应澳门牛房艺术仓库的邀请，由周斌和吴方洲组织，2010年12月4日，《庆典——自由的1/6注解》（澳门版）在牛房上演，参加的六位艺术家分别是来自成都的何利平、刘成英、吴承典、周斌，来自长沙的何玲和来自西班牙的打油。
《庆典——自由的1/6注解》（澳门版）延续了《庆典》起始以来的创作规则：在不清楚自己怎样做，同时也完全不知道其他艺术家怎样做的情况下在现场进行60分钟的即兴创作。
《庆典》就是在放弃任何的评判标准下的尽情制造混乱的冒险之旅。



左起：吴方洲、何玲、何利平、打油、刘成英、吴承典、周斌

看上去还行，有视频吗

不错的实验……

你们已经做了好几场了，下面要怎样做才有突破呢？好像有点形式化了。

慶典 – 自由的1/6註解
Celebration: The 1/6 Comments of Freedom

場地: 澳門牛房倉庫
Place: Oxware House, Macao

時間: 2010/12/2, “慶典” 表演兩天前
Time: 2010/12/2, two days prior to Celebration

(訪談者: 賴秀華，以下簡稱 SW；受訪者：周斌、何玲)
Interviewer: Lai Sao Wa, abbreviated as SW in the following
Interviewees: Zhou Bin, He Ling

SW: 慶典這個題目中的1/6 有什麼特別的含意？

SW: What’s the special connotation behind the theme “Celebration: The 1/6 Comments of Freedom”?

周斌： 因為慶典最大的特點，每一個人在現場都是獨立的，在這個現場之前，我們六個人--每一個人都不知道會做什麼。慶典是強調即性的，就是你在現場臨場的發揮，你要做什麼。所以，在這個現場之前，我們強調所有的人都不要去想要做什麼，不要去想好一個方案在90分鐘裡把它做出來，而是在開始以後再想怎麼做。還有一個就是，我們互相之間，因為每個人都不知道自己會做什麼，所以當然每個人都不會知道對方會做什麼，但是我們六個人是同時在場的，這樣的話就會有一個配合的問題。我們強調1/6，就是說每一個人都是獨立的，都是自己是自己的主宰，不像一個戲劇有主角有配角，有不同角色的安排。我們是沒有的，每一個人在場都是獨立的。我們選擇的藝術家都是有經驗的藝術家，他們自然會考慮到誰的作品比較精采，可能我要稍為低調一點，次要一點，讓觀眾注意到他，所以這一些都要在現場達成配合。

Zhou Bin: The biggest feature about Celebration is—everyone at the scene is independent, and at this scene, the six of us do not know what the others are going to do. Celebration stresses on the impromptu performance from the artists. That is why prior to the performance, we emphasizes that we don’t need to have a ready plan for what should be done in this 90 minutes; instead, you’ll only need to think about it when the performance starts. Another thing is, since each of us do not have an idea on what we are going to do at the scene, we’ll not know the other artists’ actions and that will generate a coordination issue. However, 1/6 is all about the independence of each performing artist—we are our own masters, and our performance is not like a drama where there are main characters, subordinates and other predetermined roles. The artists we’ve chosen are experienced, who will naturally play down for a little for diverting more attention from the audience on the member who is performing particularly outstanding. We’ll accomplish this coordination issue at the scene, so to speak.

而且這六個人不都是做行為藝術的，有做聲音藝術的，有做映像的，有做行為的，所以這些不同媒材在現場同時發生，會產生什麼東西，我們最感興趣的是就是說，它是不可決定的。所以我們慶典從去年，○九年三月第一次做，在成都；第二次在重慶，第三次在長沙，第四次就是在澳門。我們的藝術家會有小的變化，每一次都會有一些不一樣。慶典這四場我相信都會不一樣，至少之前的三場都完全不同。

And the six of us are not all performance artists—some do sound art and video; so what we’re fascinated about the performance is the thing that the mix of all these different media will generate. Also, we are mostly interested in the indeterminacy of the performance. Our Celebration group started the first performance in March last year, in Chengdu. The second time was in Chongqin, the third in Changsha, and the fourth time is in Macao. For each performance there are some slight variations in our groups. So every time the performance is not the same, and I believe the fourth one we have in Macao will be different, too, at least the three previous ones we have are totally different from one another.

