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2009年秋,OCTOBER杂志曾邀请世界各地学者、批评家和当代艺术的策展人等,以“当代性”为主题,撰写文章、展开讨论,以期在全球化的当下语境中为艺术及社会勾勒一幅全景。但,32位参与作者几乎全部来自西方主流世界,使这场关于“当代性”的讨论本身即成为今天所谓“全球世界”症候群中权力关系及对比的一个例证。第三世界国家及地区,以及来自“边缘”的文化和社会,它们将如何发声,如何在既有认知系统中探问、形塑和安置自身,如何以积极的方式突破现有的话语及权力配置,从“边缘”和“外围”加入到定义“当代”这一充满战略性和策略性的文化政治角力中去?这一系列问题具有某种持续的迫切意义。以上海当代美术馆主办“当代性:印度尼西亚的当代艺术”展览为契机,本刊邀请策展人比利安娜就“当代性”为主题,呈现一组来自印度尼西亚的当代艺术工作者对此问题的思考。他们对本地现实及全球图景的观察、判断和回应,将“边缘”转化为多重对话之一极的持续努力,虽难摆脱“先天不足”的局限甚或有待商榷,但,这毕竟是来自“边缘”的思想不得不承担的宿命。
In the autumn of 2009, OCTOBER magazine invited scholars, critics and curators of contemporary art from all over the world to write articles and discuss with “Contemporaryity ” as their theme, Social outline a panoramic view. But almost all 32 authors are from the mainstream Western world, making this discussion of “contemporary” itself an example of the power relations and contrasts in the so-called “global world” syndrome today. Third World countries and regions, as well as cultures and societies from the “periphery”, how they sound, how to explore, shape and place themselves in the existing cognitive system and how to break through the existing discourse in a positive way And the allocation of power from the “periphery” and the “periphery” to the strategic and strategic cultural and political forces that define “contemporary”? This series of questions has some continuing and urgent significance . Taking the exhibition “Modernity: Contemporary Art in Indonesia” as an occasion for the Shanghai Contemporary Art Museum to host the exhibition, Bianna invited the curator Biliana to present a series of contemporary artists from Indonesia on the theme of “Contemporaryity” Reflections on this issue. Their continued efforts to observe, judge and respond to local realities and the global picture and turn the “edge” into the ultimate pole of multiple dialogues are quite open to question whether they are “inherently deficient” or not, but they are, after all, From the “edge ” thought had to bear the fate.