电缆丨中国深圳

出品人：向玲 / Producer: Xiang Ling

编辑：石安，亓慧、庞任飞，宋林晨，张笑然 / Editor: Shi An, Qi Hui, Pang Renfei, Song Linchen, Zhang Xiaoran

何为 CABLE？谁连接谁？

What is CABLE? Who connects to whom?

1.

您在本科攻读建筑学专业，研究生转向设计理论与批评，实践中参与过策展、设计、运营等层面的工作——是怎样的经历和想法促成这样的转型？

You studied architecture as an undergraduate and switched to design theory and criticism as a graduate student. In practice, you have participated in curatorial, design, and operation work. What experiences and ideas led to this transformation?

策展是一种对于文本和视觉协同表达的欲望，这种表达欲可能跟个人成长和教育环境都有关系。有意识以来我就对 Communication 或者 Urban Studies 之类的人文社科专业感兴趣，后来不小心读了理科和建筑专业，发现学建筑的每一天都很快乐，因为它既能提供相对比较自由的视觉表达，又强调背后的人文思辨。建筑学对我而言不是一种实用主义训练，而是一种对事物的观察角度和表达方式。

当然在今天，“建筑学转行”无奈变成热门话题。但我倒觉得，“转型”在很多情况下只是表象。一个建筑专业的毕业生也许参与社会生产和分配的方式可能出现一些移位，但归根结底，主动选择建筑的人，无论之后入行自媒体还是交互设计，无论下厨还是上岸，都会持续在寻找这种复合性质表达的出口。

The desire for both textual and visual expression may goes back to personal growth and educational background. I have been interested in humanities and social sciences such as Communication or Urban Studies early on. Later, I accidentally studied science and entered the architecture major. I found that every day of studying architecture was joyful, because it allowed free visual expression with critical thinking. For me architecture is not a pragmatic training, but a life perspective.

Of course, nowadays, “changing careers in architecture” has been trending, but I think that “transformation” is not substantial in many cases. Graduates may have some shifts in the way they participate in economic production and distribution, but eventually, people who willingly chose architecture will continue to look for an outlet for this complex expression.

▼何柳于布展现场，He Liu at the Exhibition site

另外，对于实体空间的迷恋可能是建筑学带给我最大的乐趣（也可能是桎梏）。偶遇、分享、触摸的体验实在美妙，类似在纽约时经常去 Printed Matter 书店里翻箱倒柜的经历，我还可以列举很多。

本科期间尝试开始做跟策展和写作相关的实习，做过成都双年展的策展助理，后来协助三位创始人一起筹建有方，我非常喜欢这类从无到有、快速测试新想法的策划工作，既有机会开荒拓野，过程中又可以参与几乎每个细节的设计。展览正好也具备了这种“边写诗边拧螺丝钉”的实体属性，做一个展览就像是在特定话题上搭建了一个微缩空间。

In addition, the fascination with physical space may be the greatest pleasure (or shackle) that architecture brings me. The experience of encountering, sharing, and touching is simply wonderful. During my undergraduate studies, I interned in curating and writing, including working as a curatorial assistant in Chengdu Biennale, and assisting the three founders in starting Archiposition. I really liked starting from scratches. It not only gives me the opportunity to explore new ideas, but also allows participation in the design and editing of almost every detail. Working on exhibitions is like “writing poems while tightening screws”, all in a truly physical way.

▼2017 年 UABB 上围分展场策展及主展场参展作品策划，2017 UABB Shangwei branch exhibition and main exhibition works planning

最后，对运营机制的探索，也是始终贯彻在我参与的每一个工作角色当中，核心动机当然是希望一直有展览可以做（笑），所以需要想着怎么样让这事不那么随机波动。不管是以公司形式承接委托项目，寻找学术和商业回馈之间的平衡，还是在大型场馆的筹开团队搭建合作资源和计划，其实本质也很相似，都是想去探讨文化内容如何为原有的组织架构产生新价值。所有文化都有对应的转化价值，一个关于建筑或者城市的展览当然也会有——我们也还在持续寻找，目前离找到答案也还很远。

Finally, dealing with operating mechanism is always implemented in my roles. The honest motivation is of course to ensure that there will always be exhibitions to do, so I need to keep thinking about how to make this sustainable. Whether it is taking on commissioned projects in the form of a startup company, finding balance between academic and commercial feedback, or building cooperative resources and plans for the preparation and opening team of a large venue, the essence is actually very similar, that is, to explore how this kind of cultural production can generate new value for existing organizational structure. All cultures have corresponding conversion values, and an exhibition about architecture or cities will certainly have it – we are still searching, and we are still far from finding the answer.

