| 27 四月 |
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| 25 四月 |
Social Sensibility R&D Program founded and directed by Alessandro Rolandi Project n.2 artist: MA YONGFENG title: INVEST IN CONTRADICTION date: april 25/26 2012 …… In Chinese industrial tradition, revolutionary quotes, generally from Mao’s poems, speeches or writings were often painted in large characters on the walls of the factories where millions of workers had to see them everyday. …… MA YONGFENG will re-interpret this aspect of Chinese propaganda, creating 7 large graffitis in Bernard Controls Beijing. …… The sentences will be chosen from random conversations with the workers or the managers, picked from the panels of the working rules, or from the factory’s safety procedures and other similar sources. …… Each sentence will explore an aspect of life inside the working environment: the need to adapt to a strict control system, the human desire to evade and dream, the pression of efficiency and the humour to be able to deal with all this. …… The walls of Bernard Controls Beijing will host a new subtle form of propaganda, the artistic propaganda for independent and creative thinking. …… Social Sensibility Research & Development Program is project by Alessandro Rolandi and Bernard Controls. [Beijing, Feb 2012 – Feb 2014] …… The Social Sensibility R&D Program is a biennal innovative strategic project with the aim to bring artistic research and creativity in contact with the working environment. It is structured around the idea to orient the artists’ work towards developing sensibility among workers, managers and the steering committee of Bernard Controls. Every 3 months, the program invites a professional of the creative field to deliver a project (any kind of media..) whose goal is to help developing new possibilities of human action and interaction within the factory. The long-term intention is to establish partnerships and collaborations with academic, financial, artistic and political structures to explore all the further application of such a model to the field of industry, social research and education. …… 社会敏感性研究与发展计划项目 发起人、总监：Alessandro Rolandi 艺术家：马永峰 主题：新“大字报” 时期：2012年4月25/26 …… 从建国后到文化大革命时期，工厂墙壁上的大字报宣传流行于全国上下，工厂的人们每日都会看得到。大字报的内容多数来自于毛主席的诗句、演讲和文章。 …… 时过境迁，马永峰对大字报的宣传形式也有他自己的诠释。为此，他将会在Bernard Controls的工厂墙壁上创造7个“大字报”式的涂鸦作品。 …… 内容将会随机的从他和工人们或者管理人员的聊天中产生，也可能会是员工工作守则或安全生产程序中的任意一句，或其他类似的章程中的语句。 …… 这7句“大字报”所探讨的是员工的工作环境：他们必须要适应这种严格的工作程序、偶尔的逃避情绪和对梦想的追求、工作效率下的压力和如何用幽默来化解这些压力。 …… Bernard Controls的墙壁将会巧妙的变成一个艺术性的独立、自由和创造的大字报宣传墙。 …… 社会敏感性的研究与发展计划 项目由李山和伯纳德控制设备（北京）有限公司合作 [北京, 2012年2月--2014年2月] …… 社会敏感性的研发计划是一个创新的双年展战略计划，目的是带来艺术研究和在工作环境中的创造力。它是围绕一个观念，对艺术家和工人，管理者以及伯纳德控制设备（北京）有限公司（Bernard Controls）的委员会成员们一起工作时的理性思维的思想培养所创建的。每3个月，计划邀请创业领域的专业人士提供一个项目（任何媒体。。。），其目的是帮助发展在工厂内新的人类行为与互动的可能性。长期的打算是在学术、金融、艺术和政治结构上建立伙伴与合作关系，以探索行业、社会研究和教育领域的进一步应用模式。 |
| 24 四月 |
作者: 申舶良 来源：ARTINFO http://cn.artinfo.com/news/story/799508/20-Best-Chinese-Artists-Websites
日期: 2012年4月16日
 前不久，本站译介过ARTINFO纽约站的文章《20 个必看的艺术家网站》，点击率颇高。对中国艺术家来说，微博和展览开幕现场似乎是比网站更鲜活的表现与交流平台。同时，艺术家个人网站资料不齐全、代码不合格、后台程序旧、维护不及时等问题也颇受诟病。在此，ARTINFO中文站从我们所知的中国艺术家网站中选出20佳共赏。 …… 简约、鲜活的页面设计堪称模范，图片惊艳，手感流畅，新鲜资讯随时供应，可作为“曹斐乌托邦”中完美的小型档案局。 …… Forget art http://www.forgetart.org/ 简洁的Wordpress模板颇合forget art“保持一种业余性”的态度，大量集合forget art的项目图片、视频、访谈、相关报道，以及与其理念相关的重要文章，还包括近期在“洪恩观”进行的项目“不是吃素的”中“裸访谈”的全部视频。 …… 清晰简约的日历式模板，与蒋志的作品相搭颇显禅中机锋，选用同样模板的艺术家陈劭雄（http://www.chenshaoxiong.net/）和陈晓云（http://www.chenxiaoyun.com/）的站点却有迥然不同的气质，前者的主题偏于个体对现实情境的干预，“个体”在后者那里却更多是承受者肉身的角色。 …… 轻巧的页面，不断更新的“一日一照”使网站与现实之间保持着一种即兴而执意，日常又超验的关系。 …… 李维伊 http://weiyi.li/ 不能用IE开，视频需翻墙，李维伊的网站绝对值得你“麻烦”一下，页面有如点缀珠玑的长卷轴，汇集了她从出生到现在的所有作品。 …… 台湾声音/表演艺术家林其蔚的个人网站，非常详尽的个人创作档案库，有大量视频和录音在线饕餮。 …… 刘鼎 http://www.liudingstore.com/ 访客可在“刘鼎的商店”中就各种主题进行互动，通过介入“商店”这种实用主义的经济模式，参与到有关价值形成的思想生产和讨论之中。 …… 醇郁唯美的网站设计，有如一个神秘剧场的海报馆。 …… MAD事务所的建筑和艺术作品尽在其中，皆以精致考究的大图呈现，访客游于建筑情境之中，有抽丝剥茧地洞悉其复杂性的乐趣。 …… 欧宁 http://www.alternativearchive.com/ouning/ 欧宁是触角遍及艺术、文学、城市研究和社会运动的“章鱼哥”，还是将乡村建设、乌托邦梦想和革命等严肃话题全统摄到一种文人趣味中的老小资？无论怎么看，欧宁的博客都丰富至极，“触角”所及之处皆在这里留下新鲜痕迹。此外，对各路社会媒介和大量网站资源的链接也是这个站点引人垂涎之处。 …… 邱志杰对各种创作媒介的涉猎在网站中有详尽呈现。老邱亦勤于写作，在网站博客“非常现场”可见他就艺术创作、展览、理论思考、阅读、总体艺术教学和社会实践撰写的精彩文章，当然还有今年作为上海双年展策展人写下的大量策展笔记。 …… 孙原&彭禹 http://www.sunyuanpengyu.com/ 点开首页红色幕布，明确的架构与大量图片、视频的组合使人如身临两位艺术家构造的强烈情境。 …… 汪建伟的flash版网站有非常强大的发散式结构，及时的展览与活动动态，艺术家编年作品图片、视频和详细文字资料尽在其中，还有许多可下载资源。如果你的电脑运行flash缓慢，亦可选择结构简明却不减功能的html+ipad版。 …… 与身穿白色“忘了”T恤的颜峻一样，网站以“听见了”、“演完了”、“出版了”、“写了”为子项目，漫不经心的范儿中充满不驯的态度。其中有分类详尽的声音作品试听和购买信息。左侧的滚动小日历还随时播报着重要的演出活动。 …… 陈劭雄曾戏称鄢醒的微博可做成gay版的翠西·艾敏展览，他的博客“日翻一片”比微博更丰饶入微，其中的大量照片、展讯、文章、访谈远比他的网站（www.yan-xing.org）鲜活和即兴，那些有关个体经验的叙述也篇篇动人——无论你将其视作一种催情的猛料，还是一种让·热内般的文学形象。 …… 姚大钧 http://www.post-concrete.com/ 声音艺术“教父”的网上宫殿，声音艺术资源的丰饶之海。还要记得别错过其博客“重美学口味研究所”。 …… 生于1989年的声音艺术家叶轩的网站，访客可在《Revolution is coming》的音乐背景中浏览相继漂移的纯彩页面，欣赏她以多种乐器和媒介创作的歌曲，还有摄影和诗作。 …… 展望 http://www.zhanwangart.com/ 点击首页后会发生华丽的大爆炸，点击每块悬浮于浩瀚太空的巨石欣赏不同作品的详尽介绍——大多与石头有关。 …… “天王级”的中国当代艺术家中，如此用心经营个人网站的实不多见。主页面是典型张晓刚风格的旧墙，鼠标箭头所到之处会留下红色的“血缘”线——可如此在墙上写你所想，但一切都不会留下。 …… 左小祖咒 http://www.zuoxiaozuzhou.com/ 从一张安迪·沃霍尔范儿的怀旧海报进入网站，音乐试听和在线视频慷慨供应，唱片购买方便快捷，背景音乐轻逸怪诞，最新最全的资源令咒粉儿们狂爱。 |
