iprovoke

开幕：5.19 16:00

日期：2018.5.19 - 5.31

地址：北京市朝阳区798艺术区中二街D05号梦办

开放：周一 - 周日 11:00-19:00

不同文化、不同时代塑造的形态相互游移、交换。荷兰艺术家Yoeri Guépin观察着这种变化，对于这种变化，全球范围内已有相应的文本叙述，Yoeri Guépin特别关注其中被附加和挪用的阐释意含。艺术家此前对欧洲博物馆收藏的石膏模型进行了研究，这次在梦办空间的展览，他从中选择了一部分和中央美术学院的教学石膏进行组合。在艺术家的推敲中，这些文化加工品如同当代的寓言，展现了过去与当下、东方与西方、主体与客体之间关系。

Yoeri Guépin获得蒙德里安基金会的支持，自2018年1月在激发研究所为期6个月的艺术驻地。他为6月底将在激发研究所的展览持续调研与创作，在这之前，Yoeri对梦办空间的橱窗空间的构造、环境产生兴趣，将于5月19日至5月31日特别呈现“Super Sign / 表征”，作为他2018年在中国艺术驻留项目的序曲。

“我的工作强调研究，往往涉及知识生产中的历史轨迹，如考古学，人类学或物的历史书写。通过收集和转译物件，人工制品和故事，对它们的挪用和重新演绎，我旨在展示这些系统中的支配结构，以及知识是如何通过象征性物被表现的。我坚信艺术家从事文化档案工作的重要性，以及以把它们与现存问题政治性的联系起来的来方式激活历史物的潜能。我的实践核心是收集人类学/考古博物馆的收藏品作为知识生产的现场和对殖民主义的历史阐释。重新塑造史料意味着我参与并重新思考这些人工制品的生态，或是在过去和现在之联系并围绕其产生的关系系统。在没有任何既定媒介的情况下工作，我的大部分作品最终都会在一个涉及电影，文本或物体等元素的表演环境中实现，这些元素有时会在特定的场所被激活。在6个月的驻留期间，我将重点关注史料的缺失，以及如何从历史痕迹、碎片和档案中重新构建集体记忆。什么样的助记器可以激活和改变记忆，并成为在政府审查制度下和国家威权驱使的失忆状态中历史档案资料的替代品？我希望在驻留期间进一步探索，通过虚构和猜测以及从非人类视角中的历史性和档案性故事。在接下来的几个月中，我将创作几种人声（人物），这些声音将通过物体，文档和历史事件相互关联，最终形成表演和装置。”

——Yoeri Guépin

梦办Dream Co.是一个位于北京798艺术区的复合空间，集艺术书店、展厅与版画工作室为一体。梦办以不断发散的艺术活动保持能量，希望提供一种活泼轻盈的阅读观看环境。

Opening: 5.19 , 16:00

Time: 2018.5.19 - 5.31

Address: D05, Middle Second Street, 798 Art Zone, Chaoyang Distric, Beijing

Opening Hours: Monday - Sunday 11:00 - 19:00

Dutch artist Yoeri Guépin looks at the exchange and traveling of gestures and poses between different cultures and eras focussing on their appropriations and change of meaning through contextualizing them globally. For the presentation in Dreamco the artist will select material from his research he did in several plaster cast collections in European museums combined with the iconography used for study of posture in Central Academy of Fine Art in Beijing. The presentation in Dreamco, Guépin attempts to draw relations between copies of cultural artifacts making allegorical constellations, illuminating relations between past and present, East and West, object and subject.

My work has a strong emphasis on research and often involves historical trajectories of knowledge production such as archaeology, anthropology or the writing of history through objects. Through collecting and translating objects, artifacts and stories, their appropriation and re-contextualization, I aim at showing the governing structures of these systems, and how knowledge is represented through symbolic objects. I believe in the importance of artists working with cultural archives and the potential to activate objects in a way that politicize them in the present from a historical perspective. Central to my practice is working with collecting and the anthropological/archaeological museum collection as site of knowledge production and it’s historical vernacular to colonialism. Reanimating the archive means for me engaging with, and rethinking of the ecology of artifacts, or the systems of relationships that have connections to and surrounds them in the past as well as in the present. Working without any fixed medium, most of my works finally materialize in a performative setting involving elements of film, text or objects sometimes activated at a specific site.

—— Yoeri Guépin

Dream Co. is a composite space based in 798 Art District, Beijing. It combines the functions of art book store,alternative exhibition space and print-making studio. Dream Co. keeps forward by holding varieties of art activities, hoping to provide an easy and vigorous space for reading and seeing.

更多信息请扫描图中二维码。

时间： 2018/05/28，周一，18：30 - 20：30

地点：激发研究所，北京东城区黑芝麻胡同13号四合院（进院左转第一进院大树北侧工作室）

关于三明治和艺术家

三明治于2016年开放，位于罗马尼亚布加勒斯特，是一个由艺术家运营的空间。

Mike Nelson, Re-bar, wire-mesh, cross-hatch (Romanian heroes)

DANIELA PĂLIMARIU: Pool Party

三明治利用了两座工业建筑之间夹道的隐藏潜力，加之1.5米宽乘8米长的不寻常比例。它位于城市边缘的工业区。始于任何限制都是找到终极解答之源泉这一假设，三明治将现有空间的属性转化至建构极限并与本地、国际艺术家合作挑战一系列在地项目和装置。

在北京，三明治的组织成员和艺术家团队将展示多件为此地而创作的个人与合作作品。Daniela Palimariu 的工作涉及行为雕塑和空间转化，她将为展览空间安放“可靠角”。Dan Vezentan 关于家养动物学的兴趣来自他个人童年在乡村与畜牧业全方面接触的经历。在北京他将亲手搭建一个鸡窝。Alexandru Niculescu 是写实领域工作的画家——和 Cristian Raduta雕塑家，将合作创造一个蝴蝶形的艺术家工作室，诉说艺术生命的脆弱与奇迹。

ABOUT SANDWICH & ARTISTS

Sandwich is an artist-run space in Bucharest, Romania, opened in 2016.

Sandwich uses the hidden potential of a residual space in-between two utilitarian buildings, with the atypical proportion of 1.5 by 8 meters. It is located in an industrial area of the city, within the nordic periphery of the city. Starting from the assumption that any restraint is a resource for finding the ultimate solution, sandwich converts the characteristics of the chosen space into constructive limits and challenges a series of site-specific projects and installations from Romanian and international artists.

In Beijing, the team of artists & friends running Sandwich will present various personal and collaborative works, created especially for this occasion.

Daniela Palimariu works with performative sculptures and the transformation of spaces and will install Leaning Corners around the exhibition space. Dan Vezentan's interest in zootechnics comes from his personal connection with all aspects of farming dating from his childhood in the countryside. In Beijing, he is building one of his Chicken Coops. Alexandru Niculescu – working mainly as a figurative painter – and Cristian Raduta – a sculptor, are collaborating to create a butterfly-shaped artist studio that speaks about the fragility and vulnerability of the art practice, especially of the studio one.

http://www.sandwichgallery.ro/

三明治艺术小组正在参加西五艺术中心的展览

拼贴 COLLAGE

时间：2018年5月25日— 6月15日

地点：C5+86（北京市朝阳区798艺术区七星东街E03栋）

主办：西五艺术中心、罗马尼亚文化中心

出品：西五青年疗养院

参展艺术家：Alexandru Niculescu／Cristian Raduta／Daniela Palimariu／Dan Vezentan／吃的ReallyWant／高嘉丰／黄蓝／金宁宁／李菁／林奥劼／麻剑锋／马天戈／米念／潘琳／谭英杰／王蓬／温凌／杨紫／叶甫纳／原晓光／张淼

贴，是一块一块的粘上的意思，每一块可以互相粘贴也可以平行相处，但他们在一个“平台”中，这个平台以前是纸张或画布等平面的承载物，现在也许可以在时间和空间中进行。

新媒体艺术不仅仅是新的媒体做的艺术，更重要的改变来自于观看的体验，以及创作的方法和收藏的观念。就像我们做的食物剧场的项目，把食物做成不能永久保存但能立刻收藏的作品（吃掉他们，把他们收藏进肚子里）。这里艺术活动的过程由制造者和体验者共同完成，虽然短暂，仅仅是一个晚宴的时间，但经由亲历者的相机，又记录在不同的朋友圈中。这与以往的艺术存在方式十分的不同。

人的大脑有一套神奇的脑补系统，只看到一个logo，就能脑补出几倍的内容。在斯皮尔伯格的新片玩家一号中，彩蛋一个接一个的不断涌出，观众的呼声也一阵接着一阵，甚至感动到哭了出来，就是因为他看到了与自己经验相关的形象，脑补出了当年与之相关的林林总总，情感一下得到了宣泄。这是一种跨越时空的“贴”，把过去的经验贴合到现在的场景中产生出新的体验。

我们的展览也是如此。开幕的晚会是作品的现场，各种不同的艺术形式：装置、影像、音乐和爬梯，由艺术家和观众的共同参与完成，贴在一起，而展览正式开始的第二天，带给来参观的人们的不仅仅是留在现场的作品，还有一天晚上爬梯留下的痕迹，昨晚发生了什么？不在现场的人就像侦探一样研究着蛛丝马迹，虽然有现场的视频，但在场和不在场的人的理解是不一样的。

西五艺术中心成立于2006年，至今不断致力于推出青年艺术家及他们具有预见性的艺术创作。

相较一个称职的画廊，西五的人设更像是任性艺术家，在探寻艺术未来的道路上脑洞大开去折腾，层出不穷的艺术项目在这儿野蛮生长，艺术小组从这里萌发诞生。

作为画廊兼具多元艺术项目的孵化空间，西五着力拓展「数字绘画」的收藏模式，探索「食物剧场」的沉浸式艺术体验，并于2018年推出［桌面数字艺术博览会］和［西五青年疗养院］等多个项目。

西五艺术中心未来种种艺术活动的发起，将打破常规，突破体系实践新的可能。

Institute for Provocation is very glad to have our residency artist in 2012 Serge Onnen back in Beijing from 29th May to 8th June with his latest film Cloacinae! On 5th June, a pop-up show and performance by Serge Onnen at IFP’s Black Sesame Space, opening at 5pm.

His other public programs in town include:

3pm – 5pm, 2nd June, artist talk an screening of Cloacinae at Chao Art Center

1:30pm – 3pm, 3rd June, artist talk and screening of Cloacinae at UCCA

4:30pm onwards, 3rd June, book launch of Onnen’s latest book I Am a Lone Monk Walking the World with a Leaky Umbrella at Dream-Co 798

8pm, 8th June, screening of Cloacinae at Camera Stylo and farewell party

About Serge Onnen

Serge Onnen is an artist who works with different media, but mainly drawing and many pre-cinematographic techniques and has shown his work in museums and galleries around the world. In a time when the moving image is nothing exceptional anymore it's interesting to work with the most primitive once, the many forgotten technics of pre-cinema.

His work deals with the ideas of value in all their forms, economical and emotional values. The work that will specially be made for Black Sesame Space, refers to the first live performances he made in Beijing in 2012 under the name "the value of nothing". In these performances, trash found around the locations of the venues where the performances where taking place was used a backdrop for the puppets. Plastic bottles, empty food packages, empty plastic bags, etc. In this new installation, the volume of these empty shells will be used as a cast for ice shapes. The cold and beautiful shapes coming out of these packages will be put on display behind the screen and the melting process will be the slowly moving backdrop of the immobile puppets. The background is constantly being refreshed with new ice shapes. The viewer can go backstage to see puppets and this process.

still image from Cloacinae

About the Cloacinae Project

After researching during the period of 6 months the ancient art of Chinese shadow puppets in Beijing, Serge Onnen met Amsterdam-based animator Sverre Fredriksen (1981, Drammen, Norway). They talked about making a film using this nearly extinct art of puppets carved out transparent animal skin. Mr. Fredriksen had started experiments with filming frozen liquids and they found out that combining these two very different semi-transparent materials would make an interesting film. In 2014, Mr. Onnen went back to China to work with musician, puppeteers and craftsmen to carve the character developed out of animal skin for Cloacinae. Li Daiguo, a well known figure in the experimental music scene in China made the soundtrack for the film using a array of Asian and western old instruments.

An animation film using Chinese shadow puppets and a large number of pre-cinematographic technics such as phenakistoscopes, zootropes and kaleidoscopes. All the characters have been cut from animal skin by Chinese craftsmen in the traditional way. Chinese shadow-puppetry can be seen as the oldest form of moving projected images. This will be the first screening of the film in Asia. 'L'etat, c'est l'égout" - 'The sewer, is the state' (Jules Ferry, French statesman). Every modern societies built on two invisible and indispensable systems, the sanitary and the monetary system. When something goes wrong with one of these two, our civilization is in danger. Cloacinae is the name of the Roman god of the first sewers ever built. In this shadow puppet film we follow the journey of a cent who has fallen into the sewer system.

激发研究所热烈欢迎我们2012年的驻地艺术家Serge Onnen （孙齐）带着他的新电影作品《克罗阿西娜》回到北京！在他短暂的十天（5月29日到6月8日）停留期间，他将在6月5日下午五点在激发研究所·黑芝麻空间有一个艺术家表演及展览开幕。

其他的公共活动时间如下：

6月2日下午3点 – 5点， CHAO艺术中心，放映《克罗阿西娜》及艺术家作品分享会；

6月3日下午1点30分– 3点，尤伦斯当代艺术中心，放映《克罗阿西娜》及艺术家讲座；

6月3日下午4点30分，798梦办，艺术家书《我是顶把漏伞前行的孤独僧侣》发刊会；

6月8日晚8点，摄影笔，放映艺术家电影《克罗阿西娜》以及告别派对；

关于艺术家

Serge Onnen（孙齐）运用多种媒介进行创作，主要包括绘画和多种前电影摄影技术，并曾于世界各地的博物馆和画廊中参展。在一个影像已不再稀奇的时代，他尝试用曾经最原始的、如今已被遗忘的前电影技术进行实践的方式耐人寻味。

他的作品对“价值”的所有形式进行探讨，不论是经济的还是情感的。此次他为黑芝麻空间特别创作的作品与其2012年北京进行的以“无的价值”为名的首次现场表演有关。在这一系列表演中，艺术家利用表演发生场所附近找到的垃圾作为人偶的背景幕——包括塑料瓶、空的食品包装、空的塑料袋等等。在这次的新装置中，大量类似的空壳将成为制冰模具。脱胎自这些包装的冰冷而美丽的形状将被展示于屏幕之后，因此冰缓慢融化的过程将成为固定不动的人偶的动态背景墙。这一背景随着冰的形状而持续地更新。参观者可以走到幕后去观察人偶和这一融冰过程。

关于《克罗阿西娜》项目

在北京对古代中国皮影戏进行了连续六个月的研究后，Serge Onnen认识了常驻荷兰的动画家Sverre Fredriksen（1981年生于挪威德拉门）。他们谈到是否可以利用这一几近绝迹的、用动物皮雕刻制作的皮影艺术来制作一部影片。早前，Sverre Fredriken开始实验性地拍摄冻结的液体，他们发现将这两种完全不同的半透明材料结合起来可以制作一部有趣的影片。2014年，Serge Onnen回到中国，与音乐家、皮影师和手工艺人合作，用动物皮制作出了克罗阿西娜的皮影形象。著名的中国实验音乐人李带菓使用了大量亚洲和西方的传统乐器为这部影片配乐。

这是一部使用中国皮影工艺和大量前电影摄影技术——如费纳奇镜、zoetropes（西洋镜）和万花筒——的动画电影。所有皮影角色都采用传统技法以兽皮雕刻而成。中国皮影戏可以被视作最早的动态投影影像。这将是这部影片在亚洲的首映。“L’etat, c'est l’égout”，“国家是下水道”（出自法国政治家茹费理）。所有现代社会都建立在两个不可见又不可或缺的系统之上——卫生系统和货币系统。当二者中的任意一个失效时，文明就会陷入危机。古罗马神话中的克罗阿西娜女神管理着历史上首个下水道系统。在这部皮影戏影片中，我们将跟随一枚掉落下水道系统的硬币踏上旅程。

时间：23.06.2018 – 24.06.201

地址：北京歌德学院 (798)

