2007年12月9日，“都市游牧”2017杭州大屋顶国际动态影像展在良渚文化艺术中心开幕。本次展览由大屋顶文化主办，中国美术学院跨媒体艺术学院、广州美术学院实验艺术系、北京荔空间协办，Magmart国际录像艺术节、录映太奇、录映太奇媒体艺术收藏、艺术档案合作推出。策展人顾振清、张海涛及来自国内外的20余位知名艺术家、策展人现身展览现场，与百余名艺术爱好者共同探讨“都市游牧”的艺术精神。展览将持续至2018年1月9日。
▲ 参展艺术家、策展人及嘉宾合影
▼ 展览现场
▼ 论坛现场
“都市游牧”2017杭州大屋顶国际动态影像展
URBAN NOMADISM：2017 HANGZHOU LIANGZHU BIG ROOF INTERNATIONL MOVING IMAGE EXHIBITION
策展人：顾振清、张海涛
单元一：中国动态影像
艺术家：卜桦、苍鑫、陈镪、费俊、冯峰、管怀宾、高世强、刘姝铭＋王帅、鲁婷婷、卢杉、缪晓春、邱黯雄、沈杰、沈朝方、史金淞、炭叹、田晓磊、唐冠华+于伯公、吴超、吴珏辉、吴鹏、徐坦、袁晓舫、杨晨、杨泳梁、易连、张小涛、张钊瀛、钟甦、UFO 团队（吴珏辉、饶广禛、王志昂、尹曾惠子、罗航、蓝梓雁、石川）
单元二：国际动态影像
艺术家：Alessandro Rolandi李山／意大利、Ariuntugs Tserenpil／蒙古、陈依纯／台湾、陈万仁／台湾、Enkhtaivan Ochirbat／蒙古、何子彦／新加坡、Jantsankhorol Erdenebayar／蒙古、罗禾淋／台湾、Monika Czyzyk／波兰+ Torsten Zenas Burns＆Darrin Martin／美国、Munkhjargal Jargalsaikhan／蒙古、王雅慧／台湾、吴方洲／澳门、袁广鸣／台湾、张君懿／台湾
单元三：重绘香港（录映太奇主席梁学彬策划，所有录像选自VMAC媒体艺术收藏）
艺术家：鲍蔼伦、罗颂雅、蔡世豪、黎肖娴、陈序庆、MAP Office、郑智礼、黄荣法、罗琛堡、梁志和、冯伟、方琛宇、Jay Forster、庄伟
单元四：“五种感官”一一意大利Magmart国际录像艺术双年展25位获奖作品展
艺术家：Erique Lacorbeille／意大利、Andreas Mare／奧地利、Nara Denning／美國、Russell Chartier／美國、Sylvia Toy St. louis (aka Sylviatoyindustries) ／美國、Silvia De Gennaro／意大利、Francesca Amati／意大利、Damon Mohl／美國、Antonello Matarazzo／意大利、Mohammed Harb ／巴勒斯坦、Arya Sukapura Putra／印度尼西亞、 Clara Aparicio／英國、 Steven Verstuyft／比利時、 Emre Onol ／土耳其、Marc Neys (aka Swoon) ／比利時、 Jaime Rodriguez (aka Jaime rguez) ／ 西班牙、 Benna Gaean Maris (aka Benna) ／意大利、Lelievre Lievre (aka Lievre) ／法國、Willehad Eilers (aka Waynehorse) ／ 荷蘭、Dimitri Fagbohoun／貝寧、 Lino Strangis ／意大利、 John Sanborn／ 美國、 Urszula Kluz-knopek (aka Adija) ／波蘭、Gérard Cairaschi／法國、Danilo Rosini (aka Danilorosiniimages) ／意大利
开幕：2017年12月9日（周六）15：00
展地：杭州市余杭区良渚文化村良渚文化艺术中心
展期：2017年12月9日—2018年1月9日
论坛主题：都市游牧的影像地图
论坛时间：2017年12月9日（周六）16：30一17：30
论坛主持：顾振清、曹恺
特邀主持：杨卫
论坛嘉宾：Torsten Zenas Burns／美国、Alessandro Rolandi李山／意大利、Ariuntugs Tserenpil／蒙古、张君懿／台湾、吴方洲／澳门、梁学彬／香港、Dalkha Ochir达哈／蒙古当代艺术馆创始人
主办：大屋顶文化
协办：中国美术学院跨媒体艺术学院、广州美术学院实验艺术系、北京荔空间
合作机构：Magmart国际录像艺术节、录映太奇 、VMAC录映太奇媒体艺术收藏、艺术档案
出品人：张炎
策展助理：董剑、李娇妮、刘源
联系方式：0571-88763685、p-dawuding@vanke.com
都市游牧的策展方式
文／顾振清