▼何柳参与策展的“看（不）间的城市：‘深双’十年五届观念影像展”，2015 年，(In)Visible Cities: Bi-City Biennale of UrbanismArchitecture – A Retrospective, 2015

▼“深双”外围展“新遗产，新价值”，2020 年，UABB Exhibition “New Heritage, New Value”, 2020

2.CABLE 是什么？这个名称从何而来？

What is CABLE? Where does the name come from?

CABLE 既是一个策展与设计工作室，也是一个实体展览空间。工作室成立于 2019 年底，展览空间则于 2021 年在深圳南头古城落地。在过去的三年中，CABLE 空间里策划和呈现了多场关注城市、建筑和社会的公益展览和活动，探索了一种不同于画廊和美术馆性质的实体传播界面。工作室则与不同类型的委托方一道，策划设计了十余个城市和建筑话题相关的展厅和展览。

CABLE is both a gallery space and a curatorial studio. The studio was established in 2019, and the physical space opened in Nantou, Shenzhen in 2021. In the past three years or so, CABLE has presented many free public exhibitions and activities focusing on cities, architecture and society, exploring a medium that is different from most galleries and art museums. Together with different types of partners, the studio has planned and designed more than ten exhibition halls and exhibitions related to urban and architectural topics.

▼位于南头古城 if 工厂的 CABLE 空间，2021 年开放，CABLE located at Idea Factory in Nantou Old Town, Shenzhen, opened in 2021

CABLE 的名称来自英文“线缆”，如同这种无处不在的基础设施一样，CABLE 也希望能持续与更多伙伴一起连线，汇聚成一种微小却不可或缺的城市基建。

The name comes from the English word “cable”, meaning wire wire. Like this ubiquitous form of infrastructure, CABLE also hopes to continue to connect with more partners and position itself into the urban cultural network.

▼CABLE 空间过往部分展览活动海报，Posters of some past exhibitions at CABLE

自主策划的公益展览，是 CABLE 空间的初心，也是我们工作的重心。开放两年多来，CABLE 举办了《洄游，或城市的循环想象》《街道共同体》等展览，同时也跟一些组织机构合作，包括像宜家发起的 SPACE10、深圳“百校焕新”和“新校园”竞赛、出版社和公益组织等等，探讨了空间虚拟现实、高密度校园、空间性别观念等多元城市话题。公益+文化，这个组合当然费力不讨好，但我们卷入深圳的高速发展之中，就很想为它的进行时记录和延伸一些声音。

In addition to presenting our in-house curated exhibitions, CABLE also serves as an open venue and communication partner, inviting more events to enrich our programs. For example, CABLE has collaborated with publishing houses on projects such as book launches and photography exhibitions. These books and activities are all related to a certain aspects of the city. Meanwhile, we also collaborate with institutions such as SPACE10, Shenzhen’s New Campus Competitions, gender equality charitable organizations, etc., to explore diverse topics such as virtual reality, high-density campuses, and gender reflections in the kitchen.

▼洄游，或城市的循环想象，2021 年，CITIES, CIRCLING IN TIME, 2021

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▼#家_万花境展览，2023 年，KALEIDOSCOPIC HOME, 2023

▼走向新校园进行时展览，2022 年，TOWARDS A NEW CAMPUS, 2022

▼南山ing——百校焕新展览，2023 年，NANSHAN-ing-RENEWAL PLAN, 2023

▼生鲜市场 Vol.01 剧场，2024 年，FRESH MARKET Vol.01 Theater, 2024

3.CABLE 的简介中都会提到它是一个“城市文化实验空间”——你们对城市文化的哪些方面进行实验？您希望得出怎样的“实验结果”？

CABLE states that it is an “urban cultural experimental space” – what aspects of urban culture do you experiment with? What kind of “lab results” do you expect?

