2018年第二届画廊周北京尊享晚宴颁奖现场
本届画廊周北京共有18家画廊及4家美术馆、机构参展。本届最佳展览奖的评审阵容包括：意大利国立二十一世纪当代艺术博物馆（MAXXI）艺术总监侯瀚如，木木美术馆创始人林瀚、雷宛萤（晚晚），中间美术馆馆长、批评家和策展人卢迎华，巴黎蓬皮杜艺术中心当代及未来创作部门策展人马容元，及尤伦斯当代艺术中心（UCCA）馆长田霏宇（Philip Tinari）。评判标准为：展览的策展理念，艺术家创作的突破性，以及机构在年度展览呈现上的突破。
做一支铁锤？响彻在南美大地的《山鹰之歌》和《切格瓦拉之歌》，从热带丛林沿亚马逊河，带着古印加文明的气息漂洋过海。雄鹰飞越大西洋，传遍亚欧大陆。它们象征着南美人民对殖民压迫的反抗，独立自由的追求。歌声传递的精神力量让人鼓舞，而对革命文化和左翼行动之路的追思也引人怀念。
Yes I would，if I could，why wouldn‘t I rather be a hammer？ El Condor Pasa and Comandante Che Guevara，two songs roaring above the lands of South America，soars up from the tropical rainforests，along the river of Amazon，carrying with them the echoes of the ancient Inca civilization，all the way across the deeps。The mighty eagle flies across the Atlantic，spreading its sounds all over the Eurasia。The two songs stand for the resistance of the South American peoples against colonization，and their yearning for independence。The spiritual strength transferred is inspiring，and the reminiscences of the history of revolutionary culture and the left movements are touching。
靶纸，2016-2017，印刷品，54×38 cm×162
展览由“开火”开始，它像是战争河流中的鹅卵石，铺设了整场展览的路径。162张靶纸密布在第一展厅，射击留下的弹孔密密麻麻，每一颗子弹都有独属于自己的轨迹。从2013年开始，张玥调查、研究、组织了一系列与枪 械有关的作品。过去，这些并不熟悉的领域，只存在于各色文件中，人们要翻阅大量的专业书籍和相关小说、电影，才能端详一二。如今，只需打开互联网，就能找到副本和各种信息。张玥采访了各种人物，积累了大量第一手资料，如各地靶场的射击体验，退伍军人的实战经历，刑事罪犯的新闻案件，各地记载的不同年代的持枪证，民间称谓和暗语形成的地下黑话。
The exhibition starts with“Firing”。This part，as if cobblestones along the river of war，forms a path leading to every corners of the whole show。In this first exhibition room，162 pieces of target paper spread one by one，on which bunches of bullet holes huddle up densely。Every bullet has its unique trajectory。Since 2013，Zhang Yue has made a series of works about guns via investigation and research。In the past，if one wants to somewhat probe into such an unfamiliar field，one has to read lots of academic books and seek help from related novels or movies。Today，clicks on the Internet instantly produce needed copies and data。Zhang Yue also interviewed various persons to secure a host of first-hand information，including the shooting experiences in shooting ranges，veterans‘actual combat experiences，criminal cases，catalogued certificates for taking guns from different periods，and gun cants in vernaculars and local code words。
数量往往与质量有着紧密的联系。张玥走访各地，独立完成了104篇访谈。有当事人以第一人称的讲述，也有各种道听途说的传闻和故事。摄像机、录音设备、手机、文件扫描仪，为记录、分享和研究创造了新的可能。但记录器背后仍可以进行这样那样的操作，现在只要轻轻移动鼠标，就可以伪造任何共享资料。便利同样带来便利的廉价，区分事实和似是而非的观点，让一个研究者的工作变得更加困难。
Quantity often means quality。Zhang Yue visited many places，and completed 104 interviews by himself。There are first-person narratives，and hearsay legends and stories as well。In documenting，sharing，and researching，new possibilities have been created by cameras，recording devices，smartphones，and scanners。But operations can be made behind recorders-any shared documents could be forged by slight movements of a mouse。Conveniency brings with it convenient cheapness。It makes a researcher‘s work harder that he has to check the facts and identify specious arguments。
现场的经验具有颠覆性，它能刺破英雄和独裁者、异国情趣的小说和在地的前线报告、拷问官和分解者的断言，能够甄别哪些是谎言、半真半假的说辞和神话，能够推翻为拉拢悲惨之人而脱口而出的许诺。
