这次我没有像以前那样制作PPT，而是事先用垂直固定镜头摄制了一个我讲话的录像（约20分钟），然后拿到会场上播放。整个形式就像中学时上课用的老式幻灯，我可以把我引用的各种书本和图片直接放到镜头下，再变成投影屏上的影像。以下是我的讲稿：

大家好
Hi, all.

今天是2008年9月6日
Today is September 7, 2008.

这是在北京
Here is Beijing.

我在给横滨的研讨会“After Hours:亚洲当代艺术的新制度”录制一个我的发言
I’m recording a speech for the seminar “After Hours: New Institutionalism in Asia” .

我的题目是：No Paper
The title of my speech is: No Paper

实际上我仍然使用Paper
Actually I will still use “paper” here,

不过我不会把真正的Paper带到研讨会现场
but I won’t bring real “paper” to the site.

这是个录像
This is a video.

也将是我在会上的发言
It’s also my speech.

我先从一本书的标题讲起
I will start with the title of a book.

这本书的标题是：Everything You Always Wanted to Know About Lacan (But Were Afraid to Ask Hitchcock)
The title of the book is: Everything You Always Wanted to Know About Lacan (But Were Afraid to Ask Hitchcock)

这是齐泽克在1992年编的一本书
It’s a book edited by Slavoj Zizek in 1992.



这个标题其实来自Woody Allen拍于1972年的一部电影
The title actually comes from a film made by Woody Allen in 1972

这部电影的标题是：Everything You Always Wanted to Know About Sex(But Were Afraid to Ask)
The title of the film is: Everything You Always Wanted to Know About Sex(But Were Afraid to Ask)

齐泽克把Sex换成Lacan
Slavoj Zizek changed “Sex” into “Lacan”,

再在句末加上Hitchcock
and added “Hitchcock” at the end.

从他的这个新标题看来
From his new title,

Lacan和Hitchcock之间存在着某种神秘的“联系”，即Connectivity
There seems to be some mysterious connectivity between “Lacan” and “Hitchcock”.

这是我们这次横滨研讨会的关键词之一
“Connectivity”, is one of the key words of this Yokohama seminar.

从希区柯克的电影中找到拉康
To find Jacques Lacan in Alfred Hitchcock’s films,

这正是这本书的主要内容
is the main content of this book.

通过这样
Through this,

齐泽克在大众文化（例如电影）和高深的学术之间建立了Connectivity
Slavoj Zizek built up the “Connectivity” between mass culture (like films) and academic researches.

正如他所说的：
Just as he said:

“后现代主义的最佳客体是广受大众欢迎的产品（如《银翼杀手》、《终结者》或《蓝丝绒》这样的电影），阐释者的工作即是从中搜寻出拉康、德里达或福柯那些理论秘技的例证。”
“What postmodernism does, however, is the very opposite: its objects par excellence are products with a distinctive mass appeal(films like Blade Runner, Terminator or Blue Velvet),-it is for the interpreter to detect in them an exemplification of the most esoteric theoretical finesses of Lancan, Derrida or Foucault.”

我们再看这本书的中译本
Let’s have a look at the Chinese edition of the book.

它的标题被译作《不敢问希区柯克的，就问拉康吧》
Its title is translated into If There Is Anything You Are Afraid To Ask Hitchcock, Ask Lacan

作为中文书名虽简单易记
This Chinese title is simple and easy to remember,

但却损失许多原意，这就是所谓Lost in translation
but it loses many original meanings, which is the so called “Lost in Translation”.

这又涉及到本次研讨会的另一个关键词Language
This involves another keyword of this seminar: “Language”

我们这次横滨的会议要讨论的是亚洲当代艺术的新制度
What we need to discuss in this Yokohama seminar is the new institutionalism in Asian contemporary art.

亚洲是个多种语言混杂的地区，也是不同文化和宗教并存的地区
Asia is an area with a large diversity of languages, cultures and religions.

这种差异性其实是亚洲最值得骄傲的特点之一
The diversity is one of the characters that Asia should be most proud of.

