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展覽第一部分
雲與權力
由斯拉夫與韃靼、由宓策展
EXHIBITION VIEW SECTION ONE
CLOUDS AND POWER Co-curated by Slavs & Tatars, You Mi
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展覽第二部分
縫線：對紋飾 的重新想像 由亞歷珊卓 ∙ 崔策展
EXHIBITION VIEW SECTION TWO
SUTURE: REIMAGINING ORNAMENT Curated by Alexandra Tsay
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26 雲與權力
斯拉夫與韃靼、由宓 SLAVS AND TATARS, YOU MI
CLOUDS AND POWER 「雲與權力」共展出19組來自藝術家、研究員、設計師
的壯舉，因此最後帶來一種本質上模糊的效果，但卻受到
和女性工匠的作品，同時包括一批文獻資料。展覽從
追捧、令人渴求珍視。展覽的靈感來自於綁染編織中的
傳 統 的綁 染 編 織 技 術出發，將 中亞 的 紡 織 文化作 為
「閃爍」，或者說是一種特別的模糊效果：在這種中亞
一種方法，解讀當下這個動盪不安的時代裡各種虛實
傳統的編織品中，其染色線和防染線以數學方式精準
交錯的邊界。策展團隊在共同策劃的過程中，著眼於通過
對齊，創造出圖案，正因為不可能達到完美，其複雜性反而
紡織與工藝品梳理中亞當地、區域以至全球背景下手工藝
導致了一種模糊的效果。這種綁染編織原本在波斯語中
製作背後種種的虛與實。
被稱為「abr-bandi」，意為「繫雲」。站在21世紀初的 維度上，在信息時代的洪流裡，以「繫雲」為意的綁染
從本質而言，紡織品本就「包羅萬有」── 在生產製作上，
編織向我們提供了另一種想像：在一個「數據織機」裡，
紡織品由眾多緯紗和經紗交錯而成；在宗族系譜上，
一切都在數據化和數字化，而各種顯現、消失和抵抗都在
紡織品是集體知識和技藝的傳承載具。中亞的「ikat」
同時發生。人們常常會把紡織物柔軟的面料與政策中的
則多了一個元素 ── 透過多輪染色從而理解數量、豐度、
軟實力相對應，與之相反的則是編（織）碼過程中的數字
過剩，結果往往達成一種閃爍效果 ── 毛線在編織之前
和數據所代表的硬實力，而「繫雲」，則正是啟發我們去
早已染色，要把這些毛線完美排列，就成了幾乎不可能
質疑這樣的二元對立視角。展覽由全新委託作品、現有
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作品及文獻共同組成，藝術家探討紡織和工藝品所具有的 看似矛盾的角色，它們既是保存集體智慧的歷史寶庫， 同時又經常反映我們現今數碼時代的科技發展。
從本質而言，紡織品 本就「包羅萬有」
參展單位包括 娜茲・貝格 拉利、阿力拜・巴帕諾夫、 蘇里 ‧ 杜 森比娜、迪利亞拉 ・凱波娃 與 N o o l O din、 娜 茲 利 雅 ‧ 納 基 莫 娃、阿 斯 哈 特 ・阿 赫 米 亞 羅 夫、
Bringing together works from 19 artists, researchers, designers and craftswomen along with archival materials,
looks to
weaving
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, an original Persianate term, the weaving of means ‘to tie clouds’. Seen from the perch of the
early 21st century, in the thick of the information age,
and textiles from Central Asia as a means to better
the cloud-tying of
understand the blurry borders between the illusory and
of data and digitisation as much as one of emergence,
suggests another horizon: one
the real in our current unstable times. The curators
resignation or resistance within the ‘data loom’.
have selected a variety of artworks highlighting textiles and crafts in general to examine the material and
As a metaphor, clouds invite us to question the
discursive nature of craft-making in the local context
binary vision often contained in crafts: the softness
of Central Asia and its regional and global contexts.
of the fabric co-opting with the soft power of policymaking versus the hard power of numbers and data
By their very nature, textiles contain multitudes.
found in coding. The exhibition consists of new
Both in their production—through the weft and warp
commissions, existing works and archives, as artists
of numerous threads—as well as in their genealogy—
consider the ambivalent role of textiles and crafts, as
through the transfer of collective knowledge and skills.
well as historically prized repositories of collective
The
of Central Asia adds a further element—via
multiple rounds of dyeing—to this understanding of
knowledge, whose production often mirrors the technological advances in our digital age.
