青年策展人前言

Preface of Emerging Curator


文:青年策展人 邓雨倩

Writer, Emerging Curator Yuqian Deng


     20世纪60年代,在“知觉现象学”的研究背景下,艺术在形态和观念上出现了“范式”般的转变。极简主义作为现代主义向后现代主义转变的关键节点,开启了当代“剧场化”艺术(装置艺术、过程艺术、行为艺术等)的道路。

从这开始,艺术家从关注艺术形式转到关注艺术周边,努力拓展艺术的当下可能性,扩张艺术的社会维度。在弗雷德的“剧场理论”中,艺术与观者之间的距离被打破,将艺术重新结合进生活实践之中,观者和所在的语境成为作品构成的一部分,观者会受到激发去探索在一个特定地点的某个特别的介入所造成的知觉效果。龙盼的作品,就具有强烈的“剧场化”特点。她希望让艺术在生活中生效,并邀请所有能够在机缘巧合之下进入这个场域的人,打开自己,“共同思考、共同行动”。

     In the 1960s, under the background of "perceptual phenomenology", art showed a "paradigm" change in form and concept. As the key node of the transition from modernism to postmodernism, minimalism has opened the way of contemporary “theatre” art (installation art, process art, performance art, etc.).From this point on, the artist shifted from art form to the periphery of art, striving to explore the possibilities of art and expand the social dimension of art. In Fred's "theatrical theory", the boundary between art and the viewer is broken, and art is reintegrated into life practice. The viewer and the context in which is part of the composition of the work, the viewer will be stimulated to explore the perceived effects of a particular intervention at a particular location. Pan Long's works have a strong "theatre" characteristics. She wants to make art work in life and invites those who can enter this field by chance, open themselves, to "think together and act together."


     真菌,这种看似渺小的生物,实则却有着难以想象的生命力,无论多么恶劣的环境,真菌总是那荒芜大地上最先苏醒的一个。正是这样独特的力量,吸引了龙盼的注意,她试图进入这个特别的微观世界,了解真菌,并以真菌作为自己的创作媒介,通过与真菌的“合作”完成她的一系列早期创作。 在一次偶然的机会下,龙盼有机会深入到沿海地区的社会现场,观察并了解到一些她此前从未接触过的社会现状,生态环境与人类的居住环境都在这个时代受到极大的挑战,而这一切都在一个小渔村里暴露无遗,触目惊心。由此,龙盼发现仅仅是创作表达自己个人艺术意志的作品是远远不够的,进而她将这些思考和探索转化为行动。而在此基础上创作的《仙境路口——送船》也成为龙盼创作中艺术形式转变的重要节点。从这开始,龙盼的作品不再只注重于现代主义对形式的分析探索,而是走出个人的小我,走进社会和环境的现场,让作品与现实问题产生关联。

     Fungi, which seem to be tiny creatures, actually have incredible vitality. No matter how bad the environment is, the fungus is always the first to wake up on the barren land. It was this unique character that attracted Pan Long. She tried to enter this special micro-world, to understand the fungus, and used fungus as medium to complete her series of early creations through “cooperation” with fungi.On an accidental occasion, Pan Long had the opportunity to enter the social scene in the coastal areas to observe and understand some of the current social situation that she has never been exposed to before. The ecological environment and living environment are greatly challenged in this era and all of these are shockingly exposed in a small fishing village.Therefore, Pan Long was not satisfied to create works that only expresses her own artistic feeling so she turned these thoughts and exploration into action. Based on this, the Wonderland Intersection-Mushroom Boat Sailing Plane has become an important node in the transformation of art form in Pan Long's creation. From this point on, Pan Long's works no longer only focuses on the analysis and exploration of modernism's form, but goes out of personal world and enter the scene of society and the environment, and is related to reality problems.


     此次驻留期间,在重庆这个截然不同的语境里,龙盼同样选择以真菌这一独特视角去探索九龙坡现场。在城市化和工业化的浪潮下,九龙坡出现了充满时代气息的“拆迁废墟”。龙盼深入挖掘“废墟”里所蕴含的历史与情感,并以此为基底,与栖居于此的人们共同展开了一次集体的创作,那些曾经鲜活的物品,带着其独有的记忆,引起了每一个参与者对自身和时代的感怀。也正是由于这些世俗物品、世俗时间(绵延的)与世俗经验的混杂,从而使龙盼的作品具有了“剧场性”。同时,龙盼也努力透过作品并向外表达和传播一种生态理念,引导人们从了解真菌、培养真菌和共同协作(无论是人与人、人与真菌之间)的过程中,关注自然界中非人类的物质,进而对自己当下所存在的语境,无论是对自身亦或是我们所栖居的环境、我们生活的社会,产生一些反思和思考。

