The Second Guangzhou Triennial

BEYOND:an extraordinary space of experimentation for modernization

BEYOND:an extraordinary space of experimentation for modernization
Exhibition : 18 November 2005 – 15 January 2006
As s major exhibition centre, the grand ceremony and exhibition og 2nd Guangzhou Triennial will be heid at Guangdong Museum of Art
The Second Guangzhou Triennial /D-Lab：Nov 2004 to Jan 2006
Organizer: Guangdong Museum of Art
Artistic Director : Hou Hanru
Curated by Hou Hanru, Hans Ulrich Obrist, and Guo Xiaoyan.
www.gztriennial.org
About the Second Guangzhou Triennial
On Nov. 18th, 2002, the first Guangzhou Triennial organized by Guangdong Museum of Art was held in Guangzhou City, China. The theme then was Reinterpretation : a decade of experimental Chinese art, which aimed at a historic review and academic interpretation of the experimental Chinese art since the 1990’s. This first Guangzhou triennial has produced considerable influence in both Chinese and overseas artistic circles. Now the second session of Guangzhou Triennial is ready to unfold in Nov, 2005 as a regularly-held international art event.
The theme —— BEYOND : an extroardinary space of experimentation for modernization
The curatorial team of the Second Guangzhou Triennial consists of internationally renowned curators Hou Hanru, Hans Ulrich Obrist and the museum’s in-house curator Guo Xiaoyan. They have come up with an extraordinary title for the event: Beyond.
“Beyond” refers to various forms of special cultural and artistic phenomena and methods developed under new social and economic circumstances that are unique, flourishing and full of vitality. These phenomena and methods embody the exciting and complicated imprints of globalization; they represent those specific solutions and patterns created and adopted by China and other non-western countries in their own process of modernization; they are an ever-changing dynamic phenomenon.
“An extraordinary space of experimentation for modernization” takes the Pearl River Delta (PRD) as one of the typical developing regions to study the contemporary art within the extraordinary modernization framework that is full of possibilities and confusion. Pearl River Delta (PRD) stands for new space strategies, economic patterns and life styles. We regard this “extraordinary space” as a platform for artistic experimentation and practice. At the same time, this also evokes a unique and inventive experimental sample.
Therefore, the second Guangzhou Triennial focuses on the research and reflection on those “extraordinary” modern developments, and presents the “extraordinary” expression of artists, architects, and scholars. To achieve such a vision, we have established a new structure, the cross-space, cross-time, cross-cultural, and inter-disciplinary Delta Laboratory (D-Lab). It guarantees a platform for sustainable and evolving research, creation and cultural exchanges. Tens of international and Chinese artists, architects and cultural activists have been invited to the PRD area to carry out studies and exchanges, and further realize specific projects for the Triennial exhibition. As the core of the Triennial, “D-Lab” has already held 3 major labs with over 10 public presentations. The related documents will also be edited and published. This strategy emphasizes expansions and continuations in both time and space. It fundamentally subverts conventional exhibition curatorial models and allows the globalised contemporary art activities intimately fused with the local context and deeply influencing its future development. Thurs, this Triennial has become a process of creating new realities for the very locale itself.
