活動

2014亞際雙年展論壇(上海) 於第十屆上海雙年展─諸眾之貌

諸眾之貌 支持諸眾之貌:亞洲社會運動圖像 出版計畫(2017/09/15~12/25 募資中)
2014上海雙年展論壇召集人:黃孫權
「亞際雙年展論壇」總策劃:張頌仁 高士明 陳光興

「亞際雙年展論壇」是由亞洲知識界聯合組織亞際書院發起的跨界學術項目,旨在聯合亞洲各地藝術雙年展的公共平台,以各雙年展為基體,創設立足亞洲現實語境的聯動思想論壇。論壇將以亞洲現代思想和藝術實踐的若干核心問題,回應各雙年展的學術主題,以期促進亞際藝術界、思想界的交流與反思,從各自的身心感受中提煉出我們共通的現實關切與行動目標。

諸眾之貌:諸眾亞洲資料庫計劃(multitude.asia)

無以計數的詞彙被創造出來描繪社會的集合,人民、大眾、人群、群眾、諸眾、階級等等。越是從上而下的權利部署就喜歡調動這些詞彙,知識份子與民粹主義者幾乎是同樣熱情的表達對這些詞彙的愛好。它們出現在各種傳播媒介上,網絡技術的發展使得它們愈來愈精彩的指涉與它們的恰恰相反的事務,精英、少數、小眾、資產階級集團的偏好。如今,我們企圖重新構造這些詞彙的內容,目的不在於繪制詞彙的正確意涵,相反地,我們要歧義它們直到不同面貌出現為止。用植物的比喻來說,我們在找尋社會動力結構的種子,而非花朵。我們想看到一個群體如何在與其他群體交往中,展開知識與實踐的自我學習,動員力的自主與連結,這向來也是亞際書院所關係的人民與思想的主軸之一。本項目將從亞洲範圍開始,以網站資料庫建立群體交往的檔案,每一檔案有完整的影像記錄與深度論述,及其影像精華版,以此開始,諸眾亞洲方現。

帳篷內外的文化生產:「諸眾之貌」2014亞際雙年展論壇(上海)計劃

諸眾是存在於社會性(societal)空間,而不僅是社會關係下模糊的分類,社會性空間需要粘著劑以使諸眾產生連結(articulation)並得其自身/群體得以辨認。文化生產因此關鍵至要,文化生產總是起著重要作用,使得諸眾間有了深刻同感,集體社會動員力量,以及對抗性的區分。文化不僅生產於追尋各種文化主體過程中的矛盾衝突、認同與情感中,也產生於生活中的通俗文化以及國族文化象徵意涵里。「諸眾之貌」將在亞際雙年展論壇集體的行動過程中,提出之前訪調/拍攝成果的提問:在亞洲內,我們如何思考自身的文化生產?或試問,音樂、媒體、劇場是什麼?起了什麼作用?可以是什麼?我們將以集體行動的方式提出問題,邀請香港的獨立媒體成員、台灣的黑手那卡西成員,以及日本的櫻井大造先生,分別就他們獨特的實踐提出分享與討論。

台灣的黑手那卡西樂隊是台灣最重要的一支「工人樂隊」,從工人的集會場合「助唱」,到與工人們一起做音樂,最後與台灣社會不同底層團體合作,音樂實踐他們來說不僅只是幫助社會運動,而就是社會運動的一環。

香港的獨立媒體,則是成立於2004年十月。歷經05年香港舉辦的WTO部長級會議, 06、07年的天星皇后碼頭保護運動,09年的菜園村、佔領中環、2011年開始的反對東北開發計畫,2012年的碼頭工人罷工事件,獨立媒體成為香港社會動員的基地,意見平台,但也逐漸走向由從反對主流媒體的運動者媒體轉向專業的網路媒體發展。

櫻井大造先生的帳篷劇,是日本六零年代學生運動後的珍貴遺產,通過每一次自己動手搭建帳篷進行演出的行動,構建共同體的反省場。從不拿政府與商業補助,憑著櫻井大造獨特的工作方式,在日本、台北、北京之間形成一個戲劇工作與表演的自主體系,深刻影響了下一代知識青年。

這些珍貴經驗的分享設計,在亞際雙年展論壇中乃首先透過集體勞動,邀請與會者與志願者一同參與搭建櫻井大造團隊設計的帳篷,在過程中,讓交流與勞動一體。再經由台灣、香港、日本、北京團體經驗分享與討論,與最後自主稽古的參與完成。

