【論壇】社區更新與公共藝術國際學術論壇

《社區更新與公共藝術》國際學術論壇

Community Regeneration and Public Art

International Academic Forum

一、 參會學者和藝術家

二、 境外學者背景及發言主題

三、 國內學者背景及發言主題

四、 發言人及主題英文簡介

一、參會學者和藝術家（按姓氏首字母排名）

陳曉陽CHEN Xiao-yang (廣州美術學院)

班傑明·蓋多斯Ben Gaydos (University of Michigan at Flint)

薩拉·岡薩雷斯Sarah Gonzales (University of Arizona)

達文·赫克曼Davin Heckman (Winona State University)

阿迪拉·李克娜Adela Licona (University of Arizona)

焦興濤JIAO Xingtao (四川美術學院)

安妮·馬爾科姆Annie Malcolm (University of California at Berkeley)

倪昆NI Kun (重慶器·Haus空間)

馬利安Mary Ann O』Donnell (社會學家)

任海REN Hai (University of Arizona & Sichuan Fine Arts Institute)

約翰·羅伯茨John Roberts (University of Wolverhampton)

孫振華SUN Zhenhua (中國美術學院 & 四川美術學院)

王志亮WANG Zhiliang (河北大學教師)

茱莉亞·葉茲比克Julia Yezbick (University of Michigan & Harvard University)

於長江YU Changjiang (北京大學)

張暉ZHANG Hui (華東師範大學)

張凱琴ZHANG Kaiqin (公共藝術家)

鄭波ZHENG Bo (City University of Hong Kong)

周彥華ZHOU Yanhua (四川美術學院)

二、境外學者背景及發言主題（按姓氏首字母排名）

 

班傑明·蓋多斯（Ben Gaydos）, 美國密西根大學弗林特分校藝術與藝術史系設計學教授Assistant Professor of Design, Department of Art and Art History, University of Michigan, Flint, USA

發言主題：「作為社會介入性藝術的『民族志』設計」

簡介/Bio: 

班傑明·蓋多斯是底特律的一位設計師、電影製作人、藝術家和教育者。蓋多斯對試驗性媒體和生產、「民族志設計」和社會變化方面的設計很感興趣。他獲得了維吉尼亞聯邦大學視覺交流與設計專業的藝術碩士學位，並在那裡對設計和人類學進行了研究。他在設計、音效、電影、視頻方面做的試驗作品曾參加過國際展覽，他還在羅德島設計學院、凱斯西儲大學、麻省理工學院媒體實驗室以及其他一些機構呈現過他的作品。他是谷德設計公司的共同創始人，也是成員之一，是哈佛大學《森賽特期刊》(Sensate Journal)的出版商和設計者，還是底特律飛蛾之光微電影工作室的共同創始人和項目策劃人，同時還是密西根大學弗林特分校設計專業的教授，負責設計工作室。

 

達文·赫克曼（Davin Heckman），美國威諾那州立大學大眾傳播學系教授Professor of Mass Communication, Winona State University, USA

發言主題：「作為社會參與的場所的數字詩學」

簡歷/Bio: 

達文·赫克曼（威諾納州立大學大眾傳媒專業教授）是一位學者，致力於研究數字媒體、電子文學、以及科技對日常生活的影響。他著有《一個小世界：智能房屋和完美一天的夢想》（A Small World: Smart Houses and the Dream of the Perfect Day ）（杜克大學出版社, 2008），還有數十篇關於數字詩歌和電子文學的文章。赫克曼目前是電子文學社( Electronic Literature Organization)理事會的成員，《電子書評》(electronic book review )(electronicbookreview.com)、《根莖：新興知識文化研究》(Rhizomes: Cultural Studies in Emerging Knowledge )(rhizomes.net)，《高根莖》(Hyperrhiz)，(hyperrhiz.net)和《數字文學研究》(Digital Literary Studies) (journals.psu.edu/dls)編輯部的成員。在2011-2012學年，他是卑爾根大學數字文化專業的富布萊特學者。目前，他正在創作一本手稿，題目暫定為《反民粹主義：數字詩歌和非綁定形式》(Against Populism: Digital Poetics and Unbound Forms)。

 

阿迪拉·李克娜（Adela Licona）, 美國亞利桑那大學英文系修辭學教授Associate Professor of Rhetoric, University of Arizona, USA

薩拉·岡薩雷斯（Sarah Gonzales）, 美國亞利桑那大學學生部對外教育處助理處長Assistant Director, Education and Outreach, Dean of Students Office, University of Arizona, USA

發言主題：「祭奠/改變地貌」

簡歷/Bio:

阿迪拉·李克娜是亞利桑那大學英文專業教授。她的研究和教學興趣包括文化、少數民族、性別、性、種族、青年研究、非主導修辭學、社區讀寫能力、行動導向型研究、邊界研究、空間和視覺文化、社會正義媒體、環境正義以及女性主義教育學。李克娜曾在多家雜誌上發表過文章，包括《對立》(Antipode)、《變形》(Transformations)、《拉丁-拉丁美洲研究學報》(Journal of Latino-Latin American Studies)、《性研究與社會政策》(Sexuality Research and Social Policy)、《美國地理學家協會紀要》(Annals of the Association of American Geographers)、《媒介傳播批判研究》(Critical Studies in Media Communication)。此外，她還與社區的教育活動家、青年學者和研究生一起合作出版了許多社區研究簡報。這些與政策相關的簡報不僅在校園內，還在當地社區發行。李克娜是《女性主義教育學：回顧過去，面向未來》(Feminist Pedagogy: Looking Back to Move Forward)（約翰·霍普金斯大學出版社, 2009）的合作編輯，還是著有《第三空間雜誌：深度合作與邊界修辭》(Zines In Third Space: Radical Cooperation and Borderlands Rhetoric )一書（桑尼出版社,2009）。

 

安妮·馬爾科姆（Annie Malcolm）， 美國加利福尼亞州大學伯克利分校人類學系博士候選人Ph.D. Candidate, Anthropology, University of California at Berkeley, USA

