第十一届北京诗歌节即将于2026年9月12日14:00，在北京声音艺术博物馆盛大启幕。
　　The 11th Beijing Poetry Festival opens at 14:00 on September 12, 2026, at the Beijing Sound Art Museum.
　　北京诗歌节由著名诗人芒克发起。本届诗歌节特邀芒克、岳敏君、洪峰担任艺术顾问，由渝儿、祁国担任总策划，成蹊担任总导演，陈信之、世中人负责本次展览统筹。活动由北京诗歌节组委会主办，别处文化、声音艺术博物馆联合承办，世中人汉语诗歌资料馆、沈阳百益龙集团、江苏百味谭酒业有限公司协办。本届盛会集结国内百余位诗人共同参与，延续北京诗歌节深耕诗意传播、链接时代声场的艺术初心，以“有声的形状”为年度核心主题，通过多维艺术叙事，解锁诗歌声音的全新表达维度。本次诗歌节设立现场篇、文献篇、未来篇三大篇章，以时间性（过去/现在/未来）为纵轴、以空间尺度（档案旧址/公共声场/个体记忆）为横轴，多维重构诗歌的声音美学、文献价值与代际生命力，让无形诗意拥有可聆听、可留存、可延续的完整形态，构筑起立体纵深的当代诗歌声景体系。
　　Initiated by the renowned poet Mang Ke, it features Mang Ke, Yue Minjun, and Hong Feng as Artistic Advisors, Yu Er and Qi Guo as General Directors , Cheng Xi as Artist Director, and Mandy Chen and Shizhongren as Exhibition Coordinators. The event is organized by the Beijing Poetry Festival Organizing Committee, co-organized by Elsewhere Culture and the Beijing Sound Art Museum, and co-supported by the Shizhongren Chinese Poetry Archive, Baiyilong Group, and Baiweitan Liquor Industry Co., Ltd. Bringing together over one hundred poets, the festival upholds its foundational artistic mission: to deeply cultivate poetic communication and connect the sonic fields of our era. Under the annual core theme of "The Shape of Sound," the festival employs multi-dimensional artistic narratives to unlock novel dimensions of sonic expression in poetry. It is structured into three primary chapters—"The Live," "The Archive," and "The Future." With temporality (past, present, and future) as its vertical axis and spatial scale (archival sites, public soundscapes, and individual memory) as its horizontal axis, the festival multi-dimensionally reconstructs the sonic aesthetics, archival value, and intergenerational vitality of poetry. This framework endows intangible poetry with a complete form that is audible, preservable, and sustainable, thereby constructing a multi-layered, profound contemporary poetic soundscape system.
　　活动现场汇聚众多知名诗人、音乐人参与助阵，以现场诗歌朗诵、手稿文献展、当代艺术展等多元形式，串联起过去、当下与未来的诗意脉络，构建兼具学术深度、历史厚度与青春活力的诗歌艺术现场。
　　The event will convene numerous renowned poets and musicians. Through diverse formats such as live poetry readings, manuscript exhibitions, and contemporary art exhibition, it weaves together the poetic trajectories of the past, present, and future, establishing a poetic art venue characterized by academic depth, historical weight, and youthful vitality.

