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中间实践 | Yishu写作者修行之路 系列采访 #4

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在展览“从艺术到Yishu,从Yishu到艺术”(2020.12.19-2021.05.09)的展期内,我们采访了共十多位为《Yishu国际典藏版》长期撰稿的写作者和编辑。他们中既有资深的双年展策展人,也有艺术史家和活跃的评论家。我们将不定期推送这些采访,期望读者能从他们的写作修行之路中汲取灵感和能量。


中间实践 | Yishu写作者修行之路 系列采访 #4  Pauline J. Yao Yishu 作者 之路 系列 中间 艺术 展期 Yishu国际典藏版 长期 编辑 崇真艺客

姚嘉善

姚嘉善是香港M+视觉文化博物馆视觉艺术的首席策展人。她曾在旧金山亚洲艺术博物馆(Asian Art Museum of San Francisco)担任策展人,并在北京作为独立策展人和作家工作了六年,也是北京 "箭厂空间"的创办人之一。自2012年加入M+以来,姚嘉善在建立视觉艺术收藏方面发挥了主导作用,她负责监督和收藏来自亚洲及其他地区的作品。她负责M+视觉艺术的收藏购买、研究和阐释,包括水墨艺术和香港视觉文化的子领域,并担任M+在线出版物《PODIUM》的联合编辑。近期的策展项目包括M+的展览“南行觅迹:M+藏品中的东南亚”(与Shirley Surya合作策展,2018)和“境遇——五个人”(2019)。姚嘉善是《国际艺术论坛》的撰稿人,她关于亚洲当代艺术的文章曾出现在多本画册、在线出版物和期刊中。



1. 你和《Yishu》的故事是什么?你是什么时候开始为《Yishu》写作的?


我很早就知道《Yishu》,大概是2002年或2003年,那时候林荫庭(Ken Lum) 在《Yishu》编辑团队还非常活跃。当时我在旧金山亚洲艺术博物馆(Asian Art Museum of San Francisco)工作,专门研究中国当代艺术。不知为何,《Yishu》吸引着我。而当时关于中国当代艺术的严肃出版物少得可怜,但我却对相关信息相当渴望。我在《Yishu》上发表第一篇文章的时候应该是在2004年,是那年早些时候我在温哥华一个会议上发表过的一篇论文。



2. 你在《Yishu》中发表过几篇文章?主要写作的内容是什么?


我不记得这些年发表了多少文章,好几篇吧,也许你们的数据资料比我的记忆力更清晰!我写过一些比较学术性、研究性的文章,也报道过一些在中美两国举行的中国当代艺术展览。我非常幸运,很感激在我的职业生涯中,能有像《Yishu》这样的写作平台。



3. 你为什么会选择《Yishu》平台?你觉得《Yishu》杂志的特点是什么?它有哪些特质是不同于其他杂志的?


为《Yishu》写稿的主要好处是,作为一个写作者,你面对的读者都是对当代艺术和中国艺术与文化(广义上)非常了解和熟悉的。这一点就与其他类型的当代艺术刊物完全不同,因为它们的读者对亚洲或中国根本不熟悉。从某种意义上说,为《Yishu》写作有点像给自己的同行写作。有些人可能会觉得仅关注中国当代艺术过于狭窄,但对那些了解这个领域的人来说,它其实是相当广阔和多样化的。我非常感谢有机会为这个领域和读者们贡献自己的观点。《Yishu》之所以脱颖而出,是因为里面的文章针对中国及中文世界的艺术家、作品和事件,但用英文来呈现,且调性非常明确。



4.跟《Yishu》杂志编辑部合作沟通的过程是什么样子的?


工作过程非常顺利且专业。这么多年来,我一直很喜欢《Yishu》团队。



5. 你的研究方向是什么?你最近在研究什么?


我的专业领域一直是中国当代艺术,自从加入M+,我的研究兴趣已经扩展到东亚、南亚和东南亚。我为M+的收藏和项目所做的工作也扩展到了国际上不同的地区与实践中。



6. 2002年《Yishu》创刊号向当时的有影响力的艺术实践者提了一系列问题。借第100期出版之际,我们想把这些问题提给你:你怎样看待中国艺术文化现状?中国的艺术和文化对您来说意味着什么?中国的艺术和文化对你来说是什么?“中国”对你来说意味着什么?


