中间声音
中间声音｜中间美术馆的朋友们
（Echoes Inside-Out | Inside-Out and Friends)
时至今日，疫情给我们的普遍感受也许是，面对同一个病毒所引发的政策与对策千差万别。如果我们对外面世界的理解只停留在疫情数据与政治宣讲，那我们也许永远无法互相对话和理解。在源源不断的艺术生产和事件背后，艺术创作者和工作者正在思考什么？我们诚恳地希望以机构的角色推动多元化的叙述和讨论，在这一背景下，我们策划了栏目单元“中间美术馆的朋友们”。
我们联系了过往参与过中间美术馆展览与驻地项目的艺术创作者们，尤其是那些因为疫情下亦实亦虚的城墙反而让我们更加牵挂的人们。我们向他们提供一个没有时间压迫的，可以分享的交流空间。我们尝试不提供不切实际的要求，以自愿与平等沟通的方式，让他们自由发声。
“中间美术馆的朋友们”第二期，我们分享来自于2018年9月从加拿大来到中间美术馆驻地的艺术家梁超洪 (Alvin Luong) 的回信随笔文。他在加拿大多伦多工作和生活。他在疫情期间产生了一些新的想法，也尝试了新的创作。此刻在我们发布这篇推送之时，多伦多正在经历第二波新冠疫情，但由于城市才刚刚重新启动，在Alvin看来，政府是不会轻易再次封锁并阻止城市恢复“正常”的。我们觉得在疫情初期做城市封锁与全民检测也许是较为有效的防疫措施，但这对西方分权制衡的政府来说实在是不太可能实现。
（“中间美术馆的朋友们”栏目单元由黄文珑、刘语丝共同构思策划。）
Beijing Inside-Out Museum Working from Home July 2, 2020
Dear __,
From IOAM with love. We are writing to you on behalf of our museum, and we hope you and your family and friends are healthy and safe during this pandemic. Until what has happened in 2020, we have taken for granted a world in which we enjoy ever increasing mobility and movement. The fact that you came all the way to Beijing to share your passion and practice with us becomes more precious than ever before. Your residency ended a while ago, but you are always a part of the IOAM. No matter where you are in this time of uncertainties and difficulties, you are not alone. We are in solidarity with you.
What’s up with IOAM? In Beijing, we are encountering the second wave of COVID-19. Our museum was closed in February, reopened in May, and closed again at the end of June. Meanwhile, we are striving, rethinking, experimenting, and relearning, adapting ourselves to the unpredictable circumstances. Luckily, we managed to open a new exhibition An Impulse to Turn in early June featuring works that include archives or historical themes. We published an anthology entitled China As An Issue and the exhibition catalogue of Dance Only Exists When It is Performed: Yvonne Rainer and Wen Hui. As our physical museum space becomes unavailable, we have been exploring different ways through virtual platforms, such as collaboration with independent self-medias, hosting online lectures, artist conversations, and audio clips.
What’s up with you? Curators are caretakers, and we care not only for art, but artists too. As we have been re-examining art, space, and curation from the perspective of the museum, we would also love to know from your side. We wonder if you would be willing to share some of your thoughts to Chinese audiences and friends in this unprecedented time. We can help to make the content bilingual if necessary, and share it on our social media platforms Weibo, Wechat, and Instagram. It can be reflections, critics, stories in any format, be it text, image, audio, video etc. If you would like to be included, please let us know and we hope to publish the content online later this year.
We look forward to hearing from you, thank you!
