Exhibition Dates: 2018.10.02 - 10.03

Exhibition Location: National Museum of Modern and Contemporary Art, Korea (Seoul) , Ming Contemporary Art Museum (Shanghai) , SPIELART Festival (München)

Exhibited Works: Live performance, Drawing, Painting.

Articles

Live performance

49'19", PAL, 1920 x 1080, 有声 sound, 彩色 color

类型 Type

剧场／单频道录像 Theatre / Single-channel video

视频版本 Video File Version

展览版本 Exhibition Copy

系列 Series

美术馆剧场计划 Museum-Theatre Project

Award

最佳作品奖 Award for Outstanding Show ( Tokyo Festival World Competition 2019 )

作品陈述

这是一个艺术家的剧院个展的录像，尝试在展览的立体空间中展开的“平面剧场”。剧场故事主线引用了《酉阳杂俎》 的一些片段重新组合成新的故事，并交织以风格化的个人记忆与日常生活碎片，以此纪念艺术家的外婆。

文本通过创造一个现实与梦想、鬼故事和个人记忆的世界，由此构建出时间的中断和重启，通过借用一个经典的纸影式样的表演来重写出与之相似的历史情节，通过一系列的绘画、装置、实物和影像的运动配合和视频的混合重组拓展并注释出关于表演的疆域。进入剧场艺术家如同再次回到一个记忆的隐场 —— 艺术家来自水乡绍兴，这也是鲁迅的家乡，鲁迅身为中国现代文学的奠基人、现代运动的旗手，同时也对《酉阳杂俎》情有独钟。

Work Statement

This is a video of the artist’s “solo theatre exhibition” — an attempt to create a “flat theatre” in the three-dimensional exhibition space. Its main storyline is a newly composed story based on certain parts of Miscellaneous Morsels from Youyang, a book from the Tang Dynasty. The artist combines elements borrowed from the book with his personal memories of everyday life to create a dedication to his grandmother.

The work represents a world of dilemma, of reality and dream, and of ghost stories and personal memories. With a classic model of paper-cutting performance, the work calls for a rewriting of a certain history, and with a mixture of various media such as painting, installation, object and moving image, it attempts to restructure and extend the territory of performance. This theatre is a virtual field of the artist’s memories — Shaoxing, his hometown and Lu Xun’s hometown. Interestingly, Lu Xun, the seminal figure of Chinese modern literature and the leader of China’s new culture movement, was also a fan of Miscellaneous Morsels from Youyan.

In exhibition(s):

2018.10.02-10.03, Solo project: "Big Nothing" at the National Museum of Modern and Contemporary Art, Korea (Seoul)

2018.10.12-10.13, Solo project: "Big Nothing" at the Ming Contemporary Art Museum (Shanghai)

2019.10.27-10.28, Solo project: "Big Nothing" at the SPIELART Festival，Einstein Cultural Center (München)

2019.11.2, Solo project: "Big Nothing" at the Tokyo Festival World Competition 2019, Tokyo Metropolitan Theatre (Tokyo)

Exhibition Dates: 2018.08.31, 6pm - 8pm

Exhibition Location: Boers-Li Gallery Blg Lab, Beijing

Exhibited Works: Live performance,  Drawing, Painting.

Live performance

11'24", PAL, 1920 x 1080, 有声 sound, 彩色 color

类型 Type

剧场／双频道录像 Theatre / double-channel video

视频版本 Video File Version

展览版本 Exhibition Copy

系列 Series

画廊剧场计划 Gallery-Theatre Project

作品陈述

《遗忘的动作》是个双频录像，脱胎于艺术家为博而励画廊项目空间特别定制的现场表演作品《皮娜·鲍什遗忘的动作》的现场记录视频。四位表演者在该空间复刻了皮娜·鲍什在1978年录制的影像版《穆勒咖啡馆》。皮娜在《穆》中把舞台布置成咖啡馆，艺术家则把咖啡馆的户外和室内设置为舞台。艺术家还利用空间外一条车人往来的街道，把观众安排在街道外的“观众区”。由此，舞台、街道、观众在录像里成为三条时间线，糅合成一张时空并置的“三联画”：表演者模仿呼应40年前《穆》里舞者的动作姿势；街道上偶尔飞驰过的汽车提醒观众和表演者之间的距离；摄像机镜头所在位置代表的观众视角。户外和室内表演的时间顺序在此双频录像中分别经过重新混合剪接。

在《皮娜•鲍什遗忘的动作》中，每张椅子底下都贴一组数字，每组数字对应一家画廊。表演者每打翻一张椅子就有一家画廊被“抽中”。艺术家在现场表演结束后的清晨，向每家被抽中的画廊送去一杯咖啡，到此完成整个表演项目的完整表达。打翻椅子后的动作，被艺术家指认为皮娜遗忘的动作，“如同我们一次次地以艺术之名去展览去演出，又一次次地遗忘艺术的初衷，因为这是个记忆与遗忘并存的时代”（戴陈连）。送去一杯咖啡，以兹鼓励。

