诸众之貌 “Till We Have Faces!”
Organized by Inter-Asia School
Co-organized by Power Station of Art, Institute of Contemporary Art and Social Thought (China Academy of Art)
Sponsored by Moonchu Foundation
Venue: Outdoor Tent, Power Station of Art (200 Huayuangang Road, Shanghai)
Huang Sun Quan, Shanghai Biennale Forum Convener
“亚际双年展论坛”总策划：张颂仁 高士明 陈光兴
Inter-Asia Biennale Forum Initiators:
Chang Tsong-Zung, Gao Shiming, Chen Kuan-Hsing
“Till We Have Faces!” (multitude.asia) Project
Innumerable words have been used to describe social groups, we have familiar terms such as the people, the public, the crowds, the masses, the multitude, the class, all of which are terms favored by those who prefer to deploy power in a top-down hierarchy. Moreover, intellectuals and populists fall for the very same terminology with similar enthusiasm. With the development of network technologies, the significations of these words have been brilliantly transformed to refer to totally opposite states of affair, such as preferences of the elites, the selected few and bourgeoisie groups. We now propose to restructure the contents of these words, not with the purpose of correcting the misnomers, but with the aim of creating ambiguous meanings until they take on new faces. Metaphorically speaking, what we are searching for are the seeds of social dynamic structure, rather than the flowers emerging from the dynamics.
We wish to show that knowledge and practice can be self-taught through association with other groups of people, then mobilization and networking will also become autonomous. This faith in the people and their thought has always been the core belief of Inter-Asia School.
Starting from Asia, we will start to build archives of group interactions on the website. Every archive will contain complete video records and in-depth discussions. We will also prepare a condensed version of each archive, which will serve as the catalogue for dispersing. Until the Program rolls, then faces will emerge.
Cultural Production Inside and Outside the Tent: “Till We Have Faces!” (multitude.asia) Project 2014 Inter-Asia Biennale Forum (Shanghai)
The multitude exists within societal space: it is not only a vague category of social relations. Societal space requires a kind of adhesive force to help the multitude to develop the possibility of articulation and to gain both a sense of identity of the self and of the community. Cultural production thus plays a crucial role in allowing the multitude to develop a deeper sense of empathic community/commonality and as a force for soical mobilisation that is distinct from confrontational action. Culture is a product not only of the contradictinos, conflicts, identifications and emotions that arise in the pursuit of different cultural entities, it is also a product of the culture of everyday life and of the implications of symbols of national identity.
“Till We Have Faces!” (multitude.asia) Project will constitute a process of collective action at the Inter-Asia Biennale Forum, and will pose a series of questions that have been gleaned from the results of interviews and videos, such as: Within Asia, how do we think about our own cultural production？What exactly is music, media, and theatre? What functions do they serve? And what could they potentially be？We will apply a model of collective action to raise and explore these questions, inviting the participation of members of Hong Kong’s In-Media group, Taiwan’s Black Hand Nakasi Band，and Mr Daizo Sakurai from Japan, to share and discuss their unique practices.
Black Hand Nakasi Band
Black Hand Nakasi Band is Taiwan’s most important ‘workers band’, not only performing at workers’ rallies but also producing music together with workers and collaborating with groups from Taiwan’s disenfranchised classes. For Black Hand Nakasi, their music practice is not only an act of support for social movements, but an integral part of the movements themselves.
Hong Kong In-Media
Since their founding in October 2004, Hong Kong In-Media group has participated in major activist movements in Hong Kong, including the protests during the World Trade Organizations Conference in Hong Kong (2005); the movement to preserve the Star Ferry and Queen’s Piers (2006-2007); the Choi Yuen Tsuen and Occupy Central movements (2009); the opposition to the Northeast New Territories Development Plan (2011); and the Hong Kong dockworkers strike (2012). In-Media has become a base for social mobilization in Hong Kong , and a platform for opinion. More recently, they have begun to move away from their role as media activists in oppostion to mainstream media, and towards the developemnt of a more professional electronic media platform.
Daizo Sakurai’s Tent Theatre
Daizo Sakurai’s Tent Theatre is one of the most important legacies of Japan’s student movements of the 1960s. The main focus of the troupe’s activities was on creating political noise and resistance, and theatre was simply a borrowed form for their actions. Daizo’s unique working methdology, receiving neither government subsidies nor commercial support, has been applied by groups from Japan, Taiwan and Beijing and has effectively formed an independent theatre work and performance system.
The preliminary sharing of these valuable experiences will take place as an action of collective labour during the Inter Asia Taipei Biennale Forum. We will invite both forum members and volunteers to participate in the construction and collective use of a tent designed by Daizo Sakurai’s theatre troupe, as a process of mutual exhange and community labour. This will be followed by sharing and discussion of the experiences of groups from Taiwan, Hong Kong, Japan and Beijing, and we will conclude with a series of voluntary training sessions.
