This lecture will start with the canonical case of Italian futurism, providing the audience with a historical context of how performance emerged as a form of aesthetic resistance from the highly capitalized countries in Western Europe since the turn of the 20th century. Performance is deployed by the avant-garde artists to escape from or even fight against the establishment we call “modernity.”
In recent years, there are increasing performing art platforms offering short-term residency for a number of participants in a form of ‘Lab’ or ‘Camp’ as part of Art Festival or Professional Meetings. To artists and creative practitioners, what kind of imagination and expectation to/from a short-term lab program? And is it efficient? Can we really reach for the new idea within only a few days or weeks? What is the deeper meaning of ‘working collectively in a lab?’
The Rockbund Art Museum is proud to invite Wen Pulin, a prominent Chinese art critic, and Xu Tiantian, Curator Manager of RAM, to discuss the performance art of the Belgian artist Francis Alÿs and deconstruct how Francis Alÿs involves human’s body in his creation. The two speakers will also share with the audience the development of performance art in China, for which Wen Pulin will present valuable records of performance art practices of China’s whole art community since the 1980s. By comparing
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. 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?
The Rockbund Art Museum, in collaboration with Fudan Poets Society, will hold a unique event for improvisation of poems under the theme of “Walking around the City,” a signature approach of creation by the Belgian artist Francis Alÿs. After admiring the artist’s works at his first solo exhibition in China held by RAM, members of the Society will walk along different streets near the museum for inspirations and improvise poems based on any of the key words that RAM will provide.
It comes the end of the year 2018. We are very pleased to have your support.On 7th Dec, we will hold an annual party for all the RAM members, please come and join us to a lovely night!
The evolution of how artists make work is demanding performance or performing arts curators and programmers to revisit many assumptions around say the economics and protocols of performance production. Should these disciplines remain separate? Or is there more value in rethinking this divide?
Yeoseong Gukgeuk that started at the end of the 1940s is a similar type of the Korean traditional operas that declined after its popularity peaking during the 1950s through 1960s. It obviously appropriates the characters who perform conventional gender role and their typical melodrama, however, it has a significantly, uniquely subversive style what only women player can perform all of characters.