發言主題：「非預期後果的美學：深圳梧桐藝術村的民族志反思」

簡歷/Bio:

安妮·馬爾科姆是伯克利加州大學人類學的博士候選人。她研究的是深圳的藝術村（特別是梧桐村）。她的研究興趣廣泛，包括非預期後果、美學、地方人類學、工作觀念、藝術實踐與民族志實驗、翻譯和寫作等。

任海 (REN Hai)， 美國亞利桑那大學東亞系和人類學系教授和中國四川美術學院雕塑系特聘教授Associate Professor of East Asian Studies, University of Arizona, USA and Distinguished Professor, Sichuan Fine Arts Institute, Chongqing, China

發言主題：「藝術智能與社會生產：在宇宙都市中作為宇宙技術的藝術」

簡歷/Bio:

任海是美國亞利桑那大學東亞研究系與人類學系終身教授和博士生導師，中國四川美術學院的特聘教授。研究方向包括: 參與式藝術，公共歷史，物導向人類學，都市研究，比較媒體與技術，公共人文與數字人文，流行文化，文化批評理論等。他出版的英文專著包括：《倒計時：中國和香港的新自由主義與文化》(2010)和《新自由主義中國的中間階級：風險社會的生活構建與主題空間》(2013)。他主編，合編的英文書和專輯有：《新自由主義的政府性：自我的技術與政府行為》(2005)，《新媒體的顛覆》(2010)和《東亞的全球未來：不確定時代的青年，國家，與新經濟》(2013)。另外，他也是重慶大學出版社拜德雅(Paideia)視覺文化叢書編輯委員會的委員。任海教授目前目前正在完成一本關於題為《作為創意物的城市》的著作。

約翰·羅伯茨（John Roberts）, 英國伍爾弗漢普頓大學藝術和美學教授Professor of Art & Aesthetics, University of Wolverhampton, UK

發言主題：「藝術、新自由主義和西方語境中共享資源的命運」

簡歷/Bio:

約翰·羅伯茨是伍爾弗漢普頓大學藝術和美學教授，他著作甚豐，包括：《形式的無形性：現成品之後藝術的技能和去技能》(The Intangibilities of Form: Skill and Deskilling in Art After the Readymade) (科羅維出版社，2007)，《錯誤的必要性 》(The Necessity of Errors )（科羅維出版社，2010），《攝影及其違規操作》(Photography and Its Violations )（哥倫比亞大學出版社，2014），《革命時代和前衛》(Revolutionary Time and the Avant-Garde )（科羅維出版社，2015），《關於付費索引的幾點思考》(Thoughts on an Index Not Freely Given )（佐羅書店，2016）.另外，他的《非理性推理：普世主義、反啟蒙運動和資本主義理性》（Reasoning of Unreason: Universalism, Disenlightenment and Capitalist Rationality）即將在布魯姆斯伯裡出版社出版。他還為諸多雜誌學刊撰稿，包括《新左翼評論》(New Left Review)、《激進哲學》(Radical Philosophy)、《歷史唯物主義》(Historical Materialism)、《攝影哲學》(Philosophy of Photography)、《攝影學》(Photographies)、《批判現實主義學刊》(Journal of Critical Realism)和《第三文本》( Third Text)。

茱莉亞·葉茲比克（Julia Yezbick）, 美國密西根大學藝術史系，建築與城市規劃學院梅隆人文學博士後研究員Mellon Humanities Fellow, History of Art and the Taubman College of Architecture and Urban Planning, University of Michigan, USA

發言主題：「創意的社會性：財政緊縮政策時代的藝術資助」

簡歷/Bio:

茱莉亞·葉茲比克是底特律的一名電影製作人、藝術家和人類學家。她於2016年獲得哈佛大學的媒體人類學和批判媒體實踐專業的博士學位。她的作品曾參加過多次國際藝術節，包括柏林電影節—延展論壇(Berlinale--Forum Expanded)，紐約現代美術館一號公立小學當代藝術中心的版畫工作坊(MOMA PS1’s print shop), 紐約表演藝術圖書館(the New York Library for Performing Arts), 墨斯特拉國際民族志電影節(Mostra Internacional do Filme Etnográfico)（裡約熱內盧），蒙特婁民族志電影節(the Montreal Ethnographic Film Festival), 以及底特律的當代藝術博物館(the Museum of Contemporary Art)。此外，她是《森賽特》（一家關於批判性媒體實踐的線上期刊）的創刊主編，是底特律飛蛾之光微電影工作室（Mothlight Microcinema）的負責人之一。近來，她完成了哈佛大學人類學系講學的工作。目前，她是密西根大學塔博曼建築和城市規劃學院研究均等主義和大都市的密西根-梅隆人文學研究員。

三、國內學者和藝術家背景及發言主題（按姓氏首字母排名）

陳曉陽 (CHEN Xiao-yang), 廣州美術學院雕塑系副教授 Associate Professor of Sculpture Department at Guangzhou Academy of Fine Arts

發言主題：「溯『源』而上：社會參與式藝術與區域文化再造」

簡介／bio：

陳曉陽，廣州美術學院雕塑系副教授，人類學博士。過去十年主要從事人類學研究和社會參與式藝術實踐，她的項目及作品多以被遮蔽的社群歷史與現實展開，曾在廣州的城中村及郊區山村與志願者組織、教學機構和公益組織合作，用在地展覽和研究性寫作等方式持續展開關於華南文化性的研究與再造工作。她於2016年聯合發起了位於廣州樂明村的公益藝術項目「源美術館」計劃。

 

焦興濤 (JIAO Xingtao), 四川美術學院副院長, 教授, 羊磴藝術合作社發起人 Vice President of Sichuan Fine Arts Institute, Professor, Founder of Yangdeng Art Cooperatives

發言主題：「『羊磴』藝術實踐中的『現實』與『直覺』」

簡介Bio:

