内容提要
　　序Ⅰ 重新发电的上海双年展
　　胡劲军
　　2012年第九届上海双年展组织委员会主任
　　上海市文化广播影视管理局局长
　　中华艺术宫和上海当代艺术博物馆两馆的建设是上海市委、市政府贯彻党的十七届六中全会精神、充分发挥世博后续效应、加快建设国际文化大都市的重大决策。两馆夹江相望，使上海的艺术博物馆体系形成相对完整的格局，即上海博物馆展示古代艺术，中华艺术宫展示近现代艺术，上海当代艺术博物馆展示当代艺术，这对提升上海城市文化品位、完善公共文化服务体系起着重要作用。
　　上海当代艺术博物馆的建设为上海双年展提供了全新的展示平台和重要的发展机遇，上海当代艺术博物馆的创建和上海双年展的迁址也让“重新发电”的主题应运而生。本次主题的对应性和契合度可谓历来之最，它是一种回溯，也是一种展望，是一种隐喻，也是一种宣言，对应着对原南市发电厂、世博会“城市未来馆”的改造和重启。上海当代艺术博物馆的建筑曾是城市物理能量的发动机，那么今天，它要转而成为文化精神能量的发动机。它充分调动了城市的记忆和世博的资源，形象地表达了上海双年展和当代艺术博物馆作为思想策源地、能量发动机的意义。在“重新发电”这一主题下，我们看到，本次双年展汇聚了一批活力四射的“发电机型”艺术家。
　　迁址带来了新的契机，带来了上海双年展对自身责任和历史机遇的新思考，也带来了上海双年展的策略性变化，这使本次双年展亮点多多。比如，聘请艺术家邱志杰担当总策展人，强调展览的感性体验，并尝试了总策展人和联合策展人合作的新模式。首次采用了的城市馆模式，使上海双年展继续向国际型双年展迈进，并真正使展览深入到城市母体中去。设置了特别展项目上海方舟和中山公园计划，社会动员面广泛，联动东南各省，波及两岸，触及历史深层。开创“圆明学园”系列工作坊，以短期学院的方式正式授课，重视社会服务和教育推广，凸显了文化思想的资源性作用。
　　相信通过对上海双年展这一品牌项目的执行运作，藉由本次双年展的创新探索，上海当代艺术博物馆能够迅速成长，搭建起当代艺术与民众之间的沟通桥梁，为民众打造一个活跃、创新、开放的当代艺术学习中心，进而为文化创意产业的发展带来源头活水，促进中国艺术当代化，当代艺术中国化，使上海成为中国和世界当代艺术传播、交流、展示与合作的中心之一。
　　Foreword I A Reactivated Shanghai Biennale
　　Hu Jinjun
　　Director of Organizing Committee of the 9th Shanghai Biennale，2012
　　Director General of Shanghai Municipal Administration of Culture，Radio，Film and TV
　　The building of the China Art Museum and the Power Station of Art is an important part of the Shanghai Municipal Committee is and the People’s Government's policy to implement the spirit of the sixth mid plenary session at the seventeenth convening of the CPC，to fully harness the post-Expo effect and accelerate the establishment of an international cultural metropolis.The two venues face each other across the Huangpu River，giving the Shanghai museum system a relatively holistic arrangement – by allowing the Shanghai Museum to showcase ancient art，the China Art Museum to display pre-modern and modern art，and the Power Station of Art to show contemporary art.This arrangement plays an important role in improving Shanghai’s cultural significance of its public culture service system.
　　The construction of the Power Station of Art has provided a brand new platform – an important opportunity for the Shanghai Biennale.The building of the Power Station of Art and the moving of the Biennale have also grown from the theme of “Reactivation.” One might say that the relevance of this year’s theme is greater than ever before: it is a tracing back，and at the same time an anticipation of the future. The theme is a metaphor，a declaration，responding to the reform and restarting of the Nanshi Power Plant and the World Expo’s “Pavilion of Future.” The building housing the Power Station of Art was once a powerhouse of physical energy，whereas today，it has been transformed into a powerhouse of cultural energy.It has completely mobilized the resources provided by urban memory and the Expo，vividly expressing the significance of the Shanghai Biennale and the Power Station of Art’s role as a catalyst of thought and generator of energy.With the theme of “Reactivation”，we can see that this year’s Biennale has brought together a group of lively，“activating” artists.
　　The change in venue has brought new and historical opportunities and new reflections，as well as a strategic change，in the Biennale，giving it many highlights.For example，the appointment of Qiu Zhijie to the post of chief curator emphasizes the emotional experience of the exhibition，and attempts the new model of cooperation between the chief curator and co-curators.This Biennale has，for the first time，employed an the Inter-city Pavilions model，allowing the Biennale to continue its march towards better internationalization，truly infusing the Biennale into the heart of the city.This year there are special projects，namely the Shanghai Ark and the Zhongshan Park Project，which have collaborated with Shanghai’s society.Furthermore，coordinated efforts in all provinces of the south-east，included Taiwan，delve deep into history.The Biennale has，this year，created the“Academy of Reciprocal Enlightenment” workshop series，giving formal lessons at a temporary college，paying attention to giving back to society，promoting education，making clear the rich nature of cultural thought.
　　I am confident that by means of the Shanghai Biennale brand，and on the back of the innovation of this year’s exhibition，the Power Station of Art will grow swiftly and build a bridge between contemporary art and the people.It will forge a lively，innovative，liberal center for learning about contemporary art，and so breathe life into the development of cultural innovative industries，pushing Chinese art to keep up with the times and promote the localization of contemporary art.In turn，the Biennale will make Shanghai become a centers for the critical dissemination and exchange，showcasing and cooperation on contemporary art from and for China，and the world.