那么这个地区的人们怎样进行沟通呢
Then how do people in this area communicate with each other?

沟通－Communication，这又是本次研讨会的一个关键词
“Communication”, is another key word of this seminar.

今天人们非常相信艺术特别是当代艺术，认为这是一种行之有效的沟通方式
Today, people trust arts, especially contemporary arts much, and think it’s an efficient way for communication.

亚洲地区能否通过当代艺术的沟通而跨越不同语言的阻隔
从而结成一个文化共同体？
With communication through contemporary arts, can Asia get over the barriers made by different languages and become a cultural community?

亚洲的政治家们曾有过结盟的努力
Asian politicians have made similar alliance-forming attempts.

成立于1967的东盟（ASEAN)
The ASEAN (Association of Southeast Asian Nations), founded in 1967,

曾在2003年设立东盟自由贸易区
implemented the ASEAN Free Trade Area in 2003,

希望藉此来形成东南亚经济共同体
with the hope of creating the ASEAN economic community,

加强区域竞争力
so as to enhance the competitiveness of the region;

而成立于1989年的亚太经济合作组织(APEC)
the APEC (Asia-Pacific Economic Cooperation), founded in 1989,

则是一个涉及更多亚州国家和地区的经济合作计划
is an economic cooperation project that involves even more Asian countries and regions.

这些结盟行动反映了亚洲各国对于全球经济一体化的热情拥抱
These alliance-forming efforts reflect the enthusiastic embracing of global economic integration by Asian countries.

可惜的是它们仅限于在经济层面上进行合作
However, it is a pity that they remain content simply with collaborations in the economic realm,

“Economy”,这也是本次研讨会的关键词
“Economy”, is also a key word of this seminar,



而无法在政治和文化上形成一种共同的“亚洲价值”
the collaborations haven’t gone beyond that to form common “Asian Values” on political and cultural levels.

不过，随着亚洲国家的经济活动的增长
However, with growth of the economy in Asian countries,

当代艺术的联展、交流和合作越来越频密
exhibitions, communications and cooperation of contemporary arts happen more and more often,

新一代艺术家层出不穷
new-generation artists keep emerging,

亚洲艺术生态发生了巨大的改变
the ecology of Asian arts has changed greatly,

这个地区的文化凝聚开始增强
the cultural agglomeration of this area is getting stronger.

很多艺术家的作品开始出现可辨识的“亚洲性”
You can find the distinguishable “Asianess” in many artists’ works,

这一特性有时出自他们的自觉
It’s sometimes done deliberately,

有时则并非刻意而为
sometimes not.

例如马来西亚的黄海昌
Take Wong Hoy Cheong from Malaysia for example,



他的作品关注亚洲地区的殖民历史、政治冲突、移民身份和家族传承等问题
his works focus on issues of colonial history, political conflicts, immigrant identity and family traditions in Asian regions,

黄海昌是第五代的马来西亚中国移民
he is a fifth-generation Chinese immigrant in Malaysia,

他出身在槟城的乔治敦市
born in George Town in Pennsylvania,

后来又到美国学习
then went to study in the United States,

同时能说中文、马来语和英语
can speak Chinese, Malay and English,

本身就是亚洲驳杂多元的历史和文化的产物
he himself is the result of Asia’s diversified and multi-unit history and culture.

他在作品对个人记忆和家族历史的挖掘折射出非常典型的亚洲性
Digging his personal memory and family history, his works reflect a quite typical “Asianess”.

再例如越南艺术家阮初枝淳
Similar efforts are also seen in the works by the Vietnamese artist Jun Nguyen Hatsushiba.

他邀请芽庄的渔民在水下表演拉三轮车的作品
He invited Vietnamese fishermen from Nha Trang to pull cyclos under the water and then he made a video.

凝聚着越南人的生活记忆
Cyclos are always in the life memories of Vietnamese,



三轮车在海底艰难前行的影像
the image of cyclos moving heavily in the sea,

以一种引人注目的方式比喻亚洲的抗争和生存
embodies the struggle and survival of Asia in an impressive way.

