“我们的目光：艺术、人类学与亚洲映像” 尝试探讨影像及其艺术如何作为一种“平等媒介”，连接起不同文化、历史与社会背景下的个体与群体。影像媒介所带来的平等，不止因为其拍摄设备在全球的技术普及和我们深陷其中的日常生活，还因其为不同的学科和领域贡献了记录和表达的复杂可能性。本展览邀请了在中国和东南亚工作的艺术家和人类学家以参与式策展方法进行合作对话，通过他们长期在地创作的影像作品，呈现单向度的被观看的亚洲叙事之外，还有一些以往未曾顾及的微观世界或个体声音。结合不同的情境装置带来微妙的具身感受，呈现山海、岛屿、雨林、港口、社区、村落和其间人群“映像”的对照与交叠。在展场的中间地带，还呈现了策展过程中的不同学科和领域的参与者对于各自工作的误读、对话和理解过程，一些开放的问题结构同时提醒了依赖模糊与多义的“我们”概念的复杂性。
"Our Gaze: Art, Anthropology and Asian Imagery" attempts to explore how images and their art can serve as an "equal medium" to connect individuals and groups from different cultural, historical and social backgrounds. The equality brought by the image medium is not only due to the global technological popularization of its shooting equipment and our daily life in it, but also because it contributes to the complex possibilities of recording and expression for different disciplines and fields. This exhibition invited artists and anthropologists working in China and Southeast Asia to conduct collaborative dialogues through participatory curatorial methods. Through their long-term local video works, they present not only the one-dimensional Asian narratives that are being viewed, but also some microscopic worlds or individual voices that have never been taken into account before. Combining different situational installations to bring subtle embodied feelings, presenting the contrast and overlap of the "images" of mountains, seas, islands, rainforests, ports, communities, villages and the people in between. In the middle of the exhibition, the participants in different disciplines and fields in the curatorial process also present the misunderstanding, dialogue and understanding process of their respective work. Some open question structures also remind us of the complexity of the concept of "we" that relies on ambiguity.
展厅中以亚洲南方常见的“热带坡屋顶”构成影像聚落，并不过多强调艺术家与人类学家作品的分别，这种有意模糊学科边界和对专业中心主义的降解，是希望在去掉知识标签后，以影像作品为核心构建多维感官现场。除了影像作品，本次策展设计还在展厅中部呈现了这次策展过程的讨论中值得分享的观点，并提供给观众加入进来继续讨论的媒介，这种参与式策展方法为对这些话题感兴趣的更多的“我们”创造了临时的团结空间和时间。这些对话，除了将考察创作者的思考、问题意识和视觉叙事在现场所具有的表达上的穿透性，也希望观看者可以循着感受和直觉的引导创造自己的观看线路，借由作品中亚洲南方的图景、故事和经验，思考到底是什么构成了关于“我们”的认知，理解“目光”背后的历史与现实变迁，以及寻找未来之眼的可能。
The exhibition hall uses the "tropical sloping roofs" commonly seen in southern Asia to form an image settlement, without overemphasizing the difference between the works of artists and anthropologists. This intentional blurring of disciplinary boundaries and the degradation of professional centrism is intended to build a multi-dimensional sensory scene with image works as the core after removing the knowledge labels. In addition to the image works, this curatorial design also presents the viewpoints worth sharing in the discussion of this curatorial process in the middle of the exhibition hall, and provides the audience with a medium to join in and continue the discussion. This participatory curatorial method creates a temporary space and time for unity for more "us" who are interested in these topics. In addition to examining the creators' thinking, problem awareness and the penetration of visual narratives on the scene, these dialogues also hope that viewers can create their own viewing routes guided by feelings and intuition, and through the images, stories and experiences of southern Asia in the works, think about what constitutes the cognition of "us", understand the historical and realistic changes behind the "gaze", and find the possibility of the eyes of the future.
