上海外滩美术馆邀请曼谷建筑事务所all(zone)策划第二届外滩建筑节（RAM assembles）。今年，这场探讨建筑思考的双年盛会以“上海野餐”为题。我们以“野餐”这一开放、临时、灵活而集体性的形式作为隐喻，希望这一届的公共项目可以展开新的对话——关于如何建设、如何共居、以及如何适应与转化，并通过艺术家共创工作坊、表演和建筑师讲座等多样形式的活动，构建一个新的让人们可以倾听和交流的平台。这些激发跨界协作、创意实验与社区参与的项目活动在洛克·外滩源街区内全日段开展，各具焦点。
在这座不断加速、被逻辑规划与工具理性主导的城市中，个体的身体逐渐沦为空间的使用者，而非感知者；公共场所也日益转化为通行或消费的通道，而非相遇、休憩、在场的所在。新委约表演《呼吸场》正是一场对这一城市现实的温柔回应与反问。
鲁米说：“在对与错的观念之外，有一块田野，我将在那里与你相遇。”这句诗成为表演构思的精神起点。艺术家李鋆天与公开招募来的表演者共同设想，在这座由秩序与玻璃幕墙构成的城市中，是否仍可能开辟出一块非功能性的、不受规训控制的“田野”？一个可以重新呼吸、相遇、松开的地方？
正如梭罗走入林间，不是为了逃避社会，而是为了“有意识地生活”，希望借由这场流动式环境戏剧，在城市中划出五个临时停驻的片刻——如同五块铺开的野餐布，五段在地生成的傀儡戏——邀请人们在城市的缝隙中选择坐下、观看、行动，或错过。
关于艺术家：
李鋆天
傀儡师、导演、当代傀儡艺术创作者、傀儡师工作室室长
以傀儡作为方法进行创作，涉及剧场作品、环境戏剧、纪录片、故事短片、装置。
毕业于上海戏剧学院海派杖头傀儡表演专业，曾上海木偶剧团领衔主演，两次荣获国家金狮奖金奖，俄罗斯金小丑国际艺术节获个人奖“最佳表演奖”，曾入选《上海文化新人榜》，上海年度优秀文艺工作者奖，美国洛克菲勒亚洲文化协会奖学金-纽约驻地艺术家，蒙古国国家傀儡剧院国际大师班应邀导师，德国KOLK17傀儡艺术剧院与博物馆展览项目“Who’s Talking？”参展艺术家，瑞士文化基金会瑞士驻地艺术家，德国KOLK17傀儡艺术博物馆“老梅春香”项目研究员与联合策展人。傀儡师工作室，致力于传统傀儡艺术文化的研究与推广和当代傀儡艺术的探索与创作。
Bangkok-based architecture practice all(zone) directed and curated the second edition of RAM assembles—the Rockbund Art Museum, Shanghai’s biennial festival of architectural thinking. This year’s edition, themed “Shanghai Picnic,” adopted the idea of a picnic as a grounded, open-ended, flexible, and collective framework to foster new conversations about how we build, how we live, and how we adapt. Through artist-led co-creation workshops, performances, and public talks, the festival offered a space for coming together—for listening, exchanging, and building new ways of being in common. Over two weeks, these events unfolded across the ROCKBUND neighborhood, encouraging collaboration, experimentation, and community engagement.
In a city propelled by acceleration, dominated by logical planning and instrumental reason, the human body is gradually reduced to a user of space rather than a perceiver of it. Public spaces are increasingly transformed into corridors for transit or consumption, rather than places for encounter, rest, or presence. The newly commissioned performance Breathing Field is a gentle response and inquiry into such an urban condition.
Rumi once wrote, “Out beyond ideas of wrongdoing and rightdoing, there is a field. I’ll meet you there.” This line became the spiritual starting point of the performance’s conception. Together with performers recruited through an open call, artist Shasha Li asks: is it still possible, in this city of order and glass facades, to carve out a space that resists functionality and control—a “field” where one can breathe, encounter, and let go?
Just as Thoreau went into the woods “to live deliberately,” not to escape society but to reawaken life itself, we hope to create five ephemeral moments of pause through this mobile environmental theatre. Like five picnic blankets unfurled in the cracks of the city, five site-specific puppet performances invite people to sit, watch, move—or miss it entirely.
About the artist：
Shasha Li
Puppeteer, Director, Artist, Puppeteer Studio Art Director
She works with puppetry as a creative methodology, spanning theatre productions, environmental performances, documentaries, narrative shorts, and installations. She is also a researcher and co-curator of the Old Plum Blossom and Spring Fragrance project at the KOLK17 Puppet Museum in Germany.
As the founder of the Puppet Artist Studio, she is committed to the research and transmission of traditional puppetry cultures, as well as the exploration and creation of contemporary puppetry art.
