“新艺见”大师讲座

　　“New Artrends”Master Lectures

　　我们从未现代？——对话拉图尔

　　We have never been modern? - Dialogue with Bruno Latour

　　主办：中央美术学院、中央美术学院实验艺术学院、新世纪当代艺术基金会

　　Organizers: Central Academy of Fine Arts, The School of Experimental Art， New Century Art Foundation

　　独家艺术媒体合作：艺术界

　　Exclusive art media partner: LEAP

　　嘉宾：布鲁诺·拉图尔、冯珠娣、汪民安、吴国盛、汪建伟

　　Speakers: Bruno Latour, Judith Farquhar,Wang Min’an, Wu Guosheng, Wang Jianwei

　　时间：2017年5月13日（周六）14：30-17：00

　　Date: 2:30-5pm, May 13th, 2017

　　地点：中央美术学院美术馆学术报告厅

　　Venue: Lecture Hall at CAFA Art Museum

　　现场中英同传

　　Simultaneous Interpreting

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　　中央美术学院美术馆拥有活动最终解释权。

当代法国著名哲学家、人类学家布鲁诺·拉图尔（Bruno Latour，1947—）是科学社会学研究的领军人物，国际科学与技术研究（STS，Science and Technology Studies）学界的重量级学者，是目前欧美最有影响的思想家之一。

拉图尔兴趣广泛，曾经专门对非洲和美国加州科学家、工程师进行过人类学性质的实地调查，致力于哲学、历史、社会学、人类学领域研究，具有丰富的研究成果。他倡导的实验室人类学研究方法和行动者网络理论(actor-network-theory)以及《实验室生活》、《我们从未现代过》、《重组社会》《自然的政治》等著作，不仅在社会学界产生了重要影响，对包括艺术在内的各学科的研究、实践都是富有启发性和创造力的工具。

拉图尔策划过数次展览，试图将自己的研究和艺术家的创作结合起来思考。例如“重置现代性”（巡回中，2016年在德国卡尔斯鲁厄艺术媒体技术中心举办），“科学、宗教及艺术的图像战争背后”（2002），“让一切变得公开，民主的氛围”（2005）等。他曾获2013年度霍尔堡国际纪念奖。

此次拉图尔的亚洲之行，为我们在上述相关领域提供了一次难得的对话机会。本场讲座由中央美术学院和新世纪当代艺术基金会联合主办，将涉及艺术、哲学和科学之间的相关性及关于现代性的种种话题。

Bruno Latour (1947-) is a renowned contemporary philosopher and anthropologist—a leading scholar in both scientific sociology and the field of Science and Technology Studies (STS). He is one of the most influential ideologists in Europe and America today.

Latour has a wide range of interests. He has dedicated his time to anthropological field survey of scientists and engineers from California and Africa and to research of philosophy, history, sociology, and anthropology. His research has generated a wealth of results. The laboratory anthropologist research method and the actor-network-theory for which he advocated, as well as his works Laboratory Life; We Have Never Been Modern; Reassembling The Social; and Politics of Natureare not only significant in the field of sociology, but also enlightening and creative tools of study and practice adopted by many other disciplines—including the arts.

Latour has curated multiple exhibitions, attempting to combine his research with artists’ practice, including “Reset Modernity!” (now on tour at the Shanghai Himalayas Museum, and shown at the Center for Art and Media Karlsruhe in 2016); “Beyond the Image-Wars in Science, Religion and Art” (2002); “Making Things Public: Atmospheres of Democracy” (2005), and others. He has been awarded the 2013 Holberg International Memorial Prize.

This time, Latour’s trip to Asia provides us a rare opportunity for dialogue in the aforementioned areas. Co-organized by Central Academy of Fine Artsand New Century Art Foundation, the lecture will cover various topics of modernity and the interdisciplinary connections between art, philosophy, and science.

　　主讲嘉宾 Speaker：

布鲁诺·拉图尔，1947年6月出生于法国勃艮第一个葡萄酒种植家庭，先后受过哲学、人类学专业训练。1982—2006年任巴黎高等矿业学校创新社会学研究中心教授，在不同时期受聘为伦敦经济政治学院、哈佛大学科学史系以及加州大学圣地亚哥分校的客座教授，获荷兰阿姆斯特丹大学斯宾诺莎讲席教授荣誉，2008年当选为美国艺术与科学院院士。现为法国巴黎政治学院社会学研究中心教授。

Bruno Latour, born in June of 1947 to the first winemaking family from Burgundy, France, was trained successively in philosophy and anthropology. From 1982 to 2006, he was a professor at the Center for Sociology of Innovation at Mines ParisTech and was a visiting professor at the London School of Economics and Political Science; in the Department of the History of Science at Harvard University; and at the University of California, San Diego. He also held the Spinoza Chair of Philosophy at the University of Amsterdam. In 2008, he was elected Fellow of The American Academy of Arts and Sciences. He is now a professor at the Research Center in Sociology at Sciences Po Paris.

