A conceptual collage, Ways of life, by Marianna Castillo Deball and Tatiana Bilbao Estudio informing their collaborative installation for Whitechapel Gallery’s ‘Is This Tomorrow?’ exhibition

In a Britain still recovering from the destruction and trauma of Second World War, in 1956 a group of artists and architects came together at the Whitechapel Gallery to think about the future. Envisioned by architect and critic Theo Crosby, the now-seminal exhibition ‘This Is Tomorrow’ gathered 38 participants into 12 groups, under the premise of collaboration – often weighing modernism against mass culture.

在英国仍然从第二次世界大战的毁灭和创伤中复苏的时候，1956年，一群艺术家和建筑师聚集在白Techapel画廊，以思考未来。由建筑师和评论家西奥·克罗斯比（TheoCrosby）所设想的，现在的精精展览“这是明天”，在协作的前提下，将38名参与者聚集成12组，通常称现代主义反对大众文化。

The postwar era was marked by openness, and thus interdisciplinarity. So it might come as a surprise that, some 63 years later – an unlikely anniversary, amid a radically-contrasting context – the landmark east London institution has decided to revisit its legacy with a new show. ‘We found that many artists were interested in mining its history,’ says chief curator Lydia Yee, who was responsible for the pairing of 10 artists with architects, all born after 1956. ‘I left it quite open as to what the future meant,’ she continues, pointing to the unapologetically speculative nature of the show, titled “Is This Tomorrow?”’

战后时代的特点是开放，因此具有跨学科性。因此，令人惊讶的是，大约63年后，这家具有里程碑意义的东伦敦机构决定以一场新节目重新审视自己的遗产-这是一个不太可能的周年纪念日。“我们发现许多艺术家对挖掘其历史很感兴趣，”首席策展人莉迪亚·伊(Lydia Yee)说。她负责将10位艺术家与1956年后出生的建筑师结合在一起。“我对未来的意义持开放态度，”她继续说，指出了该剧毫无歉意的推测性质，题为“这是明天吗？”

Design development sketches for Phoenix Will Rise, 2018, by Marina Tabassum Architects

凤凰的设计开发草图，2018年，由MarinaTabassum建筑师

Through their collaborations, the broad range of participants — including David Adjaye, Kapwani Kiwanga, Cécile B Evans and Andrés Jaque — explore some of the 21st-century’s most pressing issues, from climate change and industrial farming to genetic engineering and rising social inequality. ‘I wanted to make sure it was not a British exhibition,’ Yee continues, stressing the international ambition of the show, a key distinction from its original edition.

通过他们的合作，广泛的参与者-包括david adjaye，kapwani kiwanga，cécile bevans和andrés jak-探索了一些21世纪最紧迫的问题，从气候变化和工业农业到遗传工程和日益加剧的社会不平等。“我想确保这不是一个英国的展览，”Yee继续说，他强调了展览的国际雄心，这是与原版的一个关键区别。

At the entrance of the exhibition, on the ground floor, London-based 6a Architects and artist Amalia Pica invite visitors into a maze-like environment made of an enclosure. It derives from animal managing systems and questions the way we treat other species. The conversation started with ‘recognising that we are just one part of a global ecology’ says the architectural firm who, in collaboration with the Argentine artist, delved into research that highlights the interdependence between species and their connection with the natural world. ‘The question, is how is this to flourish in the future and not become overwhelmed by our anthropocentric age?’

在展览的入口处，位于伦敦的6a建筑师和艺术家Amalia Pica邀请参观者进入一个由围栏构成的迷宫般的环境。它来源于动物管理系统，并质疑我们对待其他物种的方式。这场对话始于“认识到我们只是全球生态的一部分”，这家建筑公司说，他与阿根廷艺术家合作，深入研究了物种之间的相互依赖及其与自然世界的联系。“问题是，如何才能在未来蓬勃发展，而不被人类中心时代所淹没？”

Meanwhile, for architect David Kohn and artist Simon Fujiwara, the work is not set in the future: ‘It’s about now,’ they say of their collaboration. The Salvator Mundi Experience, on the first floor, brings visitors into an immersive miniature museum dedicated to the presentation of a single artwork: Leonardo da Vinci’s once-lost Salvator Mundi, acquired in 2017 on behalf of the Louvre Abu Dhabi. ‘We wanted to see if there was anything left to say about something that has been so over-narrated and marketed,’ explains the London and Berlin-based duo. Ahead of this collaboration, they visited the Jean Nouvel-designed Middle East outpost, only to realise that the coveted masterpiece was not yet available to view. ‘Even in its absence, the painting had changed the museum and the city. We speculated about a near future museum that would be solely about this one icon, in which no other art was necessary.’

