Harvesting Collective Creativity: Re-envisioning Art Writing at documenta fifteen
引子
Introduction
文献展每五年在德国卡塞尔举办一次，最初由艺术家兼策展人阿诺德·博德（Arnold Bode）在艺术史学家维尔纳·哈夫特曼（Werner Haftmann）的帮助下于1955年创办。哈夫特曼曾是纳粹冲锋队成员和纳粹党党员，这对文献展项目有直接的影响。文献展最初的目的是将现代艺术重新引入战后德国，并使之恢复活力。此后每一届文献展都有其独特的策展主题和方法，通常反映了当时的社会、政治和文化问题。几十年来，展览的范围和规模不断扩大，展出了来自不同国际艺术家的作品，涵盖了绘画、雕塑、装置、表演和新媒体等各种媒介。
Documenta takes place every five years in Kassel, Germany, and was first established in 1955 by artist and curator Arnold Bode with the help of art historian Werner Haftmann who formerly was a member of the SA and a member of the Nazi Party (NSDAP), which had direct consequences for the documenta program. The initial aim of documenta was to reintroduce and rejuvenate modern art in post-war Germany. Each following edition of documenta has a unique curatorial theme and approach, often reflecting the social, political, and cultural issues of its time. The exhibition has grown in scope and scale over the decades, featuring works from various international artists and encompassing various mediums, including painting, sculpture, installation, performance, and new media.
第十五届文献展（2022年）由印度尼西亚团体ruangrupa策划，引入了“lumbung”的概念，即象征着汇集、共享资源的公共米仓。这届文献展强调集体实践、可持续性和社区参与，折射出当下人们对社会公正和环境可持续性的关注。在这一框架内，“收获 ”实践成为一个关键元素，代表了一种记录和反思创作过程与艺术讨论的新方法。
The most recent edition, documenta fifteen (2022), curated by the Indonesian collective ruangrupa, introduced the concept of "lumbung", a communal rice barn that symbolises the pooling and sharing of resources. This edition emphasised collective practices, sustainability, and community engagement, reflecting current concerns about social justice and environmental sustainability. Within this framework, the practice of harvesting emerges as a crucial element, representing a novel approach to documenting and reflecting on artistic processes and discussions.
在第十五届文献展进行的“收获”实践超越了传统的记录方式，将记笔记转化为一种集体的艺术写作过程。“收获者”不是单纯的笔记员，而是积极的参与者，他们诠释并传达讨论和活动的精髓。这种方法鼓励持续的集体学习，让参与者重新审视和反思他们的经历，尤其是他们在展览制作过程中的体验。
Harvesting at documenta fifteen transcends traditional note-taking by transforming it into an artistic and collective writing process. Harvesters are not mere scribes but active participants who interpret and convey the essence of the discussions and activities. This method encourages continuous collective learning, allowing participants to revisit and reflect on their experiences, especially within the exhibition-making process.
收获：集体写作过程
Harvesting: A Collective Writing Process
在传统的艺术写作中，叙事往往被单一的声音左右，从而形成片面的视角。与此相反，第十五届文献展上的 “收获 ”涉及多种声音和视角，对艺术活动进行了更丰富、更细致的描述。“收获者”记录、反思，并使用他们的艺术技能来传递经验，将记述这一过程转化为一种合作，从而捕捉参与者的集体智慧。
In traditional art writing, a single voice often dominates the narrative, creating a one-dimensional perspective. In contrast, harvesting at documenta fifteen involves multiple voices and perspectives, creating a richer, more nuanced account of the artistic events. Harvesters document, reflect on, and use their artistic skills to convey the experiences, transforming the process into a collaborative effort that captures the collective intelligence of the participants.
从标志着文献展开端的艺术团队首次会议开始，展览的策划过程就以视觉和文字并驾齐驱的方式被记录下来。例如，阿卜杜勒·杜贝（Abdul Dube）的笔记突出了关于展览构思过程中重要词组的速写，并用插画记录了讨论发生的空间和会议参与者。[1]这一笔记持续了大约两年。在此期间，阿卜杜勒捕捉了第十五届文献展的进程。随着会议的推进——尤其是在疫情期间通过Zoom进行的那些会议——他的绘画也逐步变化。
From the beginning of documenta fifteen, marked by the initial meetings of the artistic team, the curatorial process was documented both visually and textually. For instance, Abdul Dube's works prominently feature sketches that highlight phrases key to the conceptualisation of the exhibition, as well as illustrations of the spaces where discussions took place and their participants.[1] This process of note-taking continued for approximately two years, during which Abdul captured the progress of documenta fifteen. His drawings evolved with the advancements of the meetings, particularly those conducted via Zoom due to the pandemic.