当下，全球资本主义的支配性思想形象及其政治正确的惯性思维正遭遇空前的危机。文明冲突的加剧，国际性的民族主义、民粹主义思潮抬头。世界经济发展前景在不断地衰退中越来越扑朔迷离。当下，在抵抗欧美文化中心化、体制化的路上，中国当代艺术是否建构了自身的精神和价值？在面对艺术市场萧条与艺术品过度生产的困境中，中国当代艺术是否找到自身的疏理和变通方式？
都市游牧是在现代性世界中注入游牧精神的一种新的思维模式，更是在国际艺术社会中挑战西方中心主义一思想传统的一种新的策展实践。近年来，随着不少发展中国家的经济崛起和文化繁荣，国际艺术生态越来越趋向一种非中心化、非同一化、非层级化的扁平化态势。然而，针对欧美主流文化代码的解码与再编码、解域与再定域的矛盾和冲突却日益严重。都市游牧无疑是超越传统政治学文本、找到逃往文本之外的一条道路。而都市游牧精神所强调的空间位移和地理转场特性，却使当代艺术获得一种不断产生差异性、衍生多样性、制造互联性和互动性的自由。在都市游牧的语境下，全球艺术并不是整体化、等级化的，而是平面化、无边无际的；全球艺术并不属于同一个线性发展的逻辑结构，而呈现为不同地缘、不同背景艺术家个体、团体和机构的随意连接和自由驰骋；全球艺术并不是进化的、谱系化的、可确切把握的，而是流动的、离散的、不规则的、无法预料的。都市游牧以交互连接、异质混合、多元发展、不断裂变、无限繁殖的特性，抵抗、分解着欧美传统思想基础上的概念结构和秩序。都市游牧的思想图景之中，既无主体也无客体，既无中心也无边缘，却有无数的入口和出口，有艺术生成和流变的决定性的因素、量值、维度。
都市游牧化的动态没有终点、没有疆界、没有封闭的系统。它不挖掘意义、不阐释意义，而是创造意义。它所体现的正是艺术的自由意志。
“都市游牧”的特征和解决方式
文／张海涛
游牧文化有一种非中心、反线性发展的特征，游牧民族的生存状态也是质疑欧洲中心主义的自由意志和精神状态。游牧精神的思维根系理论非树状根系结构，而是一种相互平等交错的土豆根系状态。游牧文化是解构二元对立，建构包容的多元文化方式，它的非线性进化特征也是现代主义与当代文化的重要区别。
游牧文化的解决方式强调：链接与分享、平行跨界、各玩各的、对资本改变价值判断质疑、中国“原乡意识”传统资源转换。
现代化科学技术是一把双刃剑，人的思想也是一个复杂的载体，人都有相悖的心理诉求。即对当下人工化、技术化不自然心理的反弹，则向往对于自然原动力、生命思考、时间观、物化、自然心境这些永恒话题的憧憬，也是对当下经济消费时代所引发的人的异化的一种精神补济，与自然和谐共处成为人类迫切的需求。都市游牧是在现代化社会注入自由、平等、自然的精神观念，自然与人工化的超自然可以平行多元的发展。
与“都市游牧”相关的策展案例
近几年顾振清和张海涛联合策展的有关都市游牧的策展案例，有“原乡”当代艺术展、“搜神”计划、内蒙古当代艺术双年展、蒙古国乌兰巴托华语短片展、西安媒体城市当代艺术展，以下做一个简单的逻辑梳理。
贾平凹文化艺术馆2014年4月8日上午9点半在十三朝古都西安隆重举办的开馆典礼推出开幕特展“原乡”当代艺术展，由策展人顾振清、张海涛、王一凡联合策划，展出了35位艺术家的近百件作品。“原乡”展是对中国传统经典在地文化的当代转换和再创造，也是一种寻根的精神追求。
2014年4月21—25日，由策展人顾振清总策划，张海涛联合策划的以搜寻贵州荔波自然山水的“精气神”，体验水、瑶、布衣等少数民族传统巫傩文化的“搜神”当代艺术计划由贵州省黔南州荔波县小七孔、大七孔景区出发。艺术家陈文波、高惠君、关伟、韩磊、洪浩、祁志龙、李占洋、史晶、石心宁、孙良、童雁汝南、武小川、徐若涛、徐文涛、杨述，萨满学教授郭淑云等人在荔波参加了为期五天的艺术体验、创作和交流活动。截止4月25日，贵州荔波“搜神”当代艺术计划第一批艺术家、学者考察项目圆满结束，五天时间考察内容包括：山水洗肺体验、考察荔波档案馆（研讨及水书调研）、祭祀与巫术体验、萨满文化讲座、创作、瑶寨考察（参观及互动、原生艺术调查），之后艺术家以不同媒介再创作、参展，最后文献整理入档。
2015年12月14日内蒙古首届当代国际艺术交流双年展开幕，此次展由顾振清、张海涛主持，以国外、国内、内蒙本土艺术家三个板块参照展示，从生态学与人类学角度看出，一个原以强大的游牧文化为主要特征的民族在现代文明的都市化和全球一体化演变中不断被基因重组的状态。因此这个展览不同于其他现代化资本运作的双年展，它所发散的地域、生态差异性是我们参与的动力。内蒙的国际交流双年展作为当代文化的缩影，触及现代文明非线性相悖发展的核心价值问题。
2016乌兰巴托华语短片电影展6月10日下午2点在蒙古国国家美术馆隆重开幕，这次影展由中国著名策展人顾振清策划，国家美术馆馆长巴图巴特先生为展览总监，中国独立影像展总监曹恺先生、策展人张海涛先生作为选片人，展示了50位中国活跃的实验影像艺术家的60件作品。2016乌兰巴托华语短片电影展目的是让蒙古国的观众了解中国实验影像作品面貌，认识中国目前发展环境和状况。实验影像是当代艺术的分支，也是语言、观念的创新实践，这次参展作品也围绕着“人类传统与现代文明、全球化与差异性、科技与自然的关系”主题展开。