1
鲍江
Bao Jiang
1968年出生于中国
Born in China in 1968
现工作于北京
Currently working in Beijing
《多模态多感官民族志展——我的俄亚纳西族田野工作》
Multimodal and Multisensory Ethnography Exhibition: My Fieldwork among the Nakhi People in Eya County
影片一《新年好》
Video 1: Happy New Year
2008年
2008
单频影像，彩色，有声
Single-channel video, color, sound
58分钟
58 minutes
尺寸可变
Variable dimensions
影片二《俄亚东巴初访广州》
Video 2: Dongba from Eya's First Visit to Guangzhou
2024年
2024
单频影像，彩色，有声
Single-channel video, color, sound
44分钟
44 minutes
尺寸可变
Variable dimensions
民族志的实践宗旨是人类学者将其长期田野研究经验带给公众。传统的民族志知识生产割裂为两种专业形式：学者文本和博物馆实物。后来伴随媒介技术发展和知识本体论反思，民族志知识生产逐渐朝向多模态、多感官扩张，文本之外也开发照片、影片、装置、绘画、戏剧等模态，视觉之外也涉及触觉、嗅觉等感官。《多模态多感官民族志展——我的俄亚纳西族田野工作》，一方面分享本人于1998年第一次访问俄亚纳西族迄今二十多年的田野研究经验；另一方面提出多模态多感官民族志展这种田野研究成果分享方法。
The practical purpose of ethnography is for anthropologists to bring their long-term field research experience to the public. Traditional ethnographic knowledge production is divided into two professional forms: scholarly texts and museum objects. Later, with the development of media technology and reflection on knowledge ontology, ethnographic knowledge production gradually expanded towards multimodality and multisensory. In addition to text, it also developed photos, films, installations, paintings, dramas and other modalities, and in addition to vision, it also involved senses such as touch and smell. "Multimodal and Multisensory Ethnography Exhibition - My Field Work with the Nakhi People in Eya County" shares my field research experience of more than 20 years since my first visit to the Nakhi People in Eya County in 1998; on the other hand, it proposes a method of sharing field research results such as multimodal and multisensory ethnography exhibitions.
2
艾金·基·查尔斯
Ekin Kee Charles
1996年出生于马来西亚
Born in Malaysia in 1996
现工作于沙巴
Currently working in Sabah
《路径》
Pace
2019年
2019
单频影像，彩色，有声
Single-channel video, color, sound
8分钟
8 minutes
尺寸可变
Variable dimensions
短片《路径》通过雅雅的视角探讨了年幼时的身份认同。她发现自己渴望拥有朋友们所拥有的某种东西，而自己却没有。而这并不像表面看起来那么简单。
The short film, Pace, explores identity at a young age through the eyes of Yaya, who finds herself yearning for something her friends have that she doesn't. And it's not as simple as it seems.
《拉马-拉马》
RAMA-RAMA
2021年
2021
单频影像，彩色，有声
Single-channel video, color, sound
16分钟
16 minutes
尺寸可变
Variable dimensions
受传统审美观念的驱使，一位母亲精心为女儿准备即将到来的文化选美比赛，却未曾察觉女儿真正想要表达的东西，也未曾深思这一传统背后的动机。
Driven by traditional beauty standards, a mother carefully prepares her daughter for an upcoming cultural beauty pageant, without realizing what her daughter really wants to express or pondering the motivations behind this tradition.
3
何锐安
Ho Rui An
1990年出生于新加坡
Born in Singapore in 1990
现工作于新加坡
Currently working in Singapore
《花园中的石油城远景》
A Petropolis in a Garden with a Long View
2024年
2024
带有激光蚀刻水晶、亚克力奖杯、书籍、球形书立、办公桌椅、沙发、花箱、各种植物和壁纸的视频装置
Video installation with laser-etched crystals, acrylic trophies, books, spherical bookends, desk chairs, sofas, flower boxes, various plants and wallpaper
尺寸可变
Variable dimensions
新加坡沿海停泊着一排排超大型原油运输船队，这一景象无声地诉说着石油产业对这座城邦国家的重要经济意义。然而，尽管这是空中抵达新加坡的访客最先看到的画面，石油却很少出现在关于这座国家的主流想象之中。自1963年全国绿化运动成功以来，新加坡更为国际社会所熟知的形象是生态环保的“花园城市”。
The sight of fleets of very large crude oil tankers anchored off Singapore’s coast speaks volumes about the economic importance of the oil industry to the city-state. Yet, although it is the first thing visitors see when they arrive in Singapore by air, oil rarely appears in the mainstream imagination of the country. Since the success of the national greening campaign in 1963, Singapore has been better known internationally as an eco-friendly “garden city”.
