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Posts tagged ‘邂逅 encounters’

photos taken by GB, ME and ES along their daily route.

参与方式即在http://beijing.re-place.info提交你的路线。Participate now by submitting your own route online at http://beijing.re-place.info.

生活的仪式每天都在街道和建筑中沿着固定的轨迹运行,将建成环境中虚虚实实的空间整理成各种故事与街区形态的组合。因为被记忆和社会仪式复杂化,我们所体验到的城市变成了一个动态的场所,一个公共表演的舞台和各种私密的悲剧,变成了许多有意义的时刻和不可理喻的世俗。各种习惯、仪式、人们的行为和生活经验把城市定义成了一种总处于当下的、保持不变的和随机的运动。

延续了PROGRAM和Transit Lounge在2007年发起的rePLACE柏林项目,北京的活动开始于一个公共的邀请,目的是去重新认识 作为一个与日常生活经验息息相关的,对时间与场所的动态记录的城市。

你的参与应该是一个个体的贡献,最终组成对整体城市直白又隐晦的摆动方式的理解,以及对那些与本土的、个人知识、故事、记忆、神话相似或者不同的路的理解。

任何人,只要是在北京,都可以通过标出一条每天经常走的路,并记录下沿途的固定场景或者特定时刻参与进来。只需要根据提示上传你的路线和你途中观察发现所记录下的文字、图像、视频以及/或者录音。 你也可以参与别人准备好的”组团旅行”,只需要下载任何已经上传好的PDF地图并重新体验别人每天的固定路线。

通过项目的不同阶段,rePLACE希望提供一个了解城市的方式,不仅通过它的建成环境,而且通过城市居民每天与它进行的互动——我们遵循的那些路径,以及它们相交、叠加、平行或相切的每个时刻。这最初这是一个对历史和图像制造超出我们传统解读的部分的重新思考,也就是各种形式的遗产保护可以超越被动的被历史化,从而形成一个积极歌颂变化的城市的鲜活过程。

The rituals of everyday life trace regular paths along streets and through buildings, organising the solids and voids of the built environment into narratives and patterns of association. Complicated by memory and social rituals, our experience of the city is of a dynamic place, a stage for public performances and private tragedies, of significant moments and the incredibly mundane. The habits, rituals, and actions of its population, the lived experiences within the city define it as something that is always current, always in constant, random movement.

rePLACE BEIJING begins by a public invitation to reconsider the city as an active process of documenting time and place inseparable from our everyday, lived experience. Your participation is requested as a singular contribution towards an alternative, collective understanding of how the city both literally and metaphorically vibrates, or where ‘the beaten track’ runs rich with/counter to personal knowledge, memory and cultural myth.

Please join rePLACE by mapping out a frequent route from your day-to-day life. Record the regular patterns and particular moments associated with your journey, then simply follow the instructions to upload your route as well as text, images, video and/or sound documenting observations and discoveries made along the way.

Through the various stages of the project, rePLACE seeks to provide a way to understand the city, not only through its built spaces, but in the ways its residents are interacting with it in their daily lives — the routes we follow and the moments where these routes cross, overlap or run tangent to each other. This is foremost a reconsideration of history and image-making outside of our traditional understandings of these terms, where forms of heritage preservation can go beyond passive historicisation and generate living processes to actively celebrate the city-in-flux.

rePLACE柏林是一个由PROGRAMTransit Lounge于2007年发起的项目。 2011年的rePLACE由Daniel Berndt、何颖雅与Fotini Lazaridou-Hatzigoga组织。rePLACE柏林和rePLACE贝鲁特由Anna Lindh欧洲-地中海文化交流基金会、 阿拉伯图片基金研究中心以PROGRAM支持。rePLACE北京由家作坊支持。 更多的信息请e-mail联系: mail[圈A]re-place[点]info
rePLACE is a project initiated in 2007 by PROGRAM and Transit Lounge. rePLACE in 2011 is organized by Daniel Berndt, Elaine W. Ho and Fotini Lazaridou-Hatzigoga. rePLACE BERLIN and rePLACE BEIRUT are supported by the Anna Lindh Foundation, Prince Claus Fund for Culture and Development, the Arab Image Foundation and PROGRAM. rePLACE BEIJING is supported by HomeShop and PROGRAM. For more information please contact: mail[at]re-place[dot]info

Looking around these sterile surroundings at the motley crowd I am part of, I find myself passing judgments in web-like combinations oscillating between curiosity and self-identification; knowing (or thinking) this could be it. My fellow passenger could kill me—but then we’d all die, myself and all the other people in this line (this is beyond profiling, foregoing the preparation for militancy, toward surrender). This means that in such a situation, a kind of bond is formed. An existential family that, like the other kinds of kinship, must be endured and appreciated while in existence and that, when we die together, will live on in one form or another. Group portrait of misfortune and unpredictability.

