“中国艺术乡村建设展”展览海报

Poster of the ART INTERVENTION IN RURAL CHINA EXHIBITION

“中国艺术乡村建设展”在北京中华世纪坛户外海报

Outdoor poster of the ART INTERVENTION IN RURAL CHINA EXHIBITION in China Millennium Monument

时间：2019.03.24-04.07

地点：北京中华世纪坛专题展厅

连接未来的景迈山

Jingmai Mountain Connecting Future

策展人：方李莉  

Curator：Fang Lili                        

中国艺术研究院艺术人类学研究所研究员

Professor, Institute of Art Anthropology, Chinese National Academy of Arts

左靖是艺术介入乡村建设的代表性人物，在业界有很高的知名度。这次展出的是他的最新项目“景迈山”。景迈山位于云南省的西南边陲，以普洱茶闻名于世。左靖首先做的事情，就是带领一支团队对景迈山进行了近三年的田野调查。在这一过程中，他们了解到景迈山的村民几乎没有出外打工的人，传统的文化体系也保留得很好。由于盛产茶叶，村民们采茶、做茶、销售茶叶,生活富足，而围绕着茶叶产生的各种民俗文化活动也保留得很好，因为这是一套完整的文化体系。

Zuo Jing is a representative figure of art involvement in rural construction and has a high reputation in the industry. This time, his latest project "Jingmai Mountain" will be exhibited. Located in the southwestern edge of Yunnan Province, Jingmai Mountain is famous for its Pu'er tea. The first thing Zuo Jing did was to lead a team to conduct a field survey of Jingmai Mountain for nearly three years. In the process, they learned that the villagers in Jingmai Mountain have almost not migrated outside for work, and the traditional cultural system has been well preserved. The main reason is that the tea is rich here. The villagers pick tea, make tea, sell tea, and live a rich life. The various folk cultural activities around the tea are also well preserved, because this is a complete cultural system.

云南省普洱市澜沧县惠民镇景迈山中国传统村落--糯岗

Nuogang-one of the “Chinese Traditional Villages” 

in Huimin Township, 

Lancang Lahu Autonomous County of Pu’er City, 

Yunnan Province.

云南省普洱市澜沧县惠民镇景迈山中国传统村落--翁基

Wengji-one of the “Chinese Traditional Villages” 

in Huimin Township, 

Lancang Lahu Autonomous County of Pu’er City, 

Yunnan Province.

“景迈山”项目负责人左靖与布朗族小朋友

在“今日翁基”小展馆内合影

Group photo of Zuo Jing 

(the supervisor of the Jingmai Mountain project) 

and the Bulang children 

on the Wengji Smart Exhibition Hall.

策展人：方李莉  中国艺术研究院艺术人类学研究所研究员

与“景迈山”项目负责人左靖

在景迈山考察调研

Fang Lili (the left, the curator of this exhibition 

and professor of Institute of Art Anthropology,

 Chinese National Academy of Arts) 

and Zuo Jing (the right, the supervisor of Jingmai Mountain Project) 

investigated in Jingmai Mountain.

富起来了的村民们都希望能过上更现代的生活，景迈山的村民们也一样，比如他们想把传统干栏式的木房改成随处可见的混凝土建筑。这也没有什么不对，但建筑是当地人文景观的构成要件，一旦改变，长期在这一自然环境中流传下来的人文景观就被改变甚至消失了，地方的特色也将随之消逝。因为对于生活在这里的布朗族人、傣族人来讲，房子不仅是他们生活的物理空间，也是他们生活的精神空间，里面不仅有世俗性，还有神圣性;里面不仅有他们在居住，还有他们祖先的灵魂也依附其中，许多的宗教、文化礼仪就在里面举行。所以，传统建筑不仅具有功能性，还具有文化性。

All the rich villagers hope to live a more modern life. The villagers in Jingmai Mountain are alike, they also want to change the traditional pole-style wooden house into a concrete building that can be seen everywhere. There is nothing wrong with this, but the building is a local human landscape. Once changed, the human landscape that has been passed down in this natural environment for a long time would disappear, and the local characteristics would be suddenly gone. For the Bulang and Dai people living here, the house is not only the physical space of their lives, but also their spiritual space. There is not only secularity, but also sacredness. Not only are they living, but the souls of their ancestors are also attached to them, and many religious and cultural ceremonies are held inside. In short, traditional architecture is not only functional but also cultural.

景迈山干栏式建筑民居

The traditional dwelling in Jingmai Mountain.