与此同时，对于建筑师大卫·科恩(DavidKohn)和艺术家西蒙·藤原(SimonFujiwara)来说，这件作品并不是以未来为背景的：他们在谈到他们的合作时说，“现在一楼的塞尔瓦特·芒迪体验，将游客带入一个沉浸式的微型博物馆，专门展示一件艺术品：莱昂纳多·达·芬奇(Leonardo Da Vinci)的“曾经失去的萨尔瓦多人芒迪”(Leonardo Da Vinci)于2017年代表阿布扎比卢浮宫收购。这对伦敦和柏林的二重奏解释说：“我们想知道，对于那些被过度叙述和推销的东西，是否还有什么要说的。”在这次合作之前，他们参观了让·努维尔设计的中东前哨基地，却意识到这件令人垂涎的杰作还没有被人看到。这幅画甚至在没有它的情况下，就改变了博物馆和城市。我们推测，不久的将来，博物馆将仅仅是关于这一个图标的，在这座博物馆里，不需要任何其他的艺术。“

Preparatory sketches for the Salvator Mundi Experience, by David Kohn Architects and Simon Fujiwara

大卫·科恩建筑师和西蒙·藤原的“萨尔瓦多人孟迪经验”预案

For artist Marianna Castillo Deball and architect Tatiana Bilbao, both Mexican, thinking about the future meant revisiting the past. Departing from the Mesoamerican calendar Tōnalpōhualli, their collaboration expands on how living spaces are designed based on conviviality rather than conventional living standards. In Mind Garden, Heart Garden, the 260-day calendar was transformed into 20 coloured-metal strips, each perforated 13 times, corresponding to a day. ‘There are very few studies about how spaces were measured then,’ says Castillo Deball, pointing to the ancient Mesoamerican spatial measurements that are central to the work, and which are often based on the human scale. ‘Bringing them back is somehow taking them into the future’.

对于艺术家Marianna Castillo Deball和建筑师塔蒂亚娜·毕尔巴鄂来说，他们都是墨西哥人，思考未来意味着重新审视过去。与中美洲日历TōNALPōhualli不同，他们的合作扩展了居住空间是如何设计的，而不是传统的生活标准。在心园，260天的日历被转换成20个彩色金属条，每个穿孔13次，对应一天。卡斯蒂略·德博尔(Castillo Deball)说：“当时很少有关于空间测量的研究。”他指出，古代中美洲的空间测量是这项工作的核心，而且往往是基于人类的尺度。“让他们回来就是把他们带到未来”。

It is no exaggeration to say that the original exhibition ‘This Is Tomorrow’ changed the art world forever. While laying the foundation for the advent of pop art – thanks to the contribution of the Independent Group – it has continued to inspire interdisciplinary collaborations around the globe (take Archivo’s recent trilogy of exhibitions in Mexico City, for instance). Will the new iteration be able to compete with this legacy? ‘I hope it will have a life of its own,’ says Yee, ‘but we won’t know that for a while.’ §

可以毫不夸张地说，原来的展览“这是明天”永远改变了艺术界。在为流行艺术的出现奠定基础的同时-得益于独立团体的贡献-它继续激励全球的跨学科合作(例如，阿奇沃最近在墨西哥城举办的展览三部曲)。新的迭代是否能够与这一遗产竞争？“我希望它有自己的生活，”Yee说，“但我们暂时不知道这一点。”

第850 L折叠，2018年，Rana Begum。摄影：菲利普·怀特，第850 L折叠，2018年，Rana Begum著。摄影：菲利普·怀特