Performative Practices 策展与表演性实践

Traces of Survival — 1998 Chinese Contemporary Art Internal Viewing Exhibition 生存痕迹——98 中国当代艺术内部观摩展

Initiated by Cai Qing and jointly curated with Feng Boyi, Traces of Survival — 1998 Chinese Contemporary Art Internal Viewing Exhibition was held on January 2, 1998, at Yaojiayuan in Beijing. The exhibition brought together ten invited artists and was conceived as an independent platform for presenting and discussing emerging contemporary art practices in China. The participating artists included Qiu Zhijie, Zhan Wang, Zhang Yonghe (architect), Wang Gongxin, Lin Tianmiao, Yin Xiuzhen, Song Dong, Zhang Defeng, and Gu Dexin, together with Cai Qing and Feng Boyi. The exhibition opened a significant new chapter for experimental contemporary art in China at the beginning of a new era. 1998 年 1 月 2 日在北京姚家园的当代艺术展《生存痕迹——98 中国当代艺术内部观摩展》，由我发起，并联合冯博一共同策划，邀请另外 10 位艺术家共同合作完成的一个当代艺术展，这个展览打开了新时代的篇章。邀请参展的艺术家有：邱志杰、展望、张永和（建筑师）、王公新、林天苗、尹秀珍、宋冬、张德峰、顾德鑫，以及我和冯博一。

Beijing, China · January 2, 1998 中国北京 · 1998 年 1 月 2 日

Construction Before Destruction — Performance Art Exhibition 毁灭前的建造——行为艺术展

In 2008, I curated Construction Before Destruction, a performance art exhibition in Shifo Village, Zhengzhou. The project responded to the social issues surrounding the wave of demolition and urban redevelopment that was emerging across China at the time. Through performance art, the exhibition addressed the tensions between construction, destruction, displacement, and the transformation of local communities. 2008 年我在郑州石佛村策划《毁灭前的建造》行为艺术展，反映当时在全国刚刚兴起的拆迁的一些社会问题。

Shifo Village, Zhengzhou, China 中国郑州石佛村

Three International Contemporary Art Exhibitions Over One Year 横跨一年的三场国际当代艺术大展

In 2016, I curated a series of three large-scale international contemporary art exhibitions at the Chongqing Changjiang Contemporary Art Museum, presented over the course of one year. Parabiosis was a large-scale international contemporary art exhibition that brought together artists from diverse cultural backgrounds and artistic contexts. The large-scale advertisement for the international contemporary art exhibition covered the exterior wall of the museum’s main exhibition building for more than half a year, becoming a highly visible part of the museum’s public presence and extending the exhibition beyond the conventional gallery space. 2016 年，我在重庆长江当代美术馆策划了横跨一年的三场大型国际当代艺术展览，形成了一个持续性的国际当代艺术展览系列。《异质共生》（Parabiosis）是一个大型国际当代艺术展，汇集了来自不同文化背景和艺术语境的艺术家。国际当代艺术展的大型宣传广告覆盖在重庆长江当代美术馆主展馆的外墙上，持续了半年多，成为城市公共空间中非常醒目的视觉存在，也使展览的影响超越了传统美术馆的室内展示空间。

Chongqing Changjiang Contemporary Art Museum, Chongqing, China · 2016 重庆长江当代美术馆，中国重庆 · 2016

Live Art Touring Exhibition 现场艺术巡回展

Every year, I organize the Live Art Touring Exhibition at different locations around the world. This was the 6th edition, a touring project from Tianjin to Cangzhou, titled The Journey of Tracking. 每年在世界各地不同的地点举办“现场艺术巡回展”，这是第 6 届天津至沧州——“追迹之旅”。

Survey of Twenty Years of Performance Art Documentation in China 总结中国近 20 年行为艺术文献

At the end of 2018, I represented Chinese performance art at the international Art Action 1998–2018 conference in Quebec, where I delivered a presentation on the development of performance art in China over the preceding two decades. I also curated the exhibition China Action 1998–2018: Documentation Exhibition, presenting and reviewing two decades of performance art practices and documentation in China. 2018 年底，我代表中国行为艺术发言人在魁北克 Art Action 1998–2018 国际行为艺术会议做报告，并举办“中国行动 1998–2018 文献展”。