SW：那之前觀眾的反應怎麼樣？

SW: How did the audience react to your previous performances?

周斌：觀眾都覺得很新鮮，在他們的經驗之外，然後他們也不是太能看得懂，不知道裡面要表達什麼，因為慶典本身不是要表達什麼，它就是一個很純粹的藝術家通過自己的身體，或者通過自己的聲音、藝術，通過映像營造一種氣氛在現場，你可以感受到一個東西，但那個東西是沒有一個明確的意思的，而且也有可能某個藝術家的作品在某一個時間—你可能看到他要表達什麼，但是它都是碎片，都不是一個統一的「我們要一起表達什麼主題」，都是很零碎的，這樣一個片段式的組合。

Zhou Bin: The audience found it fresh—it’s something outside their experience. They didn’t really understand much about the performance or the message in it, because celebration itself is not to carry any special meaning. It is purely a vibe that the artists are trying to create at the scene through their bodies, sound or other art forms. You can feel a certain something at the scene, which may not carry an exact meaning. You may see that the artist, at a particular time, is putting across something, but that something is fragmentary. The whole thing is not a unified “we are presenting this certain theme together” performance: it is a combination of fragmentary slices.

這是湖南的藝術家何玲，我們在長沙的活動是何玲和我一起來組織的，在長沙的那個場地非常美—在一個湖面上，晚上，然後在湖面上搭了一個不大的台子，非常漂亮，有些市民晚上在划船，「欸他們在幹什麼呢」，就過來看，很自然的形成一個很放鬆的狀態。

This is He Ling, an artist from Hunan. The Celebration in Changsha was organized by the both of us. The performing venue there is very beautiful. It is on a lake, where we have built a stage at night and it is not very large. It’s really beautiful. Some locals were rowing boat there at night and were curious about what we did. Then they have come over and watched our performance. It has naturally become quite a relaxed state for us.

SW: 但是現在的[慶典]是在牛房的那個密閉空間感覺怎麼樣？

SW: So how do you feel about performing in the closed space inside Ox Warehouse?

周斌：也會很棒，我們覺得其實把我們放在封閉的鐵盒子裡面也會做得很棒，因為我們覺得每一場之前最興奮的是：我不知道自己要做什麼，但是我有一種本能會拼命去想；因為你要呈現的東西，你不能絕對自信你會在現場能夠呈現得很好，所以人有一種本能就是說我應該怎麼做，我們剛才在出租車過來的時候，在路上還說，慶典就是完全的旅遊，我們做慶典的藝術家就是完全以旅遊的心態來做慶典；你要放鬆一點，不要去想「你要做什麼」，然後到那個地方，該做的你就開始，再去想你要做什麼。

Zhou Bin: It’s going to be great too. We have the feeling that we will be doing just as great in a closed metal box because what gets us excited before every performance is: I don’t know what I’m going to do. But at the scene, out of instinct, we’ll think very intensely. You cannot be absolutely confident about presenting really well at the scene, and you will rely on a natural instinct about what you should do there. Just now when we were riding on a taxi before arriving here, we’ve been saying that celebration should be a trip itself; we Celebration artists, meanwhile, are like traveling. You got to be relaxed and not to think “what I should do”. When you are at the scene, just do what you feel you should start on and think about your performance.

何玲：不過它這一種方式同時我覺得對藝術家本身也是一種挑戰，對每一次來觀看慶典現場的觀眾也是一次挑戰，因為它會刷新以往所有經驗，就像慶典一直由周斌組織，他做四次—那怕他做四十四，我覺得對他都是一個挑戰，因為他面對任何一個新的場，它是未知的，所有的一切都是未知的。我覺得這是一個非常富有挑戰性的一種藝術表達樣式。

He Ling: But this format is a challenge itself to the performing artists, as well as the audience because every performance refreshes the previous experiences. Now Zhou Bin—being on the fourth time of doing Celebration—will still be facing challenges even he is going to do a forty-fourth Celebration. Every new scene is an unknown, just as the rest about the performance. I think it’s a really challenging form of artistic expression.

