum in Utrecht. Mr. Tettero’s initial training in architecture (Columbia University, 1989) has allowed him to combine his two great passions art and architecture resulting in curating many internationally recognized exhibitions, including The House of Viktor & Rolf at the Barbican Art Gallery in London (2008), and Passion for Perfection – the Nasser David Khalili Collection at the Nieuwe Kerk in Amsterdam (2010), chambres des canaux|the tolerant home in Amsterdam (2013) and the life of the Buddha (2018-2019) in collaboration with Yoko Ono and Ai Weiwei.

In 2015 Siebe Tettero joined the European contemporary art biannual Manifesta as a board member. The aim of Manifesta 12 is to investigate social change through art in underprivileged urban settings. Manifesta 12 was held in Palermo on Sicily, Italy in 2018 to much acclaim. Furthermore Tettero is or has been involved with the arts program of the city of Amsterdam, an arts theory summit in Verbier Switzerland and various private foundations.

Tettero lives in New York and Amsterdam and has developed close ties and a broad global network in both the architecture and arts communities.

Curriculum Vitae Siebe Tettero

EDUCATION

Manchester University/Sotheby’s Institute of Art

Master’s Degree in the History of Art 2003

Columbia University, New York

Master’s Degree in Building Design/Architecture 1989

Royal Academy of Arts, The Hague Bachelor‘s Degree in Architecture 1982

PROFESSIONAL EXPERIENCE 2002-2012

TETTERO art consultancy, Amsterdam/New York/Hong Kong;

2009- present

Principal. www.tettero.net