威尼斯双年展及其联想

… AND IN VENICE THIS YEAR

我们都知道目前全世界双年展的渊源均来自威尼斯双年展,深港城市\建筑双城双年展也不例外。因此我们特别刊登一位参观了今年威尼斯双年展的深圳建筑师的观感文章。这是一篇带有个人倾向的对威尼斯双年展的回顾与对照的文章,我们推荐这篇文章的目的在于让读者获得某种扩大的语境,来了解和反思正在我们城市举办的双年展所可能具有的历史和现实意义。正如上一届深港双年展的策展人之一Terence Riley,在他的策展方案中自觉地运用了威尼斯双年展开创的惯例一样,一个中国观众假如有机会参观威尼斯双年展的话,也一定会把有关威尼斯的知识和经验拿来反观对比国内举办的双年展的。因此,本文作者的思维和观点在某个层面上和特定群体里应当是有相当的代表性的。作者并没有在行文中专门提及深港双城双年展,而是主要回顾了在威尼斯的经验和体会。但是字里行间可以发现作者对深圳双年展的观照,质疑和反思。也同时表达了对国内艺术和建筑界普遍存在的种种问题流露出的忧虑与疑惑。

Venice was the original and remains the prototypical Biennale. This year as part of its reflection on the meaning and purpose of the Biennale, AW invited Shenzhen architect Hu Shuzhi to reflect on his experience at the 2013 Venice Biennale. Hu Shuzhi wears more than an architect＇s cap; he is also an important voice in Shenzhen real estate development. Consequently, he went to Venice not only to see the Biennale, but also to understand how the Biennale had becomepart of Venetian cutture and history. Like other contributors to this volume, Hu Shuzhi understands the Biennale to be an important forum for discussing shared questions of urbanization and its attendant urbanisms. He does not, however, emphasize architectural knowledge and practice. Instead, Hu Shuzhi focuses on the importance of Biennale as a vehicle for experiencing and reflecting on the city and its possibilities.