第三届广州三年展
开幕时间：2008年9月10日
展览时间：2008年9月11日——11月16日
主办：广东美术馆
策展团队：高士明、萨拉·马哈拉吉、张颂仁
The Third Guangzhou Triennial
Opening Preview: September 10th, 2008
Exhibition Time: September 11th, 2008– November 16th, 2008
Organizer: Guangdong Museum of Art
Curatorial Committee: GAO Shiming, Sarat MAHARAJ and Johnson CHANG Tsong-zung
本届三年展抛出的第一个话语是“跟后殖民说再见”，这是策展工作的理论出发点，同时也是策展团所欲呈现的一个批评性视野。
For the curatorial discourse of this Triennial, we propose to say “Farewell to Post-Colonialism”. This represents the theoretical basis from which we hope to explore our critical vision.
“跟后殖民说再见”并不是对于后殖民主义的简单否定。一方面，作为一种现实处境，后殖民远未终结；另一方面，作为艺术策展与批评领域的主导性话语，后殖民主义已经高度意识形态化与机制化，不但日渐丧失其批判性，而且已经成为一种新的限制，阻碍了艺术创作新现实与新界面的呈现。
“Farewell to Post-colonialism” is not a denial of the importance and rewards of this intellectual tradition; in the real world, the political conditions criticised by post-colonialism have not receded, but in many ways are even further entrenched under the machinery of globalisation. However, as a leading discourse for art curatorial practice and criticism, post-colonialism is showing its limitations in being increasingly institutionalised as an ideological concept. Not only is it losing its edge as a critical tool, it has generated its own restrictions that hinder the emergence of artistic creativity and fresh theoretical interface.
所以“跟后殖民说再见”，不但是从后殖民“出走”，而且是一次“再出发”。
To say “Farewell to Post-Colonialism” is not simply a departure, but a re-visit and a re-start.
2008年是“68运动”的四十周年，近半个世纪以来，多元文化理论和新社会运动已经把社会与日常现实解构为一幅不同观念相互冲突的镶嵌画，而国际当代艺术实践也大多聚焦于身份、种族、阶级、性别等尖锐的社会、政治问题。在五十年后的今天，那些曾经作为革命力量的理念，已经在“政治正确性”的口号保证下转化成为一种主导性的权力话语。而这些理念和话语的核心，正是始终纠结在当代艺术-文化领域中的种种形态的后殖民主义话语。半个世纪以来，后殖民主义不但构成了一个理论批评与策略的集合体，一个无所不包的话语场，而且已经构成了一种意识形态。
2008 will be forty years since the heady days of 1968. In these forty years,waves of new social movement and multi-cultural theories have woven a tapestry of rich and clashing colours out of the world’s changing social realities. International contemporary art has also benefited from the attention to socio-political issues surrounding identity, race, gender and class. But in fifty years, revolutionary concepts have also transformed into leading discourses safely guarded by ‘political correctness’. Post-colonial discourse’s analysis of the power structure within cultural expressions has triggered a series of cultural resistance, as well as the construction of the self as the Subject in relation to the Other. However, this kind of analysis and construction have also adversely developed an institutionalised pluralistic landscape that has today turned into an ideology, a new form of stereotyping.
本届三年展策展团指出：在后殖民主义话语场中，文化多元主义、身份政治与后殖民主义理论共同建造的“他者政权”及其权力游戏已经构成了一种“漫无边际的正确性”。如何在一种差异的生产中确立起差异的伦理？如何在对他性的保持中预防“他者的暴政”？这是目前国际策展界必须面对的重大问题。
In this Triennial we wish to draw attention to the ‘political correctness at large’ that is the result of the power play of multi-culturalism, identity politics and post-colonial discourse. Urgent issues facing curatorial practice today are: How do we establish an ‘ethics of difference’ within the framework of difference in cultural production? How do we prevent a ‘tyranny of the Other’ without sacrificing the grounds already gained against the power status quo?
