世界人居

時(shí)間   2022年6月11日 - 7月31日（周一閉館）

地點(diǎn)   深圳市南山區(qū)南頭古城if工廠204 

Date  June 11 - July 31, 2022 (Closed on Monday

Venue 204 idea factory, Nantou City, Shenzhen

展覽前言 

FOREWORD

個(gè)體流動的常態(tài)化，城市場景的同質(zhì)化，都使得我們逐步陷入一種“無地方性”。在互聯(lián)網(wǎng)和疫情的進(jìn)一步消解下，人們越發(fā)期望實(shí)體空間能夠映射我們真實(shí)的身份認(rèn)知，承載人與人之間的連接互動。是誰塑造了今天我們所在的城市？在規(guī)劃師，建筑師與工匠之外，作為個(gè)體是否也能參與構(gòu)筑屬于我們的“附近”？

在通常語境下，開發(fā)（develop）的概念意味著資源投入和決策力量；然而隨著社區(qū)網(wǎng)絡(luò)的形式和尺度不斷蔓延生長，開發(fā)不再只是自上而下地統(tǒng)籌動員，也可以是自下而上產(chǎn)生的行動計(jì)劃。在這些行動和嘗試中，一部分只能在微觀層面產(chǎn)生影響，一部分卻可以推動實(shí)質(zhì)性的建設(shè)和改變。

展覽通過八個(gè)案例研究與城市影像作品的并置，呈現(xiàn)了國內(nèi)外城市中不同群體自發(fā)組織、參與改變城市空間的實(shí)踐案例，邀請公眾一道探討此時(shí)此地可能的行動路徑，觀照他者的多元觀念。通過這些探索，每一個(gè)在地的個(gè)體和社群都能夠從日常的居住、生活、工作中感知到空間的可能性和歸屬感；而空間也將如實(shí)刻畫身體與世界的紐帶，和人們對美好公共生活場域的向往。

The normalisation of individual mobility and largely homogenized urban scene have led us into a kind of "placelessness". Internet penetration and pandemic controls further disintegrated our social connection, yet we crave increasingly for physical spaces that map our true identity and interaction. Who (can/will) shape the cities we live in today? Beyond planners, architects and artisans, can we as individuals also participate in the construct of our own "nearby"?

In a common context, the notion of development implies a considerable commitment of resources and strategies. However, as community networks grow, development necessitates not only top-down mobilisation, but also bottom-up action plans. Some action makes an impact at only micro level, while some may drive substantial changes in time.

Juxtapositing eight case studies and multimedia works, the exhibition presents examples of self-organizing local communities and their participation in the transformation of urban space, inviting the audience to explore possible paths of action and diversified perception in such process. Every individual and community may jointly explore the possibility of space and a sense of belonging; and our surrounding spaces may truly connect the body and the world, manifesting our aspiration for a better public being.

展覽作品

EXHIBITION WORKS

1

圖片由藝術(shù)家惠允

Courtesy of the Artist

陳丹笛子，《六十秒仙境公園》，2019

三頻影像，9分45秒

Chen Dandizi, Sixty Seconds of Wonderland Park，2019

Three-channel video, 9 min 45 sec

公園里每日下午煙霧繚繞的仙境場景由四點(diǎn)到六點(diǎn)間準(zhǔn)時(shí)噴射的大量水霧營造而成。人們相聚于這種稍縱即逝的喜悅中，進(jìn)入長達(dá)六十秒的異化都市景觀并“置身他處”，淤積的情緒從四方趕來在此處釋放、堆疊、升騰。藝術(shù)家在看似悠長的夢境里，發(fā)起對城市的無際想象和輕輕詰問。

A massive water spray creates the park's smoky wonderland scene from four to six o'clock on the dot, and people join each other in this fleeting joy, shaping an 'alienated urban landscape' that lasts 60 seconds. Their pent-up emotions come from all directions to be released, gathered, and rose from the void. In this seemingly long dreamscape, the artist imagines and gently interrogates the city in an endless way.