序 Ⅱ 建造历史
　　李向阳
　　上海当代艺术博物馆筹建办公室 主任
　　上海油画雕塑院 院长
　　岁月如梭，命运无常。怎么也没想到，行将谢幕又壮怀激烈了一把。
　　经过一年的努力，上海当代艺术博物馆即将落成。它的落成，体现了市委市政府各级领导的雄韬伟略，凝聚了所有参建单位的智慧心血，改善了这座国际大都市关于博物馆建设的功能布局，昭示了浦江两岸新一轮的历史性创造。
　　开馆庆典日益逼近。作为首展，今后也是以当代馆为主展场的第九届上海双年展，各项准备工作进入了冲刺阶段。抚今追昔，百感交集。
　　十六年前，上海双年展诞生在上海美术馆。其时的上海美术馆人，啥也不懂，只是在忙着办展览收场租发奖金之余，想做点更有意义的得以持续发展的事情。听说国际上有种两年一届的“双年展”，一拍脑袋就这么搞起来了，并没指望它日后会发展成今天的模样。
　　忘不了老领导龚学平，还有一个月就要开幕了，敲定的合作公司突然关门，是他一个电话带来一张五十万的支票，上海双年展就此开张，一路蹒跚成长。
　　忘不了老爷子方增先，虽然体态赢弱，但和一般画国画的先生们不一样，始终这么给力，总能从他身上感受到旗帜般的力量。
　　忘不了策展人王林，在南京西路456号老美术馆的六平米陋室中铺了张床，我去超市给他买了牙刷牙膏，就这么将展览扛了下来。彼时好像还没有电脑打印，所有的展览文字都是美工用毛笔一个字一个字抄出来的。
　　忘不了艺术家陈箴，开幕式前夜还拖着病身修改作品，他一定不知道，当时被换下的作品部件会在他辞世不久重整旗鼓，堂而皇之地进入美术馆。
　　忘不了的人太多太多，还有那些发生在他们之间的故事，争吵、妥协、欢笑、泪水，以及酩酊大醉的不眠之夜……
　　十六年来，从南京西路456号到跑马厅的325号，再到2012年的花园港路200号；从捉襟见肘的50万，到政府出资上千万；从当年怀着搞地下活动似的忐忑到如今满怀豪情地建博物馆；从去北京求爹爹告奶奶最终请来一位青年才俊夏俊娜，到今天趋之若鹜来自世界各地的近200位艺术家和这满屋子自带电脑的志愿者，上海双年展变了，真的变了，而这巨大变化的背后，是社会的进步，是民族的崛起。
　　前两天有电视台的记者问我，在国际同行中上海当代艺术博物馆的表现将会怎么样？我说，应该很优秀吧，理由是：第一，它有一个风格迥异、充满记忆、体量可观、功能齐备的建筑空间。第二，它有一个享誉国内外日臻成熟民众接受同行认可的品牌——上海双年展。第三，也是最重要的一点，它有一群人，一群包括了政府官员商企伙伴业界精英莘莘学子在内的，满怀着文化自觉和自信不依前人亦步亦趋、不唯他人马首是瞻，努力实践着“中国艺术当代化、当代艺术中国化”的人。
　　如果说博物馆是保存历史记录历史的，那我想说，当代艺术博物馆或许还有更重要的使命，那就是建造历史。上海双年展的历史已经开始，文化大发展大繁荣的历史同样如此。
　　Foreword II Forging History
　　Li Xiangyang
　　Director of the Bureau of Research and Construction，Power Station of Art
Director of Shanghai Oil Painting & Sculpture Institute
　　The years pass by so quickly，fated to constant change.I could not possibly have predicted that just as the curtain was about to fall，there would be a passionate roar.
　　After a year of effort，the Power Station of Art is almost complete.Its establishment embodies the master strategy of officials at all ranks in the Shanghai municipal government.It brings together the wise efforts of all those involved，improving the functional layout of museums in this international metropolis，and showcasing a new historic round of creation on both banks of the Huangpu River.
　　The opening ceremony for the museum is edging ever closer.As the venue for the premiere，from now on，the preparation for the 9th Shanghai Biennale，with the Power Station of Art as its core venue，will enter the final dash.Reflecting on the changes that have happened，all kinds of feelings well up.
　　Sixteen years ago，the Shanghai Biennale was born in the Shanghai Art Museum.At that time，its staff were laymen，who just wanted to do something more meaningful to keep the exhibition going on top of just collecting commissions and getting bonuses.We heard that internationally there were these so-called “Biennales”，and just like that on our own bat we started our own.We didn’t hope for the later development which produced today’s Biennale.
　　Special thanks go to the following people：
Mr.Gong Xueping，member of the Standing Committee of the People’s National Congress.Just a month before the Biennale was due to open，our partner company suddenly closed down，and after a phone call Mr.Gong got a check for five hundred thousand RMB.With that，the Biennale could begin，learning to walk one step at a time.
Mr.Fang Zengxian，who despite his weak-health，and unlike some traditional ink painters，still put in so much effort all the way through，and always impressed us as a model of strength.
　　Curator Wang Lin，who laid out a bed in the run-down，six square meters room at the old art museum on 456 Nanjing West Road.I went to the supermarket and bought him toothbrush and paste; just like that，he ensured the exhibition went ahead.At that time，I don’t think there were computers or printers available，so the introductions for the biennale had to be copied out character by character with a traditional Chinese brush.
　　The artist Chen Zhen，although ill，worked through the night before an opening ceremony to amend some works.He could not have known that those exhibits which were substituted would be reassembled shortly after his passing away，and enter the Art Museum with the proper decorum.
　　There are too many people to thank，and too many of their stories，arguments，compromises，laughter，tears，and sleepless drunken nights….
　　For sixteen years，the Biennale has moved from 456 Nanjing West Road to the Shanghai Race Club at No.325，then again to 200 Hua Yuan Gang Road in 2012.It has been out at the elbows with five hundred thousand RMB in funds，and then seen government support over ten million.It has grown from the unease of a seemingly underground movement in the past to the grand and proper building of the museum today.In the past，we had to go to Beijing and pull out all the stops to get the young and talented artist Xia Junna，while today almost two hundred artists from all over the world flock to us and a host of volunteers with their own computers packs the venue.The Shanghai Biennale has truly changed; while behind this change lies social progress and the rise of a nation.
