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 活动信息
- About the Event 关于活动
- About the Speaker 关于讲者
- About Series of Lecture of “Spectrum of Performance(ing) Arts” 关于“表演光谱”系列讲座
- About Shanghai Artemis Art Center (SAAC) 关于上海至美艺术发展中心
- About Shanghai Study Centre, The University of Hong Kong (HKUSSC) 关于香港大学上海学习中心
- SPECTRUM OF PERFORMANCE(ING) ARTS 表演光谱讲座
Event Information
活动信息
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。
相反地，剧场和表演艺术节的策划也越来越多地借鉴和运用着策展术语和框架，这些术语和框架在视觉艺术中更为常见。艺术家创作方式的演变也要求着表演或行为艺术策展人和组织者去重新审视围绕表演制作的生态和标准的相关假设。这些领域是否应该保持彼此分离？或者，重新思考这种划分是否更有价值？在这次讨论中，将分享我个人在视觉艺术和表演艺术两方面的实践，以及我与M+同事和其他美术馆机构从业者之间的探讨，从而总结出我们是如何试图重新定位，甚至如何将＂现场＂艺术置于新的语境中。
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.
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。
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.
香港大学上海学习中心由香港大学建筑学院在2008年建立，坐落于苏州河畔的邮政博物馆办公楼内。
香港大学上海学习中心致力于成为各种思想交汇的平台。中心的公共项目汇聚了来自批评者的观点，来自建筑师的实践经验，来自规划者的大局策略，来自学者的创新理论，让学界和业界倾听声音，交流思想。我们希望能够激发更多的新的思路，同公众一道认识更好、更智慧、更有趣的城市和建筑。