quantities, of abundance, of excess. What often results is a shimmer effect—as the threads are dyed prior to weaving and perfectly, aligning them becomes a near impossible feat—in essence, a blur, but one which is sought after, coveted and prized. The exhibition takes its inspiration from this ‘shimmer’ (in Russian мерцание) or exceptional blur found in
weaves:
a Central Asian traditional textile whose resist-dyed threads are aligned precisely and mathematically to create a pattern whose complexity results in a blurring, as perfection is impossible to attain. Called
By their very nature, textiles contain multitudes
30 縫線：對紋飾的重新想像
SUTURE: REIMAGINING ORNAMENT 假設我們把紋飾視為一種方法，那麼紋飾會把我們導往
我們致力從歷史、形式、社會文化和批判的角度思考紋飾，
何方？會引發什麼提問？會激起怎樣的想法和感受？
不把紋飾視為自然世界的再現，而是視之為一種載體，能
我凝視著眼前的紋飾地毯，而這幅地毯也凝視著我。
顯現那些驅動和形塑著社會的抽象規律與無形力量。我們
「 Tekemet 」這種自家手製的毛毯，平坦的表面強調了其
視遊牧文化的紋飾為一種語言，向我們述說著所有生命體
物質性、其溫暖的手工毛織。 「 Tekemet 」和「 Syrmak」
之間、人與非人之間複雜的互動與溝通。20世紀的政治與
傳統上由婦女為家庭製作或由女工織造，紋飾圖案的豐富
社會變革深刻地影響了中亞傳統紋飾的發展，那些抽象的
線條以自然顏色如白、黑、紅、藍、黃、綠、棕、灰等構成，
視覺元素都體現和回應了當下的權力結構。參展的藝術家
顏色明亮的線條橫越氈面，組織成一片片圖塊，線條邊界
對紋飾的型態和意義展開了全新的探索，藉此揭示在延續
模糊，沉浸氈面之中。這些圖案能傳遞信息、喚起感覺，更會
與斷裂、遺忘和想像之間來回擺盪的複雜世界。
創造空間，而且是多重空間：家居的物理空間、家庭關係與 記憶的情感空間、意義的語義空間。
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以地毯作為思考對象，能促使我們超越工藝與藝術之間的 二元對立，並以批判角度重新思索審美階級制度。於蘇聯
是次展覽「縫線：對紋飾的重新想像」以中亞傳統紋飾為
統治之前，毛毯是遊牧文化的重要元素，既是極端天氣的
出發點，探索紋飾作為一種概念和美學體驗。透過展覽，
庇護 之 所，亦能抵禦 邪靈厄運，不單構成了一種創作
紋飾，代表了所有生物之間親密而有機的連結。 紋飾並非一種自然的模型，而是從自然中提取 出來的法則。 威廉 ・沃林格
亞歷珊卓・崔 ALEXANDRA TSAY
Ornament represents an intimate organic connection between all living things. It is not a natural model, but the law abstracted from it. Wilhelm Worringer
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aesthetic experience. It strives to think about ornament historically, formally, socioculturally and critically.
It sees the lines of ornament not as a representation of the natural world, but as an embodiment of the abstract laws and invisible forces that drive and shape societies. It looks at the ornament of nomadic culture as a language that elucidated the complex system of
Suppose we take ornament as a method: Where will it
interactions and connections between living creatures,
lead us? What questions will it provoke? What thoughts
between human and non-human subjects. The waves of
and feelings can it spark? I am looking at the carpet
political and social transformations profoundly affected
with its ornamentation and the carpet is looking at me.
the journey of traditional ornament throughout the 20th
The flat surface of the
century in Central Asia, making the abstract elements
–– a homemade and
handmade carpet –– emphasises the materiality of the
reflect and respond to the existing power structures.
object, its warm handmade felt.
By rediscovering the form and meaning of ornament,
and
are traditionally made by women for their families, or by
artists of the exhibition unravel the complexity between
craftswomen. Voluminous lines of ornamental patterns
continuity and rupture, between what has been lost and
are composed of natural colours: whites, black, red,
what can be imagined.
blue, yellow, green, brown, grey. Bright lines traverse the surface, organising the compositional blocks. The lines
Thinking with carpets impels us to think beyond
have blurry edges, they are soaked into the ground.
the binary opposition of craft and art and critically
They deliver the message, they evoke sensations.
reconsider aesthetic hierarchies. The felt carpet
They create space and spaces: the physical space of the
was a key element of pre-Soviet nomadic culture.
household, the emotional space of familial relations and
It operated as a shelter from extreme weather;
memory, the semantic space of meanings.
it protected against evil spirits and bad luck; it constituted a form of creative practice and worked
The exhibition
takes
as a means of transferring knowledge and wisdom
Central Asian traditional ornamental production as a
inside families and communities. Forced modernisation
point of departure to explore ornament as a concept and
policies launched by Soviet rule in the 1920 and 1930s