惯例下的狂欢
系列公共活动
杨北辰和陆平原对话
主办：德国驻上海总领事馆文化教育处
时间：2013年03月29日 19:00
地点：歌德开放空间，上海，福州路318号高腾大厦101室
电话：+86 21 6391 2068
在 “惯例下的狂欢”为期半年的展览期间，歌德开放空间将持续举办形式多样的公共艺术活动，同时，伴随着每一次的艺术家个人项目，还会举办或公开或内部的讨论会。届时，我们将广泛邀请策展人、艺术家、评论家等文化工作者一同加入与艺术家的对话之中。
03月29日，艺术家陆平原与杨北辰之间的公共对话将是本次展览系列展览惯例下的狂欢的第五和最后一部公共活动。
中文对话、英文翻译
现场座位有限，参与活动需提前预约（info@shanghai.goethe.org）
《生产性焦虑？》
如果说“等待”是某种消极的命题，那么艺术家对“自身”的等待便是对于这种消极的“积极”命名举动：于此，等待不再仅仅是关于静止与沉思的“诗学”行为，更是带有激进色彩的自我指涉，是主体在等待的煎熬中的逐渐显形与确认——就如同海德格尔将“烦”（Sorgen）定义为“此在”的整体机制，“焦虑”，创作的、关系的、艺术史的焦虑同样作为艺术家的某种本体需求而被不断触发。
然而我们必须去关注这焦虑的去向。陆平原的一系列作品都可以看作是对于艺术家焦虑问题的转喻实验，是其对自身创作的物质与心理经验的不断移置（displacement ）。这种带有精神分析色彩的方式使焦虑成为处于“分裂”状态的艺术家与世界沟通的基本方式。如同《等待一个艺术家》中对“湿”的生产，焦虑感通过冷漠的重复与不断的自我审查——对日常行为的荒诞化——得以实现，进而促成了一次艺术家的功能与系统的欲望之间关系的“描述”。然而，如果将这种描述本身视为当代艺术的话，那我们几乎面对一个倒置的过程：是焦虑在生产当代艺术吗？或者作为一种动力与媒材？对焦虑的需要是否要先于对创作的需要？难道焦虑是当代艺术的“主人能指”（master signifier）——可这不也就意味着焦虑其实是“空洞”的吗？
在此，我们希望对这个话题进行进一步的探讨。
简介：
杨北辰，毕业于巴黎第十大学电影理论专业，现博士就读于北京电影学院，并供职于艺术论坛中文网。
陆平原(1984年出生于浙江省)是一位现生活工作于上海的艺术家 ,2007 年毕业于中国美术学院上海设计学院. 作品涉及录像，装置，绘画，行为等媒介，关注的内容包括从对日常的趣味探索到对艺术本身的怀疑，以一种轻松的日常化的趣味转向为一种对艺术本身更为严肃的探讨。陆平原2012年参与了Guest小组的创作，也是独立艺术杂志PDF的发起人之一。
陆平原2011年参与了瑞典IASPIS驻留项目,并在哥德堡 GalleryBox举办了个展 “胶囊”,他的个展 “不包括”曾在北京禾木空间展出（2012），“自律的呼吸”曾在上海M50创意中心展出(2010)，主要群 展包括:“回放-占领舞台”外滩18号(2011),“心境 Moca当代艺术馆文献展” 上海MoCA当代艺术馆(2010):“阅读” 黑蓝空间上海(2010):“青年折 扣店” 艺门画廊(2010) 北京:“用手稿” SHIFT集装箱(2010) 上海:“消失”东大名创库上海(2009):“艺术新经济”奥沙艺术空间 上海(2009):“HORNY A4” Gallery Box, 瑞典哥德堡(2009): “小制作第8回” 证大艺术 馆(2009): “小制作第5回”小平画廊 上海(2008)
关于持续展览项目“惯例下的狂欢”：
在为期半年的时间内，展览将邀请多位艺术家开展艺术项目并分阶段进行呈现。受邀艺术家通过各自的艺术实践展示他们对于身处的艺术体系、价值观念和展览策划讨论的思考与立场，同时，将展览本身作为进一步参与的工具。通过艺术家、策展人及所有参与者的合作，一个主要问题将被展开：展览如何在今天成为一个真正开放，且具有生命力的分享平台？
艺术家将反思中国文化架构及特殊语境下的社会框架等议题，而这些又如何构建个体身份性和艺术实践并在系统内部对各种关系进行定义，这都是我们亟待思索的问题。艺术家将探索不同的展览模式、语境和形态如何反映出个人对于社会结构的态度。
展览试图围绕机构、机构化的形式和展览制作之间的关系展开探讨，这一关系在80年代的中国便已存在；80年代末受阻中断；90年代中期短暂重现，而进入21世纪后，艺术体制化及市场的驱动，直接影响、操纵着今天的当代艺术。
“惯例下的狂欢”试图找到一种抗衡当前艺术生产惯例的方式；提出新的个人实践和参与形式，改变以往审视艺术体系的主导方式。
策展人：比利安娜·思瑞克（Biljana Ciric）
Alternatives to Ritual
Publicprogram series
Discussion between Yang Beichen and Lu Pingyuan
Presented by Department for Culture and Education (DCAE) of the Consulate General of the FederalRepublic of Germany in Shanghai
Date: March 29th 2013, 19:00
Venue: Goethe Open Space, Shanghai, 101 Ascendas Cross Tower, 318 Fu Zhou Road, Shanghai
Tel: +86 21 6391 2068
Goethe Open Space is proud to present an ongoing public discussion series during the exhibition period of Alternatives to Ritual. The formats of discussion will range from open public talks to private closed door discussions around each solo exhibition. This discussion series will be held on regular bases to engage the different curators, writers, artists in dialogue with the artists on the exhibitions presented over a half year period. As the fifth and last of the public program series, a discussion between Yang Beichen and Lu Pingyuan will be held on March 29th.