I can look around and feel something for these people and project narratives onto their expressions, clothes and luggage, onto their futures (which are now linked) and think, I could get to know you for the rest of my short life on this tiny utopian shuttle in the sky. Our common fate, which we approach calmly, eclipses the differences between us and by this turn those judged as our antagonists in this larger superficial society, our competitors, those who arouse or repel us, who make us aware of our lack, become the temporarily unforesakeable members of our family. The feeling of threat from these strangers attenuates and we can imagine a new airplane politics of mutual respect and mutually assured destruction, preferring nobody. Where once was a mask whose grotesque aura of annoyance could only get in the way of my resolving my own annoyance, now is a countenance reflecting its tacit and personal wishes, its relations of tenderness, among which, by the end, I will also count.

Except of course for the regimentation of seating and the issue of classes, service roles and the overwhelming power of the machine itself. To imagine tearing out the seats and sitting on the rumbling carpeted floor in a chaotic gathering clustered of affinities would furthermore suggest the foreknowledge of an exceptional situation, one that the passengers simply would not accept. Alas the bond of misfortune could hardly alter how our solidarity is expressed.

Keegan lumbered in and squeezed in next to the pill-shaped window. He was a big ex-soldier (Afghanistan), and he took up my armrest, and I was bothered by him from the beginning. Groaning about his sweating bottom or the wailing babies who deprived him of sleep, he suffered from a hangover from the Contiki tour he had just finished. A last blast for his brother who had been in 2 car crashes in 3 days back in Canada. I did feel sorry for their misfortunes. I held my elbows in and propped up my thick book, passing over the same page distractedly over several hours, this is a great film he said of the Mark Whalberg image on our little independent screens. Later he showed me some photos on his I-phone of the cities he hated, and the fun he had. Toward the last 2 hours we got into a disagreement over conspiracy theories, look on the Internet he urged, the zionists are spraying poison over the crops in planes just like these. He asked me to smuggle a bottle of vodka through customs for him, which I agreed to; then becoming impatient as I waited at the luggage belt, he took it back and walked out. We both ended up having our bags searched by overzealous small town inspectors, I tried to hide behind a pillar so he wouldn’t look back and roll his eyes. I can now only imagine Keegan complaining as our airplane fell into the North Atlantic.


The CD was composed of American commercial rap and r&b sped up and seamlessly mixed into one-hour mp3’s. He used this pulsing and unrelenting rhythm to fuel his wild progress, despite the near opacity of the lyrics to his ears. Young and tidy, with glistening hair and a craggy cheek surface formed of the new sustenance, he was an image of youth, an animation of the performance of youth under pressures. We climbed in and with the door’s closure, an easygoing promise of timely delivery and an immediate u-turn in front of an oncoming bus set a tone for a sequence of negotiations and split-second decisions informed by flowing intuition. This pointed awareness did not count the law chiefly as its limit, working along its approximate guidelines, but hovering in a parallel state where speed and safety are blurry, immeasurable energies constituting pure duration. Looking at the license on the dashboard, one noted an older, pale, balding man gazing back; the spirit and attitude of driving had either rejuvenated an adult, or made an adult of a boy. The maneuvers, which included burst-passing on the narrow 2-lane causeways that elegantly cross-hatch the edges of East Lake, cutting corners early shadowing mini-vans, and swerving around piles of debris, not to mention hurtling past other speeding cars on the new elevated freeways, all made up a language of an urban space that sprang up and lay half-destroyed and half-in-progress. As such, it was not the code of a single person, though he is the atomic driver in an incalculable system of circulation and friction; but he can only be the atom in tension with the particles exploding around him. Even the pedestrian on the rubble margin senses the shifting values and instant momentum transformations, adjusting to this general spatial intelligence with minimal violence; the other drivers play variations on each other’s motions, together developing the chaotic vocabulary that oscillates between efficiency and entropy, creating such tropes as the cautioning head-lamp flicker and the selfish congesting lane-take. Just like the tireless and carnal mp3 soundtrack accompanying the sequence to its end, these signifying gestures don’t accumulate toward a thesis, but in their isolation gradually chip away at time, leaving us dizzy and early, present, in front of the Hankou train station. There are no straight roads, and in Wuhan, the atomic driver must hustle space with the will of an unstable citizen.

