{"id":6630,"date":"2015-09-30T14:08:00","date_gmt":"2015-09-30T14:08:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=6630"},"modified":"2022-12-14T14:30:51","modified_gmt":"2022-12-14T14:30:51","slug":"15-rooms-performance-art-in-a-box","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/15-rooms-performance-art-in-a-box\/","title":{"rendered":"\u201c15 Rooms\u201d: Performance Art in a Box"},"content":{"rendered":"\n

\u201c15 Rooms\u201d<\/strong><\/a><\/p>\n\n\n\n

Long Museum West Bund<\/a><\/strong> (No. 3398, Longteng Avenue, Binjiang, Xuhui District, Shanghai), Sept 9\u2014Nov 7, 2015<\/strong><\/p>\n\n\n\n

\u201c15 Rooms\u201d\u2014an exhibition of performance art curated by Hans Ulrich Obrist and Klaus Biesenbach\u2014opened recently in Shanghai\u2019s Long Museum West Bund. Now in its fifth and latest iteration, the exhibition\u2019s basic premise is simple and deceptively attractive: 15 different works of performance art are presented tidily in 15 rooms and can be seen at any time during opening hours. The curators thus make mention of \u201cliving sculpture\u201d.<\/p>\n\n\n\n

The series of exhibitions began with \u201c11 Rooms\u201d at the Manchester International Festival in 2011, followed by \u201c12 Rooms\u201d at Museum Folkwang in 2012, \u201c13 Rooms\u201d in Sydney in 2013, and \u201c14 Rooms<\/a>\u201d next to Art Basel last year. \u201cMaybe in 2100, there can be 100 rooms,\u201d Obrist deadpanned. Certainly, this exhibition in China will be the longest by far: over six weeks vs one to three weeks previously. Yet how can it even compare to Eug\u00e8ne Ionesco\u2019s\u00a0La Cantatrice Chauve<\/em>, which has played at the Th\u00e9\u00e2tre de la Huchette in Paris since 1957, and which gave Obrist the germ of the idea in the first place?<\/p>\n\n\n\n

\"\"
Exhibition view (architectural space: designed by Herzog & de Meuron)
\u5c55\u89c8\u573a\u666f\uff08\u5efa\u7b51\u7a7a\u95f4\uff1a\u8d6b\u5c14\u4f50\u683c\u548c\u5fb7\u6885\u9686\u5efa\u7b51\u4e8b\u52a1\u6240\u8bbe\u8ba1\uff09<\/figcaption><\/figure>\n\n\n\n

Of course, there is something pleasant about the exhibition. For the general public, hiding the works behind each door offers that frisson of suspense. In a certain way, it is a good introduction to performance art; after all, having 15 different works all in one place and during opening hours makes the show easy to fit into one\u2019s schedule\u2014say, between brunch and afternoon tea\u2014and quite unlike sprawling exhibitions these days which some find too exhilarating and exhausting.<\/p>\n\n\n\n

The mix of works\u2014by artists of different ages and nationalities, and of different types\u2014is quite compelling. Household names like Yoko Ono (\u201cTouch Piece\u201d, 1963) and Marina Abramovi\u0107 (\u201cArt Must Be Beautiful, Artist Must Be Beautiful\u201d, 1975) are present. Relational pieces like Roman Ond\u00e1k\u2019s \u201cSwap\u201d (2011)\u2014where the performer convinces the audience to exchange one piece with the item on hand\u2014and Tino Sehgal\u2019s \u201cThis Is Exchange\u201d (2002)\u2014where visitors are asked to talk about market capitalism\u2014generate that sense of participation, with varying degrees of credulousness. Of course, Allora & Calzadilla\u2019s \u201cRevolving Door\u201d is the spectacular work, with the line of dancers moving and blocking the visitor\u2019s way, their movements inspired by political protests, military marches, and chorus lines, making the most of the restrictions of the space.<\/p>\n\n\n\n

The show also includes five Chinese artists. Xu Zhen\u2019s \u201cIn Just a Blink of an Eye\u201d (2005) never ceases to delight the crowds, with a performer frozen in mid-free-fall as if by magic. Cao Fei\u2019s \u201cComing Soon\u201d has a dark room with two girls on swings kicking drum-sets. Zhang Huan offers us a (rather weak) rehash of \u201cFamily Tree\u201d, painting genealogy on faces (remember: the exhibition lasts six weeks). One can\u2019t help but wonder, what if? What if a more visceral piece had been presented (like \u201c12 Square Meters\u201d, where in 1994 Zhang Huan, covered in honey, sat in an outhouse with flies)? But of course that is an impossibility in a museum, no thanks to all sorts of legal and hygiene regulations. (In fact, for \u201c11 Rooms\u201d<\/a>, the curators had apparently wanted to re-enact a 1970 conceptual project by the American artist John Baldessari\u2014a cadaver laid out \u201cin the pose either of Mantegna\u2019s \u2018Dead Christ\u2019 or the nude woman in Duchamp\u2019s \u2018Etant Donn\u00e9es\u2019\u201d; they were defeated by medical ethics and the law).<\/p>\n\n\n\n

