《频率:: frequency》现场艺术第一回

策划
吴承典 康书雅
艺术家
行为：刘成英 何利平
诗歌：康书雅（美国）
声音：李琨
影像：马占冬 吴承典
执行
李林森
主办
白夜酒吧
频率•时间组
一半空间
协办
黑蚁文化推广机构
1314
733文化艺术机构
地点
成都青羊区窄巷子32号白夜酒吧
时间
2010年11月20日晚19:30-22:00

《频率::frequency》现场艺术第一回是“频率•时间组”策划，“白夜”酒吧全程主办的综合性跨界艺术活动。做为本次活动的举办地成都，有着悠远的历史，醇厚的文化，浓郁的人文气息，活跃的当代艺术。快速的发展不仅仅体现在城市建设上，还体现在文化的丰富建构上。我们关注各异的思维方式、独具个性的艺术语言的表达。对这个城市，对这个国度，各种差异的方式都将得到展示。包括：行为、影像、诗歌、声音、装置、多媒体、跨媒介艺术、小剧场。
我们以在成都生活和工作的外国艺术家、本土艺术家为主。展开各种现场艺术的交流活动，活跃本土当代艺术的横向融合。为本土当代艺术家提供展示作品、学术交流的平台。定期的、持续的活动将为更多的年轻艺术家提供交流作品的机会。

Frequency Experimentai Live Art 1
《Symbolic Violence》

Curators
Sophia Kidd Wu Chengdian
Artists
Performance art: Liu Chengying He Liping
Poetry: Sophia Kidd (USA)
Experimental Sound: Li Kun
Experimental Short Film: Ma Zhandong Wu Chengdian


Producers
White Night Bar
Frequency Time Group
Half Space

Address
32 Kuan Zhai Xiangzi (in Zhai alley), Qingyang District,
Chengdu, Sichuan, China
Time
20:00-22:00 (Saturday)
《Symbolic Violence》
　　Frequency:: Symbolic Violence, Experimental Live Art 1 is curated by Frequency Time Group,
and produced by White Night Bar and Half Space. Frequency crosses artistic barriers between
media and ethos. Frequency chooses Chengdu, China as its locus, taking advantage of this
city's rich history and culture, its immeasurable humanity and virile contemporary art community.
Rapid urban development takes place not only on the level of construction and infrastructure,
but is as well mirrored in artistic development. Frequency is aware of differences in individual artist choices,
of medium and style of expression, and we wish to cultivate this, for our land, for the people.
We showcase performance art, film, poetry,sound, installation, and multi-media arts.

Featuring artists primarily residing or working in Chengdu, China, we aim to stimulate
artistic discourse.Between shows, we organize platforms for lecture and discussion,
hoping to bring an increasing number of thinkers and young artists into the fold of contemporary Chinese art.

《世界》（行为，刘成英，20-30分钟）

　　穿上绿色外套，身背挎包（包内放12把剪刀）。将剪刀分发给十二位观众。脱
掉外套，邀请手持剪刀的观众任意对外套剪几刀，最后将外套剪成十几个碎片。然
后再邀请几名有剪刀的观众上台与艺术家一起用胶带将服装粘贴复原。艺术家最后
将复原后的服装再次穿上身体后作品结束。
《World》（Performance Art, Liu Chengying, 20-30 Minutes）

　　Wearing a green coat and sporting a handbag full of 12 pairs of scissors, the artist distributes
the scissors, then takes off the coat, and invites the audience to commence cutting up the green coat.
Ideally there will be 12 separate pieces of what was once the green coat. The artist will then invite
audience members to join him on stage where they will repair the coat with adhesive tape.
The artist then once again puts the green coat on.

《自己、爱不包括所有的人》（诗歌，康书雅，20分钟）
诗最难翻译。很冒险，又有实验性。我用母语来翻译中国的古诗。像把一副马克·罗斯科的画嵌
在一副毕加索画里面。
我从仲长统（东汉179-200 c.e.）写的《见志二首》 出发。这两首代表东汉游仙诗风格。我先
把诗翻译成英文，再以翻译过程中发现的困难来即兴，激动我来写一首英文诗，然后把自己写的
诗翻译成中文。最后我用打字机记录现场观众随意说的英文单词试图组成一首英文诗。
在《强力符号》里，我从它原来语言环境里挖掘“意义”，把“意义”放到另外一个语言环
境里。
《myself, but love not everyone》（Poetry, Sophia Kidd, U.S.A., 20 minutes）
Poetry is hardest of all to translate. It's experimental, showing another aesthetic sphere what we look like,
in a whole other set of values and vowels. It's like putting Picasso inside of Roethke.
I start with Zhong Zhangtong (Eastern Han Dynasty, 179220 c.e.), See Ambition, Two poems, in Chinese.
They're poems inside of transcendence, renewal. So I translate that, into English,then write another English poem
based on that experiment, and then translate it into Chinese. Then I type a re-reverse-translation composed by
the audience, in English.
In Symbolic Violence, I wrench meaning out of its native habitat, with my cultural capital, I buy it cheap.

