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NO.10 |
Down and Under, Up and Over: Animalworks by Sun Yuan and Peng Yu -----More |
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Performance Paradigm (# 4) 2008 Emergences: 21st Century Performance emergent forms and themes in performance and culture in the first decade of C21 Edited By Peter Eckersall And Helena Grehan Online Now www.performanceparadigm.net PERFORMANCE PARADIGM No 4, 2008. Featuring reviews of recent books by Rustom Bharucha, Mike Pearson, Leslie Hill and Helen Paris and the enormous Performance Cosmology from CPR in Wales. We also have Meg Mumford’s detailed analysis of recent publications on contemporary theatre in Europe by and Maggie Philiips’ discussion of new work by Ramsay Burt . The articles section features new essays from a number of established and emerging scholars in the field. The topic of new forms and paradigms in performance emerges in essays such as Kate Rossmanith’s account of Bio Art, Jeffrey Morris’s discussion of digital music performance and Diana Smith’s account of Sydney based visual artists ‘The Kingpins’. We are especially excited to be publishing Meiling Cheng’s recent exploration of recent performance work in China. |
NO.9 |
Bloody Animals ------More |
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Reinterpreting Acts of Sacrificial Violence against Animals as Part of Contemporary Chinese Artistic Practice ---Paul Gladston |
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NO.8 |
艺术无法设定——孙原+彭禹访谈
访谈人：李秋实、魏星、林佳 -----More |
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李：我先问一个问题，在《文明柱》之后，你们又作了《幔》、《犬勿近》、《老虎》和《你不能完全得到》，似乎都是对空间中界限问题的关注，越界的可能与不可能，这是基于怎样的一种思考？
孙：我觉得空间的处理只是一种手段，这种空间不是现实当中的空间，越界的问题可能一直是当代艺术所要讨论的事情。
彭：作品在呈现方式上，跟观众也好，跟展览也好存在着一种关系，这种关系可能是你所说的距离。其实很多好的作品都是给你一个空间，存在这个关系。 |
NO.7 |
小心“实验”变成保守和安全的外衣——专访孙原、彭禹 -----More |
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问：最近有什么新作品吗？
彭：在奥地利格拉兹展览了一件新作品，名字叫《老人院》。这些老人坐在轮椅里，轮椅是电动的，每一个轮椅都安装了感应的设备和发动机，可以在展场里自由的走，碰到了东西就会转向，就这样一直不停的动。 |
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NO.6 |
尤伦斯当代艺术中心艺术家系列讲座--关于明天 演讲人：孙原/彭禹（艺术家） -----More |
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主持人（费大为）：欢迎大家。尤伦斯当代艺术中心信息中心是一个和大家接触、活动的场所，这里会经常请一些现在很活跃的艺术家举办艺术讲座。今天我们请到的是中国当代艺术领域中非常活跃的艺术家孙原和彭禹，他们在90年代后半期浮出水面，早期的作品非常惊世骇俗，比如用尸体完成作品。在这之后，从97年到现在已经一晃十年过去了，这十年中，有很多新艺术家出现，也有很多艺术家慢慢消失，像孙原、彭禹这样的艺术家，在这十年中不断做新的作品，寻找新的思路。他们的探索是非常值得我们今天看一下，在这个十年的过程中他们有什么样的思路、做了哪些作品，他们是怎么考虑的。让我们欢迎他们。
孙原：感谢尤伦斯基金会为我们提供这样一个跟大家共同学习和交流的机会，我们把我们的作品整理了一下，在这里集中给大家介绍。
我们先从比较近期的作品开始，然后再慢慢讲到前面的一些作品。这次的讲题目《关于明天》，一方面我们希望能够探讨一些艺术的各种可能性问题，还有就是《明天》也是我们近期的一个作品的题目，我们就从这个作品开始讲，然后讲到其他一些内容。 |
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NO.5 |
栗宪庭&孙原&彭禹对话录（上） -----More |
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栗：水族墙我第一次看是有点压迫感，还在那动，你吃的时候是在水箱里边，现在主要换了一个环境，脱离了水的动物在墙上，而且在过道两边，夹着人，要强迫人家接受，看得很刺激。
孙：感觉上是，基本上看到的也是那样，我觉得挺好看的。
栗：动物换了一种环境。
孙：对，环境的转换，另外它还是有一种视觉上的感觉，动物造型比较古怪，在墙上动，有些尖锐的东西从墙里伸出来，象一个活装饰品。
栗：但是别人看到嵌在墙里边，离开了原来的地方会有一种残酷的感觉。我记得我原来在哪写过几句话，人吃的时候，变成食品的时候不知道这个残酷过程，你把这个残酷的过程呈现给大家，大家最喜欢吃的食品叫“生猛海鲜”，有些饭店最开始火的时候都在前面加个“生猛”。 |
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NO.4 |
Li Xianting’s Dialogue with Sun Yuan and Peng Yu -----More |
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Li: When I first saw the aquatic walls (you made), it felt a little bit overwhelming. The animals (on the walls) were moving. Usually when people have aquatic animals for food, they are taken from an aquarium. Now these animals were placed in a different environment – on walls and out of water. They were on both sides of a corridor where people had to walk through. The audience was forced to take in this work. It was very provocative.
