Review|PLAY!: Medium, Theatre, and the debate on Liveness

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Play既是“戏”,也是“播放”,从这个词出发,我们似乎可以想象剧场与媒介间可能发生的纠葛。从第一次前卫艺术运动开始,戏剧就已在有效的吸纳与利用新兴媒介。从白南准到洛瑞•安德森(Laurie Anderson),剧场性被不断打破与重构。艺术家灵活的在现场性与媒介化之间游移,透过二者的中间地带推进着自身的实践。在展览“具身之镜”中,观者亦能捕捉到不同艺术家对此议题的触及。2020年7月19日杨北辰策划“PLAY!: 媒介,剧场与现场性论争”线上讨论会,邀请了艺术家曹斐、石青、李然,戏剧导演王翀,策展人张渊共同展开对此问题的讨论。

艺术家石青通过分享他过去二十年中和剧场有关的创作,提出写作在其中的重要性。他认为艺术家要处理知识化之后的再生产,无论是影像、剧场、现场及组织方式,都可以通过写作组织在一起。近几年石青的写作重心放在历史的维度中,如果缺乏历史的视野,当下的问题是说不清的。而他的方式是对历史进行重新组织和重新发问。

李然指出他创作中使用多种媒介经验,譬如戏剧、影像、表演等,但这些媒介并不是创作的出发点。他的创作根本上是解决每个阶段中遭遇的不同处境和问题。此次展览中的作品《圣维克多尔山》取自塞尚的作品名,李然在其中通过模仿译制片中拿腔拿调的配音方式来影射中国当代艺术圈中空洞的碎片化的言语。他的其他作品回应了譬如全球化、后殖民和后网络等当代艺术热词。随着创作的不断深入,李然近几年的创作围绕译制片中的具体元素如舞台美术,从历史中找到与当代艺术的关系。

曹斐回顾了她自上世纪九十年代开始的创作生涯。在后来各种艺术大师的影响之前,上世纪九十年代中曹斐在广美附中就读时就是舞台演出的活跃分子。九十年代末受到日本前卫戏剧家寺山修司的影响,创作了包括这次展览中作品《链》在内的一些作品。后来受益于广州发达的现代文化包括现代舞团和话剧的影响。同时受到德国艺术家萨沙·沃尔兹的表演艺术的影响,开始她最早期的表演行为的影像创作。曹斐的创作类型十分丰富,在不同的阶段用不同的媒介和技术探索表演、戏剧和影像的可能性。

王翀导演的工作主要集中在剧场领域,他坦言当天其他嘉宾的发言已经超出他对于戏剧的既定认知。他强调在跨越圈层之前需要对于一些既定的概念加以澄清,比如“戏剧”“戏剧性”“剧场”与“剧场性”;同时他亦承认戏剧实践正处于普遍的危机之中。王翀亦分享了两部自己颇具代表性的创作,点明了这些创新性的作品与传统戏剧之间的关系,以及媒介化的剧场提供了哪些新的可能性。

策展人张渊的工作领域跨越了多个领域,包括剧场和当代艺术美术馆。他分享了近期在深圳OCAT策划的当代表演文献展《二O20年:整个世界变成了剧场》,如何做一个关于表演的展览。通过分享艺术家戴陈连、何子彦和田戈兵的作品,探讨了媒介、现场性、表演和观众等重要问题。

ABOUT ARTIST

Li Ran

Born in Hubei in 1986, graduated from the oil painting department of Sichuan Academy of Fine Arts in 2009. He moved from Beijing to Shanghai in 2018. His work involves multiple media such as video, performance, painting, installation and writing, etc. In recent years, he embarked on a journey surveying the antagonist roles in theatre, stage art, make-up design, the production of imported films and espionage films since 1950s in China. The artist often writes images through collections of photo documents, character scenes, and dubbed monologues. Meanwhile, he also expands the more complex and personalized time and space of this writing in painting, sound, and installation.
Li Ran has exhibited at the Center Pompidou, Pairs; basis door actuele kunst (BAK), Utrecht; Huas der Kulturen der Welt (HKW), Berlin; Contemporary Arts Museum Houston (CAMH), Houston; Musée d’art contemporain de Montréal, Montreal; The Museum of Moscow, Moscow; Centre d’Art Contemporain Genève, Geneva; CCA Wattis Institute for Contemporary Arts, San Francisco; NTU Center For Contemporary Art Singapore (CCA), Singapore; Museum of Contemporary Art and Design (MCAD), Manila; HOW Museum, Shanghai, Sifang Museum, Nanjing; OCT Contemporary Art Terminal (OCAT), Shenzhen, Shanghai and Xi’an; Ullens Center for Contemporary Art (UCCA), Beijing; CAFA Museum (CAFAM), Beijing; and other venues, He has held solo exhibition at OCT Contemporary Art Terminal (OCAT), Xi’an (2015); His single-channel video work also screening in Institute of Contemporary Arts (ICA), London; The Jewish Museum, New York and other venues; His works have also been featured in Montreal Biennale (2014), Biennale Of Moving Images 2014 (2014 In Geneva), 4th Moscow International Biennale for Young Art (2014), 2nd CAFAM Biennial (2014), 4th “Former West” Project (2013, In Berlin), 9th Gwangju Biennial (2012), 7th Shenzhen Sculpture Biennale (2012). He won the “Best Artist Award” at the 2014 Moscow International Youth Art Biennial and was nominated for the “Future Generation
Award” by the Pinchuk Arts Center in 2017.

ABOUT ARTIST

Shi Qing

Shi Qing, born in 1969 in Inner Mongolia, currently works and lives in Shanghai. Shi Qing’s practice presents a leaping approach to his work: from body theatre in the early stage to ritualistic legends to nomadic geography, then onto the production and archaeology of social space, as well as his recent endeavors on writing and researching history. Parallel to his art practice, Shi Qing participated in many self-organized practices, and organized many institutional production and research projects, for example, “Post-Sense and Sensibility”, “Complete Art Experience Project”, “Top Events” etc. He is also one of the founders of “Radical Space”, “Chongqing Research Bureau”, and “Jingnan Base”, etc.

ABOUT ARTIST

Cao Fei

Cao Fei (b. 1978, Guangzhou, lives and works in Beijing) blends social commentary, pop culture aesthetics, references to Surrealism, and documentary filmmaking conventions in her works, which consider the rapid and chaotic changes of contemporary Chinese society. Her work has been exhibited in many major international exhibitions, including the Shanghai Biennale, Moscow Biennale, Taipei Biennial, 15th and 17th Biennale of Sydney, Istanbul Biennial, Yokohama Triennale, and 50th, 52nd, and 56th Venice Biennales. She has exhibited her works and projects at museums such as the Serpentine Gallery (London); Tate Modern (London); New Museum (New York); Solomon R. Guggenheim Museum (New York); Museum of Modern Art (New York); Palais de Tokyo (Paris); and more. She has held solo exhibitions at Centre Pompidou (Paris) and MoMA PS1 (New York). In 2020, her large-scale exhibition “Blueprints” was shown at the Serpentine Gallery. Cao Fei was nominated for the Hugo Boss Asia Art Award in 2010. She has received both the Best Young Artist Award (2006) and the Best Artist Award (2016) from the Chinese Contemporary Art Awards.

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