原鄉無聲 新民有藝“DLAF復歸”重慶第二屆國際現場藝術節紀實

□ 文/本刊記者 楊艷

為期22天的“DLAF復歸”重慶第二屆國際現場藝術節于10月7日在北碚蔡家落幕，藝術節以“原鄉無聲，新民有藝”為主題，來自中國、波蘭、德國、英國、日本、意大利6個國家的82名藝術家創作作品數十件，其形式包含行為藝術、裝置雕塑、影像、實驗音樂、舞蹈現場、民藝展演現場等，對公眾開放留場作品展覽。

The 22-day “Arts Enlighten Hometown” themed“DLAF, reflections of the past”-- Chongqing Second International Live Art Festival lowered its curtain on October 7th at Caijia, Beibei. Eighty-two artists from six countries, including China, Poland, Germany,the United Kingdom, Japan and Italy created and showcased dozens of works, encompassing performance art, installation sculptures, videos,experimental music, dance scenes, folk art exhibitions, etc., leaving on-site works open to the public.

“DLAF復歸”重慶第二屆國際現場藝術節交流現場。

本屆藝術節采取聯合策展制，本土藝術家兼策展人曾途、曾令香、靳立鵬、胡燕子分別用“歷史的定命”“人性的反應”“自然的要求”“知識的邏輯”4個版塊呈現。每個版塊包含藝術互動實踐工作坊、藝術家在地作品創作、學術論壇、圖書與影像作品展映會等活動，實現藝術與公眾的零距離接觸。

The festival adopted a joint curatorial system.Local artists and curators Zeng Tu, Zeng Lingxiang,Jin Lipeng, and Hu Yanzi unveiled the exhibition under four dimensions:Fate of History, Response of Humanity, Demand of Nature, Logics of Knowledge, containing contents from art workshops, on-site art creation, forum and on-site screening etc., bridging a zero-distance contact between art and the public.

波蘭藝術家的現場創作。

跨界協作 用藝術復歸鄉土現場

2017年在九龍坡區舉辦的首屆“DLAF復歸”現場藝術節倡議“藝術的場域遷移與現場的多義生長”，鼓勵藝術家直面當地的社會現場與文化語境，意圖促成當代藝術與中國高速發展的社會之間的直接碰觸。本屆藝術節承接了上屆議題，持續關注讓藝術走進中國城市和鄉村。

“跨界協作”是本屆藝術節的亮點之一。本屆藝術節策展人之一、四川美術學院新媒體藝術系藝術與社會教研室主任曾途介紹：“本屆主題探索更深，參與合作領域更廣。以藝術與鄉土的多元關系為切入點，聚焦藝術與‘三農’的交互現場，跨界融合藝術、‘三農’、環境保護、社會學、民俗學、人類學等專業領域的實踐探索交流，倡議跨領域的學術融合，以及知識對鄉土現場的復歸。”

本屆藝術節在北碚巴渝農耕文化陳列館舉行。國家教育部藝術學理論教指委委員、四川美學院教務處長王天祥在藝術節上提出“村社藝術”的構想，他認為這是一種藝術結合鄉村的發展模式。

“在全球化的背景下，中國當代藝術重視同西方接軌，卻在一定程度上忽視了本土文化根基，‘復歸’是要讓藝術家關注本土文化。”曾途說，讓藝術走進巴渝農耕文化，是實踐鄉土現場最直接的方式。“通過最普通的農具，中外藝術家能直觀感受到中國農耕文化，它們有的現在已難尋蹤跡，十分珍貴，值得鄉村建設、生態農業、藝術等領域的專家來共同挖掘，這或許也是吸引他們到來的原因。”

Cross-disciplinary Collaboration: the Return of Art to Traditional Countryside

In 2017, the first “DLAF” live art festival was held in Jiulongpo District aiming to advocate the transition of art fields and the polysemy growth of the fields, encouraging artists to face the local social scene and cultural context, with the intention of promoting the direct touch between the contemporary art and China's high-speed developing society. This year's art festival inherited the previous theme and continued to focus on bringing art into Chinese cities and villages.

