董金玲，中国

1986年出生于江苏连云港，2008年毕业于云南大学艺术系，现生活于北京。

2010年TORA TORA TORA中国新锐影像展三影堂摄影艺术中心

2010年长沙现场艺术节千年时间

2012年获“以身观身──中国行为艺术文献展2012”优异奖澳门艺术博物馆

Dong Jinling，China

1986 Born inJiangsu Province, In 2008 graduated from the arts department of Yunnan university，Currently lives and works in Beijing.

TORA TORA TORA:Chinese Cutting-Edge Photography Exhibition ( Three Shadows Photography ArtCenter)

2010“Changsha" Live Art Festival ,Changsha.（NewMillennium Center For Contemporary Art）

Works has beenselected in Inward Gazes: Documentaries of Chinese Performance Art 2012,MacaoMuseum of Art.

奥马尔·盖亚特，瑞士/埃及

生于1976，在开罗和伯尔尼生活和工作。

奥马尔·盖亚特1998年获得艺术教育学士学位，早年对戏剧的兴趣，加上对视觉事物强烈的感觉，引领他形成了别具一格的艺术特征：协调了行为艺术，视觉戏剧和透视法三者。

在他的表演中，盖亚特用一种全球语言，包括能被广泛理解的图片，场景，动作，竭尽所能去呈现埃及文化。2003年，他获得了有史以来埃及为行为艺术颁发的首个国家级奖项。在接下来的几年，他在不同的国家进行巡回表演，如法国、波斯尼亚、土耳其、韩国、瑞典、意大利和波兰。

旅行之余，他还在埃及组织了一个长期项目，“Sabeel 开罗”，以推广他的行为艺术。

2007年，盖亚特作为海尔维第的定居艺术家到了伯尔尼。2008年3月，盖亚特开启了一个叫“天堂制造”的项目，与瑞士艺术家Yan Duyvendak和Nicole Borgeat。该项目在全欧洲上演直至2012年，特别是在一些艺术盛会如Zürcher Theaterspektakel和La B?tie in Genevak。

2009年，盖亚特在 Zürcher Hochschule derKünste Z_hdk获得了透视学硕士学位。他的硕士论文主要探讨的是艺术活动中文化编码的问题。

2010年，奥马尔·盖亚特得到了一家在PROGR中心为文化生产服务的工作室，这作为伯尔尼这座城市赋予他的肯定。

奥马尔·盖亚特对“广州·现场”艺术节的参与由伯尔尼的海尔维第，瑞士驻广州总领事馆鼎力支持。

艺术家之声：被隐藏的意象

我表演和寻找的戏剧与任何口头的言辞无关。我寻找一种对我们内心感觉的视觉诠释，我坚信台上的意象比其他一切都强大，而当戏剧本身只有诉诸于一种视觉语言时它才会变得大众通俗化。

关于意象，我指的不仅仅是一张相片或者物体，而是那些我能在观众脑海中建构起来的意象，我称之为被隐藏的意象：一种即使你闭上双眸也能看见的意象。我尝试着去处理口头语言、声音、音乐、舞台身体动作，如果它们具备视觉元素。

OmarGhayatt, Switzerland/Egypt

Bornin 1976, lives and works in Cairo and Bern.

OmarGhayatt received his B.A. in Arts and Education in 1998. An early interest indrama, combined with a strong sense for the visual, led him to develop his owncharacteristic blend of performance art, visual theater, and scenography.

In hisperformances, Ghayatt strives to present Egyptian culture in a global languageof images, scenes and movements that can be broadly understood. In 2003 hereceived the first state prize ever awarded in Egypt for performance art. Thefollowing years, he performed in various countries such as France, Bosnia,Turkey, Korea, Sweden, Italy and Poland.

Alongsidehis travels, he organized a long-term project in Egypt, “Sabeel Cairo”, topromote performance art.

In 2007,Ghayatt travelled to Bern as a resident artist of Prohelvetia. In March 2008,Ghayattstarted a project called “Made in Paradise”, a collaboration with the SwissartistsYan Duyvendak and Nicole Borgeat. The performance has been shown all overEurope,at festivals such as the Zürcher Theaterspektakel, La B?tiein Genevak until 2012.

