展览的噩梦（下）：双向剧场 | Nightmare of the Exhibition (Part II): the Bilateral Theater
策展人：姚梦溪、张涵露 Curators: Yao Mengxi, Zhang Hanlu 艺术家：黄淞浩、何颖雅、李启万、刘伟伟、刘亚、毛晨雨、施昀佑、唐潮、佩恩恩、子杰 Artists: Huang Songhao, Elaine W. Ho, Kevin B. Lee, Liu Weiwei, Liu Ya, Mao Chenyu, Shi Yunyou, Tang Chao, Zhu Yunjun (Pei Enen), Zi Jie 展期：2015.12.05 → 2016.03.18 地点：上海当代艺术博物馆 | Power Station of Art （2015年青年策展人计划入选项目） “展览的噩梦（下）：双向剧场”是一个动态的展示实践，不仅呈现作品，更呈现艺术家的生产逻辑和工作方法。作为“展览的噩梦（上）”青年艺术家自我组织的延续，“双向剧场”既是实际的展览空间搭建，也是一个价值观隐喻。在空间中，两个阶梯状结构面对面，有机地形成了展示、观看、表演、思考、对峙、生产、生活，及以上这些互相交错重叠的场所。另一方面，“双向剧场”这个概念映射了艺术与社会现实的关系：它们位于同一时空内，上演着互相干扰的戏剧，舞台同时是对面舞台的观众席，而演员和观众始终“客串”并“互串”。构建戏剧空间将作为研究方法和创作语言贯穿于展览结构和艺术家作品中。
The Nightmare of the Exhibition (Part II): the Bilateral Theater is a dynamic presentation not only of chosen artworks, but also of the creative process and working logic of the artists. It is partially a continuation of the self-organization of young artists practiced in the first part of the Nightmare. The Bilateral Theater, as the second “nightmare” is titled, is both a physical structure in the museum space and a metaphor of a shared value. In the space, two large stair-case-shaped structures face each other, forming the functional and overlapping sites of displaying, viewing, performing, thinking, confronting, and living. On the other hand, “the bilateral theater” reflects the relationship between art and social reality: they are two backdrops sharing the same space. One stage is the audience of the other stage across, and what is played on two stages are mutually affective/affected. The actors and the audience members are simultaneously juxtaposed and interchangeable. Noticeably, a number of the artists in the exhibition take the approach of creating theatrical spaces in their socially conscious works.
The Nightmare of the Exhibition (Part II): The Bilateral Theater does not have a curatorial theme; rather, it recruits artists whose practices are distinctive yet interrelated. More importantly, they participate in the criticism, processing, interference, and reproduction of social reality with a variety of methodologies. Note that most of the works included in the show, their “primary scene” is beyond in the museum space. Each individual context is the foundation both for the artist to create and for us to understand the work. The methods adopted by these artists are rarely academic; rather, they conduct researches that are by no means intended to reach any conclusion. The artists value perspective and bodily experience more than more knowledge or any clearly defined ideology. The repeated topics include: site-specific practice, actions in urban space, anthropology, writing, and a mediated social life.
We notice that almost all artists included do not regard their work as the sole means of living. Such a position allows them to observe the field in a safer distance. It is because of that we find a number of the projects in the exhibition is related to a kind of self-reflection in contemporary art world. Their methods include interdisciplinary thinking, medium-introspection, information networking, etc. In addition, the majority of the participants write frequently or are themselves writer. We regard writing as a spontaneous and essential way of method designing.
As a key component of the project, each week, there is a participant coming to the exhibition space, interacting and discussing with other participants and the museum goers. The form can be reading group, performance, drama, workshop… And the supportive reading, live recording, and other relevant materials of the weekly program will be found directly on the “Bilateral Theater”. The program is intended not only as a platform for a more organize display of the artists’ work, but also as a field where opinions are generated and confronted, forming a visible creative chain from opinion to the resulted artworks. Additionally, there will be a parallel “exhibit” on our Wechat account where writings, documents, and online projects are posted.
If the first part of the Nightmare is an attempt of collective practice, the second part is a collection of practice, which casts more focus on the individuality and the recovery of the original context, paradoxically in an established institution, which makes the entire process schizophrenic and temporary—so are the works in the show. The nightmare is on.
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