持续12分钟，每轮参与人数限定12人

北京德国文化中心·歌德学院（中国）出品

合作伙伴：激发研究所

策划、执行：昆黎安，葛唐礼

配音：张卉凝，张加怀

助理：寇塔（激发研究所）

语言：中德双语

演出时长：2018年6月23/24日13-17时，每20分钟演出一次，每日17-18时艺术家对谈

免费入场

在一次在罗马的驻留期间，德国表演艺术家昆黎安和葛唐礼首度携手，创作了探索罗马城起源之谜的作品“我+罗马”。基于这一次的成功合作，二人将于在北京为期三个月的驻留期间，收集与北京城相关的历史和传说。他们将以八臂神童哪吒的故事为蓝本，将其加工成沉浸式声音视觉表演“我+北京”。该驻留项目由北京德国文化中心·歌德学院（中国）资助。

这一表演每轮持续12分钟，邀请12位参与者加入。通过接收耳机里传来的录音，参与者将能以传说主人公的视角体验这一表演。

艺术家在排练

关于艺术家：

葛唐礼（Tarik Goetzke）于2009年至2014年就读于法兰克福音乐与表演艺术学院，2012年至2015年担任曼海姆国家剧院助理导演。2014年，由他执导的萨沙·玛利亚纳·萨尔茨曼戏剧《孤儿寡母》应邀参加了慕尼黑人民剧院主办的“新锐2014”青年导演戏剧节。

昆黎安（Anna Kubelik）于2004年获伦敦建筑联盟学院建筑学硕士学位，现以自由艺术家身份从事创作，与来自全球各地的舞者、作曲家、导演、学者以及众多教育、研究和文化机构广泛开展合作。她的作品曾获包括罗马“马西莫庄园”奖学金在内的多项嘉奖和资助。

TIME：23.06.2018 – 24.06.2018

ADDRESS：GOETHE-INSTITUT, 798

Producer: Goethe-Institut China

Conception and Implementation: Tarik Goetzke and Anna Kubelík

Production: Goethe-Institut China

Partner：Institute for Provocation (IFP)

Voice：Huining Zhang, Jiahuai Zhang

Assistant：Dakota Guo（IFP）

Language：Chinese and German

Time：23.06.2018 – 24.06.2018, 1pm - 5pm, performance in every 20 minutes, 5pm - 6pm, post-show artist talk

Duration of Performance: 12 mins and 12 participants for each performance

Free Entry

During a residency in Rome, performing artist Anna Kubelík and Tarik Goetzke joined hands to create "Me + Rome", a work that explores the founding myth of Rome. Following the successful cooperation in Rome, the two have been researching into history and myths related to Beijing during their three-month residency here. Based on the story of the eight-armed deity Nezha, they develop an immersive audio-visual performance "Me + Beijing." The project is fully funded by Goethe-Institut (China).

The show will last 12 minutes per round and for each round, 12 participants are invited to join. Receiving the voice recordings from the headphones, participants will be able to experience the show from the perspective of one of the protagonists in the saga.

The artist duo in rehearsal

About the Artists:

From 2009 to 2014, Tarik Goetzke studied theatre direction at the University of Music and Performing Arts in Frankfurt am Main. From 2012 to 2015, he was an assistant director at the National Theatre Mannheim. In 2014, his work 'Hurenkinder Schusterjungen’ was invited to Munich Volkstheater’s festival of young directors 'Radical Jung 2014'.

Anna Kubelík graduated from Architectural Association in London in 2004. Now she works as a freelance artist and has collaborated internationally with dancers, composers, directors and scientists, as well as educational, research and cultural institutions. She participated in various residency programs, most recently at the Academy Schloss Solitude and the 'Villa Massimo' in Rome.

转世

Yoeri Guépin

开幕：6.28 18:00

开幕表演将在19:30开始

展览日期：2018.6.28 - 2018.7.7

地址：北京市东城区黑芝麻胡同13号院

6月28日，Yoeri的展览“转世”将在激发研究所的项目空间开幕。

对于大多数人来说，圆明园似乎靠中学历史课本里的西洋楼废墟照片就足以总结了。关于圆明园的绝大部分知识被冰封在 “屈辱”和“反抗屈辱”的中国近代史叙述里。在被焚烧之后的一百五十年间，圆明园被农民、小偷、集体生产合作社、甚至大学、政府机关们破坏的历史则几乎完全被息声。

80年代末，伴随着一场发生在考古学家、政府官员、房地产商、城市规划师、建筑师等人中“是否修复圆明园”的大讨论，圆明园被正式钦定为“遗址”，叠加了废墟的教育功能和公园的娱乐功能，致力于为每个游客奉上一堂富有情感、审美和道德价值的爱国主义历史课——“遗址”是直到现代才有的文化概念。在这之前，那里只是一片荒地而已。

大部分游客很少意识到圆明园是一处精致的“布景”。Yoeri Guepin在一次偶然的探访中，他注意到大水法中一条石柱和基石明显错位，这错位引发了一系列他对这种动作的想象 — 是谁摆放了基石和石柱？谁布置了这个场景？更广泛地说，西方的形象是怎么迁移、转译和再次使用的？

西洋楼“大水法”最早的草图来自耶稣会士带来的西洋画，在圆明园的最鼎盛时期，由郎世宁设计的西洋楼仅仅占整个圆明园的2%，剩余98%都是传统古典园林，现在大水法却成为圆明园首当其冲的标志。同样的动作也发生在中国的美术教育里。80年代以来，写实绘画的基础训练模式从社会主义现实主义逐步产生了变化：更多西方经典雕塑取代了工农兵的雕塑形象成为教具。在知晓宗教故事背景之前，米开朗琪罗的大卫像就已经成为了一代代年轻美术学生反复习练的模特。

在六个月的驻留中，Yoeri选择了北京一东一西两个地点，圆明园和央美美术馆，开展研究和创作。通过仔细考察西方经典形象在中国的空心化、板结和再被激活的过程，他也希望能探寻到中国狂飙突进的现代化进程是如何与此过程回应的。

关于艺术家

Yoeri Guépin (b.1983) 出生于荷兰，他的工作强调研究，往往涉及知识生产中的历史轨迹，如考古学，人类学或物的历史书写。通过收集和转译物件，人工制品和故事，对它们的挪用和重新演绎，旨在展示这些系统中的支配结构，以及知识是如何通过象征性物被表现的。他的实践核心是收集人类学/考古博物馆的收藏品作为知识生产的现场和对殖民主义的历史阐释。

Afterlives

Yoeri Guépin

Opening：6.28, 18:00

Performance starts at 19:30

Time：2018.6.28 - 2018.7.7

Address: 13 Heizhima Hutong, Dongcheng District, Beijing

In the exhibition Afterlives, Yoeri Guépin investigates the afterlives of various aesthetic forms and objects that were initially appropriated from the European cultural tradition then re-contextualized in different moments within the narration of China’s national history.

The public image of Yuanmingyuan is static like a photograph.

Beginning with the ruins of Xiyanglou – a part of Yuanmingyuan often discussed in history textbooks, knowledge regarding Yuanmingyuan has been tightly wrapped in a reductivist historical narrative that contrasts the emergence of modern China with its shameful subjugation under imperialism, to the extent that the drawn-out degradation of Yuanmingyuan as a farmland, collective production field, cemetery, and landfill site in the 150 years after its initial destruction has totally been covered over. The very idea of a ‘ruin” is a modern invention; one may say that the modern fascination with ruins (fluctuating as it might be) precisely coincides with their unprecedented production. Before Yuanmingyuan became a cultural signifier, it was simply a site of indifference. Arising out of a heated debate among archeologists, urban planners, architects and government officials regarding its restoration in the 1980s, Yuanmingyuan was formally established as a public park designed to provide visitors with patriotic history lessons packed with emotional, aesthetic, and moral experiences of China’s checkered past.

The theatricality of Yuanmingyuan - more specifically, its mise-en-scene -rarely occurs to tourists who are inculcated by its established narrative. But for more curious observers such as Yoeri, things appeared under a different light: during a visit, he spotted an obvious mismatch between a pillar and its foundation in the Dashuifa ensemble; it resembled more of a stage than a historical remnant. This mismatch led him to an investigation into the very idea of a historical act - who laid the stones? Who installed the setting? More broadly, how was the image of the West transferred, translated, and reactivated?

The original concept of Dashuifa came from Western paintings brought to Emperor Qianlong by the Jesuits. At the height of Yuanmingyuan’s grandeur, Xiyanglou (designed by Giuseppe Castiglione) only amounted to about 2% of the overall architecture, but it is now used to represent the whole estate as a whole. Similar operations in history also occurred in Chinese art education. Since the 1980s, art education gradually switched from socialist realism to more a “liberal cannon” where Greek, Roman, and Renaissance sculptures were adopted as pedagogical tools. As a result, long before knowing the historical and cultural contexts from which these sculptures emerged, art students have been sketching Michelangelo’s David for years.

As the central component of Yoeri’s 6-month residency at the Institute for Provocation, ‘Afterlives’ presents his research conducted at two different locations in Beijing: Yuanmingyuan and the CAFA Art Museum; the former is in the west (of the city) while the latter is in the east. Looking at how Western classic images become hollowed out, condensed, and reactivated throughout Chinese history, Afterlives touches on the subtle dynamic between China’s modernity and the acts of history that constitute it.

About the Artist

Yoeri Guépin was born in the Netherlands in 1987, his work has a strong emphasis on research and often involves historical trajectories of knowledge production such as archaeology, anthropology or the writing of history through objects. Through collecting and translating objects, artifacts and stories, their appropriation and re-contextualization, he aims at showing the governing structures of these systems, and how knowledge is represented through symbolic objects. Central to his practice is working with collecting and the anthropological/archaeological museum collection as site of knowledge production and its historical vernacular to colonialism.

What do you do

when your body's in Peking but your heart's in Poughkeepsie?

Time: 8.17, 20:00 - late

Address: 13 Heizhima Hutong, Dongcheng District, Beijing

This rather metaphysical question, posed by Sony in it's 1980's advertisement for a radio receiver claims that radio does not merely cross borders, or Pacific oceans for that matter, but also inspires the hearts and minds of the listeners.

Bouncing off the ionosphere at night, radio waves can travel hundreds of kilometers. This, very physical property made radio an ideal tool to get one's message across. Traveling at the speed of light, these once mighty waves span across the globe, but fell silent in the wake of digital and satellite technologies, or did they?

Join us for a night of concentrated listening as part of a series of highly irregular events researching the peculiar radio broadcasts bouncing of the Beijing night sky into your living room.

During the evening you will be provided a typical consumer radio to explore the electromagnetic spectrum with. Together with our resident artist Dennis de Bel, we will discuss the discoveries made, find out how harmonious the frequency bands actually are and hopefully track down some of the more elusive broadcasts. Afterwards, you can take the radio home for further listening.

Participation is free, but please RSVP (limited places). You can reply to our wechat account or mail to us. Bring earphones, snacks and drinks welcome.

About Dennis De Bel

We are thrilled to introduce our new residency artist Dennis de Bel from Netherland, he will stay with us from mid July to next Jan.

Dennis de Bel (b. 1984, NL callsign: PD0WNED) works with software, electronics and various forms of waves. By hands-on practical research and workshops he attempts to decode the larger socio-economical narratives and realities embedded in our, often taken for granted, every-day devices. His work has been exhibited at Siggraph Los Angeles, Transmediale Berlin and hosted workshops in various collaborations at, for example, Isea Hong Kong, Radical Networks New York. He participated in the Relearn summer-schools and Libre Graphics Meetings besides being a guest tutor at the Design Academy Eindhoven and the Willem de Kooning Academy Rotterdam University of Applied Science. In 2017 he co-founded Varia, a Rotterdam based space for developing collective approaches to everyday technology. De Bel holds a MA from the Piet Zwart Institute and will be working at the Institute for Provocation in 2018.

During his six months residency, Dennis de Bel will engage with local communities to research the development of informal networks of production, low-end globalisation and communication. Through hands-on research, assuming different roles and embedded collaborative practices he endeavours to formulate a more nuanced view on China's development from factory of the world to world power, beyond the usual Silicon Valley analogies. As point of departure he proposes to approach these developments from an infrastructural point of view. More specifically, the shared histories and futures of internet and radio technologies and their potential to create webs of control as well as peripheral manoeuvres that slip the net. Engaging with specific communities; radio amateurs, electronics (repair) industries, he aims to unravel some of the socio-economical realities of the spectrum.

2014, Feline File-sharing - portable filesharing mesh network device for mammals, in collaboration with Roel Roscam Abbing

2013, Lofi Phone - working morse key from reverse engineered iPhone

2014, Fiber Noodle Networking - noodle cooking experiments

2014, Smoke Messaging Service - iPhone case that allows for sending smoke signals

身在北京，心在波基普西的时候，你做什么？

时间： 8月17日，20:00 - 夜深

地址：激发研究所（北京市东城区黑芝麻胡同13号）

“身在北京，心在波基普西的时候，你做什么？” —— 这一相当形而上的问题出现在1980年代一款索尼无线电收音机的广告海报上，它传达的是无线电广播不仅仅穿越了国界——或就此而言，穿越了太平洋——它还启发了听者的心和大脑。

深夜，被电离层反射的无线电波能够穿越几百公里。这一特殊物理特性让无线电成为一种理想的信息传递手段。曾经，这强大的波以光速行进跨越全球，却在数字和卫星技术崛起之日归于沉寂——又或者尚未沉寂？

邀你加入激发研究所的“专注收听之夜”，作为一系列不定期活动的首次事件，将那些北京夜空活跃着的怪异的无线电广播请进你的客厅。

这个夜晚，我们提供一些寻常的票友级收音机用来探索电磁频率。驻留艺术家Dennis de Bel将和大家一同讨论当晚的发现，看看这些频段究竟可以达到什么样的和谐程度，幸运的话，我们也许可以追踪到更多行迹莫测的频道。活动结束后你可以将收音机带回家继续听。

本次活动免费参与，由于空间限制，请有意参与的朋友提前联系预约，直接在微信后台回复即可。记得带上您的耳机，欢迎带零食饮料来玩！

关于 Dennis De Bel

激发研究所很荣幸向大家介绍我们最新的驻留艺术家Dennis de Bel (丹尼斯)，他将在北京和我们一起从18年7月待到19年1月。

他生于1984年，荷兰呼号：PD0WNED。Dennis运用软件、电子设备和各种形式的波进行创作；通过动手实操的实践型研究和工作坊，他尝试解码更宏观的社会经济叙事，以及那些被植入我们早就习以为常的设备中的现实。他曾于Siggraph Los Angeles和Transmediale Berlin展出他的作品，并曾与Isea Hong Kong， Radical Networks New York等机构合作举办工作坊。他在Design Academy Eindhoven 和 Willem de Kooning Academy Rotterdam University of Applied Science担任客座讲师，同时还参与了Relearn summer-schools和Libre Graphics Meetings。 2017年，他联合创办了位于鹿特丹的Varia，该空间致力于发展切入日常技术的集体途径。De Bel拥有Piet Zwart Institute的硕士学位，他将于2018年在激发研究所进行驻地创作。

此次为期六个月的驻地期间，Dennis将与本地社群一同研究非正式生产网络的发展、低端全球化和通讯。通过动手实操、假定不同的角色以及嵌入式的协作实践，他试图构想一种更加微妙的、区别于通常用硅谷做类比的单一视角，观察中国从世界工厂到世界力量中心的发展历程。他提议以基础设施为出发点来切入这一议题。具体来说即是互联网和无线电技术共同的过去和未来，它们创造某种控制的网络的潜能，以及能够滑入/滑出这一网络的外围的计谋。通过与一些特定社群的交流——如业余无线电爱好者，电子（修理）从业者——他致力于揭开藏在频谱之间的一些社会经济的现实。

2014, “猫文件共享” ，为哺乳动物设计的便携网状网络文件共享设备，与Roel Roscam Abbing合作

2013, “低保真手机” ，反向制造的手机运作摩斯电键

2010, “版权2009” ，与JODI合作

2014, “纤维面条网络” ，面条料理实验

2014, “烟雾传讯服务” ，可传递烟雾信号的iphone壳

开幕：2018.9.2 14:00

展览日期：2018.9.2 - 9.30

三天三夜：2018.8.30 傍晚 - 9.2 下午

地址：北京市东城区黑芝麻胡同13号院芝麻空间（影壁后）

艺术家王俊的项目《三天三夜（北京）》将于9月2日下午两点在激发研究所的芝麻空间开幕。

开幕前的三天三夜里，欢迎您前来拜访、自习、吐槽、办公、游戏、投喂，无时间限制。那期间可能会发生一连串的偶发事件：被关押的雅典士兵在山洞里留下涂鸦还默念了一个喜剧段子；然后一个人顺着往下接：“我只会瞎说、胡说，经常插科打诨，如果不介意我非常非常非常愿意有你的态度”；万寿宫里的道教神在风烟云雾中带着水汽弥漫，飘渺得像墙里的南柯之梦；有潜力荣膺本年度最佳行为的参与者勇于接受大家的批评……

王俊在这次创作中最终呈现的一些痕迹、一些余料，将用到“三天三夜”在其他地点实施的项目版本中。

关于艺术家

王俊，1974年生于重庆，分别于2010年和2012年在英国曼彻斯特华人当代艺术中心和德国杜塞尔多夫驻留创作。近年来绘画在王俊的创作中占有很大的比重，他将绘画视为一个词汇，是一个中性的对象，在遮蔽与敞开交替往复的挣扎中，去制造一个让观看欲望不断落空的现场。

Wang Jun

Three Days and Nights (Beijing)

Opening：2018.9.2, 14:00

Time：2018.9.2 - 9.30

Address: Sesame Project Space, 13 Heizhima Hutong, Chaoyang District, Beijing

You are very much welcome to visit, study, work, play games three days and nights (2018.8.30 - 9.1) ahead of September 2nd.

