Dialogue, Friction, Conflict and Collective Work: The Diffusion and Reimagining of Art Collective 对话、矛盾、冲突、协作：艺术团体的消散与再想象
- Event Information 活动信息
- About the Talk 关于讲座
- About the Speaker 关于讲者
- About Series of Lecture of “Spectrum of Performance(ing) Arts” 关于“表演光谱”系列讲座
- About Shanghai Artemis Art Center (SAAC) 关于上海至美艺术发展中心
- About iPANDA 关于当代表演行动者网络iPANDA
- About NEXT MIXING 关于那行
- Miscellaneous of Dialogue, Friction, Conflict and Collective Work: The Diffusion and Reimagining of Art Collective 五艺中心，《两分钟独奏》，导演Marion D Cruz，2013年演出现场。
About the Talk 关于讲座
Working as a collective is not something new. But in comparison to individual artist, art collective more emphasizes dialogue and diversity rather than one-person voice. Also the process can be also considered as a democratic practice. In the continuation of dialogue, members can question, learn and support each other; but it can also provoke conflicts, frictions and even stop the collaboration. In a society dominated by neoliberalism and capital power, why those practitioners can insist in this kind of not productive, not efficient ways of working? This is the first question we would like to raise in the panel discussion.
Based on Kuala Lumpur, Five Arts Centre is a dynamic collective of Malaysian artists and producers, dedicated to generating alternative art forms and images in the contemporary arts landscape. It is well known for cutting edge performances in theatre, dance, music and young people’s theatre, and incorporates aspects of the visual and digital arts as well. Since it was formed in 1984, Five Arts Centre has been committed to articulating the complexity of Malaysian culture and identity through explorations and fusions of local vocabularies, forms and traditions, in relation to the global, modern and cross-cultural. As such, it has been instrumental in the growth of a Malaysian identity in the arts that draws from multiple influences and hybrid histories. Currently, there are 13 members, they are from various backgrounds, not only artists. There are a lawyer, someone from corporate finance, someone from the food and beverage industry in addition to a dancer, choreographer, theatre maker, filmmaker, and activists for women rights and heritage studies. This collective has been running for 34 years, 5 members at the beginning, now there are 13, what makes them carry on?
Grass Stage was founded in Shanghai in 2005, with writer, theatre director Zhao Chuan as its mastermind, and has since accumulated followers and influence. Grass Stage creates alternative, social related theatre in Shanghai. Their work devote to the promotion of new social theatre movement and the creation of non-profit public space. Within a framework of the most basic “poor theatre”, works by Grass Stage use a diverse set of techniques, engendering powerful spaces for intellectual exchange. Grass Stage events made use of a wide range of venues and situations for performances and discussions, are not only spaces for bringing together diverse elements of society, but also provide, in a country relatively lacking in opportunities for public participation, a fluid and varied range of public social spaces.
The two collectives are quite similar in terms of their mission and the composition of members, we look forward seeing more discussions between them according to their own contexts. Also, how do they consider the meaning of working as a collective? How does the concept of collective diffuse and re-image today?
位于马来西亚的五艺中心（Five Arts Centre）是由来自多种不同背景的艺术实践者组成的艺术团体，致力于在当代艺术景观中兴创另类的艺术形式和图像。它以戏剧、舞蹈、音乐和青年剧场的前沿表演而闻名，同时也融合了视觉艺术和新媒体艺术。于1984年，由剧场导演 Chin San Sooi 和 Krishen Jit，与编舞家暨舞者 Marion D’Cruz 三人成立，致力于通过当地语汇、形式和传统，与全球、现代和跨文化的探索和融合，从而阐明马来西亚文化和身份的交纵复杂。这种基于多种影响和混合的历史，因此对马来西亚在艺术中的身份认同的发展起到了关键作用。现行成员有十三人，除了舞蹈家、编舞家、剧场制作人、电影制作人、行动主义者之外，还有人是律师，以及来自于金融业、食品业背景的艺术实践者。一个已经持续运作三十四年的艺术团体，从最初的五个成员，几经迭换，不仅没有结束，队伍反倒变得更为壮大。
About the Speaker 关于讲者
June Tan is a biologist from Imperial College, London and a member of the performing arts collective Five Arts Centre (Malaysia). Since 1997, June has stage-managed, tour-managed, and produced numerous local and international co-productions. Her producing experience builds from a parallel experience in the corporate sector (1997-2008). She is interested in understanding systems and in facilitating space for difference, for discussion, and models for art making. This is seen in her initiation for platforms for emerging practitioners, and her programming for Kotak, an independent arts space in Kuala Lumpur. June is also looking into encouraging networks between Malaysian and Southeast Asian producers and is part of a committee looking at advocacy in the arts. In addition, June has also written scripts for the stage, TV and several Malaysian feature films.
