# data[].attributes.headline
文獻庫館藏精選 | 廣東快車

# data[].attributes.subject
文獻庫館藏精選 | 廣東快車

# data[].attributes.attachment_link.readable_text
改變之書。中國廣州：Libreria Borges，2002。 REFS. LIB

Cao Fei: PRD Anti-Heroes。荷蘭錫塔德：Museum Het Domein Sittard，2006。 MON.CAF

陳侗， 〈為什麼廣東沒有新潮美術運動? 25種回答〉，《畫家》，1991年第5期。 PER.PAI

超消費景觀。中國廣州：維他命藝術空間 ，2002。 EXS.CHN.LSC

逗留香港。香港：漢雅軒，2004。 EX.HGK.SOH

第二屆廣州三年展 | 別樣: 一個特殊的現代化實驗空間 | 三角洲實驗室2 (D-Lab 2)。Hans Ulrich OBRIST，侯瀚如，王璜生 編。中國廣州；嶺南美術出版社，2007。 REF GZT

交易場域: 珠江三角洲的當代藝術與文化想像。周思中，田邁修，彭倩幗，鄧小慧 編。香港：香港藝術中心，香港藝術學院，2007。 REF.HKAS

Trade Routes: History + Geography。南非約翰尼斯堡：Greater Johannesburg Metropolitan Council；荷蘭阿姆斯特丹：Prince Claus Fung for Culture and Development，1997。 EX.SOA.JBB.1997

典藏國際版, 台北: 典藏雜誌社, 2003年6月, 第2卷, 第2期。 PER.YIS

典藏國際版，台北: 典藏雜誌社，2004年3月，第3卷, 第1期。 PER.YIS

# data[].attributes.attachment_link.keywords[]
亞洲藝術文獻庫，文獻庫，亞洲，藝術歷史，藝術，當代藝術，視覺藝術，藝術家，研究，藝術寫作

# data[].attributes.attachment_link.title
文獻庫館藏精選 | 廣東快車

# data[].attributes.attachment_link.description
改變之書。中國廣州：Libreria Borges，2002。 REFS. LIB Cao Fei: PRD Anti-Heroes。荷蘭錫塔德：Museum Het Domein Sittard，2006。 MON.CAF 陳侗， 〈為什麼廣東沒有新潮美術運動?

# data[].attributes.body
李继忠与沈军在2021年发起的线上项目

# data[].attributes.headline
《以陪伴与共生》作为工作方法

# data[].attributes.subject
《以陪伴与共生》作为工作方法

# data[].attributes.body
沈军、李继忠与朱建林对谈

# data[].attributes.attachment_link.readable_text
Date: 8th March 2021 | 1700 - 2000

Location: Guangzhou, China

Interlocutors: ZHU Jianlin (hereinafter as 'ZHU'), SHEN Jun (hereinafter as 'SJ') and LEE Kai Chung (hereinafter as 'C')

Editing: SHEN Jun, LEE Kai Chung

Collation: MAN Nga Lok Esther

Editor's Note

Artistic Infrastructure and Empathy

"StepBackForward" originated with our desire for "publicness", so as we wanted to start the discussion, we spontaneously thought of Zhu (Zhu Jianlin). He co-founded Fong Fo Monthly , which has been in print since 2013, and sells out every month at RMB1; in 2018 he co-founded the Boloho living space, and the art project 'Flash Fax'[2] , which explores public space; he has also long been part of the core team of HB Station, an independent art institute in Guangzhou. But these clichéd reference points in his artistic career don't really capture Zhu. More or less all visitors to the Guangzhou art circle are taken under Zhu's wing, sometimes for a few days, sometimes becoming long-term collaborators.

Since 2018, we have all had to face many changes, both in society and our personal lives, and go from newcomer to carving out a space in this ecosystem. This interview was conducted in our new home in Guangzhou. Two months ago, Zhu helped us find a suitable place to live, as he has done for many friends. After the interview, he said his happiest moment was hearing his newly-arrived friends from the art circle sharing their understanding of Guangzhou. This is something he has been quietly pushing for a long time, the 'artistic infrastructure'. We're used to using the word infrastructure to denote something done by someone with power or capital, from the top down.

In China's domestic art world, individuals and groups voluntarily take on the responsibility for creating infrastructure, building a mutualistic environment and giving it the power to endure. While this isn't inevitable, it is necessary, and relies totally on the instigators' awareness of 'publicness'. In the process of translating this conversation into English, our translator, Bill Leverett, helped us unpack this word 'publicness' which we often use:

1. Togetherness - This is close to another concept referenced in the conversation, 'accompaniment', the establishment of long-term friendships and collaboration between individuals, a situation of mutual assistance based on good will rather than goal-oriented negotiation. In the conversation, 'accompaniment' has a strong flavour of 'witnessing'; an accompanist will not necessarily collaborate on a project, but they will observe the artist's progress and methods.

2. Collective - precisely because of the togetherness established between different entities, they gradually and organically become a group.

3. Public-facing - the public being the majority of society, including but not limited to stakeholders in the art world. Public-facing also often refers to matters of the public interest, and the possibility of being discussed in the public domain.

The above three progressive layers of 'publicness' can be seen as a process of development from the individual outward. You could say that Zhu and his friends, through connections between people, have found a positive way of creating a local atmosphere, that is, the 'togetherness' and 'collective' parts of the 'publicness' described above. What struck us most profoundly was that these methods were inextricably bound up with the personalities and experiences of the people, and the local context. We frequently refer to 'locality', and we see that in the artistic landscape of Guangzhou, the 'artist' identity is more multifaceted and shiftable than most people realise, The unfinished parts of the artistic infrastructure have made it necessary to support each other by all means, and this has built a very strong sense of subjective consciousness and localism. Only when 'shared local identity' is achieved in the context of 'accompaniment', can we have openness and empathy.

The original intention of our conversation with Zhu was not only to explore the possibility of the universality and transplantability of artistic practice, but also to understand that 'aesthetics' can transcend the visual and sensory levels and serve certain social functions. For Zhu, this is another kind of artistic moment.

The first time I came to Guangzhou, I could tell the ecosystem functioned very differently (from Beijing and Shanghai); it lacks a mature market system, but instead there is a strong sense of mutual aid. As I learned more, I discovered that this form of mutual cooperation is a form of 'mutualism', as if you are using interdependence to find something that could replace the existing art system, and in this situation, you're also trying to go viral in the manner of SoengJoengToi[3] and Flash Fax.

I think that comes from a vague idea of doing interesting things together, and since 2018-19, Zhu has worked together with many different curators and organisations to prepare the ground for the 'artistic infrastructure'. The change in public awareness has been even more profound. How has it changed, and what are the underlying reasons?

And tied to that is the question of how you see the so-called 'local identity'. Before, as an outsider, I actually saw Guangzhou as having a strong local identity, but I also feel that the mutual aid and forming new collectives among the new generation is very different from the local identity of the older art generation. I wonder what you think of this interpretation?

No, I'm actually talking about Beijing. At that time, Beijing was a big national cultural hotspot. (It seems that now) we Guangdong artists emphasise our 'Guangdong' identity, but as I met contemporary artists in my studies, everyone wanted to be a part of the Beijing scene. At that time, any artist with a bit of opportunity or fame would head up north. But during my studies there was a stronger local discourse hidden away in Guangzhou. It was when I started to organise activities myself, with about six or seven other artists of the same age, that we started to get noticed by the older local artists, the Big Tail Elephants[4] , or the Canton Express[5] . But this was all to do with our teacher, Huang Xiaopeng[6] . He would talk about some of our activities with his friends, and only then did we realise there was this direct connection to local artists. It was a long process of contact and mutual understanding, because the art world we saw in school was cut off from the rest of China, and the art scene in Guangzhou was also separated from what we saw in the media. In the mainstream Chinese contemporary art world, it wasn't easy to find Guangzhou art in the media. As a student, other than the Guangzhou Triennial, I didn't have any access to it.

Looking through the media, you wouldn't find any clues, you'd have to find the secret door yourself, and only then realise that since the 80s, there's been a Southern Artists Salon[7] , or the even earlier networks that supported local art. So it wasn't a direct line of communication, from top down; (when art students graduated) maybe they only knew that there were some contemporary exhibitions in the 798 art district, but they didn't know about the Vitamin Space hidden in Kecun (客村), or that there was an Observation Society tucked away in Changgang (昌崗). To find the local scene, you really had to search for it. It wasn't obvious, because it wasn't very big, at least until 2010, 2011 when Times Museum started really going, then it was a bit different.

I think around 2010, private museums began to emerge, but in 2008 there were already some forces starting to come into play, like the sudden explosion of the gallery system and the emerging museum system, also 2008 brought a very important movement, the first independent spaces; because of limited resources, they tended to attract younger artists. So there were advantages in that environment, we could see plenty of choices compared to today, I think what the young people did was more visible.

Zhu: As an example, when was recommended to Beijing, it was through Wang Wei, Arrow Factory, and Wu Jin. Although we hadn't done any exhibitions in Arrow Factory, we'd done some independent publications. Wang Wei brought over to Beijing, and everyone was interested in what the young people were up to, so we got some support and attention. But what I saw when I first encountered the art world in Beijing, the situation I've just described, it's all contemporary art, and doesn't include the schools, the academy, the national system.

It made me want to do two things. One was to go see Hong Kong for myself [after the movement was over], the other was to seriously re-examine Guangdong's previous practices; this altered the way I saw things. Looking back at 2008 from 2013 and 2014, I wondered why we in Guangdong were paying so much attention to Beijing? So since 2014, if you track my movements, I've stayed clear of Beijing and Shanghai, and have only gone to either one if I had to.

Another important point was in 2016, Times Museum presented a 'Big Tail Elephant Retrospective'. I'd spent many hours working with Big Tail Elephant's Xu Tan. I was familiar with all of them already, so they had that exhibition, and just then LEAP Magazine invited me to write a review of it, and I took that as an opportunity to read all their documents, and directly interview the major members, mainly Xu Tan, (and thereby learned a great deal about the history of local art development).

Hong Kong has had an art market since last century. And the market tends to favour established artists, not necessarily Hong Kongers. Many transactions take place in Hong Kong, but in the end, art fairs don't have a lot of positive influence on the local art circles. In fact, the art market has a very serious problem: Hong Kong has a lot of artists, and produces new ones every year, but most of them are looking out, rather than in, so a kind of scene developed where the market was very prosperous, and lots of artists wanted to get into the market, but the market was oriented towards foreign artists and collectors. So it's very hard for young artists, but this is compensated for with government support.

I think this (public funding system) has an influence on practice. It's precisely because of this system for government support of artists, that artists like me are nurtured, and can survive without being dependent on the art market. I can rely on research projects, or take on long-term projects, a project may take 18 months before I feel it's complete. There's a new term, 'research-based practice'.