补充资料 Other References
About Daizo Sakurai and the Tent Theatre
Daizo Sakurai entered Waseda University of Japan and studied at Department of Political Economics during the Second Anti-Security Treaty Movement. In the upsurge of the student movement, Sakurai joint Theater of traveling Acrobats and became a member of the second-generation tent theatre. Theater of traveling Acrobats is representative of the second-generation tent theatres, whose members dramatically criticized the first-generation tent theatres and made theatrical performances in an ascetical gesture of “disintegrating theatres”.
Sakurai’s tent theatre, stemmed from social movements, has not been simply integrated into the mainstream of society with the falling tide of social movements; surely, it also cannot subvert capitalist system as the social movements have expected. However, what is important, having gone through romantic movements and violent revolutions, Sukurai’s tent theatre has not simply descended into an aesthetic manner in the overall pattern of capitalist production, and maintained the most fundamental subversiveness of the tent theatre. The reason of the above saying is that Sakurai has continued the most powerful challenge of tent theatre to the drama system under the capitalist production system: first, on the economic basis, tent theatres have gone beyond the modern manner of theatre production that depends on government funding, NGO supports and enterprise investments; second, they have preserved in activities at the bottom of the society, broken the boundaries of theatres and non-theatres, and integrated theatres with desires of the bottom. Both points, one relying on the other, make Sakurai’s journey and creation maintain living resistant powers.
No matter what manner he has utilized, Sakurai has been challenging the toughest economic foundation in the theatre system, i.e. being completely independent from capitalist cultural strategies. It is with this economic independence that the tent theatre can independently walk at the bottom of the society.
About Hong Kong Independent media
Independent media has a long history in Hong Kong; local intellectuals and activists have been publishing independent magazines since the 1960s. However, due to various sociopolitical reasons, the independent media sector has not flourished as much as places like Taiwan and Korea. In recent years, as a result of the advancement of the Internet and communications technology, individuals and small organisations with limited resources have begun utilising new electronic media, bringing about a new media era characterised by diversity and direct participation.
Hong Kong In-Media is the foremost organisation in Hong Kong which aims to propel an independent media movement. Since inmediahk.net was established in 2004, we have grown into one of the most influential citizen media in Hong Kong.
About Black Hand Nakasi – Workers’ Band
黑手那卡西─工人乐队是一支由工人及工会组织者所成立的工人乐队，在ICLE(Informational Center of Labor Education，台湾劳工教育资讯发展中心)及工委会（工人立法行动委员会）的协助下，成立于1996年。黑手那卡西作为以音乐介入社会运动的乐团，歌曲所承载或再现的社会运动意涵是黑手独特于主流╱非主流乐团所在。
Black Hand Nakasi is a workers’ band set up by workers and union organizers in 1996 with assistance of ICLE (Informational Center of Labor Education) and CALL (Committee for Actions on Labor Legislation). As a band involving in social movements in the form of music, Black Hand Nakasi is distinct from mainstream or non-mainstream bands in the sense of social movement meanings conveyed and recurred in their songs.
To obtain the cultural power of the working class and the disadvantaged, Black Hand Nakasi holds that working people at the bottom of the society are often deprived of powers to master music, arts and other cultural tools due to the limitations on their educational opportunities and living environments. Various cultural expressions in society, such as popular music, art and culture, are mostly generated for the upper middle class. The working class, who are in urgent need of sound-making tools, can only find a few isolated words or phrases to express emotions through fragments of Karaoke or pop music. To regain the voicing right of the working class and the disadvantaged at the bottom of the society, Black Hand Nakasi targets the music and cultural education of the working masses, helps workers and the disadvantaged to sing their hearts out in their own languages. That is to say, Black Hand Nakasi is not only a band “serving social movements”, it also tries the possibility of collective creation in practical music production and movements, and, with the masses, attempts to shape the culture that really belongs to the working class, the disadvantaged and people with tough lives.
Cultural collaborations and collective creations: main voices of workers and the disadvantaged
The creative method of cultural collaborations that Black Hand Nakasi has accumulated over the past dozen years is a cultural resistance demonstrated in the combination of Black Hand music and social practices. The collaboration refers not to the “superior-subordinate relationship” between “the ones with professional authority” and “the ones who lack conditions” but to a “peer-peer relationship” of mutual endeavors for a common goal. Cultural collaborations are cultural struggles of concrete social movements and organizations, and are “collective creations” when they are demonstrated in the process of music generation and song production, which include struggles against the appropriation and re-writing of live mainstream songs, song compositions after group discussions as well as struggles and dialogues on music styles of band members. Moreover, cultural collaborations are also teaching and dialogue processes of music operational capability, e.g. workers’ guitar workshops and practice groups, the aim of which is enabling workers and the disadvantaged to master basic playing and singing skills.