我觉得最核心的实验，还是关于这个空间本身运营的尝试。CABLE 显然不属于艺术市场生态，也并非出于政策推动设立。我们如何自我存续？

疫情前我参加了加拿大建筑中心（CCA）的一个驻地项目，邀请了八位来自全世界的艺术家、策展人、建筑师和机构管理者在蒙特利尔做一个十来天的工作坊。我们被叫做 Cultural Agitators，大概可以翻译为文化搅局者，我特别喜欢这个概念。在那之前我可能对于西方比较完善的艺术体系有一种前置的羡慕心态，觉得他们有很多非营利组织、文化机构、捐赠与支持制度等等都比较成熟多元，很多事都能够找到对应的发生渠道。但那次交流下来发现，这样的制度环境也有局限性，很多项目设计更多是去满足一些机构愿景而不是现实问题，而且往往对一些热点问题也不具备及时的响应速度。我开始想是否还能有其他可能性，允许独立机构和个体去探索一些“搅局”的机会——没必要抱怨生态环境的缺失，毕竟有更多机遇、意外和乐趣都是在流畅的制度中很难体验到的。当然目前运营还是很难，但我觉得更多是受大环境的影响，也相信随着经济回暖，更多机会可以慢慢发生。

I think the core experiment is the attempt to sustain itself. CABLE obviously does not belong to the art world, nor does it have anything to do with the official cultural network. How does it survive?

Before the epidemic, I was in a residency at the Canadian Center for Architecture (CCA). At that time, a total of eight artists, curators, architects and cultural professionals from all over the world were invited to do a workshop in Montreal. We are called Cultural Agitators, a concept I particularly like. Before that, I may think that the West have more mature organizations, cultural institutions and donation systems, etc. Many independent projects can find their channels. But in fact, I found that such an environment also has its limitations. Many programs are designed more to meet institutional vision rather than real problems, and often do not have a timely response to current issues. I began to wonder if there are other possibilities, allowing perhaps more “disruption”. There is no need to complain about the environment. After all, there are more opportunities, surprises and fun that are difficult to experience in a smooth trajectory. Of course, our current operation is still struggling, but we think it is more affected by the overall environment, and we believe that more opportunities will occur upon economic recovery.

▼CCA 工作坊，左三为创始人 Phyllis Lambert，左四为何柳，CCA Workshop, the founder Phyllis Lambert (third from left) and He Liu (fourth from left)

其次是为什么要聚焦城市和建筑展览。最初的想法就是把一些城市建筑领域过往在专业圈子里反复咀嚼的议题，找到一个面朝公众的释放出口。我们的英文简介是 Space for Urban Investigations——如果大家已经有去欣赏艺术的诉求，那阅读和思考城市问题或许也是下一个新的“小众”爱好？毕竟城市和我们的日常生活本来就更加正相关。

筹备构思的过程中，我们也留意到上海、成都乃至泉州等地都有些组织在做类似的实体展览和交流空间，特别是在和历史遗产、改造更新相关的片区，通过这类空间能够扩大话语和传播，给外来的学者、建筑师、艺术家们和本地居民能有对话交流的平台。它们都有某种程度上不同的造血方式，也都跳脱出民非组织的传统工作界面，有了更多活跃度和丰富性。

开始运营之后，我们也从许多合作机构身上学到了延展话题和意义的方式。例如，宜家在丹麦发起的研究机构和展览空间 SPACE10，通过构建跨学科平台，并以课题的形式邀请许多不同领域的创意人士和公众一起研究和创作。很遗憾，在与 CABLE 一起完成最后一个展览合作后不久，SPACE10 也结束了为期十年的运营，也让我们深思下一代文化空间是否还有存续的其它方式。

Secondly, why should we focus on urban culture? The original idea is to find a public outlet for issues that have been repeatedly chewed professionally in urbanism and architecture. Our English tagline is “Space for Urban Investigations”, and we wonder if everyone already has the need for art, then learning about urban issues may also be the next need? After all, cities are more positively correlated with our daily lives. When conceiving CABLE, I also noticed some similar spaces in Shanghai, Chengdu and even Quanzhou, especially in renewal areas. Through them, we can expand discourse and dissemination, and provide a platform for dialogue and communication between foreign scholars, architects, artists and local residents.

▼#家_万花境展览，2023 年，KALEIDOSCOPIC HOME, 2023

CABLE 空间运营快三年以来，对弹性和空白都有了更深的认知。在虚拟世界无所不能的时代，为什么我们仍要细细打磨实体空间？CABLE 希望在城市实景中激发更多观众对空间、建筑与社会的探知欲，从这里开始去观察，去沉淀。

CABLE has been operating for nearly three years, and we have a deeper understanding of flexibility now. In an era of virtuality, why do we still need to carefully polish a physical space? CABLE hopes to inspire more audiences to explore space, architecture and society in the real city, and start to observe and settle from here.

▼CABLE 空间部分公共活动，2021-2023 年，CABLE Space Public events, 2021-2023

叙事与设计

Narrative and Design

4.