大陆漂着 Continental Drifting

2011年5月18日至2011年6月5日
18 May – 5 June 2011

“大陆漂流.中国”活动将众多的艺术家,策展人,理论家,与活动家召集到一起,共同探索当 代地理政治转化对于公共框架与亲密生存 空间的影响。在一周的时间里,本活动将“漂”在北京,尝试将抽象分析(经济,社会学,都市生活研究,美学等等)直接导入不同的艺术实践当中。通过报告,工 作坊,讨论会与实地考察等方式,我们希望自己能在闹市与乡间的穿梭中构建一个充满欢乐,感觉试验,偶遇与思考的游历方式。

The Continental Drift China brings together artists, curators, theorists, and activists to explore the impacts that current geopolitical transformations are having on the public frameworks and intimate environments of existence. For one week, the roving seminar will drift through Beijing, endeavouring to bring abstract analysis (economics, sociology, urbanism, aesthetics, etc.) into direct contact with situated projects. By way of presentations, a workshop, discussion sessions and site visits, the project provides a movement through space thriving on conviviality, perceptual experimentation, unexpected encounters and informed travel in both metropolitan and rural settings.

活动安排 SCHEDULE

欲知所列每项活动的细节,请看本安排表下的具体内容。请注意不是所有的活动都在同一场所,活动地址安排如下:
For detailed descriptions of each of the events listed, please see below. Note that not all events are at the same location; addresses are listed accordingly.

 

合辑 Selections 】底特律音乐人类学赏析,王念华主讲  /  an evening of musical anthropology led by Dan S. WANG

5月19日,周四,晚上7点开始
地点:家作坊,东城区交道口北二条8号
Thursday, 19 May, 19.00
location:HomeShop, Dongcheng District, Jiaodaokou Beiertiao 8

杨先让 YANG Xianrang 】(艺术家, 曾任中央美术学院民间美术系主任)讲座  /  a Talk with Professor YANG Xianrang, artist and former head of the Central Academy of Fine Arts Folk Arts and Crafts department

5月21日,周六早上10点半开始
地点:家作坊,东城区交道口北二条8号
Saturday, 21 May, 10.30
location:HomeShop, Jiaodaokou Beiertiao 8

西遊计划 Journey West 】艺术假扮旅行社简单开张  /  A “Journey West” Travel Agency performative soft opening

5月21日,周六下午4点开始
地点:钟楼湾胡同41号
Saturday, 21 May, 16.00
location:41 Zhonglouwan Hutong (next door to The Drum and Bell Bar)

《北二条小报》工作坊 Beiertiao Leaks self-publishing workshop

5月22-23日,周六到周一,早上10点开始直到印刷完毕
地点:家作坊,东城区交道口北二条8号
Sunday & Monday, 22-23 May, 10.00 until the presses are hot
location:HomeShop, Jiaodaokou Beiertiao 8

从5月23日“大陆漂流”继续向武汉与重庆漂流,6月4日返回北京。如果你对我们下一步的旅行感兴趣,请e-mail垂询: lianxi[圈A]homeshop[点]org[点]cn
From the 23rd of May until the 4th of June, the Drift continues on to Wuhan and Chongqing before rounding back up in Beijing. If you are interested to continue with us on this leg of the journey, please inquire: lianxi[at]homeshop[dot]org[dot]cn.

“大陆漂流.中国” 总结论坛  Continental Drift China Final Forum】“哪里哪里” 艺术空间将与大陆漂流参加者联合举办一个开放总结论坛。更多的详情稍候发布。 /  The Where Where Exhibition Space in Caochangdi will host a final forum with China Drift participants open to the public. More details to be announced.

6月5日,周日,下午3点
地点:“哪里哪里” 艺术空间
朝阳区草场地村319-1艺术东区A区内
Sunday, 5 June, 15.00
location:Where Where Exhibition Space
No. 319-1, East End Art Zone A, Caochangdi

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本次大陆漂流活动由 “我们家” 青年自治中心,“家作坊”,“哪里哪里”策展联盟,与“罗盘”(美国中西部激进 文化走廊)等组织共同合作举办。
The Continental Drift China is developed by Desireè Youth Autonomy Center, HomeShop and the Where Where Curatorial Collective, in conjunction with Compass (of the Midwest Radical Culture Corridor).

豆瓣同城活动 Douban event page:www.douban.com/event/13954395/

更多关于“大陆漂流.中国”的参加者信息,继续读… For more information about participants of the Continental Drift China, please continue reading.

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寿衣学校 shouyi school

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“我回家的时候他站了在我们门口外面弹小号… When I came home he was playing outside of the door…

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我们初五在家里好好等着他,但没人来请我们吃饺子…月亮代表我的心!
On the fifth day of the new year we waited for him, but no one came over to invite us for dumplings… The moon represents my heart!