First-hand experiences can be subversive。They can cast severe doubts on exotic novels about heroes and dictators，local reports from front line，and assertions made by interrogators；they can tell truth from lies，half-lies，myths，and promises SWIFTly made to bribe the wretched。
东北亚（部分），2017，钢笔纸本，41×32 cm
2015年，张玥和包晓伟去往缅甸果敢的战场。在难民营的帐篷里呆了65天，从昆明到南伞，坐着摩托车穿越边境。在参杂着慌乱气息的时光里，张玥画了一些连环画，它记载了从开始的雄心万丈，到一件件具体的小事接踵而至，情绪的逐渐转化，恐惧、悲悯和无助的结束。展览的第二部分，由夹在两个空间中的帐篷进入，枪击不再是靶纸，房子上处处留下弹孔，这里的射击环数，只用生命计算。脆弱临时的帐篷，成了人们仅有的安全堡垒。这里住着茶农、烟农、游击队员、毒贩、妓女、赌场老板，他们的访谈不再掷地有声，或是在往事中沾沾自喜，人们更渴望的是大米。两个月后，张玥和包晓伟用作品从北京换回五万斤大米，分发给六千多户难民，没有什么比活下去更重要。
In 2015，Zhang Yue and Bao Xiaowei went to the battlefront in Kokang，Myanmar。They reached the borderline by way of Kuiming and Nansan，then crossed it on motorbike taxi，and stayed in a refugee camp for 65 days。In those disturbing days，Zhang Yue drew some narrative drawings，which recorded his initial ambition，ensuing minor incidents，his depressed emotion，fear，sympathy，and the helpless end。In the second part of this exhibition，the entrance is a tent set up between the two rooms，and bullet holes no longer stay on target paper，but are embedded in every wall。Here，the shooting scores are counted only by lives。The fragile shack-tent is people‘s only safety house。There lived tea peasants，tobacco growers，guerrillas，drug dealers，prostitutes，and casino bosses，and their interviews were no more confident assertions，or fondly reminiscences。They wanted rice。Two months later，Zhang Yue and Bao Xiaowei went to Kokang again with 50,000 jin（25,000 kilograms）of rice for which they had exchange their works in Beijing，and distributed it among over 6,000 refugee households。Nothing is more important than surviving。
缅甸民族民主同盟军军事委员会通告（部分），2017，钢笔纸本，37×29 cm×15
“刚刚上午十点多，由于战争的原因，街上空荡荡的。窗外的炮声显得格外清楚，有时就在耳边，有时只能判断出大致方位。满街贴着果敢军的告示，上面写着：同盟军是执行正义的民族武装，是保卫果敢人民生命财产的人民武装。”这是张玥2017年第三次来到缅北，他在房间中记下一天炮火的数量和远近，名为《最长的一天》。
“It‘s just past ten o’clock in the morning。The streets are empty due to the war。The sounds of cannon firings outside the window are clearer than ever；sometimes it was as near as hell，sometimes I could only discern its rough direction。Everywhere are notices by the Kokang Army，which says：‘The Myanmar National Democratic Alliance Army is a national army of justice，a people’s army protecting the lives and properties of the Kokang people。‘”In 2017，Zhang Yue went to North Myanmar for the third time，and in his room he counted the cannon firings in a whole day and noted estimated distance of each shot；this work he names“The Longest Day”。
英语（局部），2017，钢笔纸本，18.5×24.5 cm×37
是的，我愿航行到远方，像来了又去的天鹅。战争和苦难从未被解决，它只是被一个更近时间的发生所替代了。展览的最核心部分，即是在这个全球化的图景中，不停上演的重复性悲剧，在北回归线各端爆发。视角也表达了观点，张玥从亚洲开始，由缅甸战事进入东北亚的争端。他通过各种图书和网络资料，分析了东北亚金氏家族的军火贸易，卫星制导的零件，铀矿石探测器，战车和潜艇部件的往来交易。冷战的意识形态，造就了这些神秘地下交易的运行。核武器改变了战争的方式，威慑成了战争的全新手段。相隔一万三千多公里外的古巴，1961年的导 弹危机轰动全球，张玥依据对解密资料的汇编和想象，重新解释了古巴导演危机的内幕。寻找事实，并不是艺术家可以孤立完成的工作。这些个人式的研究，铺就了更多分析之路。它像马赛克瓷砖，或是始终运行的传真机，拼出最丰富的历史画面。
