30 Years West
三十年河西


Since 2000, we collaborated on a number of performances including Two Artists Piss on Duchamp’s Urinal (Tate Modern, London, 2000), Soya Sauce & Ketchup (Tate Britain, 2012), Two Artists Crawl through Central London (2000) , Two Artists Swim Across the Thames (South Bank, 2000), Two Artists Run Naked Across Westminster Bridge (Westminster Bridge, 2000). We transformed cities, public spaces and museums into stages for performance, put our bodies into the society, culture, politics, events and situations, expressing the wildness of contemporary society and the true reality.

2000年開始,我們實施了一系列的行為藝術計劃,《兩位藝術家在杜尚小便池旁小便》,《兩位藝術家西紅柿醬油大戰》,《兩位藝術家在倫敦爬行》,《兩位藝術家橫渡泰晤士河》,《兩位藝術家裸跑西敏士特大橋》。我們變城市、公共空間、美術館為行為的舞臺,將身體置入於社會、文化、政治、事件和形勢的變化當中,表現當代社會瘋狂和真實的現實。

In 2004, Xi Jianjun and I had our first solo exhibition Happy and Glorious in the Chinese Arts Centre, Manchester. At the opening, hung upside down, our bodies wrapped in the Union Jack flag, we sang the National Anthem and made our pledge to the Queen in the words of the citizenship oath. In the centre of the exhibition there was a customized 9-metre long coffin. Within it there were chandeliers, golden wallpaper, a red carpet and Chinese dim sum for the audience to take.

One Man Demo (2010-ongoing) is an individual project of mine that has lasted four years since 2010. A number of keywords have been chosen for it, including Occupy, Global Democracy, the Arab Spring, Jasmine Revolution, Anti-War, Unemployment, Deficit, Cut, Copyright, Self-immolation, Suicide Bomb, Riot, Murder, Assassination, Institution, Celebrity, Immigration, Facebook, Twitter, Youtube, Tsunami, and Carnival. During the time of Kassel dOCUMENTA(13) in 2012, Xi Jianjun and I occupied a space in front of the Fridericianum Museum with a tent covered in ‘isms’. By the end of the dOCUMENTA, there were about thirty tents.

20 0 4年,我和奚建軍在曼切斯特華人藝術中心舉辦了第一次個展,我們以英國國歌中的歌詞《幸福和光榮》為展覽主題,開幕式身披國旗,高唱國歌,向女皇宣誓。展廳中央放置定制的9米長的大棺材,裡面布置了水晶燈、金墻紙、紅地毯,邀請觀眾吃中國點心。《個人遊行或一人示威(One Man Demo)》,是我持續了三年的行為計劃,以示威抗議的形式,選擇當代關鍵詞,其中有:占領、全球民主、阿拉伯之春、茉莉花革命、反戰、失業、赤字、削減、版權、自焚、人彈、暴亂、謀殺、行刺、體制、明星、移民、臉書、推特、優屏(Youtube)、海嘯、狂歡節。2012年夏季,我和奚建軍在德國卡塞爾文獻展(Kassel Documenta13)實施了三個月的占領期,在主展場美術館(Fridericianum)門前安營紮寨,在展覽結束前,發展到近30個帳篷。

In recent years I established OCCA with my wife Katie Hill, in which we conduct exhibitions, research, education programmes, projects and develop collections to promote artists in the Chinese diaspora. We built a space in our house in the countryside in Oxfordshire, which can be used as both an office and a studio. My most recent project was my collaboration with artist Duan Yingmei who lives and works in Germany, when we organized a month-long performance Optimism in the Oxford project space in February 2014. I Grew up in a Honey Jar served as my opening performance: I wrote down numbers from 1 to 1095 on a 9 metre-long wall, representing my lost youth and freedom.

In front of the audience, I read my confession composed some forty-years previously when I was eighteen, on a ‘criticism tour’ in Nanjing, made to recite it in mine fields, companies and schools to large crowds: “I was born in a revolutionary family, raised in a honey jar. Reviewing the whole of my criminal path, I am ashamed and am filled with self-hatred. I must purge the antirevolutionary thoughts from myself, split away from my evil history, come back to the side of the people, and beg for mercy from the party and the people.”

近兩年我和凱特(Katie Hill)在牛津創立了中國當代藝術班公室(OCCA),開展研究、教育、計劃、展覽和收藏等合作項目,在我們牛津農村花園裡增加了一個用於施工的活動房,不僅做辦公室,也可以做作品。今年我和旅德中國藝術家段英梅合作,在牛津計劃空間創作了為期一月的《樂觀主義》行為作品,《我在蜜罐裡長大》是我的開場白,在9米長的墻線上,從1寫到1095,1095天代表我曾經失去的青春和自由。在觀眾面前,我讀著4 0年前在南京工礦、企業、學校巡回批鬥時的坦白交待書:“我出生在革命幹部家庭,從小在蜜罐裡長大,回顧我走上犯罪道路的全過程,我不禁悔恨交加…我必須徹底清算自己的反動思想,和罪惡的歷史一刀兩斷,回到人民這邊來,爭取黨和人民的寬大處理。”

 


Tips:

East by South East
Old Big School Gallery
18 September 2014 Category: Art


 


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