策展人叶兰（Eleonora Battiston）
第二届南京国际美术展将于2015年9月16日至9月26日在南京国际展览中心举办。作为本届南京国际美术展重头戏的“美丽新世界——国际当代艺术主题展”板块，由四个单元组成。其中，总策展人朱彤担纲策划的“目光所及——后金融危机时代的中国新艺术”探讨新艺术的方向；俞可负责“实验地带——关于艺术的讨论方案”，从当代艺术发展三十多年历程中去寻找可以言说的部分，俞可也从自身的文化思考角度独立构想了一个带历史性意味的主题性的展览；叶兰（Eleonora Battiston）策划的“OTHERNESS（ 他性）——行进中的国际当代艺术”从国际艺术发展的方向，去策划组织能够体现自身思考和表达的主题性展览；夏可君策划的“中国当代墨线艺术”负责新水墨的试验性、可能性的构建。
叶兰，意大利籍艺评人兼策展人，1978年生于博洛尼亚，现居西班牙。2002年于博洛尼亚大学获东亚艺术史最优等级学位。1998-2003年在北京语言大学学习，2005-2010年居于北京。自2003年起曾在米兰、北京、博洛尼亚，瓦伦西亚的数家画廊任艺术总监，策划由重要艺术基金（CARISBO、BSI）和博物馆（苏州博物馆、意大利Palazzo Reale、Sala Josep Renau）支持的展览，并参与2005年、2009年布拉格双年展、2011年威尼斯双年展平行展策展。迄今，叶兰已于多部艺术书籍发表评论，这些书籍由知名出版商如米兰Damiani、米兰Electa Mondadori、北京现代书店、北京今日美术馆出版社、圣马力诺Maretti等。自2002年曾担任多家艺术刊物编辑，如《国际艺术快讯》（米兰）、《放大镜》（米兰）、《绝佳主题》（米兰）、《记号》（佩斯卡拉）、《下一个出口》（罗马）等。叶兰研习中国和亚洲当代艺术已有15年多，目前常居西班牙，参与策划亚欧美洲的众多当代艺术项目。
这是你第二次参与南京的大型展览活动吗？与策展人朱彤的合作是从什么时候开始的？你认为南京的当代艺术发展状况如何？
叶兰：截至今日，我与朱彤已认识有10年有余，彼此在诸如意大利、瑞士及西班牙等西欧国家以及中国都合作策划了多场次的艺术项目，其中便包括2010年的首届南京双年展以及此次即将开幕的第二届南京国际美术展。能再次来到南京并亲眼见证这座城市逐渐成为一处文化与艺术中心，这让人欢喜不已！
CANDIDA HOFER, 佛罗伦萨佩⼽戈拉剧院II(Teatro della Pergola Firenze II), 摄影(Photography), 艺术微喷(Ink Jet Print), 102.3 x 139 cm , 2008
第二届南京国际美术展的主题是“美丽新世界”，对于展览主题你有什么见解和看法？
叶兰：起初闻听“美丽新世界”这一主题时，让人感觉难以置信！因为就在那个时刻，我的脑海中浮现的尽是我们这个世界所遭遇的悲惨境遇，诸如战争、灾难以及偏见等。就我看来，如今的世界并非“美丽”，我不确定所谓的“新”是否只是对未来的憧憬。
这次你在南京国际美展中负责哪一部分的展览策划？能否谈一谈这次你策划的展览？
叶兰：在第二届南京国际美术展期间，我负责的是国际展区20个国家约30位艺术家的相关策展事宜。就所策划之相关展览特色而言，通过展示艺术家们多样化的创作媒介（譬如视频影像、相片、绘画、雕塑、装置等），旨在全面呈现他们不同的艺术技艺和艺术造诣。
CARLOS MARTIEL, 种子(Simiente), 摄影(photography), 45 x 30 cm
在展览文章里你引用了今年刚刚去世的爱德华多•加莱亚诺的“在人类历史上，任何一种破坏性行动或早或晚都会得到创造性行动的回应。”，你是如何理解这句话的？
叶兰：无论是当下亦或是未来，我认为这都是一种积极向上的生活态度。我们需停下脚步，认真审视当下所处的特殊历史时刻并开创一个更好的明天，其意就好比中国的那句谚语“凤凰涅槃,浴火重生”。如同文化一样，艺术也是一种力拓创新与实现救赎的绝妙表现形式。
正如你在展览文中所说，全球化的今天人们并没有感受到自由，这是否与人类理想中的“新世界”是相悖离的？如何平衡这种分裂？
叶兰：无论是在艺术创作还是在日常的生活中，我都坚信相互间应彼此尊重，因为每一个人或每一位艺术家都有着自己的独特点，而这种“他性”恰好正是美之原始根源。我们应保持足够丰富的好奇，积极地拥抱那些与自己不同的见解与认识。
FERNANDO BAYONA, 段落175 - 太平间（萨克森豪森）Pharagraph 175-Morgue (Sachsenhausen), 摄影(Photography), 棉纸喷墨打印(Inkjet print on cotton paper), 60 x 50cm, 2015
你认为“他性”与“排他性”的区分是什么？这里的“他”是否代表着边缘和少数派？
叶兰：在我看来，“他性”所代表的是一种独特、一种非凡！犹如自由宣言一样，每一个个体都身具特色并充分享有表述自己愿景的权利。每一个艺术家都在传递着同样的信息——个性化与独特性！也只有充分认识到这一点，我们才能从他人身上学到更多的东西。
这次你的展览会涉及敏感话题，如同性、性虐待、种族主义、失败的政治、战争、屠杀、对弱势群体的虐待、消费主义、投机、腐败等，这些才是真实的世界吗？你是否热衷于揭露现实或者真相？
叶兰：当今世界存在着形形色色各种问题，诸如性、性虐待、种族主义、失败的政治、战争、屠杀等也是现实存在，不能忽视！任何掩饰与躲避只会被看作是懦夫行迹。至于现实与真相间的差别，究竟是什么呢？我也很想知道。
