原乡无声 新民有艺“DLAF复归”重庆第二届国际现场艺术节纪实

□ 文/本刊记者 杨艳

为期22天的“DLAF复归”重庆第二届国际现场艺术节于10月7日在北碚蔡家落幕，艺术节以“原乡无声，新民有艺”为主题，来自中国、波兰、德国、英国、日本、意大利6个国家的82名艺术家创作作品数十件，其形式包含行为艺术、装置雕塑、影像、实验音乐、舞蹈现场、民艺展演现场等，对公众开放留场作品展览。

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复归”重庆第二届国际现场艺术节交流现场。

本届艺术节采取联合策展制，本土艺术家兼策展人曾途、曾令香、靳立鹏、胡燕子分别用“历史的定命”“人性的反应”“自然的要求”“知识的逻辑”4个版块呈现。每个版块包含艺术互动实践工作坊、艺术家在地作品创作、学术论坛、图书与影像作品展映会等活动，实现艺术与公众的零距离接触。

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.

波兰艺术家的现场创作。

跨界协作 用艺术复归乡土现场

2017年在九龙坡区举办的首届“DLAF复归”现场艺术节倡议“艺术的场域迁移与现场的多义生长”，鼓励艺术家直面当地的社会现场与文化语境，意图促成当代艺术与中国高速发展的社会之间的直接碰触。本届艺术节承接了上届议题，持续关注让艺术走进中国城市和乡村。

“跨界协作”是本届艺术节的亮点之一。本届艺术节策展人之一、四川美术学院新媒体艺术系艺术与社会教研室主任曾途介绍：“本届主题探索更深，参与合作领域更广。以艺术与乡土的多元关系为切入点，聚焦艺术与‘三农’的交互现场，跨界融合艺术、‘三农’、环境保护、社会学、民俗学、人类学等专业领域的实践探索交流，倡议跨领域的学术融合，以及知识对乡土现场的复归。”

本届艺术节在北碚巴渝农耕文化陈列馆举行。国家教育部艺术学理论教指委委员、四川美学院教务处长王天祥在艺术节上提出“村社艺术”的构想，他认为这是一种艺术结合乡村的发展模式。

“在全球化的背景下，中国当代艺术重视同西方接轨，却在一定程度上忽视了本土文化根基，‘复归’是要让艺术家关注本土文化。”曾途说，让艺术走进巴渝农耕文化，是实践乡土现场最直接的方式。“通过最普通的农具，中外艺术家能直观感受到中国农耕文化，它们有的现在已难寻踪迹，十分珍贵，值得乡村建设、生态农业、艺术等领域的专家来共同挖掘，这或许也是吸引他们到来的原因。”

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."

农业发展及乡建领域专家、重庆大学副教授潘家恩认为“乡村需要艺术，艺术也需要乡村”，他从“三农”体系出发，通过阐述中国现代化进程中“去乡土化”问题出现的原因、表现与影响，呼吁人们重新发现“三农”价值，重建与复兴原乡文化，使艺术在其中起到积极作用。

对于艺术节的举办地，波兰艺术家、华沙艺术学院教授Grzegorz Kowalski屡次称赞，他在这里看到中国劳动人民的发明和智慧，感到震惊：“这是我第一次来到中国，能有机会从劳动人民的生活视角近距离观察中国，看到他们是如何生活在这片热土上。我非常享受在这里的每一天，遇见努力又友善的人，我敬佩他们，他们有自己的历史并为之骄傲，这是我在中国最有价值的收获。”

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."

传承与创新 用艺术展现非遗之美

传承改良，艺术新造。依托艺术节这一文化交流平台，不少艺术家、民间文化民俗研究者将目光聚焦中国非物质文化遗产，用他们的方式让人类重视在工业化、城镇化发展的今天，乡村文化所面临的传承、非遗文化如何复归等问题。

来自西南大学教育学部美育研究中心的李雪垠主持的蔡家草把龙创意工作坊，集合多位艺术家的智慧和创意，在拥有200多年历史的非物质文化遗产蔡家草把龙的传统民间技艺上有所创新，共同创作出蔡家草把龙文化景观，让嘉宾一睹中国传统农耕稻作文化的独特魅力。

英国艺术家梁志刚主持的“加辣图书馆”工作坊以中国传统二十四节气为基础，邀请公众集体创作一个不断“生长”的 农 耕历，让 大 家看 到中国古 老 智慧的同时，鼓励人们热爱大自然己动手种植食物。

① 艺术节上展示的蔡家草把龙在传统民间技艺之上有所创新。

② 波兰艺术家Grzegora Kowalski教授称赞中国劳动人民的发明和智慧。

③ 民间傩戏艺人在艺术节上现场演绎。

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，还有民间傩戏艺人受邀到艺术节与民俗专家一起进行现场编排与演出，通过与公众的互动，将原生传统艺术文化的理念及表演形式传播到大众层面。