焦興濤教授，四川美術學院副院長，碩士生導師。中國美術家協會雕塑專業委員會委員，中國雕塑學會副秘書長，中國城市雕塑協會常務理事，重慶市美術家協會副主席，重慶雕塑學會會長。在倫敦、阿姆斯特丹、北京、香港、臺北等地的多家博物館和畫廊舉辦個戰和群展。他獲得全國美展銀獎、銅獎，重慶市首屆文藝專項獎在內的多項獎勵。出版數部專著，他的作品和學術論文出現在許多前沿藝術期刊上。他在2012年發起羊磴藝術合作社項目。

倪昆 (Ni Kun), 器·Haus空間聯合創辦⼈與策展人、日本福岡亞洲美術館客座研究員。Curator of Organhaus

發言主題：「轉向為何? 何為轉向?: 都市更新運動裡的公共藝術與轉向」

簡介／Bio:

倪昆器·Haus空間聯合創辦⼈與策展人、日本福岡亞洲美術館客座研究員。中國急劇的城市化背景與全球化這個事實背景下的藝術互動，是他持續關注的方向，而在此基礎上所展開的關於「城市與再造」，「遷移和遊牧」的實驗性藝術項目及相關國際展覽、論壇的策劃，則進⼀步的展現了他對於當前境遇的思考，2015年起，在反思藝術機構的社會職能的同時，開始強調以藝術機構的公共教育作為介⼊手段來發展和討論藝術和公眾的關係。

王志亮 (WANG Zhiliang), 河北大學藝術學院副教授Associate Professor at the Department of Fine Arts at Hebei University

發言主題：「參與式藝術的三條審美路徑及空間政治」

簡介／bio：

中國人民大學哲學博士，美國匹茲堡大學建築與藝術史系訪問學者，現工作於河北大學藝術學院，副教授，任藝術學理論系副主任。主要研究興趣集中在前衛美學、當代藝術史、藝術批評方法論等領域，教育部人文社科項目和國家社科基金項目主持人，先後在《文藝研究》《美術研究》《美術觀察》《畫刊》等刊物發表多篇論文。

於長江 (YU Changjiang)， 北京大學社會學教授Professor of Sociology at Beijing University

發言主題：「公共藝術與當地文化傳統」

簡介／Bio:

於長江，北京大學社會學教授，博士。研究領域為城鄉區域發展、藝術群落、民族與民俗等.

 

張暉 (ZHANG Hui), 上海華東師範大學人類學研究所講師 Assistant Professor of the Institute of Anthropology at Eastern Normal University in Shanghai

發言主題：「『藝術鄉建』的『士紳化』與鄉村社區的『再士紳化』」

簡介／Bio:

張暉，華東師範大學人類學研究所講師。研究領域包括視覺人類學、藝術人類學，批判性遺產保護以及地方治理問題等。

張凱琴 (ZHANG Kaiqin)， 公共藝術家Public Art artist

馬利安 (Mary Ann O』Donnell) ，人類學家Anthropologist

發言主題：「樂把他鄉變故鄉」

簡介／Bios：

張凱琴，公共藝術項目「握手302」 發起人之一，中國雕塑學會會員，韓國國際自然藝術組織Yatooi會員。曾於2010-2016年任職於深圳市公共藝術中心（原深圳雕塑院）。2010年於美國賓夕法尼亞美術學院畢業取得藝術碩士學位，2008年於中國美學院畢業取得雕塑專業文學碩士學位，2005年於四川美術學院畢業取得雕塑專業文學學士學位。

鄭波（ZHENG Bo）, 香港城市大學創意媒體學院教授Assistant Professor, the School of Creative Media, City University of Hong Kong, Hong Kong

發言主題：「社會參與式藝術教學」

簡歷/Bio:

鄭波是一位藝術家、作家兼教師，致力於社會參與式藝術的研究。他探究邊緣化的社區和植物的歷史經歷，並對其未來發展進行展望。他的工作常和亞洲以及歐洲的許多博物館和藝術工作室打交道，最近，他接觸最多的是上海當代藝術博物館(Power Station of Art )，（上海），立方計劃空間(The Cube Project Space ),（臺北），卡斯雕塑基金會(Cass Sculpture Foundation ),（英國奇切斯特），維拉·瓦希裡夫工作室(Villa Vassilieff ),（巴黎）。他寫的關於中國社會參與式藝術的論文曾在多家期刊和著作中出版。他還是《中國當代藝術學刊》(Journal of Chinese Contemporary Art)編委會的成員。他在羅徹斯特大學獲得了視覺和文化專業博士學位，目前任教於香港城市大學創意媒體學院。他的網址：zhengbo.org。

周彥華 (ZHOU Yanhua), 四川美院當代視覺藝術研究中心副研究員Associate Professor of Contemporary Visual Culture Research Center at Sichuan Fine Arts Institute

發言主題：「社會參與式藝術中的日常情動與審美效力：探討羊磴藝術合作社的『好耍』」

簡介／bio：

周彥華，美學博士，四川美術學院當代視覺藝術研究中心副研究員，碩士研究生導師。美國亞利桑那大學藝術史和東亞人類學在讀博士。美國學院藝術史協會（CAA）會員、美國亞洲研究協會（AAS）會員。擅於運用藝術史、人類學、區域研究等跨學科研究方法從事當代藝術史論研究。目前關注中國當代藝術的鄉村實踐。在Journal of Contemporary Chinese Art, Journal for Culture Studies,《二十一世紀》、《美術觀察》等刊物發表論文。2017年主持國家社科基金藝術學青年項目「當代藝術的介入性創作理論研究」， 出版專著《藝術的介入》（中國社會科學出版社，2017年）。

四、發言人及主題英文簡介（按姓氏首字母排名）

班傑明·蓋多斯（Ben Gaydos）, 美國密西根大學弗林特分校藝術與藝術史系設計學教授Assistant Professor of Design, Department of Art and Art History, University of Michigan, Flint, USA

「『Ethnographic』 Design as Socially-Engaged Art」

What does a design perspective bring to socially engaged creative projects? I will address this question through my work as principle of goodgood, an interdisciplinary design firm with offices in Detroit and Boston, and specifically through a collaborative project with Global Detroit a non-profit which works with immigrant communities in Southeast Michigan. Throughout the collaboration with Global Detroit, our design team applied methodologies that I have developed over 10 years as an "ethnographic" designer, adapting ethnographic techniques such as participant observation, collaboration/co-creation, multi-vocal representation and reflexivity. As a designer that works in the realms of public art and participatory design, I will address some of the convergences and divergences of socially engaged art and design practices.