Last year I spent some time in Beijing, and I understand mainland artists a little better. I think this sort of thing can't get off the ground in the mainland, because there isn't that kind of public resource. I believe there are some private foundations, but few that can actually provide resources to artists. Or, suppose that Times Museum acts as a privately run organisation, and it commissions an artist to do a long-term project, and funds the artist, it can enable you to complete the project, but it can't enable you to make a living.

By that time, independent spaces had already basically dwindled. Private museums became the mainstream, and most of them have corporate backers. Around 2010 there was another sign - in addition to the increase in art spaces, more mainland youth groups started up, like the Double Fly Art Center. Actually many artists from the 80s have run different kinds of groups, like Li Ran's 'Company' and pdf, the very lively (at the time) Art-Ba-Ba forum[8] , many young people's groups would post there, there was a forum for exchanges, so that was when some of our earliest activities, including , came to be. These artists were called the 'young artists', but that term isn't often used these days.

Zhu: The phrase 'young artists' was probably used to describe this group of people around 2012-14. The creative logic in that concept is of a pathway, from that kind of structure, moving up into a foreseeable environment where creativity is encouraged. Because our school provided no support in any aspect, often it was us encouraging each other. The small groups that appeared actually only lasted a couple of years, everybody would say 'You're just a baotuan (抱團)' . The way we saw it, that description was very strange, in that harsh environment it wasn't easy to form your own group, not for everyone. 'Baotuan' was a derogatory term then, it meant that you weren't much on your own, only by mixing with other people would you have any chance.

Zhu: But under the influence of this phrase, which is that a 'baotuan' is a short-lived thing, many times I've formed a group with other people, or whatever, and people ask "Isn't the time for these youthful experiments over?" The logic and desire of was not a short-term project; from the very start we thought that each time we had an edition of , there would be a next edition, and so on. So we started to be aware of the "We've got their attention, now what?" concept. Around 2012-14, actually had some exhibition opportunities in 2014, but we never moved towards collaborating with galleries, because there were a lot of reasons, considerations, we had some discussions, but because sold for RMB 1, and we were self-sufficient, we had our own sales network, we sold every copy we could print, we didn't feel we needed any more money to make the project bigger.

C: Suppose a gallery gave the opportunity for a solo exhibition, have you thought about making it more than a publication, turning it into something else?

Zhu: We have, whenever we're given an exhibition, we want to turn it into something else. For instance, our early strategy was to turn one of our columns into an exhibition, to make it physical, if there was an opportunity to work with writers and turn their content into an exhibition, we would be like a curator and an ' accompanist '. Later, we thought about ways we could break the structure of the magazine, make it into other structures: take out the advertising and make it into an exhibition, remove the layout of the magazine, and create a 'Moving Images Department'. Some of us make videos, and the format we were thinking of is actually TVB, which nurtures a stable group of actors, they often perform in different programs, and the five of us can take turns acting, under the banner of our own moving images company, but it would be used to create videos that come from our own lifestyles, that we find interesting, so we would be creating our own content. With that structure, we feel that in limiting conditions, we could be self-sufficient, and not need any other resources. Because our Fong Fo spirit forces us to think of ways to operate with limited resources, even if there are no good conditions, we can deal with the bad ones.

Zhu: Just by having five people, it seemed like we solved a lot of problems, but reflecting on it later, I realised that we were engaging in some mutual aid and collaboration, we actually thought up some strange things early on, maybe we were thinking of modernism, very early conceptual art, we even claimed to be influenced by Lee Kit. Actually that idea came from a very twisted chain of thought. This is very personal, because for a while I found printing to be boring. I was at the printer, sometimes it was broken again, it kept happening. Later I ran across Lee Kit's work, where he scrapes out the surface of his work table with his fingernails , and I thought, well, if Lee Kit could bear the long hours of scraping[9], printing this magazine wasn't such a big deal, was it?

Do you get into situations like that when you work with other people?

Zhu: It happens. In my experience, collectives don't always work, so , as a group, I can say, is a miracle, the reason it's still around is a mystery. For instance, I just mentioned Lee Kit, who is my earliest [influence], other early sources of inspiration were Pak Sheung Chuen, Chen Tong, and Hu Fang. These are the artistic networks that you can directly tap into in this area, they also use similar methods to do difficult things. I was actively absorbing their knowledge, their methods. A group has to look at many people's different situations, it's not that every time people understand a situation the same way as you do, they'll have the same question as you. Some groups just go different ways.

So far, I've been looking more rationally at , and what, ultimately, it's given me, what working method it has developed to support my future endeavours.

Zhu: Most collectives focus mainly on what the majority of their members bring to them, and produce a collective image; but Fong Fo is a platform, it has many writers, a lot of input from people other than the five of us. This serves to encourage us. For instance, sometimes when we are tired, the enthusiasm of the authors submitting articles, and the broad range of coverage, gives us a buzz we can't get through ordinary work. This has sustained many years of success.

began with unknowing spontaneity, but grew into actively developing a system for collaborative working. The sustainability of the platform allows to keep going, and at the same time by its nature it can very effectively avoid being influenced by the participants.

SJ: It's a collective mechanism, so it's hard to say who is leading it. But I'm curious, as you just said, you'll all think of interesting things in the course of your work, and that urge to do something serves as your motivation, rather than having an exhibition or collaboration opportunity and thinking up an idea for it. Secondly, in starting up or other collaborative projects, it seems to me that you didn't have a clear reference or objective. For example, in the organisation I used to be part of, whether the project was large or small, we'd break it down into many clear assignments. But I think that and your other projects don't have that kind of set goal. The Guangzhou system isn't perfect, and it seems like the older generation was at its peak from 2008-2012, when you started, seeming to want to do something unprecedented, a pioneering 'new thing', so will you start something new from interest all over again? For example, Chung just talked about starting a collaborative group, he really has a desire to work with other people. I feel these are two different motivations.

There's another thing, I'm very hesitant about that award. There were some collective projects I did not want to display in that exhibition, I felt it would be difficult to express them there. My installation was more like an open studio itself, so my design was funny, I displayed the table from my home, I wanted to remake that space like my own studio, every day I installed my work at the show, lots of spontaneous decisions were made on site.

Zhu: Although I work in an organisation, and I support youth creativity, my own creative direction isn't really aimed at the exhibition process. I'd rather make my column more complete, or start a better column, that's my creative ideal. In the present circumstances, I also feel that I have a lot of things I could do, not necessarily exhibitions or displays, it's all the stimulation from the points in time that we've talked about. Chung mentioned a key point, the current requirements the funding process puts on artists, or the institutionalisation of the funding system, has changed in the last 10 years, pivoted, including the work that Shen Jun faces in organisations, it's really been the last few years, it's created a lot of employee Key Performance Indicators (KPIs), because more and more so-called professionalised organisations are becoming sites for mainstream art.

C: Yesterday, Shen Jun and I were talking about that kind of institutionalised and standardised work. Here's an example: when an organisation commissions an artwork, why does it always have to be finished within 9 months? In my experience, very few curators or organisations, apart from awards, have given me more than 9 months prior notice before an exhibition, but they expect something totally new. Last year (2020) was a bit special, because of the pandemic, a lot of exhibitions were delayed, and so I had more time. But extra time doesn't necessarily mean extra productivity, because if there isn't a clear timeframe for the exhibition, I might not spend my time working on the projects. Now I understand that with the institutionalised funding system, there's a financial plan every year, and it's impossible to budget anything for next year. For the curator to find the artist, fix the exhibition date, and get authorisation, can take half a year, so there are only six months or less left. I feel that situation must have a serious impact on Zhu, because you need time to collaborate with other people, just establishing communication can take two or three months. So I think when funding is getting systematised, professionalised, institutionalised, it prevents artists from doing that kind of (long-term, collaborative) projects, unless the organisation invites you to exhibit an old work.

Zhu: But in reality, because in the context of China, your organisation is like an island in the middle of a desert, the staff all have too much work to do. In this situation, a lot of the work is delegated to artists or entry-level staff, because a lot of non-profit institutions are really under-resourced, even if they have a lot of determination and energy, but the support required for the foundations of society, educational facilities, private or government funds just aren't sufficient, so at the coalface, no matter how complicated something is, it takes one or two people to finish it, and the work that can't be finished is delegated in a bureaucratic manner. Apparently, it's a very professionalised large-scale exhibition, but in the end, it may be only a couple of people providing support, or artists staying up through the night, paying people with their own money to get it finished. Don't say that it helps them earn a living, it's pretty hard to avoid losing money on a project, it certainly makes people reconsider doing this as a career. I feel there are still many possibilities, however, right now it's just that the direction we're being led in makes everyone feel that they have to do it this way, and this is the only way to succeed, and to reach a more professional, international level, maybe there's some unknown contemporary art paradise, and we are rushing madly towards it . We leave things behind in this mad rush, a wide spectrum of unseen things, so in my work at HB Station I'm always trying to balance this. Because I already feel this very strongly, we try as hard as we can to balance the projects we work on every year, putting aside some of the more primordial or impetuous ones. It can be hard to see clearly what a finished project will look like, but we can encourage half or more to get to that kind of possibility.

Zhu: But from the point of view of an organisation, this kind of project that you can hardly control, and you don't know what it will be like when it's finished, maybe it's better to stay away from it, so at HB Station we force ourselves to be a place for projects with unforeseeable outcomes. Fortunately, some of our HB Station colleagues, just like the ones at , we all accepted that you can work without that firm plan in place, we all intentionally accepted that 'If we don't finish it this year, then next year'. We think of ways, we proactively do outreach, or we do more meaningful things, the more productive we can make ourselves, that energy can be relaxed, our energies don't have to go into projects, we can do a lot of things. And the source of this 'we can do many things' thinking depends on everyone arriving at a common understanding. This requires a long-term, steady accompanying, sorting out with each other, it takes a scene where everyone is constantly thinking about this question. It's hard to talk about how to work together at a meeting convened at an art museum, which methods to employ, even if I can say a lot at the meeting, . So what you see in Guangzhou is that we have been doing many projects that help people relate to each other, help them feel the needs of others, the existence of others, when I go back to my own place I don't have any opportunity to work with those people not just the professional or aesthetic needs, instead, often the lifestyle needs, for example when you were looking for a house, I came and helped you out, a lot of tiny connections, but it isn't a kind of benefit, or friendship, I feel its spectrum is wider than I imagined.

I don't know how to describe this feeling, from my point of view, it seems like we're saying these channels, you have to find them yourself, through reading or going out and looking, there's no way to copy another familiar model and put it in this place.

