圍群 MONUMENT of APRON

能翻译成“为你自然、联合、漂亮和诚实地尝试举办的两个展览加油”吗？好像不太行。Anyway，题目很吸引了我。他们下面新闻稿描述的很让我想到家作坊试图讨论的问题，主要是另一种了解“交易 commerce”的方法——不仅仅是贸易，起码英文的commerce也指一种引起知识和ideas的顺通兑换，让人与人之间的关系充满快事交流。回到“围群”，一件围裙也应该让我们重新考虑我们的创意力能够产生的交流。以下，关键词翻译，哈：

This 项目 project brings together artists whose 实践 practice is founded on 合作 cooperation and 交流 interchange with a diversity of 社会、地理与经济领域 social,  geographic and  economic spheres; and who are 尝试 attempting, at the level of an art centre, to look into the 艺术制作的方式、情况和其它方面 modalities, circumstances and other aspects of making art.

If the title of the exhibition reflects the work of 查尔斯·傅立叶 Charles Fourier and certain facets of his theory of 激情引力 passionate attraction, it is because we have indulged in what he called “蝴蝶激情 butterfly passion,” freely borrowing from him terms that might be useful to us. For instance, in Fourier’s language the word truthful refers to the “诚实社交 truthful social commerce” of the members of his 法郎吉 phalansteries, as opposed to the false commerce of the civilised world. Truthful commerce is founded on a 合作系统 cooperative system which 除掉制作和分配食物和制造的物品推测性的中介 does away with all speculative intermediaries between production and distribution of foodstuffs and manufactured goods. 不是所有 But this is not all, and it is not our subject. Here we construe the word 交易 commerce in its broad semantic sense: as a 一种交换 form of interchange involving the dissemination of 方案 proposals, 知识 knowledge and 想法 ideas in a way that sets up 互相交流 reciprocal communication and thus engenders 充满快事交流的人际关系 human relationships full of the pleasure of communication with others.

The works making up this exhibition have to do as much with a 交易的过程 process of exchange, however odd it may be, as with the actual objects exchanged and their subsequently modified 制作工具 production tools. These works 来自（和制造）社交性 proceed from (and produce) situations of sociability based on the notions of 跟其它艺术家、社群的朋友或者公众分享一个艺术行为 sharing the artistic act with, or delegating it to, other artists, the members of a community or the public. Hence they will often entail a 重新分配角色，尤其是创意人的角色 redistribution of roles—in particular that of the creator—and will 超越展览的时空 overflow the spatio-temporal context of the exhibition by involving 共同物品 communal objects that evolve over time.

《Good luck with your natural, combined,
attractive and truthful attempts
in two exhibitions》

阿尔萨斯Rhénan当代艺术中心 CRAC Alsace
2015年6月18日至2015年9月20日

注：傅立叶被认为是英文“女权主义 feminism”的发明者（1837年）！