紐約中國藝術展以多樣性超越地域標籤

Two artists, Sun Xun and Zhou Tao, use video to explore China’s industrialization and environmental degradation.

孫遜和周滔這兩位藝術家用錄像探索中國的工業化和環境惡化。

Mr Sun’s Mythological Time is a surreal, at times overweening animation set in his northern hometown, Fuxin, which was once home to the largest open-pit coal mine in Asia.

孫遜的《通向大地的又一道閃電》是一件超現實主義作品，某些片段是他的北方故鄉阜新的誇張動畫場景，那裏曾是亞洲最大的露天開採煤礦。

Scenes of tanks, miners, fossils and mountains give way to compelling dream sequences, one of which features fishermen hauling a colossal carp beached like a whale.

貨箱、礦工、化石和山脈的場景過渡爲扣人心絃的夢境，其中一個展現的是漁夫們拖着一條像鯨魚那樣擱淺在沙灘上巨大鯉魚。

Disconnected vistas scroll across the long screen, recalling the axonometric compositions of Chinese landscapes, though the gruff, energetic paintings that line the walls of the darkened gallery recall the vigorous work of William Kentridge even more than the literati style of classical Chinese art.

沒有關聯的場景沿着長長的銀幕展開，讓人想起了中國風景畫的軸側構圖，雖然沿着畫廊灰暗牆壁排列的充滿活力的粗線條繪畫更多地讓人想起威廉•肯特里奇(William Kentridge)的犀利，而非中國傳統藝術的書卷氣。

Mr Zhou’s disquieting two-channel video Land of the Throat, by contrast, is shot in the south of China: specifically, the Pearl River Delta, the first region of the country oriented to hypercapitalist production in the era of Deng Xiaoping.

而周滔令人不安的雙屏錄像《咽喉之地》則是在中國南方的珠江三角洲拍攝的，那裏是鄧小平時代第一個轉向狂熱資本主義生產的地區。

Land of the Throat roams abandoned or sullied sites around Guangzhou and Shenzhen, avoiding character and plot in favor of wordless, melancholy shots that cohere into a lurid dreamscape.

《咽喉之地》漫步在廣州和深圳周圍被拋棄或破壞的地區，沒有人物和情節，只有無聲、陰鬱的鏡頭，而後過渡爲可怕的夢境。

A barefoot man trudges across acres of mud; a turtle bobs up out of brackish water.

一個赤腳男人在廣袤的泥地上艱難跋涉；一隻海龜在污水中上下浮動。

A parched brown landscape is bisected with red-and-white caution tape, and hills have been eroded so badly they appear like wrinkled skin.

乾裂的褐色土地被紅白警戒線一分爲二，小山遭到嚴重侵蝕，看起來像起皺的皮膚。

Mr Zhou’s Pearl River Delta is a sci-fi dystopia with no need of special effects, an update of Jean-Luc Godard’s Alphaville for a century of ecological crisis.

周滔鏡頭下的珠江三角洲是不需要任何特效的科幻地獄，經過一個世紀的生態危機，它已經成爲讓-呂克•戈達爾(Jean-Luc Godard)的《阿爾法城》(Alphaville)的升級版。

If Tales of Our Time and its bank-backed predecessors serve as initial maneuvers to broaden the museum’s collection, then I’m prepared to see these shows’ geographic straitjackets as necessary evils.

如果說故事新編以及之前的三場由銀行資助的展覽是博物館拓寬館藏的初步行動，那麼我已打算把它們的地域束縛視爲必要的犧牲。

And the Guggenheim is indeed planning to present a more global cross-section of modern and contemporary art — in Abu Dhabi, where its controversial planned satellite museum, 12 times the size of Frank Lloyd Wright’s spiral museum in Manhattan, will place art from after 1960 in a worldwide framework.

古根海姆博物館的確正在籌劃推出更全球化的、跨領域的現當代藝術展——規劃中的那座引發爭議的阿布扎比分館，面積是曼哈頓這座弗蘭克•勞埃德•賴特(Frank Lloyd Wright)設計的螺旋形博物館的12倍，將把1960年之後的藝術置於全球框架內。

As for New York, Tales of Our Time and the museum’s coming China megaexhibition offer a welcome opportunity to reckon with art we still see too infrequently.

至於紐約，故事新編和該博物館即將開幕的特大型中國展覽給我們提供了難得的機會，去思考依然不太常見的藝術。

I hope, though, that we start to see more solo shows by the likes of Mr Zhou, as well as thematic exhibitions that let us appreciate him as more than just a national ambassador.

不過我希望，我們能夠看到更多周滔這樣的藝術家的個展和主題展，讓我們能夠不只是把他當作一個國家大使去欣賞。