“青年策展人計劃”自2014年創立以來，已助力四十余位青年策展人，實現了十八場展覽。他/她們通過在PSA的實踐快速進入公眾視野，一舉邁入廣闊的國際舞臺；而誕生于這里的一些策劃方案，也正在形成可持續的研究和展示項目。繼2020年以線上形式呈現之后，“青策計劃2021”在今年回歸實體空間，是青年策展人們在如今不確定的社會、文化、媒介交織的生存處境之下，對于“策”與“展”的深入思索與反應。

“青策計劃2021”在招募期間共收到稿件32份，有效方案24份，入圍終評方案4份。10月，PSA學術委員會委員成員費大為、鮑里斯·格羅伊斯（Boris Groys）、唐娜·德·薩爾沃（Donna De Salvo）、林天苗、劉擎、阮慶岳、楊福東、龔彥，以及特邀評委王歡所組成的國際評審委員會面試了入圍終評的4組方案，“未有名目的言說”（策展人：賈芷涵、秦可純），“珊瑚島上的死光——科幻及其考古學”（策展人：印帥）從中脫穎而出。這兩組獲選方案歷經2個月的深化與落地，將于2021年12月21日正式向公眾呈現展覽成果。

本屆“青策計劃”將于PSA1樓1號展廳呈現，繼續為年輕策展人提供更廣闊的舞臺。此外，今年 “青策計劃”大獎，在開幕后由專家評審、院校評審、媒體評審和大眾評審共同在現場兩個展覽中“二進一”。大獎將頒出5萬人民幣獎金，用于支持獲獎策展人及項目的后續研究和發展，獲獎結果將在展覽閉幕當天對外公布。

展覽簡介：

寫作是一種曖昧、難以界定又危險的手段，用來指認出那些未有名目的。

——埃萊娜·西蘇

寫作是一個動作——不僅是用筆在紙上書寫，也是布上的穿針引線，或是孩子在紙上的涂鴉，甚至可以是圖像的拼貼——是對身體經驗的延伸。法國作家埃萊娜·西蘇提出的“陰性書寫”強調寫作和身體的關聯，將個體經驗置于語言之前來抗拒理性中心主義與二元對立思維。面對個體敘事遭潛抑的文化困境，聆聽親密關系與反思“共情作為理解周圍世界的能力”，或將促進更多元的社會關系與更緊密的社會紐帶，擺脫偏見。本次展覽中，十組藝術家通過半自傳的敘事手法，將交流的欲望寄托在材料與維度的褶皺中，通過紡織、聲音、素描、影像等媒介，捕捉并譯入文字縫隙中情愫的流淌與流逝，并構造出一個開闔自如并流動的空間。

倘若將寫作想象為自我編織的過程，展覽中不乏躊躇與停頓、敏感與釋懷的片刻，個體敘事在韌性中形成相異的形狀，故事也在不同的牽絆中啟程：有那片母親不愿提及的瀘沽湖、在偶遇中頓悟曾經無法理解的詩、化身為象形字與符號的珊瑚骸骨、女兒用線條勾勒出的世界、“電梯女孩”的獨白、九年間對命題作文的兩次書寫、柔軟毛巾上的刺繡、那封未寄出去的情書、發生在美術館花園的約會、在電腦屏幕上無處安放的孤獨……在故事被畫上句號前，一切的言說都還未有名目，而在這個空隙間，那些呢喃細語、詞不達意的瞬間得以被記住。

展廳內陪伴著作品的書籍是靈感閃現的佐證——從巴別塔到悉達多，從土星到地表——藝術家從文字的悸動和情感的細枝末節中幻想她、他和他們，并最終成為了我們。多重情感動線自然地流露于“轉譯-隱喻-虛構”的敘事邏輯內，并保留了個體經驗間不可化約的差異，促使不同主體在他者的疆界處相互凝視，相互了解，相互更新。

珊瑚島上的死光——科幻及其考古學

Death Ray on the Coral Island.

