It’s 20 years of the biennial

它已經舉辦20年了

So it has a certain history

所以它有一定的歷史

A certain inscription, too

也有一定的題詞

I was evidently very sensitive

顯然我對於雙年展

To the question of being in the museum

辦在美術館的問題非常敏感

I think you don’t work the same

我想如果在不同或臨時的地點

If you do a biennial in different or temporary places

舉辦雙年展，做法會有所不同

Or places that you would occupy the time of the biennial

或辦在會佔據雙年展時間的地方

Or if you’re in a place which has a construction of

或是在具有美術館的結構

Being a museum with a collection

有著收藏品

With a program of exhibition, with different program

和不同展覽節目的地方

The time of the exhibition, which is 5 months

展覽時間為期五個月

And how is this 5-month can be a receptacle

而這五個月如何能夠容納

Of a different trans-artistic proposition

不同的跨藝術觀點呢？

A receptacle which offers space for experimentation

它提供實驗空間

And which is activated all along the 5 months

實驗進行整整五個月

With program of performances

有表演節目

With a symposium, which is cut in three parts

有分成三個部份的座談會

September, November, and January

在九月、十一月和一月

Series of conference every month

每月有一系列的討論會

And a program of screenings

以及影片放映節目

It’s really an aspect of thinking

這其實是一種思考層面：

How the museum position itself

就雙年展和製作而言

In relation to biennial, to production

美術館如何自我定位？

The question of reception, of diffusion, of collection

還有迴響、普及和收藏的問題

And how the biennial can participate to all these aspects

雙年展如何能參與這所有的層面？

So this context had to be sold, for me, too, it’s very important

所以得接受這脈絡，這對我也很重要

You have different modes of existence of archives

檔案庫有不同的存在形式

You can have archive what we call dead

可能有我們所謂的死的檔案庫

Not activated anymore

再也不被啟用

Or in a state of invisibility, or in a state of non-accessibility

或處於隱形、無法存取的狀態

The exhibition is very much emphasizing, I think

我認為展覽非常強調

This notion of not thinking the archive

不把檔案庫想成是

As something belonging only to the past

只屬於過去的這個想法

But an archive, from the moment it’s activated is immediately…

但從啟用那一刻起，檔案庫即是…

…element, which construct a possibility

…一個要素，建構了可能性

To construct different on the narrative of the present

建構新當下的不同論述

In the anticipation of how the future is

期許未來的模樣

I think it’s very important to emphasize that

誰來決定特定物品是否應該保留？

There is a question of who decides that certain things

留在哪裡？如何保留？

Should be kept or not? And where, and how?

我認為強調這個問題非常重要

And this question of who decide of archive being

而誰來決定檔案庫是否被視為

Considered as meaningful for historical construction

對歷史、政治和社會架構

Or political construction, social construction

富有意義的這個問題

It’s a question of where is all the power

是誰掌握了權力的問題

And that’s evidently a very important point in the exhibition

這顯然是本展覽非常重要的一點

Through these processes, there is an emancipatory aspect to it

透過這些過程，它具有解放的層面

So this alternative narrative is being constructed by artistic gesture

所以這種另類論述是透過藝術姿態建構

It has strongly to do is an emancipatory act

它與解放行動有強烈的關係

This is being shared and it’s an activation

它為人共享，它啟發了

Of the way of thinking our present

我們思考當下的方式