基建礼赞 Ode to Infrastructure

[基建礼赞]册子封面

 

潘律、王博、周昕 共同项目

开幕时间:10月29日(周六)6:00 – 8:00pm

隔日座谈

发言人:潘律、王博、周昕、蒋洪生、李巨川

主持:元雅静

时间:10月30号( 周日)4- 6pm

地址:META 项目空间庭院

 

A Project by Pan Lu, Bo Wang, and Zhou Xin

@ META Project Space, Shanghai

Address: Building 7, Lane 212, Wu Yuan Street, Xu Hui District, Shanghai.

Opening: October 29, 6-8pm

Panel Discussion

October 30 4-6pm @ META

Speakers: Pan Lu, Bo Wang, Zhou Xin,  Li Juchuan, Jiang Hongsheng

Moderator: Yuan Yajing

 

基建礼赞

基建是否需要被赞美?经验上它代表着机械的、理性的、朝向未来的速度。这种功能性的系统如何变成一种美学,为什么需要化身为崇高之物让人民赞美,是这个项目首先的问题。当敬献哈达的西藏平民面向的并不是作为领袖的符号或者是还未被去魅的自然,而是群山中穿过的青藏列车时, 这是一种怎样的自然,还是文化?也许我们是要像唐娜·哈拉维将苔藓地衣都赋予能动性一样来宣称:我们就是基建。

本项目对基建的关注脱离了简单的对于乏味事物的兴趣,也并不执着于基建的可见或不可见。[1]作为一种大型技术系统,基础建设首先提供了生产资料如能源、水或废物的运载通道,更进一步则是当代信息社会的数据流通的物质形式。作为实体的网络结构,它们决定了其中物质运动的方向和速度。近年来以投资基建的发展模式成为中国开始“深入世界”[2]的阶段性方法,无论是雅加达-万隆高速铁路还是巴基斯坦的瓜达尔港,都成为了中国和亚欧大陆上非西方国家和地区形成区域贸易的结构基础。

但是本项目还是希望暂且搁置艺术对于与此相关的非物质和推演性现实的着迷,以及当代人类学和媒体研究中对于『新物质主义』的兴趣,而是通过特殊时期的历史图像以及它们在当代的幽魂,来尝试解释物质和能量进入权力结构的变形记。有关基建的论述自然可以参考马克思主义哲学中有关经济基础和上层建筑的辩证关系。而我们发现,大量在解放初期生产的官方视觉图像也在向这种思想靠拢。建国后的历史图像中这个类别的物质形式也在很多宣传材料中不断被重复强调,五十及六十年代的《人民画报》中的各种基建图像便是这次研究项目的重点关注对象之一。图像中反复出现的阴影衬托下的庞大基建结构,以及人的身体和凝视作为基建不可或缺的组成部分,展现了与通常人们认为基建理应代表的工具理性的反面:基建正在制造,而非驱散魅惑。

如果说基建的“魅”在汉语中隐含一种幽魂式的延续,英语中的enchantment则直指礼赞的另一种主要方式:赞歌。为基建而创作的旋律和音乐不断重复同一个主题、被吟唱,听者的身体被它们挑动。而另一方面,正如我们一半戏谑地使用了日本小说家谷崎润一郎的经典文本《阴翳礼赞》作为项目的标题,项目中的声音念白企图混淆历史、美学、政治和声音符号的界限,也巧合的映衬了我们对于阴影建筑的兴趣。[3]简单的讲,这是一次对于基础建设的政治和诗学的摸索[4]

 

参考文献

1. Susan Leigh Star, “The Ethnography of Infrastructure,” American Behavior Scientist, November 1999 vol. 43 no.3, 377-391.

2. 賀照田, “當中國深入世界…” 《當中國深入世界 – 东亚视角下的『中国崛起』》, 鈴木將久編, 亞際書院, 2016.

3. Ravi Sunduram, “Post post-colonial Sensory Infrastructure,” e-flux Journal 64,

http://www.e-flux.com/journal/64/60858/post-postcolonial-sensory-infrastructure/

4. Brian Larkin, “The Politics and Poetics of Infrastructure,” Annual Review of Anthropology, Vol. 42:327-343, 2013.

 

Ode to Infrastructure

Is infrastructure something to be praised? Empirically, it represents the mechanical, the rational, and the velocity of the future. But how does this functional system become a kind of aesthetics, and why is it to be lauded as the embodiment of some sublime subject? These are the initial questions of this research project. When the Tibetan khata is offered not towards the iconic leadership, nor the awe-inspiring nature, but rather to the high-speed train across the Qinghai-Tibet plateau, what kind of nature, or culture, is it? Perhaps, we should proclaim that we too are infrastructures, just like how Donna Haraway restored agency back to lichens.