| 4 四月 |
文\杜曦云
时间：2012年3月26日 地点：北京望京
杜曦云（以下简称杜）：做“forget art”系列活动的起因是什么？ …… 马永峰（以下简称马）：之前我做的都是一些录像和摄影作品，2007年我在英国呆了将近一年，回来后正值中国当代艺术市场最火热的时候。由于对西方当代艺术有一些比较深入、切身的了解，我觉得应该做一些真正的实践，和主流艺术圈完全不同的实践。在西方，类似这种实践非常多，西方社会是非常多元化的，不是市场统治一切，非营利机构、商业画廊、博物馆、基金会等各个层级都非常多元化和全面。而中国社会比较单一化，尤其是当代艺术领域很多东西很单一，真正意义上的当代画廊也很少，所以很多艺术家削尖脑袋往画廊里钻，就变成互相挤在一个独木桥上。 …… 只有真正地保持了独立思考，这样才能找到什么是真正的艺术，而不是为了在艺术圈内生存。就像杜尚拒绝和一切团体合作，甚至拒绝和画廊合作。所以在09年底就提出了“forget art”这个概念，直到2010年9月6日，我们做了酝酿半年之久的“地点：龙泉洗浴”的项目。 …… 2011年，我发起了“青年公寓交换” 的网站，就是让陌生的年轻人互相交换自己的住处来居住。其实实质上是一种自由主义精神，把个人的私有空间变成任何人都可以居住的公共空间，倡导了一种类似于“社会剧场”的概念。我们通过这个项目发起一个平台，像阿桑奇的“维基解密”一样，通过一种乌托邦的实践，改变人们对固有的私有制的看法。 …… 杜：这个项目实施起来难度大吗？ …… 马：因为中国不是一个以公民为基础的社会，是一个家庭、宗族为基础的社会，不愿意让陌生人介入到自己的生活，所以实施过程比较困难。这种固有的观念是几千年延续下来的，很难改变。由于没有经过民主细节的洗礼，中国人只知道“民主”的概念，“民主”具体到哪个细节却不知道，很多人大谈民主时谈的还是专制的概念。最重要的是每个人先改变自己，都发起一些“微实践”，最终就会改变这个社会。 …… 杜：这个项目针对的主要是日常生活、普通人？ …… 马：我们不提倡当代艺术所谓的精英意识，一些所谓的精英搞一个圈子，排挤他们不认为是当代艺术主流的艺术。在这个信息时代，每个人在互联网的节点上都是平等的，没有谁是真正的领导者，革命可能就是由一个微不足道的人发起的，他可能是卖肉的，也或许是个补鞋匠，而不是精英或公共知识分子。 …… 我认为未来不是精英统治这个社会，而是每个节点上的信息公民通过互助、协作的方式生活在一起。比如，在google键入任何一个要搜索的词，没有序列、没有等级、没有意识形态的一些“词语云”会全部呈现。Boris Groys说谷歌把所有话语都消解成词语云，这些“词云”以超越语法的词语集合体为形式运转。它们不“说出”任何东西。词语不再受制于被语法规定的等级体系。假如以前的语法是精英式的，必须按照这个语法才是学术的，那它破坏了这个体制。 …… 杜：为什么在去年发起“裸访谈”？ …… 马：装学术或者说伪学术太多了，那我们能不能试试从更直接的角度介入。因为只有真问题才有真学术，别人可能一句大白话就是真学术，说白了就是不能让所谓的学术过度精英化，而恰恰是让让它街头化或者业余化。一定要抓住问题的实质，而不是用很多华丽的词藻去包装。这个时代其实有时不需要特别“学术”的东西，恰恰需要抓住问题实质的一句话。 …… 杜：你认为forget art与当代艺术是什么关系？ …… 马：艺术改变不了社会，也不能给社会提供任何能量。整个二十世纪，当代艺术经历了二、三十年代的现代主义的起源，六、七十年代各种观念思潮的爆发，直到九十年代开始趋向精致化，进入了后资本主义消费体制中。尤其是如今的当代艺术，只是六、七十年代观念艺术的精致化而已，没有提供更新的东西。现在的很多艺术作品，观念还停留在七十年代，除了将影像做的更精致化、装置体积做的更庞大，并没有任何改变。因为资本主义进入了一个发达阶段，可以提供经济的后盾。在全球化和后消费主义的推动下，当代艺术变成了后消费主义时代的文化景观，而当代艺术的精致化也符合资本主义的消费的逻辑要求。中国也卷入了这种后消费主义思潮之中，并且是一夜之间卷入的。 …… 但这种当代艺术不能给社会提供一种能量，它自身也遭遇很多困境。如今，经济危机还在不断冲击全球经济，中国和西方又都面临很多的社会问题，这时艺术和社会之间的结合变得越来越重要。forget art的提出，想说明社会不完全是由后消费主义所主导的，同样会有新的形式、新的思潮、新的“微趋势”出现。forget art是用另外一种概念重新理解艺术本身或者生活本身，艺术也许只是生活最微不足道的寄生体而已。一位英国艺术家曾说过“整个世界+作品=整个世界”，其实只要把公式改一下，就会变为：“整个世界+艺术=整个世界”。 …… forget art没有任何空间和时间的限制，在任何时间做东西。有可能是艺术作品，也可能不是。就像我们的谈话本身不是艺术作品，但我们可以把它做成艺术作品。比如，一年以后我们来到今天这个地点，把今天所有的话重新排练一遍，就是艺术作品了。我希望forget art的概念不完全是艺术，最重要的是通过和社会建立某种联系，参与到社会实践里，虽然可能是非常微小的实践。 …… 杜：forget art从发起到现在，大致的发展线索是什么？ …… 马：线索可以用几个词概括：微干预、微实践、微抵抗。早期的微干预，比如“地点：龙泉洗浴”。因为“龙泉洗浴”这个澡堂是个非常规的展览空间，在展览期间还照常营业，洗澡的功能还在实现，二、三十个艺术家只是进行了一次集体的微干预。这算是一种新的展览模式或艺术语言内部的实践。 …… 去年开始从“微干预”到“微实践”， 开始从艺术项目里脱身而出，介入到社会。我们做了一些社会实践的项目，比如说“游击寄居症”或“青年公寓交换”。前者是艺术家、建筑师或者任何人建立一些替代性的移动居住单元，比如有一个艺术家把自己家的沙发改造成马车，在一些日常空间活动，晚上偶尔可以睡在上面，也是一种有创意的居住方式；后者是通过网络、微博的方式进行一些社会媒体的实践，和陌生人交换公寓居住。 …… 今年的主题是“微抵抗”。“微抵抗”可以是对生活的一种抵抗，和法国哲学家米歇尔· 德赛图的日常生活理论有很大的关系。今年我们做一个项目“街头理论实践”，会把当代艺术的很多专业术语弄成大白话，制作成标语，做一个类似游行的场景。这些口号、标语和艺术、社会都会有一些关系。比如“就像没有发生一样” 和社会有关，是老艾说的一句话；“学会拒绝形式”和艺术有关。“微抵抗”会以各种各样的形式呈现，可能会发生在街道上，也可能会发生在展览场景中。如果是展览，现场会搞一些很危险的现成品，也可能直接发生在街头了。 …… 杜：为什么在街头做？ …… 马：我们感觉这个时代就需要这些东西，就需要人们到街上表达这种观点。 …… 杜：现在与你当初发起时的初衷有没有不一样？ …… 马：刚开始只是在艺术系统内部造成一些破坏，或者是玩一些新的概念。不是对抗，而是提供一种补充。因为forget art并不是通过反抗而建立另外一个权威。我们不反抗任何人，我们只做自己一个独立小轨道的事情，对你的体系造成一种补充。后来觉得我们该做的也做了，展览也都体现出来了，“地点：龙泉洗浴”这个项目该说的都说清了，这时就想直接介入社会。 …… 杜：你现在对下一步有没有什么预设或预感？ …… 马：没有预设。按目前的思路发展下去，后年可能就是“微革命”。“微革命”不是指具体革命，而是一个理念，是先进入探讨阶段的尝试和实践。比如说现在的婚姻结构的不确定性很高，这个时候婚姻变革的“微趋势”就会呈现出来，会极大的动摇20世纪以私有制有基础的婚姻制度，具体这种模式会多元化到什么程度，假如你愿意就可以探讨或者实施。 …… 杜：在具体实施的过程中，你感觉人们对这类实践的认同度如何？认同的大致是什么人？具体扩散的范围有多大？ …… 马：认同度不够大。我没有进行大规模宣传，因为我们是反基金会的。没有大量基金的支持，不可能做很多大规模的事，我们只是通过一些非常规的、自我组织的方式，让别人了解我们。我觉得艺术体制内部肯定不认可这套系统，他们会觉得这么做和艺术一点关系没有，而且艺术体制本身就是自私的，或者是圈子化的。最初一起合作的一些艺术家，后来都不愿意参与了。因为没有什么利益，而且做这个乌托邦般的事和自己没有什么关系。再加上实施过程中所遭遇到的固有观念。只好慢慢的、不停的长期做下去，可能会逐渐采取一些虚拟的协作集资的方式，比如国外的Kickstarter这样的网站，大家可以对自己感兴趣的项目赞助并看到它实现，这种赞助是微弱的，但是数量庞大的。 …… 杜：走到这一步，参与的人多吗？ …… 马：艺术家只剩我一个了，可能是项目越来越激进了吧。其他领域感兴趣的人却越来越多。 …… 杜：只剩下你一个，你如何让自己的东西进一步扩散呢？ …… 马：自我机构化。现在我一个人变成一个类似的机构，发起一些游击项目，随时和有兴趣的人合作，如果有意思的话自然会有人响应，我希望每个人都成为一个微组织在运作。虽然暂时产生的效果可能不大，但这并不重要，重要的是概念的提出和态度的坚持。 …… 杜：新近参与进来的是一些什么人？ …… 马：一些不同身份、职业的人。下一步的社会实践会联络更多感兴趣的人加入，目前只是国外的机构觉得挺有意思。比如一个跨欧洲的艺术节，邀请我去意大利，这个文化节关注政治、文化与社会未来的架构，全部是一些来自欧洲的激进组织一起来参加讨论。 …… 艺术家只有通过“夸张”的行动实践来介入社会才能获得广泛的影响力。比如青年公寓交换、裸访谈，外人看来都是一种有些“夸张”的替代实践，可能社会接受它们也需要一定的时间。
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| 20 三月 |
by An Xiao on March 19, 2012 from HYPERALLERGIC http://hyperallergic.com/48504/youth-apartment-exchange-project-forget-art-ma-yongfeng/
A post from Ma Yongfeng seeks a handmade rolling home. (screenshot by the author)