In 2009Ghayatt received his Master of Scenography from the Zürcher Hochschule derKünsteZ_hdk. His Master thesis explored the question of cultural codes in art work.In 2010Omar Ghayatt received a studio in the PROGR center for culture production asa grantfrom the city of Bern.

OmarGhayatt’s participation at Guangzhou Live is generously supported by Pro Helvetia,the city of Bern and the consulate general of Switzerland in Guangzhou.

Artist Statement - The HiddenImage

Thetheatre I practice and search for does not have anything to do with the spoken words. Isearch for a visual translation of our feelings, believing that the image onstage is muchstronger than anything else and that theater can be universal when it employs a visuallanguage.

Withimage I don?t mean a photo or object - I mean the image I can build in theminds of theviewers. I call it the hidden image: an image you can see even you close youreyes. I try todeal with the spoken words, sounds, music and the body movements on stage as ifthey were visual elements.

莉莉贝斯·昆卡·拉斯姆森，丹麦

1970年出生于马尼拉，菲律宾，现在哥本哈根工作和生活。

莉莉贝斯·昆卡·拉斯姆森是哥本哈根的丹麦皇家美术学院的一名毕业生（1996-2002）。昆卡主要从事于影像和行为艺术的创作。她经常利用她菲裔丹麦籍的身份来作为一个创作的出发点。昆卡以一种批判性的和幽默的方式，收集，改造，大众化了她自己对于个体，文化，宗教，性别和社会关系等问题的阐述。昆卡的作品涉及了撰稿，歌曲，音乐创作还有错综复杂的视觉元素例如舞台背景和服装。

在她的作品案例中昆卡探索着她自己的历史传统并同时质问着女性在艺术史上的地位与女性艺术家的自身的关系。

她在2011年参加的威尼斯双年展丹麦馆中的作品《AfghanHound(阿富汗犬)》：四首视频歌曲（自唱）外加上一个现场行为表演。昆卡已经获得了数个奖项，最近的一次是在2012年的卡尔. 尼尔森与安妮玛丽卡尔.尼尔森奖（丹麦）。2009年她获得了阿肯（ARKEN）艺术奖，Aschehoug的旅费赞助，由Annie & Otto Johs. Detlefs?Philanthropic 基金会所捐赠。2008年获Eckersberg荣誉奖章。在2007年Aage & Yelva Nimbs基金和Grant of Honor &Ole Haslunds基金的荣誉奖。在2006年丹麦艺术 。在2009年，她曾是国际工作室与策展计划（ISCP）的一位驻地艺术家，在这个纽约的驻地艺术计划中昆卡被丹麦艺术协会所赞助，2005年昆卡也获得了该协会的三年工作资金赞助。昆卡现属与斯德哥尔摩的ChristianLarsen 画廊的签约艺术家。

昆卡在“广州·现场”的参与有来自丹麦艺术协会，丹麦驻广州总领事馆和北京的丹麦研究所的大力支持。

艺术家陈述

当我接近30岁时我开始对女权主义意识加强。同时我有了孩子，我也离开了艺术学院。这似乎在不同的层面上改变了我的创作方向。那时人们开始更加关注性别这一问题，对于我来说，做更多关于女性的作品变得愈加重要了。我意识到同时身为一位母亲和一位勤奋的女性艺术家和作为男人相比一样不容易。女人往往需要付出更多的努力才能达到和男同事一样的水平。我们成长在父权主义社会及其传统中，所以男孩和女孩被父母以不同的方式抚养成人。我们需要时间去明白男性和女性的真正不同，虽然我们的思维和行为方式存在着差异，但这并不应该成为达到性别平等的一个阻碍。我相信为了去实现一个关于女性主义和性别平等的对话和理解，去寻找一个可以让两性都可以理解的“语言”是非常重要的。这是我创作的方向之一。我想展现一个女强人的画面，她以一个直接的方式表达她的态度。她是一个为作为女人而感到骄傲的人。我并没考虑到用我天生女性的温柔和感性来进行创作，我的人物是双重的并且同时包含着男性和女性的价值观。女权主义往往是场公平的游戏，这同时考虑和关注到男性和女性。这并不是一场竞争，排挤或战斗，而是一个可以对两性互利的东西。60世纪的女权主义已经为我们完成了一段艰难地工作，不幸的是当今的男性和女性都因此而害怕世界女权主义。那时的她们仇恨男性但同时她们又想生存得像男人一样。我不知道她们是否因此可以做得不同？无论如何作为今天的一名女性，我对她们曾经的奋斗而心怀感激。可惜我们并没有实现性别平等，而且我必须说女性通常要加倍努力才能得到和男性一样多。继续发展她们的工作很重要，即使这在今天已具有不同的意义了。

Lilibeth Cuenca Rasmussen, Denmark

Born1970 in Manila, Philippines, lives and works in Copenhagen.