You have to find a network, whether it's a local network or one from outside, you have to put in some effort to find it, that's what I know is important for the foundation of cooperative work, that your work has to stand on the network that you are linked or connected to, or develop that network. Otherwise, it's very easy to fall into that fighting on your own that you just talked about. Although everyone is talking about publicness, you might think that no-one cares about it. Sometimes I feel that publicness isn't about the fact that you're open for business, or that you feel altruistic, but rather you're looking for a context and a question, or a network that guides all of you. Without it, it's very hard to get everyone's empathy. Actually that's where the threshold of participation is often opened up, you may make a big effort and still not open it up, but if you rather diligently unblock some local networks, maybe you'll find the breakthrough point. This includes my friends and I, consciously giving tours of Hong Kong and other places, until we started to do SoengJoengTo, the Reading Room, a lot of work had to stand on a network. If you don't worry about the things the older generation worried about, it may actually leave your work without any foundation.

What makes you want to start so many collaborative projects? Like Flash Fax?

Zhu: We can accept being marginalised, what we lack is a kind of external vision that we can reflect on. We had a predicament in those years, how should we see our larger ecosystem and understand ourselves, so I kept doing a lot of exchanges and making a lot of contacts. When people came to Guangzhou I would welcome them enthusiastically, whether the exchange was deep or shallow. But I don't think you can stop at the level of introductions, so I really want to take this kind of discussion and put it in a long-term space and observe it. My most ideal situation would be hoping that outsiders coming to Guangzhou can stay here for a long time. I hope an outsider in Guangzhou could become like a host, and invite us 'aboriginals' into an exchange. Actually at Flash Fax I thought if an outsider came and stayed there for a month or for two weeks, maybe he would actively remake the space to his own liking, then in his space, the situation would change, and when I returned to the space to meet him, actually the role of guest and host would be reversed, and that switch would let me record the conversation. I think it would be a different feeling from that of taking everyone to eat something and being the tour guide. And speaking as an artist, that moment would be a very creative moment, while it isn't an exhibition or part of a work, I would very much like to see or wait for that kind of situation to happen, and I think it would be very rewarding. It would not be a local identity that I could simply describe, but a local identity with special qualities.

(Zhu: it is adventurous too)

Yes, or maybe Flash Fax was the work of three people. If the three people don't have this kind of simultaneous vision, or the spirit of adventure, then it won't happen.

Zhu: That's certainly true, finding collaborators is really a subject in itself , maybe the time I spend looking for collaborators is more than I spend researching my own things, as far as I'm concerned, Zhang Hanlu and Shih Yunyou are the subjects of my study, everyone's collaborators, this is a very important foundation. Second is the moment in which we create a space, actually we probably know that this space has a mission, while it may not be very clear what kind of thing it is supposed to produce, we can still feel the urgency of that mission, otherwise it will be hard to push things forward, especially the moment when we made Flash Fax I felt it was at a time when everyone was feeling down, especially when Yinyou said he was gradually losing his motivation to come to the mainland just for exhibitions. This familiar place is giving me a feeling of strangeness that's growing stronger.

C: At the same time, I think everyone is creating a kind of 'together' concept, the kind of thing everybody here already knows, they want to use some methods that circumvent the existing system, and do something for which we don't need to make sense of a clear objective, not just that I do it because I like doing it, but I have some approximate visions, ideals. Once it starts, everyone will understand.

If there's time, I'd like to talk about audiences.

I think audiences in Guangzhou need something more than high quality. It isn't the need to tick the 'I've seen a work of art' box, they need to get new things, whether it's knowledge, emotions, or interaction with other people.

For my sharing sessions and walking project at HB Station, the visitors were very supportive, very enthusiastic, and there was a lot of follow-up, we couldn't finish all the discussions.

SJ: And this is as important as constructing a physical thing. A facility can be a place, and at the same time it's an opportunity for everyone to appear at the same time. Without a physical space, actually people will have very few face-to-face opportunities for establishing that feeling of togetherness. And at the same time people are more and more picky, because as the boundaries of conjoined lifestyles gradually become clearer, the differences between me and the next person become more obvious to everyone.

One advantage Guangdong has is that every time China opens up, actually Guangdong will have an opportunity, because it doesn't need to send things up north to export, it's an export point itself. 'Guangdong Express' doesn't need the approval of Beijing, doesn't need clearance from the centre, we can take the fast train to the centre of the world, so it's an exception. It's a lot of fun.

Also, I think language is another important element, Cantonese is its own linguistic system, a way of re-seeing your local culture, history, and network.

So, Zhu, do you think a lot of the Guangzhou artists actually see it this way?

Zhu: But I think there needs to be an independent awareness, for example you really need to be open-minded, so you yourself sort out, include this kind of content, you need to openly and honestly let more people see it. Of course you can't say that your own experiences are very unique or important. So at the beginning of today's interview I said I had the chance to interview Big Tail Elephant, and write an article about them. My image of them was different from the feeling I got when I interviewed them because I wanted to write an article. If you're not open, the younger generation won't know.

In fact, apart from our glory, material lifestyle and opportunity, can we in the end create some shared lifestyles that everyone would want? The way I describe it sounds a bit phony or abstract, idealised or romanticised. But it's actually very realistic, very straightforward, if nobody provides that kind of ambience, there won't be an audience. The ecosystem can look like a big topic, but it can be created in an honest way.

In fact the final question is how to make each person become a node of publicness , apart from you yourself building a social network, can your work actually inspire, connect with other people to become part of the network? is actually also a kind of accompaniment, you're constantly publishing, people are constantly reading, many things are realised through trust and accompaniment. That's not to say it's very simple to do this kind of thing, everyone can do it, the question is can you keep doing it, keep doing it without the surety of unimaginable glory and success. . Very often artists' careers develop in an unhealthy direction, which is that as you become more successful you are more and more detached from your original community, it's actually a bit embarrassing. It's really an inevitable side-effect of the halo that comes with public funding. You keep doing an 'everybody can do it' thing, which can be meaningful, or worth doing, and it doesn't alienate people

C: This is the awards system, a situation I frequently encounter in Hong Kong.

Zhu: This can be very embarrassing, everyone starts out mutualistic, but then becomes competitive rejects a lot of opportunities over this point, because of our primary goal and what we now need, we're not going to die because we don't have that thing [glory, opportunity and so on], but if you want to treat it as fatal, this overeagerness can be very dangerous. So what we need is a kind of vision and judgement, this to me is not hard to find, because I have my teacher Huang Xiaopeng as an example, actually he is always struggling with funding and profit. I think it seems like it won't kill you to be that kind of person, it's all great. This has to do with examples, if your teacher is like this, you'll naturally want to become like them. But I also think that everyone has their own context, for instance your situation, your whole environment, in Hong Kong it's difficult to slow down, every minute counts.

Zhu: Right. So right here and now if we're talking about some kind of cooperation, or collaborative mutual aid, we actually have to beware of a certain kind of 'homogenous collective'. We're better off going back to specific situations to solve a lot of problems, so we don't have that kind of strange constraint between us, but we need to spend time trusting each other, supporting each other before we can have that feeling. Everyone has different backgrounds, incomes, individual experiences, so how can we help relatively disadvantaged people feel equal? This really takes a lot of help, a lot of effort, before other people feel it. Otherwise, it's easy to fall into a sort of, as you mentioned, "why should I serve you? I'm doing alright, why should I invest in this?"

The kind of situation we're facing now, is that many many active participants can't find a channel through which to participate. We're the opposite: it's not that people aren't willing to participate, they want to, but "You're doing another activity? Why didn't you tell me?", it's that kind of problem.

You've talked about some individuals who are artists, but it really impacts on many people, making me feel hopeful that everyone can get together to develop some plans and blueprints for a common future. We can't ask every person to have the same goal of publicness, but I'm very moved to see artists like Zhu or organisations like HB Station voluntarily stepping in to replace some of the groups that were supposed to be the seedbeds for this. Like Huang Xiaopeng, being an example for Zhu, the continuity between generations is core.

1 Fong Fo (Raging Fire) Monthly magazine, founded by Zhu Jianlin and classmate Feng Weijing in 2013.
2 Flash Fax, an independent space and community project started by artists Zhu Jianlin and
Shih Yunyu and curator Zhang Hanlu in 2019.
3 SoengJoengToi (Top Tier) was a cooperatively managed art space in Guangzhou.
4 The full name is 'Big Tail Elephants Working Group'. The members included Chen Shaoxiong, Liang Juhui, Lin Yilin and Xu Tan.
5 'Canton Express' is an exhibition curated by Hou Hanru in 2003. Participating artists included Big Tail Elephant Working Group, Libreria Borges, U-Theque and Yangjiang Youth.
6 Huang Xiaopeng (1960-2020), a famous artist, a pioneer and innovator of Chinese contemporary art education. From 2003 to 2012, he served as Director of the Fifth Studio of the Guangzhou Academy of Fine Arts. One of the founders of HB Station.
7 An art group established in Guangzhou in 1986. Its members include Wang Du, Chen Shaoxiong, Huang Xiaopeng, Lin Yilin, Liang Juhui and other artists.
8 Artbaba Chinese contemporary art community, a forum initiated by many artists in 2006. http://www.art-ba-ba.com/
9 Baotuan' is a term that comes from gaming, meaning a small group of fighters who, when working together, are undefeatable. It came to mean something more like 'small circle mentality'.
10 Lee Kit, Scratching the Table Surface, 2006 - 2011, acrylic on plywood, photo documentation on 300 postcards.

# data[].attributes.attachment_link.description
Date: 8th March 2021 | 1700 - 2000 Location: Guangzhou, China Interlocutors: ZHU Jianlin (hereinafter as 'ZHU'), SHEN Jun (hereinafter as 'SJ') and LEE Kai Chung (hereinafter as 'C') Editing: SHEN Jun, LEE Kai Chung Collation: MAN Nga Lok Esther Editor's Note "StepBackForward" originated with our desire for "publicness", so as we wanted to start the discussion, we spontaneously thought of Zhu (Zhu Jianlin).

