by Archipelago of the Future
“未来志异”是一档与活跃在全球的华人创作者进行交流和讨论的谈话节目 在这里倾听本年度艺术世界不可忽略的新声音，一同探索明天的形状
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11/1/2023
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February 23, 2025
<p>“未来志异”主播：叶滢</p> <p>本期嘉宾：艺术家、舞蹈影像策展人吴孟珂，舞者、编舞二高（何其沃）</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8259708224_302721.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8259708224_302721.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8259708224_302721.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8259708224_302721.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8259708224_302721.jpg" alt="未标题-1_复制_画板 1.jpg"loading="lazy" decoding="async" width="2535" height="621" /></picture></figure></div><h2>关于“未来志异”</h2> <p>“未来志异”是《艺术新闻》主编叶滢发起的一档联结全球不同地方创作者和策展人的谈话节目</p> <h2>本期内容概述</h2> <p>2007年，皮娜·鲍什（Pina Bausch）带领她的乌珀塔尔舞蹈剧场（Tanztheater Wuppertal）来到北京天桥剧场演出《穆勒咖啡馆》，彼时67岁的皮娜用她消瘦的身体跳满了整场，这部创作于20世纪70年代的舞蹈作品并未因舞者身体的衰老而丧失活力，主播叶滢恰好在天桥剧场目睹了这场演出，皮娜·鲍什的舞蹈简洁而动人，“她没有因为她的躯体的老去而让她对生命的热爱、火苗消失一点点，反而她的火苗还是在更旺盛的时候”，舞者吴孟珂如此回应。客观上，身体有年龄，有性别，但身体的“舞动”却仍可以超越种种框架，形成自我的语言，正如皮娜一直所认为的——“我在乎的是人为何而动，而不是如何动。”</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8259708212_217391.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8259708212_217391.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8259708212_217391.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8259708212_217391.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8259708212_217391.jpg" alt="未标题-1_复制-02.jpg"loading="lazy" decoding="async" width="2535" height="3424" /></picture></figure></div><p>在去年上映的纪录片《女人世界》中，曾经的风情舞女郎、年逾九旬的余金巧（Coby Yee）与“都板街舞团”重新踏上巡演之路，她将每一支舞都当作最后一支舞；在二高（何其沃）的舞蹈影像《未来舞厅》中，一位潮汕奶奶参与了一场跨越时空与阶层的舞蹈派对。皮娜、Coby和潮汕奶奶，“这三位女性的身体在表演时是需要勇气的”，二高说。“勇气”来自对身体外形及其变化的接纳乃至欣赏，在于对所谓“美”的规范的破除，当身体成为表达的通道时，它能够触及语言所无法到达的地方，而“舞蹈”一词的内涵也随之敞开，在吴孟珂的认知里，“我们每个人存在的最基本的东西是我们的身体，我觉得每一个人都可以跳舞。”</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8259708205_889068.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8259708205_889068.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8259708205_889068.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8259708205_889068.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8259708205_889068.jpg" alt="未标题-1_复制-04.jpg"loading="lazy" decoding="async" width="2535" height="3058" /></picture></figure></div><p>作为一名专业舞者，吴孟珂在本期播客里分享了她在荷兰舞蹈剧场（NDT）的十年旅程里不断打破框架，进行角色塑造的过程——不断地“放下”和“丢掉”之前所累积的经验，从而“把自己变成尽可能地不是舞者”，“我是一个变色龙，把我的日常生活中可以抓到的东西全部放到创作的过程当中”。</p> <p>吴孟珂和二高在舞蹈领域各自的发展路径不同，但他们的观念最终在同一处汇合：解放身体，勇敢表达。</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8259708187_496402.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8259708187_496402.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8259708187_496402.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8259708187_496402.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8259708187_496402.jpg" alt="未标题-1_复制-05.jpg"loading="lazy" decoding="async" width="2535" height="3385" /></picture></figure></div><p>即使在充满限制与陈规的地域，身体和舞蹈也是一种发声。</p> <p>作为NOWNESS天才计划的舞蹈影像单元的策展人，孟珂希望“打破观众对舞蹈影像的既定观念”。在2024年的舞蹈影像单元中，伊朗舞者、导演Mohammad Valizadegan的舞蹈影像“And Me, I'm Dancing Too”中，一位热爱舞蹈的女性在街头采访人们对于在公共场合跳舞的看法，影片的结尾，她在闹市中起舞，似乎无视了社会的禁令和自我的身份。</p> <p>二高也分享了一段他曾经对身体感到“羞耻”的遭遇，来自一位村民对“男性气质”的陈见，以及对男性外形和衣着的审判，这一经历使二高更确定了他的未来计划：组织一个由不同年龄、性别，抛却所谓“健全”标准的人参与的“庆典”，这个“trans-family”将舞蹈作为人们汇聚一堂的方式，“一个临时的、短暂的family聚会，然后我们又散回日常生活里，期待着下一个聚会”。</p> <p>在信息冗杂、科技快进的当下，要如何找回逐渐退场和解离的身体？吴孟珂认为，只要对自己有身体的好奇心就可以行动，二高则认为找到自己适合的“语境”便能够开始。“语言说不了的东西，就靠肢体来说。”</p> <p>是时候将注意力放在身体之上了，觉察自我肉身的在场，觉察人潮中身体的共鸣，觉察由此所激发的、在日常生活之中对惯性和惰性的反抗力量。在吴孟珂和二高的分享中，本期播客打开了一条自由的路径，舞蹈无定义，生命亦如此。</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8259708167_413104.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8259708167_413104.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8259708167_413104.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8259708167_413104.