Please scroll down for the English.
在一定程度上，《Yishu》是文化多元主义的化身。创立《Yishu》并担任总策划的华裔艺术家、学者郑胜天先生自1990年定居温哥华，长期在全球，特别是北美地区引介中国艺术和华人艺术家。创刊初期至2004年，加拿大华裔艺术家林荫庭（Ken Lum）担任主编。此后，加拿大艺术家和学者华睿思（Keith Wallace）接任主编一职至2020年。虽然是英语刊物，但《Yishu》独特的细长开本则是按传统中国线装书的比例设计的。《Yishu》名称取自“艺术”的拼音“Yishu”，这既表明它关注华语语境中的当代艺术，也以此说明英文的“Art”一词不能完全等同于中文的“艺术”。但《Yishu》自身为英语世界进入中文实践领域中的思考和创作提供一个重要的桥梁。为《Yishu》撰稿的既有长期研究中国和华语世界艺术创作的外国观察者和学者，也有生活在海外的中国学者和艺术家，还有立足于中国和亚洲现场的艺术家、评论家和策展人。
我们会于12月20日北京时间上午11点开启本项目的第一场线上讲座，我们将邀请郑胜天先生分享他与《Yishu》近二十年的历程。明年1月，我们将分别邀请两位主编 Ken Lum 和 Keith Wallace 进行线上讲座，敬请期待！
黄文珑 澳洲国立大学信息技术学士，巴黎第一大学艺术史学士。2018年参与蓬皮杜艺术中心在成都的策展项目“全球都市#1.5 延展智慧”，其中包括帮助艺术家组合阿尔弗雷德&伊莎贝尔·阿奎礼赞与成都的社区共同完成创作。自2019年加入北京中间美术馆研究与策展部，她梳理了编舞家文慧的创作经历与文献、协助准备她的首个美术馆展览并编辑她的展览画册。
From Art to Yishu, From Yishu to Art
Curators: Huang Wenlong, Liu Yusi
Location: Inside-Out Art Museum, No.50 Xingshikou Road, Haidian District, Beijing
Beijing Inside-Out Art Museum considers publishing as an act of creativity, and its “Inside-Out Practice” program aims to present pioneering and visionary practices in art publishing. The eighth episode of “Inside-Out Practice” focuses on Yishu: Journal of Contemporary Chinese Art. Since 2000, contemporary Chinese art has entered a path of accelerated globalization. At the same time, the art world as a whole has become increasingly open. Yishu journal was established in 2002 with a focus on producing and leading discourses on Chinese art for an English-speaking audience; it has now been in print for nearly 20 years. Yishu is edited in Vancouver, Canada, and it is published under the sponsorship of President Katy Hsiu Chih Chien of Art & Collection Group Ltd. in Taiwan and is distributed internationally. Yishu is the premier journal in the English-speaking world devoted to contemporary Chinese art and culture.
Yishu is a manifestation of cultural pluralism. The Founding Managing Editor of the journal, Zheng Shengtian, is a Chinese-Canadian artist and scholar who has resided in Vancouver since 1990. He has been a leading figure in promoting Chinese and overseas Chinese artists across the world, and especially in North America. Chinese-Canadian artist Ken Lum served as Yishu’s Founding Editor-in-Chief from its inauguration until 2004. Thereafter, Canadian artist and scholar Keith Wallace took over as Editor-in-Chief until 2020. Although the journal is an English publication, an identifying characteristic of Yishu is its slender format; the publication is designed along the standards of traditional Chinese thread-bound books. The title of the journal, yishu, is taken from the pinyin of the two Chinese characters for art. This title demonstrates the journal’s commitment to art in a Chinese context as well as how the word “art” in English cannot be completely equivalent to the Chinese term for art. Yishu serves as a significant bridge between Chinese art practitioners and the English-speaking world. Contributors to the journal include long-term foreign observers and scholars of Chinese and overseas Chinese art, Chinese artists and scholars living abroad, and Chinese artists, critics, and curators residing in China and Asia.
