Dialogue, Friction, Conflict and Collective Work: The Diffusion and Reimagining of Art Collective
Dec 8, 2018 Saturday 16:00 - 18:00
NEXT MIXING (Shanghai)
Working as a collective is not something new. But in comparison to individual artist, art collective more emphasizes dialogue and diversity rather than one-person voice. Also the process can be also considered as a democratic practice. In the continuation of dialogue, members can question, learn and support each other; but it can also provoke conflicts, frictions and even stop the collaboration. In a society dominated by neoliberalism and capital power, why those practitioners can insist in this kind of not productive, not efficient ways of working? This is the first question we would like to raise in the panel discussion.
Based on Kuala Lumpur, Five Arts Centre is a dynamic collective of Malaysian artists and producers, dedicated to generating alternative art forms and images in the contemporary arts landscape. It is well known for cutting edge performances in theatre, dance, music and young people’s theatre, and incorporates aspects of the visual and digital arts as well. Since it was formed in 1984, Five Arts Centre has been committed to articulating the complexity of Malaysian culture and identity through explorations and fusions of local vocabularies, forms and traditions, in relation to the global, modern and cross-cultural. As such, it has been instrumental in the growth of a Malaysian identity in the arts that draws from multiple influences and hybrid histories. Currently, there are 13 members, they are from various backgrounds, not only artists. There are a lawyer, someone from corporate finance, someone from the food and beverage industry in addition to a dancer, choreographer, theatre maker, filmmaker, and activists for women rights and heritage studies. This collective has been running for 34 years, 5 members at the beginning, now there are 13, what makes them carry on?... Read More
June Tan is a biologist from Imperial College, London and a member of the performing arts collective Five Arts Centre (Malaysia). Since 1997, June has stage-managed, tour-managed, and produced numerous local and international co-productions. Her producing experience builds from a parallel experience in the corporate sector (1997-2008). She is interested in understanding systems and in facilitating space for difference, for discussion, and models for art making. This is seen in her initiation for platforms for emerging practitioners, and her programming for Kotak, an independent arts space in Kuala Lumpur. June is also looking into encouraging networks between Malaysian and Southeast Asian producers and is part of a committee looking at advocacy in the arts. In addition, June has also written scripts for the stage, TV and several Malaysian feature films.
Zhao Chuan is a writer, theatre maker and curator, who creates alternative and socially engaged theatre in Shanghai. He is the founding member and mastermind of theatre collective Grass Stage since 2005. His work is devoted to the promotion of new social theatre movement and the creation of non-profit public space for intellectual exchange. He has been involved in many international art residencies and collaboration projects, awarded several international literature awards, including Taiwan’s prestigious Lianhe Wenxue (Unitas) New Fiction Writer’s Prize in 2001. His recent publications include an award winning book: On Radical Art: the 80s Scene in Shanghai (author, Shanghai Sanlian Bookshop Publishing 2014); The Body At Stake: Experiments in Chinese Contemporary Art and Theatre (co-editor, author, Transcript 2013).... Read More
As art activities proliferate, performance and performing arts are evermore presented to the public, notably seen in art museums across recent years. The series of lectures of “Spectrum of Performance(ing) Arts” is not designed to invent some new vocabulary or definition, or to inquire “What is Performance (Performing)?”, but to examine how art in an unbound state flows and mutates into a spectrum with colorful connotations and more possibilities. It looks forward to the confluence and interaction of different realms of art, discussions from the artist, curator, researcher and scholar perspectives on issues such as the role of the platform, methods of artistic creation, ways of watching performances, the concept of curating, and the development of performance art and performing art under the globalization framework, as well as more dialogues in unexpected aspects between the speakers and audience.
This series of lectures is jointly initiated by RAM and Zhang Bing, an independent curator, and supported by Shanghai Artemis Art Center.
This lecture is co-organized by iPANDA and NEXT MIXING.
Shanghai Artemis Art Center (SAAC), funded by Anxin Trust Co., Ltd. and approved for registration by Shanghai Bureau of Civil Administration, was established officially on June 6, 2016 as a non-profit art institution.
SAAC aims at promoting the production and development of modern arts, through hosting, supporting and assisting non-profit artistic activities of various forms, including but not limited to art exhibitions, publications, public projects, artistic research, academic discussion, art curating, criticism and writing.
iPANDA is best described as a platform for development action by independent performance artivistis. It is focused on independent performance in China to build up an internal network with the vision of expanding internationally. It is an artists’ collective comprised of independent performance artists, art institutes and platforms from different artistic fields. iPANDA works to consolidate resources to create more possibilities for collaboration and development.
NEXT MIXING aims to create customized space full of contrasts and surprises in close cooperation with users with different needs. It runs activities on topics of art, music, literature, opera, and food for amateurs, and academic discussions among scholars and practitioners in the art world.
Free admission, reservation is required.