2

Courtesy of Teresa Fraga and Special Collections and Archives at Depaul University Library

CABLE，《社區(qū)對抗與芝加哥21計(jì)劃》，芝加哥

歷史圖像，文獻(xiàn)資料，印刷品

CABLE, Designing / Opposing the Chicago 21 Plan, Chicago

Historic images, documentation, print

面對戰(zhàn)后中心區(qū)衰退和郊區(qū)化趨勢，芝加哥商界組織自發(fā)成立規(guī)劃委員會，聯(lián)合市政廳發(fā)起了“芝加哥21”戰(zhàn)略規(guī)劃，倡議將城市發(fā)展聚焦于中心城區(qū)，希望借此復(fù)興城市經(jīng)濟(jì)。周邊少數(shù)族裔社區(qū)則發(fā)起了針對該計(jì)劃的反對聯(lián)盟，抗議社區(qū)隔離、公共住房投入和環(huán)境配套建設(shè)資金的下降。最終，在迪爾伯恩公園住區(qū)項(xiàng)目的實(shí)施進(jìn)程中，反對派取得了一定成效；而“芝加哥21”的規(guī)劃大部分得以實(shí)施，影響力至今仍在延續(xù)。

In the post-war recession and suburbanization, a strategic Chicago 21 Plan was initiated by the Chicago Central Area Commission (CCAC) and the City Hall in 1973, focusing on the development of Chicago's city centre and economic revival. Meanwhile, minority communities nearby formed a coalition against the plan, protesting segregation and declining funding for public housing and facilities. In the end, the opposition maintained partially their community rights in the implementation of the Dearborn Park Project, while the Chicago 21 plan was mostly realized, and its influence lives today.

3

Union Square BID Partnership ? Jane Kratochvil

羅雨翔，《商業(yè)促進(jìn)區(qū)與公共領(lǐng)域更新》，紐約

圖像，文獻(xiàn)資料，圖表，印刷物

Luo Yuxiang, BIDs and Public Realm Renewal, New York

Images, documentation, diagrams, print

BID（Business Improvement District）是一種非政府、非盈利組織，由商業(yè)街區(qū)的業(yè)主與經(jīng)營者代表共同管理，其制度基因是自治。通過區(qū)域內(nèi)向全體地產(chǎn)所有者征收與地產(chǎn)價(jià)值成正比的費(fèi)用，BID促使街區(qū)內(nèi)的個(gè)人和機(jī)構(gòu)通過經(jīng)濟(jì)利益團(tuán)結(jié)起來，自下而上地主導(dǎo)街區(qū)公共領(lǐng)域的運(yùn)營和投資，推動空間環(huán)境品質(zhì)、品牌運(yùn)營和公共活動等多方面提升。紐約中央車站、聯(lián)合廣場和富爾頓這三個(gè)不同規(guī)模的BID案例，展現(xiàn)了管理、融資和營造更新的多樣策略。

BID is a non-governmental, non-profit organization jointly managed by representatives of owners and tenants in the urban commercial areas. Autonomy is the gene. BID urges individuals and institutions in the block to unite through economic interests, leading the operation and financing of the public realm from the bottom up to promote space quality and brand identity, by collecting fees proportional to real estate value. Operations and public activities are thus improved and promoted in many ways. Grand Central Partnership, Union Square Partnership and FAB Fulton, there NYC BIDs of different scales, demonstrate diverse strategies of management, financing and development.