Quebec, Canada · Late 2018 加拿大魁北克 · 2018 年底

Curated the 3rd, 6th, and 7th Editions of the “Hot Snow” International Performance Art Festival 策展“热雪”内蒙古行为艺术节第 3、6、7 届

In the early 2020, I successfully curated the 7th Hot Snow International Performance Art Festival in Inner Mongolia. Cai Qing’s work, 33 Hot Snow Monuments, 2020, created a commemorative monument for each participating artist. Only after the 7th edition did I fully realize how precarious the situation had been. Police surveillance and warnings constituted a man-made obstacle, but even more unsettling in retrospect was the fact that the festival took place in a narrow interval between two disasters beyond human control. The festival ran from December 27, 2019, to January 10, 2020, beginning shortly after the plague outbreak in Siziwang Banner, Inner Mongolia, and ending just before the COVID-19 pandemic spread with devastating force. Looking back, the timing of the festival feels both extraordinarily fortunate and deeply precarious. 2020 年初，成功地举办了在内蒙古“热雪”国际行为艺术节第 7 届。蔡青作品《33 个热雪纪念碑》2020，为每位参展艺术家立碑。第 7 届“热雪”之后我才意识到情况有多么险峻。警方的追踪与警告是人为的障碍，而最令我后怕的是，我们的这次活动竟然夹在两个人类无法控制和回避的天灾之间。整个艺术节从集合到解散，时间是 2019 年 12 月 27 日至 2020 年 1 月 10 日之间，正是内蒙古四子王旗的“鼠疫”和后来凶猛袭来的“新冠病毒”之间短暂的空隙中，之后越想越觉幸运和惊险。

Inner Mongolia, China 中国内蒙古

The Online Art World 2020–2022 网络艺术世界 2020–2022

During the pandemic, I accepted the challenge of curating online exhibitions and transferring performance art festivals from the physical world into the international digital sphere. This led to the creation of Beyond, an online performance art festival and the digital extension of the Hot Snow Art Festival. The festival was held for two consecutive editions, providing artists with a platform to present their work and engage with audiences around the world. In addition, during the pandemic I organized several themed international group exhibitions, taking advantage of the accessibility of the internet to connect artists across national and geographical boundaries. I used platforms such as Facebook and WeChat to disseminate the exhibitions and encourage artists to create new works in response to the changing circumstances. 在大流行期间，我接受了策划在线展览并将行为艺术节从物理世界转移到国际网络的挑战。这导致了“超越”在线艺术节的诞生，它是“热雪”艺术节的网络表现形式。该艺术节已连续举办两届，为艺术家提供了一个展示作品和与世界各地观众交流的平台。除此之外，我在疫情期间组织了几次主题国际艺术群展，利用互联网的便利和国际接轨。我使用 Facebook 和微信等平台传播，激发艺术家创作新作品。

One of the most successful projects was Shared Crisis, an international online art exhibition that I curated on September 11, 2020. The exhibition continued for two months and brought together artists from around the world to share their perspectives on the pandemic and other global crises. I subsequently compiled the works from the exhibition into a book, preserving a lasting record of the resilience and creativity of artists in times of adversity. Overall, these projects allowed me to explore new forms of artistic expression, collaboration, and international exchange, while demonstrating the capacity of digital networks to connect people across geographical and cultural boundaries. They also became an important part of my curatorial practice during a period of profound global disruption. 最成功的展览之一是我于 2020 年 9 月 11 日策划的“共享危机”国际艺术展。这个展览持续了两个月，汇集了来自世界各地的艺术家，分享他们对大流行病和其他全球危机的看法。我还把这次展览的作品编成一本书，时刻提醒着艺术家在逆境中的韧性和创造力。总的来说，这些项目让我探索了艺术表达和合作的新途径，并展示了网络将世界各地的人们联系起来的力量。我很自豪能够在困难时期参与这些激励和鼓舞人们的努力。

The First Live Art Festival to Re-emerge During the Pandemic: Pure Land 疫情期间第一个重现现场的行为艺术节：《净土》