多年来,在我从事中国艺术领域的工作时,逐渐发现对"中国"的定义越来越发散。对中国的理解涉及政治、地理以及文化等角度,这些多元的理解并不总是一致的,也不应该整齐划一的。但说到底,中国当代艺术还是有一些为人们所熟知和认可的东西,那就是中国大陆当代艺术的发展带有一种与其他华语艺术世界不同的独特性。



8. 借用Keith Wallace在第一百期向写作者进行的提问:“在过去的二十年里,中国当代艺术在艺术生产和运作机制方面有些什么发展/变化?”,请问您对这个问题有什么想法?


我很幸运能看到2000年的上海双年展——这是20年前的一个标志性事件。那次活动引发了我最初对中国当代艺术的兴趣与参与。从那时到现在,大约二十年的时间里,中国当代艺术最重要的发展与展览活动,以及当代艺术中心和美术馆的建立和发展密不可分。二十年前,公众要想参观专门为当代艺术服务的美术馆几乎是不可能的,而正是这些空间的兴起,最根本地改变了中国艺术生产和消费的格局。我认为艺术和其在社会广大阶层的可接受性很重要。通过为艺术家和观众提供更多的机会,让他们获得有意义的艺术体验,并帮助他们重新审视自己的社会,以及他们在社会中的位置,我觉得中国美术馆学领域的发展已经产生了巨大而持久的影响和改变。



- - - - - - - - - - -

往期系列采访:

#1 白慧怡

#2 田珠莉

#3 康书雅


过往线上对谈回顾:

郑胜天:《Yishu》的故事

林荫庭:思考中国 1984-2000

华睿思:什么中国?

欢迎关注我们的Youtube频道(Inside-Out Art Museum, Beijing),观看我们的对谈回放



Pauline J. Yao

Pauline J. Yao is Lead Curator, Visual Art, at M+. She has held curatorial positions at the Asian Art Museum of San Francisco and worked as an independent curator and writer in Beijing for six years, during which time she helped co-found the storefront art space Arrow Factory. Since joining M+ in 2012, Yao has played a leading role in building the visual art collection by overseeing and acquiring works from around Asia and beyond. She is responsible for acquisitions, research, and interpretation of Visual Art at M+, including sub-areas of Ink Art and Hong Kong Visual Culture; and serves as the co-editor of PODIUM, M+’s online publication. Recent curatorial projects include M+ Pavilion exhibitions In Search of Southeast Asia through the M+ Collections (with Shirley Surya, 2018) and Five Artists: Sites Encountered (2019). Yao is a regular contributor to Artforum International and her writings on contemporary Asian art have appeared in numerous catalogues, online publications, and edited volumes. 

1. What is your story with Yishu journal?  When did you start writing for Yishu?


I came to know Yishu in its early days, probably 2002 or 2003. I believe Ken Lum was still active on the editorial team then. I was working at the Asian Art Museum of San Francisco at the time and specializing on contemporary Chinese art and somehow it came up on my radar, at that time there were few, if any, serious publications concerning Chinese contemporary art and I was quite hungry for information. I think my first article published in Yishu was in 2004, it was a paper from a conference in Vancouver earlier that year. 



2. How many articles have you published in Yishu?  What are they about?


I can’t remember how many articles I published over the years – there were several. Perhaps your database will tell you that better than my memory! I wrote some more scholarly or research based articles and also covered certain exhibitions of Chinese contemporary art taking place in China and in the US. I was extremely lucky and grateful to have an outlet like Yishu for my writing at this formative period in my career.



3. Why do you choose to write for Yishu? In what ways do you think Yishu distinguishes itself from other art journals?  What is particularistic about Yishu?