　　01现场篇｜有声的形状
　　 The Live | The Shape of Sound
　　诗歌，是声音的即时艺术。本届诗歌节现场将开展百位诗人共创大型组诗“以诗点亮有声的形状”，并隆重举行金向日葵诗歌奖颁奖典礼。
　　Poetry is an immediate art of sound. This year's festival features a large-scale collective poem co-created by one hundred poets titled "Lighting Up the Shape of Sound with Poetry," alongside the grand ceremony for the Golden Sunflower Poetry Award.
　　现场篇聚焦于诗歌声音的即时性发生。朗诵会并非文本的简单声学转译，而是语词在身体、气息、空间三重维度中完成的当下塑形。诗句经由发声器官的振动，在空气中形成可被感知的声波轨迹，其频率、强度、节奏与停顿共同构成一种转瞬即逝的物质性呈现。这一“形状”既诉诸听觉，亦通过共鸣腔体的物理效应作用于现场空间，使诗的意义在声音的流动中不断生成与游移。现场篇所追问的，正是诗歌如何在声音的即时性事件中，获得不同于书面阅读的感知形态。形成一种以时间为基底、以空间为场域的有声构型。
　　The Live section focuses on the instantaneous emergence of poetry’s voice. Poetry readings are not merely a simple acoustic translation of text; rather, they represent the present-moment molding of words across the triple dimensions of the body, breath, and space. Through the vibration of vocal organs, poetic lines trace perceptible acoustic waves in the air, where frequency, intensity, rhythm, and pause unite to form a fleeting, material manifestation. This "shape" appeals not only to the ear but also interacts with the live space through the physical resonance of bodily cavities, allowing the meaning of the poem to continuously generate and drift within the flowing current of sound. What the Live section seeks to question is how poetry, within the instantaneous event of voice, acquires a perceptual form distinct from written reading—thereby forging an acoustic configuration grounded in time and set within the field of space.

　　02 文献篇｜声音旧址：痕迹作为历史现场（1979–1999）诗歌手稿展
　　The Archive | Sites of Sound: Traces as Historical Sites (1979–1999) — Poetry Manuscript Exhibition
　　文献篇将手稿视为声音的历史沉积物。在数字化书写尚未取代纸笔的年代，诗歌手稿不仅承载着文本的草稿形态，更记录着创作过程中思维中断、词语选择与语言实验的种种痕迹。每一处涂抹、增删与折痕，都是诗人与汉语之间反复磋商的物质见证，封存着特定历史语境下诗歌语言转型期的思想振动。本展以“声音旧址”为概念框架，将手稿从传统版本学的校勘对象提升为一种生成性档案。观者得以通过可见的书写痕迹，逆向聆听到那些已然消逝的、属于八十年代至九十年代诗歌现场的“声痕”。展览以痕迹考古的方式，呈现创作主体与时代话语之间不断谈判的微观过程。
　　The Archivesection regards manuscripts as the historical sediment of sound. In an era before digital typing replaced pen and paper, poetry manuscripts not only preserved texts in their nascent, draft forms, but also recorded the disruptions of thought, lexical choices, and linguistic experiments encountered during the creative process. Every erasure, addition, deletion, and crease serves as material testimony to the ongoing negotiations between the poet and the Chinese language, sealing away the intellectual vibrations of a transitional era in poetic language within a specific historical context. Framing itself around the concept of "Sites of Sound," this exhibition elevates manuscripts from traditional objects of philological collation into generative archives. Through visible writing traces, viewers can listen in reverse to the vanished "sound traces" of the poetry scenes from the 1980s and 1990s. Employing the archaeology of traces, the exhibition reveals the micro-processes of continuous negotiation between the creative subject and the discourse of the times.