Take Care,
Wenlong Huang and Yusi Liu
多伦多的夏天已进入尾声，城市已经放宽了疫情的防控措施，渐渐恢复到正常的运行。这里已经允许人们在餐馆的室内用餐，然而这让我感到陌生，因为我已经在家里自己烹食好几个月了。多伦多并没有经历第二波疫情，每日确诊人数持续地在下降。但多伦多的新闻媒体都普遍认为第二波疫情就在跟前，所以当我在这样一个舒爽的夏日写下这些反思的时候，又感到不可思议。七月，我记得当我和文珑交流时，北京正处于第二波疫情，或看向加拿大以南的美国，那儿的疫情让人担忧。
在疫情席卷多伦多以前，三月，我恰巧结束了我在中国、印尼和越南的研究旅行。在中国，我住在广州黄边站当代艺术研究中心；在雅加达，我在Gudskul艺术团体那里；在越南，我住在胡志明市堤岸区广东社区的亲戚家里。通过这次旅行，我看到社区中的文化生产者和工作者是如何身处在各式各样的政治和经济语境中，并且我也开始酝酿起未来在广州和胡志明市可以实施的新想法和项目。
当中国和加拿大在同时经历封城时，我有机会通过一个幽默而又不失严肃的烹饪节目来回顾我在旅途中的所思所想，这一节目是我与广东时代美术馆一同制作，与策展人杨天歌（前中间美术馆团队成员）、谭悦和蔡影茜一起录制。我们讨论了在越南旅行的见闻、越战中乘船离开的难民、广东移民越南和越南移民香港的历史。我们在一个视频节目里进行讨论，一起煮食 Phở Bò，这是一种越南牛肉汤河粉。
吃Pho启示录：河粉与船民，同情与革命
人们在封城时期对食物的迷恋，也影响了我个人的艺术实践。在我本来计划的影像和表演项目处在停滞状态的同时，我也适应了工作室的实践：我做了几百个塑料制的潮州牛丸和潮州鱼蛋，并打算把他们变成一艘船和一些救生衣。我一直在思考从广州坐船移民到东南亚的人们，他们又是如何把牛丸和鱼蛋的饮食文化带进了东南亚地区。疫情结束后，我希望能把这支船和救生衣带到中国南方的海岸边，带到那些面朝中南海的东南亚地区。而现在，在一个影像短片里， 我朝着我父母移民多伦多后所在社区的这些房屋，投掷这些塑料牛丸和鱼蛋。
Alvin
2020年8月25日
Alvin Luong的Instagram，图片配文：肉丸从来不会下沉……我一直在想中国南方和东南亚饮食里的肉丸总是飘在汤上。这种浮力的特点与这种食物如何在该地区传播有相似之处。这一地区的人们超越了陆地、民族主义和恐怖，他们坐在船上，任凭风浪起伏。
梁超洪,《抵达》, 06:40 (MM:SS), 2020.
科夫勒艺术中心委托创作
“我做了几百个塑料制的潮州牛丸和潮州鱼蛋，并打算把他们变成一艘船和一些救生衣。”
了解更多Alvin的实践：
烹饪+对谈+吃播节目：《吃Pho启示录：河粉与船民，同情与革命》
https://www.bilibili.com/video/BV1of4y1276y/
影像：《抵达》, 6分40秒
Dispatch from Toronto
It is the end of summer in Toronto and the city has just relaxed many of its pandemic precautions allowing for life to return to a very normal state. The city now allows for indoor dining at restaurants which is a sight that feels very alien to me after months of cooking and eating at home. Toronto has not experienced a second wave of the pandemic. Instead the city has maintained a continual drop in confirmed infections per day. It is strange to write this reflection in this relaxed summer moment when there is a general consensus in Toronto’s news media that a second wave of the pandemic is just around the corner in the fall. I only have to remember my conversation with Wenlong (文珑) in July when Beijing was experiencing its second wave or look south of the Canadian border to the USA to feel apprehensive.
Before the pandemic had reached Toronto in March, I had just concluded a long research trip in China, Indonesia, and Vietnam. In China, I was living and working amongst friends and colleagues at HB Station (黃邊站當代藝術研究中心) in Guangzhou and Gudskul in Jakarta. In Vietnam, I had just met my family members who live in Ho Chi Minh City in the Cantonese quarters called Chợ Lớn. Throughout this trip, I was observing how cultural producers and workers form communities under the various political and economic contexts of their locations; as well as beginning to formulate new ideas for future art projects in Guangzhou and Ho Chi Minh City.
When the lockdowns took hold of both Canada and China, I had the opportunity to reflect on my thoughts from the trip in a humorous yet solemn cooking show that I produced with Guangdong Times Art Museum (广东时代美术馆) alongside the curators Yang Tiange (a former team member at IOAM), Tan Yue (谭悦), and Nikita Choi (蔡影茜). We discussed our observations travelling to Vietnam, Vietnam War boat people refugees, the history of Cantonese migration to Vietnam, and Vietnamese migration to Hong Kong. We hosted our discussions over a video chat while we cooked and ate Phở Bò, a Vietnamese beef noodle soup.
The collective fascination with food from life during the lockdowns has also influenced my own artistic practice. While my planned video and performance projects are on hold, I have adapted to a studio-based practice by producing hundreds of plastic Chaozhou beef balls (潮州牛丸) and fish balls (潮州魚蛋) that will be turned into a boat and life jackets. I have been thinking about the migrations of people from Guangdong to Southeast Asia using boats, and how these migrations brought with them beef balls (牛丸) and fish balls (魚蛋) that have fully integrated into the food cultures in Southeast Asia. When the pandemic is under control, I would like to bring the boat and life jackets to different shorelines in Southern China and Southeast Asia that face the South China Sea. For now, I have used some of these plastic beef balls 牛丸 and fish balls 魚蛋 in a short video where I throw them at different houses that my parents have lived in since their immigration to Toronto.
— Alvin Luong
回信 / Alvin Luong （alvinluongart@gmail.com）
文中所有图片版权均为艺术家所有
编辑和翻译 / 黄文珑
校对 / 刘语丝