Science Fiction and Its Archaeology.

策展人：印帥

展陳設計：姚遠

藝術家：陳璽安、馮駿原、林立施、劉毅、童義欣、奚雷、楊沛鏗、楊圓圓、張如怡、張哲熙、增訂社

海報設計：Lilia Di Bella, Archive Appendix

展覽簡介：

科幻小說的政治性不單在于預測未來，更在于讓我們意識到想象未來時所遇到的問題。

——Peio Aguirre

《珊瑚島上的死光》題目選自中國考古研究者童恩正在1978年發表的科幻作品。故事圍繞“某大國”爭奪華僑科學家發明的陰謀而展開，不同于西方經典科幻不斷擴張的殖民宇宙觀或以科普和培養民族情感為目標的科幻創作觀，小說以歷史為背景，通過虛構真實的國際關系，充滿想象力地創造了多層時空，對隱藏在科技社會背后的人性等問題做出反思。

如今，技術的爆炸式發展和生產使得地理空間被完全編碼、繪制，形成了一種符合資本主義內在邏輯，可操控的單一且線性的價值觀，無法為任何虛構、超驗主義甚至想象力留下空間。未來落入危機，不再提供可能。“珊瑚島”的實踐——以考古研究方法進行科幻創作，超越了科幻文學作為單一體裁的觀點，重新解讀了科幻本身所具備的“科普性”與“文學性”，“開放”與“僵化”，這些看似單向聯結的二元對立背后，更為復雜的互動甚至背離，將其復雜與多樣性視為一種實踐形式和隱喻空間，為破除“未來”的危機提供了一種政治學方法。

本次展覽呈現藝術家以科幻及其考古學為方式，對未來想象進行的研究，讓來自不同時間現實、檔案和幻想的作品在展覽中相遇，不再將科幻作為面向未來的鏡子，而是對過往歷史的再現。想象作為真實，真實重塑為虛構，擴充不同時空層次的多樣性，從而發現歷史和現實中的盲目與武斷，提供面對社會、經濟和主體性問題的另一種敘事和可能。

增訂社，《珊瑚島增訂》（激光的第一次掃射，嫁接《珊瑚島上的死光》兩種版本連環畫），2021。藝術家供圖。新委任制作。

馮駿原，《遞歸，直到甜點》，2017，靜幀截圖。藝術家供圖。

劉毅，《一只烏鴉叫了一整天》，2017，動畫原稿。藝術家與香格納畫廊供圖。

PSA Emerging Curators Project 2021

Emerging Curators Project (ECP) is an annualacademic brand of the Power Station of Art (PSA), since its inception in 2014,the project has supported more than 40 Chineseyoung curators to realize a total of 18 exhibitions. They have quickly enteredthe public domain through their practices at the PSA and stepped into a wideinternational platform; and some of the curatorial proposals emerging from hereare now developing into sustainable research and presentation projects. After ECP 2O2Online,ECP 2021 re-embrace the form of tangible offline exhibition. It is the profoundreflection and responses by young curators on “curation” and “exhibition” amidthe current situation of great uncertainties in society, culture and media.

ECP 2021 received a total of 32submissions, with 24 of them being valid and 4 of them being shortlisted forfinal selection. In October, a nine-member international jury, includingmembers of the PSA Academic Committee – Fei Dawei, Boris Groys, Donna De Salvo,Lin Tianmiao, Liu Qing, Roan Ching-yueh, Yang Fudong and Gong Yan, as well asthis year’s special guest judge Wang Huan, conducted interviews and debateswith the curators of the four shortlisted proposals, and voted to select thetwo final winning proposals – TheDwelling Place of the Other in Me (curated by Dot Zhihan Jia and KechunQin) and Death Ray on the CoralIsland. Science Fiction and Its Archaeology. (curated by Yin Shuai).After two months of developing and realizing, the two selected proposals willbe officially unveiled to the public in exhibition forms on December 21, 2021.

