講座 | 從圖像再現到身體現場
Talk | From Creating Imagery to Bodily Presence
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.
Image: China–Japan Performance Art Exchange Project, 1999, Beijing. Courtesy of Ma Liuming.