     During this residency, in the very different context of Chongqing, Pan Long tries to explore the Jiulongpo scene using an unique perspective of fungi.In the wave of urbanization and industrialization, “demolition ruins” that contains the spirit of the times has appeared in the Jiulongpo area. Pan Long hoped to dig deeper into history and emotions contained in the "ruins" and to jointly create a collective works with people living there. The items that once were vivid,, have aroused participants’ emotional recall for themselves and their Time. It is also because of the mixture of these secular objects, secular time (continuous) and secular experience, Pan Long’s works has been given a theatricality character.At the same time, Pan Long also strives to express and spread an ecological concept through the works, guiding people to pay attention to the non-human material in the collaborative process of cultivating and understanding fungi, helping them to think and reflect about individuals, the environment and the society.


     你有没有关注过自己身边的环境?你是否清楚我们正身处交叉路口?而这个交叉路口的现状又如何呢?龙盼的作品没有就这些问题给出她的答案,而是将问题抛给大家,希望大家在共同创作的过程中去体会和感悟。正因如此,龙盼的作品通常极具参与性与合作性。最后,回到末日栖居这一话题,我想,“共同思考、共同行动”大概就是龙盼最想通过作品带给大家的。

     Have you ever paid attention to the environment around you?Do you know that we are at a critical moment? What is the current status of us?Pan Long’s works does not give answers to these questions. She throws the questions to everyone, and hopes that everyone will experience and feel in the process of co-creation. For this reason, Pan Long's works are usually very participatory and cooperative.Finally, returning to the topic of dwelling in catastrophe, I think,"Think together, act together" Is probably what Pan Long wants everyone to know through the works.



本次驻地计划介绍

Introduction of this resident plan


文:艺术家  龙盼

Writer, Artist Pan Long


     之前我的工作是以真菌为媒介进行艺术创作,并思考如何用艺术介入社会。此次我来到重庆,继续深入思考如何利用菌菇以更好的方式介入社会,所以我将基于对黄桷坪的观察,以黄桷坪的人、事、物为对象进行艺术创作,也邀请群众走进我的创作现场,共同完成艺术的创作与思考。在2019年的作品《仙境路口》之后,我开始思考我的作品应该不止于环保行动、不止于反思生态议题,而更是对艺术如何搅动生活、如何重新诉说的探寻。真菌在我的作品中是一种语言、一个武器、或是一个借口。它帮助我深入到社会现场,避开阻碍;也帮助我吸引、聚集民众,而我真正的工作则是在真菌之下进行。我关注人类的生存环境,不仅是自然环境,也是人的精神环境,我关注在此环境下个人之间的联结,以及如何发挥艺术的作用让更多的人意识到我们的生活存在着问题,并需要为此付出行动。在目睹黄桷坪的拆迁废墟后,我感受到“城市末日”的景观,将其与海边的“末日景观”相联通后,我提出了《末日栖居》这个主题,这是我对生存问题反思的延续。“末日”是对未来命运的危机感,“栖居”是在应对危机时,对人如何自处、如何生存的思考。在此之上我推出了《末日栖居-菌菇研学坊》计划,这是利用工作坊的形式进行艺术创作,也许这一个好的艺术介入社会的形式。我将我所思考的问题藏在每一次的工作坊课程中,用有趣的话题和活动吸引社区居民参加,并在逐步的引导中让他们开始思考,最终提供环境让他们共同合作完成艺术作品的创作。此时,艺术不再是一个遥远的对象,而是可以被理解、被自己创造出来的,并深藏着他们的故事与对社会的思考。在这个过程中所有参与者,包括我自己的转变是我工作坊计划的核心。