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8259708167_413104.jpg" alt="未标题-1_复制-03.jpg"loading="lazy" decoding="async" width="2535" height="2918" /></picture></figure></div><div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8259708162_58222.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8259708162_58222.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8259708162_58222.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8259708162_58222.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8259708162_58222.jpg" alt="未标题-1_复制-06.jpg"loading="lazy" decoding="async" width="2535" height="1764" /></picture></figure></div><h3>志异时刻</h3> <p><a href="#t=02:02">02:02</a> 遇见一位热烈表达的潮汕奶奶：二高创作舞蹈影像《未来舞厅》的缘起与体会</p> <p><a href="#t=13:51">13:51</a> 从外部的激发到内心的探索：找到创作语言需要经历一个翻译的过程</p> <p><a href="#t=20:10">20:10</a> 未被训练过的身体反而最真实，舞蹈的“标准”也未必重要</p> <p><a href="#t=24:24">24:24</a> 她们身体里的火苗没有熄灭：皮娜·鲍什、《女人世界》里的Coby、《未来舞厅》李的潮汕老奶奶</p> <p><a href="#t=33:17">33:17</a> “语言说不了的东西，就靠肢体来说”：作为表达通道的身体和舞蹈</p> <p>38:03以舞蹈作为表达方式，只有“放下”和“丢弃”才能继续前进</p> <p><a href="#t=41:19">41:19</a> 正在国际舞蹈节未来身体营：舞蹈的未来形态是怎样的？</p> <p><a href="#t=46:31">46:31</a> 没有舞蹈基础的人如何进入舞蹈的世界？在技术高压的时代，保持对身体的好奇心</p> <p><a href="#t=49:51">49:51</a> 二高的未来计划：一个超越身份、年龄、观念的“trans-family”聚会</p> <p><a href="#t=52:41">52:41</a> 解放身体、勇敢表达，相信舞蹈能够“拯救世界”</p> <h3>相关链接</h3> <p><a href="https://www.youtube.com/watch?v=xPu-IFp_IPc">Mohammad Valizadegan, “And Me, I'm Dancing Too”预告短片</a></p> <p><a href="https://www.bilibili.com/video/BV1Hx41167Ah/?vd_source=2e90786d87ab6133c68ceaca94c4fe53">皮娜·鲍什，《穆勒咖啡馆》演出影像</a></p> <p><a href="https://mp.weixin.qq.com/s/_i3z54t3mOAqaKFJfcfgVw">2024年NOWNESS天才计划舞蹈影像单元“别再问我什么是舞蹈”片单</a></p> <p><a href="https://mp.weixin.qq.com/s/XBgZThLfExgKbAEs2ahCPw">二高舞蹈影像作品《未来舞厅》幕后及舞蹈论坛</a></p> <p><a href="https://mp.weixin.qq.com/s/Ldzx0Pajh4HzTMALcPsL6w">首届正在国际舞蹈节</a></p> <p><a href="https://mp.weixin.qq.com/s/5hdhLhnffZImCBJvA4P1ww">二高新作《躲猫猫》介绍</a></p> <h2>本期节目</h2> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8259708090_745985.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8259708090_745985.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8259708090_745985.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8259708090_745985.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8259708090_745985.jpg" alt="未标题-1_复制-08.jpg"loading="lazy" decoding="async" width="2534" height="621" /></picture></figure></div><p>叶滢是《艺术新闻》的创刊主编，她也是一位文化评论人与艺术项目策划人。她发起了《正在到来的绿色文艺复兴》《可持续的博物馆，可持续的艺术》等多个论坛，与艺术、建筑、设计、科学领域的同道开启跨领域的对话。2022年她在昆明当代美术馆策划了展览《蘑菇之语：万物互联的网络》，2023年她与主编的《艺术新闻》发起了“永续之籽”教育计划。她所写的《窑变798》讲述了北京798艺术区艺术生态的演变。她还是系列纪录片《艺文中国》的主要撰稿人，并参与策划“‘世界看见’中国少数民族文化保护与发展”等文化项目。</p> <h3>本期讨论参与者</h3> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8259708079_963394.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8259708079_963394.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8259708079_963394.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8259708079_963394.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8259708079_963394.jpg" alt="未标题-1_复制-09.jpg"loading="lazy" decoding="async" width="2534" height="621" /></picture></figure></div><p>艺术家、舞蹈节发起人、舞蹈影像策展人，21岁时获得北艺大奖助金的支持赴欧甄选，得到德国慕尼黑舞蹈剧场 (Tanztheater München) 合约，隔年即进入荷兰舞蹈剧场二团。同年也获得德国斯图加特国际独舞剧场艺术节 (InternationalSolo-Dance-Theatre Festival Stuttgart)“舞者第一名”及“观众最佳票选奖”，其后多次获得国际舞蹈奖项。2022年，受聘北师大艺术与传媒学院客座教授。2024年，发起了首届正在国际舞蹈节，同年10月，出演李建军导演话剧《三分钱歌剧》，以女主角“玻莉”一角在乌镇戏剧节完成话剧舞台首秀。</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8259708074_727774.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8259708074_727774.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8259708074_727774.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8259708074_727774.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8259708074_727774.jpg" alt="未标题-1_复制-10.jpg"loading="lazy" decoding="async" width="2534" height="621" /></picture></figure></div><p>二高（何其沃），出生于1985年，广东阳江人，目前生活与工作于广州及顺德。于香港演艺学院舞蹈学院毕业后，2021年继续研修新加坡[CP]3当代表演艺术评论。2007年创立二高表演，其作品常以身体作为审视焦点和创作对象，通过剧场、影像、合成现场、参与式舞蹈等方式，荒诞且严肃地讨论中国社会和文化中身体、性/別、身份等诸多议题，近期关注在身份、性别、阶级和文化等光谱中交叉的边缘地带，庆祝一个Trans-family的逐渐形成。</p> <p>——</p> <p>视觉设计：孙浚良</p> <p>片头制作：马海平</p> <p>音频剪辑：孙哲</p> <p>后期编辑：姚佳南</p> <p>Contacts:[email protected]</p> <p>——</p>