You can come anytime. During that three days and nights, a series of accidents is expected. Like a jailed soldier in Athens left graffiti in caves, then recited a comedy. A man keeps mumbling, ‘I only gag, talk bullshit, if possible, I would very much like to have your attitude.’ Taoism gods in Wanshou Palace wandering in fogs and vapors... Candidates for the best performer of the year is open to all criticism…

The remains, leftovers of this project will be recycled in the next Three Days and Nights project in other venues.

About the Artist

Wang Jun, born in 1974 in Chongqing, graduated from the Department of Printmaking of Sichuan Fine Art Institute with BA (1999) MA (2005). He was in artistic residence at Centre for Chinese Contemporary Art in Manchester, United Kingdom (2010) and in Dusseldorf city of Germany. He mainly works in painting and installation. He sees painting as a lexicon, a neutral object. His painting creates a situation where the desire of seeing is constantly obstructed in the contested alternation of concealing and unveiling.

Time: 2018.9.2 8:00 - 9:30 pm Sunday

Address: Institute for Provocation

Speakers: Pianpian He, Kang Kang & Ke Peng

Co-presented by Institute For Provocation & Salt Projects & Jiazazhi Press

Following the closing of her solo exhibition The Secured at Salt Projects, Ke Peng invites you to come read and chat about her new photo book Salt Ponds (Jiazazhi Press, 2018) at the Institute for Provocation. This book comprises images photographed in the last five years, mainly in Changde, Changsha and Shenzhen, together with an extended interview and a short story. Within these colourful public spaces and private homes, her visual systems weave the experience of rapid urbanization into grids, containers, and entry points for reality. Ke Peng will continue her two-year-long dialogue with her two collaborators, designer Pianpian He and writer Kang Kang, about her art practice, the process of making a photo book, and the mutual influences and intersections between the three of them.

About the Speakers

Pianpian He is a graphic designer. She received an MFA from Yale University in 2018. She and her partner Max Harvey work within and beyond the great wall — from China and America. They are mostly concerned with making images in booming or declining — fluctuating economies. Her recent collaborators are Triple Canopy, Jiazazhi Press and YveYang Gallery.

Kang Kang is a writer, dramaturg and translator who went to school for comparative literature and now lives in New York. Her relationship to her subjects varies from speculation, intrusion to vivisection and cannibalism. She might also be seen giving plugs about ”Future Host” which is about to take place in Beijing and Shanghai later this month.

Ke Peng is an artist who works with images, who now lives and works in Los Angeles and southern China. She's interested in the active states of looking, self-reflection, and psychological effects activated by the medium of photography. Peng graduated from the photography department at Rhode Island School of Design.

时间：2018年9月2日，晚上8：00 — 9：30 星期日

地点：IFP 激发研究所

讲者：何翩翩、康康和彭可

主办：IFP 激发研究所 & Salt Projects & 假杂志

在九月的第一个周日，Salt Projects个展”亲密审讯”闭幕之际，彭可邀请大家来激发研究所看她的新书《盐水池塘》（假杂志出版，2018）。书中收纳了她过去五年主要于常德、长沙和深圳拍摄的图像、一篇访谈和一个短故事。在这些色彩缤纷的公共景观和家庭空间里，高速发展的城市经验被不同的视觉系统编织成网，制成容器，成为庞大现实的入口。彭可会继续与两位合作者设计师何翩翩和作者康康两年前就开始的对话，一起聊聊她的创作、做摄影书的过程、以及她们工作互相的影响和交叉。

讲者简介

何翩翩，设计师。2018年获耶鲁大学艺术硕士学位。她与搭档麦石在中国与美国持续创作与更新，在限制与规则内外游戏。他们着重关注在兴衰波动的经济浪潮之中的图像制作。她近年的合作对象包括Triple Canopy、假杂志和YveYang Gallery。

康康，生活在纽约的作者、戏剧构作和翻译，毕业于哥伦比亚大学比较文学系。她与写作对象的关系可能表现为猜想、入侵、活体实验、或同类相食。她可能也会时不时提起即将在北京和上海发生的《未来主人》。

彭可，图像工作者。生活在洛杉矶和中国南方。她相信“观看”这一静止行为的动态力量，以及摄影的自我投射和心理学潜能。毕业于罗德岛设计学院摄影系。

睡眠复仇，梦见生命

展期: 07/10/2018 – 01/11/2018

开幕：2018. 10. 07 4PM

地址：激发研究所 – 芝麻空间，北京东城区黑芝麻胡同13号

“因每一段睡眠都是愿望的切身实践，是对于解放与自由的长期训练。” ——海什木·埃尔-瓦达尼（Haytham El-Wardany），《睡眠之书》（Book of Sleep），2017

展览系列“睡眠复仇，梦见生命”（Sleeping with a Vengeance, Dreaming of a Life）将视角引向当代的睡眠政治，同时提问：我们是否可以将睡眠与做梦从晚期资本主义的桎梏中解救出来。在乔纳森·克拉里（Jonathan Crary）的《24/7 宇宙》（24/7 universe）中，睡眠被转化为一种资源，与生产、消费、战争以及生命政治紧密相联。我们被诱导睡得既少又高效。当代文化实践则以睡眠表演、睡眠酒店、睡眠音乐来模拟这一趋势。

那么，睡眠可否被重设为一种激进的、颠覆性的行为？做梦——这一睡眠的姘头，可否被想象为一种政治行动？假如睡眠是为了妨碍资本主义生产和社会再生产的循环，那么睡眠者是否得以梦见更好的人生、更好的未来？

“睡眠复仇，梦见生命”集合了不同年龄的艺术家和来自不同文化背景的艺术作品，以尝试摸索共同介入未来睡眠政治的途径。与此同时，这一展览系列的策展模式基于一种必要的规模生态学(ecology of scale)。以几乎为零的预算开启、与最小的机构合作，初期展览的潦草雏型将在随后的几年获得动能而逐渐充实和具象化。

鲁斯·诺克(Ruth Noack), 柏林, 2017年12月

关于鲁斯·诺克

写作者、策展人、艺术史学家，自上世纪90年代起从事写作、艺术批评、大学讲师、策展工作。她曾是第12届卡塞尔文献展（2007）的策展人，其他展览包括：“理论的情景”（1995）、“我们不懂的事情”（2000）、“政府”（2005）、“不要为征服而着装——伊涅斯·杜杰克首次个展”（2012）。“关于危机、货币与消费的记录”（2015）是一系列关于当代生活的10场“评论展览”中的首场。

诺克曾担任伦敦皇家艺术学院当代艺术策展专业负责人（2012-2013），以及欧盟MeLa项目“迁徙时代的欧洲博物馆”的研究带头人。她同时是布拉格艺术学院的客座教授（2013-2014），以及2014年光州双年展国际策展人课程主任。自2015年起，她负责荷兰艺术学院（DAI）“漫游学院”的其中一个项目路线。

参展艺术家：

Florencia Almirón, Clara Amaral, Alaa Abu Asad, Ibon Aranberri, Zbynék Baladrán, Matthijs de Bruijne, Livio Casanova, Ulufer Çelik, Agata Cieślak, Chris Curreri, Anna Dacqué, Danica Dakić, Anna Daučíková, Teresa Distelberger, Ines Doujak, Nikos Doulos, Gangart, Tina Gverović, Dominique Hurth, Hu Wei, Luis Jacob, Sanne Kabalt, Gülsün Karamustafa, Nabuqi, Alejandra Riera, Annette Ruenzler, Jürgen Stollhans, Isabelle Sully, Leeron Tur-Kaspa, Simon Wachsmuth, Xie Nanxing, Xie Qi, Baha Görkem Yalim, Zheng Mahler

“睡眠复仇，梦见生命”是一个系列展览。它在雅典和布拉格发生过。

时间： 31/8/2018-28/9/2018

机构： lítost，布拉格，捷克

参展艺术家名单：

Anna Daučíková, Teresa Distelberger, Ines Doujak, Nikos Doulos, Gangart, Tina Gverović, Dominique Hurth, Luis Jacob, Sanne Kabalt, Gülsün Karamustafa, Alejandra Riera, Annette Ruenzler, Jürgen Stollhans, Isabelle Sully, Leeron Tur-Kaspa, Wachsmuth Simon, Baha Görkem Yalım, Zheng Mahler, Florencia Almirón, Clara Amaral, Ibon Aranberri, Alaa Abu Asad, Zbyněk Baladrán, Matthijs de Bruijne, Livio Casanova, Ulufer Çelik, Agata Cieślak, Chris Curreri, Danica Dakić

时间： 1/6/2018-2/6/2018

机构：Yellowbrick，雅典，希腊

参展艺术家名单：

Florencia Almirón, Clara Amaral, Alaa Abu Asad, Matthijs de Bruijne, Livio Casanova, Ulufer Celik, Agata Cieślak, Anna Daučíková, Teresa Distelberger, Ines Doujak, Nikos Doulos, Gangart, Tina Gverović, Sanne Kabalt, Alejandra Riera, Annette Ruenzler, Jürgen Stollhans, Isabelle Sully, Leeron Tur-Kaspa, Simon Wachsmuth, Baha Görkem Yalim.

Sleeping with a Vengeance, Dreaming of a Life

Duration: 07/10/2018 – 01/11/2018

Opening：2018. 10. 07 4PM

Address：Institute for Provocation·Black Sesame Space, Heizhima Hutong 13, Dongcheng District, Beijing

‘...For each sleep is the true practice of hope, a long training at emancipation and freedom.’

—Haytham El-Wardany, Book of Sleep, 2017

The exhibition series Sleeping with a Vengeance, Dreaming of a Life takes a close look at contemporary politicsof sleep and asks whether we can reclaim sleep and dreaming from the clutches of late capitalism. In the ‘24/7 Universe’ (Jonathan Crary), sleep has been turned into a resource, tied to production, consumption, warfare and biopolitics. We are simultaneously enticed to sleep less and to sleep productively. Contemporary cultural practice mimics this trend with sleep performances, sleep hotels, sleep music.

Can sleep instead be configured as a radical, subversive activity? Can the act of dreaming, sleep’s correlate, be imagined a political deed? If sleep were to obstruct the cycle of capitalist production and social reproduction, would the sleeper be able to dream up a better life, a better future?

Sleeping with a Vengeance, Dreaming of a Life brings together artists from all wakes of life and artworks from diverse cultural backgrounds in order to start understanding how we might share agency in a future politics of sleep. Concurrently, the curatorial model of the exhibition series is based on a much needed ecology of scale. Starting with next to no budget and working with the smallest of institutions, the first exhibitions are conceived as sketches to be fleshed out while gaining momentum over the next couple of years.

Ruth Noack, Berlin, December 2017

About Ruth Noack

Ruth Noack is an author, curator, art historian, art critic and lecturer. She was also curator of Documenta 12 in 2007. Exhibitions include Scenes of a Theory (1995), Things We Don’t Understand (2000), The Government (2005) and Not Dressed for Conquering – Ines Doujak’s Loomshuttles/Warpaths (2012). Notes on Crisis, Currency and Consumption (2015) was the first of a series of ten essay-exhibitions on issues of contemporary life.

Head of the Curating Contemporary Art Program, Royal College of Art, London (2012-13), she acted as Research Leader for the EU-project MeLa - European Museums in an age of migrations. Noack was Šaloun professor at the Academy of Fine Arts, Prague (2013-14) and lead the Gwangju Biennale International Curator Course in 2014. Since 2015, she is one of the core tutors of Dutch Art Institute.

Artists:

Sleeping with a Vengeance, Dreaming of a Life is a series of exhibition, it happened in Athens and Prague before.

June 1-2 , 2018

yellowbrick

7, Eptapirgiou Str., 14231 Athens, Greece

Artists: Florencia Almirón, Clara Amaral, Alaa Abu Asad, Matthijs de Bruijne, Livio Casanova, Ulufer Celik, Agata Cieślak, Anna Daučíková, Teresa Distelberger, Ines Doujak, Nikos Doulos, Gangart, Tina Gverović, Sanne Kabalt, Alejandra Riera, Annette Ruenzler, Jürgen Stollhans, Isabelle Sully, Leeron Tur-Kaspa, Simon Wachsmuth, Baha Görkem Yalim.

http://www.currentathens.gr/events/event/1353-sleeping-with-a-vengeance-dreaming-of-a-life

August 31 - September 28, 2018

lítost

Přívozní 1054/2, Prague 7 - Holešovice, Prague, Czech Republic

Artists: Anna Daučíková, Teresa Distelberger, Ines Doujak, Nikos Doulos, Gangart, Tina Gverović, Dominique Hurth, Luis Jacob, Sanne Kabalt, Gülsün Karamustafa, Alejandra Riera, Annette Ruenzler, Jürgen Stollhans, Isabelle Sully, Leeron Tur-Kaspa, Wachsmuth Simon, Baha Görkem Yalım, Zheng Mahler, Florencia Almirón, Clara Amaral, Ibon Aranberri, Alaa Abu Asad, Zbyněk Baladrán, Matthijs de Bruijne, Livio Casanova, Ulufer Çelik, Agata Cieślak, Chris Curreri, Danica Dakić

https://litost.gallery/en/programme/sleeping-vengeance-dreaming-life/

Horizon Ulrika Gomm

Address: Institute for Provocation, Black Sesame Space (13 Heizhima Hutong, Dongcheng District, Beijing)

Opening Event

Event Horizon Ulrika Gomm, Dennis de Bel and Tessa Zettel

Friday 23 November, 7 – 10 pm

Exhibition duration

Open by appointment 24 – 29 November

Horizon (2018), a scheme which display all book titles, containing the words democracy and China from 1989 and onward, that are accessible for the public at the National Library of People’s Republic of China in Beijing. The National Library of People’s Republic of China is the largest library in Asia, with a collection of over 35 million items. These 76 book titles found (in September 2018) are arranged in chronologic order, in Chinese and a mirrored English translation, using the font Noto Sans. This font, belonging to the Noto font family, was commissioned by Google with the goal of achieving visual harmony across multiple languages/scripts.

In the gallery space, the Horizon scheme is made accessible with the Furniture for reading, a custom made table and cushions on the floor. On November 23rd a reading, Practise Horizon, will take place in the installation, in both Chinese and English, using the book titles as material for a new composition.

Research and translation have been made by Dakota Guo.

With support by IASPIS, the Swedish Arts Grants Committee's international programme for Visual and Applied Artists.

Event Horizon

Ulrika Gomm, Dennis de Bel and Tessa Zettel

Opening Event Horizon: Friday 23 November, 7 – 10 pm

A collective night of readings in the spaces of IFP by Ulrika Gomm, Dennis de Bel and Tessa Zettel. With hot toddies and cozy corners.

At 8 pm Ulrika Gomm will present Practise Horizon, performed in English and Chinese (with Dakota Guo) in the installation at Black Sesame, using the book titles as material for a new composition.

In the courtyard, Dennis de Bel will guide our gaze towards a curious geostationary object in the sky.

In the ifp studio space, Tessa Zettel shares miscellaneous readings from unfinished encyclopedia The Celestial Emporium of Benevolent Knowledge and its ancillary Extinction Club Reading Group.

Stay on afterwards to peruse various publications by all three artists in a special cosy cat corner of the studio.

