主讲人：莫妮卡 茨维克(Monika Szewczyk)
时间：2010年5月4日(周二)15：30
地点：伊比利亚当代艺术中心放映厅
地址：北京市朝阳区酒仙桥路4号798艺术区E06
主办单位：伊比利亚当代艺术中心
《艺术与投资》&《当代艺术与投资》
讲座简介：
策展人莫妮卡 茨维克向我们介绍其策划的，即将在世博会期间于上海荷兰文化中心(Dutch Culture Center)举办的展览“Nether Land(何国)”。莫妮卡 茨维克是鹿特丹Witte de With当代艺术中心出版物的负责人。讲座还将向观众介绍“何国”展览所属的一项更庞大的项目，即鹿特丹Witte de With当代艺术中心策划的为期一年的项目“Morality(道德)”。
持续一年的项目“Morality”，是一系列展览、事件和相关项目。“Morality”探讨现代社会中价值观(精神、文化和经济)面临的挑战。作为“Morality”的第八回项目，特别为上海世博会的“世界舞台”而策划，展览“何国”关注国际艺术家的多元创作，展览主题是生产的跨文化和多样性。
“何国”展还在筹备中，期间产生了许多有趣的问题，与公众探讨。譬如，“跨国创作中，价值如何改变?”“跨国项目如何植入全球化生产的现实中?”“如何通过重新思索‘碎片’的问题而面对我们的‘碎片式’生活?”
展览标题“Nether Land”首先呼应的是荷兰在荷兰语中的词“Nederland”。分开的两个词中，“nether”指向双重意义??地下的(荷兰属于低地国家)和遥远的。“Nether Land”也指涉彼得?潘的乐园“永不岛(Never Never Land)”，展览中的许多作品设想了“在别处”的更美好的生活。更重要和有意思的是中文的翻译，“何国”发音相近于“荷兰”，同时是“哪个国家”的意思，符合本次展览发问的姿态。这个问题动摇了我们的常识，当我们身处异地、变换观察视角时，对事物的意义做出了重新评估。
展览中的作品都与遥远的某个地点发生关系??中国、非洲、欧洲或中东??或者使此时此地异常化，观众无法看清一个国家或文化的面貌，但如此远距离或跨国界的观察角度更能强烈地影响到支持当代艺术实践的美学或政治价值观的形成。
Lecturer: Monika Szewczyk
Date: 3：30pm-6pm, May 4th, 2010
Venue: Iberia Center for Contemporary Art
Address: E06,798 Art Zone,No.4 jiuxianqiao Rd.,Chaoyang District,Beijing,China
Organized by Iberia Center for Contemporary Art
Art & Investment and Contemporary Art & Investment
Lecture introduction:
A presentation on the upcoming exhibition at the Dutch Culture Center in Shanghai, by exhibition curator Monika Szewczyk, head of publications at the Witte de With, Center For Contemporary Art. The presentation sketches the broader framework for the exhibition by reviewing the year-long project Morality, of which the exhibition is the eighth act, and takes the opportunity to engage with its audience at the Iberia Cultural Center in Beijing in the most interesting questions that have arisen while preparations are still in the process: How do values change when we work across borders? How do trans-national projections intersect with the fantasies and realities of production in a global arena? How can we face our fragmented reality by thinking creatively about fragments?
Nether Land is conceived within the framework of the year-long project Morality, a series of exhibitions, events and discursive programs organized by the Witte de With Center for Contemporary Art in Rotterdam. Morality engages with the contemporary challenges posed by an intense sharing and shifting of values (spiritual, cultural and economic). As the eighth act of Morality, realized specifically for the “world stage” of Shanghai’s Expo, Nether Land highlights diverse international artistic practices that engage with the paradoxes of cross-cultural perception and fantasies of foreign and alternative production, including the production of life.
Resonating with the name of the exhibition venue, the Dutch Culture Center, the exhibition title Nether Land is a more exact and deadpan English iteration of the Dutch word for its nation, “Nederland.” The isolation of the word “nether” points to its double meaning, as both low (hence the “Low Countries”) and remote (as in “the nether reaches of the universe”). The echo in Nether Land of the idealized “Never Never Land” of Peter Pan is not lost, and many of the works in the show explore the idea of a better life elsewhere. More important still is the Chinese translation of the title, He Guo, which emphasizes the questioning tone of the exhibition: While He Guo sounds like the beginning of He Lan [Chinese for “Holland”], it actually means “What Country?” ? a question that destabilizes our sense of place and creates something of a parallax effect, where shifting locations and shifting viewpoints require the re-evaluation of meaning.
Each of the exhibited works in the exhibition projects a different relationship with a far away land ? China, Africa, Europe and the Middle East ? or estranges the here and now, making it impossible for a cumulative portrait of a country or culture to emerge. Nevertheless, the immense impact of such viewing from a distance and across borders on the shaping of aesthetic and political values that underpin contemporary artistic practice in a global arena comes into sharper relief.
【编辑：张瑜】