他的《呼吸是自由的：12756.3》(Breathing is Free:12756.3)的计划
In his project “Breathing is Free: 12756.3”,

要在一定时间内
within a certain period of time,

在不同的地方
in different parts of the world,

跑完相当于地球直径12756.3公里的物理距离
the artist intends to run the physical distance of 12756.3 km, the diameter of the earth.

这与中国艺术家何云昌在半年间
This is similar to what Chinese artist He Yunchang once did for half a year:

从英格兰北部海岸边一个小地方拿了一块石头
he picked up a rock on the coast in northern England

围绕英国海岸线走了一圈
and carried it all the way around the coast of Great Britain

再把石头放回原处的行为艺术有异曲同工之妙
and finally went back the same place to put the rock back.



在这两个计划中
In these two projects,

身体作为艺术的媒介
“Body” is the medium of arts,

与许多西方艺术家的观念迥然有异
such concept is different from that of many Western artists.

它既不是用来裸露或展示
Here, the body is not to be stripped bare or to be displayed,

亦不是用来挑战禁忌
it is not used to challenge taboos either,

而是用来磨炼意志
instead, it is the vehicle through which the artist aims to train his will,

让它成为精神与物质对决的战场
it is the arena where spirit confronts material.

这种苦修的方式
Such method of self torture,

以及通过重复无意义的行为来彰显意义的方法
and showing meaning through meaningless behavior,

体现了一种典型的亚洲思想
embodies typical Asian thinking.

这种由艺术家们构建的亚洲价值共同体是制度的产物吗？
Is such kind of “Asian Value Community” built by artists the result of institutionalism?

显然不是
Obviously not.

阮初枝淳最初要在2001年的横滨三年展建造一个三轮车博物馆
Jun Nguyen Hatsushiba’s original intention is to build a cyclo museum for Yokohama Triennale in 2001,

但三年展这一制度并没提供这种可能
but the Triennale doesn’t provide such possibility for him,

所以他才拍了芽庄的水下录像
thus he shot the underwater video in Nha Trang instead.

那么这种亚洲的共同价值
需要制度来巩固吗？
Then does such common “Asia Values” need the institutionalism to consolidate it?

先让我们来看看我们都有些什么样的制度
Let’s have a look at what institutionalism we have so far.

美术馆是一种由来已久的制度
Art museum is a system with a long history.

它容易被财团或政府所左右
It’s easy to be manipulated by fortune groups and governments.

它的庞大臃肿和没有效率导致了独立策展人的出现
Its hugeness and inefficiency led to the advent of independent curators.

而双年展制度虽然给独立策展人提供了广阔天地
Biennale system has brought vast space for independent curators,

但近年来也是弊端丛生
but these years it reveals many shortcomings also

在此起彼伏的双年展／三年展中
In the one-after-another biennales/triennales

我们只看到权力欲膨胀的策展人
we can only see curators with exploding power desire,

疲于奔命的艺术家
artists hurrying to catch up with these exhibitions,

空洞无趣的作品
works that are meaningless and boring,

时髦但一点不关心艺术的观众
audience who wants to catch up with fashion but don’t really care about arts ,



沉重累人的展览画册
overweight exhibition catalogs that are tiresome to carry,

以及被挥霍的巨额资金
and enormous capital got squandered.

画廊/艺博会是所谓生成市场的地方
Galleries, art fairs and auction houses are where markets get born,

Market——又一个关键词
“Market”, another keyword of this seminar.

人们在这里更多关心美元数字后面到底有多少个零
People here care more about how many “0”s there are in the digits of their dollars

至于艺术家们在作品中表达了什么已经不再重要
what artists express in their works is not important any more

这个市场制度保障的是大家的利益分成
The guarantee of the market system is everyone has a share of the interests

如果文化价值最后要以美元来计算
If the culture value has to be measured by dollars in the end

这不是太悲哀了吗
isn’t too sad?