“Cross-border collaboration” is one of the highlights of this festival. Zeng Tu, director of the“Art and Society” Teaching and Research Office of the New Media Art Department of Sichuan Fine Arts Institute, said: "The theme of this year is deeper and the scope of cooperation is wider.The entry point lies in the interactions between art and locality. It focused on the interaction between art and 'three rural'(rural areas, farmers,and agriculture), cross-border fusion art, 'three rural', environmental protection, sociology,folklore, anthropology and other professional fields to explore, exchange, and advocate crossdisciplinary inspirations in academic fields and the return of knowledge to the rural areas."

The festival was held at the Beibei Bayu Farming Culture Exhibition Hall. Wang Tianxiang, member of the Arts Teaching and Research Committee of the Ministry of Education and Director of the Academic Affairs Office of Sichuan Fine Arts Institute, proposed the concept of “village-based community art” at the festival. He believed that this is a development model combining art with the countryside.

"In the context of globalization, Chinese contemporary art attaches importance to the integration with the West, but to some extent ignores the local cultural roots. The call for 'Return' is to let artists pay attention to local culture." Zeng Tu said,letting art enter the Bayu farming culture is the most direct way to practice the local scene. "Through the most common agricultural tools, Chinese and foreign artists can intuitively feel the Chinese farming culture.Some of the tools are now difficult to find, and they are very precious, and it is worthy of experts in rural construction, ecological agriculture, art and other fields to explore. This may be the reason for their presence."

農業發展及鄉建領域專家、重慶大學副教授潘家恩認為“鄉村需要藝術，藝術也需要鄉村”，他從“三農”體系出發，通過闡述中國現代化進程中“去鄉土化”問題出現的原因、表現與影響，呼吁人們重新發現“三農”價值，重建與復興原鄉文化，使藝術在其中起到積極作用。

對于藝術節的舉辦地，波蘭藝術家、華沙藝術學院教授Grzegorz Kowalski屢次稱贊，他在這里看到中國勞動人民的發明和智慧，感到震驚：“這是我第一次來到中國，能有機會從勞動人民的生活視角近距離觀察中國，看到他們是如何生活在這片熱土上。我非常享受在這里的每一天，遇見努力又友善的人，我敬佩他們，他們有自己的歷史并為之驕傲，這是我在中國最有價值的收獲。”

Pan Jia’en, an expert in agricultural development and township construction and an associate professor at Chongqing University, believes that“village needs art and vice versa”. Starting from the “three rural” system, he explains the causes,manifestations and effects of “de-localization” in the process of China’s modernization. As such, people are called upon to rediscover the value of “agriculture,rural areas and farmers”, rebuild and revitalize the original hometown culture, and make art play an active role in it.

For the venue of the festival, Polish artist and professor of the Warsaw Academy of Art Grzegorz Kowalski repeatedly praised for witnessing the invention and wisdom of the Chinese working people here.He was amazed: "This is my first time in China, I have the opportunity to observe China closely and see how they live in this hot land from a perspective of the working people. I really enjoy every day here, meeting industrious and friendly people. I admire them. They have their own history and they are proud of it. This is my most valuable harvest in China."

傳承與創新 用藝術展現非遺之美

傳承改良，藝術新造。依托藝術節這一文化交流平臺，不少藝術家、民間文化民俗研究者將目光聚焦中國非物質文化遺產，用他們的方式讓人類重視在工業化、城鎮化發展的今天，鄉村文化所面臨的傳承、非遺文化如何復歸等問題。

來自西南大學教育學部美育研究中心的李雪垠主持的蔡家草把龍創意工作坊，集合多位藝術家的智慧和創意，在擁有200多年歷史的非物質文化遺產蔡家草把龍的傳統民間技藝上有所創新，共同創作出蔡家草把龍文化景觀，讓嘉賓一睹中國傳統農耕稻作文化的獨特魅力。

英國藝術家梁志剛主持的“加辣圖書館”工作坊以中國傳統二十四節氣為基礎，邀請公眾集體創作一個不斷“生長”的 農 耕歷，讓 大 家看 到中國古 老 智慧的同時，鼓勵人們熱愛大自然己動手種植食物。