LOS ANGELES — We’re all familiar with sharing sites like Airbnb that help you rent out your room to peers and even strangers. And there are a rising number of sites that let you share home appliances like a Roomba with your neighbors. The sites usually focus on one-way sharing interactions, and usually for the point of utility. …… Forget Art, the Beijing-based collective run by Ma Yongfeng, wants to get people talking to each other. Youth Apartment Exchange Project (青年公寓交换) is an initiative to encourage urban dwellers in China not just to share their items, but to exchange them. This could range from a simple exchange, like cell phones, to even trading and sharing apartments. …… Previously a BBS, the site now uses a private Sina Weibo feed, tapping into the Twitter-like service’s broad network (some 300 million users) to encourage interaction. Though the feed is relatively new, users are already posting images, using a hashtag to organize. Ma Yongfeng recently posted a handmade truck from the 1970s, and in the BBS version, users traded phones and even homes. …… And some, in their search for an exchange, offer a poetic glimpse into hopes and dreams. One young womanposted her search for an RV:
Youth Apartment Exchange is a simple social media platform to get people talking. As Ma Yongfeng told me, he wants the site to encourage online users to trade and exchange and meet people outside their immediate circle. |
| 16 三月 |
by Alessandro Rolandi on March 14, 2012 from HYPERALLERGIC http://hyperallergic.com/48294/art-within-a-former-taoist-temple/  A view of the installation at Zajia, featuring works by the Forget Art collective. (Images courtesy the author)
…… BEIJING — For the past few years, the hutong area in downtown Beijing has become a new territory for experimental art spaces with the aim of establishing a different, participatory relationship with the viewers and the local people. In April 2011, Zajia Art Lab, run by Italian sinologist and curator Ambra Corinti, opened in two rooms of the former Hong En Taoist temple. Located near the Bell Tower food market in the Gulou area, Zajia hosts all kinds of experimental art, including music, performances and fine arts. …… A recent project was commissioned to the collective Forget Art, created by artist Ma Yongfeng. The collective has been active for the past couple of years doing micro-installations and site-specific interventions outside gallery spaces. …… The six artists involved transformed one of the rooms into a crepuscular vision of art and life. There were Buddhist figures carved into big white radishes, a dragon made of cabbage and a still life with poisoned apples and persimmons.