About the Artists

Ulrika Gomm works as an artist, based in Stockholm (SE), interested in examining societal systems, authorities and social boundaries; which takes form in a hybrid of text, such as printed matter, readings, and various forms of imagery, such as documentary video and animations. Gomm is constantly searching for different forms to meet and exchange knowledge; workshops, publications and other meeting-sites.

By bringing together various pieces of text taken from sources including government inaugural speeches, self written poetry, thoughts and words from colleagues and friends, Gomm is opening for reflections on the individual and the nation, the citizen and the community. By reworking language, a shift of meaning might occur, in the reader, listener and writer, resulting in potential new dreams, visions and actions.

www.ulrikagomm.com

Dennis de Bel(callsign: PD0WNED) works with software, electronics and various forms of waves. By hands-on (im)practical research and workshops he attempts to grasp the larger socio-economical realities embedded in our often taken for granted, everyday technology. During his residency, he listens to the radio and visits places where technology gets conceived and goes to rest, if ever.

www.dennisdebel.nl

Tessa Zettel is an Australian-born artist and writer working in various collaborative forms to imagine and enact other ways of living. Her projects make undisciplined use of mapping, drawing, self-publishing, reading, exchanging, pickling, walking etc. within a kind of fabulist archaeology that recovers overlooked cultural practices or knowledge and repurposes them towards speculative, more-than-human ends.

www.oumopo.com | www.collectivedisaster.org | www.cloudship-press.org | www.making-time.net | IFP project: www.oumopo.com/extinctionclub

地平线 Ulrika Gomm

地点：激发研究所IFP·芝麻空间（北京市东城区黑芝麻胡同13号）

开幕活动：11月23日，晚7—10点

展期：11月23日 - 29日，预约开放

地平线（2018）是一个由书名构成的图示，其中囊括了中国国家图书馆对公众开放的馆藏书籍中所有自1989年以来出版的、包含“民主”与“中国”关键词的书名。中华人民共和国国家图书馆是亚洲最大的图书馆，拥有超过3500万本藏书。在地平线中，找出的76个书名（于2018年9月检索）按照出版时间顺序排列，中文书名和其英文翻译一一呈镜像对应，使用字体Noto Sans。这种字体属于Noto字体系列，由Google委约设计，旨在实现跨多种语言/脚本的视觉和谐。

在芝麻空间，观众得以通过阅读的家具（一张定制的桌子和地上的坐垫）近距离观察地平线图示。11月23日，朗读表演——练习地平线将在该装置中进行，表演语言为英文和中文，图示中的书名即这一现场作品的材料。

研究和翻译由寇塔完成。

此项目由IASPIS（瑞典艺术资助委员会视觉和应用艺术家国际项目）支持。

地平线活动: Ulrika Gomm, Dennis de Bel 和 Tessa Zettel

周五，11.23，7 – 10 pm

欢迎加入IFP的三位驻地艺术家Ulrika Gomm，Dennis de Bel和Tessa Zettel联合举办的集体阅读之夜！我们有热威士忌酒和舒适的角落。

晚8点，Ulrika Gomm将于芝麻空间的装置中进行练习地平线的表演，表演语言为英文（Ulrika）和中文（寇塔），图示中的书名即这一现场作品的材料。

在院子里，Dennis de Bel将把我们的视线引向天空，凝视一个奇怪的对地静止的物体。

在公共工作室，Tessa Zettel将分享来自未完成的百科全书《天朝仁学广览》及其附属的灭绝俱乐部读书小组的一些混杂的阅读材料。之后请留下来，在工作室舒适的猫角落里细读三位艺术家的独立出版物。

关于艺术家

Ulrika Gomm是一位常驻斯德哥尔摩的瑞典艺术家。Gomm对于考察社会制度、权威以及社会界限感兴趣，并将考察的成果以文本的混合形式呈现，例如印刷品、朗读；或者呈现为各种形式的图像，例如记录影像和动画。为了获取和交换知识，Gomm不断探索不同的形式：工作坊、出版物以及其它的对话场所。通过汇集从政府就职演说、个人诗作、同事和朋友的思想和文字中摘取的文本，Gomm开启了对个人和国家，公民和社区的思考。通过重新改造语言，一种意义的转变可能在读者、听者和作者身上发生，从而产生潜在的新梦想，愿景和行动。

www.ulrikagomm.com

Dennis de Bel（荷兰呼号：PD0WNED）运用软件、电子设备和各种形式的波进行创作。通过动手实操的（不切）实际的研究和工作坊，他尝试理解被嵌入我们习以为常的日常技术中的更宏观的社会经济现实。在IFP驻地其间，他时常收听无线电广播，也在技术被构想而后（或许）沉寂之地逗留。

www.dennisdebel.nl

Tessa Zettel是一名澳大利亚籍艺术家及写作者，她通过各种形式的合作以想象并施行迥异的生活方式。她的项目以散漫无纪律的方式运用地图、绘画、独立出版、阅读、交换、腌渍、行走等手段，以一种寓言式的考古寻回被忽略的文化实践或知识，并将其导向思辩的、超人类的范畴。

www.oumopo.com | www.collectivedisaster.org | www.cloudship-press.org | www.making-time.net | IFP project: www.oumopo.com/extinctionclub

时间：12月17日14:00

地址：北京东城区黑芝麻胡同13号

主讲：张献

对谈：杨美琦、文慧、田戈兵、相西石、曹克非、宋轶

对谈主持：胡伟、张渊

20年——“结果整个世界变成了我们的剧场”

“重写剧场史”

生活舞蹈、纸老虎、组合嬲邀约相聚！

时间、剧场、历史同时出场！

2018年12月16-17日

北京：中间美术馆、激发研究所

1998年12月，杨美琦主持的广东实验现代舞团举办了第二届广东现代艺术小剧场展演节（后因审查原因改称“内部展演”）。这件整整20年前的事现在忽然被提起，是因为这个展演在90年代政治商业高压背景下所做的不寻常选择：杨美琦在吴文光的策动下，邀请北京上海绝境中的独立表演团体、个人及行为艺术家来到广州发表他们的作品。这在当时情境下是极具勇气的罕见举动，不仅促成生活舞蹈、纸老虎和组合嬲前身Z组合这些早期独立剧场团体的初次相聚，也接续和开启了中国当代剧场的崭新时间。

回望20年前，正是89后整个时代的集体转向完成之际。98年这次偶然的“广州聚会”，是在“体制”裂隙之中又在时代洪流之外，无意自然的聚合起自80年代以来散碎掉的关于当代剧场的一点点精神意识。确实有一些不服从时代意志的死硬自负的家伙一直就在那里，当他们有机会聚在一起时，一种征兆性的事情，或者另外的一个时代就要开始了。

随后20年，在戏剧、剧场和表演领域，是一个不断刷新、枝蔓丛生又波澜壮阔的乱局。一片混乱中，独立剧场、自治剧场、行为剧场、亲历者剧场、社会行动剧场、美术馆剧场、跨文化研究性剧场……离析分崩出大量难以计数的自主性剧场实践。将这些可以无限量尽情标注的标签撕掉后，是从身体、文本、材料、仪式化生活里创造出的无所不在的全场域的当代现场。

20年，历史就在那里，也许更早的时间里历史已经在发生，至今往后仍然在它自己的逻辑里延续着。但这20年，背道于主流动向，没有跟随“时代变局”的当代剧场历史，却是一个下潜的历史，甚至是一种故意下潜的历史。这种下潜，并不是为了最终“浮出”的策略，而是只有这种下潜，才能构建出我们文化语境下前所未有的、有质感的剧场与历史现实的真实关系。20年后，重写戏剧史／开写剧场史的书写行动开始了，历史终究会从下潜中浮现出来，社会权力空间也被一再的重新定义中。但对于此种情况下的人们，他们根本不在乎会不会被历史记住或者忘掉。他们只是利用这种“下潜和捣乱”获取人生的快乐和自由充裕，从而成为生活中富足的“新人类”和剧场中无畏的“恐怖分子”。

2018年12月16/17那两天，又有一些人会聚在一起，相隔20年，从广州聚到北京，还会聚到更多地方。聚会即剧场，“无所畏惧的人们在一起就是节日”。这种聚会和节日20年里一直在当代剧场和日常生活的时间和各种界面上发生着，从50一代到90一代，一代代，一伙伙，成群结队或形单影只，在白天夜晚，在剧场，在街头，在家庭居室，在城市乡村，在互联网世界，在各式各样的自由自治空间里，在草场地的生活舞蹈工作站，在纸老虎剧场空间，在交叉和越界独立艺术节，在世界各地的艺术节和剧场，在荒野、殿堂和时空中反复切换……。那些没有剧场的人们，那些抛弃了“体制”的人们，“行动遍及五湖四海，无处不在，结果整个世界变成了我们的剧场！”。

Lecture: 14:00, 17th December, 2018

Institute for Provocation, No. 13 Hei Zhi Ma Hutong,Dongcheng District, Beijing

Speech: Zhang Xian

Talk: Yang Meiqi, Wen Hui, Tian Gebing, Xiang Shixi, Cao Kefei, Song Yi

Moderator: Hu Wei, Zhang Yuan

Autonomous Theatre and Rewriting Theatre History

2018.12.16-17

Initiators: Living Dance Studio, Paper Tiger Studio, and Niao

CollectiveIn collaboration with: Beijing Inside-Out Art Museum Institute for Provocation

In Dec. 1998, Yang Meiqi, on behalf of Guangdong Experimental Modern Dance Group, hosted the 2nd Guangdong Modern Arts Theatre Festival (later renamed “internal showcase” due to censorship reasons). This event, which occurred 20 years ago, is brought up again today, to remind us of its unusually bold choice of action under penetrative political pressure and commercial wave of its time in the 90s. Facilitated by Wu Wenguang, Yang invited a variety of independent underground performance artists and theatre groups from Beijing and Shanghai, who were struggling outside of institutions, to present their works in Guangzhou. This remarkable initiation, allowed Living Dance Studio, Paper Tiger and Collective Z (the predecessor of Zuhe Niao) to meet for the first time, and marked the continuation as well as a new stage of development of Chinese Contemporary Theatre in the following 20 years.

In retrospect, it happened at a time of historical significance, when the whole society had just completed its paradigm shift post 89. This coincidental gathering in Guangzhou, lighted up the gaps within institutional practices and the space outside the trend of its time, and therefore unconsciously, yet naturally, recollected fragments of contemporary theatre spirits that were smashed to pieces after the 80s. Indeed, there continued to exist some stubborn and arrogant rebels, who never resigned to the collective (un)consciousness of our time. And when they had the opportunity to gather, some prophetic event, or a new era per say, was bound to begin.

The following 20 years witnessed a chaotic flux of autonomous theatre practices, constantly refreshing, diversifying and stirring up the field of drama, theatre and wider live performance. Independent theatre, self-run theatre, performance art theatre, social action theatre, witness theatre, theatre in galleries, cross-cultural research theatre and many more. Peeling off these endlessly self-generating tags and labels, we see a performance scene that is created from physical bodies, texts, materials and living rituals, and is happening anywhere and everywhere.

20 years of history is right there, and perhaps the history was writing itself before that, and would continue to unfold in its own logic. But these 20 years of Chinese contemporary theatre, moving in the opposite direction of the changing political situation, created a submerging history, or so to say, an intentionally submerging history. This act of submerging is not a strategic move to emerge eventually. But only via such submergence, we might be able to construct theatre works that are unprecedently sensual and current to our cultural context, and creating a truthful relationship to our historical reality. Now, 20 years later, the act of rewriting history, or starting to write the theatre history, shall begin. The history will eventually manifest itself from deep submergence, and the space of social power is constantly being redefined. But to those people, who are living under such situations, they do not care whether they will be remembered or forgotten by the history. They are only “submerging themselves and making troubles” to create a sense of happiness and freedom in their lives, and by which to become the rich “new human” in day-to-day life, and the fearless “terrorist” in theatre.

On 16th and 17th Dec. 2018, another gathering is happening, across 20 years of time, from Guangzhou to Beijing and beyond. A gathering is a live theatre, fearless people joint together is a festival. This kind of gathering and festival has been happening all over the places in the last 20 years, in theatres and in day-to-day situations and across all kinds of interfaces. From those born in the 50s to those born in the 90s, a generation after a generation, a collective after a collective, groups and individuals are gathering, in daytime and at night, in the theatre and on the street, in domestic spaces, in the city and the countryside, in cyberspace and various independent, self-run venues, at Living Dance studio at Caochangdi workstation, at Paper Tiger’s theatre space, at those interdisciplinary and cross-disciplinary art festivals, in theatres across the world, in the wildness and in the palace, and in the past and the future… Those who do not have a theatre, those who have “abandoned” the institution, are in action across the world, anywhere and everywhere. As a result, the world has become our theatre.

Translator: Selena Lu

Dennis de Bel: “搂着点儿您”

——蹲在频率、面部识别和粪便之间

2018.12.29 - 2019.1.3

开幕：2018. 12. 29, Sat, 4pm

地址：激发研究所 – 芝麻空间，北京东城区黑芝麻胡同13号

在尼尔·斯蒂芬森1999年出版的传奇小说《编码宝典》中中，数学天才Lawrence Pritchard Waterhouse向他的上司厄尔·康斯托克中校炫耀他的新机械发明。

康斯托克问：“如果你必须为整个设备命名，你会怎么称呼它？”

“嗯......”沃特豪斯说。 “嗯，它的基本工作是进行数学计算，像计算机一样。”

康斯托克冷笑一声，“计算机不就是人么。”

他们的对话反映出，在20世纪30和40年代，受雇从事计算和这种文职工作的人被称为“计算机”。从战争时期到现在，对于这段对话的不同解释标志着社会的巨变——计算和数据收集的工作越来越多地从人力转移到机器。继诺伯特·维纳(Norbert Wieners)在1950年出版的《人有人的用处：控制论与社会》(The Human Use of Human Beings)中引入控制论之后，技术作为构建和谐社会的非等级、无偏见的控制因素的观念开始深入人心。

在北京天坛公园，技术作为控制手段的使用非常突出。 2017年，公园引入了一种“辅助措施”——人工智能厕纸机，来控制游客的卫生纸用量。通过相机操作的人脸识别启用卫生纸分配器，访客能在每9分钟内取出70cm的厕纸（不能更多）。除了在公共卫生间使用摄像机这一可疑事实外，必须通过高科技数据采集机的授权才能满足基本生物性需求的做法也不无讽刺。

这个猥琐而累赘的界面轻易地暴露出我们与日常技术根深蒂固的纠缠——为了拉屎，我们首先需要，电源和无线网；第二，面部识别；第三，确保照片合格；第四，取卫生纸，享受如厕。更别提公厕看管者需要时时刻刻对这个诡异装置保持关注，演示其使用方式、替换纸卷和防止机器阻塞，有效阻碍这一控制自动机脱离人类控制。

自2018年11月起，天坛公园里装配的所有的自动控制厕纸机都消失了，换回了常规的“脱机”设备。因此，艺术家邀你亲身体验人机互动，以一台山寨的人脸识别厕纸机为媒介进入多种材料的档案。

在北京的六个月里，Dennis de Bel探讨了遗留技术、意识形态、语言和代码如何一同造就了我们当前的技术现状，以及我们的身体如何被重重不透明的技术帘幕所间隔。他以北京的天坛公园为例，从其古老的仪式，有“特殊目的”的广播电台到人工智能，Dennis通过制图、放风筝和“国际友谊”吸收了各种各样的信号、图像和物品。

尽管自天坛修建以来的六个世纪里，科学与政治范式已历经巨大的变化，但正如学者Eldon Pei所描述的，天坛公园的历史性功能是通过专业的基础设施和仪制对信息进行书写、放大和传播，如果将祭坛视为现代通讯技术的先驱，天坛实在是一个有趣的案例，显示我们的生活正在如何被“数字化”。

Dennis de Bel: Get your shit together

- mediation in frequencies, facial recognition and feces

2018.12.29 - 2019.1.3

Opening: 2018. 12. 29, Sat, 4pm

Address: Sesame space, IFP, 13 Heizhima Hutong, Beijing

In Neal Stephenson’s Cryptonomicon, the mathematical genius Lawrence Pritchard Waterhouse is showing off his new mechanical invention to his supervisor, Lieutenant Colonel Earl Comstock.

Comstock asks:“If you had to give a name to the whole apparatus, what would you call it?”

