1月11日下周六活动预告丨艺术家演讲、文本朗读及对谈
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下周六，2020年1月11日，中间美术馆即将用2场公共活动迎来2020年第一个、同时也是农历年的最后一个活动日。活动分别以英文和中文进行，无需预约，欢迎准时参与。活动免费，观展需购买门票。
Time is Not Even, Space is Not EmptyIn English, with Chinese Translation我将在讲座中与观众分享我的创作路径，其中包含我作为舞蹈二人组“永子与高丽”（Eiko & Koma）的作品，以及我的独舞创作。结合视频呈现，我会阐释我的创作美学和哲学。
作为一名编舞者、舞者和跨界艺术家，我认为时间与空间并不是一个空白画布。时间是河流，它有时如此缓慢，以至于我们看不清它的方向。它有时奔流吞噬，毫无耐心。而我在舞蹈中抵抗动势，抵抗遗忘。当我在舞蹈时，我在观察，在感受，在更多地思考。我渴望在我的表演中创造一个小小的时间口袋。空间在时间中，在这一空间中也曾有其他的生命、情景和记忆。每一个空间都有它特别的所在。我创作的独舞，是作为与逝者或与不明之物的双人舞。在创作中的每一次相遇，每一次探究，都使得距离变得可延展和塑造。（尾竹永子近期受编舞家文慧邀请，美国亚洲文化协会及北京当代艺术基金会的支持来到北京进行艺术家交流互访。）《福岛项目，驹岭站，2014年1月17日，No.146》 摄影：威廉·约翰斯顿 Eiko A Body in Fukushima, 17 January 2014, Komagamine, No 146, Photo by William Johnston 《身在各地，2016年5月27日，佛蒙特州伯林顿莫兰电厂，No.0387》 摄影：威廉·约翰斯顿 Moran Plant, Burlington, Vermont, 27 May 2016, No_0387 Photo by Wm JohnstonIn this artist lecture, I will share with the audience the trajectory of my artist career including that of Eiko & Koma and that of me as a solo artist. Showing videos of works, I will talk about the aesthetic and philosophy of my artistic practice. As a choreographer, dancer and interdisciplinary artist, I do not consider time and space as a blank canvas for artists to draw, paint, or construct on.Time is like a river. It sometimes moves so slow we cannot notice its direction. Like a river, time runs and swallows. Time is not patient. I dance resisting momentum, resisting forgetfulness. When I dance, I observe, feel, and think more. I wish to create, in and near my performer’s body, a small pocket of time that lingers. Space is brushed by time. There were other lives, landscapes and memories in the space. Every space is a particular place. I choreograph and perform a solo as a duet with a dead or a duet with the unknown. By doing so, every encounter and every research can potentially make the sense of distance to places and people malleable. A performance is memory making.（Eiko Otake is in Beijing for a residency on the invitation of choreographer Wen Hui, who was shown at IOAM in August - Dec 2019. Her residency is supported by Asian Cultural Association of America and Beijing Contemporary Art Foundation.）尾竹永子在日本出生和成长，自1976年移居纽约。以舞蹈二人组“永子与高丽”（Eiko＆Koma）的身份活跃40多年后，她于2014年起开始个人展演项目《身在各地》。先后师从日本舞踏宗师土方巽（Tatsumi Hijikata）和大野一雄（Kazuo Ohno），及德国舞蹈大师玛丽·魏格曼的学生马尼亚·施密尔（Manja Chmiel）。永子与高丽共同创作46部作品，2次展览和大量影像作品。他们曾接受惠特尼博物馆，沃克艺术中心和纽约现代艺术博物馆的委约创作。作为创作的里程碑，沃克艺术中心为他们出版专著《时间不均，空间不空》（2009—2011年）。永子与高丽曾获第一届“美国艺术家奖学金”（2006年），“多丽丝·杜克艺术家奖”（2012年）。他们是第一个获得“麦克阿瑟天才奖”（1996）的组合，也是第一位获得“塞缪尔·史克里普斯美国舞蹈节奖”（2004）和“舞蹈杂志奖”（2006）的亚洲编舞者。永子的独舞项目《身在各地》从美国费城车站展开，在超过40多个地点进行了展演。2016年，永子成为第十届年度Danspace项目的主题，同年获得“贝西舞蹈与表演奖”（Bessies），“艺术重要奖金”（Art Matters），以及“匿名的是女性奖”（Anonymous Was A Woman Award）。2017年，Eiko于大都会艺术博物馆放映了她在日本福岛创作的舞蹈，影像根据合作者威廉·约翰斯顿（William Johnston）拍摄的照片剪辑而成，时长七小时。自2017年以来，永子持续探索与不同背景和实践的艺术家的相遇并合作，因此产生新作《双人舞项目：距离是延展的》，该作品于2019年夏季在美国舞蹈节上首演。EIKO OTAKE, Born and raised in Japan and a resident of New York since 1976, Eiko Otake is a movement–based, interdisciplinary artist. After working for more than forty years as Eiko & Koma, she began performing her own solo project A Body in Places in 2014.After studying with Kazuo Ohno and Tatsumi Hijikata in Japan and Manja Chmiel in Germany, Eiko & Koma created 46 interdisciplinary performance works, two career exhibitions and numerous media works. Their durational performance living installations were commissioned by the Whitney Museum, the Walker Art Center, and MoMA. Their Retrospective Project (2009 to 2012) culminated in a comprehensive monograph, Time is Not Even, Space is Not Empty, published by the Walker Art Center. Eiko & Koma were honored with the first United States Artists Fellowship (2006) and Doris Duke Artist Awards (2012). They were the first collaborative pair to share a MacArthur Fellowship (1996) and the first Asian choreographers to receive the Samuel H. Scripps American Dance Festival Award (2004) and the Dance Magazine Award (2006).Eiko’s solo project began with a twelve-hour performance at the Philadelphia Amtrak station. Since then, Eiko has performed variations of A Body in Places at over forty sites. In 2016, Eiko was the subject of the 10th annual Danspace Platform, a month-long curated program that brought her a special Bessie citation, an Art Matters grant, and the Anonymous Was a Woman Award. In November, co-presented by Performa 2017 and Met Live Arts, Eiko occupied on each of the three Metropolitan Museum of Art sites while projecting a seven-hour video she created from William Johnston’s photographs of herself dancing in ruined Fukushima.Since 2017, Eiko has explored various ways to maximize her encounters with collaborating artists of varied backgrounds and practices, manifesting in her new series of works, The Duet Project: Distance is Malleable, which was premiered at American Dance Festival in the summer of 2019. 