展览《十里店》于11月20日(周四)下午开幕

展览地点:中国美术学院跨媒体艺术学院4号楼2层

展期:2014.11.20-11.30

策展人:张骅、张晨

策展助理:陈晓琼、魏珊、白清文

 

参展小组:Downtown组、性感组、小二组、羊夫组、郊游组、柯南组

 

学术支持

高士明(中国美术学院跨媒体艺术学院当代艺术与社会思想研究所)

黄孙权(台湾高雄师范大学跨领域艺术研究所)

高初(中国摄影史学者)

 

Ten Mile Inn

Location: 2F, 4th Building, School of Inter-Media Art, China Academy of Art

Duration: 20th-30th Nov.2014

Curators: ZHANG Hua/ ZHANG Chen

Assistants: CHEN Xiaoqiong/ WEI Shan/ BAI Qingwen

Participation GroupsDowntown Group,Sexy Group,Xiaoer Group,Shepherds Group,Hiking Group,Kenan Group.

Academic SupportsGAO Shiming (The Institute of Contemporary Art and Thoughts, School of Inter-Media Art, China Academy of Art)

HUANG Sunquan(Institute of Interdisciplinary Art, Kaohsiung Normal University, Taiwan)

GAO Chu(Scholar of Chinese Photography History)

 

前言

 

1947年,英国共产党员大卫·柯鲁克与加拿大人类学家伊莎白·柯鲁克夫妇来到晋冀鲁豫解放区,以“国际观察员”的身份详细纪录了土改试点十里店村土改复查的全过程。1950年代末,他们的著作《十里店:一个村庄里的中国革命》、《十里店:一个村庄里的群众运动》先后在英国出版,成为国际社会理解中国社会革命的重要媒介,十里店,这个太行山下的普通村庄,连同大卫·柯鲁克所留下的700余张照片,也因而进入国际学界的思想视野。

今年10月,我与台湾高雄师范大学跨领域研究所的黄孙权、北京青年摄影学者高初和王烁三位老师带队,与32位同学(来自跨媒体艺术学院、高雄师范大学以及香港城市大学)一起到十里店村“下乡”。这个因柯鲁克夫妇的“土地革命”和“土改”报告而闻名的村庄,今天的生活与景象已与成千上万个城市化进程中的北方农村没有多大差别,令人怀疑当年的“土改”是否真正发生过。

在探访过程中,我们竭力寻找柯鲁克700余张照片所留下的遗迹,试图用手中的相机印证这个当下的记忆现场。革命是个快镜头。柯鲁克的相机却为我们提供了一个历史的“慢镜头”,使我们得以一天天地观察1947-48年前后十里店村所发生的故事与事件。在柯鲁克夫妇的叙述中,中国革命不只是暴力战争,而且是社会生活的全面革命,统摄生产方式、社会关系、日常生活以及文化、性别等方方面面。打破旧秩序、建构新秩序是革命两方面的内容,而大卫·柯鲁克拍摄的乡民,那些憨厚的土里土气的乡民,既是革命的对象又是革命的主体。

然而,来自远方的柯鲁克夫妇当年记录下、构造出的“十里店”在今天还留下什么?我们今天如何从当前的记忆现场中唤起场所的幽灵?如何使博物馆、纪念馆与教科书中的历史回落到当下的现场?如何在我们身上养成历史感和现实感?现在所面对的这个遥远的现实,与我们有何关系?在历史理解与社会感知之间,艺术和影像能够做什么?

半个多世纪之前,柯鲁克夫妇要呈现的是一个村庄里的中国革命和群众运动,而今天我们希望去理解的,是“中国革命中的一个村庄”。革命反复,但村庄永在。除了当年的几个孩童,今天已是八旬老人,柯鲁克照片中的乡民大都过世,他的摄影现场也已为陈迹。现实生活就像一张层层累积又反复涂抹的画布,而且是唯一的一张。历史一次性发生,我们没有其他选择,唯有在此刻的画面之前踯躅或者继续。

在十里店,我们首先自我追问的是——“下乡”这个中国社会主义经验中重要的文艺传统,对今天美术学院的学生来说意味着什么?80%的农业人口跟我们所从事的这个行业毫无关系,这个声称要介入社会的当代艺术,却从未试图与这块土地上的大多数人民建立任何联系。你可以画一个人,却画不出一个家庭;你可以画出一幢房子,却无法描绘出一个村庄。你画不出的是什么?是人的生活、社会关系、幸福或苦难、困顿与憧憬,是村庄的前因后果、家庭的悲欢离合……。“下乡”首先意味着学会用常情常理去观察和理解社会, “下乡”不仅是看到远方的景观,而且要通过远方的生活磨练我们的现实感受力,通过与他者的交往强化自我的批判力。社会学出身的黄孙权老师在十里店的夜场讨论中反复强调“行动社会学”的基本原则——与对象共同建立一套知识来解决问题,而这需要“以身为度,如做我事”。而我所期待的,只是让我们的所思所为“在人间”。希望“下乡”能够让我们学会用心灵感知社会,用情意连接他人,希望“下乡”能够唤起我们对平等的爱,对世界的善意。

