l-u-n y-u

这个项目以我们当下的生命体验为出发点,试图在“全球与本土”的二元对立叙事下,找到一种新的思考角度——不是充斥着政治和意识形态意味的“民族乌托邦”,也不完全是贝尔廷所倡导的“全球艺术(Global Art)”——从而探索重建本土文化和生存经验的可能性。

从《论语》到《lún yǔ》再到《L-U-N Y-U》,文化的本体在作品中变得愈发暧昧不清,但又同时给作品带来了越来越多的内在张力。正如当下全球视野中普遍发生的文化之间的挪用和虚拟再现一样,作品里的“文本”和“文本的产生方式”同时给中国观众和非中国观众带来了困惑——它的本体究竟是什么?是我们视为权威的“原文”,还是“他者”敲打出的字母组合,还是我们脑中不断在汉语、拼音、英文字母之间进行解码和转译的过程,抑或是向未来开放的那个不断改变的语言能指?

在探寻“文化边缘”的同时,主体-系统的元叙事设想也再一次失效,文化不再仅仅是历史长河中的一潭死水,我们也不再是文本的唯一合法主体。

 

This project comes from our (generational, cultural) life experience, and expect to find a new perspective of thinking under the binary narrative of “global and local” — neither the national utopia filled up with political and ideological tones, nor the “Global Art” that Hans Belting recommended.

From 《论语》to “lún yǔ” to “L-U-N (space) Y-U”, the culture itself becomes ambiguous in this work. Just like cultural appropriation and cultural imitation around the globe, the text in this work and the way of generating the text confuse both Chinese audience and non-Chinese audience: what is this work? Is it the original text that we regard as the authority, or the combination of letters that made by “others”? Or are they the constant decoding and translating processes among Mandarin, Pinyin and English letters? Or even the ever-changing linguistic signifier that opens up possibilities to the future?

While exploring the verge of cultures, the temptation to create the metanarrative of subject-system has failed. Culture has not been the dead water in the river of history, and we are no longer the only legitimate subjects for this text anymore.

 

Documentations of performance and installation view, yong ye di liu, in "Manifestos Unheard", 2017

Documentation of Performances, 2017

lun yu (xue er di yi) - María del Mar Hernández Gil de Lamadrid

 

lun yu (wei zheng di er) - Zeshan Ahmed

 

lun yu (ba yi di san) - Arash Fewzee

 

lun yu (li ren di si) - Isadora Rezende Waddington