秀 Chalk Circles 梁志和 Leung Chi Wo 安妮卡·伊 Anicka Yi 总第159期

7 / 8月 JUL/AUG 秀 CHALK CIRCLES 梁志和 LEUNG CHI WO 安妮卡·伊 ANICKA YI 总第159期 030 凯鲁丁· 霍利 034 “ 当被光穿过 ”：与艺术家创 KHAIRUDDIN HORI 作连接的策展实践毕昕 Xin Bi “ILLUMINATED”: ARTISTIC CREATION AND 再造公众性：台北当代艺术中心 040 CURATORIAL PRACTICE 的今日与昨日宋轶 Song Yi TAIPEI CONTEMPORARY ART CENTER PAST AND PRESENT 郑文琦 Rikey Cheng 044 《策展研究期刊》特辑：《中国当代展览文化》 CHINA: EXHIBITIONS AND DISPLAY CULTURE 于渺 Mia Yu 13 046 图像，历史，诗歌：乔治·迪迪-于贝尔曼北京讲座记录机构透视学 THREE LECTURES BY GEORGES DIDI-HUBERMAN 47 Canal的前身179 Canal一潘赫 Pan He 050 LEAP专业委员会、特约编辑年直藏身中国城和下东区的坚度欧洲见面会尼街之中。纽约下城的艺术家 054 刘茵：消解 AN ENCOUNTER IN BASEL 们都对那里实验性的布展和疯狂的派对印象深刻。 LIU YIN: DISSOLVE 刘溪 Xi Winkler 060 陆明龙：不真实的财产 INSTITUTIONAL LAWRENCE LEK: UNREAL ESTATE CRITIQUE 张涵露 Zhang Hanlu The gallery now known as 47 Canal first opened in 2008, 072 跃界 at the height of the financial CROSSOVER crisis, operating within a similarly precarious economy. 076 梁志和：应物象形 A generation of downtown New York artists remember its NAMES FOR THE SELF, SHAPES FOR experimental installations and THE WORLD: LEUNG CHI WO wild parties. 凯伦·史密斯 Karen Smith 084 安妮卡·伊：刮过的海虱和紧张的桃子 066 DIY企业化：PC Music演绎专业性 PALPABLE AND PRESENT: ANICKA PC MUSIC AND PERFORMING YI PROFESSIONALISM 知念露西 Lucy Chinen 西蒙·弗兰克 Simon Frank 本期封面 ON OUR COVER 寇拉克里·阿让诺度才 2558 （现场拍摄） Korakrit Arunanondchai 2558 (production still) PHOTO: Chutchawarn Janthachotibutr 098 未曾遭遇的剧场 114 未来 A NEW STAGE FUTURES 宋轶 Song Yi 克里斯汀·孙·金 Christine Sun Kim 108 书法的普遍性秀 CALLIGRAPHY, UNIVERSALITY 鲁明军 Lu Mingjun CHALK CIRCLES 展现身体的行动，连接起时间、日常生活、社会关系和意识批判，面对艺术家解放身体感受的创作欲望，戏剧导演推倒日常生活和舞台边界的努力，包括经由网络传播，四处充斥着的“观看-表演” 及其讨论……需要被重新定义的“剧场”在由身体带动起的情境中不断浮现。 The artists’ theater—exhibiting the movements of the body; link- ing temporality, the everyday, social relationships, and critique; releasing embodied affect; erasing boundaries between the stage and the world around it; mixing spectator and performer; travers- ing a landscape produced by the body—the artists’ theater must be redefined. 120 已见或未见的表演 PERFORMANCES I HAVE (NOT) SEEN 薇薇安·齐赫尔 Vivian Ziherl 128 现代与反现代的身体性 144 当代中国的表演文化与日常生活 MODERNIST AND ANTI-MODERNIST PERFORMANCE AND EVERYDAY THEORIES OF THE BODY LIFE IN CONTEMPORARY CHINA 王墨林 Wang Mo-lin 许仁豪 Walter Hsu 136 李明：和朋友们在一起的时候，生活总 150 互联网就是舞台像是一阵旋风 THE INTERNET AS THEATER LI MING: WITH FRIENDS, LIFE 赵逸轩 Kyle Chayka IS A WHIRLWIND 郭娟 Guo Juan 162 威廉 ·肯特里奇：罪与罚 William Ken- tridge: A Reckon- ing 王辛 Xin Wang 170 难得一见的自由语法 178 第56届威尼斯双年展：全世界的未来 Freedom can be