杨勇——艺术板块|UABB(盐田)专访

 

相关项目:《村市(是)厨房》,第七届深港城市 \ 建筑双城双年展,盐田分展场,大梅沙村,深圳,中国,2017

 

 

记者:作为本次展览的艺术策展人,您觉得特别有意义的是什么呢?

 

杨勇:特别有意义的一件事是我们选取了食物和烹饪的角度去认识一片区域及其社会形态。双年展组织了建筑师和艺术家们对一个城市进行编辑,我们选择了大梅沙村来重新找回其最有意义的可能性,作出一种新的呈现。长达一年多的调查、研究和介入的过程,激发了各种和在地村民的有趣发生,包括我们的建筑师为大梅沙村做了一些改造;我们的艺术家做的在地创作,还有一些和村民共同创作的作品。这些让我们的艺术渗透到当地的文化和他们的生活里去,是一个极具意义的可能性探讨。

 

记:关于UABB和关于盐田的特殊性也希望听您分享一下。

 

杨:深港城市\建筑双城双年展办了14年,这是第七届了。这一届我也参与了主展场的联合策展。最不同的是这届展览是由艺术板块和建筑板块承担同等的角色来共同阐述的一届,这是在之前的六届里都没有的。艺术用一种最直接的方式和它特有的表达介入社会,有别于建筑师们的一些考察和改造。而在数个分展场里面,盐田分展场是非常特别的一个区域。除了地理位置,盐田区有着旧的历史和农耕文化,同时它在深圳的现代化发展里也担当了非常重要的角色,例如它的码头、船运等。盐田区的新旧事物都共融在一个和谐的环境里,所以这里的艺术或者文化生长是非常有趣的,它的话题性和对于环境的意义是很特别的。

 

记:记得上一届双年展,刘老师有提到“都市厨房”,跟这次的“村市厨房”,两个厨房应该是怎样一个关系?

 

杨:我觉得跟它具体的位置有关系。大梅沙村在某种意义上是城乡结合部的一个部分,但是它并不像这次双年展的主会场南头古城,处在一个高速城市化的过程之中。大梅沙村是在旅游产业带动下,比较松散,平行发展的一个“乡下”,这里也远离城市的各种配套,所以叫“村市厨房”。

 

记:这次您也邀请了宋冬老师的参与。

 

杨:对,在中国的当代艺术里面,宋冬是一位非常有个人特征的艺术家。我们的大梅沙村是“城中村”,而他的一个叫“村中城”的作品是用饼干搭了一个“城市”。这个“城市”不是参照某一座具体的城市,但是它有大部分城市的共同性,是高度抽象的。而且他的作品在搭建过程中有不同的参与者,用饼干来搭城市的创作方法涉及到一种社会性,最后是由观众和村民共同吃掉这个“城市”。这个作品的实现过程,包含构想、制作、搭建等,都被大家所吃掉,到最后什么都没有了,这个过程其实是一种意义丰富的表述。

 

记:对于这次展览所邀请的艺术家,您是基于一个什么样的共同特点考虑的吗?

 

杨:其实是根据他们长期以来作品的关注方向,我们预测分析他们与大梅沙村展场和“村市(是)厨房”主题的契合点,同时为展览选择了不同的艺术家和创作形式,包括做影像的,做装置的,做壁画的,还有做行为的等等,让他们用最擅长的表达和思考方式参与到对大梅沙村的讨论里来,最终共同呈现出这样一个非常生动的艺术盛宴。

 

记:政府对策展方最大的帮助和支持呈现在哪些方面?

 

杨:这一次我们的主办方盐田区政府给予了策展方非常高的支持。他们的这种支持让我们的策展工作能够有很大的发挥空间,而且得到高度的尊重,我觉得这是特别难得的一件事。从一开始对场地的选择,再到后面的很多工作流程,他们都给予了很多的协助和指导。而且他们对于艺术家们的创作也给了一个非常大的支持和尊重。政府的帮助和支持让展览项目得到完整的呈现,我觉得这个环节的意义是非常重要的。

 

记:在“城市共生”的过程中,您觉得这种“共生”体现在了哪些地方?