策展工作涉及方方面面，需要展现多重身份。能否以 CABLE 的首个展览《洄游，或城市的循环想象》为例，和我们介绍一下您是如何获得灵感，然后逐步落成，将其讲成“故事”的？

Curatorial work involves many aspects and requires multiple identities. Can you take CABLE’s first exhibition Cities, Circling in Time as an example and tell us how you develop it from an idea to a whole “story”?

因为是空间的开幕展览，我们比较早就定下了城市更新和空间遗产这个大方向，想把 CABLE 所在南头古城的生命周期更迭去作为一个身份标识和起点。在这个基础上，展览叙事的第一个切入点就是如何拓展遗产的定义——我们邀请了 MVRDV 的 The New Old 研究项目来构建一个大的 canvas。其次，我希望讨论遗产除了被保护或丢弃，还可以和城市建立何种关系。当时又正好是新陈代谢运动标志性建筑（中银胶囊大厦）面临拆除的重要时间点，我们就以这个作品为锚点，邀请了包括纪实摄影、文献出版、平面设计、音乐和专题纪录片等一系列作品，通过不同媒介去讲同一件事，就是现代主义遗产在今天的城市里面以怎样的面貌跟日常生活产生真正联系。它在展览前后也引发了非常多讨论。展览想寻求的还包括和专业观众之外群体交流的契机，所以我们也邀请了像郝景芳和邱岸雄等不同领域的艺术家，去做一个扩充表达。

For the opening exhibition, we set the direction of urban renewal relatively early, using the life cycle of Nantou City where CABLE is located as our initial identity. On this basis, the first entry point of the exhibition narrative is how to expand the definition of heritage-we invited MVRDV’s The New Old project. Secondly, I hope to discuss what kind of relationship heritage can establish with the city in addition to preservation or abandonment. It was the time when Nakagin Capsule Tower was facing demolition. We used this work as an anchor to curate a series of works including documentary photography, document publishing, graphic design, music and special documentaries to tell the tale, that is, how the modernist heritage is truly connected with daily life. It also triggered a lot of discussion before and after the exhibition. The exhibition also seeks to provide an opportunity for communication with groups other than professional audiences, so we also invited artists such as Hao Jingfang and Qiu Anxiong to expand the media.

▼洄游，或城市的循环想象，2021 年，CITIES, CIRCLING IN TIME, 2021

5.《街道共同体》想讨论人们可以通过何种形式自发参与城市营建——这个展览展出的不是设计项目，而是抽象的城市社会关系，你们在策展和设计中遇到哪些困难？

Streets for All discussed how people can participate in urban construction. This exhibition does not display design projects, but social networks and relations. What difficulties did you encounter in curating and designing?

这个展览其实我们可能野心也挺大，它虽然只是一个小型文献展，但其实我们想去呈现的东西跟很多过往的建筑类展览都不太一样。它关心的不仅仅是城市更新与空间改造设计的结果，而是社会关系和行动轨迹，也可以理解为设计的过程和因由。而且我们特别关注的是社区营建的自发性，从海量的案例里面去寻找和确认自发的动机，以及现实性的实施路径。那这种过程其实有很多东西都是通过一些非正式工作坊、文档、过程图表这种相对比较单调形式的记录和呈现的。如何对这些资料做出妥当的梳理和有逻辑的呈现，这对策展提出了很大挑战。

We may be quite ambitious for this.Though it is just a small archival exhibition,what we want to present is actually different from many previous architectural exhibitions.It is not only concerned with the results of urban renewal and space transformation design,but also social relations and action trajectories,which can also be understood as the process and reasons of design.

▼街道共同体展览现场，2022 年，Streets for All Exhibition site, 2022

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另外其实在沟通过程当中也会遇到问题，一个是我们带有非常强的主观性，但其实我们展览的素材是非常依赖于这些自发营建的项目过程当中的一些真实记录，那就涉及到对于参展方的一个联系和邀请、授权。而这些项目不同于很多的设计或艺术作品，往往没有明确或单一的作者，比如说柏林统计局大楼项目，它是一步步由越来越多的民间组织共同参与发展、最终形成制度化、实体化的运营主体去推动的。这是一个非常棒的自发更新项目，但我们在这个过程当中遇到了好些不同的组织，前后沟通非常多，希望尽可能勾勒出项目更完整的面貌。

And we pay special attention to the spontaneity of community construction, and find and confirm spontaneous motivations and realistic implementation paths from a large number of cases. In fact, many things in this process are recorded and presented in relatively monotonous forms such as informal workshops, documents, and process charts. How to properly sort out and logically present these materials poses a great challenge to curation.