     After the work of Wonderland Intersection in 2019, I began to think that my work should not only be environmentally friendly, but also reflect on ecological issues. It is also a search for how art stirs life and how to retell it. Fungus is a language, a weapon, or an excuse in my work. It helped me to go deep into the social scene, avoiding obstacles; it also helped me to attract and gather people, and my real job is to do it under fungus. I pay attention to the living environment of human beings, not only the natural environment, but also the spiritual environment of people. I pay attention to the personal connection in this environment, and how to play the role of art so that more people realize that there are problems in our life and need take action for this.Previously my work was based on fungal media, and I thought about how to use art to get involved in society. I came to Chongqing this time and continued to think deeply about how to use the mushroom to intervene in the society in a better way. Therefore, based on the observation of Huangjueping, I will make artistic creations for people, things and things in Huangjueping, and invite the masses walk into my creative scene and work together to create and think about art.After witnessing the demolition ruins of Huangjueping, I felt the "city of doomsday" landscape, and connected it with the "doomsday landscape" on the beach. I proposed the theme of "Doomsday Inhabitation", which is a continuation of my survival problem reflection. "Doomsday" is a sense of crisis for the future destiny, "inhabitation" is a reflection on how people live and how to survive in response to a crisis. Above this, I launched the "Doomsday inhabitation - Mushroom Research Workshop" project, which is the use of workshops for artistic creation, perhaps this good art is involved in the form of society. I hid the issues I was thinking in every workshop, attracted community residents with interesting topics and activities, and let them start thinking in a step-by-step guide, ultimately provide an environment for them to work together to create a work of art. At this time, art is no longer a distant object, but can be understood, created by oneself, and deeply buried in their stories and thinking about society. All participants in this process, including my own transformation, are at the heart of my workshop program.


     《仙境路口》与《末日栖居》是我创作脉络上非常重要的作品,其名字本身也是一系列的提问。“仙境”是我们对生活环境的美好追寻,我们站在通往“仙境”的路口之上,而道路的两侧是让人举步维艰的困境,我们该往何去?也许任何一条道路都将通往末日。在“末日”到来之时,幸存的人们该如何自处?如何利用废墟中的“垃圾”重构栖居之所?如何在那一刻让生命继续?

     Wonderland Intersection and Doomsday Inhabitation are very important works in my creative context, and the name itself is also a series of questions.“Wonderland” is our beautiful pursuit of the living environment, we stand on the road leading to "wonderland",And on both sides of the road is a difficult situation that makes people struggling. Where should we go?Maybe any road will lead to the doomsday.At the time of its arrival,How do survivors live?How to use the "garbage" in the ruins to reconstruct the dwelling place?How to let life continue at that moment?




《仙境路口-送船》,视频、装置、文献, 2019 年

Wonderland Intersection-Mushroom Boat Sailing Plane, video, installation, literature, 2019


     此作品是基于社会污染事件-2018年碳九泄漏-所生发的,污染让生态循环中断,而真菌是复活循环的方式之一。真菌作为古老的生命形式,是共生、联结的生态意向,也具有修复污染的实际作用。科学实验中将条块状的菌菇作为吸收海面油污的媒介是此作品的灵感来源,作品中将菌菇的降解能力化作一艘菌菇船,该菌菇船是在事件中的泄漏之船-货运油轮、腐坏之船-泡沫渔船的基础之上建立的“重生之船”,这三艘船背后承载着不同的价值观。菌菇船经过之地可以吸附水面上的油污,并使之净化。作品名选取为当地的公交站点的路名,不仅是生活中仙境路口被工厂夹击的现实,人们对“仙境”的追寻也需要为下一步的去向做出选择。

     This work was based on the social pollution incident, C9 leaked in the year of 2018, pollution caused the ecological cycle to be interrupted, and fungi was one of the ways of resurrection cycle. As an ancient form of life, fungi are the ecological intention of symbiosis and connection, and also have the practical effect of repairing pollution. In the scientific experiment, the strip-shaped mushroom is used as the medium to absorb the oil on the sea surface, and this is the inspiration for this work. In the work, the degradation ability of the mushroom is turned into a mushroom boat. The mushroom boat is a "rebirth boat" built on the basis of the leaking ship - cargo tanker, spoiled ship - foam fishing boat in the event. These three ships carry different values behind them. The ground of the mushroom boat can absorb the oil on the water surface and purify it. The name of the work was selected as the name of the local bus stop. It is not only the reality of the wonderland intersection in life being attacked by the factories, but people's pursuit of "wonderland" also needs to make choices for the next step.


《逆向书写》,雕塑,35cm*25cm 不等, 蘑菇、书本 ,2019 年

 Reverse Writing, sculpture, 35cm*25cm but differ in size , mushroom, book, 2019


     此作品是将承载人类观念、文明的书籍,被用作培养菌菇的养料,在过程中,书籍的内容或被菌丝包裹、或被菌丝穿透、最后长出果实。每一本书都承载一场生长的戏剧,观众可部分阅读到书籍的内容,也能在菌菇诡异的生长形态中感受到更多。

     This work is a book that will carry human concepts and civilizations. It is used as a nutrient for cultivating mushrooms. In the process, the contents of books are either wrapped in hyphae, or penetrated by hyphae, and finally grow fruit. Each book carries a growing drama, and the audience can partially read the contents of the book, and can feel more in the strange growth pattern of the mushroom.


