小珂x子涵的观念社会剧场作品,旨在建立个体行动与当下社会事件的对话交流从而传达艺术家的表达与态度。小珂和子涵放弃常规剧场舞台,将作品植入公共空间, 这与两位艺术家在上海生活创作的现状相吻合。现场的表演与日常事物相结合,他们尽可能减少专业设备技术的成分从而抹去对表演的修饰性,以此强化日常生活情景在作品中的放大功能。该作品是现场表演、装置艺术以及视觉艺术饿综合体现。

“我们抱歉地通知你”直指我们日常生活中无处不在的潜藏暴力性。我们常常在公共环境例如机场遭遇此类的潜暴力,被动接受已被决定的飞机误点的结果。这种现象不仅仅在机场发生,而在个人生活中处处所见。我们发现这种现象在中国和日本是一样的,强势的政治力量试图对人民进行再教育从而接受已被决定的结果。在这个作品中,小珂和子涵提取生活中遭遇到的典型案例,通过表演放大呈现,试图激活观众对此现象的反省。
该版本为第二版本专为日本横滨国际表演艺术会议所创作,第一版本完成于2013年上海朱家角当代艺术展。
此版本在日本横滨TPAM的呈现分为四个部分,每部分在不同时间不同地点进行。

1:我们抱歉地通知你:这是一个错误 (10分钟)横滨KAAT Large studio lobby
2014年2月13日 17:35 - 17:45
小珂、子涵和日本被邀表演者Tomoko Inoue共同完成。三位表演者在剧场外等待剧场内刚看完另一演出的观众走出,并在休息区遭遇突如其来的表演。混淆的不同语言交流是艺术家在日本的真实状态。小珂用中文介绍着有关日本的种种印象,这些印象来自于她在中国所接受的历史教育。子涵用英文向在场的人述说着自己在艺术发展的过程中所犯下的种种错误,而Tomoko用日语试图翻译着两个人所做的称述,但她更多的是阐述在这几日与这两位中国艺术家的工作状态。一些冲动的行为时不时的发生在这场混乱的演说中。三位表演者推动观众被迫接受他们的演说并且忽略观众现场的反馈,这正是艺术家在自己生活中的感受,一种被控制,被动接受的现实写照。

2: 我们抱歉地通知你:这应该被遗忘 (240分钟)横滨 BankART Studio NYK
2014年2月14日 11:00 - 15:00
小珂和子涵坐在BankART Studio的室内空间,面前放着纸笔和墨水。他们停止说话,用书写的方式将语言词汇写在白纸上并传递给现场参加艺术交流会的人们。书写是容易被现世遗忘的交流方式,在某种语境下甚至是危险的方式,在网络生活亦如此。长时间的书写并传递给观众,意在引起人们对于交流方式和自我表达权利的思考。所有被写在白纸上的文字,随着时间的流逝,10分钟后会自动消失。所写的文字来自两位艺术家个体的反思和态度。

3:我们抱歉地通知你:这仍然是个错误 (10分钟)横滨 KAAT large studio lobby 2014年2月14日 17:35 - 17:45
小珂、子涵和日本被邀表演者Tomoko Inoue共同完成。三位表演者在剧场外等待剧场内刚看完另一演出的观众走出,并在休息区遭遇突如其来的表演。这次表演只有Tomoko一人用日语现场演说,小珂与子涵始终保持沉默,他们不想说,却用奇怪和粗鲁的方式试图控制和干预观众,让观众被动接受Tomoko在现场所说的内容。Tomoko所说的内容设计她个人在日本生活的现状与感受,特别是日本3. 11 地震和核泄漏时间之后所带来影响。最后小珂与子涵向观众行日本鞠躬礼,Tomoko却很强势地站立在原处。

4:我们抱歉地通知你:这是唯一你能做的 (90分钟)横滨 KAAT Atrium
2014年2月15日18:30 - 20:00
肢体剧场表演结合舞蹈,音乐,书写,演说和装置为一体。食物作为一个媒介在表演过程中联系起内部和外部的关系,正如食物每天作为最基本的物质联系着人的身体与外界的关系。食品安全的问题已在中国成为一个普遍的社会关注话题,日本经历3.11之后亦如此。小珂与子涵选取日本当地最为普遍的食物,例如西红柿,酱油,芥末酱,蔬菜等建立与当地生活的联系。“表现,呈现与篡改”是艺术家展开现场行为的关键词,从而建立起与现场观众不同层面的对话。两位艺术家在现场移动,书写,绘画与摧毁,在这个空间里,无论他们试图构建什么,最终一切转为一片废墟。干净极简的空间在过程中逐渐演变成肮脏和混乱的空间。子涵站在垃圾堆上,向观众述说着这几日在日本的感受,以及他在中国生活的感受。所有言说的话题来自于两位艺术家在日本几日所做的调研和在中国的经历。肢体行动的表演以艺术的名义将两个邻国紧密的联系在了一起,尽管现实中两国政府关系步步紧张。