《花园中的石油城远景》是一件以植物为主题的石油高管办公室的环境装置艺术，试图以视觉形式呈现这一在新加坡相对隐秘的产业，并将其置于这座岛屿城市在后殖民时期通过绿化运动重新塑造的景观之中。作品提出，与其简单地将新加坡视为“花园城市”，不如更准确地称之为“花园中的石油城”。展览中精选的物品、书籍、影像与视频，展现了新加坡在炼油、储存、分销及石化产业中的角色——尽管它自身并不拥有石油资源，却凭借这些业务发展成为全球石油枢纽。
"A Petropolis in a Garden with a Long View" is a plant-themed environmental installation art in the office of an oil executive, attempting to visually present this relatively secretive industry in Singapore and place it in the landscape of the island city-state that has been reshaped by the greening movement in the post-colonial period. The work proposes that rather than simply viewing Singapore as a "garden city", it is more accurate to call it an "A petropolis in a garden". The exhibition features a selection of objects, books, images and videos that showcase Singapore's role in the refining, storage, distribution and petrochemical industries - despite having no oil resources of its own, it has developed into a global oil hub through these businesses.
该装置以办公室而非工业设施作为布景，进一步反映了石油生产与分销过程中所涉及的“脑力劳动”形式，尤其是在20世纪后期该行业金融化之后。这种抽象化的产品创造过程的典型案例，便是壳牌公司（Shell）自20世纪70年代以来所发展出的一种前瞻性方法——通过构想未来的可能叙事，以预测潜在的冲击。正如壳牌前情景规划主管彼得·施瓦茨（Peter Schwartz）所称，这种方法被称为“远见的艺术”。展览中的一系列虚构书籍便体现了这一点，它们的书脊上标注了自1989年至今，壳牌制定的不同情景规划的标题，从而揭示了石油行业在未来预测与战略规划中的思考方式。
The installation, set in an office rather than an industrial facility, further reflects the forms of “brainwork” involved in the production and distribution of oil, especially after the financialization of the industry in the late 20th century. A typical example of this abstracted product creation process is the advanced approach that Shell has developed since the 1970s to imagine possible future narratives to predict potential shocks. As Peter Schwartz, former head of scenario planning at Shell, calls this approach "the art of foresight." This is reflected in a series of fictional books in the exhibition, whose spines are marked with the titles of different scenario plans produced by Shell from 1989 to the present, revealing the way the oil industry thinks about the future and strategic planning.
4
娜塔莎·通泰
Natasha Tontey
1989年出生于印度尼西亚
Born in Indonesia in 1989
现工作于日惹
Currently working in Yogyakarta
《烈焰中的花园》
Garden Amidst the Flame
2022年
2022
单频影像，彩色，有声
Single-channel video, color, sound
27分钟40秒
27 minutes 40 seconds
尺寸可变
Dimensions variable
在我的新影像作品《烈焰中的花园》中，我继续拓展对米纳哈萨（Minahasa）宇宙观的艺术研究，并采用一种酷儿化的视角来理解米纳哈萨社会中最重要的仪式之一：卡赖。
In my new video, Garden Amidst the Flame, I continue to expand my artistic research into Minahasa cosmology and adopt a queering approach to understand one of the most important rituals in Minahasa society: Karai.
卡赖是一种仪式，在这一过程中，米纳哈萨战士会被“披上”无形的盔甲，使其在部族战争中刀枪不入。在当代米纳哈萨社会，卡赖通常被视为一种高度男性化的仪式，因为大多数参与者都是男性部族成员。然而，在这部作品中，我基于研究和个人经验，将探索卡赖仪式中“关怀”概念的潜在意义。
Karai is a ritual in which Minahasan warriors are “dressed” in invincible armor to make them invulnerable to tribal wars. In contemporary Minahasa society, Karai is often viewed as a hyper-masculine ritual, as most participants are male tribesmen. In this work, based on my research and experience, I will explore the potential idea of speculative care in Karai.