除了阿卜杜勒，我也是“收获者”之一。我使用的媒介与他有所不同：我将创意写作的灵魂引入了记笔记的过程，尤其注意不仅要记录事件，还要尽可能多地调动各种感官来“讲故事”。这样做的目的是比提供故事的信息更进一步，遵循“展示，而非讲述”的宗旨，允许读者体会、感知笔记所讲述的故事。作为一名“收获者”，我一丝不苟地捕捉我的双目所见，乃至我感知到的气味、我听到的声音。在文献展即将结束时，阿卜杜勒以视觉“收获”的方法与运用创意写作的我合作创办了一份名为《米仓镜报》的小报纸。
In addition to Abdul, I was also involved as one of the harvesters. Using a different medium, I introduced the spirit of creative writing to the practice of note-taking, notably the effort to not merely document events but to engage in storytelling that involves as many senses as possible. The intent was to move beyond providing readers with information about the story and enable them to experience it through the principle of "show, don't tell." As a harvester, I meticulously captured what I saw, the scents I perceived, and the sounds I heard. Towards the conclusion of documenta fifteen, Abdul, employing a visual approach to harvesting, collaborated with me, who utilised creative writing, to create a small newspaper named Lumbung Mirror.
另一种“收获”的形式是迷因梗图，是由一位名叫 Cem A.的艺术家创作的。[2]Cem 以梗图为媒介记录了米仓会议的过程。Cem的梗图风格幽默，偶尔充满讽刺，回顾了辩论的过程和主要议题，包括文献展开幕前遇到的两难困境。此外，还有一种形式的“收获”采用了绘画的形式。其中一些画作是创作者在繁忙的日程中自愿创作的，包括ruangrupa成员埃德·达玛万（Ade Darmawan）和丹妮拉·菲特里亚·帕波托诺（Daniella Fitria Praptono）的画，他们用手绘记录了工作过程中的关键框架和策展概念发展的方向。
Another form of harvesting emerged through memes, created by an artist named Cem A. [2] Using the meme medium, Cem documented and illustrated the processes of the Lumbung meetings. With a humorous and occasionally satirical style, Cem's memes recollected the processes and key topics of debate, including the dilemmas encountered during the time leading up to the opening of documenta fifteen. Additionally, another form of harvesting is manifested in drawings. Some of these drawings were created voluntarily amidst the busy schedules of individuals. Among these were drawings by Ade Darmawan and Daniella Fitria Praptono, who used hand drawings to document key frameworks in the working process and conceptual directions of curatorial developments.
这些过程中诞生的所有艺术记录最终都被展示在为期100天的第十五届文献展中。[3]在文献展期间的三次迈丹（Meydan）周末中，所有收获者的作品被集中在一个房间里展出，参观者可以亲眼见证持续了大约两年的“收获”过程的幕后活动。[4]此外，收获者还聚集在一起分享他们的经验，并分享了他们的“收获”实践和对此的理解。这种集体工作的方法与皮埃尔·列维（Pierre Lévy）提出的概念 “集体智慧”（collective intelligence）不谋而合，即知识来源于群体的协作和集体努力。通过加入“收获”，参与者为共享的知识库做出了贡献，创建了一个动态的、不断发展的艺术实践和讨论档案。
All these artistic records of the process were eventually displayed during the 100-day documenta fifteen event.[3] A special festival held at Meydan—the public program and communal gathering space within documenta fifteen—showcased each harvester’s work in a dedicated room, where visitors could explore the behind-the-scenes journey of the approximately two-year endeavor.[4] Additionally, the harvesters came together to share their experiences and offer insights into their understanding and practice of harvesting. This collective approach aligns with Pierre Lévy's concept of collective intelligence, where knowledge emerges from the collaboration and collective efforts of a group. By being engaged in harvesting, participants contribute to a shared pool of knowledge, creating a dynamic and evolving archive of artistic practices and discussions.