▼统计局大楼项目发展历程与参与组织，2022 年，Development history and participating organizations of the Statistical Office Building project, 2022

6.CABLE 的工作模式是什么？您们与建筑师、学术顾问等保持着怎样的合作模式和关系？

What is CABLE’s working model? How do you cooperate with architects, academic committee, etc.?

CABLE 目前与外部委托方合作，接受展览策划和展陈设计委托，从而支撑团队和展览空间的日常运转。我们的展览通常会邀请建筑师、艺术家、研究机构等不同类型的参展方，避免“自说自话”的策划模式。搭建学术顾问团队则更多出于 CABLE 作为一个非盈利空间的考虑，我们会将 CABLE 自主策划的公益展览计划提前发送给学术顾问，听取他们方向性的建议。

CABLE 与外部客户合作进行展览策划和设计委托，以支持团队和空间的日常运营。我们的展览通常邀请不同类型的参与者，如建筑师、艺术家和研究机构。学术顾问团队更关注建设非营利空间 CABLE 空间。我们会提前将 CABLE 的自策划展览计划发送给学术顾问，并听取他们的定向建议。

▼CABLE 部分外部合作展览海报，Posters for some of CABLE’s external collaboration exhibitions

▼部分外部委托展览，2022-2023 年，CABLE’s external collaboration exhibitions, 2022 – 2023

7.《共生态》展览提出了一种介于展厅与临时展览之间的空间和形式，是什么启发你们在这个项目中的特殊策展方法？

The exhibition Co-Sphere proposes form between the exhibition hall and the temporary exhibition. What inspired your special method in this project?

这个展览可能代表着我们跟外部机构合作探索展览和展厅之间模糊地带的一种尝试。它并不是我们做过成本最高或者规模最大的委托，而且它同时也是一栋大厦首层空间的更新改造，在展览功能之外还需要兼顾交通流线组织。但项目的自由度允许我们把这个空间设计成为一种“展览基础设施”：无论是翻转旋转的展板也好，模型环岛和多媒体环幕也好，或者是机械臂下方的“生产线”展台也好，这些装置我们都尽可能以一个抽象提喻和作品组的形式，植入原本均质的空间当中，从而快速形成一种展览的节奏；同时，这些展览的界面都预留了快速更新替换作品内容的可能性，希望实现一种周期性动态更新的理想展览场景。

This exhibition may represent an attempt to explore the gray area between exhibitions and exhibition halls in cooperation with external institutions. It is not the most expensive or largest commission we have ever made, and it is also a renovation of the ground floor space of a building. In addition to the exhibition function, it is also necessary to take into account the organization of traffic flow lines. But the freedom of the project allows us to design this space as a kind of “exhibition infrastructure”: whether it is a flipping and rotating display board, a model roundabout and a multimedia ring screen, or a “production line” booth under the robotic arm, we try to implant these devices into the originally homogeneous space in the form of an abstract metaphor and a group of works, so as to quickly form a rhythm of the exhibition; at the same time, the interfaces of these exhibitions reserve the possibility of quickly updating and replacing the content of the works, hoping to achieve an ideal exhibition scene with periodic dynamic updates.

▼共生态：可持续城市探索域，2022-2023 年，Co-Sphere：Exploring Sustainable Cities, 2022 – 2023

通过这个项目，其实我们想要去探讨的是一种展览的经济概念：我们往往投入高昂的时间和精力去制作一些非常固定的内容，但其实有吸引力的空间氛围、有交互性的界面和有时效性的内容，可能更能够反映展览的初衷——毕竟我们在讨论城市发展建设这些非常大的话题，是否应该尽可能留足弹性空间，别把话说得太满？而不是投入过多制作成本，呈现争奇斗艳的即时效果，然后过一年半载就将其拆除。

Through this project, we aim to explore the concept of exhibition economy. We often invest substantial time and effort into creating highly fixed content, but an appealing spatial atmosphere, interactive interfaces, and timely content might better reflect the exhibition’s original intention. When discussing significant topics like urban development and construction, should we leave enough flexible space and avoid making definitive statements? Rather than investing excessively in production costs to present immediate, eye-catching effects that are dismantled after a year or so.