这一仪式与服饰、符号和穿戴的概念密切相关，而米纳哈萨的宇宙神话本身就并非是一个异性恋规范的场域。因此，我希望通过这项研究，探讨如何颠覆和重构卡赖这一仪式，使其不再仅仅与攻击性和男性气质相关，而是与“关怀”与“无伤”的概念建立新的联系。
As this ritual is closely connected to the notion of wear, symbols, and clothes, and considering that in the mythology of Minahasan cosmos that the world is not a heternormative playground, I will observe the possibility of destabilising and reconfiguring the assumption of Karai in relation to the idea of care and invulnerability instead of aggression and masculinity.
5
秦晋
Qin Jin
1976年出生于中国
Born in 1976 in China
现工作于广州
Currently working in Guangzhou
《两个父亲》
Two Fathers
2024年
2024
三频影像，彩色，有声
Three-channel video, color, sound
17分钟43秒
17 minutes 43 seconds
尺寸可变
Variable dimensions
中国人，尤其是从小接受内地教育的华人，无论他去到哪里定居，都很难摆脱传统文化的影响，会抱有一种固有的观念，一种认为家庭和服从是最重要的价值观。并且以这种观念为基础去理解世界、国家和集体，甚至于理解政府。他们会把家庭的结构关系和权力关系放大到国家、族群去，也会把管理者视为家长。这就是中国传统文化一直以来的价值系统中最重要的排序“天地君亲师”的思想来源。对“天地君亲师”（天地、君王、双亲和老师）的服从一直以来都是中国传统文化及教育的核心。
Chinese people, especially those who have been educated in the mainland since childhood, will find it difficult to get rid of the influence of traditional culture no matter where they settle down. They will have an inherent concept that family and obedience are the most important values. And they understand the world, the country, the group, and even the government based on this concept. They will magnify the structural relationship and power relationship of the family to the country and the ethnic group, and will also regard administrators as parents. This is the source of the idea of "Heaven, Earth, Emperors, Parents, and Tutors", the most important ranking in the value system of traditional Chinese culture. Obedience to "Heaven, Earth, Emperors, Parents, and Tutors" has always been the core of Chinese traditional culture and education.
我的这件作品的想法出现在去年，这件作品是去年8月完成的。我今年48岁，已经是价值观和人生观早已定型的年龄，但我依然觉得我可以在这种绝对权威的价值观体系中找到一丝游离、改变和修正的空间。艺术就是个人找到这种喘息或抵制的空间的方式。我为我自己找到两个父亲，也许我还可以找到第三个甚至更多，这视乎我的思想边界去到哪里，我的认知是否需要我再接纳多一个较高的精神指引，用以平衡或者稀释甚至摆脱之前教育规定的权威的影响和控制。而这两个父亲在视频里是两只西瓜。我和这两只西瓜同行（实际上是我拎着或背着），一起上山，然后行至山顶，我作为旅者，渴了饿了需要充饥，我就用携带的水果刀把其中一只切开吃了，而另一只则被我扔了。西瓜圆滚滚，一直在山间滚动，滚至山下再也不见。
The idea for this work came to me last year, and the work was completed last August. I am 48 years old this year, and my values and outlook on life have long been fixed, but I still feel that I can find a little space for freedom, change and correction in this absolutely authoritative value system. Art is a way for individuals to find this kind of breathing space or resistance. I found two fathers for myself, and maybe I can find a third or even more. It depends on where my ideological boundaries are and whether my cognition needs me to accept a higher spiritual guidance to balance or dilute or even get rid of the influence and control of the authority stipulated by previous education. The two fathers in the video are two watermelons. I walked with these two watermelons (actually I carried them in my hands or on my back), went up the mountain together, and then walked to the top of the mountain. As a traveler, I was thirsty and hungry and needed to fill my stomach, so I cut one of them with the fruit knife I carried and ate it, and the other one was thrown away by me. The watermelon was round and rolled in the mountains, and it rolled down the mountain and disappeared.