Zhao Chuan is a writer, theatre maker and curator, who creates alternative and socially engaged theatre in Shanghai. He is the founding member and mastermind of theatre collective Grass Stage since 2005. His work is devoted to the promotion of new social theatre movement and the creation of non-profit public space for intellectual exchange. He has been involved in many international art residencies and collaboration projects, awarded several international literature awards, including Taiwan’s prestigious Lianhe Wenxue (Unitas) New Fiction Writer’s Prize in 2001. His recent publications include an award winning book: On Radical Art: the 80s Scene in Shanghai (author, Shanghai Sanlian Bookshop Publishing 2014); The Body At Stake: Experiments in Chinese Contemporary Art and Theatre (co-editor, author, Transcript 2013).
Wu Jiamin is a theater practitioner. Since 2011, he has participated in Grass Stage and took part in the creations and performances of numerous productions, which are notably reflected in his two-time contribution in the sharing of Grass Stage’s Field Maneuvers. Since ‘The World Factory’ in 2014, scrutiny has been on the growing concern about the conditions in tandem with China's emergence as the world's factory, especially those of the young workers. In the past three years, Wu has worked with colleagues at Grass Stage to facilitate drama workshops amongst workers' communities in Shenzhen and Guangzhou, as well as to conduct theater rehearsals that engender a creative method in effort to contextualize the actual situation of workers.
赵川，作家、剧场编导、艺术评论及活动策划人，是2005年开始的民间戏剧团体草台班共同创建和主持者，创作边缘但社会性极强的当代剧场作品。他与草台班同仁激励普通人投身剧场和创作，强调问题意识、以及艺术与社会生活的关联，集体创作包括社会剧场三部曲：《世界工厂》、《小社会》与《狂人故事》等；也参与许多国际驻地和联合创作项目。赵川曾获台湾《联合文学》小说新人奖（2001），已在海内外出版小说、随笔和艺术理论书籍十数种，包括获荐奖的《激进艺术小史》（作者，2014）、《The Body At Stake: Experiments in Chinese Contemporary Art and Theatre》（联合编辑、作者，2013）等。
About Series of Lecture of “Spectrum of Performance(ing) Arts” 关于“表演光谱”系列讲座
As art activities proliferate, performance and performing arts are evermore presented to the public, notably seen in art museums across recent years. The series of lectures of “Spectrum of Performance(ing) Arts” is not designed to invent some new vocabulary or definition, or to inquire “What is Performance (Performing)?”, but to examine how art in an unbound state flows and mutates into a spectrum with colorful connotations and more possibilities. It looks forward to the confluence and interaction of different realms of art, discussions from the artist, curator, researcher and scholar perspectives on issues such as the role of the platform, methods of artistic creation, ways of watching performances, the concept of curating, and the development of performance art and performing art under the globalization framework, as well as more dialogues in unexpected aspects between the speakers and audience.
This series of lectures is jointly initiated by RAM and Zhang Bing, an independent curator, and supported by Shanghai Artemis Art Center.
This lecture is co-organized by iPANDA and NMG.
About Shanghai Artemis Art Center (SAAC) 关于上海至美艺术发展中心
Shanghai Artemis Art Center (SAAC), funded by Anxin Trust Co., Ltd. and approved for registration by Shanghai Bureau of Civil Administration, was established officially on June 6, 2016 as a non-profit art institution.
SAAC aims at promoting the production and development of modern arts, through hosting, supporting and assisting non-profit artistic activities of various forms, including but not limited to art exhibitions, publications, public projects, artistic research, academic discussion, art curating, criticism and writing.
About iPANDA 关于当代表演行动者网络iPANDA
iPANDA is best described as a platform for development action by independent performance artivistis. It is focused on independent performance in China to build up an internal network with the vision of expanding internationally. It is an artists’ collective comprised of independent performance artists, art institutes and platforms from different artistic fields. iPANDA works to consolidate resources to create more possibilities for collaboration and development.
iPANDA (Independent Performance & Artivists Network Development Action) 是由民间自主发起的有关表演艺术交流及分享互助平台。旨在促进中国独立表演艺术领域的内部创作发展，并拓展国际合作的更多可能。建立艺术家—艺术平台机构—跨领域合作资源的多方面整合与交流。
About NEXT MIXING 关于那行
NEXT MIXING aims to create customized space full of contrasts and surprises in close cooperation with users with different needs. It runs activities on topics of art, music, literature, opera, and food for amateurs, and academic discussions among scholars and practitioners in the art world.