February 9, 2025
<p>“未来志异”客座主播：黄韵奇</p> <p>本期嘉宾：陈楸帆（科幻作家）、武子杨（艺术家）</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8260912562_3659525.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8260912562_3659525.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8260912562_3659525.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8260912562_3659525.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8260912562_3659525.jpg" alt="未标题-1_画板 1.jpg"loading="lazy" decoding="async" width="2535" height="621" /></picture></figure></div><h2>关于“未来志异”</h2> <p>“未来志异”是《艺术新闻》主编叶滢发起的一档联结全球不同地方创作者和策展人的谈话节目</p> <h2>本期内容概述</h2> <p>今年年初，DeepSeek呼啸而来，再次将人工智能技术的更新推进到我们面前。从ChatGPT到SORA，AI技术的迭代和快速变化，对于创作者来说，意味着什么？如果我们没有技术背景，如何才能跨越技术的门槛，找到个人进入AI时代的通路？</p> <p>AI的“涌现”效应以整体性介入的方式，也催生了“斜杠/跨界多角色工作”，以及在数字生活“元认知”的底层理解。本期播客邀请了两位嘉宾——科幻作家陈楸帆和新媒体艺术家武子杨——从各自在“数字游牧”状态下的创作实践与个人经历出发，探讨了数字技术与人工智能如何重新定义我们的生活状态、身份认知与创作/生产的方式。</p> <p>陈楸帆与武子杨以自己在全球各地游走的“漂流”经历展开数字游牧生活的亲身经历分享，从意大利到美国、从乌克兰的驻地到东京的SIGGRAPHAsia会议，跨地域创作使武子杨在主动地汲取第一手经验的过程中不断重构自己的身份。陈楸帆回忆了早年在汕头，通过“打口碟”接触到地下音乐和文化的经历，如何塑造了他对跨文化叙事的兴趣。自疫情起，陈楸帆半主动半被动地开始了跨时区的远程协作与全球驻地工作，使得他开始关注如何以“非在地”的方式去思考在地性问题。</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8260912516_382875.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8260912516_382875.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8260912516_382875.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8260912516_382875.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8260912516_382875.jpg" alt="未标题-1-02.jpg"loading="lazy" decoding="async" width="2535" height="5419" /></picture></figure></div><div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8260912509_414912.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8260912509_414912.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8260912509_414912.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8260912509_414912.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8260912509_414912.jpg" alt="未标题-1-03.jpg"loading="lazy" decoding="async" width="2535" height="3309" /></picture></figure></div><p>齐格蒙特·鲍曼在《流动的现代性》提出，现代人类的生活方式已从“扎根”转向“流动”。身份与文化的漂流与离散不仅发生在物理世界中，也时刻发生在算法与技术铸造的混合现实中。数字游牧（digitalnomadism）的特征与核心要素为：利用互联网技术实现工作与生活的高度流动性，脱离传统的地理和组织束缚，选择自由的生活方式——工作与地理位置的分离（RemoteWork），跨越国界的身份流动（GlobalCitizenship），技术驱动的自组织能力。</p> <p>数字游牧带来自由的同时也意味着不确定性，如何在漂浮与模糊中建立人与人的连接，展开具体的实践与创作？</p> <p>数字游牧是否能解决在原来的话语体系中无法被解决的问题，又如何在流动的状态中找到与之同频的实践方法？“Becoming/生成”一词在人工智能技术与德勒兹的美学思想中兼具双重意涵，也是陈楸帆在实践过程中、逐渐更新“模糊而有灰度”的整体性认知的感受。人工智能使得文字、游戏、视频、图像等融合的多模态创作成为可能。武子杨在数字游牧的早期以“身份寄生”的错位展开创作，并以具体的个体经历、驻地社群链接作为自己在游牧中的“抓手”以对抗泛化与漂浮感。武子杨分享他在乌克兰驻留的经历中对于数字技术与肉身体验、人类情感的微妙关系的反思。</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8260912449_864826.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8260912449_864826.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8260912449_864826.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8260912449_864826.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8260912449_864826.jpg" alt="未标题-1-04.jpg"loading="lazy" decoding="async" width="2535" height="3725" /></picture></figure></div><p>作为工具的AI正在拓展、介入、制造现实社会的生产方式、能源与环境、经济结构等多方面的可能性与挑战。AI工具虽在很多领域降低了参与门槛，但也加剧了资源消耗、文化同质化与经济的“马太效应”。</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8260912438_023364.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8260912438_023364.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8260912438_023364.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8260912438_023364.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8260912438_023364.jpg" alt="未标题-1-05.jpg"loading="lazy" decoding="async" width="2535" height="4420" /></picture></figure></div><div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8260912427_828582.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8260912427_828582.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8260912427_828582.