Hard to See Venice: All the World’s Futures 凯特·萨顿 Kate Sutton 蔡影茜 Nikita Yingqian Cai 181 186 威尼斯双年展中的亚洲馆短评 Venice: Asian Pavilions Hangings 岳鸿飞 Robin Peckham 北京 Beijing 上海 Shanghai 西安 Xi’an 香港 Hong Kong 台北 Taipei 新加坡 Singapore 首尔 Seoul 184 东京 Tokyo 纽约口误 New York 洛杉矶 Venice: Slip of the Tongue Los Angeles 旧金山 San Francisco 黄含康 Huang Hankang 鹿特丹 Rotterdam 伦敦 London 苏黎世 Zurich 卢森 Lucerne 巴黎 Paris 主办/主管 ORGANIZER 编辑部 EDITORIAL TEAM 传讯总监安徽省文学艺术界联合会 COMMUNICATION Anhui Federation of Literary and Arts Circles 编辑总监 EDITORIAL DIRECTOR 张丹 Zhang Dan 协办 CO-ORGANIZER 曹丹 Cao Dan TEL: +010-6561 5550 - 849 广州现代资讯传播有限公司 EMAIL: [email protected] Modern Media Group 编辑副总监 DEPUTY EDITORIAL DIRECTOR 岳鸿飞 Robin Peckham 国际客户经理出版/编辑：安徽艺术界杂志社 INTERNATIONAL ADVERTISING 资深编辑 SENIOR EDITORS 地址：安徽省合肥市芜湖路 168号同济大厦6层 ( 230001) 安娜 Anna An 电话/传真：0551-62888184 吴建儒 Wu Jianru / 宋轶 Song Yi / 赵梦莎 Sasha Zhao TEL: +86 10 6561 5550 - 267 E-MAIL: [email protected] EMAIL: [email protected] 编辑 EDITORS EDITOR 社长/主编赖非 Lai Fei 国内客户经理徐激 Xu Ji DOMESTIC ADVERTISING 视觉总监 VISUAL DIRECTOR 出版人 PUBLISHER 晏丽芳 Alice Yan 李梅 Li Mei 邵忠 Thomas Shao TEL: +86 10 6561 5550 - 857 EMAIL: [email protected] 名誉主编 HONORARY EDITOR 数字媒体编辑副总监 DEPUTY EDITOR, DIGITAL 周志友 Zhou Zhiyou 赵梦莎 Sasha Zhao 推广经理 DISTRIBUTION 编辑主任 EDITORIAL CHAIR 项目负责人PROJECT MANAGER 张悦悦 Leslie Cheung 王仲仁 Wang Zhongren 贺婧 He Jing TEL: +86 10 6561 5550 - 729 执行出版人 EXECUTIVE PUBLISHER 流程编辑 PRODUCTION EDITOR EMAIL: [email protected] 曹丹 Cao Dan 吴荻 Wu Di 资深编辑 SENIOR EDITOR 设计总监 ART DIRECTOR 李雯 Li Wen 张思倚 Amy Szuyi Chang 校对 COPY EDITORS 付春愔 Fu Chunyin / 李丹若 Ami Li 广告总代理／制作官方网站 WEBSITE ADVERTISING AND PRODUCTION www.leapleapleap.com 北京市朝阳区工体东路甲2号中国红街一座五层（100027）订阅方式 SUBSCRIPTIONS 5/F, No.A2, Gongti East Road, Chaoyang,Beijing, China 100027 TEL: +86 10 6561 5550 FAX: +86 10 6561 0819 leapleapleap.com/subscribe 联系方式 INQUIRIES 海外发行 INTERNATIONAL DISTRIBUTION [email protected] 现代传播有限公司 MMCL 潘凤甜 Grace Poon TEL:+852 2250 8099 现代传播集团 MODERN MEDIA GROUP 国内统一连续出版物号：CN 34-1022/J 北京·上海·广州·香港国际标准连续出版物号：ISSN 1003-6865 邮发代号：26-16 广告经营许可证：3401004000039 周末画报优家画报新视线生活健康时尚号外艺术界定价 PRICE：RMB¥50.00 HK$80 NT$300 大都市商业周刊艺术新闻／中文版优仕生活理想家 EUR€8 US$11 UK£6.6 Modern Weekly | U+ Weekly | The Outlook Magazine | Life Magazine | 版权所有，违者必究 ALL RIGHTS RESERVED LOHAS | HK City Magazine | LEAP | Numéro | Bloomberg Businessweek | The Art Newspaper China | The Good Life | IDEAT 平行的舞台 Parallel Stages 近年来，艺术机构向表演新浪潮的兴起敞开大门，机构订制逐步把看似不“商业”的艺术形式逐渐纳入艺术市场的价值体系。