The discussion will be held in Chinese with English interpretation.
Limited seatings. Please RSVP to info@shanghai.goethe.org to attend the talk.
Introduction:
Production-BasedAnxiety
If “waiting” has a negative connotation, then artists ’waiting for “self” can be seen as an “active” action of naming of such negativity. Hence, waiting is not only a “poetic” action concerning stillness and contemplation but also a kind of radical self-referencing, gradual revelationand self-confirmation. Heidegger defined “Sorgen” (anxiety) as the integral mechanism of “Dasein” (existence). Anxieties concerning creation, relation andart history are constantly triggered as some sort of ontology-based requirement.
We must keep a keen eye on the tendency of such anxiety. Lu Pingyuan’s works can be seen as a metaphorical experiment of artists’ anxiety and a constant displacement of his own material and psychological experience during practice. Such a psychoanalytic methodology makes “anxiety” a fundamental way of communication between the artist, who is in a kind of “splitting” state, and the world. Like the way “humidity” is produced in Waiting for An Artist, anxiety is produced through indifferent repetition and constant self-introspection (to make ordinary behavior absurd), which gives rise to the “description” of the relation between artists’ function and system’s desires. Nevertheless, if the description itself is considered as contemporary art, we are actually putting the incidental before the fundamental: Does anxiety produce contemporary art? Or is it a sort of driving force or media? Is the need for anxiety more urgent than that for creation? Could it be said that anxiety is the “master signifier” of contemporary art? But if so, doesn’t it mean anxiety is actually “hollow”?
This topic will be further explored during the talk.
Waitingfor an Artist, a solo project by Lu Pingyuan is presented as thefifth and last segment of Alternatives to Ritual.
About the speakers:
Yang Beichen graduated in film theory from UniversitéParis X. He is now a Ph.D. student at Beijing Film Academy and works for artforum.com.cn.
Lu Pingyuan, born 1984 in Zhejiang, currently lives and works in Shanghai. He graduated from Shanghai Institute of Design under the China Academy of Art in 2007. Lu works with different mediums such as video, installation, painting and performance. His interest ranges from musings about everyday life to contemplations of art issues, with a relaxed attitude he faces serious discussions about art. In 2012 he participated in the works of Guest, an art collective and is also a founding member of digital art magazine "PDF".
In 2011 he was invited to participate in a Swedish artist-in-residence program by IASPIS and held a solo exhibition "Time Capsule", in Gothenburg’s Gallery Box. His solo exhibitions include, "Not Included" (2012) at Hemuse Gallery, Beijing and “Autonomous Breathing” (2010) at M50 Creative Space, Shanghai. Lu Pingyuan also held numerous group exhibitions, “Taking over the Stage – Reperform” (2011) at 18 Gallery,“Reflection of Minds” (2010) at MoCA Shanghai, “Read” (2010) at Heilan Space, Shanghai, “The Youth Sale Store” (2010) at Pekin Fine Arts, Beijing,, “Use Sketches” (2010) by Shift Station,“Vanish” (2009) at DDM space , Shanghai, “Art Economies beyond Pattern Recognition”(2009) at Osage Gallery Shanghai, “HORNY A4”(2009) at Gallery Box, Gothenburg Sweden “Xiaozhizuo No.8” (2009) at Zhenda MOMA and “Xiaozhizuo No.5” (2008) at, ShoppingGallery,Shanghai.
About theExhibition:
Alternatives to Ritual invited the artists to develop the projects over a half-year period. The artists invited have shown an interest in discussing the art systems and their values, the differentlevels of relations in contemporary art, and the exhibition making through their practices. They also have used to display strategies as a tool for theengagement. One of the main questions is, through working together with the artists, the curators and all the other participants, how the exhibitions can serve as an open and dynamic resource today?
The artists will reflect on the cultural constructions and the social frameworks in the special context of China and how all these form the individual identities and theartistic practices as well as define the relations in the system that we urgently need to question. The artists will also explore how different theformats of the exhibitions, the contexts and the conditions of appearance can reflect the individual attitudes towards our social constructions.
The exhibitiontries to open up the discussion on the relationship between the institutions, the institutional formats and the exhibitions making in China that has existedsince the 80s, which was interrupted after 1989, and had a short appearance again in the mid 90s. It was then interrupted again after the year 2000 due to an institutionalization of the art scene and its market driven existence which are till today its strongest forces.
Alternatives to Ritual attempts to find away to resist the current rituals of the production and the dominant ways oflooking at the art system through proposing alternatives in the form of the individual practices and the new ways of the engagement.
Project is curated by Biljana Ciric