▼共生态：可持续城市探索域，2022-2023 年，Co-Sphere：Exploring Sustainable Cities, 2022 – 2023

当然，我们也在不断尝试通过展览设计揭示时间，临时与固定、清晰与模糊之间，很多时候都是展览设计最 playful 的交界带。通常在开放空间中的展览涉及耐久性和外部视觉环境考虑，需要高度凝练的表达；而面对一些持续一个月的临展，我们更强调从设计的角度快速、实时的理念传达，轻制作而重视觉。

We are also continually experimenting with revealing the element of time through exhibition design. The boundary between temporary and permanent, clarity and ambiguity, is often the most playful aspect of exhibition design. Exhibitions in open spaces typically involve considerations of durability and the external visual environment, requiring highly refined expression. In contrast, for temporary exhibitions lasting about a month, we emphasize conveying ideas quickly and in real-time from a design perspective, prioritizing visual impact over heavy production.

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城市遗产与社区介入 Urban Heritage and Community Involvement 8. 最近 CABLE 于五一假期在浙江龙游策划了“长桌行”系列活动。CABLE 参与这类公共活动的动机是什么？

During the recent May Day holiday, you planned a series of “Long Table Tour” activities in Longyou, Zhejiang. What is CABLE’s motivation for participating in such public activities?

▼《从溵时光说起》序厅及行动派展厅，2024 年，Hushiguang Opening Exhibition，2024

▼作为展览的延续，“长桌行”活动现场，2024 年，Long Table Event site, 2024

许多公共活动往往是我们跟外部合作方一起去执行和策划的，包括像和风语筑合作的「长桌行」活动，以及过往城市小旅、研讨会、讲座等等。这样能带来更多的参与方和延展讨论，毕竟活动的执行周期更短、反馈更直接，又能把策展当中很多并没有表达到的想法去跟更多受众去做一个即时的沟通，把我们关注的话题都抖出来，例如社区参与、性别意识、策展本身留给城市的遗产和工作机制等等。

Many activities were actually planned by us during the exhibition planning stage, as part of the pre-planning of public education, such as translating and introducing some relevant documents, inviting some specific audience groups (such as surrounding residential communities, children, tourists, etc.) who may not be professional audiences, to pay attention to the exhibition itself through a workshop or screening event, and thus understand some of the information and concepts we want to spread. The core motivation for launching such activities is definitely to expand the influence of the exhibition, and at the same time leave more relevant graphic materials (Digital Corpse?). Then another type of public activities are often executed and planned by us and external partners, including the “Long Table Tour” activities in cooperation with Fengyuzhu, as well as the city tours, seminars, lectures, etc. we have done in the past. What we value more in this type of activity is the extended discussion it can bring. After all, the execution cycle of the activity is shorter, the feedback is more direct, and it can instantly communicate with a wider audience many of our ideas that have not been expressed in the curatorial process, and bring out the topics that we as a curatorial institution are concerned about, such as community participation, gender awareness, the legacy and working mechanism that curation itself leaves to the city, etc.

▼CABLE 过往策划公共活动，2022 年-2024 年，CABLE previously planned public events, 2022-2024

9. 南头古城也通过一系列策展、社区营造活动重新走入人们的视野。您认为“艺术介入”激活老城是否具有普适性或者推广性？

Nantou Ancient City has also re-entered people’s vision through a series of curatorial and community building activities. Do you think that “art intervention” to activate the old city is universal or popular?

相比于解决空间需求、空间正义等问题导向的介入方式，艺术介入更具有感染力，也有更多机会产生长期的影响力。艺术介入并非单纯讨论空间美感或公共美育问题，也并非只是提升改造方案的“工具”。许多有影响力的介入项目往往试图通过在城市更新的过程中将宏大叙事放回到人视角，在微观的层面建立某种命运共同体般的视角和身份认同感。这种大的方向肯定应该推广。

Compared with intervention methods that are oriented to solving problems such as spatial needs and spatial justice, art intervention is more contagious and has more opportunities to have a long-term impact. Art intervention is not simply a discussion of spatial beauty or public aesthetic education, nor is it just a “tool” to improve the transformation plan. Many influential intervention projects often try to put the grand narrative back to the human perspective in the process of urban renewal, and establish a kind of perspective and identity of a community of shared destiny at the micro level. This general direction should definitely be promoted.