KEKE VILABELDA , 酸性房屋-建造中1-2(Acid House-Under Construction 1-2), 综合材料绘画(Mixed media painting ), 300 x 125 cm
在艺术已经日渐成为“精致文化”“身份象征”的今天你认为最应该反思的是什么？
叶兰：艺术或已成为身份地位的象征，然而艺术传递的讯息及精髓却不专属于个别群体，艺术是大众的、是属于冥冥众生的！我们展示艺术及艺术成果并非仅限于买卖，更多的是进行分享与交流及对话。
中国经济快速发展的几十年，艺术也在短时间内与西方的现代主义、后现代主义等形式迅速融合，你认为在这个过程中丢失了什么？应该如何去吸收和转换才是正确的？
叶兰：艺术并没有对与错之说，艺术需要的是充分的自由表述与追求。我对艺术之吸收与转换尤为着迷！艺术在本地与全球间来回穿梭，有时它代表的只是个别声音，有时却又代表着集体倾诉。每一位艺术家是单个个体，同时也是集体中的一份子，纵使受制于彼此生活的环境以及彼此不同的出生，然而所有的单个个体都与这个世界紧密相联、密不可分。
RICHARD STREITMATTER-TRAN (越南), 脆弱物质(Fragile Matter), 装置(Installation), 综合材料(Mixed media), 25 x 25 x 25 cm (单件)
你如何理解策展人这一职业？在你的职业规划中策展是否是最重要的一部分？与中国的展览制度作比较的话，中西有什么不同？
叶兰：我从事职业策展人这一行已长达数年时间。我是一位意大利人，但我在中国呆了6年并在西班牙也呆了3年。我深深地爱着策展这份工作，因为它为我提供了一次次学习新东西的机会。我认为，当今的艺术交流俨然已发展成为国际化、全球化及高度专业化之模式，艺术为我们突破壁垒与边界限制、拥抱新事物提供了无限可能。
Eleonora Battiston is an Italian art critic and curator born in Bologna in 1978 and currently living in Spain. She got a top grade Degree in History of Art of East Asia at Bologna University in 2002. She studied at Beijing Language and Culture University between 1998 and 2003. She lived in Beijing from 2005 to 2010.
Since 2003 she has worked as art director for different art galleries in Milan (Italy), Beijing (China), Bologna (Italy) and Valencia (Spain). She curated several exhibitions in important art foundations as CARISBO (Bologna, Italy) and BSI (Lugano, Swiss), and museums as PAN (Naples, Italy), Suzhou Art Museum (Suzhou, China), Palazzo Reale (Milan, Italy) and Sala Josep Renau (Valencia, Spain). She curated a section of the Prague Biennale in 2005 and 2009 and a parallel exhibition at the Venice Biennale in 2011.
To date, she has contributed with critical essays to nearly thirty books on contemporary art published by important editors as Damiani (Milan), Electa Mondadori (Milan), MEF Firenze Atheneum (Florence), GianpaoloPrearo (Milan), Skira Editions (Milan), Timezone8 (Beijing), Today Art Museum Publishing House (Beijing) and Maretti (San Marino), among others. Since 2002 she has written for art magazines as Flash Art (Milan), Zoom (Milan), Tema Celeste (Milan); Segno (Pescara), Next Exit (Roma). After spending more than fifteen years in researches and studies on Chinese and Asian Contemporary Art, she is actually based in Spain working and making projects on contemporary art between Asia, Europe and the Americas.