 

杨:今年双年展的大主题是“城市共生”,这种“共生”可以是观念上的共生关系,也可以是在物理空间上的。在观念上,我们选择了村民最热衷于讨论的食物和烹饪的话题;物理上则是我们的一些改造。首先我们将这10栋房子作为展厅,让它的样貌变得更完善,然后根据建筑师们的改造,使它们拥有各自的优化。其次是对公共环境的改变,比如说道路、标识,还有外立面等的改变。更有趣的是对村民的生活环境的介入,比如在他们的一些巷子、角落里植入了一些小装置,这样既方便了他们的生活,也用设计和艺术让他们获得一种不一样的体验。而且我们的整个展场是在他们生活的空间里面,这是一个非常难得的现状。我们的展览跟他们的日常生活是密不可分的,这也意味着我们的展览在随着居民的生活发生着变化和生长,我觉得这是一个阐述“城市共生”价值的最好的方式。

 

记:您自己的作品也呈现在了这次的展览当中,据说这是一个交互艺术。您是出于什么样的理念把您的作品和这次的展览结合的呢?

 

杨:两件作品有点不太一样,第一件作品在村子的一个入口,我们做了几个像古罗马的圆柱一样的雕塑,让他们走进来的时候很有仪式感,雕塑上面写了“2017 UABB MEISHA”,这是对时间、事件和地点的最简洁的痕迹。我们让所有人看到这件事情在这里发生。同时,它还有不同的颜色和光,具有一个标识的功能性作用,所有没来过的人都知道从这里开始。

 

当我们从入口再往里走200米以后,有一个名为《非线性》的雕塑。这件作品的灵感来自于我们的盐田区,可能它给大众最深刻的一个印象是集装箱码头和不同色彩的集装箱。然后我们再回到大梅沙村的那些建筑,它们都是一些小体块。不同的小体块的叠加,就变成了这样一个充满结构的作品。这些色彩更像我们在这边看到的特别蓝的天、晚霞,还有村里的一些绿色等等,所以这个作品既有着现实的寓意,也充满了对未来生活的期待。

 

因为改造的地方并不涉及整个村庄,对于村民来说,其实心态是不断变化的一个过程。从开始的排斥到好奇,再到担忧和期待。这个展览之后,村子可能会被打造成一个文艺的风情街,早期介入的时候,村民觉得我们打扰到他们的日常生活,也有外来住户担心之后这片区域的经济发展起来,房租就会不断地上升。这个问题又回到UABB本身的研究上,“城市共生”探讨的就是差异化的人群、建筑和人的关系。在深圳这样的一个快速发展的城市里,如何保证所有的东西都能在和平共处的前提下更好地生存,这应该是一个想要融合大家生活的概念。同时共生的最基本条件就是有差异性,这样才能够谈到共生的意义,如果大家相同就没有所谓的共生的概念。但是怎么让公众明白,尤其是让小朋友明白差异化其实不太容易,因为从理论或者哲学概念上说是很难一下子说明白的,所以我们用一系列的活动帮助村民和孩子们去理解共生的概念、感受差异化的存在。同时也希望帮助展览和公众搭建一个桥梁,让所有人都可以谈谈他们想说的东西。

 

一些公众和学者们认为分展场的共生程度比主展场更深入,因为南头古城的主展厅分成了四栋楼,A1、A2是建筑和城市板块,A3、A4是艺术板块,艺术和建筑之间也是相互渗透的,大家都想要和当地村民做更深的互动和交流。但因为时间紧、体量大,最终没有实现很好的互动。我们南头古城展场其实有一些互动性很强的作品,比如说开幕式的《叙述性舞蹈》,有不同的职业身份和年龄的村民来参与,是集体完成的一个活动,它就是一个很棒的互动;又比如说徐坦的《村雨计划》,里面有鸭饭、影片放映和一些讨论等等,村民还是挺愿意参与的;还有就是A4台湾艺术家陈界仁所做的《流动儿童博物馆》,这个博物馆是他和深圳的一个艺术培训机构的小孩共同创作的,在展览的时候,也有很多村民带着小孩来这个小小的展厅里面一起画画。因为南头的主展场体量特别大,展览的视觉效果看起来并不像大梅沙村在体量和细节方面显得那么温情。今年的深港城市\建筑双城双年展放眼城中村,以“城市共生”为主题,盐田分展场在呼应主题的前提下更是将城中村的建筑、社区、餐饮文化、生产和艺术创意相融合,所以这里从食材的诞生到食物碰撞、进餐的方式,以至于饮食消费的市场,都有一个跟大众非常有趣的互动。其实厨房这个概念,它既是一个空间概念,也是一个生活概念,既是一个生产也是一个消费。所以在整个过程中不仅有个体的创作,更重要的是有群体的参与和分享的特殊意义和价值。所以这次在展览主题下,旧的传统跟新的现代化都是构成共生的基础。

