Rockbund Art Museum 上海外滩美术馆

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. With different program structure and agenda, the program creates unique experiences for participating artists. In some case it feels like ‘Reality Show’ but in most cases, artists are expected to fulfill a certain goal of agendas of platform usually generating new works collectively in a presentable form.

This talk will share about Artist Lab of Asia Discovers Asia Meetings 2018 (ADAM) curated by Huang Ding-Yun and Henry Tan. From the inspirations, working processes to analysis and reflections on the program formation, direction, outcomes and sustainability of the program. Ding-Yun and Henry will share their personal experiences in participating or curating similar program in their career, such as Mutual Unknown, 2017 in Jakarta and Autopilot, 2014 in Bangkok, TPS Residency 2018 in Melbourne. We then ask further, under the situation of globalization, 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?’

近几年，越来越多表演艺术平台在表演艺术年会或艺术节的框架下以“实验室”、“营队”概念，提供一群艺术家进行短期的驻地。伴随着不同的策划结构与进程，计划往往能对艺术家们创造独特的体验。在某些案例中，像是“真人秀”，但在大部分的状态下，艺术家们在过程中会被期待完成特定的目标，而当中通常是生产出在未来可发展的共同创作。

在这次讲座中，黄鼎云与陈业亮（Henry Tan）将和观众介绍在2018年台北亚当计划 [1]（Asia Discovers Asia Meetings）中由他们所策划的“艺术家实验室”项目，从灵感发想到工作过程，并分析、反思这样计划的结构、目的、结果与其未来的持续性。两位讲者也将分享过去曾参与、策划的类似项目，如2017年在雅加达的“Mutual Unknown”，2014年曼谷的“Autopilot”以及2018年墨尔本的“TPS Residency”。而我们也设法进一步探问，在全球化的情境下，对于艺术家与创意实践者对于这样短期的实验室计划有什么样的想象或期待？它是否有效？我们是否真得能创造新的概念仅透过短短的几天或几周？而什么又是在实验室中对于“共同创作”更深刻的意涵？

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[1] 亚当计划（ADAM）由台北表演艺术中心主办，以为期四天的“表演艺术年会”与“艺术家实验室”为两项主要项目，自2017年开始，至今将迈入第三届。亚当计划强调以“艺术家为核心”的艺术年会型态，有别于常见以策展人、制作人、机构负责人为核心的概念，强调该平台将作为艺术家培养、发展的平台。当中“艺术家实验室”便是透过邀请亚洲各地的艺术家齐聚台北，以两周的时间交互交流、激荡，并在驻地尾声时于年会中进行呈现的计划。

Huang Din-Yun is an artist and theatre director. In 2016, he co-created “Co-coism” with Hung Chien-Han and Chang Kang-Hua. At its inception, the organization is a response to the singular authorship and inertial thinking bestowed on contemporary theatre directors and choreographers. Co-coism highlights “working collectively” in the creation process and underscores that a creator’s independent identity is not mutually exclusive with collaborations and continuous alignments with cross-disciplinary participants.

The works often consider the myriad forms of performance arts and their distinct involvement with live audience; they delineating on such arts’ association with quotidian actions, theater and the coexistence of individual and group concerns. Thereby, the works elicit awareness of independence, motion and sensory of an individual audience/participant in the performance, in effort to devoid the one-way perception of receiving and analyzing and to enable a reconstruction of one’s unique experience through direct engagement and participation.

Henry Tan is an artist based in Bangkok. Tan engages with recent trends and critical debates in participatory art or social practice. Henryandpartners is an ongoing project working on “AnonymÆssage” by using treatment as a medium to investigating the line between treatment, torture and sexual arousal.

Tan currently research on the geopolitics along the maritime silk route and connection between Thailand and Sri Lanka as part of Colomboscope festival 2019. Tan is interested in the meaning of Pearl in history, what does the “Pearl” represent and how people perceived its physical quality and ideology behind implication of “Pearl”.

黄鼎云，是一位艺术家及剧场编导。2016年与洪千涵、张刚华成立“明日和合制作所 Co-coism”，起初以响应当代剧场常以导演、编舞家为单一作者的惯性思维，试图以“和合式 collective”为创作方法，强调创作者独立身份之外，同时能以齐头方式共同创作，并持续与不同领域工作者多样结盟创作。

作品常思考展演形式的诸多样态与以现场作为媒介的特性，对展演与日常中的表演性、剧场性、个体与群体间的存在样态关切，亦着重个体观众/参与者在展演中的自主性、能动性与体感经验，期许观众不仅单向透过感知接收、分析，更能透过直接行为、参与，生产属于自己独特的经验文本。近年创作方向以计划型创作、移动式展演、沈浸式计划、社会参与、临场展演为主轴，亦期待不受形式分类局限。

陈业亮是一位来自曼谷的艺术家。 他近来关注实践艺术或社会实践中的新趋势及其批判性辩论。亨利与他的伙伴（Henryandpartners）是一个持续进行的项目，作品“匿名按摩厅”致力于将物理治疗作为媒介来探讨按摩、酷刑和性冲动之间的界限。

作为2019年 Colomboscope 艺术节的一部分，陈业亮目前正在研究海上丝绸之路沿线的地缘政治以及泰国和斯里兰卡之间的联系。陈业亮对＂珍珠＂在历史上的角色抱有兴趣，尤其是＂珍珠＂所代表的意义以及人们对＂珍珠＂背后蕴涵的物质认知和其意识形态。

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.

随着艺术活动日渐蓬勃发展，行为与表演艺术更多地在大众面前呈现，特别近年来在美术馆里成为被关注的焦点。“表演光谱”系列讲座的策划不在于发明新的词汇或定义，或诘问“什么是表演？”，而是进一步探索、梳理艺术如何在不被“固着”的状态之下，流动、变异并形成一道肌理丰富的光谱，更多的可能性因此发生；并且希冀在不同艺术领域再度合流、交互作用的时刻，从艺术家、策划人、研究者、学者不同的角度去探讨：平台的角色、艺术创作方法、如何观看表演、策划概念、全球化框架下行为表演艺术的发展等等议题，也期待在讲者与观众的交流之间，开启更多不可预期的讨论面向。

本系列讲座由上海外滩美术馆与独立策展人张冰共同发起，并由上海至美艺术发展中心支持。

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.

上海至美艺术发展中心是由安信信托股份有限公司捐资设立，并获得上海民政局批准注册成立的非盈利性艺术机构，于2016年6月6日正式宣布成立。

上海至美艺术发展中心旨在推动当代艺术的发生和发展，举办、支持和扶持多种形态的非营利性艺术活动，这包括但不限于艺术展览、出版物、公共项目、艺术研究、学术研讨、艺术策展、批评与写作等。