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8260912427_828582.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8260912427_828582.jpg" alt="未标题-1-06.jpg"loading="lazy" decoding="async" width="2535" height="1953" /></picture></figure></div><div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8260912423_292274.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8260912423_292274.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8260912423_292274.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8260912423_292274.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8260912423_292274.jpg" alt="未标题-1-07.jpg"loading="lazy" decoding="async" width="2535" height="1858" /></picture></figure></div><p>武子杨的《未来_预报》以区块链金融化游戏应用（Game-Fi）：Axie Infinity为灵感，讨论技术对于基础设施的影响。该游戏一度50%的用户都来自马尼拉附近的乡村，低收入群体通过玩游戏获得虚拟货币收入。陈楸帆亦在《丰饶之梦》创作中提及AI、游戏化驱动的去中心化经济模式以及其背后对于环境的影响。</p> <p>如李飞飞所言，每个人都在AI时代中有属于自己的角色，两位也分享了非技术背景的身边人，以技术的开放心态和大胆使用，跨越技术的门槛，找到个人进入AI时代的通路的经历。</p> <p>在AI时代，数字游民是否需要另一种身份与“根性”来组织网络？技术主导的世界中跨学科实践所延展的个体的能动性又是否意味着一种新的创造性秩序？在数字融合的现实中，也许重要的并非目的导向的解决方案，而是我们如何在游牧的过程中保持彼此相连。</p> <h2>志异时刻</h2> <p><a href="#t=03:14">03:14</a> 从“线下漂流”到“数字游牧”：武子杨的一手经验、陈楸帆的去本地化视角</p> <p><a href="#t=09:10">09:10</a> 陈楸帆：数字游牧中的Becoming/生成与有灰度的整体性认知、不停寻找出路的循环</p> <p><a href="#t=13:17">13:17</a> 武子杨：早期创作的“身份寄生”的尝试、驻地中多元社群成为“游牧”中“扎营”的抓手</p> <p><a href="#t=18:22">18:22</a> 武子杨：乌克兰驻留经历中重新反思人与AI的关系弹性——回归肉身、以人为本</p> <p><a href="#t=22:27">22:27</a> 陈楸帆：AI辅助写作者的多模态创作转译</p> <p><a href="#t=28:38">28:38</a> 数字技术介入基础设施与经济模型：武子杨作品“未来预报”，陈楸帆小说中的环保倡议</p> <p><a href="#t=35:59">35:59</a> AI时代的“数字包浆”、数字污染、文化泛化、马太效应</p> <p><a href="#t=44:06">44:06</a> AI的“涌现”效应：融合碎片化、多元的身份角色从而塑造整体性的跨学科实践</p> <p><a href="#t=45:31">45:31</a> 陈楸帆在北京中间剧场的AI共创舞台剧首秀</p> <p><a href="#t=49:55">49:55</a> 武子杨的教书、参与科技行业论坛、3D动画、游戏创作多重实践</p> <p><a href="#t=54:40">54:40</a> 非技术专业人员参与应用AI，心态与递归性认知比知识技能更关键</p> <h2>相关链接</h2> <p><strong>《流动的现代性》</strong>：波兰社会学家齐格蒙特·鲍曼（ Zygmunt Bauman）在同名著作中描述了全球系统的非结构化和不明确的流动状态，以及新系统的不可达性，并呼吁重新思考用于叙述人类经验及历史的认知框架。</p> <p><strong>肖凤霞</strong>：人类学家、耶鲁大学教授，著有《踏迹寻中：四十年华南田野之旅》</p> <p><strong>数字游民</strong>：Digital Nomad，首次由前日立公司的CEO牧本次雄在其1997年出版的同名著作中提出</p> <p><strong><a href="https://www.siggraph.org/">SIGGRAPH</a></strong>：Special Interest Group on Computer Graphicsand Interactive Techniques，（计算机图形学和交互技术特别兴趣小组）是ACM组织的以计算机图形学为中心的年度会议，自1974 年在科罗拉多州博尔德开始举办。主会议通常在北美举行，但地点不受限制；SIGGRAPHAsia 是每年举办的第二次会议，自2008 年以来已在亚洲各国举行。</p> <p><strong>《欢迎来到车臣共和国》</strong>，Welcome to Chechnya, 导演David France，2020年</p> <p><strong>《没有您就没有我们》</strong>，Without You, There Is No Us, 作者金淑姬Suki Kim，2014年</p> <p><strong><a href="https://axieinfinity.com/">Axie Infinity</a></strong>：一款区块链游戏，于2018年发布，玩家可以收集、繁殖、战斗和交易名为 Axie 的数字宠物并从中获取收益。该游戏在以太坊区块链上运行，并使用一种名为AXS 的加密货币。</p> <p><strong>李飞飞</strong>：人工智能领域的先驱者，研究领域涉及计算机视觉、深度学习、认知神经科学等。著有《我看见的世界》，美国国家工程院院士，现为 ImageNet 的首席科学家和首席研究员、斯坦福以人为本人工智能研究院院长。</p> <h2>本期节目</h2> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8260912306_999054.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8260912306_999054.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8260912306_999054.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8260912306_999054.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8260912306_999054.jpg" alt="未标题-1-10.jpg"loading="lazy" decoding="async" width="2534" height="621" /></picture></figure></div><p>写作者，主要研究女性主义及科技艺术。过往文章发表于《艺术新闻》、artnet、ARTnews、《华尔街日报》（中文版）等。</p> <h3>本期嘉宾</h3> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8260912292_073853.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8260912292_073853.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8260912292_073853.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8260912292_073853.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8260912292_073853.jpg" alt="未标题-1-12.jpg"loading="lazy" decoding="async" width="2534" height="621" /></picture></figure></div><p>科幻作家、编剧、译者，现任香港理工大学客座教授。代表作《荒潮》、《AI未来进行式》等，以未来技术为切入点反思社会变迁与个体困境。