 

 

 

Yang Yong: An Interview with the Art Curator 

 

Related Project: “Village as Kitchen”, The 7th Bi-City Biennale of Urbanism/Architecture, Yantian Sub-venue, Yantian District, Shenzhen, China, 2017

 

 

Reporter: As the curator of this exhibition, what do you think makes this event particularly significant?

 

Yang: What makes this event particularly meaningful is that we choose the perspective of foods and cooking to explore a place as well as its social configuration. The biennale organizes architects and artists to edit a city, and we, the curatorial team of its sub-venue choose Dameisha Village for recovery and creative presentation of the most meaningful possibilities for the city. Our one-year-long investigation, survey and intervention have given rise to various interesting changes to the village and the villagers, including some architectural reconfiguration there. Our site-specific artistic creations jointly made with the villagers allow art to permeate the local culture and lifestyles—this is a significant exploration of possibilities (for renewal and regeneration of the city).

 

Reporter: Could you also share with us your view on UABB and the peculiarity of Yantian (District)?

 

Yang: This is the 7th Shenzhen Hongkong Bi-city Biennale ever since its initiation 14 years ago. For this biennale I also serve as a co-curator of the main venue. Unlike all its six predecessors, this event features the equal roles of art and architecture in joint illustration of its theme. Art making intervenes into the community in a most straightforward manner and unique forms, distinct from the investigation and reformation made by architects. Among other venues of parallel sessions, Yantian is truly special for various reasons. Apart from its special location, Yantian manages to preserve its original history and agriculture while serving its critical role in the modernization of Shenzhen as indicated by its wharves and shipping industry. It is a place where the new blends seamlessly and harmoniously with the old, giving rise to some interesting art and culture. This place indeed generates unique topics and has unique meanings to the city.

 

Reporter: I noticed that you also invite Mr. Song Dong into the biennial.

 

Yang: Yes. Song Dong indeed stands out in contemporary Chinese art with his distinct individuality. Dameisha Village is an urban village, and he created “The World of Urban Villages”, a work constructing a “city” with biscuits. This city does not resemble any particular city but it’s a highly abstract embodiment of cities' common features. Besides, the construction of his work is completed jointly by various participants, and the “city” built ends up being eaten up thoroughly by the audience and villagers. The whole process, like a social collaboration, including conception, construction and its final and complete consumption, is an expression of multiple connotations.

 

Reporter: What are the common characteristics of the artists you invited to the biennial? Can you share with us your considerations in this regard?

 

Yang: The invitation was, in fact, based on their long-term focus in art-making. We predicted and analyzed where their artistic orientations could best match “Village as Kitchen”, the theme of the exhibition. We also selected for the exhibition various artists and art forms including photography, installation, mural and performance art so that artists will be able to participate in the discussion on Dameisha Village with the ways of thinking and expression that they excel in, and eventually together we jointly serve a vivid feast of art.

 

Reporter: To the curatorial team, in which areas is the government most supportive?

 

Yang: Yantian District Government has been highly supportive to our curatorial team. Such support has allowed us extraordinary latitude and showed us great respect—this is something we particularly cherish. From venue selection at the very beginning to many subsequent processes, the local government has provided much assistance and guidance. They also rendered vigorous support and show exceptional respect to the artists in their creative efforts. It is the governmental assistance and support that ensures the complete presentation of the exhibition—that is extremely important.

 

Reporter: Where do you think “Cities, Grow in Difference” has found its expressions?

 

Yang: “Cities, Grow in Difference” is the general theme of this biennial. “Grow in Difference” can be construed as the symbiosis in conception or one within certain physical spaces. In terms of conception, we selected foods and cooking, Dameisha villagers’ favorite topic. In terms of physical spaces we introduced some changes. We began by converting ten residential houses into exhibition space, resulting into their improvement in visage and further optimization by architects. This is followed by the transformation of the public spaces including alteration to road and public signs and facades. More interesting is the intervention into the life environment of the villagers. Small installations in some alleys and corners, for example, bring to villagers not only convenience for their everyday life but also brand-new experiences. Also our entire venue of exhibition is within their space of life, which is extremely rare as our exhibition has become an integral part of their daily life and will evolve and grow with the changes to the life of the local residents. This is the best illustration of values underlying “Cities, Grow in Difference”.