99 Art : Is this the second time you participate in a large exhibition project in Nanjing ? When did you start to cooperate with curator Zhutong ? What do you think of the development status of contemporary art in Nanjing ?
Eleonora：I met Mr Zhu Tong more than 10 years ago and we have collaborated to several projects in Europe (Italy, Switzerland, Spain, etc) and in China. In 2010 we co-curated the Second Nanjing Biennale and now, with the Second Nanjing International Art Festival, I am happy to be back to Nanjing and to see how it is growing as cultural and artistic centre.
99 Art ： as we all know , “A Beautiful New World” is the theme of The Second Nanjing International Art Festival. So , what do you think about it ?
Eleonora：At the beginning this theme sounded very stange to me especially in a time when the world is suffering a lot of wars, tragedies and episodes of intolerance. Many times our world doesn't seem to me very beautiful and I didn't know if "new" was referring to a future that has yet to come.
99 Art : which part are you going to take charge this time ? Could you please tell us those exhibitions you are gong to curate in a general idea?
Eleonora：I am curating the international section with around 30 artists from 20 different countries. I have been asked to give a general vision of international contemporary art and to select artists working with different media (video, photo, painting, sculpture, installation...) and at different points of their career.
99 Art : In your “OTHERNESS ”,you quoted one sentence from Eduardo Galeano who just passed away this year,which said “In the history of humankind, every act of destruction finds its response, sooner or later, in an act of creation.” so , how do you think about these words?
Eleonora：I think that this is a positive way to survive at our present and to look at the future. We need to stop, to understand which historical moment we are living in and to create a better future, as the phoenix that reborn from the ashes. And art, as culture, is a wonderful instrument of creation and redemption.
99 Art : As you pointed in your “OTHERNESS”, people seldom feel freedom in today’s globalization. Whether this felling contrary to the ideal “new world” of humankind or not ?how to balance this kind of division ? What do you think ?
Eleonora：I believe that in art and in daily life we need to respect the "other", the specific unicity of each person and artist, because "otherness" is the origin of beauty, of new. We need to be curious and to let us to be enriched by what it is different to us.
99 Art : How do you distinguish the “otherness”and the “exclusiveness” ? Here ,This word “otherness” represents for what ?The minority、 the fringe or something else?
Eleonora：For me "otherness" represent the uniqueness, the singularity. It is a manifesto of freedom, any single person is unique and has the right to express him/herself. Each artist bring a message, an idea, that is personal and unique. And we can learn a lot from listening to the others.
99 Art : There are many sensitive topics in your “OTHERNESS ”,such as homosexuality, sex abuses, racism, bad politics, wars, massacres, the mistreatment of weak people, consumerism, speculation, corruption ,etc. These are the real world ? Are you interested in exposing the reality or truth ?
Eleonora：These are different aspects of the world, they exist and we can not ignore them. To ignore and to hide them is an act of cowardice. What is the difference between reality and truth?
99 Art ： Nowadays, art has increasingly become a symbol of “Refined Culture”and “status symbol”.what do you think we need to introspect ourselves ?
Eleonora：The possession of art is a status symbol, but art as a message and as something to enjoy is democratic and for everybody. We are showing, producing, looking at art, not only buying and selling.
99 Art : After years of rapid economic development , Chinese art has successfully integrated with those art forms in a short time ,such as Western Modernism ,Postmodernism,etc. What do you think we are missing in this process ? In your opinion, how to absorb and transform is correct ?
Eleonora：There is nothing correct or not correct in art. Art needs to be free. I am really fascinated in contamination and exchanges. Art moves between the local and the global, it is a single voice and a choir at the same time. Every artist is a single person but is also part a community, we are influenced by the place where we live or we are born but also by the fact that we are connected to the rest of the world.
99 Art : what do you think about your job? I mean ,working as a curator. I wonder that whether Curating exhibition plays a vital part in your career planning or not ? compared with china’s exhibition system, what is the difference between Chinese and Western do you think ?
Eleonora：It is many years that I am working as curator. I am Italian, I spent six years in China and three in Spain. I love my job and especially the fact that every day I can learn something new. I think that nowadays the art community is universal and international and at a high and professional level art system had absorbed common rules. Art gives us the opportunity to break barriers and frontiers and to be more opened to the others.
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