　　03 未来篇｜岳昱辰个展：妈妈的房间——蔓延：物语、痕迹与多重自我
　　The Future | Becca YueSolo Exhibition: Beyond the Mother's Room: Threads, Traces, and Multiple Selves
　　立足代际传承与青年创作视角，“岳昱辰个展：妈妈的房间——蔓延：物语、痕迹与多重自我”以私密空间为载体，解锁诗歌声音的原生形态与未来可能。
　　Grounded in the perspectives of generational transmission and youth creation, Becca Yue Solo Exhibition uses intimate space as a medium to unlock the pristine form and future possibilities of the poetic voice.
　　未来篇将“妈妈的房间”界定为一个私密的声音容器。从空间诗学视角来看，房间不仅是物理意义上的居所边界，更是个体听觉经验与情感记忆的原初拓扑空间。诗歌的种子往往萌发于最早接触到的声景之中，即母亲的语调、日常的絮语、窗外的人声，这些细微的声音颗粒在成长过程中被反复感知与内化，形成一种个体化的“声音习性”。本篇章以个体记忆为主体，呈现这些内在声景如何在新的创作中被激活、转化与传递。“房间”在此既是个体记忆的储藏室，也是未来诗歌声音的孵化器，它表明“有声的形状”并非仅存在于公共现场或历史档案之中，更栖居于每一个心灵最微小的空间单元里，并将在代际传承中延展出新的形态。
　　The Future defines "Mother’s Room" as an intimate acoustic vessel. From the perspective of spatial poetics, a room is not merely the physical boundary of a dwelling, but the primordial topological space of individual auditory experience and emotional memory. The seeds of poetry often germinate within the earliest soundscapes encountered—the mother’s tone, everyday murmurs, and voices from outside the window. These subtle particles of sound are repeatedly perceived and internalized during the growing process, shaping an individualized "acoustic habitus." Taking individual memory as its primary subject, this section reveals how these internal soundscapes are activated, transformed, and transmitted in new creative works. Here, the "room" is simultaneously a storehouse of individual memory and an incubator for future poetic voices, demonstrating that the "shape of sound" resides not only in public live events or historical archives, but also dwells within the most diminutive spatial unit of every soul, extending into new forms through generational transmission.

　　第十一届北京诗歌节活动流程
　　Event Schedule

　　14:00–15:00｜开幕双展导览
　　Opening Guided Tour of the Dual Exhibitions

　　《声音旧址——痕迹作为历史现场（1979‑1999）诗歌手稿展》
　　"Sites of Sound: Traces as Historical Sites (1979–1999) — Poetry Manuscript Exhibition"
　　《岳昱辰个展——“妈妈的房间”蔓延：物语、痕迹与多重自我》
　　" Becca Yue Solo Exhibition: Beyond the Mother's Room: Threads, Traces, and Multiple Selves“

　　15:00–16:00｜诗歌节开幕· 个人读诗专场
　　Festival Opening & Solo Poetry Reading

　　16:00–17:00｜百位诗人共创大型组诗
　　Collective Poem by 100+ Poets

　　17:00–17:30｜金向日葵诗歌奖颁奖典礼
　　 Golden Sunflower Poetry Award Ceremony

　　18:00｜北京诗歌节晚宴
　　Beijing Poetry Festival Gala

　　三大主题单元以时间为纵轴、空间为横轴，共同建构起“有声的形状”这一主题的多维阐释框架：现场篇立足当下，呈现诗歌声音的即时发生与现场塑形；文献篇回望过往，打捞沉淀于纸本痕迹的历史声痕；未来篇望向新生，探索私域记忆声场的诗意传承与创新。
　　With time as the vertical axis and space as the horizontal axis, the three thematic units jointly construct a multi-dimensional interpretive framework for the theme "The Shape of Sound": the Live is rooted in the present, presenting the instantaneous emergence and live shaping of the poetic voice; the Archive looks back at the past, salvaging the historical sound traces embedded in paper-based markings; and the Future looks toward new life, exploring the poetic transmission and innovation of private memory soundscapes.
　　从公共艺术现场到历史文献旧址，再到个体记忆空间，三重维度层层递进，构筑起立体、多元、纵深的当代诗歌声音美学体系。本次第十一届北京诗歌节，以文学为根、以声音为媒、以时代为底色，串联四十年诗歌文脉，打通历史、当下与未来的诗意联结，为当代诗歌艺术的跨界传播、创新表达注入全新力量。
　　From the public art scene to the historical archival site, and onward to the space of individual memory, these three progressive dimensions build a stereoscopic, pluralistic, and profound contemporary poetry sound aesthetic system. With literature as its root, voice as its medium, and the era as its backdrop, this 11th Beijing Poetry Festival connects four decades of poetic lineage, bridges the poetic connections among history, the present, and the future, and injects fresh momentum into the cross-disciplinary dissemination and innovative expression of contemporary poetry art.