-⼆零⼀⼋
-歌剧
-灯光装置
-实验电声
-全息影像交互，⾏为
-时长：⼆⼗五分钟
-合作艺术家: Daren Johnston, Ben Rowarth
-歌剧演员：Emily Jennings, Rebe

kah Jones, Will Searle,
David Maguire, Jamie Wright, Laurel Neighbour，Xiong Yanyi,
-地点：英国皇家艺术学院，伦敦，英国

-2018
-Opera
-Installation
-Digital sound
-Live Performance Art
-Duration：25mins
-Collaborate artist: Daren Johnston, Ben Rowarth
Performer and Opera Singers: David Maguire, Emily Jennings,
Jamie Wright, Laurel Neighbour, Rebekah Jones, Will Searle, Xiong Yanyi 
-Location: Royal College of Art, London,UK

所有的声音、动作、装置和⼈声都遭遇了⼀场空间运动下的撞击。
它们不断衍⽣，不断折叠。

⾏为艺术总是在消解它自身所被赋予的定义，
所以它总是处于自身的边缘。
它要么在过程中爆发，要么在

未完成的记忆中崩溃。

这就是为什么它总能唤醒那些经常在重复中被淹没的认知。
认知是⼀扇门，你通过它进⼊新的空间。
观者可以用自身的经历，情感、视觉、感官，思想和体验释放出自⼰的能量，
并扩散到整个⾏为现场的共振中。

All of the sounds, movements, installations and voices had encountered an impact resulted from the process of a spatial movement,
what are derived from this scene continue to overlap with those that are folded.

Performance Art has always been stepping on the edge of itself,
dissolving its given definition.
It either goes explosive during the process, or collapses into

half remembered gestures.

For this reason it unceasingly awakens the cognitive dimensions that were drowned in repetition.
Cognition is but one of the doors that can be opened into new configurations of spatial becomings.
An audience is permitted a catharsis of energy that draws its intensity and intricacy from their experience, emotions, visual memories, sensory information, thoughts and feelings.
Streams of energy thus radiate into the entire resonant field of the performance.

在中国古典绘画中，我们从不执迷于现实层面的“真”，
我们的⽂化惯性更注重对事物形式的超越和对静的，
即站在“静” 的不同能量上去捕捉流动及变化。
让双脚能像眼睛⼀样感知光线，感知结构，感知势能，并且把感知的对象作为⼀个全⽅位的整体。
通过身体的觉，理解和超越视觉及思想所产⽣的逻辑判断。
“静”的稳定性及它在艺术中的代偿是不可忽视的，对事物的理解和表现形式总是在“似与不似”之间。
表演中“半开半合”的⽭盾内在起伏，也就是⼀种蓄“势”。
“势”则在节奏变化上是⼀种⼼灵上的推进，
在⾏为艺术领域中，
这就是“韧性”(endure): ⼀种对时间和空间的对抗和延展，⼀种对“静”的超越。

There is no indulgence for static representation of reality in Chinese classical paintings.
The cultural inertia gravitates towards the transcendence of representations
and the capacity to capture moving forces at different energy states of “calmness”.
The feet become organs of perception as the eyes because they receive information of light beams, structures, moving forces. Integrating different information, the object of perception is rendered a holistic being.
By opening the body to such process, a complex web of visible and invisible traces emerges as a field of becoming.
The steadiness of “calmness” and its compensation in art are a force to be reckoned with. It tends to situate the apprehensions and representations of things between resemblance and dissmilarity.
The undulating half-opened half-folded inner contradiction is the gathering of a momentum.
This momentum, when harnessing rhythmic changes, is an advance in the realm of heart.
In the field of Performance Art,
such advance is an articulation of endurance: the act of rivaling and extending on space and time, the transcending of “calmness”.

这个作品试图探索和延伸⾏为艺术及表演形式在特定抽象场域的各种不同可能性。
装置及声音的⼀体化呈现作为载体， 建立⼀种能量共振的空间。
用“频率”和“记忆”打开⼀个通道，
通过不同的维度去探索感知图像背后的想象空间以及在现场的运动关系中打开当下的体验。

This performance attempts to dvelve into the extension of performance art principles in a designated configuration of abstraction.
The tree branch installation serves as a conductor for sonic and vocal energy,
the operatic voices establish a field of resonance,
the sound (invariably technologically generated)  collects virtual energies,
and the bodies, they display the faculty of movement and channel memories which articulate experience of temporality.

总的来说，这是⼀次从已有认知出发凝视于未来记忆的寓⾔。
⼀段⽂字、⼀个⼈声、⼀个动作或⼀个声响都可能作为这个时间深渊里的回响，
但随之⽽来的是不可预见的变化在不断瓦解的同时重新配置的遐想，
这种遐想是不稳定的，这里没有明确的视觉形式和听觉语⾔，
因为表演现场的 “质” 已经超越了具体认知。

Overall this constitutes a living parable expanding from the gaze of intrinsic patterns of cognition to a clandestine longing for a form of memory in the future.
A passage, a voice, a movement or a sound could serve as an echo in the chamber of deep time,
and with it the unpredictable reverie of ever disintegrating and reconfiguring changes occurs.
There exists no defined formal and audio syntax,
by cause of the spirits that channel such systems on the scene are beyond representation and fixed identity.