长期以来，众多的国际艺术大展致力于构造所谓“众语喧哗的话语现场”以及“不同价值的协商空间”，强调文化身份与政治的正确性，而忽视了创造力的展现以及当代艺术对于可能世界的追求。“身份”、“多元”、“差异”等概念已经失去了往昔分析、批判的锋芒，而转化成为国际化组织平台上的意识形态表达；这些意识形态化的概念共同编织出“多元文化主义的管理机制”，并因而构成了对于当代艺术创造的一种新的限制，同时也遮蔽许多新的问题界面。
For some years major international contemporary exhibitions around the world have worked towards building up ‘discursive sites for a cacophony of voices’ and ‘negotiated spaces of diverse values’, emphasising ‘correctness’ in cultural politics; these have inadvertently succeeded to the neglect of independent pursuit of artistic creativity and alternative imaginative worlds. Concepts of identity, multiplicity and difference are changed into ideological and institutional. On the theoretical basis of post-colonialism, they are now slowly losing their edge to develop a multi-cultural ‘managerialism’ that become a new restriction for artistic creation.
所以，2008广州三年展的策展工作首先就要提醒大家注意“多元文化主义的限度”，并且勇于“跟后殖民说再见”。
In response to this, the curatorial team of the 3rd Guangzhou Triennial wants to bring attention to the ‘limits of multi-culturalism’, and say ‘Farewell to the Post-Colonial’.
这就要求三年展的策展实践主动刷新理论界面，从目前主导性的、泛政治-社会学的话语意识形态中出走，通过一系列学术动员与视觉组织工作，与艺术家共同研究、合作，从当下的现实经验与想象中共同孵化出艺术创造的新的话题与气象。
By saying ‘Farewell to the Post-Colonial’ we call for the renovation of the theoretical interface of contemporary art, to depart from its all pervasive socio-political discourse, and work together with artists and critics to discover new modes of thinking and develop new analytical tools for dealing with today’s world.
三年展演习：否定与提问
Excises of the GZ Triennial: Negations and Questionnaire
第三届广州三年展是一个自我发现的过程。
策展团队不希望宣称本届三年展“是什么”，而首先希望理清它“不是什么”。
The curators hope this Triennial will be a process of discovery for ourselves; not just the fulfilling of preconceived ideas.
Instead of claiming what this Triennial ‘is’, we wish to find out what it should not be.
第三届广州三年展可以被视为向国际艺术界的一系列提问，提问方式由两方面构成：一方面是“否定演习”，即声明什么是本届三年展所不要的，希望艺术家们共同想象和思考——除了现行的这些整体论的泛政治-社会学议题之外，当代艺术还可以开辟怎样的创作空间？
This Triennial may be understood as a locus of questions for the international art world, starting with an Exercise in Negation. We hope artists and critics will works with us to discover what new modes and imaginative worlds are possible for art beyond the boundaries of socio-political discourses.
第三届广州三年展的自我想象，否定演习……
不是西方-非西方，不是全球-本土化，不是国际主义-民族主义，不是左或右，不是世界主义，不是多元文化主义，不是族群主义，不是后殖民主义，不是后现代主义，不是身份政治，不是文化政治，不是社会学报告，不是关系美学，不是第三世界、第三空间，不是第三条道路，不是他者的政权，不是另类现代性，不是杂糅文化，不是旅游奇观，不是民俗学景观，不是新人秀场，不是艺术大都会……
The Self Imagining of Guangzhou Triennial 2008:
An Exercise in Negation …
Neither Western nor non-western; neither global nor local; neither international nor national; neither left nor right; neither the third world not the third space; neither tourist spectacle nor ethno-scape.