At the opening, a random assortment of art world folks buzzed about. Besides the official 15 performances, there were a number of spectacles to be seen: the gallerists\u2019 scrum which soon enveloped the top curators, whilst other curators cast watchful looks at top collectors and artists,  and then there was the \u201cparticipatory\u201d element, the inevitable logjam created by viewers posing for selfies in front of the performances. Other things are easy to complain about: the inevitable avoidance of nudity (in China, but also in such a high-profile museum) or the booth-like rooms evocative of an art fair. Or the fact that artists not performing the works themselves\u2014which also reminds one of the 1970s debate on whether representation of performance is possible or desirable (\u201cDocumentation has continued to be an issue that plagues live art, and ever since Peggy Phelan declared it a \u2018betrayal\u2019 of liveness, it has been much debated academically if documentation can ever be representational,\u201d wrote Allan Taylor in Documentation of (Mis)Representation: Towards An Archival Future of the Performative Photograph<\/em>). Or, as Hal Foster puts it<\/a>, \u201cOver the last decade art museums have re-staged many performances and dances, mostly from the 1960s and 1970s. Not quite live, not quite dead, these re-enactments have introduced a zombie time into these institutions.\u201d<\/p>\n\n\n\n

Certainly, the most visceral works can\u2019t in any way be shown in such a setting\u2014whether it be Zhang Huan (as mentioned above), or shooting bullets (as in Chris Burden or Tang Song\/Xiao Lu), or bloody, painful acts (He Yunchang), or shock and horror (Zhu Yu\u2019s \u201cEating Baby\u201d), or Tang Dixin\u2019s various (crazy) interventions. Nor would there be a point to these works in this setting, which instead privileges works that are continuous (remember the opening hours) and repetitive (the performers can work in shifts). In short, no pain, no nudity, no climax.<\/p>\n\n\n\n

That said, many works are pleasurable<\/em>, like seeing Bruce Nauman\u2019s \u201cWall-Floor Positions\u201d in person\u2014and even some where the displacement was quite pertinent, like Hu Xiangqian\u2019s \u201cTwo Men\u201d (2008), which was first performed on a public street. Detached from its original context, the focus is on the formal movements of the red-dotted and green-dotted dancers\u2014perhaps even fittingly, as the red and green of the traffic lights are further abstracted.<\/p>\n\n\n\n

The world has come full circle from a conceptually driven departure from the strictures of gallery or institutional spaces to a certain recklessness of performance\u2014and now, back into a spotless space. And though it provides a valuable opportunity for audiences to see these renowned works of performance, it is hard not to feel that the sheer convenience of \u201c15 Rooms\u201d has come at a cost. Yet the question lingers\u2014what if?<\/p>\n\n\n\n

\"\"
Allora & Calzadilla, \u201cRevolving Door\u201d, 2011
\u963f\u6d1b\u62c9\u548c\u5361\u5c14\u8428\u8fea\u5229\u4e9a\uff0c\u300a\u65cb\u8f6c\u95e8\u300b\uff0c2011<\/figcaption><\/figure>\n\n\n\n
\"\"
Roman Ondak, \u201cSwap\u201d, 2011
\u7f57\u66fc\u00b7\u6b27\u8fbe\u79d1\uff0c\u300a\u4ea4\u6362\u300b\uff0c2011<\/figcaption><\/figure>\n\n\n\n
\"\"
Marina Abramovi\u0107, \u201cArt Must Be Beautiful, Artist Must Be Beautiful\u201d, 1975
\u739b\u4e3d\u5a1c\u00b7\u963f\u5e03\u62c9\u83ab\u7ef4\u5947\uff0c\u300a\u827a\u672f\u5fc5\u987b\u662f\u7f8e\u7684\uff0c\u827a\u672f\u5bb6\u5fc5\u987b\u662f\u7f8e\u7684\u300b\uff0c1975<\/figcaption><\/figure>\n\n\n\n
\"\"
Otobong Nkanga, \u201cDiaspore\u201d, 2014
\u5965\u6258\u90a6\u6208\u00b7\u6069\u574e\u52a0\uff0c\u300a\u690d\u7269\u7e41\u6b96\u4f53\u300b \uff0c2014<\/figcaption><\/figure>\n\n\n\n
\"\"
Xu Zhen, \u201cIn the Blink of an Eye\u201d, 2005
\u5f90\u9707\uff0c\u300a\u53ea\u8981\u4e00\u77ac\u95f4\u300b\uff0c2005<\/figcaption><\/figure>\n\n\n\n
\"\"
Zhang Huan, \u201cFamily Tree 2015\u201d, 2015
\u5f20\u6d39\uff0c\u300a2015\u5bb6\u8c31\u300b\uff0c2015<\/figcaption><\/figure>\n\n\n\n
\"\"
Hu Xiangqian, \u201cTwo Men\u201d, 2008
\u80e1\u5411\u524d\uff0c\u300a\u4e24\u4e2a\u7537\u4eba\u300b\uff0c2008<\/figcaption><\/figure>\n\n\n\n
\"\"
Double Fly Art Center, \u201cMilk of Pure Love\u201d, 2011
\u53cc\u98de\u827a\u672f\u4e2d\u5fc3\uff0c\u300a\u5976\u4e4b\u7eaf\u7231\u300b\uff0c2011<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

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