内容提要
　　策展人序言
　　亲密的他者
　　此番艺术冒险的显着特征是「中土」和「西天」间互予裨益的旅行。这些旅行的起因是想在当代中国和印度的当代艺术文化间建立起真正的对话。正如本书其它章节所示，亚洲不同区域的当代艺术圈不可避免地藉由该区域以外的中介而了解彼此。由一个印中艺术对话而抵达一个重要展览的高潮，同时又伴随着一系列的印中学者的知识对话，这预示着两个艺术-文化在讨论中相遇，并重组「国际」的未来。
　　作为一个艺术史的学生，我曾学到要重视印中艺术史之间的历史对话，以此理解历史上亚洲内部以及其它地区艺术的深厚而长远的国际性。在目前这个印中案例中，我曾意识到敦煌艺术和印度佛教艺术之间的关系。然而只有在澳大利亚开始自己的学术和策展工作之后，我才开始思考这些此前的交流的重要性，以及他们对当代实践可能意味着什么。我在担任这个项目的策展工作中所获得的一个启发是，这一长久的互动背后是对一个「亲密的他者」的热望。他者何时变得亲密？亲密者又如何成为他者？姑且不论中国和印度内部发生了什么，下一个世纪的跨文化对话将很可能被不可化约的密友和无法挽回的异己这两者间的对话所激活。
　　我个人在被这些问题持续吸引的同时，要感谢我这项计划中的同事和合作者。首先，我要感谢对于策展提议给出精彩回应的艺术家们。我也想感谢和祝贺张颂仁先生富于远见发起并支持此项计划。如果没有既做翻译又做项目管理的陈韵小姐的卓越工作，我们可能一无所成。什么言辞都难以表达她为实现这个项目所投入的努力。建筑师和展览设计师卜冰先生为我们创造了一个分外敏锐的展览空间。我们也想感谢许江先生，高士明先生和他们在杭州中国美院的同仁，以及高登•布尔，安•布勒南，海伦•恩尼斯和他们在堪培拉澳洲国立大学艺术学院的同事们。
　　如果没有毛韵超、陈子澄、徐缓之和整个布展团队的努力，要在两个非艺术馆的空间内完成如此大规模的装展，几乎不可能。除了上述三位以外，我们还要感谢在这个展览的不同阶段，以饱满的热情努力投入的其它实习生们：崔晨希，孙洁，袁文珊，张健伶，刘璟，陶寒辰，史润，孙佳杰，贺冰，以及其它志愿者们。感谢班加罗尔的「尚提路1号」艺术空间的苏雷什•贾亚拉姆团队在我的田野旅行时给我的帮助。我还要代表艺术家感谢王佳宁小姐（索尼娅•库拉纳作品的中文书法作者）和黄夫林先生（为尼丽玛•谢克的长卷画作制作了装裱。）
　　蔡坦尼亚•桑布拉尼
　　Preface to Place.Time.Play
　　Intimate Others
　　This artistic adventure is characterized by reciprocal journeys between the Middle Kingdom and the West Heavens.These journeys were initiated in a desire for a genuinely contemporary dialogue between contemporary art cultures in China and India.As noted elsewhere in this volume，contemporary art communities in different parts of Asia have inevitably interacted via external agencies.To have an India-China artistic dialogue culminating in a major exhibition and accompanied by a series of intellectual dialogues between Indian and Chinese academics heralds a future in which the two art-cultures meet in a discussion that may realign the“international”.
　　As a student of art history，I have learned to pay attention to historical dialogues between Indian and Chinese art histories and to understand the deep and abiding internationalism of historical art within Asia and elsewhere.In the current example of India and China，I have been made aware of the relationships that the art of Dunhuang has to Indian Buddhist art.But it was only after beginning to work as an academic and curator in Australia that I started thinking about the importance of these previous exchanges and what they might imply for contemporary practice.That this prolonged interaction was motivated by a desire for the “intimate other” was one of the insights I gained from working as curator on this project.When does the other become intimate? How does the intimate become other？Regardless of what happens within China and India，it might well be that the next century of intercultural dialogue is animated by conversations between the irreducibly intimate and the irretrievably alien.
　　For myself，I continue to be intrigued by these questions as I thank my colleagues and collaborators on this project.To begin，I would like to thank the artists who essayed wonderful reciprocations to the curatorial proposition.I would also like to acknowledge and congratulate Johnson Chang Tsong-Zung for his vision in initiating and supporting this project.We could not have accomplished any of this without the untiring effort of Chen Yun，interpreter and project manager extraordinaire！No praise is too much for the effort she has put into making this project happen.Scenographer and architect Bu Bing provided an exceptionally sensitive setting for the spaces we were working in.We also acknowledge Xu Jiang，Gao Shiming and their colleagues at the China Academy of Art，Hangzhou，as well as Gordon Bull，Anne Brennan，Helen Ennis and their colleagues at the ANU School of Art，Canberra.
　　Installing such a big exhibition in non-museum spaces would not have been possible without the help of very dedicated installation staff.I would like to acknowledge Mao Yunchao，Andre Chan，Xu Huanzhi and the entire installation crew.Special thanks to all the other interns who join this project in various stages and contributed their passion and efforts: Cui Chenxi，Sun Jie，Yuan Wenshan，Julia Zhang，Liu Jing，Tao Hanchen，Shi Run，Sun Jiajie，He Bing，to name just a few.Thanks also to Suresh Jayaram and the team at 1.Shanthiroad，Bangalore，for their assistance during my fieldwork travel.On behalf of the artists，I would like to thank Wang Jianing（for Sonia Khurana’s Chinese calligraphy）and Huang Fulin（for handling and mounting Nilima Sheikh’s scroll paintings）.
　　Chaitanya Sambrani

目录
西天中土「时•地•戏」项目综述
003/「时•地•戏」项目综述
序文
007/策展人序言：亲密的他者
012/时•地•戏：「西天」当代艺术到「中土」
038/回顾西天
流动论坛
053/排演的政治：对话Raqs媒体小组
082/印度和中国的现代主义：与古兰穆罕默德•谢克的对话
090/与尼丽玛•谢克探讨美和政治
100/历史与传统：林海钟与古兰穆罕默德和尼丽玛•谢克的交谈
107/阿杜•巴拉谈《来自西天的聆听者》
113/古兰穆罕默德•谢克谈《城市》
126/吉吉•史卡利亚谈甘地与****
132/尼丽玛•谢克谈《穿越土地》
142/图沙•佐治谈《驾驭「驽骍难得」》
展览作品
150 /展览作品
艺术家简介
286 /艺术家简介 展览团队

CONTENTS
WEST HEAVENS PROJECT STATEMENT
008/Place. Time. Play Project Statement
ESSAYS
008/Preface to Place. Time.Play：Intimate Others
022/Place. Time. Play：Contemporary Art from the“West Heavens”to the“Middle Kingdom”
043/Scaling the West Heavens
MOVING FORUMS
066/Politics of Rehearsal：In Conversation with Raqs Media Collective
086/Modernism in India and China：A Conversation with Gulammohammed Sheikh
095/Conversation with Nilima Sheikh on Beauty and Politics
103/History and Tradition：A Conversation Between Lin Haizhong，Chang Tsong-Zung, Gulam and Nilima Sheikh
109/Atul Bhalla on The Listener from the West Heavens
119/Gulammohammed Sheikh on The City
129/Gigi Scaria on Gandhi and Mao
136/Nilima Sheikh on Over Land
144/Tushar Joag on Riding Rocinante
ART WORKS
150/ART WORKS
ARTIST PROFILES
286/ARTIST PROFILES, EXHIBITION CREDITS