This year, ECP 2021 will be staged onGallery 1 on PSA’s first floor, as the project continues to provide a broaderstage for young curators. In addition, the ECP Award of this year will beoffered to one of the two realized exhibitions, after they are reviewed byexperts, universities, and members of the press and the public. A cash award ofRMB 50,000 will be given to support follow-up research and development of the winningcurator(s) and project. The ECP Award winner will be announced on the closingday of the ECP 2021exhibitions.

AboutExhibition Emerging Curators Project 2021

Artists: Yuchen Chang, Chen Zhe, Avita Guo, Han Mengyun, Kanthy Peng&Menglan Chen, Amiko Li, NZTT Sewing Co-op, SixingXu, Chris Zhongtian Yuan, and Jasphy Zheng

Exhibition Design: amass studio, studioEki Ong

Poster Design:sub:order

About the Exhibition:

“Writingis the delicate, difficult, and dangerous means of succeeding in avowing theunavowable.”

– Hélène Cixous

Writingis an act - not only writing with a pen on paper, but also the threading of aneedle on a cloth, or a child's scribble, or even a collage of images. It is anextension of bodily experience. French writer Hélène Cixous’ concept of“écriture feminine” emphasizes the interconnection between writing and thebody, putting individual experience before linguistic normativity to resistrational dualism. In today’s cultural dilemma of emerging individualisttendencies, to slow down and reflect on the idea of “empathy” as the ability tounderstand the world around us may help to generate more diverse socialrelationships and closer social bonds, free from prejudice. In this exhibition,ten groups of artists, through a semi-autobiographical narrative, place theirdesire to communicate within the folds of different materials and dimensions,capturing and translating the flow and passage of sentiments in the crevices ofwords through the mediums of text, sound, drawing, and video, and constructinga space that flows and which opens and closes freely.

Ifwe re-imagine writing as a process of weaving oneself, the exhibition is filledwith moments of hesitation and pause, vulnerability and alleviation. Here,individual narratives take different shapes and stories set off in differentties: the trip to Lugu Lake which mother is always reluctant to talk about, thepoem that was once incomprehensible and suddenly understood by randomencounter, the coral that is transformed into hieroglyphs to understandlanguage, the world depicted by the daughter through lines, "MissElevator" and her monologue, two attempts to write essay of a same topicacross nine years, the embroidery on the soft towel, the love letter that wasnever sent, the blind date in the museum garden, the loneliness that hasnowhere to go...before the story is concluded, every utterance shall not benamed, so that the moments of murmuring and incoherency can be remembered.

Thebooks that scattered around the exhibition space are evidence of the flashes ofinspiration – from “Tower of Babel” to “Siddhartha”, from Rilke to Woolf – her,his, them eventually merge into us. The interwoven affects flow naturallywithin the narrative logic of "translation - metaphor - fiction"whilst preserving the irreducible differences between individual experiences.At the margin, we encounter, understand, and eventually renew each other.

About the CuratorialTeam:

DotZhihan Jia (b. 1996, Jiaxing) lives and works in London. She is currently theassociate lecturer of Critical Studies and Art Writing at GoldsmithsUniversity. Her research explores the epistemologies of the Global South and isparticularly interested in oral herstories pertaining to a feministhistoriography. Previously, she hascompleted a fellowship in curating at Goldsmiths and a curatorial placement atTate Modern. In 2020, she graduated from the MFA Curating programme atGoldsmiths and subsequently completed an MA in History of Art at the Courtauldin 2021. She has been awarded grants from Goldsmiths University, University ofBristol, Arts Council England, etc.