总而言之，今天的美术馆除了希望获得在社交网络上更多的关注或点赞以外，更希望它的某一部分成为舞蹈博物馆、电影院、剧场、餐厅、住宅、厨房、卧室，甚至可露宿帐篷等任何公众愿意亲历发生的场所。短短的夏季，北京尤伦斯当代艺术中心举办了威廉·肯特里奇在中国的首次个展“样板札记”，展出艺术家用炭笔描绘和影像构造的剧场；巴黎东京宫更是热火朝天，以歌舞剧表演为主线的陈天灼个展和泰国艺术家寇拉克里·阿让诺度才的个展同期——寇拉克里用巨幅牛仔布上的身体绘画营造了炫目的舞台。 2013年六月《艺术界》出版了聚焦行为艺术的专题“创作的表演”，这期我们把聚光灯投向舞台，让读者从多个角度了解视觉艺术家如何把剧场或舞台作为空间媒介，来开展他们的创作实践；艺术家的审美、呈现形式、跨界的套路、强化艺术行动独特性的构想，如何影响着舞台表演艺术？某些艺术家甚至把互联网作为舞台的创作空间。我们不能忽视今天所有的电子设备都在复制世界的时候，人类同时在制造一个与物质世界平行的庞大舞台——互联网，在这里，占地球人口近31%的22亿全球社交网络用户不间断地生产和消费着信息和图像，这一切构成最大的问题，并非身体的缺失，而是视觉现实的改变，或者说，这些图像正在制造真实。今年 29岁的寇拉克里表示，用无人机才能完整再现他的作品，是为了指出，我们越来越依赖技术观看现实。《艺术界》今后将通过讲座或者文章的形式，持续讨论未来图像的观看、生产与传播的话题；LEAP Pavilion还将于今年9月11至13日在第二届上海艺术影像展里，举办带来了近二十位华语地区年轻艺术家的《图像新潮》展，呈现这些探讨未来图像的新作品。 A boom in performance has attracted ever-larger numbers of visitors to the traditional space of the art museum. Corporate participation and sponsorship have provided possibilities for sustainable devel- opment, allowing institutions to gradually incorporate seemingly non-commercial art forms into the val- ue system of the art market. The art museum today hopes to be a dancehall, cinema, theater, restaurant, residence, kitchen, bedroom, or tent, as long as the public is willing to go. This summer, the Ullens Center for Contemporary Art has put on William Kentridge’s first solo exhibition in China. Palais de Tokyo buzzes with the performance-heavy solo exhibitions of Chen Tianzhuo and Korakrit Arunanondchai. Tsai Ming-liang’s solo exhibition at Times Museum sees the director himself selling tickets at the museum entrance. In September, Random International’s Rain Room gets a new home at the Yuz Museum, while the Klaus Biesenbach- and Hans Ulrich Obrist-cu- rated “15 Rooms” will be installed at the Long Museum: spectators on an unfamiliar stage, and a stage encountered by accident. In June, 2013, LEAP published an issue on performance; two years later, we look back at how the genre has begun to absorb its neighbors. As networked devices proliferate, humankind has created an enormous stage parallel to the material world. Globally, 2.2 billion social network users produce and consume information and images, while machines equipped with artificial intelligence help us observe, calculate, and analyze. The biggest problem posed is not the lack of the body, but our changing visual reality. LEAP Pavilion, our ongoing series of pop-up exhibitions, will host “The Coming Image” at the second edition of Photo Shanghai this September, introducing new work by almost 20 young artists from greater China investigating possible futures of photography. We would like to extend a sincere invitation to all of our readers to come meet us there. Cao Dan 表演出来 Acting Out 回顾《艺术界》过去一年的内容，我们自己都惊讶于我们对行为表演的关注程度。