当代艺术应反抗以上的制度
Contemporary arts should resist the institutionalism mentioned above

当代艺术应是一切制度的敌人
Contemporary arts should be the enemy of any institutionalism

当代艺术需要创新
Contemporary arts need innovation

就像齐泽克在希区柯克的电影中找到拉康一样
just like Zizek found Lacan in Hitchcock’s films

去发现那些不为人知的内在联系(connectivity)
to find the unknown inner connectivity

而不是去创立更多新的制度
instead of founding more new systems

下面我介绍一个大声展
Now I will introduce Get It Louder exhibition,

以证明在策展这个工作上我是如何努力反对传统的制度的
to prove how I’ve tried to reject the institutionalism as a curator.

大声展这是一个已经举办了两届（2005和2007）的展览
Get It Louder has held two editions (2005 and 2007),

每一届都在中国三个大城市巡回展出
each had a tour in China’s major cities.

2007年这一届我们把所有的展览地点都选择在各个城市的大型购物中心
In the 2007 Get It Louder exhibition, we located all the exhibitions in large shopping malls in these cities.

这是我们这个时代很有意思的建筑空间之一
Shopping mall is one kind of the interesting architectural spaces in our age.

Rem Koolhaas在带领哈佛大学的学生对全世界的购物中心进行研究后
After Rem Koolhaas led students of Harvard University to do research on the shopping malls all around the world,

曾把购物中心定义为“垃圾空间”
he once defined shopping malls as “Junkspace”,

因为它们在世界各地都是雷同的
because they are the same everywhere, with the same products.

艺术界的人肯定认为这不是一个适合做展览的地方
People from art world must think it’s not a suitable place for exhibitions,

但我的发现是
but what I found is,

购物中心和教堂、机场和美术馆其实有非常一致的地方
shopping malls, churches, airports and museums are quite similar at some points.

它们都有很高的穹顶
They all have quite high domes,

它反映出人们对于居于天空之上的上帝的亲近
they reflect people’s intention to be close to the god in the heaven,

或对永恒这种观念的向往
or their desire for concepts like forever.

购物中心可以说是拜物教的教堂
Shopping malls can be considered as the church of fetishists;
  
机场把人们送上天
Airports send people in the sky;

美术馆是让作品传之后世的神圣殿堂
Museums are saint palaces to preserve art works for posterity.

而它们之间有时是重合的：
But they’re sometimes overlapped:

机场里有购物空间
there is shopping area in airport,

美术馆有商店(看看MoMA商店那火爆的生意！)
there is shop in museum (look at the hot business of the shop in MoMA!),

而重要的，它们都是人们经常出没的公共空间
what’s important is they’re all public spaces where people frequent.

这个发现让我决定把一个艺术展览放在购物中心里
This discovery makes me decide to have an art exhibition in shopping malls.

另一个原因
Another important reason is,

让展览可以超越特定的艺术社群
we want to make exhibitions go beyond specific “art community”,

接触更多观众（特别是那些毫无观展经验的人）
to reach more audience(especially those who have no experience for watching art exhibitions),

我们想制造人们在购物的时候与展览偶遇的机会
to create the opportunity for people to come across exhibition when shopping.

同时为了发展更多展览空间
At the same time, to develop more exhibition space,

大声展鼓励艺术家们在自己家里做展览
Get It Louder encourages artists to do exhibitions at their home,

吸引陌生人通过预约前来观展
to attract strangers to watch exhibitions through reservation,

我们把这称之为咖喱秀
we call this Home Show.

我们甚至把某些作品（主要是声音作品）安装在赞助商提供的Mini Cooper车上
We even installed some works (mainly sound works) on Mini Cooper provided by sponsors,

邀请观众到这流动的展场来进行体验
to attract audience to experience such kind of movable exhibition.

大声展只出版很小的、便携的Catalogue
Get It Louder only publishes small and easy-to-carry catalogues.

它涵盖当代艺术、设计、建筑、电影等多个领域
It not only covers contemporary art, design, architecture, films and many other fields,

而且鼓励参展人跨越自己的专业进行创作
but also encourages exhibition participants to overcome their own specialty to do their creation.