It is a conceptual social theater work created by Xiao Ke and Zi Han. It aims to build up the dialogue between individual action and the realistic social issue to expound artists’ attitude and concern. Xiao Ke and Zi Han give up the formal theater stage but move into public space, which reflects the realistic situation where they do their own art in Shanghai China. Live performance connects with daily staff; they try to reduce professional technical decoration in their performance but build up a strong image that is magnified from realistic life. The work combines with live performance, installation, and visual art all together.

The name “We apologize to inform you” is used to highlight the potential violence in the daily life. We are used to meet the similar situation to be accepted by some decided result such as in public airport. However it does not just happened in common flight delaying, also in the individual right issue, which is the common reality in china and japan. The political power tries to reeducate people to be accepted by their purpose. In the performance Xiao Ke and Zi Han pick up typical behaviors and magnify the energy to alarm people awaking.

This is the second version work in TPAM 2014 Japan; the first version was launched in Zhu Jia Jiao contemporary art exhibition Shanghai in 2013.

The performance in TPAM 2014 is separated by 4 sessions in different time and different locations.

1: We apologize to inform you: It is a mistake (10 mins)
KAAT Large studio lobby 13th Feb 2014 17:35-17:45

Xiao Ke, Zi Han and Japanese performer Tomoko Inoue is invited to join. They speak in three different languages together to give an unexpected encounter with audience who just come out from a performance in theater. The turbid languages situation is their real feeling in Japan. Xiao Ke speaks in Chinese to describe how she images Japan before from her education in China. Zi Han speaks in English to explain how many mistakes he did in his artistic history, and Tomoko speaks in Japanese to try to translate a little from them, but she talks a lot about her personal feeling in the few days with the two Chinese artists. Some impulsive action happening during the speaking, three people push audience to be accepted by their speaking and they ignore the audience’s feedback, which duplicates from Chinese way, how the government control people to be accepted by their purpose.

2: We apologize to inform you: It should be forgotten (240 mins)
BankART Studio NYK 14th Feb 2014 11:00 -15:00

Xiao Ke and Zi Han sit in the BankArt studio with their papers and ink. They stop talking but write words on papers and send these papers to people who join the art meeting inside. Writing is easy to be forgotten in china, and also quite dangerous action, even in Internet. The live art performance tries to make people think about our basic authority in the individual presentation. All the words what they write down on the paper just disappear after 10 minutes. The meaning of these words is related with artists’ attitude and thought.

3: We apologize to inform you: It is still a mistake (10 mins)
KAAT Large studio lobby 14th Feb 2014 17:35-17:45

Xiao Ke, Zi Han and Japanese performer Tomoko Inoue is invited to join. This time just Tomoko speak in Japanese, Xiao Ke and Zi Han keep their principle as before, they don’t want to talk a lot, but try to control audience with their strange and rude action to make them be accepted by what Tomoko’s speaking. Tomoko speaks a lot about her situation and thought in realistic Japan, especially after 3.11 earthquake and nuclear accident. In the end Xiao Ke and Zi Han bow to audience to apologize but Tomoko does not.

3: We apologize to inform you: This is the only thing that you can do (90 mins)
KAAT Atrium 15th Feb 2014 18:30-20:00

It is a physical performance combining music, dance, writing, speaking, and installation. Food is the trans-media to connect the inside and outside during the performance. Food is a basic media connecting human’s body with outside, and it changes our body everyday. The safety issue of food is a big concern in China, also in Japan after 3.11. Xiao Ke and Zi Han use food such as tomato, soy sauce, vegetables, and Japanese wasabi sauce to keep communication with each other. “Presentation, Representation and Misrepresentation” is the key words to the artists to build up the performance relationship between themselves and audience. They move, they write, they paint, and they destroy. Whatever they try to build up in the space, finally become rubbish. The space change from so clean and trendy style to so dirty and mess style. Zi Han stands in the rubbish, and tells audience his own feeling in the few days in Japan, and also his feeling in his life in China. All the elements they use in this performance are based on their research in Japan and their experience in China. The physical action connects the two neighbor countries together in an artistic way, even now the two governments argue about a war possibility.

video on youtube:

video for mainland China:

 

 

 

 

 

 

 

 

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