“Hmmm…” Waterhouse says. “Well, its basic job is to perform mathematical calculations-like a computer.”

Comstock snorts, “A computer is a human being.”

This conversation reflects the historical fact that in the 1930s and 40s, people who were employed to do calculations and this clerical labour were called “computers.” The different interpretations of the dialogue from war-time to the present mark a shift from a society in which the intelligence demanded for calculations and data collections were primarily associated with humans to the increasing delegation of these labours to computational and control machines. Following Norbert Wieners introduction into cybernetics in the 1950's publication 'The Human Use of Human Beings', the idea of technology as non-hierarchical, unbiased control agent for the creation of a harmonious society was set in stone.

Although heralded as merely an 'auxiliary measure’ a prime example of technology as means of control could be found the Beijing Temple of Heavens park. In 2017 the park had embraced the power of artificial intelligence and facial recognition technology to gain control over the hordes of visitors and their toilet paper usage. By means of camera operated facial recognition enabled toilet paper dispensers, visitors were introduced to a timed toilet paper cap at +-70cm per 9 minutes. Besides the dubious fact of having cameras in public restrooms, it's difficult to escape the irony in having one’s basic biological needs to be authorized by a high-tech data-harvesting machine.

Moreover, this obscene, cumbersome interface enables us to easily expose our deep-seated entanglement with everyday technologies. In order to take a shit we, first of all, need power and wireless infrastructures; secondly, facial recognition; thirdly, make sure the photo is qualified; fourthly, get the toilet paper and enjoy it. Don't forget the restroom concierge's constant attention, instructing, refilling and unjamming the grotesque apparatus, effectively preventing the cybernetic automaton from escaping human control.

As of November 2018 all the cybernetic toilet paper dispensers have disappeared from the park, to be replaced with the 'offline' variety. The artist therefore invites you to experience the archive of collected materials mediated through a bootleg version of the original facial recognition toilet paper dispenser. Allowing the viewer first hand experience of interfacing their human body to the machine.

In the past six months, Dennis de Bel explored how legacy technologies, ideologies, language and code have lead to our current technological status quo, and how human bodies are increasingly mediated through stacks of technology of varying opacities. Focusing on Beijing's Temple of Heaven Park and it's rich canon of technologies ranging from ancient rites, special service radio stations to artificial intelligence, Dennis assimilated a variety of signals, images and artifacts through mapping, kiting and 'international relations'.

Although the scientific and political paradigms have changed dramatically in the six centuries since the Temple of Heaven's construction, the historical function of the park revolving around practices of inscription, amplification and diffusion of messages through specialised infrastructures and protocols, as described by the scholar Eldon Pei, puts forth an intriguing case for the sacrificial altar as a forebearer of modern communicative technology and the very proof of the physicality of our increasingly 'digital' localities.

The Celestial Emporium of Benevolent Knowledge: An Unfinished & Incomplete Inventory of Extinctions in the People’s Republic of China | Tessa Zettel

Time: Sat 12 December 15:00 // readings at 16:00 (Please come by appointment after opening)

Address: Black Sesame Space, 13 Heizhima Hutong

‘Each time an existence disappears, it is a piece of the universe of sensations that fades away.’

-- Vinciane Despret, ‘Afterword: It Is an Entire World That Has Disappeared’, in Thom van Dooren, Deborah Bird Rose and Mathew Chrulew (eds.), 2017, Extinction Studies: Stories of Time, Death, and Generations

photo credit to: Wu Dandan

Biologists suggest we are now entering the sixth mass extinction event since complex life evolved on earth. Extinction however, is no singular phenomenon, but rather is ‘experienced, resisted, measured, enunciated, performed and narrated in a variety of ways to which we must attend’ (van Dooren, Rose and Chrulew). With increasing heat, pollution and toxicity putting pressure unevenly on all forms of life, how might we now learn ‘to live and die well with each other in a thick present’, as Donna Haraway puts it? What does it mean to cohabit with other species in such a thick, entangled present, where multiple times overlap and intersect, and those of many entities and assemblages as we know them are approaching an end? What are the politics, poetics and affects of more-than-human finitude? And how to collectively acknowledge or commemorate the loss to our own ‘universe of sensations’ when one piece of it disappears?

During six months in residence at IFP, Australian artist Tessa Zettel has hosted an extinction club study group as a way to think together with local participants on these and other questions. Over a series of irregular meetings and field trips, the group recorded a mini-cassette library of their extinction-related readings – covering amongst other things fossil nihilism, passenger pigeons, database aesthetics, de-extinction and cosmoecologies – that is now ready to be shared.

The Extinction Club Reading Group forms part of research for a longer-term project by the artist to make a handmade, riso-printed book + cassette about extinctions in China, telling speculative stories of a variety of nonhuman (animals, birds, gastropods) but also technologies, languages and ways of living) facing permanent erasure. Many curious tales of past and impending loss weave through this rapidly transforming landscape, like the 80-million-year-old pangolin (the most illegally-trafficked and only fully-scaled mammal); the functionally extinct baiji or Yangtze river dolphin, and the Père David deer, once extinct in China but today flourishing again in Beijing’s Nanhaizi Park. Borrowing its title and categories from the fictional Chinese encyclopedia in Jorge Luis Borges’s short story, ‘The Analytical Language of John Wilkins’, the book is a kind of delirious compendium describing how different beings, ecologies and histories are entangled together in webs that are both material and ethical, and borne across time and space by the dynamics of colonization, extraction and exchange. Its cassette tape component will include sound pieces by contributing artists responding to figures of extinction here in China, from the dǎkǒu or cut-out CDs (Yan Jun, China) and a certain thing (Ake, China) to the prehistoric Chinese paddlefish (Jaakko Junnila, Finland).

IFP and Tessa Zettel invite you to see and hear this collective work-in-progress at IFP’s Black Sesame Space. With tea, texts, sounds and black sesame snacks.

Littoraria flammea

Project blog: http://oumopo.com/extinctionclub/

天朝仁学广览：中国物种灭绝的一份不完全清单 | Tessa Zettel

展期: 12/01/2019 – 19/01/2019 （开幕后观展请后台预约）

开幕：2019. 01. 12, Sat, 3pm // 文本朗读 4pm

地址：芝麻空间，北京东城区黑芝麻胡同13号

“每当一个物种消失，感官宇宙的一个切片就此消逝。”

——Vinciane Despret，“后记：消失的是整个世界”，收录于Thom van Dooren，Deborah Bird Rose和Mathew Chrulew（编）《灭绝学：时间、死亡和世代的故事》2017

photo credit to: Wu Dandan

生物学家认为，我们正在进入自地球上演化出复杂生命形态以来的第六次生物集群灭绝。然而，灭绝不是单一的现象，而是以种种我们必须到场的方式被“经验、抵御、计量、声明、表演和讲述”（van Dooren，Rose和Chrulew）。所有的生命形式不均衡地背负着气候变暖、污染和毒性物质所造成的压力，我们如何才能学会——如唐娜·哈拉维（Donna Haraway）所说——“在厚密的现实中彼此相安地生活和死去”？在如此厚密、纠缠的当下——多重的时间相交叠和交叉，我们所知道的许多生命实体和组合正在走向灭亡——与其它物种共栖意味着什么？超越人类界限的政治、诗学与影响是什么？以及，当其中一个切片消失时，我们如何集体承认或纪念我们自身“感官宇宙”的缺失？

在IFP驻地的六个月中，澳大利亚艺术家Tessa Zettel主持了一个灭绝俱乐部阅读小组，以这种方式与本地参与者一同思考这些问题或其它。在一系列不定期的聚会和田野调查中，该小组录制完成了一个迷你磁带库，其中收录了他们一起读过的灭绝相关的文本——主要涵盖了化石虚无主义、旅鸽、数据库美学、去灭绝与宇宙生态学。

灭绝俱乐部阅读小组是艺术家一个长期项目的部分研究。

该长期项目将制作一本关于中国物种灭绝的孔板印刷（risograph）的手工书，附一个磁带，思辨性地讲述关于各种面临灭迹的非人类物种（动物、鸟类、腹足动物）以及技术、语言和生活方式的故事。许多奇妙故事和即将到来的消亡在这一剧烈变化的风景中穿梭，像有着八千万年历史的穿山甲（被非法贩运最多的、也是唯一全身批鳞的哺乳动物）；功能性灭绝的白暨豚或长江豚，以及曾经在中国绝迹，如今在北京的南海子公园重获新生的麋鹿。借用博尔赫斯短篇小说《约翰·威尔金斯的分析语言》（The Analytical Language of John Wilkins）中虚构的中国百科全书的标题和目录，这本书将是一种谵妄的概略，描述不同的物种、生态和历史如何在物质与伦理的网络中纠缠，承受重重殖民、攫取和交换。随附的磁带将收录参与项目的艺术家们对于中国的灭绝情形的回应，从打口碟（颜峻）、某物（Ake，中国）到史前中国白鲟（Jaakko Junnila，芬兰）。

IFP和Tessa Zettel邀请您来黑芝麻空间，观看和聆听这一进行中的集体项目。茶、文本、声音和黑芝麻点心。

Littoraria flammea

项目博客: http://oumopo.com/extinctionclub/

此项目由澳大利亚文化艺术委员会支持。

Artist Film | "AAA Cargo" by Solveig Suess

Time: Jan 25th, Friday, 7pm

Address: 13 Heizhima Hutong, Dongcheng District, Beijing

This event is free, RSVP not needed.

AAA Cargo

Part-fiction documentary into the New Silk Road. AAA Cargo traces the anticipation of infrastructure and trade on a planetary scale, following its distribution networks which are expanding across vast regions between China and Europe. Here, government efforts to speed up the movement of trade collide with more-than-human choreographies of sand, people and goods.

A film by Solveig Suess, script in collaboration with Ming Lin, sound design by Josh Feola, featuring Ravi Sundaram, Charmaine Chua and Rune Reyhé among others.

Solveig Suess is an independent filmmaker and designer who works primarily between Berlin and Beijing. However, her practice addresses the material politics across weather-stricken geographies where ecological shifts collide with infrastructures of migration, trade, computation and optics. Her work has been shown internationally including at the International Film Festival Rotterdam, Images Festival Toronto, Tabakalera Centre for Contemporary Culture, the Istanbul Design Biennial, amongst others. A graduate of the Centre for Research Architecture, Goldsmiths and Strelka Institute, Moscow. She is also co-producer of "流泥 Concrete Flux"; an experimental documentary platform that publishes accounts of aesthetic journalism.

She is currently resident at i:project space.

艺术家电影放映 | "AAA Cargo" by Solveig Suess

时间: 2019年1月25日，周五，7pm

地址：激发研究所 · 北京市东城区黑芝麻胡同13号

本活动可自由参加，无需报名。

AAA Cargo

这是一部深入新丝绸之路的半虚构纪录片。"AAA Cargo"沿着新丝绸之路横跨中国和欧洲广袤区域的分销网络，追踪这一全球规模的基础建设与贸易规划。在这里，政府为了加快贸易流通所付出的努力，与沙漠、人和货品之间某种超越人类范畴的编排产生了碰撞。

导演：Solveig Suess

编剧：Solveig Suess 和 Ming Lin

声音设计：Josh Feola主演：Ravi Sundaram, Charmaine Chua 和 Rune Reyhé

Solveig Suess 是一位独立导演和设计师，主要工作于柏林和北京。她的实践涉及天灾下的物质政治，也就是说生态转变对移民、交易、运算和光像设施的冲击。她的作品曾在国际上多个机构展映，其中包括鹿特丹国际影展，多伦多影像节，伊斯坦布尔设计双年展等。她毕业于伦敦大学金史密斯学院和莫斯科 Strelka 建筑与设计研究所。而且她也是《流泥 Concrete Flux》的制片人（《流泥 Concrete Flux》是一个发布美学新闻的实验纪录片平台）。

她目前在i:project space驻地。

IFP New Exhibition | Dakota Guo:丿皿 A Case Study of Bloodletting

Exhibition duration: 2019.03.01 - 2019.03.03

Opening: 2019.03.01（Friday) 4PM

Address: Sesame space, IFP, 13 Heizhima Hutong, Beijing

Doctor L specialises in bloodletting, the Therapy of Channelling in traditional Chinese medicine. In an online album only visible to herself, she files the cases she has handled according to their locations; intractable and rare diseases - shown as all kinds of abnormal blood samples - are filed in a separate folder. (When Doctor L is "bleeding" a patient, her assistant Y takes photos and films alongside. Her lens captures nothing indicative of a patient’s identity but entirely close-ups of the parts of bodies undergoing cupping and bleeding.) As L scrolls through her phone, explaining to me glutinous images reeking of blood, she sees holes leaking information. What do I see? … An attraction for sensational novelty instantly distorted the basic context of bloodletting as a medical method, while at the same time concealed some subtle things. Rather, it was the subtler things - references and the unseen add-ons - melded in one place that creates the loose sense of attraction for sensational novelty.

I - imitating her assistant - also aimed my camera at the effective unit of bloodletting: a needle (pierces through) skin (seeping / flowing / leaking) blood. A "gestural prick" forms - once a gesture enters the category of symbols, it will be rewritten in the organic and spectral chain of substitution. The task is obvious, to suspend bloodletting, that is, to "bleed" bloodletting.

Dakota Guo is an artist based in Beijing, obtained a BA degree on Drama and Theatre Arts at Goldsmiths,University of London, before taking the MA Performance Practice as Research at Royal Central School of Speech and Drama, University of London. She is now working at the Institute for Provocation(IFP).

IFP 新展 | 寇塔个人项目：丿皿

展期: 2019.03.01 - 2019.03.03

开幕: 2019.03.01（周五）下午四点

地址：激发研究所 – 芝麻空间，北京东城区黑芝麻胡同13号

L大夫的专长是放血，也就是中医的刺络疗法。在设为仅自己可见的网络相册里，她按照出诊的地理位置将经手的病例大致存了档；疑难杂症——表现为各种异常的血样——则被收录在一个单另的文件夹中。（在L大夫给病人放血的时候，她的助手小Y在旁边用手机拍照或者录像。镜头没有框入任何具有身份标识的画面，全部是罐诊和被放血的局部特写。）当L滑动手机，向我解说满屏血腥黏稠的图像时，她看到的是信息溢出的孔洞，我看到了什么？……猎奇感在第一时间篡改了放血作为医疗手段的基础语境，同时掩盖了什么更微妙的东西。或者，是更微妙的东西——种种指涉和被省略的增补——揉杂一处，造成了笼统的猎奇感。

我——效法她的助手——也将镜头对准放血的有效单元：针头（刺破）皮肤（渗/流/溢出）血。刚好形成一个“穿刺姿势”——一种姿势一旦被纳入象征范畴，就将在有机的、幽灵般的替换之链中被重新书写。任务是显而易见的：对放血进行悬置，也就是说，对“放血”进行放血。

寇塔（Dakota Guo），艺术家，毕业于伦敦大学金匠学院Drama and Theatre Arts(BA)，伦敦大学皇家中央演讲与戏剧学院Performance Practice as Research(MA)。现生活于北京，任职于激发研究所（IFP）。

IFP New Exhibition | XIE Yi’s Project：V-Ray–Rehearsal for Reification

Opening Party: 10th March, 2019, 4pm

Exhibition duration: 2019.03.10 - 2019.04.08

Address: Institute for Provocation · Black Sesame Space. Heizhima No.13, Dongcheng District, Beijing

“A relation between people takes on the character of a thing and thus acquires a ‘phantom objectivity’, an autonomy that seems so strictly rational and all-embracing as to conceal every trace of its fundamental nature: the relation between people.”

—— History and Class Consciousness: Studies in Marxist Dialectics, Georg Lukács

This is nearly the fundamental essence of commodity structure, which is also what Xie Yi has always touched on - “labour” in artistic practice. Omitted or invisible, it constitutes a material “perfection” and the sublime in artworks. In his recent works, he further probes into the essence of the concept of “reification” (objectification) on levels of objectivity and subjectivity. This also comes from the artist carding through his past works along the thread of “reification”, for example:

“Reified labour” (Barge Haulers on the Volga - Chapter - The Politics of Muscle)

“Reified artwork” (Constituted Color Blocks)

“Reified drama” (Romeo and Juliet)

Through the paintings in this exhibition, Xie Yi constantly grapples against himself - the subjectivity of him being an artist. This has to do with how to subdue or even avoid (if possible) “coincidences”, and how to reify what’s abstract or to simply realize a more objective and scientific image. He uses CPU calculation and rendering to produce “worlds” made up of ready-mades and their relationships (simulating scenes, gravity, reflection and refraction of light and collision and separation, etc.). He then deploys a method similar to that of “divisionism” in neo-impressionism paintings to transfer them (the worlds) onto canvases. In this process, the artist’s labour is subjective compared to an “experimental law” but at the same time objectified just like himself and turned into an artwork (commodity). It is the same with any other consumer goods that become commodities; they comply with a society’s natural laws and necessarily conduct their own “movement” independent of human. Maybe, we suspect that this process also alienates the artist himself?