The floor was covered with fallen leaves, while, suspended between the two main pillars, was drawn a red and white propaganda banner in the style of the Cultural Revolution, carrying the English version of the Chinese proverb “May your matters be safe.” The sentence is a play on words with the Chinese words “apple” and “persimmon.” A heavy stone was hanging from a chain attached to the central beam, and a pretty Chinese hostess in executive clothes provided incoherent introductions to the artworks for the public. …… In the room next door a video, shot the day before, showed interviews with all the artists, some of them naked, in an atmosphere reminiscent of a Delacroix painting. …… The show, titled Not Only a Taoist Troublemaker, leaves behind a sense of tragedy and loss; the temple, that, for a while, was also a factory, a market and a mahjong playhouse, has been abused by the same means that once made it fertile. 
Artist Wu Yuren beneath a hanging stone. …… Fruits and vegetables lie silent together with the fallen leaves and the banner warns you of an omnipresent danger. The nice smell and the vivid colours are less convincing than their possible double meaning — decay and poison — while the hanging stone creates a threatening tension. …… One of the artists, Wu Yuren, spent two hours underneath the stone, creating a powerful image about the condition of the free thinker in Chinese society. …… “It’s like if there is some kind of danger underneath the carpet of leaves, some hidden trap … ” A Chinese art student commented after seeing the intervention. …… Turning towards nature and asserting spontaneity, Forget Art proves a fresh, non-conformist, attitude towards making art, but the melancholia in this work seems to suggest also a different message: certain contemporary artists in Beijing are disillusioned about the façade of the new China and they are starting asking “naked” questions to everybody, not just to the art world. |
| 20 一月 |
by An Xiao on January 18, 2012 from HYPERALLERGIC
LOS ANGELES — After spending a year living in different parts of Asia, I’ve been asked by many people for my thoughts on the art scene there: Does China really live up to the hype? How does Korea fit into the picture? And what about Southeast Asia? Unfortunately, I can’t answer all of these questions, especially because after a year there I felt I was just beginning to scratch the surface. …… But I was fortunate to meet some incredible artists in my travels. In China, Korea and the Philippines, I came across very challenging and interesting work, which sprung up out of very different traditions and sociocultural contexts. But which artists stood out? Whose work am I most looking forward to in the coming year? Rather than write a 2011 summary, I thought I’d write a 2012 “head’s up”, a list of artists whose work continues to stick in my head and who I hope to see more from in the coming year. This list is neither scientific nor exhaustive, but I’ve at least arranged it by the four cities in which I spent the most of my time in 2011. …… Beijing, China — Forget Art
With news of Zhang Daqian toppling Picasso as top auction earner, it can be easy to lose sight of Chinese artists working largely outside the commercial sphere. Founded by Ma Yongfeng, whose goldfish video at MoMA PS1 provoked outcries from animal rights activists, Forget Art is one of Beijing’s most active art collectives, with a focus on microinterventions around the city, from an old Taoist temple to a bath house frequented by rural migrants. Forget Art’s one booth art fair at Linda Gallery made a splash on June 4 for its wry humor and subterfuge (some attendees received a VIP pass), and their cover photo essay in LEAP magazine featured guerilla art interventions like a leaf spiked through a twig in a park near 798. …… Forget Art has grown increasingly active in the Beijing art scene, with a recent installation at Za Jia, an art space, bar and formal Taoist temple in Beijing’s Drum and Bell Temple area. Dubbed Not Only a Taoist Troublemaker, works included “Suspending Rock,” a performance and installation by Wu Yuren, who stood under a 100 kg hanging rock for two hours, and a propaganda-style poster by Alessandro Rolandi declaring “May Your Matters Be Safe.” I never saw their installation at Caochangdi’s Dragon Fountain Bathhouse, but residents in the village were talking about it for months afterward, and the documentation video certainly reveals its charm. …… Manila, Philippines — Kiri Lluch Dalena