4

《大家》，圖片由十方藝術(shù)中心惠允

Courtesy of Dimensions Art Center

十方藝術(shù)中心，《郵電支路藝術(shù)介入與生態(tài)營造》，重慶

圖片，影像，印刷品

Dimensions Art Center, Youdian Rd. Community Project, Chongqing

Images, video, print

“郵電支路社區(qū)生態(tài)花園營造項(xiàng)目”由川美教授曾途與曾令香、蓋婭工作室高健和高級工程師倪瀾策劃發(fā)起，聯(lián)合居民（社區(qū)、商會、義工協(xié)會等）、設(shè)計(jì)工作室、50余位青年藝術(shù)家以及社會觀察員共同參與。項(xiàng)目不僅通過細(xì)致的環(huán)境再設(shè)計(jì)，改善了社區(qū)環(huán)境污染與資源閑置，同時(shí)也通過藝術(shù)介入加強(qiáng)了社區(qū)內(nèi)外聯(lián)結(jié)，更以樸門永續(xù)理念探索了可持續(xù)生活方式。通過藝術(shù)創(chuàng)新與生態(tài)理念傳播，社區(qū)居民之間重新建立起互信、親密、歸屬感，構(gòu)建出新的社區(qū)精神。

"Youdian Rd. Community Project" was planned and initiated by Professor Zeng Tu and Zeng Lingxiang from the Sichuan Fine Arts Institute, Gao Jian from Gaia Studio and senior engineer Ni Lan. They have united the local residents (communities, chambers of commerce, volunteer associations, etc.), design studios, and more than 50 young artists and social observers to participate. The project not only decreases the discharge of residential environmental pollution and waste through a meticulous environmental redesign but also strengthens the connection between inside and outside communities through artistic intervention. It keeps exploring a sustainable way of life. Through artistic innovations and dissemination of ecological concepts, community residents have re-established mutual trust, intimacy, and a sense of belonging, in order to create a new sense of community spirit.

5

圖片由Studio L惠允

Courtesy of Studio L

山崎亮工作室，《草津根基計(jì)劃》，草津

圖片，影像

Studio L, The KUSANEKKO Initiative, Kusatsu 

Images, video

“草津根基”是從草津川舊址公園的規(guī)劃和運(yùn)營衍生開來的市民活動昵稱。公園從規(guī)劃階段開始，便聯(lián)合Studio L等機(jī)構(gòu)舉辦了數(shù)場市民研討會，公眾得以自由分享草津市的魅力和公共生活理想狀態(tài)的思考。隨著2017年公園建成開放，草津根基計(jì)劃也正式啟動。公園開園五年至今，每個(gè)月都舉辦15至30個(gè)節(jié)目，并不斷擴(kuò)大影響力和感染力。同時(shí)，公園也建立了特色的管理架構(gòu)和組織方式，在綠化、市民活動和企業(yè)經(jīng)營等方面邀請?jiān)絹碓蕉嗟氖忻駞⑴c其中。

"Kusanekko" is a nickname for civic activities derived from the planning and operation of the Kusatsu River Memorial Park. From the planning stage of the park, several citizen workshops were held in collaboration with Studio L and other organizations, allowing the public to freely share the charms of Kusatsu City and think about the ideal state of public life. With the completion and opening of the park in 2017, the Kusanekko Project was officially launched. Since the park opened five years ago, 15 to 30 programs have been held each month and have continued to expand their impact and influence. The park has also established a characteristic management structure and organization, inviting more and more citizens to participate in greening, civic activities and corporate operations.

6

圖片由蛇口社區(qū)基金會惠允

Courtesy of Shekou Community Foundation

蛇口社區(qū)基金會，《社區(qū)內(nèi)生動力與微改造》，深圳

圖片，影像，出版物，模型

Shekou Community Foundation, Community-driven Micro-Renewals, Shenzhen

Images, video, publication, model

四十年前的改革開放成就了“蛇口模式”，也成為了蛇口人引以為豪的歷史傳統(tǒng)。國內(nèi)首個(gè)由居民自發(fā)創(chuàng)建、籌資設(shè)立的深圳蛇口社區(qū)基金會，則在四十年后繼續(xù)“敢為人先”，成為基層共治模式探索的樣本案例。社區(qū)基金會被視為是轉(zhuǎn)型社會治理下的新實(shí)踐，而蛇口社區(qū)基金會也正在成為社區(qū)空間、文化、教育等公共資源的鏈接樞紐，通過無車日、共建花園、袁庚書院等一系列品牌活動和持續(xù)運(yùn)營，積極促進(jìn)環(huán)境更新和社區(qū)融合。