《重要的是方式》（行为，何利平，60分钟）

第一回：约几个朋友去“白夜”酒吧玩。把整个过程拍摄下来！
第二回：从第一回的录像里选五分钟的内容。在相同地点相同位置，把五分钟
时间里的内容用实际行为人为拉长到1个小时。
《Style is Key》（Performace Art, He Liping, 60 Minutes)
Part One: Invite a few friends to join me at White Night Bar, film the whole evening.
Part Two: Create a five minute segment from Part 1 film footage. Then, once again at the
White Night Bar, in the very same seats, personally re-enact those five minutes, doing so
in slow motion over a period of one hour.

《胭脂鱼》（短片，吴承典，3分22秒）

这是关于两性情感的短片。鱼、豚在易经里代表了平衡、忠诚、永恒和信念。
爱情总是和鱼、水有关的，“鱼水之欢”是为了描述男女的爱情高潮。而失去的信
念和倾斜的平衡总是两情相爱的悲剧结果的原因。
《Mullet Fish》（Short Film, Wu Chengdian, 3 Minutes)

This short film is about love between two sexes. Fish, in the Book of Changes, represents
balance, sincerity, and eternal trust. Love always relates, in some way, to water and fish.
"A fish in water" describes the orgasmic pleasure of love, while a disturbance of balance
and loss of trust are usually the resulting tragedy of love.

《广场》（纪录片，马占冬，28分钟）
［公共空间、集体性、个人化的、娱乐、某种缺失］
当下中国公共空间的业余生活

　　广场（街道），城市标志性公共空间，是国家意识形态的载体与象征。在日常
这一公共空间所隐含的表达的却是“非公共性”。而被“允许”的夜晚转换了这种
指向并显示出民众庞杂的趣味与勃勃生机，还原了的公共空间放大了集体狂欢。无
意识的自娱自乐形式，消解了传统广场的政治意图，成为普通人释放感情的出口.在
强调集体意识的传统社会生活中，个体的“存在感”曾依付于“集体／组织”。而
在当下的城市生活中 ，个性化表达的追求却仍然在整齐划一的“集体性”中展现，
并呈现出一种全民狂欢式的荒诞图景。
《Public Square》（Documentary Film, Ma Zhandong, 28 Minutes）

[Public Space, Collectivity, Individuality, Recreation, Sense of Loss]
Leisure in Contemporary Chinese Public Spaces

　　Public space is symbolic of our country's ideology. Implicit in the concept of public usage
is an agreement that we are merely "permitted" to use this space. It can never belong to us.
Night scenes exacerbate this duality, as myriad personal performances of play, rest, and joy
in public space manifest collective mania.
　　Unconscious personal joy effaces traditional use of public space, showcasing emotional
release and escape. Traditionally, emphasis was upon collective ideology and ways of living.
A personal sense of existence was subjugated by the collective group.? Today's city life
reveals the co-opting of individual strategies of expression as a tendency toward codification
of behavior. What appears as a collective mania, is an absurd montage unfolding across our screen.

《时间频率》（声音，李琨，20分钟）

　　将影像与投到现场几个小物件上，由不同位置的影像来控制声音的产生。影像
选择哈勃所拍摄的星云照片，声音使用不同频率的纯音。
频率是衡量在一定时间内有多少震动产生，频率的单位是赫兹，60赫兹的频率
意味着有60次震动发生在一秒钟内。在一定范围内，时间和频率是同步的，但是频
率在被干扰的过程中会与时间不一致，或者因为被强化了某一部分而出现共振。这
个作品就是想借助声与光的相互干扰来表现这些感受。
《Time and Frequency》 （Experimental Sound, Li Kun, 20 Minutes)
　　Images of nebulae, taken by Hubble Space Telescope, are projected onto various sites
in the performance arena. According to the position and image chosen, pure tone sounds of
given frequency will be produced.
Frequency indicates a certain number of vibrations within a given length of time, and is
usually measured in Hertz. 60 Hertz means there are 60 vibrations in a second. Usually,
time and frequency are synchronous, but when vibrations are disturbed, time and frequency
fall out of sync, due to exaggeration and resonance. My piece explores what happens when
light interacts with sound.