　　A few days ago I was asked by a TV reporter how the Power Station of Art would fare among its counterparts on the international stage.I replied that it should do excellently，for several reasons.Firstly，the building boasts a unique style，considerable degree of accumulated memory and the full range of functions.Secondly，it has a brand whose ever more mature reputation is increasingly accepted by people in China and internationally，and by its counterparts in the art world：the Shanghai Biennale.Thirdly，and most importantly，it has an army of people，including officials，business partners，professional elites，and talented students behind it.This army is brimming with cultural awareness and confidence，not relying on aping their forebears，not just letting others take the lead，but striving to realize the ideal of Chinese art keeping up with the times，and the localization of contemporary art.
　　If we say that museums are meant to record and preserve history，then I want to say that the Power Station of Art may have an even more important mission：to forge history.The history of the Shanghai Biennale has already begun，as has that of the great flourishing and development of culture.
序 III
　　高伟律
　　国际私人银行部主管
　　执委会委员
　　叶英丽
　　亚洲区行政总裁
　　瑞士嘉盛银行
　　今年上海双年展的主题是“重新发电”，这令人联想到重新注入能量、重获活力的前进方向，由此激发振奋跃动的思维。2012年第九届上海双年展包含了以上的元素，新馆址将吸引到前所未有的目光来关注这场充满动力的展会。瑞士嘉盛银行继赞助2008和2010年上海双年展后，对支持举办2012年第九届上海双年展深感自豪。
　　南市发电厂在改造前是中国最古老的发电厂，位于上海最早的工业区，它是“重新发电”的最佳例子。它改造后的首次亮相，是于世界知名的2010年上海世博会被用作为城市未来馆。世博会期间，城市未来馆为城市最佳实践区中的主要展馆，今天，它本身就展现出城市“旧城再生”和“重新发电”，由过去通往更美好的未来。这座建筑物曾经用作发电，带来了污染，但是现在已成为创造力和文化的摇篮。
　　瑞士嘉盛银行一向致力于可持续发展，这也正包含了“重新发电”的观点和构想。通过我们市场领先的可持续发展研究，我们向投资者重点推介世界各地表现卓越优秀的可持续发展企业。我们大概在20年前已开始进行可持续发展分析和投资，现时是瑞士国内提供该项投资产品的市场领导者。但可持续发展并非仅仅是“减少、再利用、循环再生”；它关乎的是我们的生活方式。瑞士嘉盛银行的可持续发展投资不仅包括生态方面，还着眼在经济和社会的范畴上，令社会均衡持续进步，最终令大众，特别是我们关切的客户受惠。
　　瑞士嘉盛的可持续发展蕴含我们的价值观，包括我们对社会和未来的责任。作为这些责任的一部分，我们一直支持当代艺术。瑞士嘉盛与贝耶勒美术馆(Fondation Beyeler)合作已超过10年，贝耶勒美术馆对现代艺术收藏的视野举世知名，是瑞士参观人数最多的美术馆之一。我们之所以支持当代艺术，是因为它影响着未来，并会通过其贡献持续帮助塑造我们的世界。
　　我们很高兴可以参与支持2012年第九届上海双年展，以协助其决心将世界上最好的当代艺术带到中国，同时将中国最好的当代艺术向世界展示。在此，我们相信艺术就是重获活力。
　　Foreword III
　　Fidelis M.Goetz
　　Member of the Executive Committee
　　Head of Private Banking
　　Enid Yip
　　Chief Executive Officer，Asia
　　Bank Sarasin & Cie AG
　　The theme of this year’s Shanghai Biennale，Reactivation，suggests renewed energy，a revitalized approach，increasing excitement.The 2012 Biennale features all of these，with a new location – drawing fresh attention to this dynamic exhibition.Following our sponsorship of the 2008 and 2010 Biennale，Bank Sarasin is proud to support the 2012 Shanghai Biennale.
　　The transformation of what was once the Nanshi Power Plant，the oldest power plant in China，situated in Shanghai’s earliest industrialized area，is a fine example of reactivation.It was first re-imagined for the world-renowned Shanghai Expo 2010，where it became the Pavilion of the Future.During the Expo it was home to the Urban Best Practices Area exhibition，and has itself now become an example of urban best practice – the revitalization and reactivation of the past for a better future.The building，which once produced power and pollution，is now inspiring creativity and culture.
　　At Bank Sarasin，we are deeply committed to sustainability，which incorporates reactivation.Through our market leading Sustainability Research，we highlight some of the world’s most sustainable companies for investors.We pioneered sustainable analysis and investment some 20 years ago and are the market leader in providing sustainable investment products in Switzerland.But sustainability is not just about “reduce，re-use，recycle”；it’s about the way we live.At Bank Sarasin Sustainable Investment includes not only ecological but economic and social aspects in the context of the sustained success of our society，and，therefore，our clients.
　　At Sarasin sustainability encompasses our values，including our responsibility to society and the future.As part of that responsibility we have long been a supporter of contemporary art.For more than a decade we have partnered with the Fondation Beyeler，renowned for its vision of modern art and home to one of the most-visited collections in Switzerland.We sponsor contemporary art because it influences the future，and，through its contribution，helps to shape our world sustainably.
　　We are delighted to support the 2012 Shanghai Biennale and its commitment to bringing the very best contemporary art in the world to China，and the best of China to the world.Because art is reactivating.