▼深圳《漫游·南头延生》展览，2020 年，Urban renewal exhibition of Nantou old town, 2020

▼南头古城 NT41 公寓首层展厅及活动空间，2020 年，Gallery of Nantou NT41, 2020

南头古城作为一个城中村社区，有着独具一格的空间和社会肌理，甚至我们遇到很多各行各业的朋友，每个人对这里的印象都不一样，它是深圳独有的一座富矿。但很可惜，对南头而言，介入的动机往往比较特殊，很难具备普适性。

所以，在南头古城，除了参与展览这类面对集中事件和集体意志的介入形式之外，我们作为一间小的文化机构，也希望在宏大叙事之外能够参与一些社区乃至个体的细节讨论，提供一些个体持续参与的可能性。当然，我们的参与暂未能够实现社区营造的深度，但外部视角来看，确实形成了某种介入的契机和角度。

As an urban village community, Nantou Ancient City has a unique space and social texture. We even met many friends from all walks of life, and everyone has a different impression of this place. It can be considered a unique gold mine in Shenzhen. But unfortunately, for Nantou, the motivation for intervention is relatively special and it is difficult to be universal.

▼CABLE 南头空间过往举行的社区活动，2022 年-2024 年，Past Public Events at CABLE Space, 2022-2024

10.在您策展的这些展览中，脱离 context 的历史、异化的景观、缺失的地方性等关键词在公众间发挥了怎样的影响力？这股思潮是否意味着大众开始意识到当下城市的弊病，并开始力求改善呢？此外，在中国的具体实践中，您认为有哪些群体可以成为潜在的可以加强社区联系、寻回“地方性”的这股力量呢？

In your exhibitions, what kind of influence did keywords such as uncontextualized history, alienated landscape, and lack of locality have on the public? Does this trend of thought mean that the public has begun to realize the current urban ills and has begun to strive for improvement? In addition, in the specific practice in China, which groups do you think can become the potential force to strengthen community ties and regain “locality”?

Ownership 肯定是一个很大的命题，但这确实是我们几乎所有展览都在争取靠近的讨论。在关注城市生长和更新的机制、设计等话题背后，始终有两个小话题是绕不开的，第一是要和青年人对话，第二是不断寻找地方性。比如说，数字游民的生活方式吸引了很多年轻人，这又是不是一种新的“无地方主义”？我们可以在伦敦街头喝咖啡，也可以在东京逛古着店，这是城市和地方输入给我们的体验。那我们对城市的输入又是什么？你居住的地方就可以称作是你的城市吗？我们发现自己需要从经济、工作和生活的基础设施之外，更深层次地去建立身份和地方认同感。这也是所谓“重回地方”、“重回附近”，以及目前大家越来越关注的“地方创生”。在这样的脉络下，我们是否可以更多地主动参与到城市的未来想像中去？

I think Ownership is a big proposition, but it is indeed the discussion direction that almost all of our exhibitions are trying to guide. Behind the topics of focusing on the mechanism and design of urban growth and renewal, there are always two small topics that cannot be avoided. The first is to talk to young people, and the second is to constantly look for locality. For example, the lifestyle of digital nomads has attracted many young people. Is this a new “no localism”? We can drink coffee on the streets of London or visit vintage shops in Tokyo. This is the experience that cities and places input to us. So what is our input to the city? Can the place where you live be called your city? Maybe we still need to establish identity and sense of place from a deeper level beyond the infrastructure of economy, work and life. The so-called return to the local area, return to the neighborhood, and the current increasing attention to “place creation”. In this context, can we take more active participation in the imagination of the city’s future?

▼纪录片《平原之战》观影及导演交流会，探讨公共事件作为社区自治的一种方法，2022 年，Documentary “La bataille de la Plaine” Film viewing and director Q&A, 2022, discussing levels and acts of community sovereign.

另一方面，许多不同的主体都在参与构建“附近”。无论是对于历史和乡愁的理解，还是对于当下更新介入的认知，其中都会产生许多新的理解。我们近期在永庆坊做回顾展览，也会思考展览呈现的究竟是哪一方的理解，这种理解到底是真实的历史，还是被误读的假象？展览应该面对的是匆匆过客还是在地居民？以谁的口吻叙事？

On the other hand, many different entities are involved in constructing the concept of the “neighborhood.” Whether it’s understanding history and nostalgia or recognizing contemporary interventions and updates, many new interpretations emerge. In our recent retrospective exhibition at Yongqingfang, we ponder whose understanding is actually being presented. Is it the genuine history, or a misunderstood illusion? Should the exhibition address the hurried passersby or the local residents? In whose voice should the narrative be told?

▼风起西关·永庆营造叙事展览，2023 年，Narrating Yong Qing Fang, 2023

现状与未来

Present and Future

11. CABLE 正在进行的项目是哪些？

What projects are CABLE currently working on?