Besides D-Lab, The second Guangzhou Triennial also consists of the Main Exhibition, Self Organization, and Special Projects. They will be opened on November 18th 2005 in Guangzhou with Guangdong Museum of Art as the main venue. The event will last till Jan. 15th, 2006, while the D-Lab Project will go on at the same time.
The Structure of Second Guangzhou Triennial
1,（D-Lab）
Started on Nov. 28th, 2004, the D-Lab aims at providing a platform for academic dialogues, exchanges, and brain-storming. The time spans through Nov 2004 to Jan 2006. During the 3 years, the D-Lab session is held every 2-3 months.
Some D-Lab participants will later be invited to exhibit their works at the second Guangzhou Triennial.
D-Lab Time Schedule
（ D-LAB 1） Nov. 28th 2004 – Dec. 24th
（ D-LAB 2） Mar. 4th 2005 – Mar. 29th
（ D-LAB 3） May. 31st 2005 – Aug. 10th
（ D-LAB 4） Sep. 2005 – Oct.
D-Lab Topics :
[1] The museum economy in the globalization context
How can museums get involved in the cultural life of communities ? (Rem Koolhaas )
[2] Individual voices
How do artists understand and cope with globalization and market economy ? (David Weiss & Tatiana Bilbao)
[3] Economy environment and public space
Massive urbanization, excessive land exploration, environmental pollution and the diminishing of public space. (Dan Graham, Flying City from South Korea, Wang Jianwei)
[4] Archiving - memory and envisioning
How do artists maintain the memories about the city and its culture facing dramatic and fast changes? (Asia Art Archive & Jiang Jun)
[5] Border migration and making of new urban world
Work exhibition of American artists Jennifer Allora & Guillermo Calzadilla and French architect Didier Faustino
[6] City Gaze
Different perspectives to observe the City (Zaha Hadid & Thomas Bayrle)
Participants of D-Lab ( as of September 2005)
Rem Koolhaas (Rotterdam)
Doug Aitken (Los Angeles)
Joseph Grima/MULTIPCITY/Domus (Milano)
Yang Zhenzhong (Shanghai)
Lu Chunsheng (Shanghai)
Wong Hoy Cheong
Chen Shaoxiong (Guangzhou)
Liang Juhui (Guangzhou)
Xu Tan (Shanghai)
Li Yilin (New York)
Vitamin Creative Space (Guangzhou)
Zhang Wei (Guangzhou)
Hu Fang (Guangzhou)
Evelyne Jouanno (Paris)
Mathieu Briand (Mexico City)
Waling Boers (Berlin)
Yung Ho Chang/Du Juan (Beijing)
Kan Xuan (Amsterdam)
Surasi Kusolwong (Bangkok)
Doreen Liu Heng (Guangzhou)
Map Office (Laurent Gutierrez, Valérie Portefaix) (Hong Kong)
Yushi Uehara (Rotterdam)
Zheng Guogu (Yangjiang)
Huang Dade (Guangzhou)
Chen Tong (Guangzhou)
Ou Ning (Guangzhou)
Yang Xiaoyan (Guangzhou)
Feng Yuan (Guangzhou)
Shi Jian (Beijing)
Zhou Rong (Beijing)
Tsuchimoto Noriaki (Tokyo)
Fujioka Asako (Tokyo)
Michael Lin (Paris)
David Weiss (Zürich)
Tatiana Bilbao(Mexico)
Dan Graham (New York, USA)
Wang Jiangwei (Beijing, China)
Cao Fei (Guangzhou, China)
Jiang Zhi (Shenzhen, China)
Zhu Jia (Beijing, China)
Flying City : Jang Jong Kwan & Jeon Yong Seok (Seoul, Korea)
Yang Yong (Shenzhen, China)
Asia Art Archive: Claire Hsu & Phoebe Wong (Hong Kong)
Jiang Jun (Guangzhou, China)
Huang Xiao Peng (Guangzhou, China)
Jennifer Allora & Guillermo Calzadilla (USA)
Didier Faustino (France)
Shen Yuan (France)
Ma Qingyun (Shanghai, China)
British Council :Colin Chinnery(Beijing/London), Florence Zeng (Guangzhou)
Scanner（London）
China Sound Unit(Guangzhou): Lawrence R.Y. LI (Guangzhou)
LIN Zhiying (Shenzhen)
Justin ZHONG Minjie (Guangzhou)
Tsuyoshi Ozawa（Japan）
Rirkrit Tiravanija (New York/Chiangmai)
Philippe Parreno (Paris)
Urbanus（Shenzhen/Beijing）
Thomas Bayrle(Frankfurt)
Shi Yong(Shanghai)
Isaac Julien (London)
Zhou Hao&Ji Jianghong(Guangzhou)
Stefano Boeri/Armin Linke(Milano)
Liu Wei(Beijing)
Koo Jeong-A(Paris)
Yan Lei(Beijing/Hong Kong)
Pierre Huyghe（Paris）
Zhang Xianmin(Beijing)
Wang Hui(Beijing)
Wang Minan(Beijing)
Wang Mingxian(Beijing)
Wang Jun(Beijing)
Zhu Pei(Beijing)
Jimmie Durham(Berlin)