# data[].attributes.body
2013年创立
冯伟敬、史镇豪、朱建林

# data[].attributes.attachment_link.readable_text
广州最新艺游打卡指南 --
采访、撰文 | 大川 广州独立艺术空间分布地图

新造空间所在的新造镇，位于广州市番禺区东北部，与广州大学城一河之隔。新造社区至今保留着80年代发展的痕迹，以及一些传统的习俗，比如有些淡民至今仍生活在珠江上；每月农历初五举行新造逢墟等等。从2011年开始，一些原本生活在广州大学城的艺术家纷纷将工作室迁至于此。几年间，逐渐形成了一个不大不小的艺术家聚落。除此还有新造美术馆、新造当代艺术中心。前者为私人美术馆，后者一直未启动。

"新造真的是一个让人很舒服的小镇，它有一种自然的年代感，好像被遗忘了。有些人知道新造要拆迁了，就开始搬迁到市桥。我们那有一栋楼，本来有个人买下要盖工厂，但是拆到一半就放在那等着征地赔款。所以它就变成了一栋废楼，新造有很多这样的地方。新造地铁站附近已经开始拆了，但是新造镇还在规划中，所以它还没来得及建设，就停止了。特别是在中国其他地方都发展得如火如荼的时候，走在新造的路上会产生一种强烈的错位感，很像是二十年前的广州。每当我从市区回来，会觉得很魔幻。它让人意识到历史是平行的，只有在某些特定时候才会交叉。"作为新造空间的负责人之一，翁欣欣表示："现在就是因为暴风前才能够这么平静。"

这个沿街而设的20㎡的透明空间，由于它的橱窗特性和24小时不熄灯的行为，使之与周边的社区形成了一种日常的联系。

新造空间现在由新造小组（游飘、许冰煌、翁欣欣、郑烁琪）共同运作。目前已推出四个艺术家共三个展览，包括赵宝琛、童垚、赵邦和方亦秀。谈到选择什么类型的艺术家合作时，翁欣欣提到："我们不喜欢做那种'软绵绵'的展览，我们喜欢掷地有声的。对于艺术家不是说他的作品要很极端，而是需要有一种穿透力在里面。如果没有，我们也希望他的态度和表达是独立的，个人是很鲜活的。"

新造空间在今年五月开启了"亼" 项目，试图通过与不同空间的合作，接通不同区域的，境况、态度和思考创作有共性着力点的艺术家，以此激活艺术创作的更多可能。同时，今年九月，新造空间也受邀成为"方志小说"第二期的入驻地之一，将与更多的"写作者"共同挖掘新造经验。

每次进入西三村，总有一种掉入"兔子洞"的错觉，夜晚伴随奇遇，但西三村的现实显然更加魔幻。西三村并不能称之为独立空间，但它曾经拥有百分之一的可能。2018年7月的时候，艺术家谢剑波已经装修好自己的空间，打算从老家回来后就可以开放使用了。可谁知由于白云区的拆迁浪潮，几百家小型服装工厂如海水哗地一下南涌，卷入这个高架桥底的村落之中，直接带动的就是房租的上涨。由于利益的驱使，房东们纷纷将原本居住的艺术家驱走，大部分在西三的艺术家都没有逃过这次的"浩劫"。 虽然暂时散失了拥有"独立空间"的可能，但是作为艺术家聚落的西三村之于广州仍然具有一定讨论性。

在过去的几年，艺术家喻旭东的工作室曾作为某种"共同办公"的空间，除了是西三村艺术家平时聚会的场所，也成为许多外地艺术家到达广州的据点，如徐坦、郑宏彬、满宇、刘伟伟等，并延伸出如"居民项目"、"西三电影制片厂"、"村雨项目"等诸多实践。另一方面，西三村独特的生态也投射出广州在城市化进程中的诸多矛盾。正如"西三电影制片厂"在发起之时的声明："西三电影制片厂将镜头对准生活于此的人们，通过联合行动的方式，用手机这种最为真实、便利的低技术手段，以媒体的方式在西三村做田野。它不仅是一个'西三问题的影像加工厂'，一种联合村民的群体发声，我们希望它能够成为村民自身生存权益意识的启发性空间，以及展映社会矛盾与村民诉求的公共场所。"

成立于2012年的黄边站，最早由黄小鹏和徐坦共同主持，两人在此之前都从广州美术学院离开。空间成立初期，许多美术学院的年轻人通过黄边站互相认识，形成了合作关系。除了举办大量的讲座活动，招收研究员外，空间也通过项目实验室为年轻创作者提供一个"练习场所"，同时鼓励成员利用黄边站尝试一种民主实践和自我组织的可能。 黄边站的成立可以理解为试图弥补美术学院教育系统的缺失，以及探索一种能回应本地生态的非体制当代艺术教育的可能。

2015年末，黄边站进行改组，由李筱天、朱建林、冯俊华组成新的工作团队，梁健华担任总监，徐坦担任导师。伴随上阳台空间项目的产生，两者在功能上也做了相应的区分，前者主要承担研究、展览、呈现的功能，后者则主要承担实践、集结、相处的功能。黄边站近期开展的两个项目实验室分别是刚在5月份结束的陈珈 《 结离陆地》，以及9月15号开幕的辛未《彼时再会》；同时两个公共项目：由张涵露主持的策展人工作坊"策展还能做什么？"，和徐坦主持的系列对谈；此外还有工作台第四期"正在到来的生活世界"。

近几年来，黄边站的工作团队在基于黄边站的过往定位，重新梳理对教育、自我教育的理解，把通过"研究--实践"相互推动、建构面向当代情境的共同工作和学习交流平台作为工作方向。具体体现为《同时》刊物的创办，旨在推动写作和联结"青年状态"，呈现、凝聚不同领域的行动者在创作和实践中的经验思考；推动上阳台SJT的创立，并通过入驻上阳台SJT，找到与青年一代实践者、创作者的良性互动模式，让黄边站一直强调的自我教育、自我组织、自我实践得到更好落实；制定了反性骚扰机制，我们愿意在实践中促进自身及艺术行业从业者对性/别平等和性骚扰议题的认知，鼓励对该议题进行公开探讨；向社会筹募运营经费，2016年，黄边站加入广州五行非营利艺术机构联合会，与其他成员机构一起，向社会筹募运营经费，进行募款方式的多样化尝试。

联合是上阳台的关键词。 自2017年成立以来，上阳台作为一个集体共治空间，目前已有16位业主入驻。业主在此平摊空间房租、水电等日常费用，同时享有使用空间的权利。业主并非固定，形态也各不相同，除了有闷士多店、售卖啤酒的37club，双月服饰，还有唔同广告、冯火印刷社、本广大画廊等。

我们可以将上阳台理解为一个社会制度的小范围测试。首先上阳台是去主体性的，并不存在一个"上阳台整体想做什么"的集体意志，而是由每个个体不断在里面发起自己想做的事情，从而形成一种整体面貌。同时，上阳台在空间的实践中一直试图避免权力中心的出现，比如如何进行集体决策？如何建立上阳台的"出入机制"？上阳台的业主曾说到："民主投票能给我们的工作带来很大的帮助。这个群里面有个一致的共识，仅仅投反对票是不够的，重要的是协商一致，凡是投反对票的人，必须说出自己的理由。"另一方面，黄边站承担了初期的主要组织工作和装修经费后，便将上阳台的决策权力移交给业主共治委员会。

上阳台成立的一个重要的契机是2016年由李致恿、史镇豪、朱建林在时代美术馆榕树头空间发起的"榕树头旅行社"项目，项目邀请了不同的艺术家、在地工作者以及当地居民，在东京、上海、沈阳、武汉和香港这些不同的城市空间漫步。通过身体的游走，在临时构建的时空关系中，激发人与人之间相处协助的可能。这次旅行也推进了与亚洲不同青年组织的联络和集合，比如东京高原寺的素人之乱、沈阳的失败书店等。旅行结束后，大家对筹建上阳台以及日后的空间基本运作原则有了共同认知。

在上阳台的自我描述中，写道："我们希望来自艺术家、写作者、策划人、综合性行动者等不同领域的才能在其中共振，而这一努力意味着需匹配超出惯习、自身即是一种实践的运营、组织和决策机制，也意味着要共同发明一些突破固有想象的方法，使上阳台成为持续地联结与释出能量的有机生物。"最近上阳台每周都有"大饭台"，大家相约在周末的晚上一起吃饭，分享自己最近的生活，不同领域的人在此不断聚集与流动。

顶上空间的成立源于韩飞和李振华的一次谈话，关于做什么和什么也不做。后来归结为一句话，便是"顶上是一个精神交流的场所，一个位于城中村建筑屋顶的精神之屋"。

其负责人卢川介绍道，在过去两年里顶上空间共邀请了41位艺术工作者到来，举办了28场专题讲座、作品分享，进行了16位艺术家的访谈，共放映34部影片。在过去的工作中，顶上空间逐步实现了它作为一个平台的初衷，也是对知识生产的另一种诠释。

在顶上空间的分享，有的是由艺术家的展览引发对其创作的梳理和讨论，有的是基于艺术家阶段性作品的展示和交流。空间还衍生出了"顶上＊客"项目，以提议者的兴趣和研究点自主展开，项目本身也将成为他的研究内容和素材。最近一次分享来自年轻艺术家覃小诗的"您的好友已向未来投掷一坨厕纸或者投石问路"，现场以她2014年的作品--关于"当代艺术是否会终结"的辩论，来展开对于当代艺术、未来、人工智能等话题的讨论。日常同步进行的艺术家访谈也持续关注本地的年轻创作者。

成立录像局的初衷非常简单--建立一个可以看艺术家录像作品的空间。这个最早由朱加、方璐、陈侗发起的专门针对录像艺术的非营利机构，自2012年3月25日正式启动。除了拥有北京和广州两处空间外，他们还保持着每年至少为12位艺术家建立档案的工作节奏，至今已收录了1700多件作品。录像局甚至花费两年时间研发自己的数据管理系统和专业的视频点播系统。

除在2016年加入五行会，今年录像局也做了自己的资助人计划，从2015年开始支持录像局的新世纪当代艺术基金成为了第一位理事机构。伴随资金上的改变，工作方向上的转变主要有两点，一是对大量的档案进行更加深入的研究，二是活化档案，推广档案里面的作品、让更多人使用它，以及引发一些实际上的研究成果。

最近，录像局除了会参与9月14号艺术深圳博览会大湾区艺术生态展示区的板块，还在准备9月16号在东方文华酒店举办的五行会；9月21号到23号则要参加影像上海艺术博览会的公众项目"连接"单元，展示9月建档的两位艺术家--陈秋林和缪晓春的作品；9月23号左右将参加北京国际短片联展BISFF的一个论坛。此外，今年录像局将会和卡蒂斯特艺术基金会（Kadist Art Foundation）合作一个档案互助的项目，互相为对方推荐一些中国和国际的艺术家进行合作。今年这个项目邀请的国际艺术家是何子彦，录像局会给他建立档案，并预计会在尤伦斯当代艺术中心举办一个讲座，但时间还未确定。

# data[].attributes.attachment_link.title
The New Alt.丨顶上-腾挪-上阳台-黄边站...广州独立空间在城中隐蔽地带的日常抵抗

# data[].attributes.attachment_link.description
广州最新艺游打卡指南 -- 采访、撰文 | 大川 广州独立艺术空间分布地图 ...

# data[].attributes.headline
泰康展览：替代空间的替代生命

# data[].attributes.subject
泰康展览：替代空间的替代生命

# data[].attributes.attachment_link.readable_text
Other Lives of the Alternative Spaces

2019.6.27 - 8.24

艺术家：葛宇路、何迟、胡向前、李山+赵天汲（社会敏感性研发部）、李翔伟、刘演、欧飞鸿、石青、西三歌队（蔡所、刘浩）、郑国谷

替代空间档案：A307、Action Space、Arc Space、回声书店+蛋生空间、ding-ding-fing! 合作社、分泌场、华茂一楼、灰空间、iGallery 、Park19、我们说要有空间于是就有了空间、扬子江论坛

