講座 | 從圖像再現到身體現場

日期
06/12/2018 -
19:00 - 20:30
地址
亞洲藝術文獻庫 A Space
上環荷李活道233號荷李活商業中心10樓

活動費用全免,歡迎公眾於網上報名:https://bit.ly/2Qf5nNZ
詳情:https://bit.ly/2qXtDFY

2016年何鴻毅家族基金中國研究獎助金得獎者劉南茜將於是次講座中報告她近一年來的研究成果,內容圍繞1990年代北京與成都的行為藝術群落及中國行為藝術節的初現(1993–2003)。

「北京東村」之藝術家群落及成都「719藝術家工作室聯盟」標誌著1989年之後中國行為藝術發展的重要傾向。在1990年代初至中期,為了回應被社會邊緣化的處境,這兩組藝術家分別發展出不同的行為實踐。與「85新潮」之大部分行為藝術相比,這些新創作更重視行為實踐中身體感受與現場體驗之意義。到了1990年代中期、積累了自我組織集體活動及與海外交流之經驗後,中國行為藝術家開始組織本土的行為藝術節。他們採用的行為藝術節模式及其所催生的藝術家群落在2000年後對中國行為藝術的發展有著深遠的影響。

通過文獻工作及訪談,劉南茜重新梳理了這兩個藝術家群落及其思想,繼而以他們所代表的創作轉向為出發點,以更深刻地了解關於中國行為藝術節初現的歷史。

是次講座特別邀請中國首個行為藝術節—《Open打開行為藝術節》—的發起人及策展人之一舒陽參與對談及討論。

Talk | From Creating Imagery to Bodily Presence

The event is free and open to the public with registration.
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Liu Nanxi, the Grantee of Robert H. N. Ho Family Foundation Greater China Research Grant 2016, presents the results of her research in the past year in the talk, "From Creating Imagery to Bodily Presence: Performance Art Communities in Beijing and Chengdu in the 1990s and the Emergence of Performance Art Festival in China (1993–2003)".

The artist communities of “Beijing East Village” and “719 Artist Studio Alliance” in Chengdu represent key tendencies in the development of post-1989 Chinese performance art. During the early to mid-1990s, the two groups of artists both developed performance practices that responded to the specific conditions of being marginalised by society. These newer practices differed from the majority of performance art during the ’85 New Wave in that artists were more conscious of the meanings of the bodily sensations and the immediate site of the performance. From the mid-1990s onwards, as Chinese artists had obtained more experience in self-organising events and international exchange, they began setting up local performance art festivals. The specific models of performance art festival they appropriated and the new communities of artists formed as a result are profoundly influential to the development of performance art in China of the new millennium.

By producing new archives and interviews, Liu Nanxi’s research project aims at reexamining the activities and ideas of the two artist communities. Using the artistic turn these artists represent as a departure point, Liu also attempts to obtain new historical insights about the emergence of performance art festival in China.

This talk invites Shu Yang, the co-founder and co-curator of Open Art Festival—the first performance art festival in China—to be part of the discussion.

***
圖片︰中日行為藝術交流,北京,1999年。由馬六明提供。
Image: China–Japan Performance Art Exchange Project, 1999, Beijing. Courtesy of Ma Liuming.

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