周六线上活动预告｜“希望的原理”艺术家讲座系列二：卡罗玛·雅康吉·戴欧纳

本周六，中间美术馆将举办“希望的原理”艺术家讲座系列第二回。我们将邀请参展艺术家、菲律宾诗人卡罗玛·雅康吉·戴欧纳(Carlomar Arcangel Daoana)线上分享他的诗歌写作实践，并邀请剧场艺术家、写作者艾阔作回应。戴欧纳是近年来颇受关注的东南亚诗人，我们在“希望的原理”中呈现他的诗歌，也是他的作品第一次被介绍、引进至大陆。戴欧纳与艾阔将在线上分别为我们朗读本次参展诗作的原版和中文译本。本次讲座由周博雅主持，讲座为英文。

卡罗玛·雅康吉·戴欧纳生长、工作于菲律宾马尼拉。他的创作一方面敏锐捕捉到这个城市经西班牙、美国先后殖民统治后留下的问题，以及在历史残骸中居住者们的挣扎与梦想，另一方面从日常层面提供着对现代生活片段的细微观察与反思。在“希望的原理”展览中，我们呈现了戴欧纳不同主题的诗歌——从印刻在城市街道的成长经历、人与街区的关系到隐匿于自然景物中的人生譬喻等等。除诗歌创作之外，戴欧纳也任教于马尼拉亚典耀大学艺术系，广泛参与到文学评论写作、艺术策展等工作之中。拥有多重身份的他将在本次讲座中与我们分享其对诗歌创作主题的思考，及艺术实践的多重脉络是如何连结起来的。

戴欧纳参展诗歌选

街边之哀六节诗

“七月四日”这条街没有发生过什么引人注目的事儿，

不过，它常常困扰着居民的睡眠，

其中就包括我的祖母。

她曾整夜听着醉汉们的哭叫声与警察们的吆喝声无法入眠，

我们所有人都要看他们的脸色行事：

而这就是我们所继承的遗产。

我们的遗产，即债务与不幸，

很大程度上对于外界的人们是无法感知的，

否则其他人，尤其是警察，则会对我们更加宽容，

让我们好好睡觉，容忍我们的沉默与贫穷。

像盐暴露在哀伤中，

我们吞下了我们的泪水，一如祖母。

我的祖母在街边安置房屋，却失去了她在战争中的丈夫，

这是上帝留给她的遗产。

除了她的五个孩子和这条“七月四日”街道，

没有人能见证她的哀伤，

这条街道早年时可以助她入眠，

几十年后这些警察却来打扰。

一次，我在去往公立学校的途中看到警察，

警察正追逐着我的表弟，说他们涉毒。

但我的祖母，从不过问，肥皂剧和午后睡眠是她所爱，

这，是她继承的遗产。

长期居住在“七月四日”这条街，

她本应不被这种哀伤所困扰。

不过有时，像止咳糖浆一样，

哀伤也会让人上瘾。

就连那些冷酷无情的警察，也会被哀伤所困，

在“七月四日”街道巡逻，他们心里究竟充满几许忧伤？

我的祖母也许能教给他们一些本土的智慧，

这样，他们就用不着晚上殴打妻子，他们就会入眠。

在一场暴动，或石头砸向我们房屋的时候，我佯装睡着。

一个小男孩的身躯，仅能容纳有限的哀伤。

我曾发着烧对这些遗产抱怨哭诉，

可那些警察，正忙着盘查别人的房屋。

我知道，我的祖母把我的哭喊听得一清二楚。

羞愧之下，我将自己的地址写成：街道“七月四日”。

祖母啊，请原谅我舍弃了这些遗产，

或许我的身躯已经离开了“七月四日”街道，但我的心里仍然充满着那里留下的哀伤。

只是警察，又少了一件需要操烦的事儿。您就睡吧。

（注：原诗中Cuatro de Julio为西班牙语，意为“七月四日”，是菲律宾马尼拉街道名称。）

欢迎大家加入我们的线上讨论！

This Saturday, Beijing Inside-Out Art Museum is going to hold the second artists' talk for the exhibition The Principle of Hope. We will invite the participating artist, Filipino poet Carlomar Arcangel Daoana to share his poetry writing practice in an online session. We'll also invite Ai Kuo, a theatre artist and writer, to give a response. Daoana is a Southeast Asian poet who has received a lot of attention in recent years. Presenting his poems in The Principle of Hope is also the first time his works are introduced to the mainland. Daoana and Ai Kuo will read the original version and the Chinese translation of the poems shown in this exhibition for us online. The event will be in English and will be moderated by Scarly Zhou.

Carlomar Arcangel Daoana grew up and works in Manila, Philippines. On the one hand, his work captures the problems left by the city's colonial administrations by the Spanish and the American, and the struggles and dreams of its inhabitants amidst the wreckage of history. On the other hand, his poems offer subtle observations and reflections on pieces of modern life from the perspective of ordinariness. In the exhibition The Principle of Hope, we present Daoana's poetry on a variety of topics - from the experiences of growing up in the city streets, the relationship between people and their neighborhoods, to the metaphors of life hidden in the natural landscape. In addition to writing poems, Daoana also teaches at the Ateneo de Manila University's Art Department, writes literary criticism and curates at art gallery. In this lecture, he who has various identities will share with us how he contemplates the theme of poems and how his artistic practices are connected in multiple ways.