Yes，away I‘d rather sail away，like a swan that’s here and gone。War and suffering have never found a solution，but are just substituted by renewed happenings。The core of this exhibition represents this constantly repeated tragedy which has now erupted along the Tropic of Cancer in this globalized world。One‘s viewpoint can be suggested by perspective。Zhang Yue began with Asia：first the Myanmar war，then the Korean situation in Northeast Asia。By reading books and Internet documents，he analyzed the arms trade of the Kim Dynasty，satellite-guided weapons of North Korea，its uranium ore detector，and its trade of parts of war vehicles and submarines。Behind these mystical black markets is the ideology of the Cold War。The nuclear weapon has changed the way of war，deterrence becoming the new strategy。In Cuba，over 13,000 kilometers away，the missile crisis of 1961 shocked the whole world。By organizing de-classified documents，and by his imagination，Zhang Yue re-explained that crisis。Seeking facts is not a work that an artist can do by himself。But such an independent investigation provides fresh approaches for analysis。It is like mosaic tiles，or an ever-running fax machine，piecing together a richest historical picture。
冷战的谢幕，历史转向了东欧时刻。巴尔干半岛的冲突在千禧年前上演，前南斯拉夫的解体，北约的扩张，原本多民族、多语言的地区冲突不断。张玥从一个历史的细节入手，以科幻小说中的假想为启示，虚拟了塞尔维亚对阿尔巴尼亚式英语发音的改造，一个民族对另外一种族别语言的憎恨。他援引了游戏中基因改写的设想，试图虚拟一场关于口音的战争和统治。
At the end of the Cold War，the history encountered an East Europe moment。The strifes of the Balkan Peninsula took place before the millennium。The former Yugoslavia disintegrated，the NATO was expanding，and the multi-ethnic，multi-lingual area was under constant conflicts。Focused on a historical detail，and inspired by some sci-fi plots，Zhang Yue fabricated a story in which Serbs revise the English pronunciations of Albanians out of the hatred of one nation toward another‘s language。Borrowing plots of gene editing of some e-games，he tried to fabricate a war and oppression on the accent。
事实从未得到原汁原味的传播，如接龙游戏，发布者熟悉地掌握了如何利用媒介，不断加工，传播符合自身利益的信息。因此，我们只有寻找那些被过去历史视而不见的“可能性信息”，并把它放在另一框架中考量、质疑、批判、想象，我们才能最大可能地靠近复杂的发生，形成个人化的史学观。这也是张玥独特的工作方式，为我们提供的意义和价值所在。
The facts are never transferred faithfully，as in a message relay game。The publisher knows well how to make use of the media and editing，and circulate information in his own interest。Therefore，we have to find out the“possible information”neglected by the history，put it into an alternative framework，and then think，doubt，criticize，and imagine。It is only by this way that we can approach as close as possible to the complicated reality，and form a personal view of history。This is the unique way of Zhang Yue‘s work，and its meaning and value。
我们已经进入新千年的“事实”，让人感觉历史告一段落，也让人产生这样的幻觉。更近发生的波士顿爆炸案，提示我们历史的阴影从未结束。2001年，911恐怖袭击后，一个新的”全球反恐战争“的时代已经开始。张玥由波士顿的恐袭案入手，用20张手绘图纸分析了它与2013年另几宗袭击案件的神秘联系。它们之间的历史缘由如影随形，在新闻中随处可见，却又总是销声匿迹于毫无防备的现代生活之中。
The“fact”that we have been into a new millennium gives out an feeling，or an illusion，that the history has entered a new era。But the Boston explosion reminded us that the shadow of the past century is still stalking us。After the 911 terrorist attack，a new“global anti-terrorist war”began。Focused on the Boston terrorist explosion，Zhang Yue analyzed its mystical relations to several other attacks in 2013 in the form of 20 freehand blueprints。Those attacks‘historical relations are inherent，and can be seen everywhere in the media，but are always rendered invisible by the unalarming modern life。