Taiwan received international recognition for its effective response to the COVID-19 pandemic, successfully controlling the spread of the virus and allowing public life to resume relatively early. Against the backdrop of the continuing global pandemic, I took on the challenge of curating Pure Land, one of the earliest live art festivals to return to physical, in-person presentation after the outbreak. With the support of the Taiwan arts community and its funding bodies, Pure Land was successfully realized in December 2021. The festival demonstrated the resilience and creativity of Taiwan’s art community in the aftermath of a global crisis, while also creating an opportunity for artists and audiences to reconnect through physical presence and live artistic exchange. At a time when the world was still struggling with the consequences of the pandemic, the festival demonstrated the capacity of live art to bring people together, restore human connection, and create possibilities for recovery through artistic practice. 台湾因在 COVID-19 疫情期间出色的防疫表现而获得国际社会的广泛关注，有效控制了病毒传播，并较早恢复了相对正常的社会生活。在全球疫情仍持续蔓延的背景下，我策划了《净土》行为艺术节，面对疫情所带来的诸多限制与挑战，使现场艺术重新回到真实的公共空间，并于 2021 年底成功实现。在台湾艺术界及相关艺术基金支持下，《净土》艺术节顺利举办。它展现了全球危机之后台湾艺术界的韧性与创造力，也为艺术家和观众重新建立面对面的交流与现场艺术体验创造了机会。当世界仍在应对疫情所带来的持续影响之时，《净土》显示了现场艺术将人们重新聚集在一起、恢复人与人之间真实联系，并通过艺术实践创造疗愈与重新连接可能性的力量。

I was honored to serve as the curator of the Pure Land Live Art Festival. The project not only reflected Taiwan’s remarkable achievement in managing the pandemic, but also demonstrated the power of art to bring people together and foster connection and healing during a period of profound uncertainty. 我很荣幸担任《净土》行为艺术节的策展人。这一项目不仅体现了台湾在疫情防控方面所取得的显著成就，也进一步证明了艺术在充满不确定性的困难时期，将人们重新聚集起来、促进人与人之间的联系，并为社会带来希望与疗愈的力量。

Taiwan · December 3–6, 2021 台湾 · 2021 年 12 月 3–6 日

Creating an International-Standard Performance Art Festival on a Minimal Budget 以低成本策划国际水准的行为艺术节

In 2022, during the 15th edition of documenta in Kassel, I organized Overlapping Kassel as a parallel project, with the aim of creating an international live performance art festival with minimal financial resources. To my great satisfaction, 59 performance artists from around the world responded enthusiastically to the invitation and traveled to Kassel at their own expense to contribute to this ambitious project. Over more than ten days, we worked together to realize Overlapping Kassel, which was successfully completed. 2022 年，在第 15 届卡塞尔文献展（documenta 15）期间，我策划了平行艺术项目《重叠卡塞尔》（Overlapping Kassel），旨在以极低的经济成本打造一个具有国际水准的现场行为艺术节。令我欣喜的是，来自世界各地的 59 位行为艺术家积极响应邀请，自费来到卡塞尔，为这一雄心勃勃的项目贡献力量。在十多天的时间里，我们共同完成了《重叠卡塞尔》，并取得了圆满成功。

What made the project particularly remarkable was that it was realized with virtually no production budget, standing in sharp contrast to the official documenta 15, which had a budget of approximately €42 million. By organizing an international-scale artistic event with extremely limited financial resources, we demonstrated that the value of art does not lie primarily in its economic cost, but in the ambition, commitment, and creativity of the artists involved. During the project, 14 artists contracted COVID-19, yet one after another they continued to participate and complete the project despite the difficulties. Their commitment and perseverance were deeply moving. 这个项目之所以尤其值得关注，是因为它几乎没有制作经费，却完成了一个具有国际规模的艺术活动，与官方第 15 届文献展约 4200 万欧元的预算形成鲜明对比。通过以极低的成本组织国际性的艺术活动，我们证明了艺术的真正价值并不主要取决于经济投入，而在于艺术家的抱负、投入和创造力。在项目进行期间，有 14 位艺术家感染了新冠，但他们仍然前仆后继地坚持参与并完成项目。面对这样的困难，他们所表现出的投入与坚持令人深受感动。

Overlapping Kassel demonstrated the power of collective effort and artistic vision. I hope the project can inspire more artists to pursue their artistic ambitions despite financial limitations, to take risks for art, and to continue expanding the possibilities of artistic practice. 《重叠卡塞尔》证明了集体行动与艺术愿景的力量。我希望这一项目能够激励更多艺术家，即使面对经济上的限制，也依然坚持自己的艺术抱负，敢于为艺术承担风险，并不断拓展艺术实践的可能性边界。

Kassel, Germany · June 16–26, 2022 德国卡塞尔 · 2022 年 6 月 16–26 日