LilibethCuenca Rasmussen is a graduate from The Royal DanishAcademy of Fine Arts in Copenhagen (1996-2002). Cuenca primarily engages invideo and performance art. She often takes her own Danish-Filipino backgroundas a point of departure. Cuenca gathers, adapts, and universalizes hernarratives in both a critical and humorous approach in regards to issues suchas identity, culture, religion, gender and social relations. Cuencasproductions involve scripted texts, songs; composed music as well as intricatevisual elements that include set design and costumes.

In herre-enactments Cuenca explores her own art historical heritage and questionsboth women’s place in art history and the artist identity as such.

She participated in the 2011 Venice Biennale in the Danish pavillon with Afghan Hound: four songs on video plus a live performance.Cuenca has recieved several prizes most recently in 2012 The Carl Nielsen &Anne Marie Carl Nielsens Prize, in 2009 The Arken Prize, Travel Grant. Donated by Annie &Otto Johs. Detlefs? Philanthropic Foundation, in 2008Eckersberg Medal of Honor, in 2007 Aage & Yelva Nimbs Fond, Grant of Honor&Ole Haslunds Fond, Grant of Honor,in 2006 The Danish Art Price, Aschehoug, travelgrant. In 2009 she was aresident at the ISCP, Artist in residency programme, New York City, sponsoredby the Danish Arts Council, where she also in 2005 received the Three Year WorkGrant.

Cuenca is represented by GalleryChristian Larsen, Stockholm.

LilibethCuenca Rasmussens’ participation at Guangzhou Live is generously supported bythe National Arts Council of Denmark, the consulate general of Denmark inGuangzhou and the Danish Institute in Beijing.

ArtistStatement

My consiousness about feminism got stronger when I was about30 years old. At the same time I got a child, and I got out of art school. Itactually changed my works in a different direction. Since then they have hadmore focus on gender issues, and it has been important for me to do works aboutwomen. I realized that being a mother and a female hard working artist at thesame time wasn't as easy as being a man. Women simply have to work harder toachieve the same level as their male colleagues. We are raised within apatriarchal society and traditions, so boys and girls are raised differently bytheir parent(s). It takes time and understanding about that men and women aredifferent, we think and act differently, but this shouldn't be a barrier toequality. I believe that in order to achieve adialogue and understanding about feminism and equality, it is important to finda "language" that can be understood by both gender. This is one of myaims in my works. I want to show an image of a strong woman with attitude, andwho serves her point of view in a direct way. A woman, who is proud of being awoman. I am not concerned of using my femininity and sensuality in my works. Mycharacter is dual and contains male and female values. Feminism is simply afair play, that concerns both gender. It isn't about competition, excluding orbattling, but something which have advantages for both sex. The feminist fromthe 60's have done hard work for us. Unfortunately both men and women today areafraid of the word feminism because of the 60's. They were men haters andat the same time they tried to be as men. I don't know if they could have doneit differently then? Anyways as a woman today I am greatful for their struggle.But we have unfortunately not achieved equality and I must say that womensimply have to work harder to gain the same as men. It is important to continuetheir work, even though with different means today.

罗伊·瓦拉

我有这样的一个印象，通过每天的新闻，科学技术越先进，我们就更加能体验到它们所带来问题的详细的信息。我最近搬到布达佩斯暂住。我曾经到过很多地方，但却从来没有在地球上的任何地方听过像这里一样如此地频繁响起的救护车和消防车的警铃。我曾试图为了表演而将这些声音记录下来，如果能成功，我将一起展示几卷记录着布达佩斯警铃声音的警示磁带。

Roy Vaara

I've got animpression by following everyday news that the more science and technicalogyadvance the more detailed information we get about the problems they bringalong. I have just recently moved temporarily to Budapest.I have been in many places but never I'veheard anywhere on the globe the alarm sounds of ambulances or fire brigades sofrequently as here. I've tried to record these sounds for my performance. Ifthat will be successful I will unroll several rolls of caution tape together withrecorded the alarm sounds of Budapest.