Welcome，2017，多频视频，尺寸可变
欢迎来到虚拟的世界。展厅的第三部分，将纷争与暴力引入游戏生活。在电子游戏《看门狗2》中，张玥以游戏角色的身份，隐匿在城市“旧金山”的几百个监视器中，视点与摄像头同步，监控这里的24小时。24小时中，这座游戏中的城市发生了种种暴力案件，游戏尽可能地去仿制现实的一天中可能发生的故事。此时，张玥在游戏中变成了一座城市的监视者，并制定了各种抓捕方案，12台电脑屏幕，60张草稿，显现了监控和实施计划的图像。另一个大屏幕中，张玥在游戏《GTA5》中身份和角色发生了颠覆性的变化，他变成了城市“洛杉矶”中的杀戮者，一个不断地报复社会，并随时可能在监控下被逮捕的“暴徒”。身份的转换使得我们开始警觉，我们究竟是什么角色？是一个随时警惕危险的监视者，还是被监视者？是暴力的受害者，还是潜在的开火者？
Welcome to the virtual world！ In the third part of the exhibition，the artist ushered strifes and violence into the game world。As a player of the e-game Watch Dogs 2，Zhang Yue hided himself behind the hundreds of CCTV cameras in the city of“San Francisco”，and in the course of 24 hours，incessantly watched everything in the monitors。In this 24 hours，various violent events took place in this“city”，and the game emulated in every possible detail accidents that could happen in a real-life day。So Zhang Yue in the game became a surveillance man of a city，and he also drew up plans to take criminals under custody。The images of surveillance and the process of actions are showed by 12 computer monitors and 60 drafts。There is a big screen too，which displayed another scenario：in the e-game GTA5，Zhang Yue played an opposite role，a killer in the city of“Los Angeles”，a“thug”who kept taking revenge on the society，and could be arrested in any time。The switch of role gives us a warning：who really are we？ One who constantly surveil possible violence，or who are under surveillance？ A victim of violence，or a potential gunman？
游戏并不欢迎现实。游戏是对现实的想象与回应，也是对展览前两部分的引申和重返。它从来不是完全虚拟，它植根于现实的发生和提供的经验，那些分布在全世界各地彼时或此时，正在上演的纷争与冲突。以及展览最后一部分对于张玥监狱生活的描述，那些在艺术家个人历程中尤为重要的经历，弥漫在80张监狱画中，静静地追忆情感。
Game doesn‘t welcome reality。The game part of the exhibition is an case of imagination and reaction toward the reality，as well as an extension and a return to the first two parts。These games are never completely virtual，but rooted in real happenings and experiences-the real strifes and conflicts taking place all over the world，and also，one of the artist’s most critical personal experience，his jail life，which is described by his 80 drawings drawn in prison shown in the last part of the exhibition。
展厅进门处，一张大尺幅的照片提示着张玥近几年的生活，他大部分时间往返于边境线。夜晚，清晨，暴雨，全副武装的守卫，始终紧张的状态。他坐在一辆摩托车上，远处是果敢战火后的废墟。他举起相机，记录下此刻。
At the entrance of the exhibition hall，a large-scale photo tells something about Zhang Yue‘s recent years。Most of time he was crossing some borderline：night or dawn，a hard rain，fully armed guards，a constantly tense life。He rides a motorcycle，and far behind him is the ruin of Kokang ravaged by the fighting。He raises up his camera，and nails down the moment。
地图 Map
在此刻的展厅外，白色整洁的中庭，回响著作品《明天》中未来战争的声音，天空从不设防。它将在这里整日响彻，亦如《山鹰之歌》中永远翱翔在南美上空的号角，歌声传递的精神依然令人鼓舞。但我们深知，在游戏的世界中我们可以选择，麻雀与蜗牛、铁锤与铁钉、森林与街道，但现实世界从来不是可以由键盘和鼠标操纵。