2, Main Exhibition
Hundreds of artists and architects from around the world meet in Guangzhou to create artistic works related to the local culture, and to raise issues of urban and cultural development. The Exhibition has six parts as follows:

[1] The Super City: between density and expansion)
The City has been regarded as a newly-formed huge collective body that goes beyond the established concept of “city”. It is an extraordinary space and experiment field that covers all the issues and is free of time and space limit.
In the past two decades, the fast modernization of PRD had brought about the unprecedented, massive urbanization. From Guangzhou to Shenzhen to HK, Macau and Zhuhai, a collective body of City/Region has already taken shape. The process is unique in terms of the density and extent of urban expansion.
“The Super City” emphasizes on the artist’s vision, understanding, judgment and experience of the new regional social and economic patterns typical of PRD. This is not the self-contentment of localism, but one of many possibilities to discover uniqueness and diversity under the background of globalization.

[2] Tropical Memory and Alternative History
The extraordinary “great city” phenomenon of PRD is largely due to the geographic and historic features of this region. The tropical and sub-tropical climate is in accordance with the very open and diversified architectural and life styles in this region. The cultural and historical development of PRD region also deviates from the mainstream, and takes on certain features of Alternative History. All these factors make PRD region more confident and open in the exchanges with the outside world. Based on this historic narrative of tropical memory, artists will have larger space for artistic imagination and creation.

[3] Urban Survivor, along, facing the chaos
Modern urban life is tense and filled with noise. This brings everyone considerable pressure. However, this can also mean an opportunity for self-reflection and enjoying lonely moments.
Each person, especially artists, is able to conduct micro-observation of the modern urban life in such a complicated context, and interpret it in his/her own way.

[4] Facing Globalisation : Migration and Borderline
In the globalization context, almost all the economies have been integrated into the global system. The borders have been blurred and redefined, and the population has been moved and relocated, especially in the PRD region. How to understand and judge these continuous changes? What does this newly generated space mean to us? In the process of massive movement and migration, what defines “center” and “border”? All these issues call for relevant solutions from the perspectives of art and culture.

[5] The Garden , Man-Made Nature
People always imagine things about utopia and pastoral life styles. This also includes city residents’ fantasy about the dislocation and transformation between public space and personal space. Man-made nature becomes the solution to people’s utopia imagination. In that sense, the modern Cantonese landscape design and construction worth further inspection by artists and architects.

[6] Fantasia
Personal fantasy and imagination always create artistic miracles. This topic concerns the personal reflection of artists. In the end, the background of the Great City is the perfect hotbed to give birth to art miracles.

List of Artists :
1，The Great City :between density and expansion
Justin Bennett (De Hague)
Thomas Bayrle(Frankfurt)
Yushi Uehara / Berlage Institute(Rotterdam)
Yung Ho Chang/Atelier FCJZ,Juan Du+ Chen Shaoxiong &Students(Beijing)
Chen Shaoxiong (Guangzhou)
Didier Faustino (Paris)
Fischli & Weiss (Zürich)
Flying City (Seoul)
Huang Xiaopeng (Guangzhou)
Jiang Jun (Guangzhou)
Liang Juhui (Guangzhou)
Rem Koolhaas/Alain Fouraux (Rotterdam / Beijing)
Armin Linke(Milano)
Doreen Liu Heng(Guangzhou)
Leung Chi-Wo(Hong Kong)
Complete Art Experience Project – He Yingyi, Li Zhenhua, Liu Ding, Liu Wei, Colin Chinnery, Qiu Zhijie, Shi Qing, Wang Wei, Wu Ershan, Zhang Hui (Beijing)
Ma Qingyun MADA(Shanghai)
Map Office (Laurent Gutierrez, Valérie Portefaix) (Hong Kong)
MXDF/Titiana Bibao, etc.（Mexico）
Shi Yong (Shanghai)
Urbanus（Shenzhen/Beijing）
Yang Zhenzhong (Shanghai)
Yuang Goang-Ming (Taipei)
Zhu Jia (Beijing)

2, Tropical Memory and Alternative History
Cao Fei (Guangzhou)
Lin Yilin (New York/Guangzhou)
Shen Yuan(Paris)
Rasq Media Collective (Dehli)
Isaac Julien (London)

3, Urban Survivor,along,facing the chaos
Doug Aitken (Los Angeles)
Chen Xiaoyun (Hangzhou)
Chu Yun (Shenzhen)
David Diao (New York)
Lu Chunsheng (Shanghai)
JiangZhi (Shenzhen)
Yang Yong (Shenzhen)

4, Facing Globalisation :Migration and Borderline
Paul Chan(New York)
Surasi Kusolwong (Surasi)
Tsuyoshi Ozawa (Tokyo) in collaboration with Chen Shaoxiong
Wu Shanzhuan （Shanghai/Hamburg）
Yang Jiechang (Paris)
Jennifer Allora/Guilermo Calzadilla (Porto Rico)
Jimmie Durham (Berlin)
Fu Jie (Hong Kong/Beijing)
Multiplicity (Milano)
Ni Haifeng (Amsterdam)
Sun Xiaofeng (Guangzhou)
Wang Jianwei (Beijing)
Wong Hoycheong (Kuala Lumpur)
Yan Lei(Beijing/Hong KOng)
Zhou Hao/Ji Jianghong(Guangzhou)