目录
序一 胡劲军 ..........015
序二 李向阳 ..........017
序三 高伟律、叶英丽 （瑞士嘉盛银行） ..........021
艺术如电 许江 ..........023

《重新发电地图》注解 邱志杰 ..........027
迈向超社会性：紧急时代的艺术 鲍里斯•格罗伊斯 ..........038
重新发电与亚洲能量 张颂仁 ..........050
多元的可能性：策展视角下的人类学 晏思•霍夫曼 ..........057
主题展 ..........065
溯源 ..........069
一公升的光、黄永砯、露西+乔治•奥塔、石青、王郁洋、巨燕、叶楠、鲁道夫•斯坦纳、约瑟夫•博伊斯、约瑟夫•科索斯、罗伊•阿斯科特、Chim↑Pom、克莱尔•方丹、隋建国、梁硕、卢征远、杨心广、安东•维多克 +尼古拉斯•赫希+朱英姬、张培力、陆扬、易连、魏逸

复兴 ..........155
奥尔加•科尼谢娃、陈蔚、拉希德•约翰逊、黎肖娴、梁西贡、李青、唐明修、蒂姆•李、韩子健、托马斯•赫史霍恩、欧阳春、玛塔•罗斯勒、帕斯克尔•马丁纳•塔由、用户小组、瓦蒂姆•费西金、特里斯•沃纳-米歇尔、王韬程、吴俊勇、姚瑞中+LSD、康本雅子