小运动群论第三——艺术实践中自我建构的可能性
Little Movements Round Table Discussion No. 3: Possibilities of Self-Construction in Art

个体体系——“家作坊”的实践
Individual Systems: the Practice of HomeShop

主持 Moderators:刘鼎 LIU Ding、卢迎华 Carol Yinghua LU
参加者 Participants:戴章伦 Asea DAI、何颖雅 Elaine W. HO、黄然 HUANG Ran、欧阳潇 OUYANG Xiao、苏伟 SU Wei
摄像 Photography:王俊艺 WANG Junyi
时间 Time:下午1点半至3点,2011年1月20日星期四; Thursday, 20 January 2011, 13.30-15.00
地点 Location:家作坊 HomeShop,北京市东城区交道口北二条8号

会议纪要 Discussion Summary

家作坊[Home(work)shop]由何颖雅与欧阳潇创建于2008年,最初落户鼓楼附近的小经厂胡同,后迁至北新桥附近的交道口北二条。正如空间名称本身所提示的,它意在探讨“家”与“作品”之间关系,私人空间与公共空间之间的流动性转换,更替。“家作坊”,这个看起来像是具有私密感的空间事实上却在不同的公共社区中活跃而公开地进行着自身的实践。

无疑,“家”这一寓意丰富的能指在中国这样一种特殊文化语境中所暗含的私人与公共领域之间的微妙而特殊的关系是值得进一步反思并在实践中进行探讨的。关于这点,我们或许能想起日本汉学家沟口雄三(Youzou MIZOUGUCHI)及岸本美绪(Mio KISHIMOTO)的观察,在他们看来,在中国,“私”与“公”并非是两种平行的异质领域,而更像是一种同心圆的层级递进关系(因此,国人的公私观向来是不那么分明的)。而这与持续了千年的“家国同构”的社会形态密切相关,“父母官”这样的称呼可称得上是国人的一大“发明”。传统儒家更是将这种层级递进的关系上升到一种所谓的 “修身,齐家,治国,平天下”的政治-伦理法则的高度。

因此,在这样的语境下,相较于在相互平行的公私空间中谋求交流对话,“家作坊”更像是在“同心圆”中进行着相互叠加的双向运动:对于已然形成了某种情感维系的社区来说,它无疑是陌生的进入者,它的活动是从同心圆的外层向里层的逆向运动;而就其“家”的名称而言,它又是试图进行从内向外进行辐射递进。倘若将这种同心圆的模式从与社区的联系转化到“家作坊”作为一个有机个体与整个艺术界的联系,它的运动同样耐人寻味。艺术家刘鼎便敏感地意识到,这种向外辐射的过程所产生出的强度和张力决定了“家作坊”如何在作为整体的艺术界中定位自身的工作,也即苏伟所说的,若干年之后的走向问题。

然而,如果我们搁置上述假定,另从阿多诺关于 “介入的艺术”以及“自治的艺术”的对立统一关系来看待“家作坊”的工作时,发现它作为一种与其平行的,(也许)体制化了的艺术界的否定(或制衡)因素而存在并与其形成一种持久的张力也是成立的。然而也许正如艺术家黄然和策展人卢迎华所担忧的,即便是作为一种平行的,自治的制衡力量,“家作坊”的这种艺术生产和输出也必须考虑到它的最终去向问题,对象的接收问题,也即,是给予对方一块砖还是给予一块砖背后的观念的问题(如果我们不使用“启蒙”这个显得有些一厢情愿的词的话)。这种不同语境之间如何衔接铆合或许也正是“家作坊”工作坊的难点和意义之一吧。

– 戴章伦 Asea DAI

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原文2011年1月27日发布在卢迎华的博客 Originally posted 27 January 2011 at Carol Yinghua LU’s blog: http://blog.sina.com.cn/s/blog_5cd68bae0100ol7p.html

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感谢革爷爷给了我们一个机会听你们的乐队,我们还期待未来的演出!Thank you to Grandpa GE for inviting us. Looking forward to hear more…

一大堆看客停下来关注一个人帮一个出租车司机从树上摘出租车的钥匙。在这个过程中马路上的一排车变得越来越长——都堵在没有钥匙的出租车后面。整个场面持续了差不多10分钟。拿到钥匙之后,一个凶狠的年轻小伙子试图挡住出租车,被“灭火者”拉走,最后的高潮是小伙子疯狂的追着出租车跑但最后还是没有追上。一切终于回到“正常”。神奇的中国!

The crowd gathers as an unknown man takes initiative to help a taxi driver get his car keys out of a tree. While this is happening, the line of cars grows steadily behind his cab, which is stopped in the middle of a single-lane street. The scene lasts for approximately 10 minutes, only returning to ‘normalcy’ after the climax of a fiercely angry young man trying to block the taxi driver from driving away and finally chasing him down the street. Glorious China!

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