北京市朝阳区崔各庄乡草场地艺术区红一号院B2

星期二至星期六 10:30 - 17:30

"我们已经到了这样一个节点，首先看到的不是艺术而是空间。进入脑海中的是一个白色的、理想化的空间，而不是任何一张独特的图像。"

--布莱恩·奥多尔蒂

《在白立方之内--美术馆空间的意识形态》

"如果未曾生产一个合适的空间，那么'改变生活方式'、'改变社会'等都是空话。"

《空间：社会产物和使用价值》

Nancy Holt, "Crossed Locators"(1972) 于纽约新美术馆"回顾替代性：1969-1975历史综览"展览现场, 1981年5月9日-7月16日

Photograph by New Museum

1981年5月，纽约新美术馆，一场名为"回顾替代性：1969-1975历史综览"的展览开幕，以文献、录像、实物以及再度创作的装置和表演等形式，再现了曾一度活跃于纽约艺术现场的七家替代性空间的工作、理念及它们对艺术世界的持久影响。这场展览本身也在日后成为新美术馆的历史中最为重要的事件之一，为机构的自反性实践提供了一个可以反复回看的参照点和对比语境。在当年的展览前言中，策展人Jacki Apple如此来表述"回顾替代性"的任务：它不只是关于替代空间及其历史的讨论，更在于阐发和传播"一种在现实世界更广泛的语境中仍具有意义和发挥作用的，替代性的声音与想象" 1 。而这正是"替代性"仍在，且正在被不断重提的动因之一：今天又该如何接过Apple提出和传递下来的问题，在更具关联性的语境之中延续替代性的实践，信念和希望呢？

第一行左至右：PARK19，"微波"展览现场，黄小鹏作品"从没碰过像你这么多问题的人"；Arc Space的外观与庭院；第二行左至右：ding-ding-fing! 合作社的图书室；扬子江论坛，李景湖个展"鎅" 展览现场；回声书店的露台外；第三行左至右：分泌场，展览现场；iGallery /我的画廊，郭强个展"海归派" 展览现场

也是在这个意义上，在几十年后的北京，当我们策划这场名为"替代空间的替代生命"的展览，"替代性"在这里不仅仅是一个需要考察的历史概念，更是一个不断延伸和打开的，指向未来的现场。如果需要为替代性的实践寻找一个历史，最困难的地方或许在于，没有一个音调、一种线条、一套语汇能穷尽它的变化，代理它的全部。我们在可见性的领域妄图捕捞和加以固定的，不过是一些切面，具体而微的瞬时，充满误导性的吉光片羽。替代性实践是无法被穷尽的复数，它们彼此无法被替代。而我们的展览也只能是一种尝试以视觉知识来叙事的努力，基于个案和最具体的实践，来暗示它们背后的巨大轮廓。

左至右：Action Space，"五星级大饭店"展览现场；灰空间CAS部分展览现场

当然，在文化政治的角力场上，作为参与者的"替代性空间"有它自己的谱系。比如上文提到的"回顾替代性"展览所追溯的正是它的盛期，也是这一指称被确立的时刻。 2 事实上，早在1969与1970之交，MoMA举办了一场名为"空间"的群展，在机构历史上第一次提出"艺术馆的空间应该按照艺术家们的诉求来计划和建造，这在某种程度上也是对传统意义上艺术馆的角色的挑战"，从此，以MoMA为代表的公共美术馆不再是仅仅保存艺术品的房子，而将为艺术家们的理念转化为现实所服务和努力。MoMA的这一姿态是在1969年初成立的艺术工人联盟（AWC）的不断抗议和施压下给出的部分回应，后者要求美术馆等机构承担起应有的社会责任，向艺术家特别是缺少资源的年轻艺术家和公众敞开，将其决策过程向社会开放，摆脱大企业和私人财阀的控制等等。 3 虽然这些问题至今仍笼罩着几乎所有的公共艺术机构，但正是艺术家们对抗主流和既存权力秩序的努力最终促成了机构的反思和转向。确实，在这个时期，替代性空间的存在为一大批被拒绝在展览机制之外的、富于先锋性和抗争意识的艺术家提供了物理上和精神上的家园。到了1980、1990年代，替代性空间在美国由于各种客观因素趋于衰落，但它的影响在亚洲各个国家和地区如香港、台湾、印尼等逐渐凸显出来，逐渐壮大和普及。

MoMA照片档案，纽约，1969年12月30日-1970年3月1日

IN917b.1. Photograph by James Mathews

在中国大陆，由于不一样的语境和当代艺术发展脉络，导致严格意义上的替代空间直到晚近才大量出现，但替代性的精神甚至可以追溯到星星美展，以及外交公寓、东村和圆明园等地发生的空间性的实践。到2010年前后，国内艺术界对替代空间（这一概念有时也体现为独立艺术空间/非营利艺术机构等基本精神类似的变体）的关注以美术馆发起的研讨会、论坛、艺术刊物的报道、学院、机构或独立个体的研究等方式集中爆发。以对话性的项目为例，就有上海外滩美术馆2010年举办的"对话：大陆及港台的替代性空间的发展及其社会意义"、2011年的"小运动"群论中"为什么替代/另类/独立空间？"，2012年上海民生现代美术馆"独立机构及个人对当代艺术发展的作用"，以及2015年先是在广东何香凝美术馆、后巡至曼彻斯特华人当代艺术中心和北京尤伦斯艺术中心举办的"独立艺术空间的生存方式"国际论坛，等。泰康空间于2013年，成立10周年之际，也以一场回顾自身工作的展览，一系列关于国内各个非营利艺术机构负责人的访谈，及随后结集出版的对话实录《中国非营利艺术机构》，对替代性空间和替代性问题给出了自己的回应。

左上至右下：我们说要有空间于是就有了空间，李一凡"红蓝主义" 展览现场；A307，刘辛夷"朝阳群众"展览现场；华茂一楼外部环境

而在该书出版六年后，我们借"替代空间的替代生命"，继续深化和打开着关于机构、生态、以及不同主体、不同形式的替代性实践的思考。对"替代空间"的概念加以严格界定，并以此进行个案的分类、筛选，并不是我们关注的问题。相反"替代空间的替代生命"给出了一个相当有弹性的尺度，它向一切在主流话语的霸权和既存的权力体制之外进行不竭的努力、创造和抗争的实践及其主体敞开大门。也是基于这种考虑，展览分为一场"文献展"和一场以作品和项目为主体的群展，同时在泰康空间一楼的两个展厅内举行。泰康空间的"51平方"展厅将被用来呈现12个曾发挥重要作用，目前已暂停、关闭或处于休止状态的替代空间的个案，另一展厅则将引入艺术家和小组的场地特定装置，现场创作，以及同机构批判、空间实践、替代精神相关的作品和项目。区别于通常以单位或机构作为主体的展览，"替代空间的替代生命"所呈现的12家替代空间，现在已经没有了实体的存在，可以说它们现在已成为幽灵，但幽灵往往携带着令活人为之震动的力量（曾经有一个幽灵在欧洲的上空漂浮）。我们想通过这"另类"的选择来表明，对替代空间来说，真正的生命同它的实体存续并无关系。如果人的生命不以长度来衡量其价值，空间的生命也是一样。特别是替代空间，往往要直面各种艰难、困乏、考验乃至打压，致使它们的存续期间要比美术馆和商业画廊等机构要短上很多。加之替代性实践的独立、灵活，自我组织，民主协商的性质，坚持在创造中抗争的不妥协的精神，都让替代空间的生命历程呈现出自然的起起伏伏。然而，在它们身后所留下的东西是极为丰富和动人的。在这个意义上，我们要感谢这些勇敢的先行者。它们为我们提供了激励、借鉴、经验，和充满创造性、反抗性和例外体验的大量艺术/社会实践。替代性的生命是永远的进行时，它不会完结。替代性的实践没有终点，除了一个个意味着重新开始的逗号，像潜泳者偶尔需要露头换气。而替代性的精神，为这个世界继续供给着希望的氧气。

1. 见新美术馆网站 https://archive.newmuseum.org/exhibitions/39

2. 夕卜，《艺术空间的独立、非营利与替代性？》，载《艺术世界》，2015年11月302期

3. 张靓秋，《"艺术馆"中的"公共"与"空间"》，载Pills公众号，原文链接https://mp.weixin.qq.com/s/yx0YlvPqoQbi-E3cm2MsAw

葛宇路，1990年生于湖北武汉，2013年毕业于湖北美术学院，2018年毕业于中央美术学院，现生活和工作于环京地区。

何迟，1978年生于甘肃，2002年毕业于西安美术学院。2012年发起创办我们说要有空间于是就有了空间，2014年创办iGallery 。现生活和工作于北京。

胡向前，1983年出生于广东雷州，2007年毕业于广州美术学院油画系第五工作室，目前生活和工作于北京。

李山（Alessandro Rolandi），1971年出生于意大利帕维亚，2003年起生活和工作于北京。

赵天汲，1985年出生，2011年获得荷兰乌特勒支艺术学院硕士学位，2015年加入李山共同运行位于伯纳德公司在北京工厂的"社会敏感性研究所"项目。

李翔伟，1995年出生于山东，本科就读于广州美术学院油画系第五工作室，现生活和工作于南亭村。

刘演，生于1999，现居上海，身体健康。

欧飞鸿，1978年生于广东茂名，2003年毕业于广州美术学院国画系，现生活和工作于广州。

石青，1969年出生，"激烈空间"和"重庆工作研究所"创办人之一，现生活和工作于上海。

西三歌队，创立于2017年9月，由西三电影制片厂延展而来，主唱吉他蔡所，鼓手刘浩。他们将麦克风递向当事人，连结相关事案的实践者，注重一种参与式的表达。这是一支为真实的声音助唱的歌队。

蔡所，1979年出生，2004年毕业于广州美院油画系，艺术家，西三电影制片厂发起人之一，2017年与刘浩组建西三歌队，现生活和工作于广州。

刘浩，1974年生于湛江遂溪县，1998年毕业于广州美院油画系，艺术家，2017加入西三歌队，现生活和工作于广州。

郑国谷，1970年出生于广东省阳江市，1992年毕业于广州美术学院版画系，现生活和工作于阳江。

+86 10 8433 8003

# data[].attributes.headline
复合性：阅读室/实践/工作室/研究室

# data[].attributes.subject
复合性：阅读室/实践/工作室/研究室

# data[].attributes.body
“试图利用中国南方相对自由的社会意识环境，以及艺术市场相对弱一些的状况，以建立一种较为独立的，当代艺术的交流活动空间。”

“设定更多的艺术家个人陈述......”

