新展预告｜中间实践之“虚时而行”

作为中间美术馆机构实践的重要组成部分，“中间实践”自2017年起一直致力于以小型展览呈现艺术领域中多种形式的出版实践。残雪未消，春风已至，继2023年广州的“漂流书包”项目、第十二期中间实践“火屿边缘”与“洄游”之后，第十三期中间实践展览“虚时而行”即将在本周六开幕。

虚时而行

展览日期：2024年3月2日—5月19日

策展人：那荣锟、冯俊华

“虚时而行”不是一个现成的词，它来自“副本制作（instance）”发起人、编辑之一冯俊华的梦：当时，他身处一所崭新的道观，看到院墙上凿着“虚时而行”四个漆金的字。被惊醒后，梦里的这个词开始成为了他对自身和副本制作实践的锚定——Waste time to do things。对此，冯俊华曾说：“时”可能是主动性的，“虚时而行”也可以轻便地理解为在行止中保持着“虚”的使动状态，相当于内家拳的虚劲，如此就与吴清源所说“委身于流势”相连。

无中生有、执实为虚，副本制作的形象独特又漂移不定。大多时候，它是一个能把创作者们以灵活、迅捷的方式组织起来的生产单位，编辑眼光的敏锐和对非成名作者的持续发掘令它在同行中享有“辨认者”的名声；还有一些时候，它活跃于以广州为中心的许多替代性实践中，其伴生的一些项目，已经成长得韧性十足。今年2月是副本制作成立十五周年，值此之际，本期中间实践呈现其工作状态和成果，细读其中的部分文本，以期待新的观察。

副本制作的部分小册子。摄影：huol

展厅使用了从中间艺术区周边文印店及办公室收集到的几十个A4、A3复印纸箱，在书架上结构成洞窟般起伏的新空间，内中放置着副本制作的书目、日常生产的物料、多年来策划或参与的活动海报，及手稿、藏书票、贴纸等。每隔两周，展览将结合不同主题更换十五种左右的书目，第一期是来自诗人、美术史教师陈珂生前的收藏。我们会在线上定期更新相关介绍，并举办线下发布、朗读会等活动，令展览同时生成为持续更新的阅读空间；中间实践也将走出美术馆，和其他的阅读空间共同寻求更多的可能。过去十五年里，副本制作不畏惧风沙，耐心地探索对变动的回应，希望来自南方的持续性、主动性也松动作为公共机构的美术馆的严实土壤，增加更多灵活的联合生产方式。

那荣锟

副本制作从2009年开始的，大家说这一看就是出版品牌的名字，copy嘛，但它其实来自网络游戏，instance，以前我会玩通宵。这是一类需要找到小伙伴组队、协作、共同战斗才能经过的地带，你可以反复进去，但每次的体验、经验都有变化。后者跟我们打开一本书的感受也相似。从十周年到十五周年，我越来越理解到，副本制作是获得了很多默默的爱和帮助，才能把一种自我组织的状态维持下来，不管作为编辑还是创作者，我们都从这些集体维度中得到了滋养。

2020年底，诗人、美术史教师陈珂去世之后，我们来到她的房间帮忙整理藏书和手稿文本。床边书柜的一小块有一摞副本制作的小册子，曾经几乎每一次见面，我都会带给她最新做的一种或几种，然后再到下次见面，她会告诉我她的感受。但这一摞不是所有的，是被她挑出来放在那的，有十七种，多数划过线，其中几本背胶已经裂开了。虽然不知道她的根据是什么，但当我拿起来一本本细细地翻看，好像自己也是第一次与这些小册子遭遇。我感到这是一个启示性的时刻。

为这次展览准备内容时，我想到了陈珂的这份“书单”，和陈珂部分手稿的复印件、在她去世三年后终于编成的诗集《感情生活》（第二版），它们将构成“虚时而行”第一期。

副本制作，57页，封面画：子杰

同时，现场也可以读到为这次展览制作的副本制作十五周年小册子。

谢谢中间实践的邀请，谢谢工藝、雪的海报：房间里不知何时装满了水，马不知何时长出了鱼鳍。

冯俊华

As an important part of Inside-Out Art Museum's practices, "Inside-Out Practice" has been dedicated to present various forms of publishing practice in art field through small-scale exhibitions since 2017. Still melting as the snow is, spring breeze has already arrived. Following the Drifting Schoolbag project from Guangzhou in 2023, the 12th Inside-Out Practice The Edge of Volcanic Island and Migration, the 13th Inside-Out Practice's exhibition Waste Time to Do Things is going to open on this Saturday.

Waste Time to Do Things

Exhibition Dates: 2024/3/2 – 5/19

Curators: Na Rongkun, Fung Junhua

"虚时而行" (Xu Shi Er Xing) is not an existing term, but comes from a dream of Fung Junhua, one of the initiators and editors of instance. In the dream, he was in a brand new Taoist temple, and saw four gold lacquered words "Xu Shi Er Xing" chiseled on the courtyard wall. After being awakened, these words became an anchor for himself and practice of instance: Waste time to do things. In this respect, Fung has said that "time" can be proactive, "waste time to do things" can be easily understood as maintaining a state of "emptiness" in one's movement, similar to Neijia (a type of internal martial arts), which is connected to what Wu Qingyuan calls "committing oneself to the flow of momentum".

