【OCAT上海馆 | 展览预告】杨圆圆个展：上海楼
OCAT上海馆 | C空间计划
项目总策划：陶寒辰
2020年度第1期 | “杨圆圆个展：上海楼”
艺术家：杨圆圆
策展人：王姝曼
展览时间：2020年11月07日至12月27日
展览地点：上海市静安区曲阜路9弄下沉庭院 | 多功能空间
展览主办：OCAT上海馆
展览协办：华侨城（上海）置地有限公司
特别支持：艾可画廊
开幕日程 | 2020年11月07日（周六）
15:00-16:00
开幕对谈（对谈人：杨圆圆、王姝曼）
16:00—16:30
艺术家导览
16:00-19:00
展厅开放
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关于展览
上海楼明信片，图片由艺术家提供
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OCAT上海馆将于2020年11月7日至12月27日荣幸呈现2020年度第1期C空间计划——杨圆圆个展：上海楼（Shanghai Low）。上海楼曾是20世纪美国旧金山唐人街盛极一时的华人餐馆，之所以挪用唐人街华人餐馆——上海楼的中英文名字作为展览的主题，灵感来自于后殖民主义翻译理论中对“语音中心主义”的阐析——强调语音之于文字涵义的优先地位。翻译被普遍认为是两种异质文化系统的交流与协商，在后殖民语境下，进一步演变为冲突之地（battleground）与例证之所（exemplification）。作为“他者”文化的表征字符——上海楼在脱离了原有文化语境，抵达了新的文化系统中后，原语文本失去了被表述的可能性。
“翻译就是那在多种文化、多种民族之间，因此也是在边界处发生的东西。”
——雅克·德里达，《书写与差异》
更值说道的是，这间名为上海楼的餐厅主供粤派菜肴，和上海这个地点并无任何实际关联，之所以取名为上海楼，是因为“上海”这个词被认为充满了异域色彩。提及“上海”，西方的食客们便很容易联想到美丽的东方脸孔与风情。在中国城中，如是自我东方化的命名方式并不少见，经历了文化移根的离散华人群体带着对民族价值和自我身份的双重焦虑，弥漫而出的一种“原初的激情”1。然而“原初的激情”造成的文化输出混淆使得东方文化的异质性在西方的镜像中被进一步朦胧化、变形化，并被最终凝视为“神秘、花哨、野蛮、愚昧、落后、迷信”的畸变形象。在西方权力系统的无形摄控下，失语的翻译到异化的形象被潜藏在20世纪唐人街歌舞升平的奇异景观中，只有依靠摸索着个体在彼时的生存经验和记忆才能逐渐还原出未被聚焦的画面和即将消散的历史。
“他们无法表述自己，他们必须被别人表述。”
——卡尔·马克思，引自《东方学》扉页
2018年4月，艺术家杨圆圆在亚洲文化协会的支持下，带着20世纪的演艺圈中的华人女性研究课题来到美国。她在旧金山唐人街遇见了一群年事已高的华裔女性：旧金山华埠夜总会“紫禁城”最后一任经营者、传奇舞者余金巧（Coby Yee）；退役舞者、唐人街向导方美仙（Cynthia Yee）；曾经的平面模特、上海来的女士吴锡锡（Ceecee Wu）以及唐人街都板街舞团（Grant Avenue Follies）的各位女士们。这群华裔女性的祖父辈大多是在19世纪中后期至20世纪初抵达美国旧金山的第一批华人移民者，经历过1906年的旧金山地震、《排华法案》的实施(1882年-1943年)，并参与建立了旧金山最早的唐人街。而身为在美国出生的第二代、第三代华裔的她们则是亲身见证了20世纪旧金山华埠夜总会、粤剧戏院的兴起至衰落。展览跟随着杨圆圆的视角依次进入到这些具有不同身世际遇的传奇女性生命中，交叠的多维度女性形象于时空中交汇，渐而将20世纪旧金山华埠旧景缓缓浮现在大众眼前。展览将由四部影像作品和收集的图像与文献展开叙事，围绕杨圆圆最新系列创作《女人世界》2展开对20世纪海外粤剧戏台、电影片场与夜总会场景中的华裔女性的记忆重塑。
（从左至右）《相爱的柯比与史蒂芬》、《上海来的女士》、《中国城轶事》、《交错剧场：紫禁城夜总会的一夜》静帧，图片由艺术家提供
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“通过不同再现话语(科学的、文学的、法律的、语言学的、电影的)来建构的一个文化和意识形态的复合他者之女性。作为历史主体的女性和霸权话语生产的女性再现之间的关系并不是一种直接的同一关系也不是一种对应的或简单的暗示关系,而是一种建立在特殊文化和历史语境中的任意关系。”
——钱德拉·莫汉蒂，《在西方的注视下:女性主义与殖民话语》
展览空间设计灵感来自于展览其中一件作品《中国城轶事》中提到的“走几轮”（Making Rounds），意指20世纪美国唐人街呈现出的文化娱乐奇观——客人于不同餐饮娱乐场所自行其间，自由穿梭。如你来此地，可先去上海楼享用一桌粤式菜肴，后前往紫禁城夜总会（Forbidden City Nightclub）观看第一轮演出，之后移步至上海夜总会（Club Shanghai）和大观天台（Chinese Sky Room）欣赏今晚的第二和第三场舞蹈表演。这或许会是一场“驶入的航行”3，我们在边缘处走上几轮，产生出一种看待历史现实的特殊方式；又或许它只是一次精彩的华埠之旅，你将邂逅这些在晚年依旧奔波于筹备谢幕之舞的华裔传奇女性们。