40 years ago, the Reform and Opening-up of China achieved the "Shekou Model", which has also become a historical tradition of the Shekou people. The Shenzhen Shekou Community Foundation, the first community organization in China that was voluntarily established and funded by residents, continued to "precede others". Meanwhile, it has become a sample case for exploring the co-governance community model from the grassroots. Community foundations are regarded as a new practice under the transformation of social governance, and the Shekou Community Foundation becomes a linking hub for communal space, culture, education and other public resources, through a series of activities like "Car-free Days", "Co-building Gardens", "Yuan Geng Academy", etc. The continuous operations actively promote environmental renewals and community integrations.

7

圖片致謝Haus der Statistik項(xiàng)目

Courtesy of Haus der Statistik

CABLE，《統(tǒng)計(jì)局大樓更新計(jì)劃》，柏林

圖片，印刷品

CABLE, Haus der Statistik Initiative, Berlin

Images, video, print

統(tǒng)計(jì)局大樓位于柏林亞歷山大廣場附近，近十年來一直閑置廢棄。2015年，一群藝術(shù)家聯(lián)合當(dāng)?shù)厣鐣幕瘷C(jī)構(gòu)、藝術(shù)團(tuán)體、建筑師和基金會等提出大樓改造倡議，呼吁通過建筑更新規(guī)劃，在市中心創(chuàng)造可負(fù)擔(dān)、可持續(xù)的公共復(fù)合社區(qū)。倡議成員隨后注冊成立城市發(fā)展合作社（ZKB），與四個(gè)行政部門和國有企業(yè)展開密切合作，最終形成一個(gè)創(chuàng)新、平等的項(xiàng)目合作平臺Koop5。在持續(xù)推進(jìn)規(guī)劃設(shè)計(jì)和落地的同時(shí)，Koop5還陸續(xù)舉辦了許多鼓勵(lì)民眾參與的文化活動。項(xiàng)目已于2022年動工，預(yù)計(jì)2025年全面投入使用。

The Haus der Statistik, located near Berlin's Alexanderplatz, has been unused for nearly a decade. In 2015, a group of artists joined forces with local socio-cultural institutions, art groups, architects, and foundations to create an initiative for renovating the building into an affordable and sustainable public complex in the city centre. Key members subsequently registered as ZUsammenKUNFT Berlin. They worked closely with four administrations and state-owned enterprises to form Koop5, an innovative and egalitarian collaboration platform, which continues to advance the project's planning, design, and implementation while organizing cultural events to encourage public participation. Construction of the project began in 2022 and is expected to be fully operational by 2025.

8

圖片由藝術(shù)家惠允

Courtesy of the Artist

海希利西特，《房子與世界》，2019

裝置、影像、聲音、物件

REICHRICHTER, The House and the World, 2019

Installation, video, audio, objects

《房子與世界》是一個(gè)在科隆、紐約、臺北等地持續(xù)三年的社區(qū)紀(jì)錄。藝術(shù)家將攝影機(jī)設(shè)置在自家窗戶上長達(dá)數(shù)周，每分鐘拍攝一張照片。作品中的影像和聲軌長度相異，長達(dá)19小時(shí)非同步交相播映。座椅旁獨(dú)立的喇叭則喃喃自語般播放著住在同一個(gè)社區(qū)長達(dá)50年之久的長者間的對話，藝術(shù)家試圖在只言片語中探尋他們的內(nèi)在觀點(diǎn)。影像、聲音和聲景之間的連結(jié)以優(yōu)雅姿態(tài)緩緩移動，沉浸式的場域刻劃出我們所處的都市肌理和空間。

"The House and the World" is a community document encompassing Cologne, New York, and Taipei for three years. The artists set up the camera in the window of their house for several weeks, taking a photograph every minute. The images and soundtracks vary in length and play asynchronously for 19 hours. A separate speaker murmurs conversations of elders who have lived in the same community for 50 years, where the artist seeks to explore their inner perspectives in fragmentation. The connection between image, sound, and soundscape moves slowly and gracefully, creating an immersive field that delineates the urban textures and spaces we live in.