活動日程

*全部活動均在上海當代藝術博物館戶外帳篷內舉行
*活動語言為中文(部分日語帶中譯)

第一天2014年11月22日(週六)

上午10點:開始搭帳篷
參加者:北京流火劇社成員、亞際書院人員、與會學者

下午5點 – 晚上8點
流火劇社內部自主稽古(內部活動)

晚上8點以後
帳篷聚會(對外開放)

第二天 2014年11月23日(周日)

上午9:30 – 12:30

9:30 – 9: 35
高士明致開幕辭

9:35 – 45
第一部分:介紹「諸眾之貌」計劃
主持人:黃孫權
介紹「諸眾之貌」計劃與與會來賓

第二部分精選影像放映(每段10分鐘左右)與經驗分享

9:45 – 10:45
精選影片放映
香港獨立媒體 葉蔭聰(香港嶺南大學)

10:45 – 11:45
精選影片放映
台灣黑手那卡西工人樂隊陳柏偉等

11:45 – 12:30
綜合討論與回應:黃孫權(高雄師範大學)、孫恆(打工文化藝術博物館)、王岩、劉益紅、甘志雨、曾傑(影片拍攝工作團隊)

下午2點- 5點帳篷記錄影像的放映及說明會。
櫻井大造發表「總演說」,談談近十年在兩岸三地的經驗
回應:王墨林(台灣劇場導演)、牟森(劇場導演)、帳篷劇成員

晚上5點- 8點自主稽古。由流火成員、亞際人員、與會學者參加。(內部活動)

晚上8點以後:帳篷聚會。(對外開放)

第三天
11月24日上午10點
拆帳篷(由參與搭帳篷的成員,以及在帳篷聚會中表示出意願的普通觀眾參加。)

──────

主辦:亞際書院協辦:上海當代藝術博物館,中國美術學院當代藝術與社會思想研究所
贊助:夢周文教基金會
時間:2014年11月22日 – 23日
地點:上海當代藝術博物館戶外帳篷(上海市花園港路200號)

亞際書院
「亞際雙年展論壇」發起人:張頌仁、高士明、陳光興
2014上海雙年展論壇召集人:黃孫權

會務:
王岩(+86 +86 13176725666, rabbit-candy@163.com
陳韻(+86 15900672541,cmargaret@gmail.com

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2014 Inter-Asia Biennale Forum (Shanghai)
At 10th Shanghai Biennale
“Till We Have Faces!”

Organized by Inter-Asia School
Co-organized by Power Station of Art, Institute of Contemporary Art and Social Thought (China Academy of Art)
Sponsored by Moonchu Foundation
Date: November 22 – 23, 2014
Venues: Outdoor Tent, Power Station of Art (200 Huayuangang Road, Shanghai)

2014 Inter-Asia Biennale Forum (Shanghai) “Till We Have Faces!”
Huang Sun Quan, Shanghai Biennale Forum Convener
Inter-Asia Biennale Forum Initiators:Chang Tsong-Zung, Gao Shiming, Chen Kuan-Hsing

The Inter-Asia Biennale Forum is a cross-disciplinary academic project launched by a consortium of Asian intellectuals in association with the Inter-Asia School. The project aims to link together the public platforms of the various Biennales taking place in Asia, and based on each individual Biennale, to create a forum of interconnected thought grounded in the context of Asian realities. Starting with several key issues in contemporary Asian thought and art practice, the forum will respond to the academic topics of each Biennale, with an end to stimulating exchange and reflection among the artistic and philosophical communities in Asia, and to come up with shared concerns and goals for action based on individual life experiences.

“Till We Have Faces!” (multitude.asia) Project

Innumerable words have been used to describe social groups, we have familiar terms such as the people, the public, the crowds, the masses, the multitude, the class, all of which are terms favored by those who prefer to deploy power in a top-down hierarchy. Moreover, intellectuals and populists fall for the very same terminology with similar enthusiasm. With the development of network technologies, the significations of these words have been brilliantly transformed to refer to totally opposite states of affair, such as preferences of the elites, the selected few and bourgeoisie groups. We now propose to restructure the contents of these words, not with the purpose of correcting the misnomers, but with the aim of creating ambiguous meanings until they take on new faces. Metaphorically speaking, what we are searching for are the seeds of social dynamic structure, rather than the flowers emerging from the dynamics.