IFP 新展 | 谢燚个人项目：V-Ray成竹 – 具体的排演

开幕: 2019.03.10（周日）下午四点

展期：2019.03.10 - 2019.04.08

地址：激发研究所·项目空间，北京市东城区黑芝麻胡同13号院内

“人与人之间的关系获得物的性质，从而获得一种幽灵般的对象性，这种对象性以其严格的、仿佛十全十美和合理的自律性掩盖着它的基本本质，即人与人之间关系的所有痕迹。”

——《历史与阶级意识》，乔治·卢卡奇

这几乎是商品结构本质的基础；也一直是谢燚创作中试图触及的问题 – 那些艺术实践中的“劳动”，被忽略的或是不可见的部分，构成了物质的“完美”和艺术品的崇高性。在最近的工作中，他进一步从客观和主观层面探讨“具体化”（物化）这一概念的核心。而这也来自谢燚对过往作品中“具体”这一线索的梳理，如：

“具体的劳动” （伏尔加河上的纤夫 - 章节一肌肉的政治）

“具体的艺术品”（被塑造的色块）

“具体的戏剧”（罗密欧与朱丽叶）

在此次呈现的绘画中，谢燚不断地与自己，或者说他作为艺术家的主观性斡旋 —— 这关于如何将“偶然”控制在最低甚至避免（如果可以）；如何将抽象具体化，或仅仅是如何完成一幅更为客观的、科学的画面。他利用CPU运算和渲染技术产生出一系列由现成的物以及物与物之间关系构成的“世界”（模拟场景、重力、碰撞分离以及光影的折射与反射等），并且利用类似新印象派“对光的分色”的工作方式将它们转化到画布之上。其中艺术家的劳动相对于“实验定律”既是主观的，又同他本身相对地被客观化，变成为一种艺术品（商品）。它正如成为商品的任何消费品一样，遵从社会的自然规律并且也必然不依赖于人而进行自己的“运动”。或许，我们怀疑这个过程是否也是对艺术家本人的异化？

Simon Wald-Lasowski 艺术家讲座 & 告别黑芝麻胡同

时间: 2019.03.30（周六）

讲座下午4点开始，party持续到深夜

地址：激发研究所，东城区黑芝麻胡同13号院内

激发研究所诚挚地邀请您于本周六出席Simon Wald-Lasowski的艺术家讲座。与此同时，激发研究所因不可抗力因素即将告别黑芝麻胡同13号。Simon的讲座之后我们将在工作室和小院里举办派对。这将是激发研究所在现址的最后一次活动，我们已备好啤酒等您驾临！

Simon Wald-Lasowski（出生于1980年，巴黎）由蒙德里安基金会支持，正于激发研究所进行为期六月（1月至6月）的驻地项目。他对当代社会中流行的图像、物件和符号之图像志进行收集、研究和嘲弄。同时，他通过多种形式的实践传达了一种对遭到鄙夷的俗气玩意儿或下流物件的真挚热爱，并痴迷于囤积它们。他拥有一颗漫游者的心，偶然地发现了他的物之“调色盘”。通过视觉联想、手工调试与整合，物品成为其具有讽刺意味的、颠覆性的装置作品中的表演者。以吸引眼球的色彩美学诱惑观者，Wald-Lasowski 让我们直面人类境况中的荒谬议题及病态消费主义的巨大软肋

Simon将展示他最近的兴趣与正在IFP进行的研究，带领我们经历几个近期项目的过程，并放映他的电影《掸尘/亮甲》（Dusting off / Shiny Nails）。《掸尘/亮甲》还原了某个接触不到的东西，即Tacita Dean于2011年创作的《曼哈顿老鼠博物馆》（Manhattan Mouse Museum）。迪恩的这部16毫米影片，只能在严格的观看条件下展出，并无法在线上观看。该影片短暂一瞥了艺术家Claes Oldenburg的世界，其中艺术家致力于收集小的奇珍异物及艺术作品。

基于《曼哈顿老鼠博物馆》的一些静态图像，Simon的“再想象（re-imagined）”版本试图通过他与自己私人收藏的物件间的互动来替换Claes Oldenburg对其物品展现出的温柔与亲密的关注。迪恩对16毫米胶片颗粒感的迷恋，这里已经被替换为对高清4K塑料感的迷恋。

激发研究所在黑芝麻胡同度过了美好的八年，现在不得不离开了。我们很快会宣布新的地址，未来的更多项目也已经提上日程。请大家期待全新的激发研究所，但在此之前，我们周六见！

Simon Wald-Lasowski’s Presentation

and Farewell to Our Courtyard

Address: Institute for Provocation. Heizhima No.13, Dongcheng District, Beijing

Time: 2019.03.30 Presentation starts at 4 pm, party till late

Institute for Provocation welcomes you to attend a presentation by Simon Wald-Lasowski this Saturday, 30th of March. Also, since IFP is going to move to a new venue soon, we would like to see all of you gathering and drinking together one more time in this lovely courtyard studio. Come to check out the presentation and the party!

Simon Wald-Lasowski (b. 1980, Paris) is doing a 6-month residency (Jan. - Jun.) supported by Mondriaan Funds. He collects, studies and mocks the iconography of images, objects and signs that are so prevalent in contemporary society. Simultaneously, his multiform practice conveys a genuine love for disdained tacky gadgets and obscene curiosities, which he obsessively hoards.

A flaneur at heart, he stumbles across his ‘palette’ of objects by chance. Through visual associations, d.i.y modifications and assemblages, objects become actors in his satirical subversive installations. Seducing the viewer with catchy colourful aesthetics, Wald-Lasowski confronts us to absurd issues of the human condition and to the enormous underbelly of our morbid consumerism.

For his presentation, Simon will present his recent fascinations and current research at the IFP, guiding us through the process of a few recent projects and screen his film Dusting off / Shiny Nails. Dusting off restages an inaccessible object, Tacita Dean’s 2011 Manhattan Mouse Museum. Dean’s 16mm film, only exhibited in strict viewing conditions and unavailable online, takes a glimpse into the world of artist Claes Oldenburg as he tends to an assembly of small rarities, objects and artworks.

Basing his ‘re-imagined’ version on a few still images of Manhattan Mouse Museum, Simon aims to channel the tender and intimate attention Claes Oldenburg exhibited towards his objects by interacting with his own personal collection of curiosities. Dean’s fetish for grainy 16mm film has been here replaced with fetish for crisp 4k plasticity.

Last but not least, time is flying, after spending an amazing 8 years at Heizhima Hutong, unfortunately IFP has to move out. We will announce our new address soon and there will be more events turned up. We look forward to the next step and hope to see you on the 30th!

Monika Czyzyk 艺术家讲座

& 激发研究所新址揭幕派对

时间： 2019.05.10 （周五）讲座晚上7点开始

地址：激发研究所新址· 北京市朝阳区798艺术区706北一街B7-3A，戳客戳客/四层

激发研究所诚挚地邀请您于本周五晚造访我们的新空间，参加驻地艺术家Monika Czyzyk的讲座，以及激发研究所新址揭幕派对。

激发研究所已于4月上旬因不可抗力因素告别了黑芝麻胡同13号，接下来激发研究所将与art book in China（abC艺术书展主办方）为邻，一同进驻位于798艺术区的戳客戳客空间。

我们将一如既往地推进艺术研究项目与艺术家驻地，同时积极地回应地理位置和空间的变化，探索机构实践的全新动态和转向可能。我们期待更多的行动者、研究员和创作者加入到我们的合作网络中，在相互刺激、碰撞与协调的关系中，展开具有批判性的知识生产和实践活动。

关于驻地艺术家

Monika Czyzyk（出生于1989年，波兰）由芬兰文化基金会支持，正于激发研究所进行为期三个月（4月至7月）的驻地项目。她辗转于各种混合的社会制度建构之间，通过与社群合作寻求话题与材料，并将其转译为动态影像、装置、摄影及表演。她的研究探讨当代社会的种种异化现象，关注世界各地的女性社群。经过多种形式的摸索，她的影像实践最终落脚于一种介于虚构与纪实之间的短片形式。

Monika将在讲座中向我们展示她的部分作品、近期的灵感以及在激发研究所驻地期间的调研成果。她将回顾“身体漫游”（BOdyssey）和“怪甜”（Monstersweet）等近期项目，并放映一些片段。请下滑查看关于影片《身体漫游序章》（BOdyssey Prologue 2017）的更多信息。

“身体漫游”是一个多媒体实验项目，采访并记录世界各地的女性参与者对于各种话题的思考，包括21世纪女权主义、政治、家庭、媒体艺术、技术以及后人类的崛起。拍摄所用的主要设备是一台玩具相机：Videogirl，2010年的芭比娃娃特别款，其身体中被置入了摄像机和回放系统。艺术家利用了Videogirl的象征含义，并将其直接用作拍摄设备。该影片旨在发展斯坦利·库布里克《2001太空漫游》（2001: A Space Odyssey）中的女性角色设定。这一开创性的作品奠定了宇航员芭比对人类未来的探求。在拍摄的过程中，她结识了来自不同文化背景、有着不寻常人生观的魅力女性，从职业电影人到平凡妇女。她们被邀请参与到项目之中，用艺术家提供给她们的Videogirl录下她们独特的观点、故事和对所处时代的个人看法。

Monika Czyzyk曾参与的驻地项目包括：位于尼日利亚拉各斯的非洲艺术家基金会（African Artist Foundation），位于纽约奥韦戈的Signal Culture。影像作品参展经历包括—— WRO 2017 Biennale: DRAFT SYSTEMS，波兰弗罗茨瓦夫；Union Docs，美国纽约；November Film Festival，英国伦敦；EMAP 2016: The 9th Ewha International Media Art Presentation, 韩国首尔。

Monika Czyzyk’s Presentation

and IFP New Space Launch Party

Time: 2019.05.10 Friday - presentation starts at 7PM

Address: Institute for Provocation, 4th Floor, ZUCZUG Space, B7-3A,

1st North Street, 798 Art District, Chaoyang District, Beijing

Institute for Provocation cordially invites you to our new venue to attend a presentation by Monika Czyzyk this Friday, 10th of May. At the same time, we are proud to announce the new IFP space. Please stay till late for our launch party!

IFP moved out of No.13 Courtyard in Heizhima Hutong last month and has just settled in ZUCZUG space in 798 Art District, neighboring art book in China (the organizer of abC Book Fair).

IFP continues to organize and advocate various kinds of activities, including artist residency, research project, discussion, exhibition making, workshop, publication, etc. Meanwhile, in response to the relocation, we are to embrace the new dynamic of our institutional practice. Through a wide network of artists, researchers and makers in China and beyond, we reckon the interaction between practice of residence artists and IFP’s institutional practice are constantly in a relationship of mutual provocation, friction and cooperation.

For our first event in the new space, we are thrilled to introduce Monika Czyzyk, who is doing a 3-month residency (April - July) sponsored by Finnish Cultural Foundation.

Monika Czyzyk (b.1989, PL) relocates and participates in hybrid socio institutional formations seeking out topics and materials created within these collaborative communities and later translates them into forms of moving image, installation, photographs, performance. Her research interrogates the changing face of alienation in contemporary society and global communities of women. She has been experimenting with various forms of moving image. Her experimentations with the camera tend to culminate in short films that oscillate between fiction and documentary.

Monika will present selection of her works, recent fascinations and current research at IFP. Guiding us through a process of few recent projects and screen selection of her video works, among BOdyssey and Monstersweet. Scroll down to see the description of the film BOdyssey Prologue 2017.

BOdyssey, is an experimental multimedia project that features global female participants and asks them to speculate on a variety of subjects including 21st century feminism, politics, family, media art, technology and the advancement of post-human kind. The device at the center of the video collaboration is a toy camera: the Videogirl. Videogirl is a 2010 special edition Barbie doll with a video camera and playback unit embedded in its body. Monika uses Videogirl for its symbolic content and as an actual recording device. The film intends to build upon the role of re-imagined female characters in Stanley Kubrick’s 2001: A Space Odyssey. This seminal work constitutes the stepping stone for Astronaut Barbie’s quest into the future of the human species. During filming she meet fascinating women, either professional filmmakers or everyday heroines, of diverse cultural origins and unusual perspectives on life. They were invited to participate in the project by providing them with their own Video Girl and the request to film their unique viewpoints, stories and personal perspectives of the times we are living in.

Monika Czyzyk was a resident of African Artist Foundation in Lagos/Nigeria and Signal Culture in Owego/NY. Her videos have been screened at WRO 2017 Biennale: DRAFT SYSTEMS, Wroclaw/Poland, Union Docs NYC/NY, November Film Festival, London/UK, EMAP 2016: The 9th Ewha International Media Art Presentation, Seoul/SK.

Michael Oppitz讲座：如何在险峻的山地拍摄电影？

时间： 2019.07.26 （周五）晚7点至9点

地点：激发研究所 | 北京市朝阳区798艺术区706北一街B7-4A戳客戳客四层

主办：梦周文教基金会

你可以想象在喜马拉雅山脉里徒步十日；想象20世纪70年代使用的是沉重的阿莱摄影装备；想象一个从未有人看过电影的地方社会；再想象一座不通电的村庄……以上这些就是标题中提到的这样一部电影的拍摄条件。

在如此偏远的地区拍摄一部电影的计划是基于两个观察产生的。首先，在这个封闭社会里，日常生活与神话混合成一个难以分辨的整体——宗教行为与日常活动之间已无可见的差别。其次，这种萨满仪式显示出与西伯利亚传统地区早已被根除的实践惊人的相似性。在电影所拍摄的地区，我们可以追溯一种比那些基于文字典籍的伟大传统——比如佛教、印度教、伊斯兰教、儒教、道教和基督教——更古老、更原始的仪式传统。

激发研究所/Institute for Provocation （简称 IFP）成立于2010年，是位于北京市中心的独立艺术组织和项目空间。通过理论研究和艺术实践的结合，激发研究所旨在以合作的方式联结跨领域的知识，激发文化生产和交流。基于对独立艺术机构在社会中的动态性的思考，激发研究所发起并支持多种形式的实践活动，包括驻地、项目研究、研讨会、展览、工作坊、出版等。

Michael Oppitz : How to make film in rugged mountains?

Time: 2019.07.26 Friday 7PM - 9PM

Address: Institute for Provocation, 4th Floor, ZUCZUG Space, B7-4A, 1st North Street, 798 Art District, Chaoyang District, Beijing

Organizer: Moonchu Foundation

Imagine a ten days’ walk through Himalayan mountains; imagine heavy Arri film equipment as used in the late 1970ies; imagine a local society in which nobody has ever seen a film; and imagine a village with no electric light; … and you have the conditions for a film as indicated in the title.

The idea to make a film in such a remote place was generated by two observations: first, by the fact that in this closed society everyday life and mythology mingled into an indistinguishable whole - that no difference could be observed between religious practice and mundane activities. And secondly, that this form of shamanistic rituals displayed an amazing similarity with practices long eradicated in the classical area of Siberia. In the region of the film, one could look back into a ritual tradition that goes back further than the great traditions of the Book, such as Buddhism,Hinduism, Islam, Confucianism, Daoism or Christianity.