到此，欢迎光临！上海楼。
《交错剧场：紫禁城夜总会的一夜》静帧，图片由艺术家提供
1 周蕾在《原初的激情：视觉、性欲、民族志与中国电影》中指出对“原初”的理解是驻足于对“中国性”讨论，而“原初的激情”指向中国对“根”、“本”之物的迷恋。
2 杨圆圆该系列最终长片电影《女人世界》目前于后期制作中，未来会以放映的形式于OCAT上海馆呈现。
3 爱德华·W.萨义德在《文化与帝国主义》中曾使用“驶入的航行”一词来指称“有意识地进入欧洲和西方的话语结构，和它打成一片，改变它，使它承认边缘化了的、受压制的，或被遗忘了的历史”的工作。后殖民女性主义学者所从事的工作也可以看作是一种“驶入的航行”。
文 / 王姝曼
关于艺术家
杨圆圆
杨圆圆（b.1989，北京）是一名视觉艺术家与电影导演，她通过影像、摄影、艺术家书与表演等多种媒介叙事。曾获ART POWER年度艺术发现大奖（2019）；亚洲文化协会奖助金（2017)；新锐摄影奖提名(2016)；华宇青年奖提名(2016)；法国阿尔勒摄影节作者书奖(2015)；Magenta基金会Flash Forward摄影奖（2013）；三影堂特尼基金奖(2012)等等。她的近期个展包括 “大连幻景”，AIKE，上海，中国，2019；“交错剧场”，华美艺术协会456画廊，纽约，美国，2018；“间隔地带“，Modern Art Base, 上海，中国，2018；“在视线交错之处，上篇“，C-空间，北京，中国，2016。
2018年，她在纽约的Art in General与UnionDocs进行驻地。2019年，她的处女短片电影《相爱的柯比与史蒂芬》入围多部国际电影节包括美国亚特兰大电影节、卡姆登国际电影节、亚美国际电影节、台湾国际女性影展等。目前，她的第一部长片《女人世界》正在后期制作中。
OCAT上海馆｜C空间计划
OCAT上海馆是全国首家关注于媒体艺术和建筑设计发展的非盈利艺术机构，自2012年9月成立至今，已举办了数十场具有影响力的展览及数百场公共教育活动。“C空间”是OCAT上海馆文安路旧馆的第三展览空间，在原有公共教育空间的基础上改造而成。“C空间计划”最早启动于2016年，通过寻求社会力量的支持与合作，以实现媒体艺术家的个人项目。我们希望“C空间计划”可以成为展示媒体艺术家创作力的窗口。
2019年10月，OCAT上海馆搬迁至曲阜路9弄下沉庭院的新馆。新场馆在保留了主展览空间功能的同时，还在美术馆的中心位置开辟了面积约为220平米的多功能空间。在经历了OCAT上海馆新馆的运营磨合和工作团队的数月筹备之后，我们很高兴地宣布“C空间计划”即将于多功能空间重新启动。自2020年起，“C空间计划”将以系列展览的形式，每年推出3-4期中国艺术家和海外驻地艺术家个人（组合）展览，由OCAT上海馆自主策划，展期为1-2个月。
“C空间计划”在保留项目最初名称的同时，也将打开研究及活动的多向可能，为艺术家提供更加自由的表现场域，给予艺术研究者公开研讨的平台，并给观众带来更多样性的观展体验。我们相信，美术馆既是展览的发生地，也是公共教育的实践所，更是正在发生的艺术与正在激变的社会两者间的双向窗口。“C空间计划”以期成为这个窗口的观察者，记录艺术系统与社会系统自由交融后的矛盾与共生。
OCAT Shanghai | C-PLAN
Project Director: Tao Hanchen
Term 1, C-PLAN 2020 | Luka Yuanyuan Yang Solo Exhibition: Shanghai Low
Artist: Luka Yuanyuan Yang
Curator: Wang Shuman
Duration: 07 November 2020 to 27 December 2020
Venue: Multifunction | Lane 9, Qufu Road, Jing'an District, Shanghai
Exhibition Organizer: OCAT Shanghai
Exhibition Co-organizer: OCT Land (Shanghai) Investment Ltd.
Special Support: AIKE
Opening Schedule | 07 November, 2020
15:30-16:00
Opening Talk (Guests: Yang Yuanyuan, Wang Shuman)
16:00-16:30
Artist Tour
16:00-19:00
Exhibition Opening
About the Exhibition
Postcard from Shanghai Low, Image courtesy of the artist