Work Statement

The Forgotten Movement of Pina Bausch is a double-screen video work that documented a Dai Chenlian performance piece specifically made for Boers-Li Gallery’s project space in Beijing. In the performance, four performers reenacted Pina Bausch’s Café Müller. In Bausch’s original work, the stage was set up as a café; in Dai’s work, a café and its outdoor areas were used as the stage. Outside the café, there is a road for cars and passersby, and a “spectator region” was set up on the other side of this road. As a result, the stage, the road, and the spectators formed a triptych of three different time-spaces — the performers dialoguing with the dancers in Café Müller from 40 years ago; the traffic on the road reminding people of the reality differentiating the stage and the spectators; and the camera symbolizing the gaze of the spectators. This double-screen video recorded both the indoor and outdoor scenes, but the timeline is rearranged to give a new interpretation.

A numbered sticker was put on every chair in the café. Each number referred to a gallery in the 798 Art District, which is where the work took place. In the performance, certain chairs were kicked over by the performers, and the corresponding galleries were “chosen” — the artist sent a coffee to each of these galleries the next morning as a gift. The artist regards this action as the forgotten movement of Pina Bausch, as he thinks it represents “this era of memory and forgetting, like how we create performances and exhibitions in the name of art and in the end always forget about art.” That free coffee is a reminder to us.

Exhibition Dates: 2018. 03. 15 - 03. 25

Exhibition Location: Cuizhu street, luohu district, shenzhen. Cotemporary Theatre Biennale, Shenzhen

Exhibited Works: Live performance,  Drawing, Painting.

Live Performance

2018. 03. 15 - 03.25， 1pm - 5pm

5'24", PAL, 1920 x 1080, 有声 sound, 彩色 color

类型 Type

剧场／单频道录像 Theatre / Single-channel video

视频版本 Video File Version

展览版本 Exhibition Copy

系列 Series

文档剧场计划 Document-Theatre Project

作品陈述

本次项目以道歉为源起，将表演间剪辑作用作为事件的推演形式，反映出创作过程中所产生的多重时间点。由一个模糊的记忆构造出的想象情境，再由此情境推导出的时间和现实的时间点连接并成为行动，由一段真实的对话引申出的幻觉构建为一个时间事件，并以此事件制造与现实表演的重叠，从而形成整个记忆和道歉之间错综复杂的时间线。就如同段落和声音在剪辑线上的相互交错和并置，由一个动词滑动又以另一个名词前行。

翠竹是一个地名，地处深圳罗湖区。关于深圳最深的印象就是翠竹这个名词，它像是一个竹子的种类，也像是一个人名，还感觉潮乎乎湿漉漉，像是旧旧的黏糊糊且窄窄的街道。还像是一首流行歌的名字，有悠远的爱情故事。这一些叙述和想象都编织拉丝出关于深圳的一段时间几个人物一颗颗被风吹摆的荔枝树。

我依据十多年模糊的零星记忆将开始寻找那个时期的恋人，由一些极其模糊的记忆和想象开始重新建造这段时间。当时因为很多原因我们两分别后再没有相见，也没有了任何的联系方式，我也做错了一些事。那么多年过去，因为一个戏剧双年展的起因让这些地名、想象、记忆再次被重新链接在同一个平面，想了一段时间我还是想和那个曾经的恋人道个歉。

Work Statement

This project takes apology as its source and uses the role of inter-performance editing as a form of projection of events, reflecting the multiple Point in time. An imaginary situation constructed from a vague memory, from which the time deduced from the situation is then connected to a real point in time and becomes action. The illusion derived from the real dialogue is constructed as a temporal event and used to create an overlap with the real performance. This creates a complex timeline between memory and apology. Just as paragraphs and sounds are crossed and juxtaposed on the editing line, sliding from one verb to another and moving forward with another noun.

Cui Zhu is a place name, located in Luohu District, Shenzhen. The deepest impression of Shenzhen is the term "Cuizhu", which is like a species of bamboo, but also like a name of a person. Wet, like an old sticky and narrow street. It is also like the name of a pop song, with a long love story. These narratives and imaginings end up weaving and extending stories about a time in Shenzhen, a few characters and those wind-blown lychee trees.

I started to search for my lover of that period based on my vague and fragmentary memories of more than 10 years, and started to recreate that period from some extremely vague memories and imagination. For a variety of reasons, we never saw each other again or had any contact with each other after we separated and I also did something wrong. After many years, because of a theatre biennial, these names, imaginations and memories were reconnected on the same plane. After thinking about it for a while, I still want to apologize to that former lover.