[View] Ho Chi Minh Trail (Act 1) - Long March
发起人:art-pa-pa  回复数:7   浏览数:5378   最后更新:2010/10/19 13:29:48 by art-pa-pa
[楼主] art-pa-pa 2010-09-13 11:10:20

2010.09.04 - 11.14

Nowadays, the ideological narrative of post-cold war has transformed into a comedy, whereas the ‘global-local’ ploy of capitalism has been turned to a soap opera.

Five decades ago, the Ho Chi Minh Trail once bound together a common idealism and shared historical imagination. In today’s postcolonial and post-revolutionary world, the trail has been relegated to the dusty storage of stage props of the Cold War era. When long marchers set feet on this trail in attempts to reactivate the network’s latent powers of surpassing boundaries, they find that this once vital conduit of the Cold War system has been fragmented, procured and monopolized by the spectacle of global capitalism.

Ho Chi Minh Trail is a renaming of Long March Project; it is not a continuation or extension of A Walking Visual Display (2002), instead it is conceived with critical reflection of the failures and successes of our previous endeavors. Initiated in 2008, The Ho Chi Minh Trail project is divided into six stages of realization, including field research (2008 – 2009), educational residency (July 2009), physical journey (June to July 2010), ‘rehearsal’ (September to November 2011) and ‘theatre’ (October 2010 to February 2011) and the project’s ongoing database. The project’s ‘rehearsal’ and ‘theatre’ stages constitute the first act of the 8th Shanghai Biennale ‘Rehearsal.’

As a whole, the Ho Chi Minh Trail project is a rehearsal, which implies a call to arms of ideas and expression, an action derived from form, and criticism and self-criticism administered between the intellectual left, artists and curators. It attempts to suspend and anatomize their roles, a reverse engineering of artistic production. In a day and age in which the capitalist cultural industry leaves no stone unturned, we aim to rehearse rather than produce. Our act of ‘rehearsal’ is the way of journeying on the Ho Chi Minh Trail.


[沙发:1楼] art-pa-pa 2010-09-13 11:37:01

In 'Merely A Mistake' Liu Wei gathered materials from his past artworks (geometric installation, bitten buildings), and re-display them according to the space in Long March.

[板凳:2楼] art-pa-pa 2010-09-13 11:55:38
Wang Jianwei

In Wang Jianwei's work, ping-pong tables represent uncertain objects. A monitor shows a sentence: "We have never ever identify that we are believing, whereas ultimately we turned into only trust what we are believing". The name of the author unceasingly changes.

[地板:3楼] art-pa-pa 2010-09-13 12:35:20

Zhang Hui recorded various dialogues during the trip in Ho Chi Minh, re-write them and painted them.

[4楼] art-pa-pa 2010-09-13 13:30:21

Next to Zhang Hui, a work by Wu Shanzhuan. Through observing the C shape installatino one can understand this equation. Water pipes are drawn representing stars system...

[5楼] art-pa-pa 2010-09-13 13:34:09

MadeIn Company "Spread" series continues with this time installations made out of comics' elements assembled and recomposed.

[6楼] art-pa-pa 2010-09-13 13:41:08

Chieh-Jen Chen's was followed by two symposiums.

[7楼] art-pa-pa 2010-10-19 13:29:48
Artist 13 points
Long March project
Sep 3, 2010
source: Long March website

1 The Ho Chi Minh Trail project is a rehearsal for the theatre of mass media – society - art; it is an act of preparation to hurl oneself into the eventual event—a kind of reading of society.

2 Ho Chi Minh Trail is not a search but an encounter, not an expression but an immersion.

3 Taking on the burden of history is not an act of retracing historical memory, but a restless attempt to position the present in history

4 When you are told about a way called the Ho Chi Minh Trail, this is what we call a political moment; and in this moment, you are not innocent. Anybody who has not been told about the trail is also not innocent. The Ho Chi Minh Trail exists in every one of us.

5 Journeying between historicism and opportunism?

6 How can artists avoid massaging ideology?

7 Art as an autistic theatre—a closed circulation of images, symbols, power, and values.

8 Under the weight of truth, we search for the luggage of history

9 We are not seeking for a new political topic or space but a renewal of our political approach.

10 Be cautious of identity politics, the politics of discourse, and the culture of healing as therapeutic means for political compensation

11 How can we arrive simultaneously at the originality of art and radicality of politics

12 With what has the historical practice of socialism left us?

13 One must first become an artist then an individual