第十五届文献展在场
Presence at documenta fifteen
“收获”这一动作捕捉了无数感官体验，从视觉、听觉到触觉和情感。通过调动多种感官，收获者创造、聚集超越文字的丰富的艺术表达。这种多感官的写作和记录方法增强了读者对艺术的诠释和欣赏，提供了更加身临其境和整体的体验。正如莎拉·平克（Sarah Pink）的感官民族志提示的那样，“收获”这种多感官方法强调感官在理解和传达文化实践方面的重要性。在“收获”的过程中，调动感官使参与者能够以更深刻、更有意义的方式记录和分享他们的经验。
The act of harvesting captures a myriad of sensory experiences, from visual and auditory to tactile and emotional. By engaging multiple senses, harvesters create a rich tapestry of artistic expression that goes beyond written words. This multisensory approach to writing and note-taking enhances the audience's interpretation and appreciation of art, providing a more immersive and holistic experience. As Sarah Pink's sensory ethnography indicates, a multi-sensory approach such as harvesting emphasises the importance of the senses in understanding and conveying cultural practices. In harvesting, sensory engagement allows participants to document and share their experiences in a more profound and meaningful way.
第十五届文献展在多个重要场所展示了“收获”实践，如 ruruHaus 和 Hübner areal。这些空间是将艺术思维和方法放大并传播的枢纽。在这些地点战略性地布置的“收获”，突出了这些实践在营造集体和参与性艺术环境方面的重要性。
Documenta fifteen features harvests in various prominent locations, such as ruruHaus and Hübner areal. These spaces act as hubs where artistic thinking and methodologies are amplified and disseminated. The strategic placement of harvests in these locations underscores their importance in fostering a collective and participatory art environment.
雅克·德里达（Jacques Derrida）的“档案热”（Archive Fever）理论为理解档案库的政治含义提供了一个有用的框架。根据德里达的观点，档案库是权力的场所，在其中决定了什么被保存、什么被剔除。这种选择过程往往只反映当权者利益和观点，并强化了现有的权力结构。与此相反，第 15 届文献展上的 “收获 ”实践通过纳入不同的声音和经验创造了一个替代性档案库。“收获”的重要作用之一是能够弥合在场者与缺席者之间的差距。“收获“作为动态记录，可以向更广的受众传达尚在进行中的讨论和活动。这种包容性确保了每个人都能参与艺术讨论并做出贡献，无论身在何处。通过促进经验和见解的分享，“收获”使档案工作民主化，它挑战了传统档案库的权力关系。在这个过程中，“收获”优先考虑囊括更广泛的参与者的声音，并创造出更包容、公平的艺术文献。
Jacques Derrida's theory on the "Archive Fever" provides a useful framework for understanding the political implications of archives. According to Derrida, archives are sites of power where decisions are made about what is preserved and what is excluded. This selective process often reflects the interests and perspectives of those in power and reinforces existing power structures. In contrast, the practice of harvesting at documenta fifteen creates an alternative archive by including diverse voices and experiences. One of the significant roles of harvesting is its ability to bridge gaps between those present and those absent. Harvests serve as dynamic records that convey ongoing discussions and activities to a broader audience. This inclusivity ensures that everyone, regardless of their physical presence, can engage with and contribute to the artistic discourse. By facilitating the sharing of experiences and insights, harvesting democratises the archival process and challenges the traditional power dynamics of archives. In so doing, harvesting prioritises the voices of a broader range of participants and creates a more inclusive and equitable documentation of art.
此外，“收获“的出版方式跨越多种媒介，包括漫画、杂志、绘画、社交媒体和数字平台lumbung.space。每种媒介都具有独特的优势：杂志有其触感和私密，数字平台则广阔而即时。这种多样性确保了 “收获 ”能够产生广泛而有效的影响，从而扩大艺术话语的覆盖面和影响力，使其触达更多受众。
Furthermore, the publication of harvests extends across multiple mediums, including comics, zines, drawing, social media, and the digital platform lumbung.space. Each medium offers unique advantages, from the tactile and intimate nature of zines to the expansive and immediate reach of digital platforms. This diversity ensures that the impact of harvesting resonates widely and effectively, extending the reach and impact of the artistic discourse, and making it accessible to a broader audience.
重新构想艺术写作
Re-envisioning Art Writing
“收获”强调参与、合作和感官投入，挑战了艺术写作的惯例。传统的艺术写作往往优先考虑评论家或历史学家的独白。与此相反，“收获”体现了一种集体且以过程为导向的方法，邀请多种视角和诠释的加入，从而为艺术写作注入新的活力。克莱尔·毕晓普（Claire Bishop）提出的参与式艺术中的对立概念强调了冲突和差异对于促进动态互动的重要性。”收获”吸收多种声音和观点，创造了对话和辩论的空间，丰富了对艺术的理解。
Harvesting challenges the conventions of art writing by emphasising participation, collaboration, and sensory engagement. Traditional art writing often prioritises the solitary voice of the critic or historian. In contrast, harvesting embodies a collective and process-oriented approach, inviting multiple perspectives and interpretations, thereby revitalising the art-writing landscape. Claire Bishop's concept of antagonism in participatory art highlights the importance of conflict and difference in fostering dynamic interactions. Harvesting incorporates multiple voices and perspectives, creating a space for dialogue and debate that enriches the understanding of art.