游牧文化的解决方案：碰撞、转换、融合
游牧民族处于如何传承本土文化与吸纳西方文化的尬尴境地，传承、转换与创新关系的平衡至关重要，这样的观念甚至触及到整个人类现代文明非线性相悖发展的核心价值问题。
此次“都市游牧：2017杭州良渚大屋顶国际动态影像展”邀请国内外不同地区重要的动态影像作品在杭州良渚文化艺术中心展出有着不一样的意义，良渚文化是探索中国文明的起源，实证中华五千年文明的一片“圣地”，良渚社会已从荒蛮的史前期踏入文明社会。另外杭州作为传统文化积淀很深的城市，如何在现代全球化时代还能保留和转换传统文化的原乡意识是很重要的话题。游牧不是回归到表象蛮荒的原始状态，是在都市中注入游牧的自由精神，而实验动态影像正好具备自由表达的精神和特质。
部分艺术家作品
▼
单元一：中国动态影像
▲ 卜桦《未来荒》，3分51秒 ，2008
Pu Hua《Future Aridity》3’51”，2008
▲ 苍鑫《苍式萨满》，8分51秒 ，2007
Cangxin《cangs_shaman》，8’51”，2007
▲ 陈镪《臭肉》，70分46秒 ，2016
Chen Qiang《ANIMISM》，70'46'',2016
▲ 费俊《影子地图》，5分钟 ，2010
Fei Jun《SHADOWING MAP》，05' 00，2010
▲ 冯峰《保持微笑》，5分钟 ，2010
Feng Feng《Keep Smiling》，05' 00， 2010
▲ 高世强《世纪》，30分59秒 ，2011
Gao Shiqiang,《Century》，30’59’’，2011
▲ 管怀宾《顶光》，9分钟04秒 ，2010-2016
Guan Huaibin《Top Light》,9'04'',2010-2016
▲ 刘姝铭+王帅《无题》，4分钟02秒 ，2011
Liu Shuming + Wang Shuai《no title》,4'02'',2011
▲ 卢杉《基因糖》，17分钟18秒 ，2015-2016
Lu Shan《Gene Town》, 17'18'', 2015-2016
▲ 鲁婷婷《丝 》，4分钟33秒,2016
Lu Tingting《SS》,4'33'',2016
▲ 缪晓春《从头再来》，14分钟22秒 ，2008-2010
Miu Xiaochun《Restart》, 14'22'', 2008-2010
▲ 邱黯雄《蛋糕》，6分钟02秒 ，2014
Qiu An’xiong《Cake》, 6'02'',2014
▲ 沈朝方《南国少将的早餐》，1小时50分钟 ，2014-2017
Shen Chaofang《Southern Major General’s Breakfast》, 110'，2014-2017
▲ 沈杰《马》，3分钟15秒 ，2013
Shen Jie《HORSE》, 14'22'', 2013
▲ 史金淞《哈克龙》，6分钟19秒 ，2006
Shi Jinsong《HALONG-KELLONG》, 6'19'',2006
▲ 炭叹《未知仪式之一》，34分钟49秒 ，2017
Tan Tan《Unknown Ritual No.1》, 34'49'',2017
▲ 田晓磊《伟大》，4分钟 ，2017
Tian Xiaolei《Greatness》, 4', 2017
▲ 吴超《追逐》，22分钟27秒 ，2011
Wu Chao《chasing》, 22’27”, 2011
▲ 吴珏辉《星际动物园》，4分钟59秒 ，2017
Wu Juehui《Introduction of Interstellar Zoo》, 4’59”, 2017
▲ 吴鹏《Role Incident》，3分钟19秒 ，2017
Wu Peng《Role Incident》, 3'19’’,2017
▲ 徐坦《新天地》，3分钟 ，2005
Xu Tan《XINTIANDI》, 3′ 00〞, 2005
▲ 杨晨《镜》，4分钟11秒 ，2016
Yang Chen《Mirror》, 4′ 11〞, 2016
▲ 杨泳梁《起霧了》，9分钟44秒 ，2014
Yang Yongliang《Rising Mist》, 9′ 44〞, 2014
▲ 易连《暗流2016》，11分钟02秒 ，2014
Yi Lian《Undercurrent 2016》, 11′ 02〞, 2016
▲ 袁晓舫《十年》，12分钟10秒 ，2004-2014
Yuan Xiaofang《A DECADE》, 12′ 10〞, 2004-2014
▲ 张小涛《黄桷坪的春天》，67分钟19秒 ，2016