乔·本尼克，荷兰

出生在 阿默斯福特（荷兰中部城市）现生活在阿姆斯特丹，她曾在阿姆斯特丹皇家艺术学院（Gerrit Rietveld Academy）学习。 她的作品多以西方社会的女性为中心，还有一些关于社会学和政治学的主题。她关注人们生命中的各个体系，承认它的存在并追溯它们的本原。她向自我提出关于宗教，消费，身份，美和生存与死亡等一系列存在性的问题。

Jo Benik，Netherland

Jo Benink,Amersfoort born but now living in Amsterdam.Studied at the Gerrit Rietveld academy.Central in her work is the woman in a western society,in sociological as well as political themes.Her focus is on the various systems in which the human lives,acknowledges its truth and derives its identity from.She asks herself existential questions on religion,consumption,identity,beauty,life and death.

乔金·斯坦普，瑞典

1959年生，在瑞典哥德堡市工作与生活。他是斯堪的纳维亚的领先国际行为艺术节——哥德堡现场行为的项目经理和发起人之一，并积极地促进瑞典和斯堪的纳维亚行为艺术的发展。

乔金·斯坦普父母都是画家，他也因此从小受到艺术的熏陶，对他来说艺术创作如家常便饭同时也是生活不可或缺的一部分。13岁时，他就出版了一本儿童图册《大人们真的认为我们孩子没有头脑吗》，一直至今都从事视觉艺术的工作。过去的五年中乔金·斯坦普在进行绘画和装置的同时，将更多的经历用于行为艺术创作，并参与了荷兰、芬兰、法国、意大利、新加坡、中国及泰国等地的行为艺术节。

在作品中，乔金·斯坦普涉及的是当代社会中触动他的事件，无论是类似于瑞典首相奥洛夫帕尔梅关和小布什的反恐战的政治事件，还是关于舆论审查制度、艺术的与艺术自体系统，或是个人化的问题。乔金·斯坦普是一个叙事者，通过行为艺术中的行为和人类自省来讲述他自身的故事。

Joakim Stampe，Sweden

Bornin 1959, lives and works in Goteborg, Sweden.

Being the son of twopainters, Joakim Stampe, grew up in an artistic environment where art andmaking art was a natural part of life. At the age of 13 he published anillustrated children book “Do adults believe that we children don’t think”, andhave ever since been working with visual art. Working with painting, object artand installation, Joakim Stampe has in the last five years increasingly focusedon performance art and has participated in festivals in Poland, Finland,France, Italy, Singapore, China and Thailand.

Being the co-founderand project manager of Live Action G?teborg, the leading internationalperformance art festival in Scandinavia, he is playing an active role for theproliferation and development of performance art in Sweden and Scandinavia.


In his work JoakimStampe deals with issues in contemporary society that touches him, whether itis direct political topics or for that matter on issues like censorship, theart scene and its starsystem, or more personal subject matter, Joakim Stampe isbasically a storyteller, through the action and the human identification inperformance art.

尼格尔·罗尔夫，爱尔兰

生于1950年，现居住并工作于都柏林。

二十世纪七十年代始，尼格尔·鲁尔夫一直是一位非常活跃的行为艺术家。尽管最近他开始投身摄影录像领域，但他还总将其行为艺术作品的形象和用于创作的具体物品引入他的新领域中。尼格尔·鲁尔夫通过自身躯体与物质世界互动，展现出极具美学意义的姿势。三十年来，尼格尔·鲁尔夫凭借他对这些姿势的细心演绎而享誉全球。鲁尔夫的作品使用许多媒介，例如音响设备、录像和摄影设备。在过去的三十年中，鲁尔夫主要以其现场创作知名。他在整个欧洲，包括前东欧集团国家，还有北美和日本都进行过现场创作。他分别于1997年和1998年参加了光州和圣保罗的双年展。1994年，他的回顾展作品在爱尔兰现代艺术博物馆展出。1996年，他的“尼格尔·鲁尔夫影像集1983—1996”作为回顾展在巴黎现代艺术博物馆展出。

现在，尼格尔·鲁尔夫是伦敦皇家艺术学院艺术系的客座教授，也是美国和欧洲艺术系研究生课程设置的特邀资深指导员。二十世纪八九十年代，他曾与名为“黑市国际”的泛欧团体合作。

二十世纪九十年代后期起，尼格尔·鲁尔夫在爱尔兰也开始进行个人表演。他分别于1998年、2002年、2003年和2004年，在科克国家雕塑工厂、科克电影中心、教会画廊和克莱尔郡的香农山进行了个人演出。后两次演出均以爱尔兰现代艺术博物馆国家级节目中的一项进行的。

Nigel Rolfe, Ireland

Born in 1950, lives and works in Dublin.