卿青，中国艺术研究院舞蹈研究所副研究员，加州大学伯克利分校戏剧、舞蹈和表演研究系访问学者。Qing Qing, associate research fellow at the Dance Research Institute, Chinese National Academy of Arts. She was a visiting scholar at Department of Theatre, Dance and Performance studies at University of California, Berkeley from 2012 to 2013.Reflecting and Being ReflectedSpeakers: Liang Dandan, Zhang Hang, Xia Yanguo, Chen Si’an出声朗读剧本对戏剧创作来说是很基本的事情，就像我们小时候在语文课堂上朗读课文。这次的活动也从这样的朗读开始，文本节选自五四以来左翼文艺论争的经典文献。这些文本部分构建了今天从文艺政策到审美习惯的语境，却很少有人注意其来源。我们邀请在场的所有观众共同参与朗读，不需要特别的准备和练习，只是把这些话和偶然到场的其他参与者一起发出声音去阅读。这些在时间推进中进入潜流并在纠正性的论争中不断浮现的文本，经由我们自己的身体重新朗读出来，会给“现在”和“这里”带来什么样的变化？在朗读后，我们邀请四位出生于1980年代的创作者来谈一谈他们在当下的环境中是如何展开工作的。现实生活中存在着种种对艺术家及其创作产生制约的规定，它们是否真的构成问题？那些将艺术家的想象力和创造力向下拉拽的引力，是否只来自外界？几位创作者将从自己的实践出发，讨论在创作中遇到的与现实联系最紧密的问题，以及如何在“做”中深入这些问题，并试着回应自己的提问。Reading aloud a script is very basic activity for theater creation, just like reading a text in the classroom when we were young. This event will start from aloud reading, with excerpts from the classic literature of the left-wing literary debates since The May Fourth Movement. These texts partly construct the context of today’s literary and cultural policies and our aesthetic conception, whose sources are known by only few people. We would like to invite the audience to participate in reading. No special preparations or rehearsals, thrown together randomly, just reading aloud from the words in the text, how will these historical texts be transformed in the here and now by passing through the bodies of ourselves?After reading, we will invite four creators born in the 1980s to talk about how they work in the current environment. There are various regulations that restrict artists and their creation in real life. Do they really matters? Are the gravitational pull that pulls down the artist's imagination and creativity only from the outside world? Starting from their own practices, several creators discuss the issues that are most closely related to reality in their creation, how to go deep into these issues in "doing", and try to respond to their own questions.王梦凡，生于1990年，独立剧场导演、编舞。
WANG Mengfan, born in 1990, indepentent theater director, choreographer.
梁丹丹，北京“真玉制作”工作室制作人。香港演艺学院艺术管理硕士，曾任北京蓬蒿剧场（2008年）联合创始人、创意总监、北京南锣鼓巷戏剧节制作人。她在任期间蓬蒿获得“2013中国话剧金狮奖-最佳小剧场运营奖”。自2016年就研究生论文课题《论观众发展——从寻找观众到复兴公共关系》在中国大陆继续探索并实践。LIANG Dandan is an independent theatre & dance producer and poet based in Beijing. She is the founder of Beijing True Jade Production. She’s a MFA in Arts & Event Management, HKAPA. Until 2014 she was co-founder, creative director and producer of Beijing Penghao Theatre. During her term of office, Penghao won “The Golden Lion of Chinese Drama Award, 2013”.张杭，诗人、剧作者、剧评人。出版诗集《即兴与故事》、评论集《真享乐 当认真》，创作戏剧剧本《月亮的南交点》《国王的朋友》《趋近》等，获“第三届全球泛华青年剧本创作竞赛”首奖。ZHANG Hang is a poet, playwright and critics. He published poem collection “Impromptus and Stories” and essays “Res Severa Verum Gaudium”. His drama scripts include “South Node of the Moon”, “King’s Friend” and “Approximation”. He won the first prize of the 3rd World Sinophone Drama Competition for Young Playwrights.XIA Yanguo is an independent curator and the founder of de Art Center.陈思安，作家、译者，戏剧编剧、导演。“声嚣”剧读节创办人及主理。戏剧编剧作品《冒牌人生》《海水火锅》《在荒野》等。戏剧导演作品《随黄公望游富春山》《吃火》等。出版有短篇小说集《冒牌人生》《接下来，我问，你答》。CHEN Si'an is a playwright, theatre director, poet, short story writer and literary translator. She has written three collection of short stories and seven plays. Her plays were performed at Royal Court Theatre, National Theatre Company of China, Beijing International Fringe Festival. She’s the executive editor of the Wings Poetry, and founder and operator of the script reading brand Sound and Fury.
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