而视频的结尾，则以动画的形式出现了同样的一只西瓜在山间滚动，以及另一个屏幕上有一个小男孩在山间跑着，一直跑一直跑，没有停歇。
At the end of the video, the same watermelon rolling in the mountains appeared in animation, and on another screen there was a little boy running in the mountains, running and running without stopping.
6
邱垂珍
Qiu Chuizhen
1978年出生于美国
Born in 1978 in the United States
现工作于洛杉矶
Currently working in Los Angeles
《回家的时间 回家的途径》
Time to Go Home, Way to Go Home
2018年
2018
三频影像，彩色，有声
Three-channel video, color, sound
10分钟05秒
10 minutes 05 seconds
尺寸可变
Variable dimensions
该作品记录了一个非常具体的地方（贵州省凯里市）和一种非常抽象的体验。回家旅程中的声音与景象夹杂着义务与人际关系的现实，这些因素赋予了一个地方“家”的意义。家的喜悦与负担在不同人身上有不同的体现，而这种体验往往由年龄和性别决定。随着岁月流逝，家的责任可能会变得越来越沉重。然而，我们依然希望有一天，也希望每天，都能让家成为归宿。
The work documents a very specific place (Kaili, Guizhou Province) and a very abstract experience. The sounds and sights of the journey home are mixed with the realities of obligations and relationships that give a place the meaning of "home". The joys and burdens of home manifest differently in different people, and this experience is often determined by age and gender. As the years go by, the responsibilities of home may become heavier. Yet we still hope that one day, and every day, we can make home our harbour.
7
阮纯诗
Nguyen Trinh Thi
1973年出生于越南
Born in Vietnam in 1973
现工作于河内
Currently working in Hanoi
《如何让世界更好》
How to Improve the World
2021年
2021
三频影像，彩色、黑白，有声
Three-channel video, color, black and white, sound
47分钟
47 minutes
尺寸可变
Variable dimensions
在当今全球化和西方化的文化中，视觉媒介已占据主导地位。作为一名电影创作者，我感受到抵抗这种视觉叙事权力的必要性与责任。我希望寻找一种更加平衡和敏感的方式来感知世界——通过关注声音景观（aural landscapes），去探索那些未知的、不可见的、无法触及的领域，以及其中蕴含的潜在可能性。这一探索也契合了我对“潜在性”的持续兴趣。
In today’s globalized and westernized culture, visual media has obtained a dominant status. As a filmmaker, I feel the need and responsibility to resist this visual narrative power. I hope to find a more balanced and sensitive way to perceive the world - by focusing on aural landscapes, to explore the unknown, invisible, and untouchable areas, and the potential possibilities contained therein. This exploration also fits with my ongoing interest in "potentiality".
8
张静红
Zhang Jinghong
1975年出生于中国
Born in China in 1975
现工作于深圳
Currently working in Shenzhen
《城市与空调》
Cities and Air Conditioning
2024年
2024
单频影像，彩色，有声
Single-channel video, color, sound
14分钟
14 minutes
尺寸可变
Dimensions variable
在以天气酷热而著称的大城市，空调早已落地生根、司空见惯，但在某些一度以自然环境优良而闻名的小城市，人们对空调的利用却正处于一种进退维谷的尴尬境地。
In big cities known for their hot weather, air conditioning has long taken root and could be seen everywhere. However, in some small cities once famous for their excellent natural environment, people's use of air conditioning is in an awkward dilemma.
小城里被冠名文化遗产的古村落，渐渐为高楼房产笼罩和俯瞰。现代和传统建筑材料的混杂之中，人们纷纷挂上空调。但对于空调的使用，当地人还持有许多不确定。
The ancient villages in the small town, which are named as cultural heritage, are gradually being covered and overlooked by high-rise buildings. In the mixture of modern and traditional building materials, people are installing air conditioners one after another. However, the locals still have many doubts about the use of air conditioners.
小城居民来源日渐混杂。移民们来此的最重要理由本是天气宜居，不过有人也将外面使用空调的习惯带到了小城。当地人对于移民，一半热情，一半抵制，就如同他们对于空调的使用那样，并不彻底。
The origins of the town's residents are increasingly mixed. The most important reason for immigrants to come here is the nice weather, but some people brought the habit of using air conditioners to the town. The locals are half enthusiastic and half resistant to immigrants, just like their use of air conditioners, which could be easily swayed.