Our interest in infrastructure does not align simply with what SL Star characterizes as the “boring things,” nor on the(in)visibility of them. [1] As large-scale technical systems, infrastructuresare passages for the means of production such as energy, water, and waste, but also the material forms that mediate digital flow in the contemporary information world. As physical and networked structures, they determine the nature of networks, as well as the speed and direction of movement. Noticeably in the case of China, the current government has initiated a series of large-scale infrastructure projects across the Indian Ocean, such as the Bandung-Jakarta high-speed railway; and else where, with the acquisition of the Gwadar Port in Pakistan, such projects reflect the government’s way to “enter deeply into the world,” [2] and to form regional trade partnerships with non-Western countries across Eurasia.

However, we hope to set aside the current obsession with immaterial and speculative projections, as well as the emerging interest in “new materialism” in contemporary anthropology and media studies.We instead look back at some historical images and their contemporary variables, and think about the ways that matter and energy enter into the power structure. The discussion of infrastructure can obviously refer to thedialectical relations between base and superstructure in Marxist philosophy,and certainly tons of official images produced in the early stage of the PRC were heavily influenced by this particular ideology. Images of shadows with large industrial structures in the background, along with those of laboring bodies and their gaze towards the future, have repeatedly appeared in Renmin Huabao, a state-published pictorial for mostly foreign reference. It reveals something that is the opposite of what is commonly known as instrumental rationality, that is, how infrastructure produces, rather than reduces the 魅惑, or “the enchantment.”

If the word 魅, in Chinese language, refers to a continuation of the haunting past, in English, the word “enchantment” rather signals the religious lyricism of the ode. With a loose reference to the Japanese novelist Juni’ichiro Tanizaki’s classic text In Praise of Shadows, the title of this project also reflects our interest in a new kind of architecture of shadows. [3] To put it simply, this is a preliminary research effort on the politics and poetics of infrastructure. [4]

 

Reference:

1. Susan Leigh Star, “The Ethnography of Infrastructure,” American Behavior Scientist, November 1999 vol. 43 no.3,377-391.

2. He Zhaotian, “When China Enters Deeply intothe World…” When China Enters Deeply into the World: The Rise of China from theView of East Asia. Ed. SUZUKI Masahisa. Inter-Asia School, 2016.

3. Ravi Sunduram, “Post post-colonial Sensory Infrastructure,” e-flux Journal 64.

http://www.e-flux.com/journal/64/60858/post-postcolonial-sensory-infrastructure/

4. Brian Larkin, “The Politics and Poetics of Infrastructure,” Annual Review of Anthropology, Vol. 42: 327-343, 2013.

 

项目人员简历:

潘律,现任香港理工大学中国文化学系助理教授。潘律是德国拜罗伊特大学跨文化研究硕士和香港大学比较文学系博士。她曾在柏林科技大学(2008-2009)和哈佛燕京学社(2011-2012)担任访问学者,并在日本福冈亚洲美术馆担任驻场研究员(2016)。她是两本英语专著 In Visible Palimpsest: Memory, Space and Modernity in Berlin and Shanghai (Bern: Peter Lang, 2016) 和Aestheticizing Public Space: Street Visual Politics in East Asian Cities (Bristol and Chicago: Intellect/University of Chicago Press, 2015) 的作者。她参与创作的作品曾在第十届上海双年展『城市客厅』单元展出。她和王博共同执导的影片Traces of an Invisible City於2016年9月进入韩国DMZ纪录片电影节亚洲竞赛单元。2016年底,她將赴德国柏林的 Center for Art and Urbanistics 担任为期二个月的驻场艺术家。

PAN Lu is Assistant Professor in the Department of Chinese Culture at The Hong Kong Polytechnic University. Pan Lu studied in Shanghai, Bayreuth and Hong Kong. She was visiting scholar and visiting fellow at the Technical University of Berlin(2008 and 2009), the Harvard Yenching Institute (2011-2012), as well as researcher in residence at the Fukuoka Asian Art Museum (2016). Her art work appeared in Urban Living Room, the 10th Shanghai Biennale and her film project“Traces of an Invisible City” entered Asian Competition section at DMZ International Documentary Film Festival, South Korea in 2016. She has also been selected as artist in residence at Center for Art and   Urbanistics, Berlin, Germany (Oct- Dec, 2016). Pan is author of two monographs in English: In-Visible Palimpsest: Memory, Space and Modernity in Berlin and Shanghai (Bern: Peter Lang, 2016) and Aestheticizing Public Space: Street Visual Politics in East Asian Cities (Bristol and Chicago: Intellect/University of Chicago Press, 2015).