Not cosmopolitanism; Not multi-culturalism, Not tribalism; Not post-colonialism; Not identity politics; Not sociological report; Not relational aesthetics; Not regime of the Other; Not alternative modernity; Not hybridity; Not showcase of new stars; Not metropolis of art; …
另一方面，本届三年展还设置了名为“艺术家提问演习”的特别计划。艺术家们可以通过三年展这个平台，向策展人、批评家以及国际艺术界的其他同仁自由发问。“提问演习”是本届三年展前期的一个重要平台，策展团希望与艺术家们共同探讨当代艺术创作的理论处境，并在问答中清理
开幕时间：2008年9月10日
展览时间：2008年9月11日——11月16日
主办：广东美术馆
策展团队：高士明、萨拉·马哈拉吉、张颂仁
The Third Guangzhou Triennial
Opening Preview: September 10th, 2008
Exhibition Time: September 11th, 2008– November 16th, 2008
Organizer: Guangdong Museum of Art
Curatorial Committee: GAO Shiming, Sarat MAHARAJ and Johnson CHANG Tsong-zung
本届三年展抛出的第一个话语是“跟后殖民说再见”，这是策展工作的理论出发点，同时也是策展团所欲呈现的一个批评性视野。
For the curatorial discourse of this Triennial, we propose to say “Farewell to Post-Colonialism”. This represents the theoretical basis from which we hope to explore our critical vision.
“跟后殖民说再见”并不是对于后殖民主义的简单否定。一方面，作为一种现实处境，后殖民远未终结；另一方面，作为艺术策展与批评领域的主导性话语，后殖民主义已经高度意识形态化与机制化，不但日渐丧失其批判性，而且已经成为一种新的限制，阻碍了艺术创作新现实与新界面的呈现。
“Farewell to Post-colonialism” is not a denial of the importance and rewards of this intellectual tradition; in the real world, the political conditions criticised by post-colonialism have not receded, but in many ways are even further entrenched under the machinery of globalisation. However, as a leading discourse for art curatorial practice and criticism, post-colonialism is showing its limitations in being increasingly institutionalised as an ideological concept. Not only is it losing its edge as a critical tool, it has generated its own restrictions that hinder the emergence of artistic creativity and fresh theoretical interface.
所以“跟后殖民说再见”，不但是从后殖民“出走”，而且是一次“再出发”。
To say “Farewell to Post-Colonialism” is not simply a departure, but a re-visit and a re-start.
2008年是“68运动”的四十周年，近半个世纪以来，多元文化理论和新社会运动已经把社会与日常现实解构为一幅不同观念相互冲突的镶嵌画，而国际当代艺术实践也大多聚焦于身份、种族、阶级、性别等尖锐的社会、政治问题。在五十年后的今天，那些曾经作为革命力量的理念，已经在“政治正确性”的口号保证下转化成为一种主导性的权力话语。而这些理念和话语的核心，正是始终纠结在当代艺术-文化领域中的种种形态的后殖民主义话语。半个世纪以来，后殖民主义不但构成了一个理论批评与策略的集合体，一个无所不包的话语场，而且已经构成了一种意识形态。
2008 will be forty years since the heady days of 1968. In these forty years,waves of new social movement and multi-cultural theories have woven a tapestry of rich and clashing colours out of the world’s changing social realities. International contemporary art has also benefited from the attention to socio-political issues surrounding identity, race, gender and class. But in fifty years, revolutionary concepts have also transformed into leading discourses safely guarded by ‘political correctness’. Post-colonial discourse’s analysis of the power structure within cultural expressions has triggered a series of cultural resistance, as well as the construction of the self as the Subject in relation to the Other. However, this kind of analysis and construction have also adversely developed an institutionalised pluralistic landscape that has today turned into an ideology, a new form of stereotyping.
本届三年展策展团指出：在后殖民主义话语场中，文化多元主义、身份政治与后殖民主义理论共同建造的“他者政权”及其权力游戏已经构成了一种“漫无边际的正确性”。如何在一种差异的生产中确立起差异的伦理？如何在对他性的保持中预防“他者的暴政”？这是目前国际策展界必须面对的重大问题。
In this Triennial we wish to draw attention to the ‘political correctness at large’ that is the result of the power play of multi-culturalism, identity politics and post-colonial discourse. Urgent issues facing curatorial practice today are: How do we establish an ‘ethics of difference’ within the framework of difference in cultural production? How do we prevent a ‘tyranny of the Other’ without sacrificing the grounds already gained against the power status quo?