I wrote about Kiri Lluch Dalena’s haunting installation at the University of the Philippines recently, in which she responded to and documented the aftermath of the horrific Maguindanao Massacre, the worst massacre of journalists since the Committee to Protect Journalists began keeping record. Since then, I’ve come to learn more about Dalena’s work, which shifts comfortably from challenging video documentaries examining social and political issues in the Philippines, to more lighthearted works. …… Recently at Now Gallery in Makati, Manila, she exhibited a half dozen condom sculptures, each shaped and colored differently. The colors were inspired by actual flavored condom colors available in the country. …… Part of what makes Dalena’s work so impactful is the way she relies on the Filipino community to help her document much of her subject matter. To prepare for Time and Place of Incident, she used social networks like Facebook and blogs to develop contacts. And for certain hard-to-reach areas, she relied on volunteers to film for her. The sense of play and gravity come together in her Erased Slogans, in which she Photoshopped out the political slogans at famous protests in recent history. The images are darkly humorous, and the slogans reappear as actual gravestones in a later installation. …… Xiao Ke …… I first met Xiao Ke during her stunning “Silent Acappella” at Welcome to Enter, a curatorial initiative by Anita Hawkins in which I also took part. …… In her performance, Xiao Ke performed inside the cube set up by Hawkins, while her dance was projected on the outside for the audience. The mixture of kinetic movements and wall banging with her surreal, hypnotic movements on two faces of the cube hooked us all in, and I wanted to see more. Her Shanghai-based dance studio has collaborated internationally, and she’s now stepping into more conceptual dance explorations. …… Seoul, Korea — Dirk Fleischmann You might think that Dirk Fleischmann doesn’t sound very Korean, and you’d certainly be right. German-born Fleischmann lives and works in Seoul, and his autobiographical myconceptstore, which premiered at the 2011 Gwangju Design Biennale, was a hit attraction. The store featured a number of conceptual products from his art career, including a series of watches all set to 00:10, or 10 seconds. Without looking at the watches, Fleischmann used trial and error to set a perfect 00:10. The amount of time it took for him to set 10 seconds determined the price. …… Other products included an organic egg from Gwangju, which I purchased, Snickers bars he used to sell in his studio as an art student, beer from North Korea and even a line of clothing made in the communist Korea. * * * I wish I could write more about the art in Asia, and I have and will be doing so in this blog. These artists’ works have lingered in my mind a little longer than most, and I’m looking forward to seeing what they produce in 2012. |
| 29 十二月 |
裸访谈
…… 展览开幕之前的两天对每位艺术家进行“裸访谈”。 Naked interview before the exhibition’s opening
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| 6 十二月 |
from ArtSlant http://www.artslant.com/cn/articles/show/28905 by Edward Sanderson
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Not Only A Taoist Troublemaker! was a short-lived exhibition occupying a leaf-strewn room in a small arts space attached to a bar. A bar with a vegetable market behind; sharing a building that housed a screw factory during the Cultural Revolution. A screw factory built inside a Taoist temple, replacing the site’s original Buddhist temple. This overlapping of every kind of ideology provided an ideal backdrop for the six artists’ work in this show curated by forget art. …… forget art is an organisation created by artist Ma Yongfeng, about whose “guerrilla” tactics I have written once before on ArtSlant. It has become well-known for the ironic nature of its exhibitions, interventions, and projects. These activities are keenly self-aware of their contexts, and never take themselves too seriously. …… Prior to the opening of this new show, Ma Yongfeng had already laid the conceptual and experiential groundwork by initiating a series of “naked” interviews with the artists and academics. Ma’s aims seem to be, on the one hand, to provide a forum for the sort of serious discussion that he feels is lacking in the art environment in China. On the other, by performing au naturel he is pushing the situation out of kilter. The participants’ exposure may lead to a more open discussion – at the very least it places the speakers in a new, less comfortable position.
