Rockbund Art Museum 上海外滩美术馆
Performing Gender: Yeoseong Gukgeuk and Performativity “表演光谱”系列讲座 | 性别操演：女性国剧与展演性
Event Information
活动信息
About the Event 关于活动
Miscellaneous of Performing Gender: Yeoseong Gukgeuk and Performativity
“表演光谱”系列讲座 | 性别操演：女性国剧与展演性其他
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 is a Genre where singing (唱) and dancing (舞) are combined and contains remaking stories of popular myths or novels based on Korean traditional music, Pansori. Yeoseong Gukgeuk 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. Even though Yeoseong Gukgeuk has such a very short history and only few historical documentations, it has achieved totally new modern formation of theatre as much as radical sexual politics in particular period of Korean modernization. So far, Yeoseong Gukgeuk has been studied and analyzed based on only some interviews with several performers who is still alive as a first generation, and some faded personal photos.
Since 2008 until now, the artist siren eun young jung has been working on “Yeoseong Gukgeuk Project”, she tries to create a technology of imagination being closer to Yeoseong Gukgeuk, an image of absence. Through this technology, it argues inherent political possibilities of the minorities in Yeoseong Gukgeuk by critically intervening into the certain hegemony, so-called 'written history'.
于1940年代末期出现的“女性国剧”类似于韩国传统歌剧，在1950年代及1960年代极盛一时，后逐渐没落。这种戏曲类型结合了歌舞，用传统韩国曲艺形式盘索里（pansori）来重述通俗神话或小说里的故事。女性国剧虽然表面上演的是典型通俗剧里的传统性别角色，但因全部角色皆由女性扮演，而别具颠覆的意味。即使女性国剧仅是昙花一现，且只存有一些历史相关记载，但仍开创了现代剧场的新形式，也以基进的性别政治在韩国现代化的特殊时期留下鲜明的一页。目前对女性国剧的研究分析，仅限于访问少数仍健在的初代表演者，以及泛黄的私人照片。
艺术家郑恩瑛从2008至今，对女性国剧进行长时间的调研及创作，试图从历史上短暂盛行的传统艺术中，以录像、行为表演、剧场各种不同形式创造一种想象的技术，以缺席的影像来探讨女性国剧，并挑战“书写历史”的霸权。
艺术家的作品《八景》（2015年）目前正于上海双年展“禹步”展出中，有兴趣的观众可前往观看。
About the Speaker 关于讲者
siren eun young jung studied Visual art and Feminist theory at Ewha Womans University and at the University of Leeds, UK. Her artistic interest lies in how the yearning desires of unknown individuals meet with the events of the world, how such contacts become resistance, history, and politics. She is also constantly attempting to expand the feminist artistic language. One of her prominent projects, Dongducheon Project(2007-2009) was an inquiry of life and death of the female residents in the US Army town of Dongducheon. Since 2008, she has been working on Yeoseong Gukgeuk (Korean Traditional Female Theater) Project in which she follows a community of performers of the genre. In 2013, she was awarded Hermes Foundation Missulsang(prize), in 2015 Sindoh Art Prize, and in 2018 Korea Artist Prize with the project. She also will represent as an artist for Korean Pavilion in 2019 Venice Biennale, with other tow woman artists. Now she lives and works in Seoul, and also gives several lectures at Ewha Womans University, Sungkyunkwan University, and Korea National University of Art.
郑恩瑛于韩国梨花女子大学及英国利兹大学学习视觉艺术及女性主义理论。她的创作关注无名个体的欲望向往如何与现世事件发生交集，以及这种接触如何化为抵抗、历史与政治。她也不断尝试拓展女性主义艺术语言。在她的创作中，“东豆川计划”（2007至2009年）是对于居住在美军基地城镇的女性居民生命与死亡议题的探索；从2008年起，她开始了“女性国剧计划”的创作，持续与此艺术种类的表演者对话。她曾获得爱马仕基金会大奖（2013年）、Sindoh艺术大奖（2015年）以及韩国艺术家大奖（2018年）。她将于2019年与其他两位女性艺术家共同代表韩国参与威尼斯双年展韩国馆。
About Series of Lecture of “Spectrum of Performance(ing) Arts” 关于“表演光谱”系列讲座
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 NMG.
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。
About Shanghai Artemis Art Center (SAAC) 关于上海至美艺术发展中心
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。