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OCAT Shanghai is pleased to present the term 1 of the 2020 C-PLAN exhibition, Luka Yuanyuan Yang's solo exhibition, Shanghai Low, from November 7 to December 27, 2020. Shanghai Low, a former Chinese restaurant that flourished in San Francisco's Chinatown in the 20th century. The adoption of its Chinese and English names as the subject for the exhibition draws inspiration from the analysis of “phonocentrism” in the post-colonial translation theories, where phonetics was prioritized over semantics. Translation is generally regarded as the exchange and negotiation of two heterogeneous cultural systems, which, in the post-colonial context, has further evolved into a battleground and a place of exemplification. Shanghai Low, as a cultural symbol of the "other's" culture, has departed from its original cultural context and arrived anew, where the possibility of expression in the original language has been lost.
"Translation is that which takes place across cultures, peoples and therefore borders."
--Jacques Derrida, Writing and Difference
What's more, the restaurant, Shanghai Low, primarily served Cantonese cuisine and had no real connection to Shanghai, was nevertheless appropriated for its exotic quality. Speaking of "Shanghai," the Western diners could easily associate it with the beautiful oriental faces and customs. It is not uncommon to find such self-orientalized nomenclature in Chinatown. For the culturally uprooted Chinese immigrant communities, having experienced anxieties about their national values and identities, these names embody a "primitive passion"1. However, the confusion caused by such "primitive passion" as cultural exports further obscures and distorts the Eastern cultures' heterogeneity in the mirror image of the West, which is eventually conceived as "mystery, fancy, barbarism, ignorance, backwardness and, superstition." Under the Western power system's invisible control, the aphasic translation and alienated forms were tucked under the strange landscape of Chinatowns in the 20th century. Only through the discoveries of individual survival experiences and memories would we restore the unfocused picture and the gradually dissipating history.