 

——Benjamin Gaydos is a Detroit-based designer, filmmaker, artist and educator. Ben is interested in experimental media and production, 「ethnographic design,」 and design for social change. Ben has conducted research in design and anthropology at Virginia Commonwealth University, where he received an MFA in Visual Communication/Design. His experiments in design, sound, film and video have been exhibited internationally. Ben has presented his work at Rhode Island School of Design (RISD), Case Western University, and MIT’s Media Lab, among other institutions. He is co-founder and principle of goodgood, an interdisciplinary design firm with offices in Detroit and Boston, a producer and designer for Sensate Journal at Harvard University, and co-founder and programmer at Mothlight Microcinema in Detroit. Ben is Assistant Professor of Design at The University of Michigan – Flint, where he directs the Design Studio.

 

 

達文·赫克曼（Davin Heckman），美國威諾那州立大學大眾傳播學系教授Professor of Mass Communication, Winona State University, USA

「Digital poetics as a Site for Social Engagement」

The 「vernacular」 comes from the Latin verna meaning 「home-born slave.」 In its common understanding, it refers to the native speech, and has long been associated with 「populism.」 Many assumptions about digital discourse in the United States are framed by the pragmatics of pop forms, driving political, aesthetic, and, even, intellectual discourse ever closer to consumer norms, under the rhetoric of authenticity, relevance, and democracy. This tendency poses both a challenge and an opportunity for social engagement in the arts. This paper will discuss choice architecture and strategies of détournement in electronic literature. Here, I draw on two notions: First, on Roman Jakobson’s conception of poetics as 「organised violence against ordinary speech,」 or the process by which language can be mobilized to extend thought beyond established systems of meaning. Second, I draw on Michel de Certeau’s discussion of the poetics of everyday speech as resistant to the 「ordinary」 functions of language. Within the expansive semiotic space of contemporary interactive audiovisual media and the esoteric processes of machine language, the question of how one might wield the tools of discourse in service of socially engaged art gain new urgency. Do the arts simply adopt these audiovisual effects by incorporating the same machine processes? Do the arts serve as a vector of aesthetic innovation in pop culture, as a highbrow form of industrial culture? Or do the arts become an opportunity to engage in processes of 「individuation」 at the psychic, collective, and technical level? To explore these questions, this presentation will analyze a number of participatory works: Typomatic by Serge Bouchardon, et. al, Speidishow by Rob Wittig, et. al, and the Taroko Gorge remixes by Nick Montfort, et al.

 

——Davin Heckman (Professor, Mass Communication, Winona State University) is a scholar who studies the digital media, electronic literature, and the impact of technology on everyday life. He is author of A Small World: Smart Houses and the Dream of the Perfect Day (Duke UP, 2008), as well as over a dozen articles on digital poetics and electronic literature. Heckman currently serves on the board of directors of the Electronic Literature Organization and on the editorial boards of electronic book review (electronicbookreview.com), Rhizomes: Cultural Studies in Emerging Knowledge (rhizomes.net), Hyperrhiz (hyperrhiz.net), and Digital Literary Studies (journals.psu.edu/dls). During the 2011-2012 academic year, Davin was a Fulbright Scholar in Digital Culture at the University of Bergen. He is currently developing a manuscript under the working title Against Populism: Digital Poetics and Unbound Forms.

 

阿迪拉·李克娜（Adela Licona）, 美國亞利桑那大學英文系修辭學教授Associate Professor of Rhetoric, University of Arizona, USA

薩拉·岡薩雷斯（Sarah Gonzales）, 美國亞利桑那大學學生部對外教育處助理處長Assistant Director, Education and Outreach, Dean of Students Office, University of Arizona, USA

「Altaring/Altering the Landscapes」

Adela Licona, Sarah Gonzales

This arts-based participatory research and pubic pedagogy project addresses issues of environmental and migration justice as well as cultural heritage. Built on the successes of a youth participatory action project that also included arts-based inquiry, our chapter proposes this as another model university-community collaboration. Proposed as a public scholars and participatory action-oriented project, we approach environmental art as social justice art expressed as cultural and civic engagement. The local collaboration we propose here includes a social justice educator and public scholar. Our design includes input from a local seed librarian, archivists, and youth/youth of color from the Tucson Youth Poetry Slam, a group that advocates critical civic literacy and youth voice through writing, spoken-word poetry, and community performances. Through the introduction of this participatory project, readers will learn about ways to collaboratively design and implement action-oriented public arts projects. We will introduce lesson plans for community education that addresses environmental, cultural, and migration histories and traditional altar preparation. Drawing from experiential knowledges as well, project participants will learn to co-create relevant organic altars to accompany their poetry as public art as a means to highlight environmental injustices and migrant deaths that are commonplace in Arizona’s borderlands. Organic altars, designed to be created with seeds from indigenous plants (including those nearly extinct due to colonization) and with water-harvesting compost to nourish seedlings, will be placed along migration routes and in living history project spaces in South Tucson altering the landscape through decompositions, beautification, and reseedings of water-harvesting and shade-producing plants. Altar placements will be accompanied by youth poetry performances so reseeding is initiated through their resounding words and visions. All project stages will be documented and archived to contribute to the public pedagogy that is an important part of this project. 

 

Adela C. Licona, Associate Professor of English, Director of the University of Arizona's Institute for LGBT Studies, and Associate Chair of the GIDP in Social, Cultural, and Critical Theory is affiliated faculty in Gender and Women’s Studies, Family Studies and Human Development, Institute of the Environment, and Mexican American Studies. Her research and teaching interests include cultural, ethnic, gender, and sexuality studies, race, critical youth studies, non/dominant rhetorics, community literacies, action-oriented research, borderlands studies, space and visual culture, social justice media, environmental justice, and feminist pedagogy. Licona has published in such journals as Antipode, Transformations, Journal of Latino-Latin American Studies, Sexuality Research and Social Policy, Annals of the Association of American Geographers, and Critical Studies in Media Communication. Additionally, she has co-published a number of community research briefs with community educator-activists, youth, and graduate students. These policy-relevant briefs have circulated beyond the university across local communities. Adela is co-editor of Feminist Pedagogy: Looking Back to Move Forward (Johns Hopkins University Press, 2009) and author of Zines In Third Space: Radical Cooperation and Borderlands Rhetoric (SUNY Press, 2012).