We wish to show that knowledge and practice can be self-taught through association with other groups of people, then mobilization and networking will also become autonomous. This faith in the people and their thought has always been the core belief of Inter-Asia School.

Starting from Asia, we will start to build archives of group interactions on the website. Every archive will contain complete video records and in-depth discussions. We will also prepare a condensed version of each archive, which will serve as the catalogue for dispersing. Until the Program rolls, then faces will emerge.

Cultural Production Inside and Outside the Tent: “Till We Have Faces!” (multitude.asia) Project 2014 Inter-Asia Biennale Forum (Shanghai)

The multitude exists within societal space: it is not only a vague category of social relations. Societal space requires a kind of adhesive force to help the multitude to develop the possibility of articulation and to gain both a sense of identity of the self and of the community. Cultural production thus plays a crucial role in allowing the multitude to develop a deeper sense of empathic community/commonality and as a force for soical mobilisation that is distinct from confrontational action. Culture is a product not only of the contradictinos, conflicts, identifications and emotions that arise in the pursuit of different cultural entities, it is also a product of the culture of everyday life and of the implications of symbols of national identity.

“Till We Have Faces!” (multitude.asia) Project will constitute a process of collective action at the Inter-Asia Biennale Forum, and will pose a series of questions that have been gleaned from the results of interviews and videos, such as: Within Asia, how do we think about our own cultural production?What exactly is music, media, and theatre? What functions do they serve? And what could they potentially be?We will apply a model of collective action to raise and explore these questions, inviting the participation of members of Hong Kong’s In-Media group, Taiwan’s Black Hand Nakasi Band,and Mr Daizo Sakurai from Japan, to share and discuss their unique practices.

Black Hand Nakasi Band

Black Hand Nakasi Band is Taiwan’s most important ‘workers band’, not only performing at workers’ rallies but also producing music together with workers and collaborating with groups from Taiwan’s disenfranchised classes. For Black Hand Nakasi, their music practice is not only an act of support for social movements, but an integral part of the movements themselves.

Hong Kong In-Media

Since their founding in October 2004, Hong Kong In-Media group has participated in major activist movements in Hong Kong, including the protests during the World Trade Organizations Conference in Hong Kong (2005); the movement to preserve the Star Ferry and Queen’s Piers (2006-2007); the Choi Yuen Tsuen and Occupy Central movements (2009); the opposition to the Northeast New Territories Development Plan (2011); and the Hong Kong dockworkers strike (2012). In-Media has become a base for social mobilization in Hong Kong , and a platform for opinion. More recently, they have begun to move away from their role as media activists in oppostion to mainstream media, and towards the developemnt of a more professional electronic media platform.

Daizo Sakurai’s Tent Theatre

Daizo Sakurai’s Tent Theatre is one of the most important legacies of Japan’s student movements of the 1960s. The main focus of the troupe’s activities was on creating political noise and resistance, and theatre was simply a borrowed form for their actions. Daizo’s unique working methdology, receiving neither government subsidies nor commercial support, has been applied by groups from Japan, Taiwan and Beijing and has effectively formed an independent theatre work and performance system.

The preliminary sharing of these valuable experiences will take place as an action of collective labour during the Inter Asia Taipei Biennale Forum. We will invite both forum members and volunteers to participate in the construction and collective use of a tent designed by Daizo Sakurai’s theatre troupe, as a process of mutual exhange and community labour. This will be followed by sharing and discussion of the experiences of groups from Taiwan, Hong Kong, Japan and Beijing, and we will conclude with a series of voluntary training sessions.

 

上海亞際雙年展論壇將要開始,有香港獨立媒體、台灣黑手那卡西工人樂隊,日本櫻井大造帳棚劇,我們將以實際的親手搭建帳棚、影片/經驗分享和自主稽古的方式進行完全不一樣的”論壇”。尤其,將正式宣佈諸眾之貌資料庫(multitude.asia)的正式啟動。歡迎各位朋友前來,還可以順便看看上海雙年展哩。

主办:亚际书院
协办:上海当代艺术博物馆,中国美术学院当代艺术与社会思想研究所
赞助:梦周文教基金会
时间:2014 年11 月22 日 – 23 日
地点:上海当代艺术博物馆户外帐篷(上海市花园港路200 号)

詳細資料可見網站 http://biennale.asia/2014/shanghai
會議手冊pdf下載 http://pan.baidu.com/s/1c0cpMFY

上海論壇召集人:黃孫權
亞洲雙年展論壇發起人:陳光興、高士明、張頌仁

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