展覽現(xiàn)場 

INSTALLATION VIEW

參展人 

PARTICIPANTS

陳丹笛子

Chen Dandizi

1990年生于廣西賀州，2015年畢業(yè)于廣州美術(shù)學(xué)院油畫系獲學(xué)士學(xué)位。她的作品具有媒介共生的特點(diǎn)，運(yùn)用錄像、裝置、攝影和文學(xué)，以照亮親密的、短暫的瞬間和人類的情感。她的作品探索了與自然和人工世界中反復(fù)出現(xiàn)的現(xiàn)象相遇的感知和體驗(yàn)，主題包括人類情感的異化，被異化的個(gè)體的希望和絕望，以及對自然和想象中的景觀的觀察。近年舉辦的個(gè)展及參加的群展有：熱帶房間（戶爾空間，北京，2020）、漫長的問候——華宇青年獎(jiǎng)入圍展（尤倫斯當(dāng)代藝術(shù)中心，北京，2020）、南方不是一座孤島（OCAT當(dāng)代藝術(shù)中心，深圳，2020）等。

Chen Dandizi was born in Hezhou, Guangxi in 1990. She graduated from the oil painting department of Guangzhou Academy of Fine Arts in 2015. Dandizi's works are characterized by a symbiosis of media: Her use of video, installation, photography, and literature form integral parts required to illuminate intimate, short-lived moments in time, and human emotion. Her recent solo and group exhibition includes: Tropical Room (Hua International, Beijing, China, 2020); A Long Hello - The Eighth Huayu Youth Award Finalist Exhibition 2020 (UCCA Center for Contemporary Art, Beijing, China, 2020); The South is Not an Island (OCAT Shenzhen, Shenzhen, China, 2020).

海希利?特

REICHRICHTER

由蕾貝卡·海希（Rebekka Reich）與馬可斯·利西特（Marcus Vila Richter）兩位德國藝術(shù)家組成海希利西特藝術(shù)團(tuán)體。海希利西特的創(chuàng)作主要關(guān)注城市的空間軸與居民生存的時(shí)間軸所交織的面向，并將主題聚焦在“空間”與“非空間”的探討。2012年發(fā)表的首件作品《蘇黎世》獲得西班牙巴塞隆納「LOOP錄像藝術(shù)節(jié)」最佳作品。2014-16年曾受中國臺灣、中國、德國、美國、法國等藝文機(jī)構(gòu)邀請至各地進(jìn)行駐地研究與創(chuàng)作。

REICHRICHTER is an artist persona, consisting of a man and a woman, based in Germany. Their transnational and post-conceptual works emerge from their backgrounds in architecture, media theory, digital image and dance, within the distributed unity of the work of art via installation, video, audio, drawing, text, print, art book, photography and lecture.

羅雨翔

Luo Yuxiang

城市規(guī)劃與經(jīng)濟(jì)發(fā)展分析師，哈佛大學(xué)設(shè)計(jì)研究生院 Gerald McCue Medal、AIA Henry Adams Medal獲得者，曾任職于紐約市預(yù)算局和規(guī)劃局。副業(yè)為“不成熟研究”公眾號，致力于從不同的角度分析城市空間背后的管理和制度。

Yuxiang Luo is an urban planning and economic development specialist, recipient of the Gerald McCue Medal and the AIA Henry Adams Medal from the Harvard Graduate School of Design, and has worked for the New York City Mayor's Office of Management and Budget and the Department of Planning. He is dedicated to analyzing the institutional factors behind urban spaces and development.

