The history of performance art, from its birth among the futurists, to Dadaism, Surrealism and Tristan Tzara, John Cage, Robert Morris, Yves Klein, Joseph Beuys, Yoko Ono, Zhang Huan, Ma Liuming, and to, ‘finally’, its recent, alleged death, compels this form of art to resolutely defy definition and boundary.

行為藝術的歷史——從未來主義、達達主義、超現實主義以及 特里斯坦·查拉(Tristan Tzara)、約翰·凱基(John Cage)、觀念藝 術、羅伯特·莫里斯(Robert Morris)、伊夫·克萊因(Yves Klein)、 約瑟夫·博伊斯(Joseph Beuys)、小野洋子(Yoko Ono)、張洹、馬 六明,以及,“最終”,這種藝術形式最近的死亡——強迫這種藝 術形式絕決地蔑視定義以及界限。

For about a century, performance art goes through a myriad of fields, and that of the theatre is one that performance art relentlessly engages with. But performance art is to be differed from that witnessed in the theatre, because firstly the performer is the artist himself/herself, first and foremost, and is not a character. All that is required by theatre also becomes expendable, be it the proscenium, the script, the rehearsal, or the fourth wall.

近一個世紀以來,行為藝術闖入闖出於無數領域,而劇場藝術自 然是其中一個與行為藝術最為緊密地聯繫在一起的藝術領域。 但是行為藝術得以與劇場藝術相區別,因為表演者就是藝術家 本身,而不是什麼自身之外的、由幻覺所承認的角色。“藝術家在 場”。所有被劇場所要求的事物都變得可有可無,無論是舞台、劇 本、排練或是那第四堵牆。

Performance art negotiates with all available mediums for breakthroughs. From its inception – that is both shaky and marvelous – performance art hijacks the boundaries of visual art with it. However alien it had been to the field, it is recognized positively as a medium that is charged with unpredictability, as a force that is able to bring out the unknown from within. From within – from within the field, and from within the body. This homecoming perhaps is no less substantial than that made by Descartes. This body that was abandoned, after a revolution of the machine leaving a world of despair behind at the Fin de siècle, is awakened once again.

行 為 藝 術 與 所 有 媒 介 交 流 ,以 不 斷 完 成 突 破 。自 形 成 以 來 ,行 為藝術便劫持著視覺藝術的邊界。無論它對這種類而言是多 麼地怪異,行為藝術一直被積極地想像為一種充滿著未知性 的媒介,一種能夠從自身內部拉扯出不可知未來的力量。從自身内部————从视觉艺术的内部,也从身体的内部。对于当下的人來說,這個回歸可能與笛卡爾的縮減式回歸一般重要。這個 被遺棄了的身體,在機械革命於世紀末帶來絕望的時候,再次 被喚醒了。

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