造化 ..........237
勒力斯•塞池尼、亚伯拉罕•克鲁兹威力戈斯、彼得•费茨利&大卫•威斯、方少华、雷恩•甘德尔、蒋志、西野康造、路易莎•兰博里、安东尼•米凯尔、切克•马可姆特里、鲍里斯•米哈伊洛夫、阿德里安•维拉•罗杰斯、佩托克•赛斯蒂、邵志飞+ 顾思楠、罗曼•辛格那、维尔•肖基、石志莹、莫妮卡•索斯纳斯卡、西蒙•斯达林、傅丹

共和 ..........319
阿尔洛特•米克+麦哲林•本斯特拉、巴尼•阿比迪、让•米歇尔•布鲁叶& LFKs、苏菲•卡尔、尼拉•佩雷格、草场地工作站、草台班、菲尔•科林斯、藤原西蒙、哈瑞尔•弗莱彻、何倩彤、胡介鸣、饶加恩、奈扎•H•康、香港城市大学&敦煌学院、马拉姆•贾福里、鸟头、现实主义社团、蒂诺•赛格尔、布拉德•特勒梅尔+本•舒玛切尔、吉莉安•韦英、无关小组、杨诘苍、叶伟立、张英海重工业、庄辉&旦儿

城市馆 ..........421
《城市馆地图》注解 邱志杰

中山公园计划 ..........431
《中山公园地图》注解 邱志杰
召唤“诗” 的艺术能量 罗秀芝
沈远、加拉尔•托菲克、拉黑子•达立夫、汤南南、林其蔚、宋振、Com & Com、佩特拉•约翰逊
中山公园计划路线图

上海方舟 ..........481

圆明学园 ..........484
《圆明学园地图》注解 邱志杰

变动中的世界，变动中的想象──2012亚洲思想界上海论坛 ..........499
变动中的世界，变动中的想象──亚洲思想界2012上海论坛的语境 陈光兴
主讲人简介