戴陈连：移动剧场

时间：2019年8月9日，下午7点 - 8点

地址：激发研究所办公室 | 北京市朝阳区798艺术区706北一街B7-4F，四层

激发研究所诚邀您出席艺术家戴陈连的展览《移动剧场》。本次展览的作品由激发研究所委任并且只在9号当晚发生。

本次展览以移动为起点，重新拼接空间中被遗忘的散落的时间点，以激发研究所为空间背景，通过移动表演者、被迫生成的声音、挪移物件所建立的空间关系、现实情境、口述历史进行拼贴剪辑，最终形成由时间、行动导致的独幕式文本现场，在这里，作品将表演当作展览，表演具象化为移动的视听轨迹，在移动中展开一种精神状态和历史叙事，以此激活一段从A点到B点被凝固的时空碎片。

戴陈连，艺术家、导演。1982年生于浙江绍兴。2004年毕业于中国美术学院，2006年开始艺术创作，作品涉及剧场和绘画。

“我从学生时代以来都是通过表演解决自身的各种问题，早期是治疗自己的心理问题，慢慢调整个人和世界的角度，减少自己由于生理及心理上所带来的深度自卑感，然后将行动中遇到的困难和局限重新利用渐渐形成作品的方法，我们都害怕错误与局限，害怕语言的错误身体的错误，我从错误中展开自己的艺术实践，记录和重复每一种错误，使语言叠加语言，我将所有的剧场要素 —— 故事、行动、音响、灯光、构成、姿势等打碎成最小的构成单位，直接呈现思想的状态、过程和行动，让空间构造、光线、口述录音、影像、皮影表演、朗诵、器乐、舞蹈等语言手段组成一种复合交互作用体，从2007年以来，已持续推出了美术馆剧场、家庭剧场、架上剧场、剧院剧场等在内的多个项目。在当代艺术的范畴中，不断地在拓宽疆域划分与思维桎梏，我将小人物的平凡故事、新闻事件等场景都挪到作品当中，展开对于世界的叙述和想象，记录这个社会转型时代之中被遮蔽的情感和事件，还有普通人所要承受的代价和命运发生的改变。”

——戴陈连

Mobile Theatreby Dai Chenlian

Time: 9th AUG 2019, 7pm - 8pm

Address: IFP Studio, Suit B7-4/F, 706 North 1rd St., Jiuxianqiao Rd

(798 art zone),Chaoyang District, Beijing

Institute for provocation is pleased to invite you to an one-night exhibition Mobile Theatre, a commissioned work by Beijing based artist Dai Chenlian.

This show starts with the concept of ‘mobility’, aiming for re-piecing together the forgotten and scattered points in time in context with the spatial condition of Institute for Provocation. Composing and editing the spatial relationships, physical situations and oral histories generated by the mobilized performers/objects and the unexpected sounds, the artist would like to invite the viewers to an one-act textual performance led by time and actions. In this sense, the work transforms a performance into an experienceable exhibition, and the performance is embodied into a mobile audiovisual trajectory. Its mobility unfolds a certain psychological state and a historical narrative, and thereby defreezes the time-space fragment from point A to point B.

Dai Chenlian, artist, theatre director. Born 1982 in Shaoxing, Zhejiang province. 2004, Graduated from China Academy of Fine Arts, Hangzhou, China. Began to make art since 2006, focusing on the medium of theatre and painting.

"Since I was a student, I have been solving my own problems through performances. In the early days, I was treating my own psychological problems, adjusting my personal perspectives towards the world step by step, and reducing my deep psychological inferiority caused by my physical and mental issues. Gradually I reused the difficulties and limitations in this series of actions to establish the methods of works. We are all afraid of mistakes and limitations, as well as errors of languages and bodies. I developed my own artistic practice from mistakes by recording and repeating every mistake, so that to create an overlap of languages. I would break all the theater elements - story, action, sound, lighting, composition, posture, etc. into the smallest unit, to directly present the state, process and action of the mind, let the space structure, light, dictation, video, shadow play, recitation, instrumental music, and dance form a composite interaction. Since 2007, I have continuously launched several projects such as art theaters, family theaters, rack theaters, etc. In the category of contemporary art, constantly broadening the division and thinking territory, I have moved the ordinary stories of small people, news events and other scenes into the works, unfolding the narration and imagination of the world, and recording the emotions and events that are obscured by the era of social transformation, as well as the changes in the costs and fates that ordinary people have to bear."

Dai Chenlian

展期：29/06/2019 - 13/07/2019

开幕：6月29日（周六） 16:00

地址：PPPP空间 — 北京市朝阳区草场地国际艺术区256号灰色办公大楼306室

*开放时间为每周六14:00-18:00 其他时间段需至少提前⼀天邮件或电话预约预约电话:18519187728

“在不幸的海洋中造一座完美岛屿实属不易，但请不要怀疑我们的诚意”关于Simon Wald-Laswski 作品的一些琐记或许我们可以从对“污秽”的一些想法开始聊起。在最近一次与Simon的谈话中，他向我提及他大多数的作品都带有某种污秽的本质、被污秽的想法所启发。Simon出生于一个法国知识分子家庭，小时候他会偷偷溜进父亲的书房窥看那些不正经的18世纪情色版画。这可能是他的讽刺和颠覆天性的诸多原由之一。

“酒池肉林” — 从饮用泉到小便池

如果你需要在参加纵酒狂欢或讨论会之间做出选择，请注意不要站错队伍。古希腊人看似沉稳、哲思的“研讨会”经常陷入放荡淫逸甚至是骚乱之中。

反而罗马人的狂欢是件相对比较稳重的事情。富人们举办频繁的、奢侈的聚会——越奢侈就显得身份地位越高。上百名不同社会阶级的陌生人会被随机邀请；但聚会中不可或缺的一定是那些有魅力、穿着入时的人，还有舞蹈家、音乐家和不限性别的娼妓。但是这种狂欢有别于淫乱。

碰巧的是，纵酒狂欢会在更广泛的社会层面上的意义似乎与Simon的喷泉的指涉很好地匹配——一个由多种动物形象的红酒架组成的大喷泉。其中不同的“动物”在钢制的架台上按等级划分，贪婪地、从不满足地吸吮过量的酒精。对Simon来说，这是对我们商品社会的完美比喻。自我中心的个体和群体被困于一个本能的无限的(∞) 消耗、排泄循环系统中，从口到生殖器再倒流回去。一方面，这指向了Simon正在进行的对“无限博士”(Dr Infinity)的研究——一位神秘的自爱大师，他通过自主口交（吸吮自己的阴茎）吞下自己的精液，作为能量再生产的方式，完成其成为社交性、性行为和情感层面上的独立和不朽。另一方面，这种从口到生殖器的循环也是历史性的，比如从13世纪蒙古汗的华丽酒精喷泉(共饮)到20世纪杜尚现成品的小便池喷泉。液体自上而下滴落的动势也唤起了对“金色沐浴”的恋物癖想象。

请容我一点闲逛者的时间，可以不合时宜地在过去和当下穿梭。

Simon一般拒绝在他的作品里有太多的说教成分，“我的工作方式更像是一个闲逛者”，他会这样说。某种程度上这是真的。他给我的笔记中包含大约80个关于他作品的关键词并且都混在一起，不知何故我觉得我可以将其解释为某种信任的暗示。这可能是我决定像一个闲逛者(或是本雅明笔下的拾荒者)一样写下去的原因，在他的笔记中走个神。

闲逛者的“珍宝箱”

如果我们把在拱廊街*中徘徊看作是对商品社会的直接进入的话，那么收藏、拾荒和在二手市场上淘货是否也能被视为向商品社会靠拢的绕道迂回?在弗朗索瓦·于连（Francois Jullien）的《迂回与进入》（Detour and Access）中，直接和隐晦这两种方法不仅存在于方法层面上，而且也在事物的象征意义层面上进行了讨论。通过观察、对话和偶发，Simon像闲逛者一样将物体作为完美的隐喻来讨论当代社会问题似乎植根于隐晦的、间接的和用典的策略之中。他的兴趣点并不在于强烈的线性叙述上，而是创造坦诚的、易进入的作品，并希望保留多种观点和变化的空间。

虽然Simon喜欢通过“垃圾”来寻找被忽视的物品并希望重新激活它们的潜在意义; 他的工作从本质上又难以脱离白人中产阶级消费主义的扩张。这两者的结合让我想起了珍宝箱的传统。那些私人展示的科学珍品、艺术品、遗物和民族的战利品等。珍宝箱唤起了特权、所有权和殖民的问题。让我们通过居依德波1967年的《景观社会》的视角去思考这个珍宝箱的问题。如德波所说，在现代性之下商品已经占据了所有的社会生活，并支持资本主义的暴力结构，以同样的方式对每个人产生影响。

如果我们把Simon那些价值不同的物品的收藏当做一个珍宝箱，在他的创作中对这些物品的展示牵引向一种大众的、普遍的市场为导向的商品化的陈列。通过使用易理解的符号、强烈的色彩和略带流行文化的美学，Simon用他的作品迫使观众拥抱或质询他们自身的商品拜物教倾向。

作为拱廊街的义乌！抵抗速度

对于本雅明来说，城市的环境，特别是19世纪巴黎的拱廊街，提供了激发过去时代遗失的记忆的方法。而对于Simon，义乌扮演着21世纪拱廊街的角色。这个像迷宫般琳琅满目的，世界最大的小商品市场将消费者的个人和集体记忆串联起来。

作为一个闲逛者，Simon并未直接挑战现代生活所带来的应接不暇的体验。但他作为一个观察者的角色可以引导我们，迂回地，通往一次“觉醒”，那是本雅明所谓的过去和现在彼此识别的一刻。用来记录的工具被称为共情，本雅明继续说道:

“对商品的共情从根本上是对交换价值本身的共情。闲逛者是这种共情的鉴赏家。”(Walter Benjamin，《拱廊街计划》)

作为一个在城市里游荡的，聆听其故事的闲逛者，Simon的两部影片给予了一种冥想般旋转的轻柔凝视，一个趋向于对外部世界的凝视——义乌商品王国的全景；一个是对内部系统的观看——对艺术家偶然在街上发现的透明塑料玩具的“头脑风暴”的极其缓慢地拍摄。看这两部片子好像是场愕然的白日梦，这种梦则像是由现代城市中压倒性的感官轰炸所带来的。以及好像看着时间从身边流走，这对于一个加速的社会中的人来说多少是件奢侈的事。它可以被看作是对闲散的颂歌，或者抵抗速度的企图——一种政治的方法论？如何将这些消费对象看作激进的政治批评的可能？

“在商品社会中，我们所有人都是娼妓，把自己卖给陌生人；同时我们所有人也都是物品的收藏者”，Susan Buck-Morss在她关于拱廊的书中写道。去年，喜力啤酒公司对于其非洲女性员工遭受性骚扰和收入剥削一事的不作为态度受到公众指责，该公司高层的一名负责人对外回应称：“在不幸的海洋中造一座完美岛屿实属不易，但请不要怀疑我们的诚意”。

祝你开幕好饮。

来自：胡伟

It is very difficult to be an island of perfection in a sea of misery, but please, do not doubt our sincerity

- notes on Simon Wald-Lasowski's works

Institute for Provocation welcomes you to our Artist-in-Residence, Simon Wald-Lasowski's exhibition opening at PPPP Space this Saturday.

Exhibition Duration: 29/06/2019 - 13/07/2019

Opening: Saturday 29.06, 16:00

Address: Room 306, Grey Office Building, No.256 Caochangdi, Chaoyang district, Beijing

*Opening time: Every Saturday 14:00-18:00

For other period please reserve by E-mail or phone at least one day in advance.

Tel: 18519187728

Perhaps we can start with some thoughts on “obscenity”. During a recent conversation, Simon admitted to me that most of his works have an obscene nature. Born in a French intellectual family, Simon would sneak in his father’s library as child to peek into deviant ‘perverted’ 18th century erotic engravings. This might be one of many explanations for his appetite for irony and subversion.

An extravagant orgy - from a drinking fountain to a urinal fountain

If you’re given the choice between going to an orgy or a symposium, be careful you don’t make the wrong choice. The sedate-sounding ‘symposium’ of the Ancient Greeks frequently descended into debauchery and even riot.

On the contrary, imperial Roman orgies were comparatively sedate affairs. The rich were expected to hold frequent, extravagant parties - the more extravagant, the greater your status. Hundreds of strangers, of all classes, would be invited at random; but as ever, attractive, fashionably dressed people would be generously supplied, as would entertainment from dancers, musicians, and prostitutes of all genders. There was no “orgy sex” at orgies.

Coincidentally, the broad social spectrum of the orgy seems to be a good match with Simon’s fountain - a wine-bottle holder animal fountain, in which different ‘creatures’ are hierarchically displayed on a steel platform, sucking alcohol in excess with greedy unfulfilled quench. For Simon, this is a perfect metaphor of our commodity society. The egocentric individual and the mass stuck in a visceral infinite (∞) loop of consumption/excretion from mouth to genitals and back. On one hand, this refers to Simon’s ongoing research on Dr Infinity – an obscure self-love guru who promoted swallowing one’s own semen through auto-fellatio (sucking one’s own cock) as a mean to regenerate energy, become sexually/emotionally independent and immortal. On the other hand, it is also a historical journey from a Mongol Khan’s ornate alcoholic fountain in the 13th century to Duchamp’s 20th century readymade urinal Fountain. The top-down trend of liquid arises the imagination of golden shower fetish.

Please allow me to have a flâneur’s moment drifting in the past and the present, anachronistically.Simon refuses to be moralistic with his works, “I work more like a flâneur”, he excitedly pointed out. And that’s true. The notes he hands me contain about 80 keywords and are mixed up, somehow I doubt that I can interpret this as a sign of trust. This probably one of the key reasons that I decide to write as a flâneur (or ragpicker as Benjamin writes), wandering through the notes he throws out.

The Flâneur's 'cabinet of curiosities'

If we consider wandering in arcades* a direct access to commodity society, could hoarding, collecting, rag picking, and hunting in a flea market be seen as a detour towards the commodity society as well? In Francois Jullien’s Detour and Access, the two approaches of being direct and oblique are not only discussed on the methodological level, but also on the level of symbolic meaning. Through observations, conversations and chance, Simon’s flâneur approach to finding objects as perfect metaphors to talk about contemporary social issues seems to be rooted in oblique indirect and allusive strategies. He is not interested in strong linear statements, and rather creates disarmingly simple work, with the aim to allow for multiple perspectives and variations.

Although Simon enjoys looking through trash in search of neglected products with the aim of reactivating their potential meaning; his work is ingrained in the spending power of white middle class consumerism. The combination of these archetypes reminds me of the tradition of the cabinet of curiosities. Those private displayed collections of scientific curiosa, fine arts, relics and looted ethnographic artifacts. The cabinet raises issues of privilege, ownership and colonialism. Let’s think about the cabinet exemplifying a world through the eye of Guy Debord’s The Society of Spectaclefrom 1967. As Debord argues, with modernity, the commodity has taken on the role of colonising all social life, supporting a capitalist structure of violence, which does not impact upon everyone in the same manner.

If we consider Simon’s collection, which contains objects with different values as a cabinet of curiosities, the display of all these objects leads to a kind of universal marketing display in his making. By using accessible symbols, intense colors and pop culture aesthetics in his work, Simon seduces the viewers into embracing or questioning their own commodity fetishism.

Yiwu as the arcade! Protesting speed

For Benjamin, the environment of the city, in particular the arcades of Paris in the 19th century provided the means to provoke lost memories of times past. However, for Simon, Yiwu functions as a 21st century arcade. The largest commodity market in the world, with its endless mazes of products, unifies consumers in their private and collective memories.As a flâneur, Simon doesn’t challenge the shock experience of modern life directly. But the role of an observer can lead us, by detour, towards an ‘awakening’, which is the moment according to Benjamin in which the past and the present recognize each other. The tool for archiving this is called empathy, Benjamin continues: “Empathy with the commodity is fundamentally empathy with the exchange value itself. The flâneur is the virtuoso of this empathy”. (Walter Benjamin, ‘The Arcades Project’)

As a flâneur, Simon doesn’t challenge the shock experience of modern life directly. But the role of an observer can lead us, by detour, towards an ‘awakening’, which is the moment according to Benjamin in which the past and the present recognize each other. The tool for archiving this is called empathy, Benjamin continues:

“Empathy with the commodity is fundamentally empathy with the exchange value itself. The flâneur is the virtuoso of this empathy”. (Walter Benjamin, ‘The Arcades Project’)

As the flâneur who walks idly through the city, Simon’s two films present a soft meditation-like rotation towards both the exterior and the interior: respectively presenting a panorama of commodity kingdom in Yiwu and an extremely slow motion of a ‘brainstorm’ in the transparent plastic head of a toy that Simon accidentally found on the street. Watching the films put one in a shock-induced daydream about the overwhelming sensory bombardment of life in a modern city. Letting time pass by, endlessly, is a luxury for an individual in such a speeded-up society. This approach could be interpreted as an ode to idleness or an attempt to protest speed - a political methodology? How to read these consumer objects as clues for a radical political critique？

“In commodity society all of us are prostitutes, selling ourselves to strangers; and all of us are collectors of things” argues Susan Buck-Morss in her book about the arcades. When Heineken was accused of conniving sexual harassment and low pay on their female employees in Africa, one of the head staff of the company claimed: “It is very difficult to be an island of perfection in a sea of misery, but please, do not doubt our sincerity”.

