HOW展览丨《抒情的立方误读》：唐·吉安为“喧哗”的特别创作项目
在“喧哗”展厅里
有这样一件作品
新型中国品牌的四台洗衣机展示在一系列基座上，指向洗涤（浸泡、漂洗、转动、旋转）的循环，机器上还一些建筑网格，意味着对不同程度的现代化、技术和消费主义的探索。机器周围还有一些腐坏的瓷器残留，那是西方世界对中国商品的刻板印象.....
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《抒情的立方误读》
唐·吉安（Tiong Ang）及团队
一个为“喧哗”创作的项目
我承诺（误读），2018，双频道高清影像装置
《抒情立方的误读》是一个跨领域的美术馆装置，并在展览“喧哗”开幕的当日进行了一场由荷兰与中国艺术家共同对话、长达9.5小时的集体表演。
唐·吉安通过展开一个不断累积的关于身体、个体和群体性动作与姿态的行动，探索当下中国的艺术、社会和物质条件。在这长达超过9小时的表演里，12位表演者身处于与彼此、与观众的不同关系的复杂性之中。作为一个呈现孤独与个体特征的仪式性过程，表演提供了一个瞬时的身体经历，并探索如何获得亲近和互通。
11月7日，“喧哗”开幕当天，唐·吉安（Tiong Ang）及团队昊美术馆现场表演，2018，©昊美术馆
我们观察一种创造、改造和转移集体欲望的模式，社会性的抗议与适应力最后投降于我们的本能。唐·吉安感兴趣于微观社会中自省、反身指涉、焦虑的潜流，以及旨在形成一种自治与抵抗的被隐匿的热情。通过溢出实际装置边界的动态演出，艺术家力图构建一个越界的、社会性的动态雕塑。
11月7日，“喧哗”开幕当天，唐·吉安（Tiong Ang）及团队昊美术馆现场表演，2018，©昊美术馆
装置中，4台全新的洗衣机被安放在放在一组展台上。洗衣机指涉离心洗涤的循环（浸泡，漂洗，翻转，旋转），作为“思想的洗衣机”的隐喻，我们见证了社会世界革新和重建的往复韵律。洗衣机所处的建筑网格结构暗示了一种进入现代性和消费主义角度的讨论。整个装置是关于语言、视角、身份的多元性和复杂性的视觉证据。
通过将展览空间接近剧场化的设置，这个集体表演挑战了美术馆空间的权威。在11月7日这场仅发生一次的持续性演出之后，留下的是人类存在的痕迹。被弄脏的展台，空转的机器，腐朽的瓷器工业（对中国商品的刻板印象）的细小残余藏于装置之中：破碎的碗，砖瓦，手工工具和黏土原材料。
唐·吉安正在寻找一种环境、物品与人的共生关系，以及固化的物质存在和人类记忆，物理激活空间之间的差异。
唐·吉安及团队
柳希京
英格丽·爱德华兹
罗伯特·维滕德尔普
安德烈斯·诺沃（建筑）
埃斯特·阿里瓦斯（编舞）
康皓然（翻译）
小佛
傅铭
邵磊
杨柳粤
李亚琼
丹妮拉·班德拉斯
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Misconceptions of the Lyrical Cube
Tiong Ang & Company
A PROJECT FOR HETEROGLOSSIA
Misconceptions of the Lyrical Cube is a multi-disciplinary museum installation in which a 9,5 hours group performance is staged at the opening of the exhibition, executed by Dutch-based artists, in dialogue with Chinese artists.
Tiong Ang explores artistic, social and material conditions in present-day China, by unfolding a cumulative movement of physical, individual and collective poses and gestures. During more than 9 hours, twelve performers take position on set in a complexity of different relationships with both each other and the audience. The performance offers an immediate, physical experience, as a ritualistic process to indicate solitude and individuality, and questions how to find proximity and connectivity.
We observe patterns of a collective urge to create, to transform and to transfer, of social protest and resilience, and finally to surrender to our basic instincts. Ang is interested in micro-sociological undercurrents of introspection, self-reflexivity, anxiety, and hidden passion, aiming for a form of autonomy and resistance. By spilling the living performance beyond the boundaries of the actual installation, the work aims to create a transgressive, social, living sculpture.
The setting employs the staging of four new washing machines, displayed on a series of pedestals. The machines refer to cycles of centrifugal washing (soaking, rinsing, turning, rotating), as a metaphor for a ‘laundry of ideas’, where we witness the social world in repetitive rhythms of innovation and reconstruction. The architectural grid in which the machines are displayed suggests an exploration into degrees of modernity and consumerism. The total installation is a visual testimony on multiplicity and complexity of languages, perspectives, and identities.
The collective performance challenges the authority of the museum space by approaching the exhibition space as a theatrical set. What has remained after the singular, durational performance on Nov 7th, are traces of human presence. The pedestals are smudged, the machines are left empty, small leftovers of a decayed porcelain industry (the stereotype of Chinese merchandise) are hidden in the installation; broken bowls, roof tiles, manual tools, raw clay materials. Tiong Ang is looking for a symbiosis of environment, objects and people, for the discrepancy between solidified material presence and the memory of human, physical activation of space.
Tiong Ang & Company
Heekyung Ryu
Ingrid Sanghee Edwards
Robert Wittendorp
Andres Novo (architecture)
Esther Arribas (choreography)
Kang Mangmang (translation)
Xiao Fo
Fu Ming
Shao Lei
Yang Liuyue
Li Yaqiong
Daniela Banderas
Misconceptions of the Lyrical Cube, 2018
正在展出
喧哗 HETEROGLOSSIA
展出时间：2018.11.7-2019.2.17
周二至周五 13:00-22:00
周六、周日 10:00-22:00