　　对话嘉宾Panelists:

　　冯珠娣，芝加哥大学人类学系马克斯·普勒维斯基讲座教授。她的研究长期关注传统医学在当代中国的发展和实践，以及健康文化在中国城镇和乡村的现状。著作包括：针对中医实践逻辑的哲学研究《认识实践：遭遇中医临床》（1994）、关于中国1980年代大众健康文化的人类学研究《饕餮之欲:当代中国的食与色》（2002）；与北京中医药大学张其成教授合著的健康实践研究《万事万物：当代北京的养生生活》等。近期与北京大学医学人文研究院的学者赖立里合作，研究中国少数民族传统医学。

Judith Farquhar is Max Palevsky Professor Emeritus of Anthropology at the University of Chicago. Her research has long focused on the development and practice of traditional Chinese medicine in modern China, and on cultures of health and embodiment in both rural and urban China. She is the author of Knowing Practice: The clinical encounter of Chinese medicine (1994), a philosophical study of the logic of practice in Chinese medicine; of an ethnographic study of popular health culture in China’s 1980s, Appetites: Food and Sex in Post-Socialist China(2002); and of Ten Thousand Things: Nurturing Life in Contemporary Beijing (2012), a study of wellness practices co-authored with Qicheng Zhang of the Beijing University of Chinese Medicine. Her current research on ethnic traditional medicines in China is collaborative with Lili Lai of Peking University Medical Humanities.

汪民安，首都师范大学教授。主要研究领域为当代批评理论。出版著作多部。主编《人文科学译丛》和《生产》丛刊。主要著作包括《谁是罗兰·巴特》，《福柯的界线》，《尼采与身体》，《身体、空间、后现代性》、《形象工厂：如何去看一幅画》、《感官技术》、《现代性》、《什么是当代》、《论家用电器》等。

Wang Min’an, professor at the Capital Normal University, focuses his research on contemporary criticism theory, on which he has published multiple essays. He is the editor of Renwen Kexue Yicong [Humanities Translation Studies] and Producing. His publications include Who is Roland Barthes, The Limits of Michel Foucault, Friedrich Nietzsche and Body, Body, Space, and Postmodernity, The Factory of Images, Sensory Technologies, Modernity, What is Contemporary, On Appliance, among others.

吴国盛，清华大学人文学院教授，曾任北京大学哲学系教授、北京大学科学史与科学哲学研究中心主任、中国科技史学会副理事长。1983年获北京大学地球物理系空间物理专业学士学位，1986年获北京大学哲学系哲学硕士学位，1998年获中国社会科学院哲学博士学位。主要著作包括《什么是科学》、《科学的历程》、《反思科学》、《技术哲学讲演录》、《让科学回归人文》、《现代化之忧思》、《时间的观念》、《希腊空间概念》等。研究领域包括以“追思自然”为主题的自然科学、以柯瓦雷概念分析为主要方法的科学思想史、以现象学解释学为哲学背景的科学哲学、以技术批判理论为特色的技术哲学。

Wu Guosheng, professor at the School of Humanities at Tsinghua University, was previously a professor in the Department of Philosophy and Director of the Center for History and Philosophy of Science at Peking University. He also served as Vice President of Chinese Society for the History of Science and Technology. He received a bachelor’s degree in space physics in the department of Geophysics at Peking University in 1986, and a PhD at the Chinese Academy of Social Sciences in 1998. His major publications include What is Science, The Course of Science, Re-thinking Science, Lectures on Philosophy of Technology, Science vs Humanism Interlocution, Melancholy of Modernity, The Concept of Time, andGreek Concept of Space. His research focuses on the study of natural science based on the topic of “remembrance of nature”; the history of scientific thought based on Koyr’s conceptual analysis; the philosophy of science as it relates to phenomenology and hermeneutics; and the philosophy of technology, a field heavily underpinned by critical theory of technology.

汪建伟，1958年生于中国四川，生活和工作在北京。自上世纪90年代至今，汪建伟一直在探索知识综合与跨学科对当代艺术的影响，尝试使用不同学科的方法去创造新的艺术语言，即在众多的关系中，从认知层面发展和建立一种新的主体的可能性；在知识综合的背景下，以哲学式的质询，实践一种交叉学科的观看世界的方式,并赋予这些实践以形式。为此，其艺术作品呈现多元样式，跨越电影、戏剧、多媒体、装置、绘画和文本等领域。汪建伟应邀参加了卡塞尔文献展、威尼斯和圣保罗双年展。2008年，汪建伟获得了美国当代艺术基金会（FCA）授予的2008年度艺术家奖。 近年来主要个展：《黄灯》、《...或者事件导致了无效的结果》、《时间寺》、《脏物》等。

Wang Jianwei, born in 1958 in Sichuan, China, currently lives and works in Beijing. Since the 1990s, Wang has been exploring the effects of knowledge integration and interdisciplinary research on contemporary art, attempting to use the research methods of other disciplines as building blocks for a new art language. By exploring the relationships between academic fields, he hopes to develop and establish an altogether new subject from the cognitive level. In the context of knowledge integration, through philosophical inquiry, he is trying to engineer a cross-disciplinary means of viewing the world and to endow it with substantive form. His works combine film, theatre, installation, painting, and text. Wang was invited to participate in Documenta, Venice Biennale, and the São Paulo Biennial. In 2008, Wang was awarded a grant by the Foundation for Contemporary Arts. His major exhibitions of recent years includeYellow Signal, ...the event matured, accomplished in sight of all non-existent human outcomes, Time Temple, and Dirty Substance.

图文整合自 实验主义者与中央美术学院美术馆