策展团队 ..........507

2012上海双年展组织构架 ..........513

赞助与鸣谢 ..........523

Foreword I Hu Jinjun ..........014
Foreword II Li Xiangyang ..........016
Foreword III Fidelis M. Goetz，Enid Yip (Bank Sarasin & Cie AG ) ..........020
Electrifying Art Xu Jiang ..........022

Notes to Map of Reactivation Qiu Zhijie ..........032
Towards the Super-Social: Art in the Age of Urgency Boris Groys ..........044
Reactivation and Asian Energy Johnson Chang Tsong-zung ..........053
Complexities Are Possible: Toward a Curatorial Anthropology Jens Hoffmann ..........060
Thematic Exhibition ..........065
Resources ..........069
The Liter of Light Pavilion，Huang Yongping，Lucy+Jorge Orta，Shi Qing，Wang Yuyang，Ju Yan，Ye Nan，Rudolf Steiner，
Joseph Beuys，Joseph Kosuth，Roy Ascott，Chim↑Pom，Claire Fountain，Sui Jianguo，Liang Shuo，
Lu Zhengyuan，Yang Xinguang，Anton Vidokle+Nikolaus Hirsch+Eungie Joo，Zhang Peili，Lu Yang，Yi Lian，Wei Yi

Revisit ..........155
Olga Chernysheva，Chen Wei，Rashid Johnson，Linda C.H. Lai，Leang Seckon，Li Qing，Tang Mingxiu,
Tim Lee，Han Zijian，Thomas Hirschhorn，Ouyang Chun，Martha Rosler，Pascale Marthine Tayou ，The User,
Vadim Fishkin，Tris Vonna-Michell，Wang Taocheng，Wu Junyong，Yao Jui-chung+LSD，Masako Yasumoto

Reform ..........237
Loris Cecchini，Abraham Cruzvillegas，Peter Fischli & David Weiss，Fang Shaohua，Ryan Gander，Jiang Zhi，
Nishino Kozo，Luisa Lambri，Anthony McCall，Chico Macmurtrie，Boris Mikhailov，Adrián Villar Rojas，
Petroc Sesti，Jeffrey Shaw+ Sinan Goo，Roman Signer，Wael Shawky，Shi Zhiying，Monika Sosnowska，Simon Starling，Danh Vo

Republic ..........319
Aernout Mik+Marjoleine Boonstra，Bani Abidi，Jean Michel Bruyere+LFKs，Sophie Calle，Nira Pereg，Caochangdi Work Station，
Cao Tai Ban，Phil Collins，Simon Fujiwara，Harrell Fletcher，Ho Sin Tung，Hu Jieming，Jao Jia'en，City University of Hong Kong & Dunhuang Academy，
Naiza H.Khan，Maryam Jafri，Bird Head，Société Réaliste，Tino Sehgal，Brad Troemel+Ben Schumacher，
Gillian Wearing，Irrelative Group，Yang Jiechang，Wei-li Yeh，Young-Hae Chang Heavy Industries，Zhuang Hui & Dan Er


Inter-city Pavilion ..........421
Notes to Map of the Inter-city Pavilions Qiu Zhijie

Zhongshan Park Project ..........431
Notes to Map of the Zhongshan Park Qiu Zhijie
Calling Forth the Artistic Power of Poetry Lo Hsiuchih (Sandy Lo)
Shen Yuan，Jalal Toufic，Rahic Talifo，Tang Nannan，Chiwei Lin，Song Zhen，Com & Com，Petra Johnson
Zhongshan Park Project Route Map

Shanghai Ark ..........481

The Academy of Reciprocal Enlightenment ..........484
Notes to Map of the Academy of Reciprocal Enlightenment Qiu Zhijie

World in Transition，Imagination in Flux: 2012 Shanghai Forum for Asian Circle of Thought Summit ..........499
World in Transition，Imagination in Flux: Contexts of Asian Circle of Thought 2012 Shanghai Kuan-Hsing Chen
Speaker introduction

Curatorial Team ..........507

Organizational Structure of 9th Shanghai Biennale 2012 ..........513

Sponsors and Acknowledgements ..........523