Conversation | DIRECTIONAL PROTECTION

On the occasion of Ellen Zweig’s online screening program and Exhibition on the Table at Arthub Asia, I will be in conversation with Ellen on the 10th of November in Shanghai.

For more information, please visit Arthub.


Talk | Jumping Around in 2 Southeast Asian Countries

Thanks to the invitation of T.O.P. Art Space, I will be sharing my trip to Yogjakarta together with Xiaotian Li on the 27th Oct. More info could be found here.


Oct-Nov 2018

Writing Residency | Xinzao, Panyu

I am happy to be invited as a writing guest of “方志小说:联合驻村写作计划”, a initiative created to observe and experience the local through writing. During this one week of residence, I will be working with three other writers to find a path into the local environment of Xinzao, Panyu, combining the techniques of documentation and fiction.

方志,在于“辩方经野、因人纬俗”,成一方之志;小说,源自“稗官野史、街谈巷议”,为世情之说。方志记实,关乎现场经验,小说写虚,关乎想象历险,而方志小说将两者杂糅,意在虚实并用,彼此激发,开启协商性的在地写作。——“方志小说:驻村写作联展”展览前言摘选

For more information about the initiative, please visit here.


Sept 23 2018

Performance | Man Without Signal

Man Without Signal, a documentary theatre piece directed by me and created collectively by 44 theatre, will be performing on 23rd Sept at Ming Contemporary Art Museum in Shanghai. Following the two-time workshop on documentary theatre I led at Soeng Joeng Toi in Guangzhou, Man Without Signal found its sources from a real incident to discuss issues like sexual harassment, education system, power dynamic, etc.

Man Without Signal.jpg

44剧场第四回《等信号的人》将在9月23日周日下午3:20左右在“2018他者的舞台——不同表演的研讨和实践”上演。戏剧以一次因为老师的不当行为而导致的女生跳楼事件为剧本原型,借用文献剧的方法、集体创作的形式,试图对经过真实事件以及舆论传播进行演绎化的深入讨论。

我们一方面在文本中研读涉事女孩如何在受侵害之后无法得到及时的援助,在正义无法得到伸张还要面对重重压迫之下的背景下,是如何在“小恶”累积的环境中一步一步踏上绝路。在过程中我们重复剖析一次生命的陨落是如何在层层不作为中就这样悄无声息地发生,直至互联网的浪潮将鲜血送至我们的屏幕上。

另外一方面着力重新思考如何在互联网直播与真实生活的牵绊中创造现实意义。这次的相关工作将以拍摄视频博客开始,在不同的泛互联网景观中游走,研读现实与虚拟的复合空间作为语言的可能性。从朋友圈(私人),直播平台(半透明)到表演的现实(公共)场景中思考互联网与切实的事件中是如何互相作注脚;互联网本身作为一个公共剧场,所有人既是观众也是表演者,带有双重身份的我们又能否预见自己的游动所导向的未知共享景观?


Aug 26+Sept 1, 2018

Workshop | Documentary Theatre and Archive of Reality

I will be leading a two-time workshop on “Documentary Theatre and Use of Archive” at Soeng Joeng Toi.

401448113.jpg

文献为何重要?首先是因为事件的亲历者永远只是少数,而即使是亲历者也只能假借某种“文献”来证明“真实”。

正如近年来社会舆论空间出现的“新闻反转”现象,新闻刚出炉时舆论瞬间将矛头指向一方,可公布了更多材料细节之后,新闻剧情又会突然逆转,让不知事情全貌的观看者眼花缭乱,猝不及防,最终也难以对何为“真实”盖棺论定。互联网传播和数码媒介也在这些不可预测的舆论洪流,甚至在事件发生当下中起到了极大的作用,有时可能扭转了人的命运。

艺术家瓦利.韦德(Walid Raad)曾讲述了一个关于历史学家赌马的故事:赛马场上的追踪摄影师需要拍摄赛马冲过终点的那一刻,而这些历史学家的赌局便是摄影师会在何时拍下照片。"这些画面最吸引人的地方就在于拍下来的马总是或前或后,从没有刚好在终点线上的——从来没有准时拍下的赛马。此刻的流逝是无法呈现的",(Gilbert 2002:40)而我们只有通过超过或未及终点线的照片说服自己赛马当时确实是冲过终点线了。

然而,在高速摄影机被普遍使用的今天,上述故事似乎已经有些过时:毕竟决定胜负的时刻已经不再难以捉摸,但技术的进步既增强了捕捉的能力,也使得伪造和错觉变得易如反掌——真实的时刻终究是不可得的,我们终究只能通过某种代理来接近真实。

而当文献进入剧场,我们见到了一种对”真实“的渴望。但如果说剧场通过再现来与真实建立联系,那么这剧场内外的现实到底如何联通?也许,再现的世界里并没有“真正的真实”,而纪录/文献剧场只能“接近真相”或者“讲述另一套谎言”?在今天这个“替代事实”或者“假新闻”当道的世界,“真实”与“虚构”的传统边界是否被动摇?当”真实“和”虚构“相遇,我们如何可以在这过去的再现中,露出故事并予以回应?


May - June 2018

Residency | Lijiang Studio

I just completed a residence program "MAPPING THE AFFECTIVE LANDSCAPE" hosted at Lijiang Studio in Lashihai, Lijiang, Yunnan.

I'd love to thank Petra Johnson for the invitation and Jay Brown for hosting and the He family for their hospitality.

For more information about the program, please see here.

 
Cooking at the Studio

Cooking at the Studio

At Rabbit's House

At Rabbit's House