Zhang Xiaotao《The Spring of Huangjiaoping》, 67′ 19〞, 2016
▲ 张钊瀛《你阿妈大减价》，5分钟 ，2017
Zhang Zhaoying《Mother’s story 》, 5′ 00〞, 2017
▲ 钟甦《花好月圆》，5分钟26秒 ，2014
Zhong Su《PERFECT CONJUGAL BLISS》, 5′ 26〞, 2014
▲ UFO小组 《染色体》，10分钟25秒
UFO Group《CHROMOSOME》, 10′25〞
▼
单元二：国际动态影像
▲ Ariuntugs Tserenpil《行为》，3分钟25秒，2013
Ariuntugs Tserenpil《Act》, 3′25''，2013
▲ Jantsankhorol Erdenebayar《泡沫铃 》，4' 30''，2016
▲ Monika Czyzyk《 BOdyssey》，21分钟 16秒，2017
▲ Munkhjargal Jargalsaikhan 《MUNKHJARGAL BUMBULUG DEERH OHIN 》, 5′ 8〞
▲ Torsten Zenas Burns & Darrin Martin 《方舟 3： 穿越》，27'39〞
▲ 陈依纯《孩子》，10分钟06秒 ，2017
I-Chun Chen《Enfant》, 10′ 06〞, 2017
▲ 李山《Do Beijing White Cats dream of a Harmonious Society》，58分钟55秒，2006
Alessandro Rolandi《北京的白猫也会梦想和谐社会吗？》, 58′55〞，2006
▲ 吴方洲《关键时刻和参与者-行为艺术影像》，10分钟37秒，2016
Ng Fong Chao, Noah《Critical Moment and Participant-Performance Art Image》, 10′37〞,2016
▲ 袁广鸣《栖居如诗》，5分钟 ，2014
Yuan Goang-Ming《栖居如诗》, 5′ 00〞, 2014
▼
单元三：重绘香港
（录映太奇主席梁学彬策划，所有录像选自VMAC媒体艺术收藏）
▲ Jay Forster《Shift》，3分钟18秒 ，2006
Jay Forster《 Shift》,3′ 18〞, 2006
▲ 鲍蔼伦《循环影院 》，8分钟36秒 ，2000
Ellen Pau 《Recycling Cinema》，08’36，2000
▲ 罗颂雅 《纯属印象》 ，5分钟11秒，1999
Jo Law 《Read Only Memory》，05’11，1999
▲ 冯伟《银色都市》，19分钟54秒 ，1998
FUNG Wai《 Silver City 》,19′ 54〞, 1998
▲ 梁志和《Suck Blow 》，4分钟09秒 ，2003
LEUNG Chi-wo《 Suck Blow 》, 4′ 09〞, 2003
▲ 郑智礼《 门 》，5分钟42秒 ，2008
Chilai Howard《 The Doors 》, 5′ 42〞, 2008
▲ 庄伟《Shift》，6分钟26秒 ，2015
Isaac Chong Wai《One Sound of the Histories》,6′ 26〞, 2015
▼
单元四：五种感官
▲ Erique Lacorbeille《收集声音以建构一种感知》
Erique Lacorbeille《Collecting Voices to Build a Conscience》
▲ Nara Denning 《蚊子的祈祷》
Nara Denning 《Mosquito's Prayer 》
▲ Silvia De Gennaro 《鹰之卵》
Silvia De Gennaro 《 Eagle Eggs 》
▲ Antonello Matarazzo 《4B电影》
Antonello Matarazzo《 4B Movie 》
▲ Arya Sukapura Putra 《印度尼西亚的异域风光》
Arya Sukapura Putra 《 Indonesiana Exotica》
▲ Steven Verstuyft《可持续性渔业》
Steven Verstuyft《Sustainable Fishing》
▲ Emre Onol 《洞》
Emre Onol 《The Hole》
▲ Willehad Eilers (aka Waynehorse)《猛击电影》
Willehad Eilers (aka Waynehorse)《The Punch Movie》
▲ Lino Strangis《表皮探索》
Lino Strangis《Epidermal Exploration》