</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8260912286_947129.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8260912286_947129.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8260912286_947129.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8260912286_947129.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8260912286_947129.jpg" alt="未标题-1-11.jpg"loading="lazy" decoding="async" width="2534" height="621" /></picture></figure></div><p>新媒体艺术家，中国美术学院跨媒体艺术学院开放媒体系副系主任。其近作“阿加尔塔”探索了去中心化的生态政治学，聚焦AI、增强现实（AR）和多模态艺术实践。</p> <p>——</p> <p>视觉设计：孙浚良</p> <p>片头制作：马海平</p> <p>音频剪辑：孙哲</p> <p>后期编辑：黄韵奇</p> <p>Contacts:[email protected]</p>
January 15, 2025
<p>“未来志异”主播：叶滢</p> <p>本期嘉宾：韩纵、翁笑雨</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263076412_112971.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1217/format,webp" type="image/webp"><img src="https://i.typlog.com/archipelagofuture/8263076412_112971.jpg" alt="并排.jpg"loading="lazy" decoding="async" width="1217" height="298" /></picture></figure></div><h2>关于“未来志异”</h2> <p>“未来志异”是《艺术新闻》主编叶滢发起的一档联结全球不同地方创作者和策展人的谈话节目。</p> <h3>本期内容概述</h3> <p><strong>这是东南亚少为人知的另一面，东南亚正在成为全球迅速成长的艺术新兴地区，哪些艺博会、美术馆和画廊值得去深度探索？为什么这里的艺术从业者会像“千手观音”一样身兼数职，不受束缚？两位有着中国背景的艺术工作者怎么进入这一片艺术的丛林，理解这里的混沌与活力，找到各自的线索和路径？</strong></p> <p>本期播客邀请了两位与新加坡及东南亚艺术开展工作的韩纵和翁笑雨，谈话进入到了新加坡和东南亚地区的近年正在发生变化的艺术世界，探索了新加坡作为东南亚艺术生态核心地位的形成因素，以及从东南亚延伸到拉丁美洲的全球南方艺术叙事的崛起。</p> <p>对于从中国背景出发的艺术从业者来说，深入东南亚艺术生态并尝试从此再进入全球工作网络面临着不小的挑战：作为局外人如何窥探并进入东南亚的艺术生态？如何突破东南亚多元庞杂的历史脉络所构筑的知识壁垒？如何在东南亚本土文化和全球化的国际艺术系统之间找到一个平衡点，并找到自己的独特声音？</p> <p>以<a href="https://artsg.com/">1月举办的 ART SG </a>作为聚点，韩纵分享了对东南亚艺术市场的成长到新加坡艺术周的快速发展的观察，他直言新加坡虽然市场规模不大，却有着国际化的视野和系统化的机构支持，在近年来逐步吸引了大量艺术基金会在这里落地。</p> <p>谈话中两位以切身的观察和研究为基础，讨论了新加坡国家美术馆、新加坡美术馆等重要机构和活动对区域艺术发展的影响。其中就包括新加坡国家美术馆筹备七年的展览“热帶：来自东南亚与拉丁美洲的故事”（Tropical: Stories from Southeast Asia and Latin America），通过“热带”的隐喻，串联东南亚与拉丁美洲的文化历史背景与自然环境，将后殖民视角与现代艺术相结合。这一展览不仅重塑了现代艺术史的叙事，也展示了新加坡作为超越西方叙事，重建全球南方文化纽带的独特地位。</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263076251_022856.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8263076251_022856.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8263076251_022856.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8263076251_022856.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8263076251_022856.jpg" alt="配图-02.jpg"loading="lazy" decoding="async" width="2533" height="1715" /></picture></figure></div><p>翁笑雨还聊到她十多年前第一次深入东南亚艺术圈的调研经历，从走访艺术家工作室到亲历社区艺术项目。她描述了越南艺术小组NhaSan Collective如何在传统越南老宅中展开艺术实践，以保护濒临拆迁的建筑，在标准化或体制化的艺术世界之外野蛮生长。作为Tanoto Art Foundation的艺术总监，她关注的不仅是东南亚艺术的本土表达，还致力于构建东南亚与拉丁美洲之间的叙事连结，期望能产生一个突破欧美中心叙事，探索多元视角的对话平台。</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263076271_323286.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8263076271_323286.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8263076271_323286.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8263076271_323286.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8263076271_323286.jpg" alt="配图-01.jpg"loading="lazy" decoding="async" width="2533" height="3077" /></picture></figure></div><p>韩纵分享了他对泰国艺术生态的观察，个体的活力往往超越了体系的定义，Bangkok City City 画廊的创始人之一Akapol Op Sudasna不仅创办了画廊，还与艺术家 Korakrit Arunaondchai 发起了 Ghost 影像和表演艺术三年展项目，同时他也是曼谷艺术书展、非盈利组织 Open Field 的创始人。艺术家 Rirkrit uTiravanija 还身兼策展人、机构创立人等多重角色，还在清迈运营着他的<a href="https://nudapaper.com/rirkrit-tiravanija/">Land Foundation</a>，将土地作为一个面向社区的开放讨论、思想实验空间。从他们的艺术实践中，可以看到个人能量不止于体系的定义，往往如“千手观音”般拥有多重角色，变身为泰国乃至东南亚与国际艺术世界进行对话和交流的重要纽带。新的活力还来自新的空间，成立不久的 Bangkok Kunsthalle 艺术空间由 Marisa Chearavanont 创立，除了位于曼谷唐人街老印刷厂改造的艺术中心外，还有一个艺术森林的项目（KhaoYai Art Forest）。</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263076238_47915.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8263076238_47915.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8263076238_47915.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8263076238_47915.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8263076238_47915.jpg" alt="配图-03.jpg"loading="lazy" decoding="async" width="2533" height="2755" /></picture></figure></div><div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263076225_10387.