{{sindex}}/{{bigImglist.length}}

McaM讲座丨情境与感性：六十年代的日常游戏

{{newsData.publisher_name}} {{newsData.update_time}} 浏览：{{newsData.view_count}}

来源 | {{newsData.source}} 作者 | {{newsData.author}}

讲者🎤：蒋斐然

时间⌚️：2020.12.26，14:00-15:30

地点📍

上海明当代美术馆-公共教育空间

上海市静安区永和东路436号

费用💵：免费

Speaker🎤：Feiran Jiang

Time⌚️：14:00-15:30，Dec 26th, 2020

Venue📍

McaM Public Education Space

No.436 East Yonghe Rd, Jing'an Disctrict

💵Free Admission

👇扫描下方二维码进行报名👇

please scan the QR code below to register

今天的读者，依旧会在德波（Guy Debord）的《景观社会》（Society of Spectacle，1967）中感受到绵延至今的现实共鸣。过去似乎还没有过去，又仿若幽灵附体。现实种种，涌动着其历史性的潮汐。而这个周期，或可回溯至上个世纪。

1954年，法国的一群艺术家发行了刊物“Potlatch”，这个词的意思是“冬宴，或夸富宴”。在赫伊津哈（Johan Huizinga）的《游戏的人》（Homo Ludens，1938)一书中，Potlatch是一种文化意义上的游戏。三年后，这群冬宴者成立了情境主义国际（Situationist International)。

情境主义者是一群“游戏的人”。整个六十年代，他们都试图用集体游戏的方式构建临时的情境，以对抗景观社会对感知性的封锁。而今天，当发达的游戏产业在技术、资本和网络的全副武装下成为了景观的重要组成部分，又以艺术的新衣赋予自身正当性时，游戏的人何在？

我们从日常生活出走，进入游戏厅/展厅，我们谈论游戏的人/艺术家；而在六十年代，游戏厅就是日常生活。当我们谈论游戏时，我们在谈论什么？我们谈论的是不是一种游戏？

讲座意在两个时代的对望与张力中重新理解六十年代与当下的社会现实与艺术实践，试问在当代媒介景观中，人的感知性状况，以及游戏的人之可能。

Some fifty years later, today’s readers can still feel the echoes from La Société du spectacle by Guy Debord published in 1967. The past is not gone, its phantom still lingers in the corner. Underneath the still waters of the present is the reverberating tides from the past. The historical cycle could date back to the last century.

In 1954, a group of French artists launched the magazine Potlatch. The word “potlatch” ，according to Johan Huizinga, author of Homo Ludens, is a cultural vessel that holds all things that define these people, which can also be viewed as a kind of play. In 1957, Situationist International was founded, by the same group of people who launched the Potlatch magazine.

The situationists is a typical group of players. Throughout the nineteen sixties, they employed various tactics of collective play to create “situations” where humans would interact together as men of sensibility, rather than mediated by the commodities. Fast forward to today, the spectacle is way more developed than in the sixties. Armed with latest technologies, capital and the Internet, the gaming industry today is enjoying itself the de facto spectacle of our society, yet justified in its combination with art industry. Players are players of games or players of beings? And where are the Homo Ludens?

We step out of everyday life to step into the game cafes/ museum galleries, and we talk about player of beings/artists. Yet the playground for the Situationists back in the sixties situates in the everyday life itself. That begs the question, what are we talking about when we are talking about play? Are we talking about the same kind of play?

In this lecture, the speaker will share her perspectives on social and art praxis, with references to the nineteen sixties and the contemporary, try to ponder about conditions of human sensibility in contemporary media spectacle and the possibilities of play within.

关于讲者

蒋斐然

创作者，策展人

蒋斐然，文字与影像创作者，策展人。毕业于威斯康星大学电影系MFA，现于中国美术学院跨媒体学院当代艺术与社会思想研究所（ICAST）攻读博士，研究方向为60年代先锋派艺术及后现代感性。近年策划“感性沙丘”（2020），“从自己制造的迷宫中逃出去——乌力波60周年”（2020），参与策划“Inter-World-View”（2019）等项目；UnArt线上杂志第二辑专题《科幻幕剧》特邀主编（2020）。

Jiang Feiran is an artist, curator, text and video experimenter. Jiang graduated from the Film Department of the University of Wisconsin-Milwaukee and is currently studying for a Ph.D. at the Institute of Contemporary Art and Social Thought (ICAST) at the Intermedia School of the China Academy of Art. Her research engages with avant-gardes in the 1960s and the sensibility in postmodern age. She is the curator of “Dune of Sensibility” (2020), “Rats escaping the labyrinth——60th Anniversary of OuliPo”, a co-curator of “Inter-World-View” (2019) and the guest chief editor of Sci-Fi Theater for the second issue of UnArt online magazine (2020).

-END-