长期以来，众多的国际艺术大展致力于构造所谓“众语喧哗的话语现场”以及“不同价值的协商空间”，强调文化身份与政治的正确性，而忽视了创造力的展现以及当代艺术对于可能世界的追求。“身份”、“多元”、“差异”等概念已经失去了往昔分析、批判的锋芒，而转化成为国际化组织平台上的意识形态表达；这些意识形态化的概念共同编织出“多元文化主义的管理机制”，并因而构成了对于当代艺术创造的一种新的限制，同时也遮蔽许多新的问题界面。
For some years major international contemporary exhibitions around the world have worked towards building up ‘discursive sites for a cacophony of voices’ and ‘negotiated spaces of diverse values’, emphasising ‘correctness’ in cultural politics; these have inadvertently succeeded to the neglect of independent pursuit of artistic creativity and alternative imaginative worlds. Concepts of identity, multiplicity and difference are changed into ideological and institutional. On the theoretical basis of post-colonialism, they are now slowly losing their edge to develop a multi-cultural ‘managerialism’ that become a new restriction for artistic creation.
所以，2008广州三年展的策展工作首先就要提醒大家注意“多元文化主义的限度”，并且勇于“跟后殖民说再见”。
In response to this, the curatorial team of the 3rd Guangzhou Triennial wants to bring attention to the ‘limits of multi-culturalism’, and say ‘Farewell to the Post-Colonial’.
这就要求三年展的策展实践主动刷新理论界面，从目前主导性的、泛政治-社会学的话语意识形态中出走，通过一系列学术动员与视觉组织工作，与艺术家共同研究、合作，从当下的现实经验与想象中共同孵化出艺术创造的新的话题与气象。
By saying ‘Farewell to the Post-Colonial’ we call for the renovation of the theoretical interface of contemporary art, to depart from its all pervasive socio-political discourse, and work together with artists and critics to discover new modes of thinking and develop new analytical tools for dealing with today’s world.
三年展演习：否定与提问
Excises of the GZ Triennial: Negations and Questionnaire
第三届广州三年展是一个自我发现的过程。
策展团队不希望宣称本届三年展“是什么”，而首先希望理清它“不是什么”。
The curators hope this Triennial will be a process of discovery for ourselves; not just the fulfilling of preconceived ideas.
Instead of claiming what this Triennial ‘is’, we wish to find out what it should not be.
第三届广州三年展可以被视为向国际艺术界的一系列提问，提问方式由两方面构成：一方面是“否定演习”，即声明什么是本届三年展所不要的，希望艺术家们共同想象和思考——除了现行的这些整体论的泛政治-社会学议题之外，当代艺术还可以开辟怎样的创作空间？
This Triennial may be understood as a locus of questions for the international art world, starting with an Exercise in Negation. We hope artists and critics will works with us to discover what new modes and imaginative worlds are possible for art beyond the boundaries of socio-political discourses.
第三届广州三年展的自我想象，否定演习……
不是西方-非西方，不是全球-本土化，不是国际主义-民族主义，不是左或右，不是世界主义，不是多元文化主义，不是族群主义，不是后殖民主义，不是后现代主义，不是身份政治，不是文化政治，不是社会学报告，不是关系美学，不是第三世界、第三空间，不是第三条道路，不是他者的政权，不是另类现代性，不是杂糅文化，不是旅游奇观，不是民俗学景观，不是新人秀场，不是艺术大都会……
The Self Imagining of Guangzhou Triennial 2008:
An Exercise in Negation …
Neither Western nor non-western; neither global nor local; neither international nor national; neither left nor right; neither the third world not the third space; neither tourist spectacle nor ethno-scape.
Not cosmopolitanism; Not multi-culturalism, Not tribalism; Not post-colonialism; Not identity politics; Not sociological report; Not relational aesthetics; Not regime of the Other; Not alternative modernity; Not hybridity; Not showcase of new stars; Not metropolis of art; …
另一方面，本届三年展还设置了名为“艺术家提问演习”的特别计划。艺术家们可以通过三年展这个平台，向策展人、批评家以及国际艺术界的其他同仁自由发问。“提问演习”是本届三年展前期的一个重要平台，策展团希望与艺术家们共同探讨当代艺术创作的理论处境，并在问答中清理
搞这么多字，楼主好歹上张图啊？再这样搞真的要开骂鸟……………