Sun: It felt like that. Basically it looked like that too. I thought it was quite interesting.
Li: It was a new environment for the animals.
Sun: Yes, there was a shift of environment. In the meantime, it had a certain visual appeal: the shapes of the animals were outlandish and they kept moving about on the walls; some with sharp-pointed body parts sticking out from the walls. It was like a live adornment.
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NO.3 |
爱信不信——对彭禹的访问 -----More |
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徐可：能不能介绍一下今年参加威尼斯国家馆飞碟的作品？
彭禹：这个作品是让安徽农民杜文达带着他的自己研制的飞碟，去威尼斯在中国馆试飞。制造飞碟是这个农民自己多年来的工作，至于他自己制造这个飞碟用来做什么，当时我并不知到，可能是要去外星吧。运去威尼斯的飞碟是他制造的第三代，据说第二代曾飞起来一次，只是未留下可靠的证据。我找他的时候这个第三代正在制造之中，在此之前还没有试飞过，我们让他把这个第三代运到威尼斯做第一次试飞，他认为这也是他想检验“能飞与否”的重要环节。 |
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NO.2 |
2003年4月栗宪庭和孙原 彭禹的访谈 -----More |
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栗：我写你们那个展览时，说过一段话，还用了你的一句话“对伤害的迷恋”做题目。包括你和彭禹合作那个用光烤狗的头的那件作品，说生命死了以后，还要继续追杀灵魂。用光烤狗的作品，我们小时候都玩过那个，用个放大镜烧纸，烧小草什么的。
孙：对，那是利用了一个光学原理。这也是我觉得挺有意思的一个场景，拿光线烤一个狗的头部。
我认为这个东西的内在关系是，我让它死以外的那个部分不再出现，让它所有的东西停止在死亡，在这结束。原因就是所有人对死亡的认识：大多数口头不承认，但心理上会认为死亡只是一个阶段剧终，在死亡之后还会有另外一种续集，这是所有信仰宗教的人都认为的，宗教对死亡之后的这一段都有所安排，如果不信仰这些宗教的话，在每个人心理也起码有这种对出局后的猜测。 |
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NO.1 |
Xu Tan Interview to Peng Yu And Sun Yuan -----More |
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You just mentioned the public perception of your works and the natural influence thereof, I have the feeling that most of your early works are not as socially-conscious as the newer ones.
(Sun Yuan)Actually all the materials come from the society, it’s just that some of them come from the relatively private aspect of social life, and some are better-known materials, such as news subjects, social topics. Actually all topics are social topics, it’s just that the attention they draw are of different levels. Also, I don’t think I would go with the idea that currently all subjects derive from the society, I think a lot of them can still find roots in ourselves, but when they are confronted with the society, you’ll need an appropriate translation and conversion system, and then you’ll end up choosing relatively typical materials. It seems to me that you just can’t take the problem separately.
(Peng Yu)In the early days when we were young, our relation with the society are not so complicated, or, shall we say, we were not yet an integrated part of the society, therefore the works we did and the materials we used are not so socially-conscious. But I reckon that anything could be used as material, and you are going to engage in the society more and more as you grow up, eventually you’ll choose those materials in the society that interest you. So I don’t think that subject is the key issue here.
A lot of your works in the exhibitions are focused on the relationship with the society. Do you perceive any differences in China and the West in terms of the audience’s acceptance and feedback? |
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