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8263076225_10387.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8263076225_10387.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8263076225_10387.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8263076225_10387.jpg" alt="配图-04.jpg"loading="lazy" decoding="async" width="2533" height="1884" /></picture></figure></div><div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263076217_804689.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8263076217_804689.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8263076217_804689.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8263076217_804689.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8263076217_804689.jpg" alt="配图-08.jpg"loading="lazy" decoding="async" width="2533" height="1743" /></picture></figure></div><div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263076212_133327.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8263076212_133327.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8263076212_133327.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8263076212_133327.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8263076212_133327.jpg" alt="配图-09.jpg"loading="lazy" decoding="async" width="2533" height="1884" /></picture></figure></div><p>这期播客从一月新加坡开幕的ART SG开始谈起，犹如一场关于新加坡与东南亚艺术的深度漫游，从宏观的文化脉络切入微观的个体经验，韩纵提到的个人叙事矛盾以及翁笑雨所援引的“无家可归”的隐喻，向听众展现了海外艺术工作者在流动性、全球化以及后殖民等等问题中不得不直面的思考，在个体经验与观察中，也展现了一个充满活力和潜力的艺术区域，为听众开启了始于东南亚的 Post-South 艺术未来形态的想象。</p> <h2>志异时刻</h2> <p><a href="#t=07:52">07:52</a> 为什么将工作重心转移到新加坡以及东南亚</p> <p><a href="#t=12:29">12:29</a> 从疫情后的全球首个艺博会ArtSG表现看东南亚艺术市场</p> <p><a href="#t=16:28">16:28</a> 机构与学术建设加持，在新加坡看到整个泛东南亚地区的现当代收藏和艺术项目</p> <p><a href="#t=19:30">19:30</a> 新加坡由政府基金主导的多元艺术生态：多民族、跨地域联结合作</p> <p><a href="#t=24:29">24:29</a> 新热土：多重文明系统交界地带生发出的多元东南亚文化</p> <p><a href="#t=32:32">32:32</a> 用南岛叙事对抗西方系统下的全球化概念</p> <p><a href="#t=39:28">39:28</a> 外交世家出生的艺术家Rirkrit和Korakrit展开的身份混合的艺术实践</p> <p><a href="#t=43:40">43:40</a> 曼谷Art Tour指南：Bangkok City City和 Bangkok Kunsthalle</p> <p><a href="#t=49:20">49:20</a> 东南亚艺术中的混沌活力：艺术家在外部资源缺失的状态下抱团生长</p> <p><a href="#t=54:58">54:58</a> 中国艺术从业者进入东南亚艺术的壁垒，以及从这里再走向世界的难点</p> <p><a href="#t=01:02:21">01:02:21</a> 韩纵：流动中的个人叙事矛盾，在寻根中国文化和成为国际主义者之间摇摆</p> <p><a href="#t=01:15:23">01:15:23</a> 翁笑雨：在既定艺术系统的裂缝中插入新的叙述，和志同道合的同事们搭建东西艺术传播的桥梁</p> <p><a href="#t=01:19:03">01:19:03</a> 穿透系统壁垒的”刺客“们，在塑造不一样的未来形状</p> <h2>相关链接：</h2> <p><strong>/ 艺术机构和画廊 /</strong></p> <ul> <li>新加坡国家美术馆 National Gallery Singapore</li> </ul> <p>www.nationalgallery.sg</p> <ul> <li>新加坡美术馆 Singapore Art Museum (SAM)</li> </ul> <p>www.singaporeartmuseum.sg</p> <ul> <li>The Institutum（新加坡）</li> </ul> <p>www.theinstitutum.com</p> <ul> <li>M Art Foundation</li> </ul> <p>maf.art</p> <ul> <li>Tanoto Art Foundation</li> </ul> <p>www.tanotoartfoundation.org</p> <ul> <li>Bangkok Kunsthalle 及 Khao Yai Art Forest</li> </ul> <p>www.bangkok-kunsthalle.org</p> <ul> <li>Bangkok City City</li> </ul> <p>bangkokcitycity.com</p> <p><strong>/ 展览 /</strong></p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263076010_240163.png?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8263076010_240163.png?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8263076010_240163.png?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8263076010_240163.png?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8263076010_240163.png" alt="311dd1c72f960fa1b9ac6f543a33670.png"loading="lazy" decoding="async" width="1920" height="1080" /></picture></figure></div><p>“赤道：来自于东南亚和拉丁美洲的赤道的故事”， 新加坡国家美术馆，2023.11.18-2024.3.24</p> <p><a href="https://www.nationalgallery.sg/sg/en/learn-about-art/our-publications/exhibition-catalogues/tropical-stories-from-southeast-asia-and-latin-america.html">Tropical: Storiesfrom Southeast Asia and Latin America</a></p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263075998_154802.png?