一方面 CABLE 空间会有新的展览计划，聚焦于艺术领域内一些新兴的艺术家，去寻找和呈现能够跟城市空间或是社会某一方面去产生互动或是共鸣的创作。另外，我们陆续与一些策展人和青年文化组织建立联系，邀请他们正在酝酿的新项目来到 CABLE 与观众见面。这些尝试一方面出于对不同创作生态的好奇心，另外当然也是希望不断拓宽观众群体，继续吸引对城市更新、人文历史、青年文化等话题的新受众。

On the one hand, CABLE will have new exhibition plans, focusing on some emerging artists in the field of art, to find and present works that can interact or resonate with urban space or a certain aspect of society. We hope to cooperate with art schools as their debut in this non-traditional art field. In addition, we have also established connections with some new curators and youth cultural organizations, inviting them to meet the audience with their new projects that are being brewed at CABLE. These attempts are based on curiosity about the ecology of different cultural and artistic creations, and of course, they also hope to continuously broaden the audience group and continue to attract audiences on topics such as urban renewal, humanities and history, and youth culture.

▼IN/OUT ：深圳都市漫游，IN/OUT: Shenzhen City Tour

另一方面，作为策展工作室，CABLE 也会与更多空间运营机构合作，在不同城市的不同角落里继续发声，在建筑行业的大背景中做一些小研究，邀请一些有意思的作品去到当地产生对话。同时，我们也在积极参与到展览前后环节的工作中去，包括片区尺度的文化资源研究策划和具体空间的后续运营咨询，或许会持续以展览为工具拓宽思路，最后在更多层面回归到“展”的核心：讨论和聚集。

On the other hand, as a curatorial studio, CABLE will also cooperate with more urban space operating organizations to do some small research in different public spaces in Shenzhen, Quanzhou, Zhejiang, Beijing, etc., in the context of the construction industry, and invite some interesting works to go to the local area to generate dialogue. At the same time, we are also actively participating in the work before and after the exhibition, including the research and planning of cultural and artistic resources in the area and the subsequent operation consultation of specific cultural spaces. Perhaps we will continue to use exhibitions as a tool to broaden our thinking, and finally return to the core of “exhibition” on more levels: discussion and gathering.

▼三江六岸城市展厅，在空置的公园配套建筑里植入展览内容，调整建筑立面为更开放的表情，增加包括阅读空间、多功能活动和投票墙等元素，New Waves Of Dongguan, exhibition curation, façade renovation and design

12.未来准备对哪些城市问题/现状进行实验？希望迎接哪些挑战呢？

What issues do you plan to discuss in the future? What challenges do you expect?

希望挑战一下展览媒介上更多的可能性，既包括展览介入城市空间场所类型上的变化，摸索一下街道、广场、园区甚至闲置空间成为展览传播界面的新形式；也包括表达形式（身体、空气、声音等）的不断外延。话题上，我们可能反而希望回归到更基础的 issue，例如居住，但去探讨这些基础话题当中尚未被更大范围讨论的小视角，例如厨房与性别身份的关联，新形态的居住方式、空间与文化语境等等。

▼成都华西坝街道博物馆，2020 年，Huaxiba Revisited, 2020

I hope to explore changes in the types of exhibting spaces and venues, exploring new forms of exhibition communication interfaces such as streets, squares, parks, and even abandoned sites; and of course the continuous extension of expression forms (body, atmoshphere, sound, etc.). On exhibition issues, we hope to explore perhaps more fundamental topics such as living, but from less viewed perspectives.

▼CABLE 工作室内部，2024 年，inside CABLE Studio, 2024

何柳 Liu He 建筑策展人，CABLE 实验空间联合创始人

Curator and Cultural producer based in Shenzhen, China

长期实践于建筑策展与文化运营领域，关注城市内容生产的模式机制和多元力量。自 2012 年起先后任职于有方、设计互联、FuturePlus 和华侨城创新研究院，策划过多个城市和建筑领域的展览及公共活动。她毕业于哈佛大学设计研究生院和浙江大学建筑系，研究领域为设计理论与历史。

She has co-founded CABLE, an experimental space dedicated to urban investigations. She has previously co-founded Archiposition, Design Society, FuturePlus and OCT IRI, during which she has been involved in multiple exhibitions and public events on architecture, design and urbanism. Liu holds a master in design studies from Harvard GSD and a B.Arch from Zhejiang Univ.