因此，如何保留这些建筑以及当地乡村中所承载的文化价值体系，就成为了进驻到这些村庄的左靖团队一直在思考的问题。为此，左靖团队将当地传统的干栏式民居做了功能性的改造，即外观和结构基本不改，但增加了建筑的防水功能以及内部的亮度和功能区隔等。另外，左靖团队与政府合作，将村里改造好的民居作为样板房供村民们观看，让他们认识到改造过的传统建筑和流行的水泥房子一样实用，还更美更有特色，让村民们在提高自己生活质量时能多一种选择。

Therefore, how to preserve these buildings and the cultural value system carried in the local villages has become a question that Zuojing's team stationed in these villages has been thinking about. To this end, Zuojing's team made a functional transformation of the traditional pole-style houses in the local area, that is, the appearance and structure were basically unchanged, but the brightness and waterproof capacity of the house and the internal functional division were added. In addition, Zuojing's team cooperated with the government to treat the renovated buildings as model houses in the village for the villagers to watch and let them realize that the reconstructed traditional buildings are as practical as the popular concrete houses, even more beautiful and more distinctive. Villagers have more choices when it comes to improving their quality of life.

景迈山芒景村翁基寨4号房民居改造过后外观

Exterior of the Renovated Traditional Dwelling No.4

 in Wengji, Mangjing Village, Jingmai Mountain.

景迈山芒景村翁基寨4号房民居改造成的工作站内景

Interior of the work station in the Renovated Traditional Dwelling No.4 

in Wengji, Mangjing Village, Jingmai Mountain.

景迈山芒景村翁基寨5号房民居改造过后外观

Exterior of the Renovated Traditional Dwelling No.5 

in Wengji, Mangjing Village, Jingmai Mountain.

景迈山芒景村翁基寨5号房民居改造成的民宿内景

Interior of the homestay renovated from the Traditional Dwelling No.5 

in Wengji, Mangjing Village, Jingmai Mountain.

他们还将五幢改造好的民居，注入了文化展陈、社区教育与生活服务等功能。这个团队有建筑设计师、摄影师、画家、导演等等，是一个名副其实的艺术团队。他们以不同的方式记录和整理了村庄的文化和历史，挖掘了乡村里最珍贵的、 最值得保留的文化传统与习俗。在这样的过程中，他们不仅拍摄了许多的摄影作品和视频，还解析了不同类型的传统建筑，制作了线描图和建筑模型。通过各种艺术手段，他们将乡村文化的美尽可能地发掘出来，然后通过展陈的形式， 让村民们来参观他们自己的文化。这样的展览就像是一面镜子，让村民们在镜子面前第一次清楚地看到了自己，觉得自己原来是这么美、这么有情趣，在这样的感受中，他们找到了自信，也激发出了极大的创造力。现在他们仍然在种茶和做茶，但已经在网上开网店，卖茶叶、做品牌，招揽游客并讲述自己和茶山的故事了。传统生活与现代生活的相互连接——这就是景迈山的未来，也许是所有乡村的未来。

They infused cultural exhibitions, community education and life services into five remodeled houses. This team is comprised of architects, photographers, painters, choreographers, etc. It is a veritable art team. They recorded and organized the culture and history of the village in different ways and excavated the most precious and most preserved cultural traditions and customs in the village. In this process, they took many videos and pictures. Meanwhile, different types of traditional buildings were analyzed, architectural models were made, and many line drawings were drawn. Through various artistic means, they explore and display the beauty of rural culture as much as possible, and then let the villagers visit their own culture through cultural exhibitions. Such an exhibition is like a mirror, so that the villagers can clearly see themselves in front of the mirror for the first time. They feel that they are still so beautiful, so interesting. In this kind of feeling, they found confidence and inspiration, even great creativity. Now they are still planting tea and making tea, but they have already used WeChat to run online stores, sell tea, and attract tourists. The connection between traditional life and modern life is the future of Jingmai Mountain, perhaps the future of every village.

翁基寨寨民在小展馆内观看《翁基素描》视频

Villagers were watching Wenjing Sketch 

on the Wengjin Smart Exhibition Hall.

左靖工作室景迈山团队（部分）合影

Group photo of some Jingmai team members 

of Zuojing Studio

左靖将艺术作为一种教育手段，潜移默化地影响和启迪当地居民去重新认识自己的文化价值，这是艺术介入乡村建设的一个值得肯定的模式。

Zuo Jing regards art as an educational means, imperceptibly influences and enlightens local residents to re-recognize their cultural values. This is a model worthy of recognition for art involvement in rural construction.