Issues of Yishu are approximately 120 pages and include six to twenty-one articles, unrestricted in length. After 2008, the journal transitioned from being published quarterly to being published bi-monthly. Thus far, nearly a thousand articles have been published, with the total number of characters dedicated to commenting on contemporary Chinese art numbering over one million. Articles in the journal have included in-depth scholarly articles on Chinese art, interviews with artists, curators, and historians, the results of important academic research, and up-to-date coverage of recent exhibitions, books, and art scenes etc. All of these works have served as a record of the Chinese art world in the past twenty years. Yishu has become a community with more than a thousand contributors and featured practitioners as well as the countless, enthusiastic readers of the journal around the world. Since 2013, Yishu has published thirteen Chinese-language editions of selected works, of which Carol Yinghua Lu was the Editor-in-Chief. The journal also has given the Yishu Awards for Critical Writing on Contemporary Chinese Art annually in order to encourage critical thinking and writing.
In November of 2020, Yishu published its 100th edition, marking a milestone in the history of the journal. On this occasion, “Inside-Out Practice” presents From Art to Yishu, From Yishu to Art, a retrospective of the publishing history of one hundred issues of Yishu. From the abstract and all-encompassing concept of “art,” to the practical work of the journal’s viewpoints, editing, writing, and publishing, all of these specific aspects of the journal have enriched our understanding of art. At the same time, we have studied the person at the heart of Yishu, Zheng Shengtian, and his history with the journal. Zheng travelled outside China in the 1980s when the country had gradually opened up and the Chinese art scene became more vigorous, he thus held an open and tolerant attitude towards the Chinese and global art worlds. He has brought his artistic and historical vision to Yishu, endowing it with the deep cultural accumulation, democratic pluralism, and grounded character that the journal possesses today.
In the space of “Inside-Out Practice,” we present the entirety of the hundred issues of the journal as well as World Art News and Chinese Art Newsletter, two newspapers that Zheng was involved with prior to Yishu, revealing the multi-dimensional process that takes us from art to Yishu and back again. We will organize lectures with the editors and writers behind Yishu, and update our gallery presentation with documentations from these public programs.
On 20th December, we will launch the first online talk of this project at 11am, Beijing Time (19th December at 7pm, Vancouver Time). In this talk, Zheng Shengtian will share his nearly 20-year journey working with Yishu. Following on this talk, we will invite Ken Lum and Keith Wallace, Yishu's former Editors-in-Chief to each present a talk in January, 2021. Please stay tuned!
Huang Wenlong, graduated from the Australian National University with a Bachelor of Information Technology, and later earned a Bachelor of Art History at the University of Paris I Pantheon-Sorbonne. In 2018, she participated in producing Centre Pompidou's exhibition Cosmopolis #1.5: Enlarged Intelligence in Chengdu in which she helped Isabel & Alfredo Aquilizan to create their work with local communities. She has been working in the research and curatorial department at the Beijing Inside-Out Art Museum (IOAM) since 2019: she researched on the Chinese choreographer Wen Hui's practice, helped organise her first solo exhibition and edited her catalogue.
Liu Yusi grew up in Beijing and is pursuing a PhD in the Department of Classical and Near Eastern Archaeology at Bryn Mawr College in the United States. Her research interests include space and memory, cultural heritage and museum, intellectual history, and classical reception. She is particularly interested in the convergence of archaeology and contemporary art and its relation to the global political sphere. Yusi is currently a visiting curator at Beijing Inside-Out Art Museum.
We would like to thank Mr. Zheng Shengtian, Ms. Cen Jiawei, Ms. Diao Xue, Mr. Hou Keping, Ms. Liu Qianqian and the Three Shadows Photography Art Centre for their support and assistance in this project.
Poster Design: Onion
Wechat Editing: Huang Wenlong
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