《碑》装置,旧物支架,蘑菇书,时钟,2019年
Stele, installation, old shelf, mushroom book, clock, 2019


     我从废墟中挖掘过往生活的残骸,将它们竖立成碑,也在曾经居民的个人日记中植入蘑菇,邀请这“不起眼”的生命也加入对人们存在的记录之中,当它将人们书写的痕迹覆盖后。这已然成为一片低叹着的碑林,但不同于对历史的凝结,菌丝将在碑上继续生长,开启下一个轮回。

     I digged the wreckage of the past from the ruins, erecting them into stele, and implanted mushrooms in the personal diaries of former residents to invite this "unobtrusive" life to join the record of people's existence, when it covers the traces of people's writing. This has become a sighed forest of steles, but unlike the condensation of history, the hyphae will continue to grow on the stele and open the next cycle.


《剩余的身体》,视频、装置 , 蘑菇雕塑、霉菌雕塑、木耳木箱、石膏雕塑等,2019年

 Remnant Body, Video, installation, mushroom sculpture, mold sculpture, fungus wooden box, plaster sculpture, etc., 2019


     剩余的身体是对人类有机的身体在自然中变化的可能,我邀请自然中的微生物、昆虫、风、水来一起完成作品。人的身体也不仅是人肢体的雕塑,也有人造物,包装箱、时钟与金属架都是人身体的衍生。这些“身体”有的被放置在池塘里成为蝌蚪的栖息地,被海浪打磨成鹅卵石,成为真菌的载体,时针也在蘑菇的生长过程中被阻挡。这是人类沉寂后的景象,平时隐而不现的力量显现。作品以散开的方式摆放,观众在其中穿梭中去感受作品间的联系。

     The Remnant Body is the possibility of changing the body of human beings in nature. I invited microbes, insects, wind and water in nature to complete the work together. The human body is not only the sculpture of the human body, but also the artifacts, the packing box, the clock and the metal frame are derived from the human body. Some of these "body" are placed in ponds to become habitats for donkeys, sanded into pebbles by the waves, and become the carrier of fungi. The hour hand was also blocked during the growth of the mushrooms. This is the scene after the silence of mankind, and the power that is usually hidden is apparent. The works are laid out in a diffuse manner, and the audience shuttles through them to feel the connection between the works. 








1991年出生于宜春

本科毕业于中国美术学院动画系

研究生毕业于中国美术学院跨媒体系

Born in Yichun in 1991

Bachelor degree in Animation,China Academy of Art

Master's degree from the School of Intermedia Art, China Academy of Art


展览经历

2019  复归艺术节,重庆,中国

2019  无效兑换,复星艺术中心,上海,中国

2019  中间地带,厦门,中国

2019  之江国际青年艺术周,杭州,中国

2019  无效兑换,中国美术学院美术馆,杭州,中国

2018  设计与思维,香港科技大学,香港

2018  灰楼,中国美术学院,杭州,中国     

2018  临在折叠,中国美术学院,杭州,中国   

2018  深圳大学生艺术博览会,深圳,中国     

2017  威尼斯双年展中国馆开幕表演,动画统筹,意大利     

2017  无界动生,三尚当代艺术馆,杭州,中国    

2016  WORKING OUT -WORKING IN ,北京丹麦文化中心 ,北京,中国

2016  七日策展,恒通国际创新园,北京,中国

Exhibition Experience2019  Return Art Festival, Chongqing, China2019  

Invalid Exchange, Fosun Art Center,Shanghai, China2019  The middle zone, Xiamen, China2019  

Zhijiang international youth art festival,Hangzhou, China2019  Invalid Exchange, Art museum of China academy of fine arts,Hangzhou, China2018  

Design and Thinking, Hong Kong university of science and technology, Hong Kon2018  Dust House, China academy of art,Hangzhou, China2018  

Presence Folding,China academy of art,Hangzhou, China2018  

Graduates Art Fair Shenzhen,Shenzhen, China2017  

Venice biennale China pavilion opening performance, Animation coordination, Italy2017  

Unbounded motional, San Shang Art,Hangzhou, China2016  

WORKING OUT -WORKING IN,The Danish cultural center ,Beijing, China2016  

Seven days curator,Hengtong international innovation park, Beijing, China2016



感谢,本次的翻译来自十方志愿者:刘畅




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了解《末日栖居-菌菇研学坊》

click above to know about "Dwelling in the Catastrophe"


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了解研学坊四期内容

click above to know about the review of the 4-times workshop




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了解“生态艺术”板块介绍

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了解本次艺术季

Click above to know about REVIVAL·Yangtze International Huangjueping Culture and Art Festival