▲ John Sanborn《Epidermal Exploration》
Urban Nomadism: 2017 Hangzhou Liangzhu Big Roof International Moving Image Exhibition
Curator: Gu Zhenqing, Zhang Haitao
Section 1: Chinese Moving Image
Artist: Pu Hua, Cang Xin, Chen Qiang, Fei Jun, Feng Feng, Guan Huaibin, Gao Shiqiang, Liu Shuming + Wang Shuai, Lu Tingting, Lu Shan, Miu Xiaochun, Qiu An’xiong, Shen Jie, Shen Chaofang, Shi Jinsong, Tan Tan, Tian Xiaolei, Tang Guanhua + Yu Bogong,Wu Chao, Wu Juehui, Wu Peng, Xu Tan, Yuan Xiaofang, Yang Chen, Yang Yongliang, Yi Lian, Zhang Xiaotao, Zhang Zhaoying, Zhong Su, UFO Group ( Wu Juehui, Rao Guangzhen, Wang Zhi’ang, Yi Zeng Hui Zi, Luo Hang, Lan Zhiyan, Shi Chuan)
Section 2: International Moving Image
Artist: Alessandro Rolandi / Italy, Ariuntugs Tserenpil /Mongolia, I-Chun Chen /Taiwan, Chen Wan-Jen /Taiwan, Enkhtaivan Ochirbat /Mongolia, Ho Tzu Nyen / Singapore, Jantsankhorol Erdenebayar /Mongolia, Luo He-Lin /Taiwan, Monika Czyzyk + Torsten Zenas Burns＆Darrin Martin /U.S.A., Munkhjargal Jargalsaikhan /Mongolia, Wang Ya-hui /Taiwan, Ng Fong Chao, Noah /Macau, Yuan Goang-Ming /Taiwan, Chun-Yi Chang /Taiwan
Section 3: Remapping Hong Kong (Curated by the Chairman of Videotage Leung Hok Bun Isaac; all works are selected from Videotage Media Art Collection）
Artist: Ellen Pau, Jo Law, Choi Sai-ho, Linda Lai, CHAN Chui Hing Nose, MAP Office, Chilai Howard, Morgan Wong, Jamsen Law, LEUNG Chi-wo, FUNG Wai, Silas Fong, Jay Forster, Isaac Chong Wai
Section 4: “Five Senses”--Italy Magmart International Video Art Biennale 25 Awarded Art Exhibition
Artist: Erique Lacorbeille /Italy,Andreas Mare /Austria,Nara Denning /U.S.A.,Russell Chartier / U.S.A.,Sylvia Toy St. louis (aka Sylviatoyindustries) / U.S.A.,Silvia De Gennaro / Italy,Francesca Amati / Italy,Damon Mohl / U.S.A.,Antonello Matarazzo / Italy,Mohammed Harb / Palestine,Arya Sukapura Putra / Indonesia, Clara Aparicio / Great Britain, Steven Verstuyft / Belgium, Emre Onol / Turkey,Marc Neys (aka Swoon) / Belgium, Jaime Rodriguez (aka Jaime rguez) / Spain, Benna Gaean Maris (aka Benna) / Italy,Lelievre Lievre (aka Lievre) / France,Willehad Eilers (aka Waynehorse) / Netherland,Dimitri Fagbohoun / Benin, Lino Strangis / Italy, John Sanborn / U.S.A., Urszula Kluz-knopek (aka Adija) / Portland,Gérard Cairaschi / France,Danilo Rosini (A.K.A. Danilorosini images) / Italy