 

Focusing on the intersection of art and activism, a critical place for community survival in Southwest United States, Sarah Gonzales is involved in community work and youth organizing in Arizona and nationally through her consulting company, TruthSarita, LLC. She is also Codirector of Spoken Futures, Inc, a youth space addressing inequity in communities through poetry. She is the Assistant Director of Education and Outreach for the Cultural and Resource Centers at the University of Arizona.

 

 

安妮·馬爾科姆（Annie Malcolm）， 美國加利福尼亞州大學伯克利分校人類學系博士候選人Ph.D. Candidate, Anthropology, University of California at Berkeley, USA

 

"The Aesthetics of Unintended Consequences: Ethnographic Reflections on Wutong Art Village, Shenzhen" 

Through consideration of recent ethnographic work, this paper analyzes how people in an art village affect and respond to government intervention and its unintended consequences through their work and sociality. Wutong Art Village is on the outskirts of Shenzhen, at the foothills of a mountain, the place and its aesthetic constituted by an emergent assemblage of urban planning and soft power production (creative industry), and individual action. Because of its reservoir, Hong Kong’s water source, Wutong is not developing in the raze-and-build fashion of many of China’s urban fringes. Rather, inhabitants change the built environment, converting factories and original village houses into art studios, live/work spaces and shops. The government’s intervention to make it an art village came in 2011 after an art village was already forming, and may ultimately contribute to the disappearance of artistic activity from the place. Given this paradox, or potential self-cancellation, importantly, art is not the main commodity sold in the village. With no platform for sale of artwork, art practice and the artistic atmosphere it produces are instrumentalized to sell products used in tea ceremonies, yangsheng, or life cultivation, and spiritual practice. To lay claim to the success of the village, the government recently changed its branding of the village away from art, to culture (indexing also the rendering of the difference). Is there a kind of joy in literally cultivating life under the circumstances of urban village and migrant work precariousness, or do these activities represent grasping for morality in increasingly materialistic cities?

 

——Annie Malcolm is a Ph.D. Candidate in Anthropology at the University of California, Berkeley, researching art villages in Shenzhen, China with a focus on Wutong Shan. Her interests lie in questions of unintended consequences, aesthetics, anthropology of place, conceptions of work, art practice and ethnographic experimentation, translation and writing.

 

 

任海 (REN Hai)， 美國亞利桑那大學東亞系和人類學系教授和中國四川美術學院雕塑系特聘教授Associate Professor of East Asian Studies, University of Arizona, USA and Distinguished Professor, Sichuan Fine Arts Institute, Chongqing, China

「Art Intelligence and Social Production: Art as Cosmotechnics in a Cosmopolis」

The world faces numerous urgent issues that demand solutions. These include war, financial crisis, global warming, environmental degradation, poverty, and social inequality. UNESCO calls upon cities around the world to make 「culture」 and 「creativity」 a driving force to confront these challenges. In the context of 「the creative city,」 especially in light of the accelerated development of artificial intelligence technologies, this paper proposes the concept of 「art intelligence」 to address current challenges in the cosmopolis, which is defined as a cosmological, post-anthropocentric, creative city. Art intelligence refers to the idea of art as a cosmotechnics that vicariously connects humans to the universe behind the human world. By deploying artistic media — whether material, immaterial, animate, or inanimate — in a creative or generative work, art cosmotechnics treats all beings of the universe as contemporary and equals within a cosmopolis. The paper’s analysis uses ethnographic examples of artistic practices in Southwestern China, especially the work of Chengdu-based artists Cao Minghao and Chen Jianjun, their 「Water System Project」.

 

——Dr. REN Hai is Associate Professor of East Asian Studies and Anthropology at the University of Arizona, and Distinguished Professor at Sichuan Fine Arts Institute, China. His current research interests include socially engaged art, public history, object-oriented anthropology, urban studies, comparative media and technology, public humanities and digital humanities, popular culture, and critical theory. He has written two books on social and cultural transformations of contemporary China: Neoliberalism and Culture in China and Hong Kong: The Countdown of Time (Routledge, 2010) and a sequel The Middle Class in Neoliberal China: Governing Risk, Life-Building, and Themed Spaces (Routledge, 2013). He edited Neo-Liberal Governmentality: Technologies of the Self & Governmental Conduct, a special issue of the journal Rhizomes: Cultural Studies in Emerging Knowledge 10 (Spring 2005), and co-edited New Media Subversion, a special issue of the journal Hyperrhiz: New Media Cultures 7 (Spring 2010), and the anthology Global Futures in East Asia: Youth, Nation, and the New Economy in Uncertain Times (Stanford University Press, 2013). He is currently completing a book manuscript entitled The City as a Creative Object.

 

 

約翰·羅伯茨（John Roberts）, 英國伍爾弗漢普頓大學藝術和美學教授Professor of Art & Aesthetics, University of Wolverhampton, UK

 

「Art, Neoliberalism and the Fate of the Commons in the Western Context」

The privatization and contraction of public services across North America and the Eurozone have led to the 「enclosure」 of the commons. Consequently, treating the commons as a critical site of cultural and artistic thinking since the 1970s, the majority of post-object or participatory art practices, which engage in various forms of collaboration, community interaction, and pedagogic exchange, have performed and developed forms of 「common exchange,」 outside of, or in contradistinction to, the depredations of the market and these forces of compression. A common understanding is that these practices express various forms of activisms in the realm of the political. A more productive reading, I argue, is that these models of intellectual exchange and intervention are, in fact, forms of autonomous artistic production and should be valued as such. This involves, accordingly, a recalibration of the art/political axis.