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1100/format,webp" type="image/webp"><img src="https://i.typlog.com/archipelagofuture/8263075998_154802.png" alt="a2ac3a905cf680e3decea522f2e2da6.png"loading="lazy" decoding="async" width="1100" height="734" /></picture></figure></div><p>何子彦，“光阴似虎”，新加坡美术馆，2023.11.24-2024.3.3</p> <p><a href="https://www.singaporeartmuseum.sg/Art-Events/Exhibitions/Ho-Tzu-Nyen-Time-and-the-Tiger">Ho Tzu Nyen, Time & the Tiger</a></p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263075853_68796.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8263075853_68796.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8263075853_68796.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8263075853_68796.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8263075853_68796.jpg" alt="Institutum_Translations_JAN243069.jpg"loading="lazy" decoding="async" width="2500" height="1406" /></picture></figure></div><p>“翻译：亚非诗学”，The Institutum, 2024.1.18-1.30</p> <p><a href="https://www.theinstitutum.com/commissions/translations-afroasian-poetics">Translations: Afro-Asian Poetics</a></p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263075818_600809.png?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1400/format,webp" type="image/webp"><img src="https://i.typlog.com/archipelagofuture/8263075818_600809.png" alt="c79c8a722f0ec47cf2c0cb0b9d1147f.png"loading="lazy" decoding="async" width="1400" height="858" /></picture></figure></div><p>新伊甸园，亚洲女性艺术家带来的科幻新洞见，艺术科学博物馆，2023.10.21-2024.3.3</p> <p><a href="https://www.nac.gov.sg/artweek/events/new-eden-science-fiction-mythologies-transformed.html">New Eden: Science Fiction MythologiesTransformed</a></p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263075790_614039.png?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1080/format,webp" type="image/webp"><img src="https://i.typlog.com/archipelagofuture/8263075790_614039.png" alt="48d47c5c43151d7dabc99f0f5c6dcbf.png"loading="lazy" decoding="async" width="1080" height="721" /></picture></figure></div><p>第三届泰国双年展“开放的世界”，2023.12.9-2024.4.30</p> <p><a href="https://www.thailandbiennale.org/en/">Thailand Biennale Chiang Rai 2023, the OpenWorld</a></p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263075777_699728.png?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1024/format,webp" type="image/webp"><img src="https://i.typlog.com/archipelagofuture/8263075777_699728.png" alt="7e49b87f2425c144cf719697fad95b7.png"loading="lazy" decoding="async" width="1024" height="576" /></picture></figure></div><p>第二届Ghost影像艺术三年展，2022.10.12-11.13</p> <p><a href="https://ghost2561.com/">Ghost 2565：LiveWithout Dead Time</a></p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263075739_326551.png?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1064/format,webp" type="image/webp"><img src="https://i.typlog.com/archipelagofuture/8263075739_326551.png" alt="0f0f2eff21a5b83ef661e139c0e7580.png"loading="lazy" decoding="async" width="1064" height="583" /></picture></figure></div><p><a href="https://documenta-fifteen.de/en/">第十五届卡塞尔双年展</a>，2022.6.18-9.25</p> <p><strong>/ 艺术家 /</strong></p> <p><a href="https://www.davidzwirner.com/artists/rirkrit-tiravanija">Rirkrit Tiravanija</a></p> <p><a href="https://www.carlosishikawa.com/artists/korakritarunanondchai/">Korakrit Arunanondchai</a></p> <p><a href="https://mubi.com/en/cast/apichatpong-weerasethakul">Apichatpong Weerasethakul</a></p> <p><a href="https://documenta-fifteen.de/en/about/">ruangrupa</a></p> <p><a href="https://nhasan.org/">Nha San Collective</a></p> <p><a href="https://www.nationalgallery.sg/sg/en/visit/audio-guide.tour.html/georgette-chen-audio-tour.html">张荔英</a></p> <p><strong>/ 书籍 /</strong></p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263075564_505332.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8263075564_505332.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8263075564_505332.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8263075564_505332.