Opening: 15:00, December 9th (Saturday), 2017
Dates: December 9th, 2017 - January 9th, 2018
Venue : Liangzhu Culture and Art Center, Liangzhu Culture Village, Yuhang District, Hangzhou, China.
Forum：IMAGE MAPS OF URBAN NOMADISM
Forum Time: 16:30 – 17:30, December 9th (Saturday), 2017
Moderator: Gu Zhenqing, Cao Kai
Forum Speakers: Torsten Zenas Burns/U.S.A., Alessandro Rolandi/Italy, Ariuntugs Tserenpil/Mongolia, Chun-Yi Chang/Taiwan, Ng Fong Chao, Noah/Macau, Leung Hok Bun Isaac/ Hong Kong, Dalkh-Ochir Yondonjunai/Mongolia
Organizer: Big Roof Culture
Co-Organizer: Cross-Media Art Institute of China Academy of Art, Experimental Art Department of Guangzhou Academy of Fine Arts, Beijing Li-space
Partner Organization: Magmart International Video Art Festival, Videotage, Videotage Media Art Collection
Producer: Zhang Yan
Assistant Curator: Dong Jian, Li Jiaoni, Liu Yuan
Contact: 0571-88763685(Phone)
p-dawuding@vanke.com (Email)
Partner Media: Art Archive (www.artda.cn)
▲ 安藤忠雄设计的良渚文化艺术中心
▲ 安藤忠雄设计的良渚文化艺术中心
The Curatorial Method of Urban Nomadism
Gu Zhenqing
It is currently going through the all-time crisis of the dominating thinking image of global capitalism and the inertial thinking of political correctness. The culture conflict intensifies; the international Nationalism and Populism are raising their heads. The future of global economic development has become more and more whirling during the process of recession. While walking on the way of resisting the centralization and institutionalization of Europe and American culture, has China Contemporary Art constructed its own spirit and value? Also has it found its own methods of organizing and change while facing the difficulties of the recession of art market and the overstock of artworks?