 

——John Roberts is Professor of Art & Aesthetics at the University of Wolverhampton, and is the author of a number of books, including: The Intangibilities of Form: Skill and Deskilling in Art After the Readymade (Verso 2007), The Necessity of Errors (Verso, 2010), Photography and Its Violations (Columbia Univ Press, 2014), Revolutionary Time and the Avant-Garde (Verso 2015), and Thoughts on an Index Not Freely Given (Zero Books, 2016). His Reasoning of Unreason: Universalism, Disenlightenment and Capitalist Rationality, is forthcoming from Bloomsbury. He has also contributed to New Left Review, Radical Philosophy, Historical Materialism, Philosophy of Photography, Photographies, Journal of Critical Realism, and Third Text.

 

 

茱莉亞·葉茲比克（Julia Yezbick）, 美國密西根大學藝術史系，建築與城市規劃學院梅隆人文學博士後研究員Mellon Humanities Fellow, History of Art and the Taubman College of Architecture and Urban Planning, University of Michigan, USA

「Creative Sociality: Arts Funding in the Age of Austerity」

Taking up the question of 「How do we define the sociality of socially engaged arts?,」 I will discuss the results of a recent collaborative research project I conducted at the request of a non-profit arts administration organization in Detroit, Michigan. The research agenda was to examine the ways in which funding agencies can best support socially-engaged artists; understanding that this may not be with the outright granting of funds. At the heart of this endeavor is an effort to better understand what it is that socially-engaged artists do within their communities and how to sustain their work beyond the usual project or event-based funding structures. Implicit within this inquiry is an examination into the ways in which socially-engaged artwork forms specific relationships of sociality and how those relationships can be defined and supported. Crucially, the context of the work within a city that has been ravaged by the forces of modern capitalism situates it within a particular site of precarity and what Jamie Peck calls 「austerity urbanism」 (2012). Thus, one type of sociality that comes to bear within a study of socially- engaged arts in such a setting is the sociality of forms to experience— in what ways do urban forms and their creative transformation coalesce around the lived experiences of urban life?

——Julia Yezbick is a Detroit-based filmmaker, artist, and anthropologist who received her PhD in Media Anthropology and Critical Media Practice from Harvard University in 2016. Her work has been shown at international festivals and venues including the Berlinale--Forum Expanded, MOMA PS1’s print shop, the New York Library for Performing Arts, the Ann Arbor Film Festival, Mostra Internacional do Filme Etnográfico (Rio de Janeiro), the Montreal Ethnographic Film Festival, and at the Museum of Contemporary Art, Detroit. She is the founding editor of Sensate, an online journal for experiments in critical media practice, and co-directs Mothlight Microcinema in Detroit. She recently completed a lectureship in the anthropology department at Harvard University and is currently a Michigan-Mellon Humanities Fellow in Egalitarianism and the Metropolis the at the University of Michigan’s Taubman College for Architecture and Urban Planning.

 

 

國內學者和藝術家背景及發言提綱

 

陳曉陽 (CHEN Xiao-yang), 廣州美術學院雕塑系副教授 Associate Professor of Sculpture Department at Guangzhou Academy of Fine Arts

「Trace YUAN: Social Participatory Art and Regional Cultural Reconstruction」

From the perspective of cultural reconstruction, this article firstly trace YUAN, which means from the very beginning, by comprehensively overviews social participatory art program developed in South China. Accordingly, the author contrasts the similarities and differences of practice methods between same-regional and cross-regional related programs, and discusses the typological characteristics and similar problems social participatory art encountered in different regions of China. Secondly, by using Guangzhou Le-Ming Village’s YUAN Museum Corner Cabinet Program as an example, the author extends the discussion about the possibilities of interactive combination between social participatory art and regional cultural reconstruction, which reconstructs community identity and inventing new cultural traditions as an experimental method.

 

——CHEN Xiao-yang, Associate Professor of Sculpture Department at Guangzhou Academy of Fine Arts, Ph.D. in Anthropology. For the past decade, CHEN mainly devote herself to anthropological research and social participatory art practices. Many of her projects and artworks develop with the history and reality of obscured communities. Cooperating with volunteer organizations, teaching institutions and NPOs in Guangzhou’s village-in-city and suburban village, she keeps doing research projects and works about cultural reweave by local exhibition and research writing. In 2016, as a co-sponsor, CHEN initiates the public-spirited artistic program called YUAN Museum in Le-Ming Village (Guangzhou).

 

焦興濤 (JIAO Xingtao), 四川美術學院副院長, 教授, 羊磴藝術合作社發起人 Vice President of Sichuan Fine Arts Institute, Professor, Founder of Yangdeng Art Cooperatives

 

「Reality and Intuition in YangDeng Cooperative」

In the winter of 2012, Jiao and his students from the department of sculpture where he was teaching, launched the community-based art project - Yangdeng yishu hezuoshe (Yangdeng Art Cooperatives), in a rural area of northern Guizhou Province. Since 2012, Jiao and his collectives created interactive artworks with local craftsman, conducting interactive art projects during the village ganchangri (market days), painting colorful graffiti on residential buildings, developing meishuguan (site-specific art museums), curating exhibitions for local craftsman in these museums, and producing land art projects at the river bank, on school campuses, in the fields on mountain tops, and on broken bridge foundations. Launching 「12 Scenes of Yangdeng」 with local residents, Jiao and his colleagues encouraged local residents telling Yangdeng stories though this remote rural area is often regarded as 「no history or stories」. It is in such a villages, where contains most marginal everyday life and loose rules and restrictions, art interweaves into the local community, and thus reestablishes its continuity of life. The artists contextualized themselves in such specific place, faced what had happened and are happening in life, and regarded any 「encounter」 in daily life as an artistic medium. It could be the artists』 own job, or it could be the work made by local residents. Whether it is a narrative of future possibilities or a vision of the unknown, this art is both an art that directly touches the reality of life and indirectly speculates about the reality that we cannot directly touch. Different from the numerous 「rural art」 and 「land art」 projects in China, Yangdeng Art Cooperatives emphasizes an immediate and spontaneous creation state, as well as the 「intuitive realism」 method that suspends existing knowledge in the face of specific time/place/person/event.