① 藝術節上展示的蔡家草把龍在傳統民間技藝之上有所創新。

② 波蘭藝術家Grzegora Kowalski教授稱贊中國勞動人民的發明和智慧。

③ 民間儺戲藝人在藝術節上現場演繹。

Inheritance and Innovation:bringing out the beauty of intangible cultural heritage by art

Inheritance and improvement--a new approach of art. Relying on the cultural exchange platform of the festival, many artists and folklore researchers focus on China's intangible cultural heritage,and apply their methods to make humans pay attention to issues like the inheritance of rural culture and the return of intangible culture against the backdrop of industrialization and urbanization.

Dr. Li Xueyin from the Aesthetic Education Research Center of the Southwestern University has set up a creative “Caijia Straw Dragon” workshop that brings together the wisdom and creativity of many artists. Based on the traditional folk craftsmanship of the two-centennial intangible cultural heritage “Caijia Straw Dragon”,the artists innovated and co-created its culture landscape,bringing the guests close to the unique charm of Chinese traditional rice farming culture.

The “Add Spice Library” workshop hosted by British artist Micheal Loung is based on the traditional Chinese 24 solar terms.The public was invited to create a continuous “growing” farming calendar, so that everyone can see the ancient wisdom of China while being encouraged to love nature and join farming activities in person.

Besides, folk art Nuo Puppet Show performers were invited to the festival to rehearse and give live performances with folk experts. Through the interaction with the public, the concept and performance form of the original traditional art culture was spread to the people on the street.

此外，還有民間儺戲藝人受邀到藝術節與民俗專家一起進行現場編排與演出，通過與公眾的互動，將原生傳統藝術文化的理念及表演形式傳播到大眾層面。

助推中波項目達成

重慶第二屆國際現場藝術節不僅是一個向國內外藝術家展示地方文化的平臺，更是一次與國內外專家學習交流的難得機會。

Grzegorz Kowalski稱，回國后他一定要向他的藝術家朋友及學生分享這次經歷，他深切感受到中國文化的魅力，同時更期待中波兩方學院的持續合作，能夠為下一代人提供更多跨越國界的交流機會。

據了解，四川美術學院與波蘭華沙藝術學院已簽訂戰略協議，建立中波“互鑒與互建”項目，以藝術為語言，聯動東西方文化系統展開跨國合作，助推中國與東歐文化藝術深度交流。

其中，中波“互鑒與互建”項目之巴渝原鄉“開放形式”在地工作坊已于10月5日在北碚柳蔭鎮進行，主要依托中國鄉村的文化歷史特性，以血緣親情和宗族文化為基礎創作的中國“村社藝術”，讓其成為構筑中國鄉村文化振興的催化劑。此外，還將于2019年11月至12月、2020年4月至6月，分別在波蘭華沙和重慶舉辦“新情境與新現實：中國與波蘭藝術交流互鑒展”。

Boost the Sino-Poland Project

The 2nd International Live Art Festival in Chongqing is not only a platform to showcase local culture to domestic and foreign artists, but also a rare opportunity to learn and communicate with experts at home and abroad.

Grzegorz Kowalski said that after returning home, he must share this experience with his artists, friends and students. He deeply felt the charm of Chinese culture, and he also looked forward to the continued cooperation between China and Poland, which can provide more cross-border communication opportunities for the next generation.

It is understood that the Sichuan Fine Arts Institute and the Warsaw Academy of Art in Poland have signed a strategic agreement to establish the China-Poland "mutual recognition and mutual construction" project, with art as its language, to link the Eastern and Western cultural systems to carry out cross-border cooperation, and to promote in-depth communication between Chinese and Eastern European culture and art.

Among them, the “open-formed”local workshop about the Bayu Township under the Sino-Poland “mutual recognition and mutual construction”project was held in Liuyin Town, Beibei on October 5, mainly revolving around the cultural and historical characteristics of the Chinese countryside. The Chinese“village-based community art” based on kinship and clan culture has made it a catalyst for the revitalization of Chinese rural culture. In addition, from November to December 2019 and from April to June 2020, the “New Situation and New Reality: An Intercultural Exhibition of Chinese and Polish Art” will be held in Warsaw and Chongqing, respectively.