通过捕捉和反思集体经验、感官参与和艺术表达，”收获”重新定义了我们记录和阐释艺术的方式。这种做法不仅丰富了我们对艺术的理解，还促进了一个更具包容性和协作性的艺术世界。”收获”的实践挑战了对艺术和策展过程的记录中隐含的权力结构，建立了一个动态的、有生命力的档案库，通过运用各种媒体扩大了艺术话语影响范围。因此，它为记录和参与艺术提供了一种新的范式，并蕴涵对未来的艺术展览的启示。
By capturing and reflecting on collective experiences, sensory engagements, and artistic expressions, harvesting redefines how we document and interpret art. This practice not only enriches our understanding of art but also fosters a more inclusive and collaborative art world. The practice of harvesting challenges the power structures underlying the documentation of artistic and curatorial processes, creates a dynamic and living archive, and extends the reach and impact of artistic discourse by mobilising various media. As such, it offers a new paradigm for engaging with art and art writing, with implications for the future of art exhibitions.
注释 Notes
[1] Abdul Dube来自南非开普敦，他在丹麦已经工作和生活了15年以上。他在实践以学习，扩大和教授视觉传达为主。关于他的详情可以访问 https://documenta-fifteen.de/en/lumbung-members-artists/abdul-dube/.
Originally from Cape Town, South Africa, Abdul Dube has been working and living in Denmark for over 15 years. He has been actively learning, expanding, and teaching the communicative practice called graphic recording and facilitation. For more, please visit https://documenta-fifteen.de/en/lumbung-members-artists/abdul-dube/
[2] Cem A.可以算是一名“网红”迷因艺术家，他运营着一个在Instagram上著名的艺术界吐槽帐号 @freeze_magazine。关于他的详情可以访问 https://documenta-fifteen.de/en/lumbung-members-artists/cem-a/.
Cem A. can be considered an 'influencer' meme artist. He runs a well-known Instagram account that trolls the art world @freeze_magazine. For more, please visit https://documenta-fifteen.de/en/lumbung-members-artists/cem-a/.
[3] 自2019年开始筹备至2022年文献展闭幕其间所有的“收获”的内容，以及部分2022年之后的米仓社群活动，均在米仓线上社群lumbung.space中有展示，详情可以访问 https://lumbung.space/timeline/.
All 'harvesting' contents from 2019 until the end of documenta 2022, as well as documentation of some events of the lumbung community after 2022, are displayed on lumbung.sapce. For more, please visit https://lumbung.space/timeline/.
[4]“迈丹”一词源自阿拉伯语、波斯语、乌克兰语和乌尔都语，指城市中供人们聚集的类似广场或公园的开放式公共区域。在第十五届文献展中，“迈丹”指2022年7月、8月、9月每个月的第一个周末，像节庆一样，其间举办了露天音乐节、工作坊等一系列活动。
Originating from Arabic, Fārsi, Ukrainian, and Urdu, the term Meydan describes an open public area within a city—like a square or park—where people come together. At documenta fifteen, 'meydan' refers to the first weekend of July, August and September 2022, which is a festival-like event with a series of open-air music festivals, workshops and other activities.
作者 About the author
Putra Hidayatullah 1988 年出生于印度尼西亚，是一名讲师、艺术策展人和小说作家。他也是第 15 届卡塞尔文献展的收获者之一。无论是他的策展工作还是讲故事实践都以空间和记忆为主题。Putra曾于伦敦亚非学院（SOAS）研究学习亚非当代艺术和艺术理论。
Putra Hidayatullah, born in Indonesia in 1988, is a lecturer, art curator, and fiction writer. He is also one of the harvesters for documenta fifteen. His work—both curatorial and narrative—centres on themes of space and memory. Putra completed his studies in Contemporary Art and Art Theory of Asia and Africa at SOAS University of London.
翻译 黄梓耘
本文图片均由作者提供。
感谢吴作人国际美术基金会对本文稿酬的支持。
感谢通过“赞助人计划”支持《歧路》的个人与机构。
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