 

——Jiao Xingtao is Professor, Vice President of Sichuan Fine Arts Institute. Committee member of China Artist Association (Sculpture branch), Vice Secretary of China Sculpture Association, Executive Director of China Urban Sculpture Association, Vice President of Chongqing Artist Association, President of Chongqing Sculpture Association. His solo and group exhibitions have appeared at various museums and galleries in London, Amsterdam, Beijing, Hong Kong, Taipei, etc. His creative writings, academic papers and monographs have been published in many leading art journals. He launched Yangdeng Art Cooperatives in 2012.

 

 

倪昆 (Ni Kun), 器·Haus空間聯合創辦⼈與策展人、日本福岡亞洲美術館客座研究員。Curator of Organhaus

 

「Why is the Turn? What is the Turn?: Public Art Turn in the Urban Renewal Movement」

After 2010, with the multi-dimensional penetration of socially engaged art into all social fields, various types of Community Art related to socially engaged art have been widely discussed and practiced and promoted by many artists and Art groups. 「Relational art」, 「Participatory art」 and 「Dialogical art」 are also widely concerned or questioned due to their distinct ethical turn of emphasizing the construction of social relations and neglecting the practice of formal aesthetics. The paradox is that the artistic action in the social field has rapidly become an important work and creative source in the current urban renewal movement due to its 「vague」 and 「ambivalence」 artistic principles. It is urgent and important to re-examine and discuss the production and boundary of art in the public field.

 

——NI Kun is a Curator of Organhaus / Chingqing, China. Born and raised in Hunan and living in Chongqing, Ni Kun is an artist and the co-founder of the non-profit organization Organhaus Art Space. The art interaction in the background of rapid urbanization in China and globalization is his concern, which he uses as tools to reflect the circumstance by developing series of experimental art practices refer to "City and Reconstruction". Recently his curating works include: Forum: "Under-Construction/Reconstruction as the 「Imagination」 of Social Practice: Projects on Social Art Practice by Artists in Asia" (The Rockbund Museum; Curator); 6-week thematic studies in Fukuoka Art Museum as a researcher; Daily Farm: Video Art Exhibition on the New Silk Road 2014 (Sinkiang Contemporary Art Museum; September 2014, Curator); "Play City: Sm-art C&V" Forum (April 2015)

王志亮 (WANG Zhiliang), 河北大學藝術學院副教授Associate Professor at the Department of Fine Arts at Hebei University

 

「Three Aesthetic Approaches to Participatory Art and Its Spatial Politics」

We face three Aesthetic Methods in discussion of participatory art recently. First is Nicolas Bourriaud's Relational Aesthetics that emphasizes relationship between spectators and artworks. Second is Claire Bishop idea that aesthetic is "an ability to think contradiction" that comes from Jacques Ranciere's theory. Third is Grant Kester's "empathy" that focuses on the dialogue and cooperation in making art. But two different political philosophies can be found in those three ideas--negotiation and antagonism. In my opinion, whether negotiation or antagonism they have not touched the space politics of participatory art. As I will discuss in this paper, participatory art should be understood in the genealogy of avant-garde. Artists who make participatory art deal with space more radical than historical and new avant-garde. They always create event, transform the exhibition space or everyday life space. I call these approaches as "flipped theater" and "heterotopias of counter-sites". Behind these two models find we this a trend of reflexive community and sub-politics.   

 

——Wang Zhiliang is Associate Professor at the Department of Fine Arts at Hebei University and a visiting scholar at the Department of Architecture and History of Art at the University of Pittsburgh. He received his PhD degree in philosophy from Renmin University. His primary research interests include avant-garde aesthetics, art criticism and methodology, and Chinese art in the 80s. A regular contributor to Literature & Art Study, Fine Arts Research, Art Observe, Journal of Paintings, he is the author of 「The Avant-Garde Awareness in Contemporary Art」, 「The Ramification and Progress of Avant-Garde Theory」, 「New Avant-Garde and Anti-Institution」, 「Dialectics of Avant-Garde Art」 etc.

 

 

於長江 (YU Changjiang)， 北京大學社會學教授Professor of Sociology at Beijing University

 

「Public Art and Local Cultural Traditions」

This project examines the questions as follows: 1) Public art in urban and rural development; 2) the relationship between public art and local traditions; 3) The paradox of artistic independence; 4) Tradition: topological psychedelic? 5) Several options: ignore? combine? compromise? discarded? or learn from?

——Yu Changjiang，Professor of Sociology at Beijing University, PhD. His research focuses on development of urban and rural areas, art communities, ethnic groups and folk customs, etc.

 

 

張暉 (ZHANG Hui), 上海華東師範大學人類學研究所講師 Assistant Professor of the Institute of Anthropology at Eastern Normal University in Shanghai

 

「The 『Gentrification』 of 『Artistic Rural Reconstruction』 and the 『Re-gentrification』 of Rural Community」

Among the many cases of 「artistic rural reconstruction」, one aspect that often attracts criticism is its tendency of 「gentrification」 - cultural practices combined with creative economy and other types of capital, are believed to have 「invaded」 rural communities and may undermine the the original social fabric of the communities. This paper attempts to review the context of 「gentrification」, a critical concept widely used in urban renewal, and discusses its possibilities in rural communities, especially in rural China. At the same time, based on the analysis of the current discourse of 「new gentry」 and the participated observation related to this phenomenon, this paper explores the phenomenon of 「gentrification」 of rural communities that may have some connection with the process of 「re-gentrification」.

 

——Zhang Hui is an assistant professor of Anthropology Research Center at East China Normal University. His research embraces visual anthropology, art anthropology, the critical reservation of cultural heritage and local governance.