# data[].attributes.attachment_link.readable_text
黄边站当代艺术研究中心（HB STATION: Contemporary Art Research Centre）作为立足于广州以及珠三角的当代艺术学术平台，试图在社区在地实践、学术建构以及当代艺术的知识生产方面进行某些带有激进意味的实践。目前黄边站由艺术家黄小鹏与徐坦共同主持。在此，我们邀请两位艺术家分别对于他们所理解的黄边站的各方面要素进行自己的阐释。
"黄边站"的选题工作主要分为两部：预先由黄小鹏、郑宏彬与我共同选择，这是一个"可变的预设结构"，我是按照我自己的工作经验，以及针对本地区的可能性给出选题；而第二部分则是根据时代美术馆，以及过往的学者、艺术家以及项目一起提出课题，事实上第二种部分将占据比原来设想更重要的位置。

依我原来的想法，黄边站带有面向中国南方，并且面对海外的动机，比如希望能能首先影响中国南方，然后港澳台等地区，并且希冀还会有更大的影响。试图利用中国南方相对自由的社会意识环境，以及艺术市场相对弱一些的状况，以建立一种较为独立的，当代艺术的交流活动空间。

这是在特殊情境下开始的活动空间，在建立之初，得到了美术馆的一些承诺，即：尽可能保持黄边站的独立性，不干预黄边站的交流与艺术活动，并且提供活动的方便；另外，我认为独立性在于活动中的人，对体制的反思包括在对艺术问题反思之内，比如对于"自治区"展览的讨论和研究，已经包括了对展览、机构的思考，并不因为这是美术馆的重要活动就不进行严厉的批判，研究员不仅仅通过学习研究得到许多有益经验，也提出许多尖锐的问题和批评。

我在活动一直强调黄边站是一个艺术家交流平台，不是师生关系，但是由于过去和现实的情况，我无法保证不出现"师生"关系的情况，我只能不断提醒，在交流活动中设定更多的艺术家个人陈述，使研究员意识到他们的艺术家身份，我自己同时参与到同等的活动中去，比如研究"自治区"展的过程中，我和研究员一样，也参与制定命题方案，然后在黄边站报告自己的方案。

在黄边站的计划中，尽可能带来对于广泛的社会、文化、问题的研究关注，阅读，讨论，试图设置各种不同类型的课题：概念与思考--现代主义，语言与社会；历史政治问题（自治区），城市建设，环境和科学（社会植物）等等，非常期待有更多的跨领域的活动和人士参与。目前研究员和旁听者的参与是积极的，他们的热情体现在到场讨论、课外阅读、网络讨论、其热情程度超过我们的期待。

采访／ 杨北辰

# data[].attributes.attachment_link.keywords[]
艺术论坛，中国当代艺术，上海，北京，纽约，美国，艺术，文化，电影，所见所闻，新闻，观点，500字，批评，评论，展评，研究，视觉艺术，美术馆，非营利，另类，画廊，空间，行为艺术

# data[].attributes.attachment_link.description
黄边站当代艺术研究中心（HB STATION: Contemporary Art Research Centre）作为立足于广州以及珠三角的当代艺术学术平台，试图在社区在地实践、学术建构以及当代艺术的知识生产方面进行某些带有激进意味的实践。目前黄边站由艺术家黄小鹏与徐坦共同主持。在此，我们邀请两位艺术家分别对于他们所理解的黄边站的各方面要素进行自己的阐释。 ...

# data[].attributes.headline
建林谈自我教育实践与共同工作

# data[].attributes.subject
建林谈自我教育实践与共同工作

# data[].attributes.body
节选重点：

黄边站当时很警惕“展览”的叫法，也不希望项目实验室被认为是“展览”，而是强调它作为项目的“实验”阶段，把主要精力也放在讨论会的环节，目的是希望通过直率的交流能对创作本身提供反思和推进。所以在这个角度来看，“项目实验室”是一个激发的现场，参与者不同的工作脉络交叉并相互提问，共同感知得以辨析，让各自问题意识浮现。

# data[].attributes.attachment_link.readable_text
第五工作室
我于2008-2012年在广州美术学院油画系学习，黄小鹏是第五工作室的主持老师。我虽是第二工作室的，但他的课堂比较开放，没有很强的课时概念，随时可以加入，所以我很多时间都在第五工作室活动。他对那些对艺术感兴趣、对现场讨论的问题感兴趣的人持有最大的宽容态度，也会邀请他的选修课学生参加五工作室的展览活动。他也会对学生做的事情给出认真的回应和批评。在这种没有太多规划、条框的环境下，我们会有更多自组织、自发的心态去做一些事情。

小鹏会在意作品如何在讨论中发生辨析和推进。这种方法需要由阅读来支撑，阅读在他看来是一个思维训练，能够帮助你用一种更加理性的态度去看待你所讨论的事情。他会在意"当代"是一个在什么语境下产生的概念，而不是说我们现在做的事情就是当代。

我印象里小鹏上课没有所谓课题或一种阶梯式的训练。他会以他的系统梳理一些给我们看的东西。看完后，小鹏会很坦诚地说，这就是当代艺术现在的状态，这不是我可以教你们的，但你们可以尝试着去创作，只有基于你们做的事情，才能慢慢去讨论怎样更好地完成一件所谓的作品。他这样说不是贬低自己，而是人的经验有不可替代性，尤其在艺术领域，观看只是便于你的阅读和理解，而更好的理解是直接的、第一手的材料和更切身的体验。

小鹏在第五工作室取消了美院油画系传统的模特写生和下乡课程，将这一部分课时和经费用于邀请国内外的艺术家/策展人来学校交流，鼓励大家去一些他认为比较好的空间和机构，不管是去看展览、实习和工作，还是纯粹地感受、交流和体会。通过活用教学资源，运用到他所理解的艺术教育，或者学院中的当代艺术情境构建中。如果不致力于构建这个情境，就失去了教育的基础条件或者基础设施，你不能坐在课室里面空谈理念和经验。我觉得小鹏一直对所有的体制--包括我们所经常批评的学院的教育体制，也包括（中国）当代艺术体制--都保持距离。在我看来，这种警惕有传染给学生们。

提问是艺术思考很重要的基础，在小鹏的课里，提问是被鼓励的。我们自身的主动性也是通过提问发出，如果没有提问，只是追随、模仿，那积累不起自我的问题意识。通过提问、讨论，再去拿取工具，找到材料，创作作品，所以我们不会媒介优先。小鹏会经常提到艺术语言，我所理解他说的艺术语言，是一个很纯粹的语言，这个语言和我们理解的文学、哲学等所有语言一样。语言里面有句法，有句子。在第五工作室的氛围里，大家经常会在句法、句子之间交锋。小鹏有一个经典的提问，我在《我叫阿史》的漫画中拿来提问艺术家阿史："你能不能用一句话来讲清楚你的作品？"

小鹏写过的一篇文章，题目叫《作为艺术项目的教育》，我的理解他不是说把教育当成一件艺术作品，而是说教育是动态的，我们可以通过教育来实现某种艺术的实现，但这种实现是在场的所有人共同获得的，所有参与到第五工作室教学现场的朋友、同学们。这就是他所说的作为艺术计划的教育的一种体现。后来他又有一个说法是"作为社会实践的教育"，这点用在了黄边站身上。
黄边站
我认为黄边站的成立有它的政治意味。通过创办黄边站来实践体制外的教育，两位被美院驱逐的艺术家--黄小鹏和徐坦的组合是有政治能量的，而这股能量也凝聚了很多不同背景的人的参与，这是当时不能忽略的语境。对小鹏来说，他的理想和努力一如既往，他还有一个更延伸的愿望是，他希望黄边站的工作更加具备研究性。这个研究性是什么？黄边站最早被小鹏形容为大家来读研究生的地方，这成了后来 "研究员"这个称呼的出处。参与成为黄边站成员，需要投简历，面试，介绍接下来一年的工作计划。当时择录的标准之一在于，你会不会花足够的时间来黄边站参与课程表里的安排并对此承诺。我是第一届招进来的成员，要求是每个星期的周六日过来黄边站，通过相互交流、讨论的方式来推进工作计划。

如果说第五工作室的教学场景面对主要的是美院学生，课堂上是关于艺术语言，艺术的句子、句法的交流，在意的是你对艺术这件事情有没有信念，你愿不愿意坚持做，那强调研究性，对小鹏而言，意味着对参与者的工作有更系统的专业性要求。要完成这点，在黄边站面对的是跟在学院完全不同的挑战。虽然广东时代美术馆为黄边提供了空间场所和部分设备支持，也为黄边站早期的交流活动提供了诸多便利（我们可以邀请到参与时代美术馆的展览的策划人和艺术家来黄边站进行直接的交流），但参与者的专业背景不同，诉求和问题意识各异，双方不是在学校里面的师生契约关系，评估成果也不是通过学分考核、学位毕业制度。黄边站不发文凭，也不收取费用，参与的基础是相互的信诺，成员间更像是一种社群的关系。小鹏和徐坦更倾向于担当对话的主持人而不是老师的角色，相处中也强调平等与民主，因此，黄边站的教育计划一开始就具有民主实践和自我教育的面向。小鹏和徐坦鼓励成员通过民主的议事方式参与黄边站的日常事务，而这种民主性在那时也是抵挡机构化的练习方法，使得黄边站参与者都有某种主体意识--它并不是由谁或机构的审美或意志所生产出来的--进而成为了黄边站的一个思想传统。

"项目实验室"是黄边站第一个由成员自组织而来的项目，最早也被叫为"开放工作室"，我是第一期做项目展示的艺术家，是在几乎没有经费的支持下自发完成的。当时的黄边站助理郑宏彬也投入了很多工作，大家寻思的是在黄边站为成员创建一个自我表达的通道，而空间性展示是熟悉的和方便组织的方式。在黄边站的头三年里，项目实验室以平均两个月一次的频率开展。由此也制造了一个被我们称为"收割"的环节：即在每次项目实验室开幕的当天都会进行一场讨论会。大家围在一起，讨论强度异常得高。黄边站当时很警惕"展览"的叫法，也不希望项目实验室被认为是"展览"，而是强调它作为项目的"实验"阶段，把主要精力也放在讨论会的环节，目的是希望通过直率的交流能对创作本身提供反思和推进。所以在这个角度来看，"项目实验室"是一个激发的现场，参与者不同的工作脉络交叉并相互提问，共同感知得以辨析，让各自问题意识浮现。

这是一个不断碰撞和练习的过程，我们把这样的实践过程理解为一种共同工作。在今天看来，这种强调民主自觉的共同工作也需要基础设施和条件，需要练习和反思，比如说男女比例不平等、经验不平等、资源不平等下的民主，是不是真正的民主？进行怎样的伦理建设，如何相互赋权，这些都是黄边站建构工作框架时必须要考虑的点。

