Rockbund Art Museum 上海外滩美术馆

Relocating ‘Live’ Art: Between curating for theatres and museums “表演光谱”系列讲座 | 重置“现场”艺术:剧场与美术馆的策划实践

Event Information

Date: 7 December 2018
Time: 11:00 12:30
Venue: Shanghai Study Centre, The University of Hong Kong
Speaker: LOW Kee Hong
Language: Chinese


日期: 2018年 12月 7日
时间: 11:00 12:30
场馆: 香港大学上海学习中心
主讲人: 刘祺丰
语言: 中文

About the Event 关于活动

Is the current inclusion of ‘Live’ Art or performance-based work in galleries and museums part of a market driven trend or a critical shift in programming and curatorial discourse that has led some museums to expand the collection, discussion and presentation of ‘live’ based performance work. While the logic of the so-called performance turn in the production of and experience of art in the context of museums and galleries had its beginnings in the 1960s, the present intensification that seem to have exploded since the early to mid-2000s can be better understood using what Dorothea von Hantelmann calls the experiential turn especially with regards to the recent discussions around contemporary art. The work of Tino Sehgal for the German Pavilion in 2005 at the Venice Biennale for example is very often used as a descriptor of this turn while not necessarily meaning that his work is the originator of this turn. Conversely, the discussions around programming performances for theatres and performing arts festivals for example have also increasingly borrowed from and spoken of using curatorial terms and frames that is more common within the visual arts. The evolution of how artists make work is also 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? In this sharing, I will draw from my own practice both within the visual and performing arts, as well as the current discussions I am having with my museum colleagues both at M+ and elsewhere in how we are trying to relocate and perhaps recontextualise the presentation of ‘live’ art.

目前在画廊和美术馆中呈现的“现场”艺术或基于表演的作品,是市场驱动的趋势的成效,还是源于项目策划及其话语的关键转变,从而导致一些美术馆扩大了对"现场"表演作品的收藏、讨论及展示。在美术馆与画廊中的艺术生产和体验,它们包含的所谓表演转向(performative turn)的概念起于1960年代。

这个看似开端于2000年中期并拓展到今日的集约现象能够通过多萝西·冯·汉泰尔曼(Dorothea von Hantelmann)称之为体验转向(experiential turn)的观念得到更好的理解,尤其是对于近来在当代艺术语境中的讨论。例如,2005年威尼斯双年展德国馆的提诺·赛格尔(Tino Sehgal)的作品经常被用来描述这一转折,但并不一定意味着他的作品是这一转折的创始者。


About the Speaker 关于讲者

Kee Hong is currently Head of Theatre, Performing Arts at the West Kowloon Cultural District Authority, Hong Kong SAR China. He was the Artistic Director and General Manager of the Singapore Arts Festival from 2009 to 2012. Organized by the National Arts Council Singapore, the Festival played an important symbiotic and catalytic role in the development of the artistic and cultural life of Singapore. The Festival saw its turning point in 2010 as it embarked on a new phase of development under the leadership of Kee Hong. Key changes and initiatives include turning this international arts platform into a Creation and People’s Festival and a yearlong participation program, com.mune to sustain the Festival’s engagement with the public beyond individual shows staged during the Festival period. Formerly, Kee Hong was the General Manager of the Singapore Biennale, developing it from its inception in 2006 to the largest international contemporary visual arts platform in Singapore.

刘祺丰现为香港西九文化区管理局表演艺术主管(戏剧)。从2009 至2012 年,刘祺丰曾任新加坡艺术节艺术总监及总经理;由新加坡国家艺术理事会主办,新加坡艺术节不仅具有其象征性的地位,更是扮演催化新加坡的艺术文化景观的重要角色。尤自2010 年于刘祺丰的领导之下,新加坡艺术节发展出新的面貌,其主要的改变和契机,不仅是将国际艺术平台转型为广纳创意和民众的艺节,更策划为期长达一年的教育及外展项目“com.mune”,藉此维持艺术节与社会大众的参与性。刘祺丰亦曾担任新加坡双年展总经理,自2006 年于其带领之下,新加坡双年展成为国内最大型的国际当代视觉艺术平台。

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.



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.



About Shanghai Study Centre, The University of Hong Kong (HKUSSC) 关于香港大学上海学习中心

The Faculty of Architecture at The University of Hong Kong established Shanghai Study Centre in 2008. It is housed in the historical Post Office Building, on Suzhou Creek.

The Study Centre aims to be a place where new ideas emerge about urban development in the fastest urbanizing region in the world. The public program at HKU/SSC invites critics with challenging opinions, architects with provoking viewpoints, planners with innovative solutions and academics with new theories – all with the aim of understanding the current condition in Chinese cities, and to explore beyond today and tomorrow. The goal is to be able to generate new ideas that can contribute to better, more intelligent and more interesting cities and architecture.