 

王博,艺术家、电影导演,工作、生活在布鲁克林。作为一名艺术家,他的作品在包括纽约现代艺术博物馆、哥本哈根国际纪录片电影节、上海双年展、广州时代美术馆、亚洲协会德州中心、韩国非军事区纪录片电影节、德国历史博物馆等一系列机构展出或放映。同时他也是2016年新加坡南洋理工当代艺术中心驻留艺术家,2013年罗伯特·佛拉哈迪电影研讨会研究员,以及2014年柏林电影节天才训练营成员。他目前任教于纽约视觉艺术学院视觉与批判研究系。

Bo WANG is an artist and filmmaker based in Brooklyn, New York. His works have been exhibited internationally, including venues like MoMA in New York, CPH: DOX in Copenhagen, Shanghai Biennale, Times Art Museum in Guangzhou, Asia Society Texas Center, DMZ Docs in South Korea, DOKU. ARTS at German Historical Museum in Berlin, among many others. He was artist in residency at NTU CCA Singapore in 2016, fellow at the Robert Flaherty Film Seminar in 2013 and attended the Berlinale Talents programme at Berlin International Film Festival in 2014. He is also a faculty member at the Visual and Critical Studies program at the School of Visual Arts, New York.

 

周昕,生于苏州,纽约大学电影学系硕士,目前居住在香港和纽约。日常工作包括有关广泛的影像研究和策划,以及亚洲范围内的档案理论、基础建设和替代型艺术实践研究。他曾在波士顿当代艺术中心, 卡彭特视觉艺术中心 (麻省剑桥), 哈佛电影资料馆 (麻省剑桥), Anthology Film Archives (纽约), 表演车间 (纽约) 和 UnionDocs 纪录艺术中心 (布鲁克林) 策划过系列影像放映系列或公共项目。近期项目是今年五月在波士顿当代艺术中心的放映单元《季风、祈祷者和新的路径:印度洋周围的城市伊斯兰》。此前他的文章和访问发表于《社会工厂:第十届上海双年展》展览图册、《电影评论 Film Comment》、《布鲁克林评论 The Brooklyn Rail》以及《艺术论坛》中文网。他曾担任2014年第二届深圳独立动画双年展客习策展,同时自2016年9月起任香港理工大学中国文化学系副研究员。

Xin ZHOU is a researcher, writer and curator based in Hong Kong and New York. He has curated public programs and film series at Anthology Film Archives (NYC), Carpenter Center for the Visual Arts (Boston), Institute of Contemporary Art/Boston,UnionDocs Center for Documentary Art (Brooklyn), OCT Loft (Shenzhen), The Performing Garage (NYC), and else where. Recent project is Monsoon, Prayers, New Routes: Urban Islam Across the Indian Oceanat the Institute of Contemporary Art/Boston. His writing has appeared in Artforum (China), The Brooklyn Rail, FilmComment, Indiewire, Social Factory: 10th Shanghai Biennale exhibition catalogue, and elsewhere. He has a MA in Cinema Studies from NewYork University, and is currently a Research Associate in the Department of Chinese Culture at the Hong Kong Polytechnic University.

 

座谈嘉宾简介:

蒋洪生,1972年生。美国杜克大学文学博士,北京大学中文系副教授。主要研究方向为比较文学与比较文化、批判理论、东亚思想史。撰有《雅克•朗西埃的艺术体制和当代政治艺术观》、《福柯的“知识考古学”及其不满》、《弗雷德里克•杰姆逊的乌托邦研究及其“反-反乌托邦主义”》等论文,译有《阿多诺本雅明通信选》、康坦•梅亚苏《阿兰•巴迪欧的历史与事件论》等。

JIANG Hongsheng (b. 1972, Chaling, PRC) is an Associate Professor in theChinese Department at Peking University. He has a PhD in Literature from Duke University. Jiang’s research interests include cultural history, critical theory, comparative literature, and the inter-East-Asian historical, cultural and political studies. He has published many journal articles, including“Jacques Ranciere’s Regimes of Art and Contemporary Political Art,” “Michel Foucault’s Archeology of Knowledge and Its Discontents,” “Fredric Jameson’s Studies of Utopia and His Anti-anti-Utopianism,” etc. In 2014, he published abook titled La Commune de Shanghai et la Commune de Paris (préface d’Alain Badiou, Paris: La Fabrique).

 

李巨川,1964年生于湖北沙市,1986年毕业于武汉城市建设学院城市规划系,1986年至2006年,先后任教于武汉理工大学建筑系和南京大学建筑研究所。1990年代开始,以行为、录像、照片和场地装置的形式进行建筑实践,同时进行相关的写作、演讲、教学和展览。现居武汉。

LI Juchuan (b.1964, Shashi, Hubei) is an architect and artist based in Wuhan, China. 1986, he graduated from Department of Urban Planning of Wuhan Urban Construction Institute.1986-2006, he worked as an architecture teacher in Department of Architecture in Wuhan Technology University and in Graduate School of Architecture of Nanjing University. Since 1990s he has been applying himself to the architectural practice, which utilizes performance,video,photo, and on-site installation. Meanwhile, he has been involved in articles, lectures, and exhibitions.