黄边站最早是从体制批判里生产出来的体制外的教育平台，但是它对机构的批判，是一个探索过程。因为不可回避的是，这是一个在所谓当代艺术体制下，由民营美术馆所支持的独立机构，所以在它的自我建构过程中，都在不断地迂回触碰这个问题。在我眼里，黄边站就是一个小机构，从来都是在一个很有限的条件下去成长和工作，所有工作依赖于个人的努力与投入，工作团队协作的帮持。我们有独立自决的行政权力，独立执行工作的意识和能力，但我不知道这种独立性是不是坚固的。而且你也不知道这种独立性何时会不会因为某种情况而发生变化。

在我理解里，自我学习和自我教育一直在一种对体制和机构化的警惕之下进行的。这也是在黄边站的实践和演练之下磨练出来的一种思想和工作方法。我们不是一个经验性的学校，更加强调教育中的自我教育的方向，通过自我学习和寻找自我建构的知识路径来完成这样的一个教育工作，在黄边站看来，它需要一些更好的推动自我教育的基础设施，无论是物理上还是思想上的。探索这种基础设施的可能性，需要一种更开阔的视野，它启动了黄边站更为平台化的转向，不管是创办刊物《同时》，跟更远的组织单位的联系和拜访（合作发起两次"旅行社"以及协力"交通站"项目），还是后来新空间计划（上阳台、阅读间）的推动，都关于如何在有限的资源下不断地发明新的方法，让黄边站不被固化为重复积累惯性的机构，而是朝一种去中心、平台化方向去推动自我教育实践。此外，通过《同时》进入黄边站机构意识的女权主义，最终形成了实践层面的反性骚扰机制，是制度上的基础设施。

黄边站在经历了头三年的带有课堂规律（每周来两天，慢慢后来改为每周来一天）的教育场景后，转向了新的教育场景，取消了固定的课堂时间，这是一个漫长的调整过程。这有比较实际层面的原因，用小鹏的话说，"很多成员都有各自全职或兼职的工作，几乎没有像北京那样的职业艺术家"，另一方面，更多独立空间的关闭和新机构出现，对于黄边站来说，它是否也有被替代的危机？青年艺术家或朋友们如果有更多路径，为什么还要来黄边站？2016年5月《同时》发表了陈侗一篇文章，叫《为什么而来黄边站》，有写到：如果黄边站能让我成为一个有勇气与一流思想家对话的艺术家，我就会来。他的回答对黄边站而言是一个提问，我们的工作对象在哪里？我们的工作现场在哪里？
上阳台及其他
2016年黄边站有一个很大的变化，首先是重新招募了工作团队，我也是在那一次招募里面重新应聘--我之前已经在黄边站工作了--再加入新的工作团队（李筱天、冯俊华与我）。在广东时代美术馆授权下，梁健华与新工作团队接手日常运营管理，小鹏和徐坦负责课程安排。工作团队的功能不再只是跟进和落实项目，而有更多自主性来推动机构的建设。我们三人均是黄边站第一届招收的成员，新团队秉持黄边站的民主传统，没有领导，通过共同发起，陆续展开了一些新的工作框架。

除了人员变化带来的磨合，还有大环境的变化对工作产生的影响。我们感受到社会公共空间的逐步收缩，公民社会受到打压，而在艺术界，审查亦日益加强，我们的活动受到不同程度的干扰，如何回应这样的形势并寻找更主动的路径成了我们的问题意识底色， 除了延续原来有的年度招新、项目实验室，基于当时的判断，思考如何在一个有限的条件里开展网络性的工作，而不是在黄边站等待一种想象中的参与，所以对外联结成了重要的工作方向。我们开始打破固有的招新成员模式，尝试不同的连结参与者的尝试，例如相对短期的工作坊、论坛；通过《同时》打破地域性的限制，邀请来自不同地方的青年实践者供稿（"十万个为什么"系列），并策划出版和工作台（除了女权主义的影响，柄谷行人的《新联合主义运动原则》也值得一提）；还有协办"榕树头旅行社"（项目由我和艺术家史镇豪、李致恿发起，时代美术馆榕树头空间主办），这些尝试拓展了参与者的光谱，为多样的自组织实践储备了更多的可能。以"榕树头旅行社"为例，我们公开招募参与者一起"旅行"，分别有广州本地团和外地团，外地团的目的地城市有东京、上海、沈阳、武汉、顺德、香港，由我们邀请的当地实践者（松本哉、赵伊人、潘赫、子杰、冯伟敬、何颖雅与劳丽丽）作为导游，拜访当地的自组织空间，交流在地工作经验，这是长期项目"旅行团办公室"的启动项目，对于黄边站来说，这种行走与交流是网络性工作的一次拓展。相对于学院情境，黄边站面对着一个更加广阔与动态的社会场景，如何发展这种可能性和潜力，不是说只在一个美术馆提供的空间，或者在某种当代艺术资源的庇护下就能去完成，我们所强调的网络是探索一种具有自我教育意义的人与空间的连接与联合，那是更具主动性和流动性的工作场景。

很遗憾，小鹏在2016年11月宣布从黄边站离职，于我是晴天霹雳，我第一时间的打电话过去，但挽留未果。虽说"工作重心的转移"使他离开，但我理解黄边站的行政运作上的改变让他并不满意而心生倦意。小鹏是在旅行社项目刚结束不久离职的，后面于2017年5月开张的上阳台他并没有参与。上阳台的出现跟"榕树头旅行社"相关，最早的想法和筹备成员大多来自旅行社项目参与者，这跟我们在行走中所获的的能量强度有关，直接触发上阳台在广州落地。

上阳台跟黄边站的空间相比有它的异质性。上阳台位于市区的一个老居民社区，相比黄边站那是一个方便联络，可以为参与者提供生活化相处的场所。上阳台是单位联合制的互助、开放的共治空间，这里，单位被称为"业主"，各业主平摊租金和各种费用，并以协商一致的方式管治空间。在4月，上阳台开幕前，作为发起单位的黄边站（负担了空间租赁押金与装修期间的租金，以及拉来装修费用的赞助）向第一次业主大会移交了空间的管理权，从此以业主的身份参与上阳台的使用和运营。

我们开启这种新的工作结构，并不意味黄边站原来的工作就终结了。我觉得这只是一个动态的发展和一个推演。在上阳台，黄边站只是业主单位的一员，我们更大的愿望是把获得的发现，交到一个开放性的平台上，而不是重复回到机构本身，成为机构的加持。在这个过程中，我们先是带着惯性去测试，然后发现问题，再调整。比如刚开始我们会把黄边站的讲座部分放在上阳台，鼓励黄边站合作艺术家更多去上阳台活动或发起项目。每个参与者都有对上阳台的想象，我也幻想上阳台具备很多很多的功能，展示、讲座、知识生产、阅读、表演等等，但实际上上阳台有它的生命，它不是建立在一个具有主导意义的理念的基础上，而是由具体的参与者赋予它特性，我们需要做的是参与它，观察它，陪伴它。

在上阳台我们一起经历了数不清的好玩的活动，新的语境促成了来自不同地方朋友的互访，例如"榕树头旅行社"的外地导游们的回访，发起策展工作坊（张涵露主持），以及后来冯俊华发起"交通站"项目，邀请（香港的）自治八楼、影行者、（印尼的）ruangrupa、Serrum的朋友们来串联组织方法，去中心的场所／合作网络使相互感知、激发与协同工作变得更为日常化。基于此，2019年黄边站与"旅行团办公室"合作了"旅行社第二回"，李筱天是策划人，此时的"旅行团办公室"已成为了上阳台的业主单位。同样有广州本地团和外地团的设置，而外地团我们邀请更多的领队和当地导游（重庆工作研究所、点点宣传部、farid rakun [ruangrupa]、JJ Adibrata [Serrum]、Leonhard Bartolomeus [ruangrupa]、刘菂、Mg Pringgotono [Serrum]、Rangga Purbaya [Ruang MES 56]、Tentacles、曾嘉慧），再次招募参与者一同出访不同的地方（河内、日惹、雅加达、曼谷、重庆），在这些地方的行走，我们能够见到一种对基础建设完全不同的世界观，他们从不拘泥于一种单一的专业化、精英化的机构想象而自由生长，而是更分散、更去中心地推动空间计划，这也许并没有增加成本，可能反而减少了成本。比如雅加达的Gudskul，他们既是一座学校也是自立的一个生态系统，甚至声称 "所有人都是项目的负责人"，我们能看到他们的互助精神在代际间的传递，扎根于社区与生活的高度自洽给他们带来持续工作的能量。

"旅行社第二回"结束后，在李筱天倡议下，黄边站开始了"阅读间"的筹备，这也是我们如何存续前一个工作阶段的经验方面的思考的结果。我们首先会梳理、公开黄边站成立以来所参与及搭建的网络中与"教育／自我教育"、"联合／互助"相关的艺术实践类出版物，借此空间持续辨析每个项目的种种问题，目前阅读间是一个可以预约前来的半开放空间，主要应对的是社群的阅读、办公需求，阅读间除了空间属性，还将是黄边站有关教育计划的策划部门，将来会推动相关的课程落地。而另一个维度，是我们如何把这种看似机构化、专业化的工作变得更为灵活的可能，因此我们用相对简单和轻巧的方式开启了工作，无论选址（方便相处）还是组建空间方式（与其他单位合租共治空间）都吸取了上阳台落成以来学习到的方法。这种灵活和平台化还有另一个例子，几乎同一时间，在冯俊华的倡议下，《同时》自2019年搭建了独立的编委会（伍勤、张涵露）治刊结构。

可以说上阳台落成以来我们学习到的远远超出我们的预想。它是有关实践的和伦理的，有关一些未必能说清楚、但依然能感受到的对生活世界的想象力与行动力，有关寻找如何共处的方法，这一过程因此具有自我教育的意味，这就是一个很重要的我们所想构建的教育场景。

文／ 采访 / 卢川

# data[].attributes.attachment_link.keywords[]
艺术论坛，中国当代艺术，上海，北京，纽约，美国，艺术，文化，电影，所见所闻，新闻，观点，500字，批评，评论，展评，研究，视觉艺术，美术馆，非营利，另类，画廊，空间，行为艺术

# data[].attributes.attachment_link.title
朱建林谈自我教育实践与共同工作

# data[].attributes.body
创立于 2009年

关注当代汉语及其在文学和艺术中的呈现，并推动相关的创作、实践和出版

# data[].attributes.body
2008年 落户于小洲村明代翰墨桥旁的一栋民居

受强拆政策影响的搬迁
日常性交流
艺术家投稿

# data[].attributes.body
在东新高速、“锦绣半岛”小区和臭水沟的夹缝中生长的城郊村落

城市化进程的影响，经历白云区的拆迁浪潮
艺术家工作室作为“共同办公”空间
外地朋友的据点
“居民项目”
“西三电影制片厂”
“村雨项目”
反映社会矛盾与村民诉求

# data[].attributes.body
2017年成立 位于新造镇

沿街而设的20㎡的透明空间
橱窗特性
连结周边社区
驻地项目
小组运作：新造小组（游飘、许冰煌、翁欣欣、郑烁琪）

# data[].attributes.body
2016年创立  广告公司的建筑顶端

专题讲座
作品分享
艺术家访谈 & 阶段性创作展示
影片放映

“顶上希望把艺术交流日常化，让大家可以在一个轻松的环境下分享各自的工作，同时也注重现场交流和之后的文本输出。”