Nigel Rolfe has been active as aperformance artist since the 1970s, more recently moving into photography andvideo, though nearly always trading in images relating to his performance work,or to specific objects used in his performances. He has developed aninternational reputation over the last 30 years for his careful execution ofaesthetic gesture through the interaction between his body and the materialworld. Rolfe’s work encompasses many media that include sound and audioproduction, video and photography. His primary reputation for the past thirtyyears is working live, making performances throughout Europe, and the formerEastern Block, North America and Japan. He has participated in the Biennales ofKwangju in 1997 and Sao Paulo in 1998. His retrospective exhibition Archive wasshown at the Irish Museum of Modern Art in 1994, and Nigel Rolfe Videos 1983 –1996 was exhibited as an installed retrospective at The Museed’ArtModerne de laVille de Paris in 1996.

He is Visiting Professor in Fine Art atthe Royal College of Art in London, and Senior Visiting Critic to postgraduatefine art courses in the United States and Europe. In the 1980s and 90s heworked with the pan-European group Black Market International.

Since the late 1990she has made solo performances in Ireland at the National Sculpture Factory inCork in 1998, the Cork Film Centre in 2002, The Church Gallery, Limerick in2003 and Mount Shannon, Co. Clare in 2004 both as part of the Irish Museum ofModern Art’s National programme.

斯坦·海宁森，挪威

生于1962年，在奥斯陆工作生活。

斯坦·海宁森是一位新兴艺术家。自2001年来，他的作品参加过美国、法国、意大利、瑞典、德国及挪威的各个双年展、艺术节等艺术活动。斯坦·海宁森作品常常以一种引起观众愤怒的方式来评判当下的政治、社会、经济和气候因素。斯坦·海宁森在靠近北极圈的斯瓦尔巴特群岛上长大，这是个荒芜严冷的地方，出去购物都需要随身带枪以防备北极熊——虽然亲近自然，但也面临生命危险，这在他的艺术创作中占有举足轻重的影响。他第一个重要的作品完成于2004年。

他周游欧洲各地展示这一作品——《自由的十字架》（Crosses of Liberty），这是一组小型公墓，公墓中有从诺曼底的美国公墓中复制的原大十字架。这与布什以二战烈士陵墓作为伊拉克战争的理由形成鲜明对比。此后斯坦·海宁森继续创作关于当今政治因素的作品，如他自己所说：“我们生活在由父母、祖辈们的价值观及选择所决定的世界。我们同样也在创造我们子孙的未来！选择影响了我们的生活……同时，没有做的选择亦可能更大的影响了我们的生活。

SteinHenningsen，Norway

Born in 1962, livesand works in Oslo. Stein Henningsen is an emerging artist that has presentedhis work at different biennials, festivals and events in France, Italy, Sweden,Germany, America, and of course Norway, since 2001. His work comments on contemporarypolitical, social, financial or climate issues, in a manner that often canprovoke and disturb the viewer. Henningsen grew up in the harsh island ofSvalbard, close to the North Pole, where on

e needs to bring a gun to goshopping because of the polar bears -  A direct connection to nature, butalso to life and death, that has surely influenced him in his artistic work.His first major work was produced in 2004, when he toured all over Europepresenting the performance and installation, Crosses of Liberty, a smallcemetery with life-size crosses reproduced from the American cemetery inNormandy. It was a direct contrast with how George W Bush used the fallenheroes of WWII to justify the war in Iraq. Henningsen has since continued tomake works that deals with contemporary political issues. As the artistsstates, “contemporary society and the world we are living in is created on thevalues and choices of our mothers and fathers and earlier generations. We areall today creating the future of our children and of generations to come! Ourchoices run our lives...  Still we are probably more affected by thedecisions we do not make.”