山崎亮工作室

Studio L

活躍于日本的社區(qū)設(shè)計(jì)工作室，致力于運(yùn)用設(shè)計(jì)力量提升社區(qū)解決當(dāng)?shù)卣n題的能力。創(chuàng)始人山崎亮以社區(qū)設(shè)計(jì)師身份在日本各地活動，發(fā)起各類研習(xí)會，邀請居民共同設(shè)計(jì)城市建筑和景觀，并策劃公共持續(xù)參與運(yùn)營管理的機(jī)制，藉此改善各種人口外移、高齡化、空間廢置等傳統(tǒng)設(shè)計(jì)無法顧及的問題。

A community design studio active in Japan dedicates to enhancing the community's ability to solve the local problem through the power of the design. The founder, Ryo Yamazaki and the members of Studio-L travel around Japan as community designers, initiating workshops, and inviting residents to design their lives which include urban and rural architecture and landscapes, and devising mechanisms for ongoing public participation in operational management to address issues that traditional design cannot address, such as population migration, ageing, and spatial disuse.

蛇口社區(qū)基金會

Shekou Community Foundation

作為全國首個(gè)由居民自發(fā)成立、注冊于2015年的社區(qū)公益基金會，蛇口社區(qū)基金會是深圳市政府計(jì)劃的100家社區(qū)基金會中的前20家之一，也是南山區(qū)第一家社區(qū)基金會?；饡闪⒑笠恢敝铝τ谏鐓^(qū)文化、社區(qū)教育、扶貧助困及社區(qū)營造。

Voluntarily founded by community residents in 2015, Shekou Community Foundation is the very first of its kind in China. Since then, the Foundation has been dedicated to public education, awareness communication and community building through various events and campaigns.

十方藝術(shù)中心

Dimensions Art Center

重慶市九龍坡區(qū)十方藝術(shù)文化創(chuàng)意中心，簡稱十方藝術(shù)中心，成立于2013年，是一間集藝術(shù)展覽、國際文化藝術(shù)交流、國際藝術(shù)家駐留、文創(chuàng)孵化、慈善項(xiàng)目、社區(qū)美育、生態(tài)藝術(shù)等內(nèi)容于一體的學(xué)術(shù)研究+實(shí)踐型非營利性藝術(shù)機(jī)構(gòu)。

Dimensions Art Center (DAC) is officially registered as a Non-Governmental (NGO) and Non-profit (NPO) institution in Chongqing, China. It is multi-dimensional art research and exchange platform that focuses on "contemporary", "experimental", "locality" and "publicity".

街道共同體

Streets For All

主辦：CABLE

時(shí)間：2022年6月11日 - 7月31日，逢周一閉館

地址：CABLE

策展：CABLE

團(tuán)隊(duì)：何柳、邱奕枳、劉雨欣、徐靖宛

展陳：林梓瑜

視覺：羅嘉慧、鄭璐

制作：樂造展務(wù)

特別鳴謝下述個(gè)人和機(jī)構(gòu)對展覽的協(xié)助：

萬科城市研究院

梓集fabersociety

深圳市城市設(shè)計(jì)促進(jìn)中心

德國駐廣州總領(lǐng)事館

出野紀(jì)子、彭可、全榮花、戴天行、何宏、何京

Organizer: CABLE

Date: June 11 - July 31, 2022, closed on Monday

Address:CABLE

Curation: CABLE

Team: He Liu, Qiu Yizhi, Liu Yuxin, Xu Jingwan

Exhibition Design: Lin Ziyu

Visual Identity: Luo Jiahui, Zheng Lu

Production: LEZAO

Special thanks to the following institutions and individuals:  

Urban Research Institute of China Vanke

fabersociety

Shenzhen Urban Design Promotion Center Generalkonsulat der Bundesrepublik Deutschland Kanton

Noriko Deno, Peng Ke, Quan Ronghua, Dai Tianxing, Michael He Hong, He Jing