今年夏天似乎又迎来了一波表演艺术的高潮，然而我们更感兴趣的是剧场的社会空间属性，以及艺术家是如何利用该空间以适己需的。今天的策展也越来越类似于舞蹈的编排——组织协调作品在空间的介入与馆藏，以及更大社会空间的互动。同时，剧场的表演形式也更加倾向于行为艺术，而艺术家的表演则不断在规模与场所上创造新的意义。此时更需要我们认真审视表演和导演的核心动作。艺术市场曾经疯狂地追捧基于过程的绘画作品，然而这股热潮已经开始降温，当下似乎恰好是一个理想的时间点去思考产生这一类别的过程，探究物件与其周围系统之间的关系。艺术好像又开始变成了一场派对，不过很难说其新的非物质性是非物质的。出于对此番状态的关注，我们观察了不同地方不同艺术家的表现。例如，王浩然作品中为了吃食而旋转跳舞的兔子激发了他编舞的实践，并与先锋音乐人和作曲家合作；基于过程的绘画好比是参与某次活动之后带回家的纪念品，不过寇拉克里·阿让诺度才通过将活动本身作为物件而复杂化了这一概念；安妮卡·伊则通过气味、细菌或病毒培养和腐烂过程等元素将生命活性有形地结合到她的作品中。本期《艺术界》还进行了一些形式上的细微调整：读者们会看到更多视觉和概念上与艺术家合作的内容，更多文化批评和对于具体艺术实践的持续关注，还有来自全世界更广泛领域的短篇评论，及其对于大中华地区的意义。 Looking back at what we’ve covered and produced over the past year at LEAP, we were struck by how much of our focus was related to the act of acting. This summer seems to welcome a flood of performance, but we’re more interested in the social space of the theater, and how artists have begun to adapt this institution to their own needs. Curating seems to be more and more an act of choreography, organiz- ing interventions and other processes that interact with collections and social spaces. As directors in the theater create productions that seem more and more like performance art and artists’ productions take on new meanings in terms of scale and site, we would like to take a good hard look at the core actions of acting and directing. With the market frenzy over process-based painting beginning to cool down, this seems like an ideal time to think more about the processes that produce the genre, and about the relationship between objects and the systems around them. Art seems to be becoming a party again, but its new immateriality is hardly immaterial at all. In various locations in this issue, we look to the practices of artists like Adrian Wong, whose trays of magnetic dancing rabbit food have encouraged him to choreograph the movements of dancers in collaboration with avant-garde musicians and composers; Korakrit Arunanondchai, who complicates the easy understanding of process-based painting as the take-home souvenir of a participato- ry event by turning the event itself into the object; and Anicka Yi, who locks a tangible sense of liveness into her objects through elements of scent, bacterial or viral cultures, and decay.

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