《交流》（行为，阎城，12分钟）
作品：不用语言人们可以怎么交流？
实施过程：邀请现场观众10人站成一排，每人举起一根手指，闭上眼睛，静静等待；作者用自己的10个手指一一与观众轻轻接触，然后低头用头发再次接触观众的手指，最后请观众用语言讲出触碰后的感受。

现场很热闹，气氛好

热闹

这个活动内容还挺丰富，也算是跨界的展览，有些作品质量一般，

顶好的。铁轨。

可惜那天有事没去成！

还是喜欢盒子哥~！

盒子哥？

路过！

频率

物质还是能量？我们不需要做出选择。无论作为声音、光线或者水，都有一种波浪通过介质产生周期性的振动，即频率。同样，在固体中，特别是水晶固体，结构也通过分子频率产生。物质或介质中的能量频率决定了它的物质属性，例如，艺术性的媒介在颜色、材质、音调或节奏上都呈现不同的状态。观众可以直接把这个作品作为一种物质现象去体验它，同时间接地感觉到作品的频率。我们不需要在天地之间，肉体和心灵之间，或者能
量与物质之间作出任何选择。

康书雅
2010年9月20日


Frequency

　　We shall not make the choice. Matter or Energy? Whether as sound, light, or water,
waves pulse through a medium in cycles known as frequencies. Also in solids, especially
crystal solids, structure occurs as molecular frequency. The frequency of energy within a substance
or medium determines its material nature, as artistic media, for example, vary in color, texture, pitch, and tone. An observer then directly experiences the work as a material phenomenon,
while indirectly picking up on its determining frequency. The choice need not be made, then,
between heaven and earth, between energy and matter, or between mind and body.
Let us play out the forms, between the forms, as the forms.

Sophia Kidd,
9.20.10

我是打酱油的

旋转基因

本次活动试图以“时间”为借口，“在场”为载体，借个体艺术家的作品对混
沌的现场进行切割。借助作品的形式来探讨：是否抛弃所谓“当代艺术”即“西方
的当代艺术”的模式和经验，讨论当下的实验艺术和传统文化对话的多种可能。
探索当下多重背景、多重节奏、多种规律、多重融合的现状和未来。试图找到
根植于文化交融下本土基因在当代状况下萌发的可能。有时候我们开玩笑：“你以
为是习惯吗？其实那是基因”。这真是一个神奇又无法解释的现象，它总是以烟雾
一样的状态呈现，在你意想不到的地方凸显在你面前，你根本无法绕开它，又惧怕
它。因为它承载了太多的包袱。将近三十年的时间里，中国的当代艺术家大都想远
离它，几乎所有的前卫和实验都以它作为对立面而加以标榜。在饱食了“西方当代
艺术”的快餐后，打着饱隔我们终于清醒的看到：前面已无路可走了。
是捡回传统艺术的元素，简单的呈现“中国性”？还是承接西方艺术的概念，
继续“当代艺术”的噩梦！或者全然不顾中西文化背景的影响，反观内心，静待
“基因”只字片语的信息在作品中的自然流露？
许多艺术家已清醒的看到了中国当代艺术的畸形生长，虽然这个过程不可避免
，但进行移植是必须要做的工作。不断的实验、交流、真实的批评才会有良性的循
环和发展。具有本土文化基因的、具有强烈个人语言风格的实验艺术，才是我们要
寻找的当代艺术。


吴承典
2010年9月成都
Genetic Spin

　　Our event uses time as its kick off, space as its medium. Individual artists demarcate the
live site, and as they do so, probe method and experiment via their artistic choices
Immediately exploring multiple backgrounds, tempos, rhythm, as well as various amalgams
of present and future, we try to recapture the possibilities of the very first emergence of new
culture, to see how it may have interacted with the native "gene". Sometimes we joke,
"You think that's learned? Nope, it's innate." This is a mystical phenomenon, hard to explain,
always appearing in a cloudy way, showing up in front of you in the most unexpected places
of your being.You can't go around it, it's fierce and freaks us out. There's too much at risk.
For 30 years now, Chinese contemporary artists have been trying to avoid this crux,
inadvertently using it as a point of polarity. After gorging on the fast fix of Western contemporary art,
we stand apart, digesting now, and we see clearly that there's no way forward.
Is re-appropriating classical Chinese strophes considered "Chinese" in art? Or should we continue
with Western contemporary art, with its ultimate nightmare? What if we forget about East and West,
and just go within, calmly observe the "gene" code as it is manifests in our work? Time is constantly
spinning forward, and the "gene" changes only slowly, subtly. With time, though, the "gene's"
internal structure changes. This is the spiral ascent of Frequency.
Many artists today have awakened and realized the birth defects in Chinese contemporary art.
This is a painful phase, but the incisions have to be made. Ceaseless experimentation, exchange,
and critique are necessary to make a move.
This event features native and international Chengdu artists working in performance, poetry,
sound, and film media. Each artist makes an incision with his or her own point of artistic reference.
Frequency Live Art hopes through constant exchange to cultivate a continuous flow of new
thought form in artistic expression.
The one with a native "gene", the one with its very own intense artistic vocabulary is the
contemporary art form we are looking for.
　　　　　　　　　　　　　　　　　　　　　　
Wu Chengdian
09.10