城市周遭自然物种的兴亡同样反映着某种尴尬，一度被认为可能不环保的经济作物，成为了购房者眼中的绿色森林。这些“绿色景观”，和空调景观、移民景观、旅游景观一道，令小城日趋负重。
The rise and fall of natural species around cities also reflects a certain dilemma. Cash crops that were once considered potentially unenvironmentally friendly have become green forests in the eyes of homebuyers. These "green landscapes", together with air-conditioning landscapes, immigration landscapes, and tourist landscapes, are increasingly burdening small cities.
使用了空调的原住民埋怨小城越来越热，高层楼房里的移民批评房地产破坏了当地民俗文化，外来旅游者纷纷打卡传统民居、但同时强烈要求将空调装配为住宿空间的必备……
The natives who use air conditioners complain about the towns’ getting hotter. The immigrants living in high-rise buildings criticize the real estate for destroying the local folk culture. Tourists check in at traditional houses, but at the same time strongly demand that air conditioners be installed as a must in their accommodation spaces...
是什么令小城选择了空调？空调带来了怎样的自然和社会变迁？用还是不用空调，人们何去何从？小城的今天是许多大城曾经经历的昨天，并以更为错位的方式挑战着未来。空调是一扇棱镜，它激发我们思考发展和建设之中的种种尴尬、扭曲、莫名，催促我们去努力探讨城市生活的更为良性的方向。
What made the small town choose air conditioning? What kind of natural and social changes did air conditioning bring? With or without air conditioning, how should we choose? The small towns’ current situation is what many big cities have experienced yesterday, and it challenges the future in a more dislocated way. Air conditioning is a prism that inspires us to think about the embarrassment, distortion, and inexplicability in development and construction, and urges us to work hard to explore a more benign direction for urban life.
9
周滔
Zhou Tao
1976年出生于中国
Born in 1976 in China
现工作于广州
Currently working in Guangzhou
《大数据之轴》
The Axis of Big Data
2024年
2024
单频影像，彩色，有声
Single-channel video, color, sound
37分钟08秒
37 minutes 08 seconds
尺寸可变
Variable dimensions
《大数据之轴》围绕着贵州山区大数据中心周遭的环境而展开，影片拍摄并没有以数据中心为主要拍摄对象，摄影机之眼更多是在数据中心所坐落的山区地形中逡巡、徘徊，将那些环绕于中心外围的、可近可远的、看似相互之间毫无关联的风景和各种生命活动作为影像凝望的主体。
"The Axis of Big Data" is about the environment around the big data center in the mountainous area of Guizhou. The film was not shot with the data center as the main subject. The camera wanders in the mountainous terrain where the data center is located, taking the scenery and various life activities surrounding the center, which are near or far and seem to have nothing to do with each other, as the main subject of the image's gaze.
影片以“瞥见”数据中心内部的机房作为开始，摄影之眼既像是在不经意中巡游，也像是在有意地探测，室内的机器噪音预示着有关人类生活的巨量演算。当摄影之眼继续移动时，自然界的声音开始从外部空间涌入，我们得以开始遇见山中行走的人们，山中生活的漫游由此缓缓展开。因应山形和梯田的走势，摄影机以散点平移的方式捕捉不同空间中相互交错或平行发生的时刻，在这个过程中，数码摄影机本身所携带的技术特性也经常面临极限的挑战，它和摄影者共同尽力纪录着倏忽即逝的日常。
The film begins with a "glimpse" of the computer room inside the data center. The photographic eye seems to be patrolling inadvertently, but also seems to be detecting intentionally. The noise of the machines inside the room indicates the huge amount of calculations related to human life. As the photographic eye continues to move, the sounds of nature begin to pour in from the outside space, and we begin to meet people walking in the mountains, and the wandering of life in the mountains slowly unfolds. In response to the shape of the mountains and the trend of the terraces, the camera uses a scattered panning method to capture the moments that intersect or occur in parallel in different spaces. In this process, the technical characteristics of the digital camera itself often face extreme challenges. It and the photographer work together to try their best to record the fleeting daily life.