助推中波项目达成

重庆第二届国际现场艺术节不仅是一个向国内外艺术家展示地方文化的平台，更是一次与国内外专家学习交流的难得机会。

Grzegorz Kowalski称，回国后他一定要向他的艺术家朋友及学生分享这次经历，他深切感受到中国文化的魅力，同时更期待中波两方学院的持续合作，能够为下一代人提供更多跨越国界的交流机会。

据了解，四川美术学院与波兰华沙艺术学院已签订战略协议，建立中波“互鉴与互建”项目，以艺术为语言，联动东西方文化系统展开跨国合作，助推中国与东欧文化艺术深度交流。

其中，中波“互鉴与互建”项目之巴渝原乡“开放形式”在地工作坊已于10月5日在北碚柳荫镇进行，主要依托中国乡村的文化历史特性，以血缘亲情和宗族文化为基础创作的中国“村社艺术”，让其成为构筑中国乡村文化振兴的催化剂。此外，还将于2019年11月至12月、2020年4月至6月，分别在波兰华沙和重庆举办“新情境与新现实：中国与波兰艺术交流互鉴展”。

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.

嘉宾说艺术

四川美术学院副院长、雕塑系教授 焦兴涛

现场艺术创作方式如一场“拍案惊奇”

面对具体的时间、地点、人物、事件进行的“即时冲动的”“必须的”“不得不的”的创造，才是针对中国最广大、最深刻的现实和文化处境的当下艺术。与其说这是一场艺术实践，不如说是一首由时间、地点、人物、事件组合而成的诗歌创作，或是一场中国现实日常的“拍案惊奇”。

艺术家、教育家、波兰华沙艺术学院教授 Grzegorz Kowalski

开放的艺术 艺术的开放

20世纪早期，波兰将仅属于贵族阶层的高雅艺术解放出来，打破阶层的限制，将艺术平民化、普及化。后来，艺术又打破纯专业边界，与社会各专业领域进行广泛交流合作。这是西方社会现代化转型中具有历史转折意义的“包豪斯运动”在波兰的具体体现。打破阶层限制、打破学科边界的方法论，可以两者整合为一，在波兰的社会发展和教育系统中得到很好运用。我认为中国艺术可以从中得到借鉴。

波兰华沙美术学院视觉艺术专业博士 Ewa Maria Smigielska

遇见中国乡村山水 探索自然价值

对我来说，探索自然是非常有趣的事情，这是我第一次深入接触中国乡村的山水，以及人们的生活方式。中国的山水画从小对我的影响很大，而当我来到这里，才真正体会到山在中国文化中的艺术价值，所以我创作了“自然的倒影”这个作品，作品和这里生活的人相互联系，用中国人日常用的水缸投射出大自然竹林，探索自然价值。

意大利艺术家、上海美术学院艺术博士 Federica Buonsante

文化差异是一种基本价值

这次艺术节让我了解了中国的地域差异，体验了本土美好的传统节日，如中秋节。每个中国人对自己的民族文化有很强的认同感。只有在具有同等文化认同的基础下，不同的文化才能丰富彼此，并出现创新。文化差异是一种基本价值，相互影响有利于文化发展，它永远无法替代和消解文化的核心和本质。所以我们需要尊重自己的文化，若不能做到，又谈何尊重其他文化。

日本艺术家、日本大地艺术节实践者 Onoda kenzo

“极简主义”“观念艺术”包含东方艺术思想

二战时期，日本战败，此后日本按照美国的方式发展。我是二战后出生并接受美国文化熏陶长大的，那时超级崇拜美国，美国摇滚音乐影响了日本，影响了我。现在，在物欲横流、消费主义盛行的现代社会，厌腻了过度接受外来影响的同时，日本日益倾向于“极简主义”和“观念艺术”。尽管现代极简主义起源于欧美，但我认为这其中包含了东方艺术的思想。

柏林自由大学哲学博士、上海美术学院公共艺术理论与国际交流工作室副研究员 欧阳甦

公共艺术共同体的构建倡导全民共同解决

以艺术的国际合作为起点，谈公共艺术共同体的构建。以非洲戏剧村的建立为案例，这是一种通过以基础的、自发的娱乐为主而建立起来的非洲村落。公共艺术成为拉拢国际合作，增加国际吸引力的载体，从而促进跨文化合作。公共艺术共同体的构建，倡导在多元化的探讨下，将个别体系置入整体体系内，共同进行研究，跨越国界与文化共同去解决。

中国美术学院公共艺术博士、四川美术学院副教授、民艺活化与乡村振兴工作室导师 曾令香

艺术重构多样化的社群

工业革命成功塑造了人工化的图景，形塑了工业社会单向度的人，人类也成功地把自己塑造成为社会流水线上的产品，艺术开始在“关系美学”中修复社会纽带、链接人际交往。艺术重构社会有机体的能力逐渐彰显，能重新阐释人、社会和自然世界的关系，营造多元互动的公共领域，重构多样化的社群。

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