Urban Nomadism is not just a brand new thinking mode of inpouring Nomadic spirit into modern world, and it’s more like a new curatorial practice to challenge of the thinking traditions, the Western centralism, in this international art society. As the economic development and culture prospering of several developing countries in recent years, the international art ecology is becoming more and more flattening posture of de-centralism, non-unification and non-hierarchy. However, the contradiction and conflicts are getting more and more severe between the decoding and re-coding, the delocalization and re-localization towards European and American mainstream culture. Urban Nomadism is doubtless another road to transcend and escape the traditional political texts. The features of space shifting and geographic transferring, which Urban Nomadism emphasizes, has helped the contemporary art acquiring its freedom to consecutively produce otherness, derived diversities, connectivity and inter-activities. The global art is not integrated, nor hierarchical under the context of Urban Nomadism. Instead, it is with planarity and boundlessness. The global art does not belong to one linear developing logical structure, but presents as the random connection and free galloping of individual artist, art communities and organizations from various places and different backgrounds. The global art is not evolving, Genealogical, easy to predict, but fluid, discrete, irregular and unpredictable. With the features of inter-connecting, heterogeneities mixing, multi-element developing, consecutively fissile and endless reproducing, Urban Nomadism is decomposing the concept structure and order based on the European and American traditional thinking. There is no subject nor object, no center nor boarder in the thinking picture of Urban Nomadism, instead, it comes with countless entrances and exits, and the factors, calibration results, the dimensions that decide the creation and flowing of art.
The dynamic state of Urban Nomadism is a system with no destination, no border, and no blocking. It does not dig the meanings, nor does it interpret meanings. It instead creates the meaning. What it presents is exactly the free will of art.
The Characteristics and Solutions of “Urban Nomadism”
Zhang Haitao
The nomadic culture has the characters of un-centralism and anti linear-developing. The living status of the Nomads is also a free will and spiritual state to question the European Centralism. The root theory of the Nomadic Spirits Thinking is not the structure of tree root, but a status of the potato root that is equal and intertwining with each other. The nomadic culture is also a multi-culture method by deconstructing binary oppositions and constructing the tolerance. Its un-linear evolving characteristic
Is also the vital difference between the Modernism and the contemporary culture
What the solution of the nomadic culture emphasizes are: Connecting and sharing, parallel trans-boundary, playing on its own, questioning if the capital could change the value judgment, and the transforming of traditional resources like Chinese “Original Home Awareness”.
The modern scientific technology is a double-bladed sword, and the thinking of human is also a complicated carrier. Human beings always have this contradictive psychology request, which would experience the unnatural psychological rebound by the current artificialization and technicalization, and then are longing for the eternal topics like the natural original motivation, pondering upon life, the view of time, materialization, and the natural state of mind. This is also one of the spiritual compensation for human heterization resulted from this current economic consumption age. It has become the urgent needs of human beings to live harmonically with the nature. Urban Nomadism is to infuse the free, equal and natural spiritual concepts into our modern society, that the nature and the artificialization super-nature could develop parallel with multi-elements.
The curatorial cases related with Urban Nomadism curated by Teacher Gu Zhenqing and me in recent years include: “Original Home” Contemporary Art Exhibition, “Spiritual Searching” Plan, Inner Mongolia Contemporary Art Biennale, Ulan Bator Chinese Short Film Exhibition in Mongolia, Xi’an Media City Contemporary Art Exhibition. Please see the brief logic sorting as below.
Jia Pingwa Culture Museum of Art promoted the special opening edition of “Original Home” Contemporary Art Exhibition on its opening ceremony at 9:30 am on April 8th of 2014 in Xi’an, the ancient capital city of thirteen dynasties. The exhibition were jointly curated and planned by curators Gu Zhenqing, Zhang Haitao, and Wang Yifan, which has presented nearly one hundred artworks by 35 artists. The “Original Home” exhibition is the contemporary transforming and recreation of Chinese traditional classics and local cultures, so is it a spiritual pursuit of root-searching.