Creating something out of nothing and holding reality to become void, instance has a unique and fluid image. Most of the time, it is a production unit that organizes creators in a flexible and efficient manner, with a reputation among its peers as an "identifier" due to the sensitiveness of the editor’s eye and continuous discovery of non-established authors; other times, it is active in a number of alternative practices centered in Guangzhou, its accompanying projects have grown to be very resilient. On the occasion of the fifteenth anniversary of Instance in February this year, this Inside-Out Practice will present working status and achievements of instance. Peruse some texts and new observations will emerge.

Dozens of A4 and A3 cardboard boxes collected from printing stores and offices in and near the Inside-Out Art District are used in the exhibition space, structuring cave-like, undulating new spaces on the bookshelves. Inside those spaces, pamphlets, printing materials, event posters, bookplates, stickers, and other materials produced by instance are placed. The exhibition will change approximately 15 books with different themes every two weeks,, with the first theme to be the poet, art history teacher Chen Ke's former collection. We will regularly update related introduction online, and organize offline releases, reading sessions and other events, making the exhibition a continuously updated reading space. Inside-Out Practice will also step out of the museum and seek more possibilities together with other reading spaces. Over the past fifteen years, instance has patiently explored responses to change, undaunted by the wind and sand, in a hope that the continuity and initiative from the South will loosen the tight soil of the museum as a public institution and add more flexible forms of co-production.

Na Rongkun

The "Fuben Production" began in 2009, people say that this is obviously a name for a publishing brand, "Fuben" in archive means copy. But it is actually from the online game Instance which I used to play all night. This is a kind of zone that you need to find a small group of friends to team up, collaborate and fight together to pass through, you can go in again and again, but each time the experience, experience has changed. This is similar to how we feel when we open a book. From the tenth to the fifteenth anniversary, I've come to understand more and more that instance is the result of a lot of silent love and help to keep us maintain a state of self-organization. Whether as editors or as creators, we are nourished by these collective dimensions.

At the end of 2020, after the poet, art history teacher Chen Ke passed away at the end of 2020, we came went to her room to help organize her book collection and manuscripts. There was a stack of Instance's booklets in a small section of the bookcase next to her bed. I would bring her one or more of the latest booklets we made almost every time we met, and then the next time we met, she would tell me how she felt about them. But this stack wasn't all of them, she picked out seventeen books to put there, most of them marked with lines, a couple of booklet's backing were cracked. I don't know what she was basing this collection on, but as I picked up one by one and looked through it, it was as if I was having my first encounter with these booklets myself. I felt it was a revelatory moment.

When I was preparing the content for this exhibition, I thought of Chen Ke's "book list". Together with copies of some of Chen Ke's manuscripts and the collection of poems Emotional Life (second edition) we finally compiled three years after her death, they which will form the first installment edition of Waste Time to Do Things.

At the same time, instance's 15th anniversary booklet producedmade for this exhibition will also be available for reading in the space.

Thanks to Inside-Out Practice for the invitation, and to Gong Yi and Xue for the poster: somehow the room is filled with water, and the horse greows fins at some point.

Fung Junhua

副本制作/instance

创办于2009年2月。我们关注当代汉语及其在文学和艺术中的呈现，并推动相关的创作、实践和出版。

Instance was founded in February 2009. We focus on contemporary Chinese language and its presentation in literature and art, and promote related creation, practice and publication.

C 

策展人

urators

那荣锟，中间美术馆策展助理，工作、创作于北京。本硕就读于清华大学美术学院绘画系，关注社会生活中被忽视、遗忘的记忆和碎片，策划有展览“教我如何不想她——赵文量绘画中的‘母亲’”；编辑有画册《广阔的现实主义道路——20世纪20—80年代摄影的人文实践》《夜路》。

Na Rongkun serves as a curatorial assistant of Inside-Out Art Museum, working and creating in Beijing. She completed undergraduate and master studies in the Department of Painting, Academy of Arts & Design, Tsinghua University, focuses on neglected and forgotten memories and fragments in social life. She curated How Can I Rid My Mind of Her: "Mother" in Zhao Wenliang's Paintings, and edited the research achievement Infinite Realism: Humanism in Chinese Photography from 1920s to 1980s, Night Road.

冯俊华，1984年生于广东阳江，曾供职于博尔赫斯书店和黄边站当代艺术研究中心。他活跃于多个艺术、出版和社群项目，是副本制作的编辑，一起练功的领手，44剧场和同时编委会的成员。

Fung Junhua was born in 1984 in Yangjiang, Guangdong. He has worked in Borges Bookstore and Huangbian Station Contemporary Art Research Center. He is active in several art, publishing and community projects, and is the editor of instance, the leader of Practicing Together, a member of Theater 44 and the Simultaneous editorial committee.

文字：那荣锟、冯俊华

排版：屈莹

翻译：海如

海报设计：工藝、雪

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