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8263075564_505332.jpg" alt="配图-10.jpg"loading="lazy" decoding="async" width="2107" height="1410" /></picture></figure></div><div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263075538_316456.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8263075538_316456.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8263075538_316456.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8263075538_316456.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8263075538_316456.jpg" alt="配图-11.jpg"loading="lazy" decoding="async" width="2107" height="1410" /></picture></figure></div><div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263075532_103817.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8263075532_103817.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8263075532_103817.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8263075532_103817.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8263075532_103817.jpg" alt="配图-12.jpg"loading="lazy" decoding="async" width="2107" height="1410" /></picture></figure></div><div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263075526_503142.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8263075526_503142.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8263075526_503142.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8263075526_503142.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8263075526_503142.jpg" alt="配图-13.jpg"loading="lazy" decoding="async" width="2107" height="1515" /></picture></figure></div><h3>本期节目</h3> <p><strong>本期讨论参与者</strong></p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263075507_208946.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800/format,webp 1x, https://i.typlog.com/archipelagofuture/8263075507_208946.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600/format,webp 2x" media="(min-width: 800px)" type="image/webp"><source srcset="https://i.typlog.com/archipelagofuture/8263075507_208946.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_800 1x, https://i.typlog.com/archipelagofuture/8263075507_208946.jpg?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1600 2x" media="(min-width: 800px)"><img src="https://i.typlog.com/archipelagofuture/8263075507_208946.jpg" alt="配图-06.jpg"loading="lazy" decoding="async" width="2535" height="620" /></picture></figure></div><p>曾任职于UCCA、复星基金会及德基艺术博物馆。 现工作于新加坡，专注于文化策略制定，为亚太地区机构提供结构优化、项目策划及艺术收藏规划建议，致力于推动区域文化与艺术生态的发展。</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263075500_686022.png?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1218/format,webp" type="image/webp"><img src="https://i.typlog.com/archipelagofuture/8263075500_686022.png" alt="资源 14.png"loading="lazy" decoding="async" width="1218" height="299" /></picture></figure></div><p>常驻纽约的独立策展人和写作者，于2024 年加入Tanoto Art Foundation任艺术总监。她关注全球化、身份和后殖民等议题，同时注重与艺术家、科学家、研究者和哲学家的深入跨学科合作，构造综合、多层次、互动迭递的语境和平台。翁笑雨毕业于中央美术学院和加州艺术学院。她曾任位于多伦多安大略省美术馆的卡罗尔及莫顿·拉普现代和当代艺术策展人、部门主管。此前，翁笑雨是纽约古根海姆博物馆何鸿毅家族基金副策展人。任职期间，她策划了大型展览 “故事新编”(2016-17)和 “单手拍掌”(2018)。她还策划了艺术家 Christian Nyampeta 在古根海姆的个展 “Sometimes It Was Beautiful”(2021), 以及第五届乌拉尔双年展 “永生”(俄罗斯叶卡捷琳堡，2019)。</p> <div class="photo"><figure><picture><source srcset="https://i.typlog.com/archipelagofuture/8263075491_523672.png?x-oss-process=image/auto-orient,1/interlace,1/quality,q_90/resize,m_lfit,w_1218/format,webp" type="image/webp"><img src="https://i.typlog.com/archipelagofuture/8263075491_523672.png" alt="资源 12.png"loading="lazy" decoding="async" width="1218" height="299" /></picture></figure></div><p>叶滢是《艺术新闻》的创刊主编，她也是一位文化评论人与艺术项目策划人。她发起了《正在到来的绿色文艺复兴》《可持续的博物馆，可持续的艺术》等多个论坛，与艺术、建筑、设计、科学领域的同道开启跨领域的对话。2022年她在昆明当代美术馆策划了展览《蘑菇之语：万物互联的网络》，2023年她与主编的《艺术新闻》发起了“永续之籽”教育计划。她所写的《窑变798》讲述了北京798艺术区艺术生态的演变。她还是系列纪录片《艺文中国》的主要撰稿人，并参与策划“‘世界看见’中国少数民族文化保护与发展”等文化项目。</p> <p>——</p> <p>视觉设计：孙浚良</p> <p>片头制作：马海平</p> <p>音频剪辑：孙哲</p> <p>Contacts:[email protected]</p>
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