五周年文献回顾+邀请展

展览从梳理上海明当代美术馆在过去五年的展、演、公共和研究项目中所投射的重点开始。在四个板块的浓缩提炼中，我们从历史项目、邀请作品和延伸阅读材料三个层次来完成每一个篇章的架构，互相回应，互为补充。

“生产行动”作为序幕，既呼应了美术馆前身是上海造纸机械厂（简称“上造厂”）某一个车间的空间历史，并复现了一件在机构成立之前、仍是待开发的废弃工厂状态时的剧场集体创作，交叠显像成为一段复合的历史。美术馆早些时期的数个展演项目都投身于空间持续生产的可能性，也延续了上一个十年中国当代艺术对于行为艺术的关注，艺术家具身投入到生产环境当中，与曾经千千万万个工人身体的劳动和机器相遇。

在第二章节“身体演绎”中，我们重点梳理了美术馆在实验剧场，现场艺术，综合性展演项目中“身体”的显现与在场，从明当代在试运营阶段的第一个系列表演项目“单人排演”（2015），到正式的开馆展“为什么表演？”（2016），我们在无数次现场的搅拌中试探了诸如表演与观看的权力关系，身体自身的激发与挑战以及和空间发生的互动等尝试，通过现场与身体这一动态的场域和媒介来进行实验性的创作。

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第三个板块命名为“破空间”，意为对于既有展示空间、展览建构方式的破除与挑战，也代表了某一种非精致、非光鲜的现场。这来自于对明当代美术馆展览历史上三个重要案例的考察，即：“后感性”（1999和2017），“把一切都交给你”（2017）和“托马斯·赫塞豪恩个展：重塑”（2018）。在“后感性”的组织中，密集的现场发生和建立游戏规则式的自组织、策划行动占据了亟待被作品哺喂的空间；在展览“把一切都交给你”中，观众进入展览的方式和互动以及一件作品在长期展示中能够被解读和阐释的方法都得到了颠覆。而在托马斯·赫塞豪恩的个展中，艺术家设想了一个未来美术馆，并以明当代的场地为蓝本进行了实验：无具体项目编排，而是将机构权威完全让渡给公众大量、主动的参与。这场实验也是在堆积而成的日常材料的废墟中所建立的。

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最后一章“技术演进与精神建构”关涉美术馆近两年来在人工智能、电子游戏、后人类行为等议题上的投注，当飞速更替的技术媒介已演化成为身体的义肢，而人类肉身则在不同媒介的铸造后冶炼成为新的形态；而这一切也早在2016年“明和电机：超常识机械”的大型展览中有所涉猎。

值得一提的是，明当代美术馆最吸引人的场地特点在其下沉式的剧场空间，制造出这种下沉空间感的实际上是连接了场馆一、二楼的大型台阶。在此次展览场地的规划中，我们在中庭复刻了一个台阶的“骨架”，作为“身体演绎”板块的录像展示区域。在这个“幽灵”看台上，那些在机构历史现场中闪烁的身体被再次编排，并提供给公众一种另类观看和参与的路径。

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放映计划 

Screening Project 

放映计划作为此次“再回现场”展览的特别单元，在三个月的时间内，将带来三场由不同策展人或平台联合策划的艺术家作品展映，通过错层的切面和视角对有关“身体”的影像创作进行观察和剖析，每个主题放映将会持续一个月左右的时间。通过这个放映计划，也再次呼应了美术馆历史上对于偶发、行为、现场和表演艺术的关注，并试图通过具有差异性的艺术家经验来进入对于“身体”不同的感知和想象，观测到每个切片背后的文化时代背景和思考框架。第一期放映计划由造空间的创办人、艺术家琴嘎策划，带来他自2020年发起的项目“一起游牧”的部分作品展映，来探讨游牧作为一种文化形态所带来的另类视角，移动的肉身经验和游牧的当代性，以及身体如何感知、参与自然，与地貌环境发生形神互动。放映计划第二期由美术馆策展人钱诗怡策划，带来题为“与外部交涉——身体作为一种界面”的片单。后续项目持续揭晓中……