“景迈山”项目展览海报

Exhibition poster of the Jingmai Mountain project

景迈山 

Jingmai Mountain

左靖 

Zuo  Jing

景迈山，位于云南省普洱市澜沧拉祜族自治县惠民镇。在这片中国版图的“极边之地”上，有着世界上年代最久、保存最好、面积最大的人工栽培型古茶林。千百年来，傣族、布朗族、哈尼族、佤族和汉族五族共居于此。作为一个“地方”，景迈山上不同于内地的建筑、风俗和宗教等少数民族文化，能激发我们的诸多想象。2012年11月，景迈山入选《中国世界文化遗产预备名录》。由“地方的”到引起世界关注，这意味着将有更多“他者”会介入景迈山的表述、解释与传播。

Jingmai Mountain is located in Huimin Township, Lancang Lahu Autonomous County of Pu’er City, Yunnan Province. This “extreme edge” of Chinese territory contains the world’s oldest, largest and most well-preserved tea forest. The Bulang, Wa, Hani, Dai and Han ethnic groups have subsisted here for over a millennium. In terms of place-making, the ethnic culture of Jingmai Mountain, differing from mainland China in customs, religion and architectural style, truly inspires the imagination. In November 2012, Jingmai Mountain was inscribed on the “Tentative List of World Cultural Heritage Sites in China”. The “local”is receiving more attention in relation to the global, influencing the description, interpretation and dissemination of Jingmai Mountain as a locale.

2016年下半年，作为申遗项目的分支，受景迈山古茶林保护管理局的委托，我们为景迈山及其范围内多个传统村落进行乡土文化梳理、展陈利用等工作。通过近三年的驻地工作，我们认识到，景迈山如同一棵古茶树，既有着自己的独特历史，又在当下迸发出蓬勃的生命力——它正在持续生长，包括其作为地方的意义与内涵。我们难以分辨这座山的“自我”与“他者”，唯有融入其中并随之生长。

In the second half of 2016, serving the application for the World Heritage, we were commissioned by the Jingmai Mountain Ancient Tea Forest Protection Authority to research the cultural ecology of Jingmai Mountain and its traditional villages, which included installing a cultural exhibition. After the three-year residency, we came to conceive of Jingmai Mountain as an ancient tea tree with a unique evolutionary trajectory, vital and thriving, whose existential significance extends into the future. It is difficult to distinguish the directionality of this transformation as distinctly “internal” or  “introduced”.

本次展览以概况、日常、信仰、茶林、人与物、建造、另一种背景、天籽的故事和拾遗九个单元来呈现我们眼中的景迈山，同时，展览也是对景迈山地方性知识的一种视听再现。秉承团队制定的“服务社区、地域印记、联结城乡”的工作原则，我们以绘本、摄影、视频、图解等视觉形式，把这本景迈山地方的“乡土教材”输出到城市；面向城市观众，我们增加了艺术工作者驻村创作的内容，借此传达一种他者的建构，其中包括通过他者来凝望“自己”。我们想呈现这样的景迈山：不是一个用来缅怀过去的标本，而是一个有着明确方向，并充满蓬勃生机的地方。同时，展览还试图揭示在全球化进程中，地方性在意义和内涵上，如何发生了一些微妙且被明显感知的变化。这次增加的“天籽的故事”，则讲述了一个家庭如何致力于文化与生物多样性的保护与恢复，以及经过七年的努力，让景迈山的普洱茶以一种全新的方式与世界联通的故事。展览的内容还包括我们在景迈山进行田野调查、展陈出版、建筑设计、室内改造与空间利用等多项工作的进程与结果。

This exhibition is organized into nine units representing our vision of Jingmai Mountain, including: daily life; belief; tea forest; people and objects; construction; another background; the story of Tianzi; the lost and found. Simultaneously, the exhibition is an audiovisual reproduction of local customs and the status of Jingmai Mountain. Preserving the principle of “to serve the community while connecting the urban and rural”, we convey the “localteaching materials” to the city in visual forms. These include the picture book, photography, video and illustration. Artist created content represents an external gaze on the local. Culture is not a static object to be preserved in state; rather, it is imbued with its own vitality and motivations. This is how we aspire to represent Jingmai Mountain.  At the same time, the exhibition tries to reveal nuance and change in the meaning and connotation of locality in relation to globalization. The addition of the "Special Unit: The Story of Tianzi" tells how a family is committed to the protection and restoration of culture and biodiversity, and after seven years of hard work, the Pu'er tea of Jingmai Mountain connect with the world with a new way. The contents of the exhibition include the process and results of our efforts in field research, exhibition and publication, architectural design, interior renovation and space utilization in Jingmai Mountain.