高士明

2014年11月

 

Preface

In 1947, British Communist David Crook and Canadian anthropologist Isabel Crook came to Shanxi-Hebei-Shandong-Henan liberated areas, and as “international observers”, they detailedly recorded the whole process of the land reform and review of Ten Mile Inn, where the Chinese land reform was piloted. In the end of the 1950s, their works, i.e. Revolution in a Chinese Village: Ten Mile Inn and Ten Mile Inn: Mass Movement in a Chinese Village, was successively published in Britain, and became significan media for the international community to understand Chinese social revolution. Consequently, Ten Mile Inn, an ordinary village at the foot of Taihang Mountains, as well as more than 700 photos shot and kept by David Crook, came into the ideological vision of the international academia.

This October, Huang Sun-Quan from Institute of Interdisciplinary Art, Kaohsiung Normal University, Taiwan, Gao Chu, young photographer from Beijing, and I led 27 art students (from School of Inter-media Art, Chinese Academy of Art, Kaohsiung Normal University, and City University of Hong Kong ) and came to the countryside called Ten Mile Inn together. The village, once famous for the reports on “land revolutions” and “land reforms” written by the Crooks, had seldom difference from tens and thousands of Northern villages in China when we saw its life and scenes, which made us wonder whether the “land reforms” had been really conducted.

During our investigations, we actively searched for the historical sites of more than 700 photos shot by Crook, and intended to confirm the memorial sites at that moment with the cameras in our hands. Revolutions are like “snapshots”, whereas Crook provided us these historical “slow motions” with his camera, and enabled us to observe the stories and events that happened around 1947 to 1948 in Ten Mile Inn one day after another. In the narrative of the Crooks, Chinese revolutions were not only violent battles but comprehensive revolutions of the social life. To Break the old order and build a new one are the twofold contents of the revolutions, while the villagers in the photos shot by David Crook, these simple, honest and rustic villagers, were both the objects and subjects of revolutions.

However, what has been left in the “Ten Mile Inn” recorded and structured by the Crooks who came from afar? How can we evoke the souls of the historical sites from the current memorial sites? How can we make museums, monuments and textbooks go down to the current sites? How can we cultivate ourselves the historical sense and the realistic sense? What is the relationship between us and the distant reality that we are faced with? What role can the art and videos play between historical understandings and social perceptions?

Half a century ago, what the Crooks intended to display was the revolution and mass movement in a Chinese village; whereas today, what we expect to understand is the village in the Chinese movement. Revolutions broke up repeatedly, while the location of the village exists there forever. Except for several children in those days who are now more than 80 years old, most of the villagers in the photos of Crook have passed away, and the photographic sites have become relics. The realistic life is like a unique canvas that has been repeatedly painted and accumulated by a layer of painting and another. Faced with the one-time history, we have no other choice but to wander or continue before the scene at this moment.

At Ten Mile Inn, we initially ask ourselves, what does “going into the countryside”, the significant literary and artistic tradition in Chinese socialist experience, mean for the students of art colleges? More than 80% of rural population has nothing to do with what we are engaged in, i.e. the art. The Chinese contemporary art, who has claimed to involve in the society, has never tried to build any relationship with the majority of the country. Art students can draw a person, but cannot vividly draw a family; they can draw a house, but cannot heartily depict a village. What the art student cannot draw? They cannot draw people’s life, social relations, happiness or misery, hardship and longing, and they cannot draw the antecedents and consequences of the village, or joys, sorrows, unions and departures of a family. “Going to the countryside” initially means to learn to observe and understand the society with common sense; it is not only to see the distant landscape, but also to hone our realistic sensibility through the life from afar and to strengthen our self-criticism through interacting with others. Professor Huang Sun-Quan, who has learnt sociology, repeatedly emphasized in the night discussions at Ten Mile Inn that, the basic principle of “action sociology” is to sort out a series of knowledge with its objects to solve problems, which needs the attitude of “taking and measuring others’ actions as our own actions”. Consequently, what I expect is to make our thoughts and actions in RenJian (humanistic); what I expect is to learn to perceive the society by heart and contact others with affections while “going to the countryside”; what I expect is, to arouse the love of equality and the goodwill to the world through “going to the countryside”.

 

Gao Shiming

Nov. 2014

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