周斌：因為太長的時間藝術家去參加一個展覽都是一個方案，我到那個地方就按部就班地去實施，我覺得這樣會形成一個固定的經驗。因為我一開始發起做慶典，是在零八年底的時候，我做了十多年的行為藝術，突然不知道要怎麼做了，這樣做下去還有什麼意思，但是怎麼樣做會有意思我也不知道，所以我有三個月的時間一直都什麼都未幹，就看看書，喝喝茶，然後回頭想一想，最後我覺得乾脆不要去想了，就亂做吧，沒有什麼標準說怎麼做是好的，怎麼做是不好的—我覺得這些標準全部都給丟掉，你認為好的就是好的，不要去想這種標準，然後就去亂做，而亂做讓它更亂的就是把幾個人一起亂做，然後幾個人一起亂做更亂的一個辦法就是：幾個人是不同好媒介的藝術家在一起亂做，所以慶典實際上是亂做的一個東西。

Zhou Bin: For too long the artists have been doing things as planned for participating every exhibition. I think that will form a fixed experience. The inception on Celebration is at the end of 2008, a time when I suddenly had no more ideas on what could be done next after engaging in performance art for over a decade. I did not have an idea on the meanings of continuing performance art, nor the form of doing it. For three months I did not do anything special, except reading and drinking tea. But reflecting on it I felt that well, we should just throw away the standards on what is good and what is not and do it “anyhow”. Follow on what you feel is good and stop thinking about standards. That’s when we started off to do it “anyhow”, and to make it “messier”, we’ve invited artists engaging in different mediums to participate in Celebration together. You may say Celebration is a “mess-up”.

SW：所以回顧第一次做慶典的感覺怎麼樣？

SW: And how did you feel when you first did Celebration?

周斌：很過癮！每一次都不一樣，每一次現場都是不一樣的，我們的名字刻意的要求要一樣：自由的1/6註解，我們是用我們統一的名字來對比每一次慶典都不一樣，實際上，所以對於參加慶典的藝術家每一次來都是要以放鬆但是非常專注的心態來做；觀眾呢他們不會看到一個預定的劇本，就像何玲說的，藝術家的經驗和觀眾的經驗都是要刷新的，都是不可預知的。

Zhou Bin: It’s great fun! Every performance and scene is different but we insist on retaining the same name: Celebration: The 1/6 Comments of Freedom. To use this uniform name is actually to compare the different experiences of doing Celebration. In fact, for the Celebration artists, they have to stay relaxed yet very focused on their performance; as for the audience, they will not see a predetermined script. Just like what He Ling has said, the experiences of artists and audience alike will have to be refreshed, and is totally unpredictable.

我和打油是第一次見，所以剛才簡單的問了一下他會做映像還是做音樂，然後我就說我們不談了，你愛怎麼做就怎麼做，不要告訴我，我也不願意去知道，到了現場你願意做音樂、映像、行為也好，你自己決定，所以我想這是慶典最大的一個特點。

It is the first time for me to meet Da You (a Spanish artist). Just now I’ve simply asked whether he is going to do video or sound art, and there we stopped. Well you can do whatever you would like to, you don’t need to tell me because I’m not willing to know. At the scene, you may do sound, video or performance art just as you like. And I think that’s the biggest feature about Celebration.

我要参加

好像都可以参加哈，一定你要是艺术家吗？

“庆典”于2009年在成都创立，在一定程度上受国际著名行为艺术组织“黑市国际”（Black Market International）（1985年成立）的启发。
“庆典Celebration”（2009年成立）不是一个团队，而是一种现场创作理念。“庆典”没有导演，所有参与者在现场都是自由呈现的个体。
《庆典》的创作原则：
1、“庆典”没有主题，反对预设作品方案，追求现场最大限度的不确定性，“即将出现的”永远是悬念。
2、“庆典”让不同的表现媒介和创作者在现场自由遭遇、互动和偶发。
3、“庆典”相信并执行即时的灵感，放弃“做出好作品”念头。
4、“庆典”鼓励无所不可的在现场制造混乱，在混乱中寻找可能性。
5、“庆典”每场创作者六人以上，穿浅色服装，时间最短60分钟。