Kechun Qin (b.1994) isa writer and curator based in Guangzhou, China. She received MA CuratingContemporary Art from Royal College of Art in 2021, and co-curated an onlineexhibition 'Hear the Light' in collaboration with Gasworks, London. Her writingon contemporary art has appeared in Artforumchinese version, Artspy and FortuneArt etc. She is the co-founder of te magazine, an annual bilingualpublication focuses on anthropological fieldwork and contemporary artpractices. Recently she is interested in Ethnography and postmodern Feminism.

Death Ray on the Coral Island.

Science Fiction and Its Archaeology.

Curator: Yin Shuai

Artists: Zian Chen, Feng Junyuan, Lap-See Lam, Liu Yi, Tong Yixin, Xi Lei,Trevor Yeung, Luka Yuanyuan Yang, Zhang Ruyi, Gary Zhexi Zhang, and Update the Comics

Exhibition Design: Yao Yuan

Poster Design: Lilia Di Bella,Archive Appendix

About theExhibition:

“The political function of science fiction isnot merely to forecast the day after tomorrow, but to make us aware about theproblems we have in imagining it.”

——Peio Aguirre

The title of theexhibition, Death Ray on the Coral Island, derives from a sciencefiction published in 1978 by Tong Enzheng, a Chinese archaeologist. The storyrevolves around a “great power’s” conspiracy for taking an overseas Chinesescientist’s inventions. The core of this work is different from an expandingcolonial worldview of Western classical science fictions or a view of sci-ficreation aimed at popularizing and cultivating national sentiments. It tookhistory as its background, cooked up seemingly real international relations andcreated imaginatively multiple space-time, reflecting the humanity, power aswell political ideology issues hidden behind a technology driven society.

Nowadays, theexplosive development and production of technology have completely coded and mappedthe geographical space, forming a single and linear value that conforms to theinternal logic of capitalism and can be manipulated. This leaves no more spacefor any fiction, transcendentalism or even imagination. The future falls intocrisis and can no longer offer possibilities. The practice of Death Ray onthe Coral Island, adopting archaeological research methods for sciencefiction creation, transcends the viewpoint of science as a single genre ofliterature, and reinterprets the popular science and literariness, openness andrigidness of science fiction itself. It explains the even more complexinteractions and deviations behind these seemingly one-way coupling binaryoppositions. Taking its complexity and diversity as a form of practice and metaphoricalspace, it provides a political method to solve the crisis of “future”.

The exhibitionpresents artists’ research on the future imagination by applying the method ofscience fiction and its archaeology. Various elements about archives fromhistory, artworks of reality and fantasy meet with each other in the space.Science fiction is no longer a mirror for the future, but a reproduction of thepast. Imagination is now regarded as the reality, whereas the reality isreshaped into fiction. By expanding the diversity of various space-time, theexhibition wants to discover the blindness and arbitrariness in history andreality, and provide another narrative and possibility for issues concerningpolitics, society, economy and subjectivity.

About the Curator:

Yin Shuai (b.1991) isa curator who lives and works in Milan. He has collaborated with FM Centre forArt Contemporary (Milan) since 2015 and became a lecturer at NABA in 2018. In2019, he founded AP Project and started their collaboration with the Germanpublishing house Archive Books. His articles and exhibition reviews arepublished in Segno, Mousse Magazine, Public Art, L@ ft, and other artmagazines. His project “Infancy and History” (with Andris Brinkmanis and PaoloCaffoni) is selected as finalist of OCAT research-based exhibition 2019, he hascollaborated the exhibitions: “The Principle of Hope” (Inside-out Art Museum,2021), 2nd Yinchuan Biennale, “Starting from the Desert: Ecologies on the Edge”(Yinchuan, 2018), “The Szechwan Tale: Theatre and History” (Milan, 2018), the1st Anren Biennale, “The Szechwan Tale: Theatre and History” (Anren, 2018),“The White Hunter: Memories and African Representations” (Milan, 2017), “TheGreat Learning” (Milan, 2017), “Non-Aligned Modernity” (Milan, 2016), “TheUnarchivable: Italy 1970s” (Milan, 2016).