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箭厂胡同38号(国子监街内)
北京 100007 中国
38 Jianchang Hutong
(off Guozijian Jie)
Beijing, 100007 China

Untitled Document

路人甲・路人乙
阿科 /Ledoh
2019.06.01 – 06.30
展览延期到7月中 EXHIBITION EXTENDED THRU MID JULY

六月,箭厂空间荣幸地呈现“路人甲・路人乙”,展出北京声音/行为艺术家阿科和旧金山舞踏表演者/编舞家Ledoh的双人项目。两位艺术家的实践都以身体作为表达的工具,并主要依靠基于现场反应的即兴进行创作。两人将在展览期间共同占据展览空间。Ledoh的影像作品在空间内循环播放,阿科则以现场表演的方式介入。“路人甲・路人乙”将不同的公共展示模式汇集起来,形成了关于表演本质的多层次的反思。

Ledoh的影像装置作品《看着你,看着我》产生于他在北京144小时转机停留时间里对箭厂周围胡同的印象。影像记录了Ledoh和一身白套装在巷子里缓慢移动的街头表演。舞踏是一种以抽象缓慢的动作为特征的现代舞形式,以二战后人们面对一片残垣断壁的幽暗心理为背景和根基。由此产生的无声影像审视了无处不在的监控系统制造的紧张气氛,以及摄影机的主观凝视。这段影像将在每晚放映直到午夜。

展览期间,阿科将在每天下午进入箭厂空间播放Ledoh的作品。同时,她将现场实施《承诺练习曲》,一系列受音乐乐器的常规练习启发而创作的声音作品,并对一旁Ledoh的无声影像作出回应。阿科的声音/行为作品通常借鉴博弈论和难以捉摸的规则,以创造出即兴的环境氛围。那些偶然经过橱窗的人将自然地成为听众,或是凭借其意愿成为路人。阿科也将定期实施更为正式的、有计划的现场表演,表演信息将在箭厂空间的网站和微信公众号上随时公布。展览期间,一个监控摄像头将对空间中发生的一切进行记录,它扮演了一个隐形的、沉默的、但完全在场的目击者。

标题《路人甲・路人乙》借用了戏剧电影脚本中指代无名氏演员的用法,同时暗示了个人轨迹和旋转轨道——从Ledoh的短暂过境停留,到白套装在胡同里的路径;从阿科在空间内的日常仪式,到街上偶然经过并与作品及更多事件发生交集的人。“路人甲・路人乙”强调了那些无计划的自发的表演时刻,它们是被看见的与看不见的,刻意的与偶然的,被动的与主动的。

 

Passerby #1 / Passerby #2
Ake / Ledoh
2019.06.01 – 06.30
展览延期到7月中 EXHIBITION EXTENDED THRU MID JULY

For the month of June, Arrow Factory is pleased to present Passerby #1 / Passerby #2, a two-person project featuring Beijing-based sound/performance artist Ake and San Francisco-based, Butoh performer and choreographer, Ledoh. Inhabiting the space in tandem, Ake and Ledoh are both artists who use the body as a vehicle for expression, and whom work largely through site-responsive improvisation. Ledoh’s work is presented as a looped video projection, while Ake’s engagement is live. Passerby #1 / Passerby #2 assembles these different modes of public display together into a multi-layered rumination on the nature of performance.

Ledoh’s video installation, Watching You, Watching Me, was developed though his impressions of the surrounding hutongs during a 144-hour flight layover in Beijing. The video documents a street performance between Ledoh and a white-color suit as the two drift through the neighborhood. Butoh is a form of modern dance often characterized by slow abstract movements, and has foundations in post World War II Japan. The resulting silent video muses on the aura of surveillance and the camera’s subjective gaze. The video plays each evening until midnight.

For Passerby #1 / Passerby #2, Ake will enter Arrow Factory every afternoon to activate the video projector showing Ledoh’s work. While there, she will perform Commitment in Scales, a series of sound works inspired by the regular practice of musical instruments, and which respond to Ledoh’s soundless video that plays adjacent. Ake’s sound/performance works often use game theory and enigmatic rules to create improvised atmospheric environments. Those who happen past the storefront window at these times become spontaneous audiences, passers-by in their own right. Periodically, Ake will also give more formal and planned performances, which will be announced through Arrow Factory’s website and Wechat account. In addition, a security camera in the space will keep a record of all the proceedings, placing an unseen, silent, yet wholly present witness into the process.

The title Passerby #1 / Passerby #2 references nameless actors in film scripts as well as the trajectories of personal journeys and spinning orbits – from Ledoh’s short transit stop, to the path of the white suit in the hutongs; from Ake’s daily rituals in the space to those on the street who happen upon the works and more. Passerby #1 / Passerby #2 accentuates unplanned and spontaneous moments of performance that are seen and unseen, intentional and incidental, passive and active.