 

 

張凱琴 (ZHANG Kaiqin)， 公共藝術家、藝術項目組織者Public Art artist and project organizer

馬利安 (Mary Ann O』Donnell) ，深圳社會學家、藝術家Shenzhen-based sociologist and artist

「From Their Town to Our Town」

ZHANG Kaiqin, Mary Ann O』Donnell

In the past, the experience of a "hometown" gave Chinese people a strong sense of belonging. However, because the vast majority of residents in Shenzhen come from various places, the city’s 20 million residents do not share a common hometown, begging the question: do we need to find a new source of belonging or do we need to figure out how people with different senses of belonging can live together? We believe that a sense of common belonging can be created through community development. Over a period of one and a half years, Handshake 302 ran the 「Art Sprouts」 program at the Longheu P+V Gallery. This project gave us the opportunity to evaluate the effects of a public arts education program. We discovered that the creation of a sense of common belonging and the development of creativity are mutually reinforcing. In turn, this process has deepened our understanding of Shenzhen's deep cultural history, which is itself heterogeneous, a mix of Punti, Hakka, and Weitou cultures as well as influences from the South China Sea diaspora and Hong Kong colonialism. These diverse cultural roots provided the context and object of the 「Art Sprouts」 program. The history of the village and the missionary school established over 100 years ago offered a good story for this exploration, allowing us to guide children in understanding and recognizing historic possibility. Weekly classes in this restored building extended and redeployed its historical heritage of education. Consequently, we also discovered that 「Art Sprouts」 was more than 「quality education.」 Instead, it was also an opportunity to explore the relationship between artistic creation and community building.

 

——Zhang Kaiqin is one of the initiators of public art project 「Handshaking 302」, member of China Sculpture Association and Yatooi member of South Korea International Natural Art Organization. She worked for Shenzhen Public Art Center (former Shenzhen Sculpture Academy) from 2010 to 2016. In 2010, she graduated from Pennsylvania Academy of Fine Arts. In 2008, she got her MFA in sculpture from China Academy of Fine Arts, and BA in sculpture from Sichuan Fine Arts Institute, 2005.

 

Mary Ann O』Donnell has been conducting anthropological research in Shenzhen since 1995, hoping to clarify the cultural landscape of Shenzhen, China's oldest and fastest-growing special economic zone. Her current research focuses on the cultural logic of post-socialist urbanization, the creative literature of the changing city, literary translation, and the ongoing cooperation project with the fat bird troupe. More recently, she spearheaded a project to promote community public art in white rock island, 「Shakinghands 302」.

 

 

鄭波（ZHENG Bo）, 香港城市大學創意媒體學院教授Assistant Professor, the School of Creative Media, City University of Hong Kong, Hong Kong

「Teaching Socially Engaged Art」

I started teaching socially engaged art at China Academy of Art in 2011, and quickly realized that it was difficult to find materials on what Chinese artists have created. If students could not learn from previous generations, they would have to reinvent the wheel. So I decided to build an online archive to document Chinese socially engaged art. Over the past four years, with the generous support of the artists, my research team and I have built seachina.net, a digital archive and an online course (MOOC). I will discuss what we have learned in the process, both practically and theoretically. I will also share my experiences of teaching socially engaged art in two art schools, and describe other teaching materials available in Chinese and English.

 

——ZHENG Bo is an artist, writer, and teacher, committed to socially and ecologically engaged art. He investigates the past and imagines the future from the perspectives of marginalized communities and marginalized plants. He has worked with a number of museums and art spaces in Asia and Europe, most recently Power Station of Art (Shanghai), TheCube Project Space (Taipei), Cass Sculpture Foundation (Chichester, UK), and Villa Vassilieff (Paris). His essays on Chinese socially engaged art have been published in multiple journals and books. He is an editorial board member of Journal of Chinese Contemporary Art. He holds a PhD in Visual and Cultural Studies from the University of Rochester, and currently teaches at School of Creative Media, City University of Hong Kong. His website: zhengbo.org

 

 

周彥華 (ZHOU Yanhua), 四川美院當代視覺藝術研究中心副研究員Associate Professor of Contemporary Visual Culture Research Center at Sichuan Fine Arts Institute

「Everyday Affects and Aesthetic Efficacy in Socially Engaged Art: Exploring Haoshua in Yangdeng Art Cooperatives」

「Haoshua」 is a dialect of the word 「for fun」 in the Southwest of China. It is the everyday affects of the local residents. In 2012, Chongqing-based artist Jiao Xingtao and his students from Sichuan Fine Arts Institute (Chongqing, China) initiated their rural socially engaged art project – Yangdeng Art Cooperatives - in Southwest China. It is a long-term art project exploring a collaboration format in contemporary art practice. Unlike current socially engaged art projects in China, Yangdeng Art Cooperatives does not directly touch upon any political issues. Instead, it extracts a strategy of haoshua managing everyday revolution. When art engages within the local community of Yangdeng, haoshua, the local everyday affects, appears on three layers. First, on the one hand, it appears as the emotional relations associated with local customs; and on the other hand, it is the cruel optimism, an attachment to their fantasies, desires and emotions toward modern urban life. Second, it appears as an artistic strategy of humor that blurs the boundary between art and life, and the real and the fiction, by showing the appearance without revealing any profound depth of meaning. Third, it appears as the aesthetic efficacy when art interacts with the local people’s everyday transformation. Shedding light on the three layers of haoshua, this paper incorporates art history into affect theories, the everyday life studies, rural studies, and ethnographic analysis to explores how haoshua works as both artistic strategy and the everyday affects via Yangdeng Art Cooperatives, and how its aesthetic efficacy formed in the process.

 

——Yanhua Zhou is Associate Professor of Contemporary Visual Culture Research Center at Sichuan Fine Arts Institute. She earned her first PhD in Aesthetics from Southwest University (China) and is pursuing her second PhD in Art History and East Asian Anthropology at the University of Arizona. Her research embraces contemporary art criticism and theory through an interdisciplinary perspective including art history, anthropology, and Area Studies. Her academic publications appear in peer-reviewed Journal of Contemporary Chinese Art, Journal for Culture Studies, Twenty-first Century (Hong Kong), and several cutting-edge art journals in mainland China. She is the author of Yishu de jieru [The Social Engagements of Art] (China Social Science Press, 2017).

 

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