The main benefit of writing for Yishu was that, as a writer, you knew that you were speaking to an audience that was knowledgeable and well versed in contemporary art and in Chinese art & culture (broadly speaking). It was quite different from writing for another type of contemporary art publication in which readers would not be familiar with Asia or China much at all. It was, in some sense, like writing for one’s peers. There are some that may have felt that Chinese contemporary art was too narrow a focus but to those who know the field, it is actually quite expansive and diverse. I really appreciated the opportunity to contribute my perspective to this field and set of readers. Yishu stood out because the texts drew upon artists, artworks and events in China or Chinese speaking world but presented analysis English language material but solidly aimed.



4. What is it like to work with Yishu’s editors?


The working process has been nothing but smooth and utterly professional. I have enjoyed getting to know the Yishu team over the years. 



5. What is your research area?  What have you been working on recently?


My area of specialization has always been contemporary Chinese art but over the years and since joining M+ my research interests have expanded significantly to include East Asia and South & Southeast Asia. My work for M+ collections and programs has also extended internationally to a variety of regions and practices.



6. The inaugurating issue of Yishu in 2002 posed a series of questions to prominent art practitioners in Chinese contemporary art.  Now that Yishu has arrived at its milestone of 100 issues, we’d like to pose some of these questions to you: What are your thoughts regarding the situation of art and culture in China today?  What does Chinese art and culture mean to you?  What does “China” mean to you?  


Over the years working in this field and with Chinese art, I find the definitions of “China” to be increasingly diffuse. There are political ways of understanding China and there are geographic ways and there are cultural ways, and these multiple understandings do not always align neatly into one thing nor should they need to. And yet at the core, there is still something known and recognized as Chinese contemporary art, which is to say that the development of contemporary art on the mainland carries a uniqueness that is not synonymous with other Chinese-speaking art worlds. 



8. Keith Wallace has posed a question in the 100th edition of Yishu, and we’d like to pose the same question to you: What are the most significant developments that have taken place in contemporary Chinese art in the past two decades in terms of the art produced and systems it functions within?


I was fortunate enough to be able to see the 2000 Shanghai Biennale – a landmark event that took place around 20 years ago. That event marked my early interest and involvement with contemporary art in China. Thinking from that moment to now, approximately two decades of time, I would say that the most important developments in contemporary Chinese art have been around exhibition making and the establishment and growth of art centers and museums for contemporary art. Twenty years ago it was almost unfathomable for members of the public to visit museums solely dedicated to contemporary art and it is the rise of these spaces that has most fundamentally changed the landscape for art production and consumption. I am a believer in making art accessible to a wide sector of the society and the developments in the museological field in China have had a tremendous and lasting impact by increasing the opportunities for artists and audiences to have meaningful experiences with art that help to re-examine their own society and their place within it.



- - - - - - - - - - -

Past Interview Series:

#1: Stephanie Bailey

#2: Julie Chun

#3: Sophia Kidd


Past Online Talks:

Zheng Shengtian: The Story of Yishu

Ken Lum: Reflections on China 1984-2000

Keith Wallace: What China? 

Video Recordings Are Available on Our Youtube Channel: Inside-Out Art Museum, Beijing



采访策划 Interview Planning: 

刘语丝,黄文珑 Liu Yusi, Huang Wenlong

采访翻译 Interview Translation:

刘千 Liu Qian

文字校对 Proof-reading:

刘千,刘语丝,张理耕,黄文珑 Liu Qian, Liu Yusi, Zhang Ligeng, Huang Wenlong

微信排版 Post Editing: 

刘千 Liu Qian

展览视觉设计:

Onion




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中间实践 | Yishu写作者修行之路 系列采访 #4  Pauline J. Yao Yishu 作者 之路 系列 中间 艺术 展期 Yishu国际典藏版 长期 编辑 崇真艺客

中间实践 | Yishu写作者修行之路 系列采访 #4  Pauline J. Yao Yishu 作者 之路 系列 中间 艺术 展期 Yishu国际典藏版 长期 编辑 崇真艺客


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中间实践 | Yishu写作者修行之路 系列采访 #4  Pauline J. Yao Yishu 作者 之路 系列 中间 艺术 展期 Yishu国际典藏版 长期 编辑 崇真艺客


中间实践 | Yishu写作者修行之路 系列采访 #4  Pauline J. Yao Yishu 作者 之路 系列 中间 艺术 展期 Yishu国际典藏版 长期 编辑 崇真艺客

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