# data[].attributes.body
驻留项目
放映&讲座活动

# data[].attributes.body
集体工作
阅读间

# data[].attributes.body
2016年由李致恿、史镇豪、朱建林在时代美术馆榕树头空间发起

推进了与亚洲不同青年组织的联络和集合
萌发筹建上阳台以及日后的空间基本运作原则

# data[].attributes.body
2017年  黄边站推动成立

联合
集体共治&集体决策
不同领域的人不断聚集与流动

业主：冯火印刷社
女子天团
本广大画廊等

# data[].attributes.headline
白云区 黄边站当代艺术研究中心

# data[].attributes.subject
白云区 黄边站当代艺术研究中心

# data[].attributes.body
2012年成立，从属于广东时代美术馆
2016年注册   民间社会团体

教育 - 自我教育 - 共同工作&学习

研究员/成员制度：每年招募研究员
自我组织项目：项目实验室和灵活项目
讲座&工作坊：建设共同工作的语境
阅读间：交流对谈活动
出版：《同时》刊物

# data[].attributes.body
2012年 北京成立

收集-整理：录像艺术家的作品和资料
档案：为研究、学习和收藏的人群服务

# data[].attributes.headline
越秀区 博尔赫斯书店艺术机构

# data[].attributes.subject
越秀区 博尔赫斯书店艺术机构

# data[].attributes.body
1994年注册  博尔赫斯书店
2007年开放  博尔赫斯书店艺术机构

出版：文学和哲学
档案 ：艺术家档案整理、专题研究、收藏和机构档案的管理
公共教育部门：书店、图书室、阅览室

# data[].attributes.headline
广州五行非营利艺术机构联合会

# data[].attributes.subject
广州五行非营利艺术机构联合会

# data[].attributes.body
广东时代美术馆
黄边站
录像局
博尔赫斯书店艺术机构
观察社（2020年退出）
盒子美术馆（2020年加入）

# data[].attributes.headline
出版物：张嘉平《策展人》

# data[].attributes.subject
出版物：张嘉平《策展人》

# data[].attributes.attachment_link.description
策展人 Curators 張嘉平的小說及展覽 a novel and an exhibition by Zhang Jiaping 2014.12.27 ~ 2015.2.8 我只是想做一個真誠的人...

# data[].attributes.body
《如何失業》，群展

# data[].attributes.attachment_link.readable_text
合作項目
Collaborative Project

關於《如何失業》

作為對當代藝術專業化和體制化的抵抗，這個項目探討創作中業餘精神的價值。在珠三角地區的現實中，大部份藝術家也的確難以以藝術創作維生，不得不兼職其他工作，但又恰恰是這種狀況給予了創作自由和活力。我們提出的一個玩笑般的問題是：藝術家如何才能失業？而藝術家的回應包括幫藝術家找其他工作、賣掉自己所有的展覽機會、想辦法讓自己的展覽和作品被禁止，或乾脆不承認自己的藝術家身份。這個展覽是受Inheritance-Shenzhen邀請而策劃的特別項目。

地點 :
Venue :
傳承﹒深圳（深圳南山區華夏路鶴塘小區10棟104號）
Inheritance : Shenzhen (No. 104, Block 10, Tangxia Community, Huaxia Road, Nanshan, Shenzhen)

2010-3-6 ～ 2010-3-28

Opening: 2010-3-6, 5:30pm

參加藝術家：
Participating Artists :
蔡煥升 Cai Huansheng
張嘉莉 & 鄭怡敏 Clara & Gum
胡向前 Hu Xiangqian
關尚智 Kwan Sheung-chi
林敬新 Lin Jingxin
羅志傑 Lock Lo Chi-kit
黃慧妍 Wong Wai-yin

現今藝術界競爭激烈，要在眾多藝術家中脫穎而出，成功爭取失業，除了要有真材實料之外，良好的失業技巧也是不可或缺的。我們希望透過這個「如何失業」展，幫助大眾認識及掌握藝術家基本的失業技巧，從而在失業路上更得心應手，覓得愜意的失業人生。「如何失業」展的內容包括如何成為業餘藝術家、如何否定及重塑自己的職業、失業的心理準備及應注意的事項、如何識破身份認同等，協助藝術家逐步掌握失業的真諦，務求衝破一切障礙，成功達到失業理想。

Nowadays, it is a tough challenge for an artist to really lose his job. Apart from natural talent, good job losing techniques are also necessary. Through "A Guide to Job Loss", we hope to enhance the understanding of the job losing techniques required by an artist, so to help artists lose their job smoothly and have a happy jobless life. "A Guide to Job Loss" will explore issues such as; how to become an amateur artist? How to deny and redefine the profession? Psychological preparations for losing job? And, how to see through identity? "A Guide to Job Loss" will help us to see the truth of job loss, to break through all obstacles and reach ideal joblessness.

# data[].attributes.attachment_link.description
合作項目 Collaborative Project 關於《如何失業》 作為對當代藝術專業化和體制化的抵抗，這個項目探討創作中業餘精神的價值。在珠三角地區的現實中，大部份藝術家也的確難以以藝術創作維生，不得不兼職其他工作，但又恰恰是這種狀況給予了創作自由和活力。我們提出的一個玩笑般的問題是：藝術家如何才能失業？而藝術家的回應包括幫藝術家找其他工作、賣掉自己所有的展覽機會、想辦法讓自己的展覽和作品被禁止，或乾脆不承認自己的藝術家身份。這個展覽是受Inheritance-Shenzhen邀請而策劃的特別項目。 地點 : Venue : 傳承﹒深圳（深圳南山區華夏路鶴塘小區10棟104號） Inheritance : Shenzhen (No. 104, Block 10, Tangxia Community, Huaxia Road, Nanshan, Shenzhen) 2010-3-6 ～ 2010-3-28 Opening: 2010-3-6, 5:30pm 參加藝術家： Participating Artists : 蔡煥升 Cai Huansheng 張嘉莉 & 鄭怡敏 Clara & Gum 胡向前 Hu Xiangqian 關尚智 Kwan Sheung-chi 林敬新 Lin Jingxin 羅志傑 Lock Lo Chi-kit 黃慧妍 Wong Wai-yin 現今藝術界競爭激烈，要在眾多藝術家中脫穎而出，成功爭取失業，除了要有真材實料之外，良好的失業技巧也是不可或缺的。我們希望透過這個「如何失業」展，幫助大眾認識及掌握藝術家基本的失業技巧，從而在失業路上更得心應手，覓得愜意的失業人生。「如何失業」展的內容包括如何成為業餘藝術家、如何否定及重塑自己的職業、失業的心理準備及應注意的事項、如何識破身份認同等，協助藝術家逐步掌握失業的真諦，務求衝破一切障礙，成功達到失業理想。 Nowadays, it is a tough challenge for an artist to really lose his job.

# data[].attributes.body
楊沛鏗：七位先生

# data[].attributes.attachment_link.readable_text
合作項目
Collaborative Project

地點 :
Venue :
HARDNECK.hk
香港香港灣仔軒尼詩道 365 號富德樓 11 樓
11/F, Foo Tak Building, 365 Hennessey Road, Wanchai, Hong Kong

2012-12-15 ~ 2013-1-19

Opening: 15/12/2012, 4pm

楊沛鏗喜愛種盆栽，喜愛養魚佈置魚缸。從這裡可以找到理解他的藝術的線索︰這些興趣，反映出他對緩慢的過程和井然有序的系統的偏好，我以為他或許崇尚理性，喜歡的是秩序的美？但不止如此。掌握這些小系統 － 一個個細小的世界 － 讓他著迷的是控制的感覺，一種溫和的主宰。

在他的作品中，我們看到盆栽、水池和喉管，它們呈現出怪異而美麗的形態，但它們都像正兒八經的藝術品那樣，與我們保持距離，不容我們去擾亂。在《七位先生》這一項目中，他邁進了一步，他讓我們進入他精心設定的系統中，讓我們看到系統平靜乾淨的外表裡是何等的亂墜天花，簡直像個擠滿了各式各樣怪人的舞池。

Trevor Yeung loves pot plants. He loves to keep goldfishes and decorate fish tanks. The fact that he has such hobbies provides traces to understand the essence of his art: such hobbies reflect his love of slow processes and well organized systems. I thought what he likes is rationality, or the beauty of order? But that isn't all. What fascinates him by taking care of these little systems --- these little worlds --- is the sense of control, a kind of gentle domination.

Many of his works relate closely to his hobbies, in which we see pot plants, water tanks and pipes, forming some bizarre and beautiful forms. But they are all like typical, serious artworks, remaining untouchable, keeping a distance to us. For this project, Seven Gentlemen, he goes a step further by allowing us to go into his meticulous system, show us beyond its peaceful and clean appearance, the inside of a system can be this messy and confusing, almost like a dancing pool filled with different kind of weird guys.

[exhibition view]

[at the opening]

# data[].attributes.attachment_link.description
合作項目 Collaborative Project 地點 : Venue : HARDNECK.hk 香港香港灣仔軒尼詩道 365 號富德樓 11 樓 11/F, Foo Tak Building, 365 Hennessey Road, Wanchai, Hong Kong 2012-12-15 ~ 2013-1-19 Opening: 15/12/2012, 4pm 楊沛鏗喜愛種盆栽，喜愛養魚佈置魚缸。從這裡可以找到理解他的藝術的線索︰這些興趣，反映出他對緩慢的過程和井然有序的系統的偏好，我以為他或許崇尚理性，喜歡的是秩序的美？但不止如此。掌握這些小系統 － 一個個細小的世界 － 讓他著迷的是控制的感覺，一種溫和的主宰。 在他的作品中，我們看到盆栽、水池和喉管，它們呈現出怪異而美麗的形態，但它們都像正兒八經的藝術品那樣，與我們保持距離，不容我們去擾亂。在《七位先生》這一項目中，他邁進了一步，他讓我們進入他精心設定的系統中，讓我們看到系統平靜乾淨的外表裡是何等的亂墜天花，簡直像個擠滿了各式各樣怪人的舞池。 Trevor Yeung loves pot plants. He loves to keep goldfishes and decorate fish tanks.

# data[].attributes.headline
海珠区  观察社（结束）

# data[].attributes.subject
海珠区  观察社（结束）

# data[].attributes.body
2009-5-17 ~ 2020-7-13
共举办24个展览

艺术家个展
跨地区合作项目
出版物

# data[].attributes.body
· 如何与他人共学，分享当下经验？
· 如何实践集体主义？