Ma Yongfeng, 12:35pm, Fallen leaves on the floor, 2011; Courtesy Edward Sanderson …… This was also his reasoning behind collecting twenty bags of autumn leaves from a forest in Beijing’s outskirts and transporting them into the gallery. This literal groundwork had the benefit of pulling the whole space together with its softness underfoot and the earthy smell that it brought to the space. Ma explained to me that this was beyond simply an intervention – it was an effort to create an atmosphere or even some kind of aura.
Hu Xiaoxiao, Baptism, Wash cloth, vegetables, pins, 2011; Courtesy Edward Sanderson …… Picking up on this, Liang Ban’s carved radishes rested on an open window-sill and Hu Xiaoxiao’s failed (in a good way) image made of vegetable matter hung in place of honour against a plush red velvet curtain at the back a small stage. The radishes were clumsily carved with figures, as if these were nascent within the vegetables, awaiting their revelation; and the backdrop hung where a Buddha figure or Christian cross would normally be situated, spot-lit on the raised stage, at the focal point of the room. Counteracting any particular readings, a smartly-dressed woman hired by artist Lu Zhengyuan performed as an unreliable guide to the show, providing background to the works with guesswork and rumours, creating an atmosphere of misunderstandings for her audience. …… Hanging above the stage, Alessandro Rolandi’s red propaganda banner announced, “MAY YOUR MATTERS BE SAFE.” This statement is typical of the ambiguous situations in his work, subtly raising its issues with reality. These words overlooked and seemed to ironically relate to Wu Yuren’s large rock suspended from the ancient rafters. For the opening, Wu stood under this 200lb stone, forcing himself to remain in this precarious position. While perhaps not long enough to privilege this activity as “durational,” he was stationary long enough for a call of nature to be performed amongst the leaves – I have to recognise this as (some sort of) commitment to the (in)activity. In discussion with the curator and audience, he finished the piece by removing his clothes and standing naked under his stone – disrobing again appearing as a means of expression with its parallels to the online response to Ai Weiwei’s charges of pornography (although Ma Yongfeng’s original naked interviews antedated this particular meme).
Performance by Wu Yuren, Work by Ma Yongfeng, Not Only A Taoist Troublemaker! installation view; Courtesy Edward Sanderson …… I don’t want to sound dismissive of Wu Yuren’s activity, however, as it had a deeper rationale than its surface appearance might suggest. In 2010 Wu was jailed for ten months under questionable circumstances and since his release has intermittently been called in for “a cup of tea” by the authorities (as questioning is euphemistically referred to). This serious and continual pressure on him is expressed through this work. …… Whether that makes it a “good” work, I am not sure; my immediate reaction was that I did not like it, even with the background, feeling it was too literal and unsubtle. But I have to respect the fact that it reflects Wu Yuren’s being on the blunt end of the system, and that aspects of his situation are more common than one might expect. He has more right than most to comment on this experience, and of course I do not know what it is like to live through his experience or what it is like to be under this continual pressure. The activity was all done in seemingly good spirits – one way to deal with such serious matters, perhaps. …… This attitude was reflected in the original Chinese title of the show, “不是吃素的” or “not a vegetarian,” a euphemism for not being a push-over, which the curator described as presenting “a very simple, radical attitude.” The English title refers to the Bohemian reputation of Taoists, saying that this show is not “only” about that, in a typically open move. …… Although it is obvious I had many reservations about this show, maybe because of those reservations I still felt this was a powerful exhibition that did manage to create a strong impression on me due to at least in part to its scattershot nature. |
Recent comments
- Hi Ma. What are you up to these days?? Jane
- awesome!!
- 发表于 《地点：龙泉洗浴》现场图片这个也可以称之为艺术吗？我不敢苟同。我认为艺术至少是需要用心做，而不是随便拿个什么摆放一下，再取个“...
- 发表于 《地点：龙泉洗浴》现场图片good, busy for missing it