5, The Garden,Man-Made Nature
Chen Zhen (Paris)
Dan Graham (New York)
Michael Lin Ming Hong (Taipei/Paris)
Gabriel Orozco(Mexico City/New York/Paris)
Zheng Guogu (Yangjiang)

6, Fantasia
Kan Xuan (Beijing)
Koo Jeong A (Paris)
Rirkrit Tiravanija (New York/Chiangmai)
Philippe Parreno (Paris)
Liang Yue(Beijing/Shanghai)
Xu Zheng (Shanghai)
Xu Tan (Shanghai/Guangzhou)

3, Self Organisation
Some independent art organizations, institutions and communities have taken active parts in artistic creation and practice. Their work is more diversified and flexible. This topic aims at finding out the historic line of the art experiments and practice conducted by these independent Chinese art organizations.
Alternativearchive(Guangzhou)
Art Commune (Hong Kong)
Art River Loft(Kunming)
Bizart (Shanghai)
Blue House Art Space(Chengdou)
Borges Libreria Art Space(Guangzhou)
Freecinema(Shenyang/Guangzhou)
L’image(Guangzhou/Beijing)
Old Ladies House（Macau）
Para-Site(Hong Kong)
1A Art Space(Hong Kong)
Videotage(Hong Kong)
Loft345 (Guangzhou)
RCM Art Museum(Nanjing)
Red Sky Art Space(Haikou)
Happenning Group（Hong Kong）
Tank Art Space(Chongqing)
Third Line Art Group(Guangzhou)
Vis-à-Vis Art Lab(Xiamen)
Vitamin Creative Space (Guangzhou)
Jia Shen Workshop(Guangzhou)
21Floor Sound Team(Guangzhou)

4, Special projects
This part is specially designed for the second Guangzhou Triennial. The purpose is to reconsider and study the relationship between the local culture and reality, and to sort out the historic and cultural development.
[1] Moving Images of Pearl River Delta 1898-2005(Ou Ning and Law Kar)
[2] Sound and City
- This is a collaborative project with British Council. The purpose is to observe the urban changes in PRD through the media of sound.
[3]Public structures
curated by Gavin Wade(Birmingham)
[4]Opening by Classroom
Curated by Wang Shunkit ,Huang Xiaopeng, Chen Shaoxiong and Zheng Guogu
[5]Record and Documents
Curated by Zhang Xianmin


Curatorial Committee of the Second Guangzhou Triennial
Artistic Director: Hou Hanru(France)
Curators:Hou Hanru Hans Ulrich Obrist(France) Guo Xiaoyan
Organizational Committee of the Second Guangzhou Triennial
Head of committee: Wang Huangsheng
Deputy head of committee: Zhu Haohua Jiang Yue
Secretary-general: Shao Shan
Guangzhou Triennial Office:
Head of office:Wang Huangsheng
Deputy head of office: Guo Xiaoyan Shao Shan
Secretary of office:Dong Bingfeng Sun Xiaofeng Wu Sikai
Project manager:Xi Bei(France) David Ho Yeung Chan(Hong Kong) Li Gang Cui Qiao

Exhibition Department:
Shao Shan
Cai Baolie
Li Ping
Jiang Yuzhi
Wei Shicai
Xie Jiacai
Xu Xiaobin
Liu Duanling
Communication Department:
Zhu Ming
Liang Jie
Cai Tao
Li Xuhong
Liao Jianfen
Reception department:
Huang Fangming
Zhong Kezhen
Wu Xiurong
Li Jinrong

Development Department:Li Gang
Finance Department: Chen Ling
Security department:Du Chaoxiong
Design Director:Wang Xu
Web Design:Ou Ning
Law Consulttant:Wang Xuechen

Organization
Guangdong Museum of Art
Director：Wang Huangsheng
Artistic Director: Hou Hanru (France)
Curators： Hou Hanru (France), Hans Ulrich Obrist (France), Guo Xiaoyan (China)
Project Managers：Xi Bei(France) 、 David Ho Yeung Chan、Li Gang、Cui Qiao
Contact:
Office of Guangzhou Triennial : Guo Xiaoyan、Xi Bei(France) Dong Bingfeng、Wu Sikai
Tel：0086-20-87351261
Fax：0086-20-87351261
e-mail：gztriennial@gdmoa.org
GUANGDONG MUSEUM OF ART
Er-sha Island,Guangzhou,China