  放映单 Vol.1  

McaM 5th Anniversary

Archive and Invite exhibition

The exhibition revisits the issues and threads touched upon by the exhibitions, performances, public and research programmes organized by Ming Contemporary Art Museum since its establishment. Within each of the four sections, three layers of presentation could be perceived to construct the exhibition layout to fulfill the purpose of re-visit and re-activication, namely the re-presentation of past exhibited artworks and programs, invited artworks for each special focuses, and materials for extended reading, as response and supplement to each other.  As the prelude to the exhibition, Actions in the Production and Factory echoes the history of the location of McaM—a workshop of the former Shanghai Paper Machinery Corporation. And in the meantime, it reproduces a piece of collective theatre work staged here before the museum had truly established when it still remained a factory status. A period of compound histories is hereby presented through the overlapping of images from both the remote and the near past. A number of the earlier exhibition and performance projects presented by McaM probed into the possibilities of continuous production of space. On one hand, such an endeavor inherited the attention Chinese contemporary art scene had paid to performance art during the past decade; and on the other, when artists physically dedicated themselves to a production environment and system, in a sense, there came an “encounter” between their presence and the presence of the labor of the thousands of workers and machines that used to be here. In the second chapter Performing Body, a focal point is placed on the appearance and presence of “body” in the experimental theatre, performance art and exhibition programmes curated by McaM. From Solo Performance (2015), the very first performance series initiated by McaM during its trial operation period, to the official inaugural exhibition Why the Performance? (2016) and the various programmes after that, we attempt to investigate the power relation derived from the perspective of performing and viewing, the stimulation and challenges of the body, and the interaction with space, to further ignite experimental practice through the scene, a dynamic field, and the body, a dynamic medium. The third section Site-not-Space intends to challenge and break through the existing exhibition space and established methods and rituals of exhibition making. It refers to a kind of scene that is neither exquisite nor glamorous. It derives from the reflection upon the three important exhibitions or happenings on the history of McaM, namely Post-Sense Sensibility (1999, 2017), Proposals to Surrender (2017) and Thomas Hirschhorn: Re-Sculpt (2018). In the case of Post-Sense Sensibility, intensive happenings on the scene and all kinds of self-organizing and curating actions for the establishment of game rules occupied the space which desperately needed to be fed by conceptual works. And in Proposals to Surrender, how audience entered and interacted with the exhibition and how the works could be interpreted during its month-long presentation were subverted. In the solo exhibition by Thomas Hirschhorn, the artist envisaged an art museum for the future and conducted an experiment on McaM as a blueprint: with no specific choreographed programmes, the authority of the institute was transferred completely to the public to evoke wide and active participation. Not to mention that the experiment was built upon ruins accumulated by daily materials. The last chapter From Technical Prosthesis to Spiritual Body touches upon issues such as AI, electronic games and post-humanistic behavior. While the rapid iterations of technological media have evolved into a kind of artificial limb to the body, human bodies have been smelted into a new form thanks to the tempering of different media. And as early as in 2016, McaM already foresaw these emerging trends and included the thinking of these issues in Maywa Denki: The Nonsense Machines. 

It’s worth mentioning that one of the most intriguing elements about the site of the museum is the sunken space which is usually used as the stage of performance, which in fact is constructed by a flight of large steps that connect the first and second floors of the museum. While planning the layout design for this exhibition, we decide to reproduce a “skeleton” of the steps at the atrium and use it as the video screening area for the Performing Body section. On this somewhat “ghostly” stand, the bodies flashing in the historical scene of the institute are choreographed once again, offering the public an alternative path to watch and engage with. 

Screening Project

The Screening Project is a special attachment to McaM’s 5th Anniversary Art Festival. In three-months period, museum will present three series of artists videos and films screening—each will last for one-month or so to provide diverse facets and multi-layered perspective on the topic of Body. The screening project is also expected to resonate with museum’s focal concentration and focus on happenings and actions on sites, as well as performance art while sensations and imagination toward Body will be activated through various artists experiences, thus to further explore different cultural background and critical thinking framework behind. The whole watching journey will start with first month’s collaboration with artist Chyanga (Qin Ga) who is also the founder of Rhizomic Space to present a selected works screening from the project “Go Nomadic together” that he initiated via the platform of Rhizomic Space in 2020. Thus to offer an alternative perspective through Nomadism as a cultural pattern, mobile physical experience and the contemporary practice in it, and also to explore how nature can be sensed and engaged with nomadic body, and how geographical features can be participated physically and spiritually with. The second screening project is curated by Sam Shiyi Qian on the topic of “Confrontation of the outer world: Body as an interface”. The program will be updated continuously.

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即将展览

BACK TO STAGE

明当代美术馆五周年展演艺术季

McaM 5th Anniversary Art Festival

2021.11.13-2022.02.13

出品人

李松坚、凌菲菲

总策划：邱志杰

策展人：钱诗怡

策划团队：蔡昀庭、唐子钦

艺术家

泽维尔·查 Xavier Cha丨郭奕麟 & 陆奇 Daniel Kok & Luke George丨发梦茱莉 Dreaming Julie丨何其沃 Er Gao丨未来主人（马汀滢和康康） Future Host (Tingying Ma & Kang Kang)丨草台班 Grass Stage丨侯莹  Hou Ying丨杨·罗威斯&尼德剧团 Jan Lauwers & Needcompany丨金锋  Jin Feng丨马可·多纳鲁马 & 吴艳丹 Marco Donnarumma & Nunu Kong丨派特里克·特雷塞特 Patrick Tresset丨后感性小组 Post-Sense Sensibility Group丨萨里娜·沙伊德格 & 希梅娜·克罗塞里 Sarina Scheidegger & Jimena Croceri丨施金豆   Lane Shi Otayonii丨石青  Shi Qing丨Siedl/Cao丨社会敏感性研发部  Social Sensibility R&D Department丨孙大肆&神炁现形 Sundasi & SHENQIXIANXING丨总体艺术工作室 Total Art Studio丨梅田宏明 Hiroaki Umeda丨文慧  Wen Hui丨姚尚德  Sunteck Yao丨张云峰&李海光  Zhang Yunfeng & Li Haiguang丨志豪  Zhihao丨周滔  Zhou Tao

*参与艺术家名单持续添加中

主办方

明园集团、McaM明当代美术馆

地址

上海市静安区永和东路436号

McaM明当代美术馆

票价

85元

*展期内开放时间可无限次进入场馆

*残障人士、现役军人、1.2米以下儿童及70周岁以上免票