“中国艺术乡村建设展”--“景迈山”项目展览现场

摄影：朱锐  三金  黄苑  左靖

Exhibition Site of the Jinmai Mountain project 

in the ART INTERVENTION IN RURAL CHINA EXHIBITION

Photographers: Zhu Rui, San Jin, Huang Yuan, Zuo Jing

通过在城市的展览，我们明确了“往乡村导入城市资源，向城市输出乡村价值”的基本路径。更重要的是，我们希望通过这个路径，能够创造更好的内外部条件，以促进村民对所居地方的公共事务的参与和管理，甚至主导以后的保护与发展方向，为激发新的公共空间、文化和产品的生产提供来自自身的思考和行动。我们认为，寻找一种可持续的保护与发展的模式，吸引村民参与，最后达到他们对项目的自主运营，是我们进行艺术乡建的最终目的。

Through exhibitions in cities, we implement the concept of “introducing urban resources to the countryside and exporting rural values to the city”. More importantly, we hope that we will create better internal and external conditions so as to promote village autonomy and provide a direction for future protection and development, empowering the local community with respect to public participation and cultural representation. We believe that finding a sustainable protection and development model, attracting villagers to participate, and finally achieving the independent operation of the project is the ultimate goal of our art intervention in rural reconstruction.

团队

项目负责：左靖

项目执行：周一

文案：周一 左靖

纪录片：张红 张鑫

艺术家：曾年 肖全 何崇岳 骆丹 慕辰 孙瑞祥 冯芷茵 姜丽 李国胜 榆木 朱锐

“人与物”单元：艾果 丹依章 都罕少 范春保 苏国文 苏文新 仙贡 钟小英 李旻果

特别单元：李旻果

室内设计：沈润 张一成

建筑设计：梁井宇+场域建筑

特邀参展：岩柯 丹依章 苏玉亩 王超群

傣文翻译：岩糯叫

英文翻译：杜莉 王易凡 张竝

中文翻译：田丹妮

英文校对：岩柯

视觉设计：杨林青工作室

平面设计：邵琳

展览空间设计：老许 张鹏远

展览海报设计：意孔呈像+苏航 老许

展览协调：蒲佳 夏天

鸣谢：左应华 邹怡情 李开富 李剑波 张德元 苏国文 南康 王国慧 覃延佳   

指导：安徽大学农村改革与经济社会发展研究院

           北京国文琰文化遗产保护中心有限公司

Team

Project Supervisor: Zuo Jing

Project Executive: Zhou Yi

Texts: Zhou Yi, Zuo Jing

Documentary Group: Zhang Hong, Zhang Xin

Artists: Zeng Nian, Xiao Quan, He Chongyue, Luo Dan, Mu Chen, Sun Ruixiang, Feng Zhiyin, Jiang Li, Li Guosheng, Yu Mu, Zhu Rui

Unit of “Persons and their things”: Ai Guo, Dan Yizhang, Du Hanshao, Fan Chunao, Su Guowen, Su Wenxin, Xian Gong, Zhong Xiaoying, li Minguo

Special Unit: Li Minguo

Interior Design: Shen Run, Zhang Yicheng

Architectural Design: Liang Jingyu + Approach Architecture Studio

Invited Exhibitors: Brian Scott Kirbis, Dan Yizhang, Su Yumu, Wang Chaoqun

Dai Translator: Ai Nuojiao

English Translators: Du Li, Wang Yifan, Zhang Bing

Chinese Translator: Tian Danni

English Proofreader: Brian Scott Kirbis

Visual Design: Yang Linqing Studio

Graphic Design: Shao Lin

Exhibition Space Design: Lao Xu，Zhang Pengyuan

Exhibition Poster Design: IKON-Design + Su Hang, Lao Xu

Exhibition Coordinators: Pu Jia，Xia Tian

Acknowledgements: Zuo Yinghua, Zou Yiqing, Li Kaifu, Li Jianbo, Zhang Deyuan, Su Guowen, Nan Kang, Wang Guohui, Qin Yanjia

Guidance: 

Collaborative Innovation Center for Rural Reform & Economic and Social Development, Anhui University

Beijing Guowenyan Cultural Heritage Conservation Center Co. Ltd.