Now outside the hall is the neat white courtyard。There the sound of a future war（from the artist‘s work“Tomorrow”）is loudly played，and the sky is defenseless as always。It will be played around-the-clock，as the sound of El Condor Pasa is ever soaring above the lands of South America。The spirit of the song is still inspiring，but we know very well that while we can choose between sparrow and snail，hammer and nail，forest and street in the game world，the real world can never be controlled by keyboard and mouse。
策展人 Curator：崔灿灿 Cui Cancan
3.14.2018
关于艺术家
张玥，1985年生于山东济南。其个展有：不明真相（杨画廊，北京，中国，2014）；个人项目有：缅北战事（杨画廊，北京，中国，2015）。也曾参加由21世纪国家艺术博物馆（意大利罗马）、白兔美术馆（澳大利亚悉尼）、北京民生现代美术馆、今日美术馆、凯尚画廊（美国纽约）、白盒子艺术馆、大未来林舍画廊（台北）及佩斯画廊等机构举办的群展。
Zhang Yue was born in Jinan in 1985。His solo exhibition includes You Miss the Truth（Gallery Yang，Beijing，China，2014）。His project includes：About the War in Northern Myanmar（Gallery Yang，Beijing，China，2015）。He has participated in group exhibitions at a number of institutions and galleries，including MAXXI Museum（Rome，Italy），White Rabbit Gallery（Sydney，Australia），Minsheng Art Museum（Beijing，China），Today Art Museum，Klein Sun Gallery（New York，America），Whitebox Art Center，LIN & LIN Gallery（Taipei，China），and Pace Gallery（Beijing，China）。
关于策展人
崔灿灿，是一名活跃在中国的独立策划人，曾获CCAA中国当代艺术评论青年荣誉奖，《YISHU》中国当代艺术批评奖等；策划的主要展览包括：夜走黑桥（2013）、乡村洗剪吹（2013）、FUCKOFF II（2013）、不在图像中行动（2014）、六环比五环多一环（2015）、十夜（2016）等；曾策划的艺术家个展包括艾未未、夏小万、沈少民、王庆松、何云昌、萧昱、琴嘎、谢南星、史金淞、李占洋、许仲敏、马轲、夏星、赵赵、秦琦、李青、陈彧凡、陈彧君、厉槟源、冯琳、张玥、宗宁、姜波、牧儿等。
Cui Cancan is an active independent curator in China。He was awarded the CCAA China contemporary art review youth award，“YISHU”contemporary art review award。Curated theme exhibitions including HEIQIAO Night Away（2013），Countryside Fashion（2013），FUCKOFF II（2013），Unlived By What Is Seen（2014），Between the 5th and the 6th Ring Road in Beijing（2015），Ten Night（2016），etc。Curated solo exhibitions for many artists including Ai Weiwei，Xia Xiaowan，Shen Shaomin，Wang Qingsong，He Yunchang，Ma Ke，Xia Xing，Zhao Zhao，Qin Qi，Li Qing，Chen Yufan，Chen Yujun，Li Binyuan，Feng Lin，Zhang Yue，Song Ning，Jiang Bo，MUer，etc。
关于画廊周北京
画廊周北京通过联结北京地区的顶尖国内外当代艺术机构，致力于为全球收藏家、美术馆、艺术爱好者提供一个集中了解和分享前沿当代艺术的推广平台。在画廊周北京期间，画廊、非盈利机构与艺术家将合力呈现一年中最精彩的展览，着重将艺术作品直接呈现于画廊的完整空间，有助于参观者深入理解艺术家创作的系统思想，能够直观领略每个机构不同的鲜明气质。画廊周旨在建立推动艺术生态良性健康发展的公共平台，同时致力于建立艺术与公众、社会、传媒的多元跨界交流和对话。
A hub connecting top Beijing contemporary art institutes of domestic or overseas backgrounds，GWBJ is committed to building up a platform for collectors，museums，and art lovers to gain acquaintance with and share the newest achievements of the contemporary art in a single event。In that week the most splendid exhibitions of the year are due to be presented by all participating parties，invites audience back to artworks‘original，meticulously curated exhibition sites，so that they can gain a deeper understanding of artist’s ideas，and appreciate various characters and stands of art institutes。GWBJ aims to promote the healthy development of the Beijing artistic ecology，and boost the exchanges and dialogues between art and other fields such as the public，the society，and the media。
（本文文字及图片资料来源于画廊周北京及杨画廊 | Image and Text courtesy Gallery Weekend Beijing and Gallery Yang） | 
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