Selected Poem of Daoana

Sestina for Street-side Sorrow

Nothing famous ever came out of Cuatro de Julio,

The street that always interrupted the sleep

Of its inhabitants, including my grandmother’s,

Who had to listen through the bawling sorrow

Of drunkards, the scampering of the police,

All of us under their mercy: our inheritance.

Largely debt and unhappiness, our inheritance

Was not visible to those living outside Cuatro de Julio—

If it were, other people, especially the police,

Would have been more forgiving, allowing our sleep,

Our silence, and our poverty. Exposed to sorrow

Like salt, we swallowed our tears, like grandmother.

Setting up a house by the street, my grandmother

Soldiered through a husbandless life, her inheritance

From God. No one was a witness to this sorrow

Except her five children and Cuatro de Julio

Which, in its early years, was conducive for sleep.

They would be meddlesome decades later, the police.

Once, on my way to public school, I saw the police

Chase my cousins for drug pushing. My grandmother

Never intervened. Soap operas and afternoon sleep

Were her chosen companion, her inheritance.

For living so long in a street called Cuatro de Julio

She should have been spared from this kind of sorrow.

Sometimes, like shabu or cough syrup, sorrow

Could be addictive. Even the steadfast among the police

Are honeycombed by it. Patrolling Cuatro de Julio,

What wild sadness were they storing? My grandmother

Could teach them a thing about this native inheritance

So instead of beating their wives, they could sleep.

In a riot or in the stoning of our house, I feigned sleep.

There’s a limit to a boy’s body in containing sorrow;

Feverish, I once wept complainingly over this inheritance.

They were busy searching another’s house, the police

But I knew she heard me loud and clear, my grandmother.

In shame, I would write my address as Fourth of July.

Grandmother, forgive me for forsaking my inheritance.

I may have left Cuatro de Julio but not its sorrow.

The police have one less thing to worry about now. Sleep.

Please feel free to participate in our online discussion!

卡罗玛·雅康吉·戴欧纳

Carlomar Arcangel Daoana

卡罗玛·雅康吉·戴欧纳是一名工作生活在菲律宾马尼拉的艺术写作者、大学教师与诗人。2021年，他的第五部亦即最新的诗集，《优雅的鬼魂》，由菲律宾大学出版社出版。2019年，他与神父Jason Dy在雅典耀美术馆共同策划的展览 "黄色模糊"，探讨了颜色的历史、政治、现象学和精神领域。他的艺术和文学写作获得了各种奖项，包括首届Purita Kalaw-Ledesma艺术评论奖、Metrobank艺术和设计卓越奖（MADE）-Alice Guillermo艺术评论奖，以及Carlos Palanca文学纪念奖的英文诗歌大奖。他的作品已在美国、澳大利亚、新加坡和马来西亚等地出版。目前，他担任马尼拉雅典耀大学美术系主任。

Carlomar Arcangel Daoana is an art writer, university instructor, and poet based in Manila, Philippines. His fifth and most recent poetry collection, The Elegant Ghost, was published by the University of the Philippines Press in 2021. Yellow Ambiguities, an exhibition which he co-curated with Fr. Jason Dy, SJ at the Ateneo Art Gallery in 2019, explored the historical, political, phenomenological, and spiritual domains of color. He has won various awards for his art and literary writing, such as the inaugural Purita Kalaw-Ledesma Prize for Art Criticism, the Metrobank Art and Design Excellence (MADE)-Alice Guillermo Art Criticism Award, and the Grand Prize in English poetry in the Carlos Palanca Memorial Awards for Literature. His works have been published internationally, including the United States, Australia, Singapore, and Malaysia. Currently, he serves as the Chair at the Fine Arts Department of the Ateneo de Manila University.

艾阔

Ai Kuo

剧场艺术家、写作者、策划人。受训于尤金尼奥·巴尔巴创立的ISTA剧场人类学国际学院，参与跨场域、学科，媒材的实践与研究。作品游离于剧场，美术馆与公共空间之间，曾参与北京青年戏剧节、伊斯坦布尔世界一隅（Dünyada Bir Köşe）戏剧节、哥本哈根南港剧场（Sydhavn Theatre）展演、阿德莱德艺穗节线上展映、深圳湾艺穗节、阿维尼翁OFF戏剧节和爱丁堡艺穗节等。

Theatre Artist, Writer, Producer. Been in ISTA(International School of Theatre Anthropology) — —Conceived and directed by Eugenio Barba. Now participate in researches and practices across different space, subject and medium. Kuo’s been floating among Theatre, Art museum and Public

sphere, been in Youth Theatre Festival(Beijing), “Dünyada Bir Köşe” Theatre festival(Istanbul), Sydhavn Theatre (Copenhagen), Shenzhen bay Fringe, Avignion OFF and Edinburgh Fringe.

编辑：周博雅

排版：王任

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