嘉賓說藝術

四川美術學院副院長、雕塑系教授 焦興濤

現場藝術創作方式如一場“拍案驚奇”

面對具體的時間、地點、人物、事件進行的“即時沖動的”“必須的”“不得不的”的創造，才是針對中國最廣大、最深刻的現實和文化處境的當下藝術。與其說這是一場藝術實踐，不如說是一首由時間、地點、人物、事件組合而成的詩歌創作，或是一場中國現實日常的“拍案驚奇”。

藝術家、教育家、波蘭華沙藝術學院教授 Grzegorz Kowalski

開放的藝術 藝術的開放

20世紀早期，波蘭將僅屬于貴族階層的高雅藝術解放出來，打破階層的限制，將藝術平民化、普及化。后來，藝術又打破純專業邊界，與社會各專業領域進行廣泛交流合作。這是西方社會現代化轉型中具有歷史轉折意義的“包豪斯運動”在波蘭的具體體現。打破階層限制、打破學科邊界的方法論，可以兩者整合為一，在波蘭的社會發展和教育系統中得到很好運用。我認為中國藝術可以從中得到借鑒。

波蘭華沙美術學院視覺藝術專業博士 Ewa Maria Smigielska

遇見中國鄉村山水 探索自然價值

對我來說，探索自然是非常有趣的事情，這是我第一次深入接觸中國鄉村的山水，以及人們的生活方式。中國的山水畫從小對我的影響很大，而當我來到這里，才真正體會到山在中國文化中的藝術價值，所以我創作了“自然的倒影”這個作品，作品和這里生活的人相互聯系，用中國人日常用的水缸投射出大自然竹林，探索自然價值。

意大利藝術家、上海美術學院藝術博士 Federica Buonsante

文化差異是一種基本價值

這次藝術節讓我了解了中國的地域差異，體驗了本土美好的傳統節日，如中秋節。每個中國人對自己的民族文化有很強的認同感。只有在具有同等文化認同的基礎下，不同的文化才能豐富彼此，并出現創新。文化差異是一種基本價值，相互影響有利于文化發展，它永遠無法替代和消解文化的核心和本質。所以我們需要尊重自己的文化，若不能做到，又談何尊重其他文化。

日本藝術家、日本大地藝術節實踐者 Onoda kenzo

“極簡主義”“觀念藝術”包含東方藝術思想

二戰時期，日本戰敗，此后日本按照美國的方式發展。我是二戰后出生并接受美國文化熏陶長大的，那時超級崇拜美國，美國搖滾音樂影響了日本，影響了我。現在，在物欲橫流、消費主義盛行的現代社會，厭膩了過度接受外來影響的同時，日本日益傾向于“極簡主義”和“觀念藝術”。盡管現代極簡主義起源于歐美，但我認為這其中包含了東方藝術的思想。

柏林自由大學哲學博士、上海美術學院公共藝術理論與國際交流工作室副研究員 歐陽甦

公共藝術共同體的構建倡導全民共同解決

以藝術的國際合作為起點，談公共藝術共同體的構建。以非洲戲劇村的建立為案例，這是一種通過以基礎的、自發的娛樂為主而建立起來的非洲村落。公共藝術成為拉攏國際合作，增加國際吸引力的載體，從而促進跨文化合作。公共藝術共同體的構建，倡導在多元化的探討下，將個別體系置入整體體系內，共同進行研究，跨越國界與文化共同去解決。

中國美術學院公共藝術博士、四川美術學院副教授、民藝活化與鄉村振興工作室導師 曾令香

藝術重構多樣化的社群

工業革命成功塑造了人工化的圖景，形塑了工業社會單向度的人，人類也成功地把自己塑造成為社會流水線上的產品，藝術開始在“關系美學”中修復社會紐帶、鏈接人際交往。藝術重構社會有機體的能力逐漸彰顯，能重新闡釋人、社會和自然世界的關系，營造多元互動的公共領域，重構多樣化的社群。

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