 

Reporter: Your own works are also on display and they are said to be interactive art. Conceptually how do you incorporate your works into this exhibition.

 

Yang: The two works of mine are not quite the same. The first work is several column-like sculptures placed at an entrance to the village to create a strong sense of ritual for those who enter the village. On the sculpture are the inscription “2017UABB MEISHA”, the most concise record of the time, event and venue. We meant to allow everyone to witness the event right here. Also, these sculptures, shiny and of different colors, are very good public signs indicating the very beginning of the event.

 

200 meters further into the entrance stands another sculpture entitled “Non-Linearity”. This work was inspired by the Yantian District that impresses the public most with its container terminals with containers of all colors, in contrast to buildings back in Dameisha Village. Seen from afar, all those terminals, containers and buildings are like small blocks. Superposition of those small blocks resulted in a well-structured work whose colors are reminiscent of the exceptionally blue sky and the afterglow as we can see here as well as some green patches in the village.

 

Only parts of the village were under our transformation project, so the attitudes of villagers towards our project in fact underwent constant changes from their initial rejection, curiosity to their subsequent concern and expectations. The village will perhaps be converted after the exhibition into a cultural and artistic community. During our early intervention, some local residents treated us like some intruders into their daily life while migrant residents were concerned about the rising rents they have to pay in the future with economic growth in this region. Issues like those bring us back to the investigation intended by UABB itself. The concept of “Cities, Grow in Difference” is intended to explore the relations among different groups, architecture and individuals. Such a concept highlights the importance of better survival (of history, culture and lifestyles) based on peaceful coexistence in a fast-growing city like Shenzhen. It is a concept that emphasizes bringing different people together into a higher quality of life for all. Also, “Grow in Difference” presupposes existence of differences as a basic prerequisite for the current discussion. This concept wouldn’t make sense if everyone and everything were the same. However, it is no easy job to help the public, particularly children, understand the meaning of differences— this is especially true if we try to reason with people using theories and philosophical concepts. So we organized a series of activities to help villagers and kids understand the concept of growing together and feel the existence of differences. Through such activities we also hope to bridge the gaps between the exhibition and the public so that everyone can say whatever they wanna say.

 

Some members of the public and scholars regard the venues of parallel sessions as more in-depth embodiment of “Cities, Grow in Difference”. The main venue in Nantou Old Town consists of four buildings. Building A1 and A2 are dedicated to architecture and works on cities while Building A3 and A4 focus on art. Those four buildings are interconnected and we all wanted more in-depth interaction and exchange with local villagers. However as we were all working under a tight schedule in a gigantic exhibition venue, our efforts for interaction left a lot to be desired. As a matter of fact, this main venue has displayed some highly interactive works like the “Narrative Dancing” for the inaugural ceremony, where villagers of different occupations and ages participated. As a collective endeavor, it did a great job in promoting interactions. Another good example for interactive activity is “The Project of Village Rain” made by Xu Tan with shared meals, films and discussions in which villagers were more than happy to participate. Chen Chieh-jen, an artist from Chinese Taiwan also succeeded in his effort in interaction in Building A4 through his work “Mobile Museum for Kids”. It resulted from the joint efforts from both the artist and the kids from a local art training institute. This mobile museum has also received many villagers who came with their children for painting during the exhibition. As the exhibition is spread out in a huge space of the main venue in Nantou Old Town, it might lack, at the first glance, the delicacy, intimacy and warmth of the parallel session in Dameisha Village, which is obviously much smaller. UABB 2017 looks specifically at urban villages as the embodiment of the theme “Cities, Grow in Difference”. In response, the Yantian Parallel Session further integrates its architecture, community, culinary culture, production and artistic creativity, generating highly interesting interaction from the birth of ingredients, clashes among foods, ways of dining and markets for food consumption. So “Village as Kitchen” is far more than a spatial concept but also a concept of life integrating both production and consumption. The whole process features not only individual’s art-making but also the special meanings and values associated with public participation and sharing. Therefore, the theme of the exhibition tries to send the message that it is the integration of tradition and modernization that constitutes the basis for cities growing in difference.