" They cannot represent themselves; they must be represented."
--Karl Marx, quoted from the epigraph of Orientalism
In April 2018, artist Luka Yuanyuan Yang came to the United States with a research project on Chinese women in show business in the 20th century, with the support of the Asian Cultural Council. She met a group of aging Chinese women in San Francisco's Chinatown including, the legendary dancer and the last proprietor of San Francisco's Chinatown nightclub Forbidden City, Coby Yee; retired dancer and Chinatown guide, Cynthia Yee; former magazine model and the lady from Shanghai, Ceecee Wu; and the ladies of Grant Avenue Follies of Chinatown. The grandparents of these Chinese women were the first Chinese immigrants to arrive in San Francisco in the mid-to-late 19th century to the early 20th century, who lived through the 1906 San Francisco earthquake, the implementation of the Chinese Exclusion Act (1882-1943), and participated in the building of San Francisco's first Chinatown. As the second and third-generation American-born Chinese, they witnessed the rise and fall of nightclubs and Cantonese opera theaters in San Francisco's Chinatown in the 20th century. The exhibition follows the lives of these legendary women with extraordinary experiences through Yang Yuanyuan’s perspective. As the overlapping, multi-dimensional images of these women converge in time and space, the San Francisco Chinatown of the last century would be gradually brought to life. The exhibition will unfold through the narratives of four video works and a collection of images and archival materials. Revolving around Luka's latest series Women's World, which recreates overseas Chinese women's memories in 20th-century Cantonese opera theaters, movie sets, and nightclubs. 2
Left to right, Stills from Coby and Stephen Are in Love, The Lady from Shanghai, Tales of Chinatown, Theater of Crossed Roads: A Night at Forbidden City Nightclub, Image courtesy of the artist
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"The relationship between "Woman" -- a cultural and ideological composite Other constructed through diverse representational discourses (scientific, literary, juridical, linguistic, cinematic, etc). This connection between women as historical subjects and the representation of Woman produced by hegemonic discourses is not a relation of direct identity, or a relation of correspondence or simple implication. It is an arbitrary relation set up by particular cultures."
--Chandra Talpade Mohanty, Under Western Eyes: Feminist Scholarship and Colonial Discourses
The design of the exhibition space was inspired by the reference to "Making Rounds" in one of the works in the exhibition, Tales of Chinatown, which refers to the cultural and entertainment spectacles of 20th century Chinatown in the United States, where patrons were free to frequent these food and beverage establishments. If you were to visit, you would enjoy a table of Cantonese cuisine at the Shanghai Low, then head to the Forbidden City Nightclub for the first round of shows, before moving on to the second and third dance performances of the evening at Club Shanghai and the Chinese Sky Room. It may be a "voyage in"3 where we, the visitors, will walk around the edges a few times to develop a unique perception of historical realities. Or, it may just be a wonderful trip to Chinatown, where you will meet these legendary Chinese women who are still preparing for the closing dance in their twilight years.
Hereby, welcome! Shanghai Low.
Still from Theater of Crossed Roads: A Night at Forbidden City Nightclub, Image courtesy of the artist
1 In Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema, Rey Chow points out the understanding of “primitive passion” is based on the discussion of “sinocentrism”, while “primitive passion” refers to China’s infatuation with the concept of “root” and “origin”.
2 Yang Yuanyuan's final feature-length film of the series, A Woman's World, is currently in post-production and will be screened at OCAT Shanghai in the future.