Enjoy your beer at the opening.

by hu wei

Liu Yaohua's Solo Show | The Placement

Opening: 2019.10.19 14:30

Duration: October 19 - December 1, 2019

Address: IFP Studio, 4/F, Suit B7-3A, 706 North 1rd St., 798 art zone, Chaoyang District, Beijing

We are honored to announcethat Liu Yaohua's solo exhibition The Placement is having its opening at IFP.

This is an exhibition that does not hold its common features, for the exhibition neither shows any specific "work", nor any creation on the behalf of "object" by the "artist". In this show, Liu Yaohua will use IFP as a space of every-day activities to present his reflections on order and our shared experiences of border---a field of reality that is beyond the reality and a land of order that is beyond the order.

IFP新展 | 刘耀华：摆设

展期：10月19日至12月1日

开幕：2019年10月19日（星期六） 14:30

地址：激发研究所 | 北京市朝阳区798艺术区706北一街B7-3A，四层

我们很荣幸地宣布，刘耀华个展“摆设”将在激发研究所开幕。

这并非一个通常意义上的展览，因为展览中并不展示具体的“作品”，也没有“艺术家”在“物”的层面的任何创造。此次，刘耀华将利用激发研究所作为日常行为空间的物理属性，来呈现其对秩序的深层理解和反思，呈现我们共性经验的边界状态——一种超越于现实的现实之场、秩序之外的秩序之域。

Tim Woodward艺术家讲座

时间：2019年10月20日 14:30

地址：激发研究所 | 北京市朝阳区798艺术区706北一街B7-3A，四层

TV Insidse (Private Viewing), 2019

Endoscopy trolley, personal device or tablet, Netflix accountc

激发研究所很高兴介绍来自澳大利亚的新驻留艺术家Tim Woodward，他会在这里进行为期三个月（10月至12月）的驻留项目。

Tim运用的媒介多样，特别是装置。他的实践探索了“励志的身体”这一概念——一个熟稔于服务业经济与当前物质文化的身体。在录像和装置的创作中，他通过物本身以及与之相关的使用、流通、服务和交换的必要经济属性，来打开对其新的思考。

Grouphead: Double espresso two sugars prepared in a co-operative kitchen stirred with the rear wheel of a street vendors bicycle, 2018, Coffee cup, shelf, coffee, bicycle, 20x17x20 cm

驻留期间，Tim将关注后社会主义时代“励志学”的隐喻意义，也感兴趣于在北京极速兴起的网络平台经济。基于他近期的展览，他会用隔音板创作更多的装置，将近期的墙上作品“落地”，也会进一步发展近期做的有关送餐骑手休息的录像作品。

Tim Woodward是一位生活于澳大利亚墨尔本的艺术家、写作者。多次举行个展和参加群展。今年的项目包括参加在印尼日惹国家美术馆的日惹艺术节、布里斯班Kuiper空间的群展“详情参见网页”和Outer Space的个展“平静的励志”。

Slient Aspiration(Conglomerate Gulp) (detail), 2019

PET acoustic panel, aluminium composite borad, stainless steel business card holders, Eclipse mint, battery, Skittle, Nurofen, saliva, game token, balloon skin, pistachio shell, coin, pin, cashew, pencil eraser, glass bead, grape seed, chewing gum, jelly, blouse button, sunflower seed, multivitamin, 250x10x140 cm

Tim Woodward’s Presentation

Time: 2019.10.20 14:30

Address: 4/F, Suit B7-3A, 706 North 1rd St.,2 Jiuxianqiao Rd. (798 art zone),Chaoyang District, Beijing

We are thrilled to introduce our new residency artist Tim Woodward from Australia, he will stay with us from October to December.

Working across mediums with a strong focus on sculpture, Tim’s practice explores the concept of an ‘aspirational body’, a body manoeuvring the service economies and material cultures of our time. Through the production of video artworks and assemblage sculpture, his work uncovers new ways of thinking through objects and their requisite economies of use, movement, service and exchange.

Sleeping Under a Motorcycle Not Sleepy (still image), 2019

Single channel HD video 3min14sec

During his residency at Institute For Provocation, Tim is interested in the post-socialist allegories of aspirationalism in China, and the rapid rise of the on-demand economy in Beijing. Building on recent exhibitions, at IFP Tim will develop new sculptures from polyester felt acoustic panel, developing recent wall works into new three dimensional and architectural forms. He will also extend on a series of recent video works that feature resting food couriers.

Tim Woodward is an artist and writer living in Melbourne, Australia. He has presented numerous solo and group exhibitions in Australia and internationally. Recent exhibitions include ARTJOG MMXIX Common Space, Jogja National Museum, Indonesia, 2019, Check Website For Details, Kuiper, Brisbane, 2019, Silent Aspiration, Outer Space, Brisbane, 2019 and TV Insides, Sarah Scout Presents, Melbourne, 2018. Awards include The Sainsbury Sculpture Grant, 2015, The Cité des Art Moyra During Studio awarded by The Art Gallery of New South Wales, 2013, the Ian Potter Cultural Trust Grant, 2012 and the Asialink Visual Arts Residency, 2010. Tim is represented in Australia by Darren Knight Gallery, Sydney.

Slient Aspiration(Conglomerate Gulp) (detail), 2019

IFP Open Studio | Tim Woodward “八汤”

时间：2019年12月14日（周六）下午2点至6点

地址：激发研究所 | 北京市朝阳区798艺术区706北一街B7-4F，戳客戳客四层

激发研究所诚邀您于本周六参加Tim Woodward的开放工作室活动“八汤”。Tim Woodward是来自澳大利亚的驻留艺术家，他将于此次开放工作室中呈现其三个月驻留项目的成果。

8 Soups (2019)

8 chicken soups delivered to the rooftop of the gallery in winter

Polyester acoustic panel, business card holders, soup

八汤

若要我道一事满足，那便是妥善地为一份猪肉饺子安排行程。指尖一挥，熟食就紧接订单匆匆驶进城的这头，这是一种我从未体验过的幸福感。讲真，我不在乎它送达的方式，不管它搭乘的士还是被捆在电动车后，或是被塞在且行且喘的小哥的腋下。我会订一个夹心可丽饼，越远越快越好。像一枚寻觅温热的导弹划过夜空，它扑向我，然后我就会说“欢迎亲爱的...你这软塌塌的玩意儿！”我还会点2份木耳下单，从我未曾踏入的郊区起送，只为让它们历经漫漫长路抵达我的门口，被蜡纸包着，或在开裂的外卖盒里滴着汗。包装里外恐怕很难被预料。一头花椰菜曾捎带一包辣椒油入户，那岂非偷渡者的行径！但彼时我们庆幸（仅此一回）一位不速之客的到来，并说“欢迎，欢迎，请歇歇您的油脚”。

photo credit: 陈燕

Tim Woodward呈现“八汤”，这是他在三个月的激发研究所驻留项目的尾声带来的一场单日的开放工作室活动。通过利用激发研究所的工作室和天台空间，“八汤”由关于物品的订购与运输的两个空间与表演情境构成。这些新作品的现场展示反映了艺术家 Woodward 与平台经济的互动、实时物流业带来的物品加速流通以及励志体的概念。通过对外卖食物做一番基于时间的编排，Woodward诗性地呈现了平台消费及其物质机体所构制的空间属性。

借助于实时物流产业，“八汤”将在四小时的时间内展开（下午2点-6点），作为一个“应需”和“即时”的驻留呈现。基于激发研究所与布光的展览方式无需辩驳的对立（与其众多的798友邻大相径庭），Woodward欣然接受了激发研究所非传统的展览格局，并视“机构”为一类办公室或者仓库。在此前提下他的创作与作为行政和社交场域的空间发生关系，物品被从这种空间送出或被送达这种空间。

The Day The Earth Stood Still (2019)

A Shan Song Delivery courier ignores objects in requisite of movement

Tim Woodward 是一位生活于澳大利亚墨尔本的艺术家、写作者。多次举行个展和参加群展。今年的项目包括参加在印尼日惹国家美术馆的日惹艺术节、布里斯班Kuiper空间的群展“详情参见网页”和Outer Space的个展“平静的励志”。他在激发研究所的驻留项目受到澳大利亚艺术理事会支持。

Sleeping Under a Motorcycle Not Sleepy (2019)

Single Channel HD video 4min14seconds (video still)

IFP Open Studio | Tim Woodward "8 Soups"

Time: 2019.12.14 (Saturday) 2pm - 6pm

Address: IFP Studio, Suit B7-4/F, 706 North 1rd St., Jiuxianqiao Rd (798 art zone),Chaoyang District, Beijing

Institute for Provocation is pleased to invite you to Tim Woodward's open studio event 8 Soups this Saturday afternoon.

8 Soups

One thing that brings me deep satisfaction is successfully coordinating travel arrangements for a single pork mince gyoza. The joy of marshalling warm snacks from one side of town to the other is unparalleled in my book. And I really don't care which method. Taxi is OK, or strapped to an electric scooter, or under the arm of a sweaty nerve-battered cyclist boy. I'll call a Nutella crêpe on a journey as far'n' fast as can be, and I'll say "Bienvenue ma douce, you floppy little shit!" as it winds toward me like a heat seeking missile whispered into the night. I'll order 2 x Wood Ear fungus, travelling from a suburb I've never visited, just to have them arrive at my door hours later clothed in waxed paper, or sweating in their cracked doner boxes. Packaging is fearfully unpredictable. A head of steamed broccoli once arrived with a chilli oil sachet, stowed away like a vagabond thief! But we were glad (this one time only) to have the extra company, and said "Welcome welcome, rest your oily feet".

photo credit: 陈燕

Tim Woodward presents 8 Soups, a one day open studio event presented at the conclusion of a three month residency at Institute For Provocation. Utilising the studio and rooftop spaces of IFP, 8 Soups consists of two spatial and performative situations that engage with the ordering and transportation of objects. The live presentation of these new works reflect Woodward's ongoing engagement with platform economies, the accelerated movement of goods via real-time logistics industries, and the concept of an aspirational body. Through a time-based choreography of delivered food objects, Woodward poetically addresses the spatial codes of platform consumption and the material bodies they animate.

Incorporating real-time logistics industries, 8 Soups will unfold over the duration of four hours (2pm - 6pm), as a residency presentation that is both 'by-demand' and 'just-in-time'. In acknowledging IFP’s unapologetic resistance to auratic methods of display (the notable absence of white walls common to so many of its 798 neighbours), Woodward embraces the atypical exhibition spaces of IFP and treats the 'institute' as a kind of office headquarters, or depot. In this way his work engages with these spaces as administrative and social locations, spaces where objects can be sent to, or sent from.

The Day The Earth Stood Still (2019)

A Shan Song Delivery courier ignores objects in requisite of movement

Sleeping Under a Motorcycle Not Sleepy (2019)

Single Channel HD video 4min14seconds (video still)

IFP 展览 | Goeun Bae “世外高人”

展期：2020年1月4日 – 2020年1月14日

开幕时间：2020年1月4日下午4点

* 开幕表演下午5：30分开始

地址：歌德学院北京，北京朝阳区798艺术区创意广场，酒仙桥路2号

* 此次展览由激发研究所策划，歌德学院北京承办。

激发研究所诚邀您出席艺术家Goeun Bae在2020年1月4日歌德学院北京的灰盒子项目空间的展览“世外高人（Of Whom The World is Not Worthy）”的开幕。开幕当天有现场表演。

此次展览中，Goeun Bae将会在灰盒子空间里呈现她最新完成的录像作品，以及散落在建筑物内部的一些物件装置和折纸雕塑。在其中的一件录像作品中，艺术家梳理了她与父亲之间的亲情关系，以及穿插其中的社会经济问题，艺术家的政治立场和琐碎的“世俗”生活等问题。该作品源于艺术家对自己父亲的记忆。她父亲喜欢看中国武术电影，并把它看作是对现实生活中经济困境的慰藉。除此之外，艺术家还导演了一场动物童话故事的表演，聚焦在中国武术其中的一个特征上 - 动物的动作（象形拳）。在表演中，艺术家按照《在延安文艺座谈会上的讲话》的文本以及对共产主义演讲的语气的借用，通过童话想象的反转暗示其政治态度和立场。这个表演也会在展览开幕当天发生。

在由蒙德里安基金会（Mondriaan Funds）支持的在激发研究所（Institute for Provocation）的六个月驻留期间，Goeun Bae一直致力于研究武术和它的社会条件。她更像一个观察者或实践者，通过对武术的研究这一视角来目睹中国社会的制度和不同阶段的历史困境。除了理论方面，她还在学习咏春的过程中同时进行身心研究和修炼。

Goeun Bae（阿姆斯特丹）是一位艺术家、影像作者和表演者，她通过拆解和重构在精密协调的社会中观察到的统治秩序来展开她的艺术实践和思考。她在创作中是一个见证者，并同时陷入内部父权与外部或社会父权的斗争中。Bae有时使用报纸文章作为主题，或者将场景和诗歌作为作品的基础，并通过她的方法论进行表达——人的生活所产生的真实痕迹如何政治地相互联系与转化。她的作品以影像、物件、表演、声音和摄影等多种表现形式实现。Bae于2012-2013年参与了Rijksakademie的驻地项目。她的作品以各种形式在多地展出，包括第27届阿姆斯特丹国际纪录片电影节EYE Film museum，FLAM V Amsterdam，Nieuwe Vide Haarlem，Galeria Vermelho Sao Paulo，Prospects & Concepts Art Rotterdam, Arko Art Center Seoul, ABA Salon Uferstudios Berlin and CCA Kitakyushu。

IFP Exhibiton | Goeun Bae “Of Whom The World is Not Worthy”

Time: 4th Jan. 2020 – 14th Jan. 2020

Opening party: 4th Jan. 4pm

*Performance starts at 5:30 pm.

Location: Goethe Institut, 798 Art District Creative Square, Jiu Xianqiao Rd. No.2, Chaoyang District, Beijing.

This event is initiated by Institute for Provocation and hosted by Goethe Institut Beijing.

Institute for Provocation welcomes you to attend Goeun Bae’s exhibition “Of Whom The World is Not Worthy” together with a performance on 4th January at Goethe Institut’s Grey Box Project Space.

In this exhibition, Goeun Bae presents newly completed video works in the Grey Box space, as well as some objects and origami sculptures scattered in the building of Goethe Institut. In one of the video works, the artist composes entangled questions about relationship with her father, socioeconomic issues, the political stance of the artist, and the direction of trivial life. The project originated from her memories of her father who loved watching Chinese martial art movies as a refuge for economic struggling in reality. In addition, She conducts an animal fairy tale performance for children focusing on animal movements, one of the characteristics of Chinese martial arts. In the performance, following the structure of "Talks at the Yan’an Forum on Literature and Art " and borrowing the tone of the communistic speech, the artist implies political stances with a twist of fairy imagination. This performance will be performed at the exhibition opening.

Bae has been working on research about martial arts during 6-month residency program at Institute for Provocation supported by Mondriaan Funds. She has traveled both as an observer and practitioner, witnessing the system and historical struggles of Chinese society through the research of Chinese martial arts.In addition to theoretical research, she is simultaneously conducting physical and mental research through the process of learning Wing Chun.

Goeun Bae (South Korea) is a visual artist based in Amsterdam, Netherlands. Bae's visual art practice considers ideas in the manner of dismantling and reconstructing the ruling order observed in a minutely tuned society history. Bae's work discloses a personal story that reflects the vulnerable and unstable position of women in today’s society. Within her works, she stands as someone witnessing and concurrently caught up in the battle between the internal patriarchy and the external or social patriarchy. By using the body, she expands how the actual traces derived from human living are politically interconnected and transformed. Her works are realized in various presentation such as film, performance, object, sound and photography. Bae participated in a residency program of the Rijksakademie(2012-2013). She has presented her work in a variety of forms at venues including 27th International Documentary Film Festival Amsterdam EYE Film museum, FLAM V Amsterdam, Nieuwe Vide Haarlem, Galeria Vermelho Sao Paulo, Prospects & Concepts Art Rotterdam, Arko Art Center Seoul, ABA Salon Uferstudios Berlin and CCA Kitakyushu.