这是一个强调跨界(Interdiscipliary－又一个关键词)的展览
This is an exhibition featuring “Interdiscipliary”. (“Interdiscipliary”, another keyword)

有时我们觉得一昧谈论当代艺术太乏味了
Sometimes it’s just too boring to talk about contemporary art,

这个世界还有许多事情值得我们关注
There are many other things worth our concern in the world.

近年韩国制作发行了两部与1980年光州518事件有关的电影《华丽的假期》和《古老的庭院》
These years Korea produced two films: Splendid Holiday and The Old Garden, which are related to the 518 Gwangju Massacre in 1980.



韩国的这场民主运动很早就已经得到平反
This democratic campaign in Korea was exonerated long before,

现在人们还可以用电影来重现这段记忆
People still use films to replicate this memory,

而中国1989年的事件至今仍是忌谈的字眼
while in China, the Tiananmen Square Massacre in 1989 is still a taboo.

不仅如此
What’s more,

互连网(Internet-关键词)上的言论自由还进一步遭到压制
The speech freedom on internet is further oppressed.(“Internet”, another keyword)

就在新加坡的传统报业为互连网上的公民新闻(Citizen Journalism)欢呼的同时
Just when The Straits Times in Singapore celebrated the “Citizen Journalism” on Internet,

中国的博客却面临功夫网的拦截
China’ bloggers still have to face the block of GFW (Great Fire Wall).



中国公民的私有物业仍在遭受不合理的掠夺
Chinese citizens’ private properties still suffer unreasonable pillage.

可见亚洲不同国家的民主进程是何等的不同
Thus we can see the democracy processes of different countries in Asia are so different.

谈到这里，我们已触及了本次论坛的另一个关键词：“政治”
Here, we’ve touched another keyword of this forum: “Politics”.

如果我们可以再一次暂时离开当代艺术
If we can leave contemporary art again temporarily,

去到纪录电影的领域
and come to documentary filmmaking field,

我们还可以收获得更多不同的智慧和思想
we can still achieve more different intelligences and thoughts.

日本的纪录片大师小川绅介曾说亚洲的民族都是吃米的民族
Japanese documentary master Ogawa Shinsuke once said Asian people are people living on rice,

也就是被稻子养育的民族
or people brought up by rice,

他从人与土地、人与粮食的关系来定义“亚洲性”
He defines “Asianess” from the relationship of land, people and food,

给我的印象非常深刻
which is very impressive for me.

他到日本的农村定居十多年
He has lived in rural area in Japan for over a decade,

拍摄关于稻子和农民的纪录片
shooting many films about rice and farmers,

让我想起在这个加速城市化的时代还存在着一个“农业亚洲”
this reminds me that in the age of accelerated urbanization, an “Agricultural Asia” still exists.

他和中国三十年代乡村建设运动的先驱晏阳初一样
He is like the James Yen Yang-chu(1890-1990), the pioneer of China’s Rural Reconstruction Movement in 1930s,



启发我思考文化艺术如何与乡村结合的问题
which inspires me to think about how to combine culture and art with rural areas.

小川是非常随性的人
Ogawa is a very casual person,

在他的照片中我发现了他的一个很特别的身体语言
in his photo, I found he has a very special body language,

他喜欢卧着说话
he likes to talk while lying down,

这说明他在这个世界上已找到了一种最适合他的姿势
this means he has found the most suitable posture for him in the world,



一种令自己舒服的姿势
a posture that makes himself comfortable.

在策划大声展的讲座活动时
When I planned the lectures for Get It Louder,

我曾提议大家一起躺着来听讲座
I once proposed everybody to listen to the lecture while lying down.

我们试图把室内的会议空间设计成一片草坡
We tried to design the indoor conference space like a piece of grassland.

现在我再一次在这里提议大家
Now let me make a proposal to you all again here,

我们是否可以躺下来开这个会呢？
Can we lie down and continue this seminar?

多谢。
Thanks.



演讲者：欧宁
Speaker: Ou Ning

拍摄剪辑者：欧新
Cameraman and editor: Ou Xin

关键词书写者：雷磊
Keyword handwriting: Ray Lei

翻译者：张晴
Translator: April Zhang