3 In Culture and Imperialism, Edward W. Said used the term "voyage in" to refer to "a conscious effort to enter into the structure of European and Western discourse, to engage with it, to change it, to make it recognize a history that is marginalized, repressed, or forgotten.”The work of post-colonial feminist scholars can also be seen as a "voyage in".
Text / Wang Shuman
About Artist
Luka Yuanyuan Yang
Luka Yuanyuan Yang (b.1989, Beijing) is a visual artist and filmmaker. She does visual storytelling through film, photography, artist books and performance. Yang received awards internationally from organizations such as Art Power 100 (2019); Asian Cultural Council (2017); Huayu Youth Award(2016); Rencontres d'Arles(2015); Magenta Foundation(2013); Three Shadows Tierney Fellowship (2012) etc. Her recent solo exhibitions include Dalian Mirage, AIKE, Shanghai, China, 2019; Theater of Crossroads, Chinese America Arts Council Gallery 456, New York, United States, 2018; Interval, Modern Art Base, Shanghai, China, 2018; At the Place of Crossed Sights, C-Space, Beijing, China, 2016.
In 2018, Yang was the artist-in-residence at Art in General and UnionDocs in New York. In 2019, her first short film Coby and Stephen are in Love co-directed with Carlo Nasisse was screened at multiple international film festivals such as Atlanta Film Festival, Camden International Film Festival, Asian American International Film Festival and Women Make Waves etc. Her first feature film Women's World is currently in post-production phase.
OCAT Shanghai | C-PLAN
OCAT Shanghai is the first non-profit art institution in China to focus on developing media art and architectural design. It has hosted dozens of influential exhibitions and hundreds of public events since its inception in September 2012. C-PLAN was the third exhibition space of the former OCAT Shanghai venue on Wen'an Road, which has been recently refurbished based on its original function for public programs. C-PLAN was first launched in 2016 as a way to solicit support and collaboration from the community to realize solo projects by media artists. We hope that C-PLAN will serve as a showcase for the creativity of media artists.
In October 2019, OCAT Shanghai relocated to the sunken courtyard on No.9, Qufu Road. While retaining the main exhibition space, the new venue has carved out a multifunctional area of approximately 220 square meters in the center of the museum. After months of operational adjustments and our team's preparational efforts at the new OCAT Shanghai venue, we are pleased to announce the relaunch of the C-PLAN in the multifunctional space. Starting from 2020, C-PLAN will present a series of three to four solo (group) exhibitions by Chinese artists and overseas resident artists each year, curated by the OCAT Shanghai team, and each project to last for 1-2 months. The 2020 C-PLAN will begin this November with the following exhibition schedule.
While retaining its original name, C-PLAN will be open to exploring the possibilities for research and activities, providing a free site of expression for artists, offering art researchers a platform for open discussion, and bring diverse exhibition experience to the visitors. We believe that an art museum is a place where exhibitions take place and a site of practice for public programs, and a two-way window between the art that is happening now and the society transforming. C-PLAN is dedicated to becoming the observer of this window, documenting the tension and symbiosis between the art ecology and the social systems as they integrate freely.
温馨提示：
观众须出示本人有效身份证件、本人实时绿色“随申码”；入馆前须接受体温测量；参观过程中皆需全程佩戴口罩；排队和观展时请保持1.5米以上距离；展厅将实施限流措施。
关于OCAT上海馆
参观时间 | Admission Hour
10:00-18:00 周二至周日（周一闭馆）
最后入场时间：17:30
10:00-18:00 from Tuesday to Sunday (Closed on Mondays)
Last Entry 17:30
联系我们 | Contact us
Tel: 021-66085119
Email: ocatshanghai@ocat.org.cn
Weibo: @OCAT上海馆
Instagram: @ocat__shanghai
地址 | Address:
上海市静安区曲阜路9弄下沉庭院，负一层（轨道交通8号线、12号线曲阜路站）
-1F Sunken Garden, Lane 9, Qufu Road, Shanghai (MTR Line 8 & 12 Qufu Road Station)