“Spiritual Search” Contemporary Art Plan curated by chief curator Gu Zhenqing and joint curator Zhang Haitao, which aims to search the “Essence, Energy, and Spiritual” of the natural landscape in Libo of Guizhou province and to experience the traditional Wu Nuo Culture of the minority nationalities like Shui, Yao, and Buyi, started from Small Seven-hole Scenic Area and Big Seven-hole Scenic Area in Libo town, Qian Nan State of Guizhou Province. Artists Chen Wenbo, Gao Huijun, Guan Wei, Han Lei, Hong Hao, Qi Zhilong, Li Zhanyang, Shi Jin, Shi Xinning, Sun Liang, Tong Yan Ru Nan, Wu Xiaochuan, Xu Ruotao, Xu Wentao, Yang Shu, Professor Sha Manxue, and Guo Shuyun have participated this 5-day art experiencing, creating and communication activity in Libo. By April 25th, the 1st batch artists and academic observation and study project of Guizhou Libo “Spiritual Searching” Contemporary Art Plan successfully closed. This 5-day observation and study program includes: Lung washing experience with the Landscape, Visiting Libo Archive Museum (Discussing and Researching Shui Shu), Experiencing the ritual and necromancy, Seminar of Sa Man Culture, Creating, Visiting Yao stockade village (Observing and inter-acting, researching of the original art). Then the artists recreated via various media and entered the exhibitions. The publications were archived in the end.
The 1st Inner Mongolia Contemporary International Art Communication Biennale opened on December 14th of 2015. This exhibition, presided by Gu Zhenqing and Zhang Haitao, was held in 3 plates of artists from international, artists from domestic China, and artists from local Inner Mongolia. It has shown how the Inner Mongolia ethnic, as an minority nationality with strong nomadic culture, got its genetic recombination during the urbanization of modern culture and the evolvement of globalization. Therefore, this exhibition is different than other biennales which were run by modern capital. It is the geographic and ecologic otherness that motivated us to participate in the exhibition. As the epitome of contemporary culture, this International Communication Biennale in Inner Mongolia has touched the core-value question of the modern culture un-linear development.
2016 Ulan Bator Chinese Short Film Exhibition opened in the Mongolia National Art Museum at 2 pc on June 10th, 2016. This film exhibition was curated by Chinese famous curator Gu Zhenqing, with the National Art Museum President Mr. Bartle Bart as the exhibition director, Chinese Independent Films Exhibition Director Mr. Cao Kai and Curator Zhang Haitao as the film selectors, exhibiting 60 films by 50 active Chinese experimental film artists. 2016 Ulan Bator Chinese Short Film Exhibition aimed to help the audiences in Mongolia to understand Chinese experimental films, as well as the current developing environments and status in China. Experimental film is one of the branches of Contemporary Art, so is the creative practice of languages and conceptions. The exhibited films in this show were also about the topic of “The Relationships between Human Traditions and Modern Culture, Globalization and Otherness, Technology and Nature”.
Solutions of Nomadic Culture: Colliding, Transforming and Reconciling
The nomadic ethnic is currently in this embarrassing status of how to inherit local culture and absorb western culture. It’s extremely critical of keeping balance in the relationships between inheriting, transforming and innovation. This concept even touches the core-value questions of the human modern culture un-linear development.
It contains a special meaning with this “Urban Nomadism --- 2017 Hangzhou Liangzhu Motive Picture Exhibition” which has invited important motive picture artworks from various areas of the domestic and international to exhibit at Hanzhou Liangzhu Culture and Art Center. The Liangzhu culture is the origin to explore Chinese Civilization, which is the “Holy Land” to prove Chinese Civilization with five thousand years history. The Liangzhu society has stepped into civilized society. Also as a city with deep accumulation of traditional culture, it is a very important topic of how Hangzhou could keep and transform the Original Home Awareness in our traditional culture during this modern globalization age. Nomadism is not return to the primitive savage status, it is instead to infuse the free nomadic spirits into urban. The experimental motive picture exactly carries this characteristic and spirit with free expression.
November 4th, 2017