The reason why Black Hand’s cultural collaborations are particularly noted is that main voices of Black Hand together with workers and the disadvantaged have special and crucial meanings. The cultural production of Black Hand is different from that of high culture, and is not expressed by professionals who employ precise social analysis and research, or articulate through refined forms of poetry, speeches and music. Instead, it is a culture of collaborative creations and performances made by college students with limited cultural capital and workers who are rich in cultural connotations but lacking in cultural capitals. From sites of closed plants and worker protest, to work injury music workshops, from workers’ guitar classes, to practice groups, then to creations and performances of Black Hand Nakasi, we have clearly seen that the subjectivity of workers and the disadvantaged; we see they are gaining more opportunities to appear and make their voices in the collaborative cultural relationship.
Huang Sun Quan
Huang Sun Quan is Assistant Professor in the Graduate Institute of Interdisciplinary Art, National Kaohsiung Normal University and the Graduate Institute of Trans-disciplinary Arts, Taipei National University of the Arts. He was a visiting professor at Lingnan University, Hong Kong (2004–05) and China Academy of Art, Hangzhou (2013). His research and practices cover the theory of architecture and space, culture/ media, social movements and interdisciplinary arts. He is founder and editor-in-chief of Pots Weekly which is the only alternative media platform founded in Taiwan since 1994. In 1997 he organised Anti-City Bulldozer, the first urban social movement against the gentrification that has wiped out the largest squatter areas of downtown Taipei. In recent years, he has increasingly engaged in curatorship and artistic creation, participating in the Shenzhen & Hong Kong Bi-City Biennale of Urbanism/Architecture (2007, 2013); and curating ‘Treasure Hill GAPP (Global Artivist Participation Plan)’ (2003–04), ‘Lulu Shur-Tzy Hou Solo Exhibition: Look Toward the Other Side—Song of Asian Foreign Brides in Taiwan’ at the Kaohsiung Museum of Arts (2010), ‘Migrant Workers in Kaohsiung Labour Museum’ (2011–12) and other exhibitions. He is the author of Green Bulldozer, the translator of DIY Culture and a editor of a number of publications. He is above all an artivist across architecture, media, social movements and art.
策展人，中國美術學院客座教授，漢雅軒畫廊藝術總監，香港亞洲藝術文獻庫董事會成員。張頌仁的策展專案包括：「後八九：中國新藝術」巡迴展（1993 - 1998）、一九九四聖保羅雙年展中國特展、一九九六聖保羅雙年展中國特展及香港館、二○○一威尼斯雙年展香港館、「文字的力量」巡迴展（1999 - 2002）、「黃盒子：當代藝術與中國空間」系列研究計劃（2004年開始）、二○○九湖北美術館「造物與空間：當代大漆藝術」、二○○八「第三屆廣州三年展：與後殖民說再見」聯合策展人、「西天中土」中印學術交流項目的發起人和總監（2010年開始）、二○一二上海雙年展聯合策展人等重要藝術活動。
Chang Tsong-Zung (Johnson Chang) is a curator, the Director of Hanart TZ Gallery, guest professor at China Art Academy, and board director of Asia Art Archive. Chang has been active in curating Chinese exhibitions since the 1980s: major exhibitions include ‘China’s New Art Post-1989’ (international tour 1993–98), Special Exhibitions for the Sao Paulo International Biennial (1994 and 1996), Hong Kong official participations at Sao Paulo Biennial (1996) and Venice Biennial (2001), ‘Power of the Word’ (Taiwan and US tour 1999–2002), the ‘Yellow Box’ series of research projects about contemporary art practice and Chinese aesthetic spaces (since 2004). Recent curatorial work includes: co-curator of ‘Guangzhou Triennial 2008: Farewell to Post-Colonialism’, ‘Spiritual Space: A Dimension in Lacquer’ (Hubei Museum of Art 2009) and the ‘West Heavens’ series of Indian-Chinese art and intellectual exchanges (presented at the Shanghai Biennale 2010, Guangzhou Triennial 2011 and Shanghai Biennale 2012). Chang was also co-curator of the 2012 Shanghai Biennale.
陳光興任職交通大學社會與文化研究所，同時負責亞太/文化研究室，曾為新加坡國立大學任資深客座研究員、韓國延世大學與北京清華大學客座教授。著有Asia as method: towards deimperialization (Duke University press, 2010)，《去帝國──亞洲作為方法》(2006)、《帝國之眼》（2003；漢城，韓文版）、《媒體/文化批判的人民民主逃逸路線》(1992)；編有Stuart Hall: Critical Dialogues in Cultural Studies (1996與David Morley合編)、Trajectories: Inter-Asia Cultural Studies (1998)、《Partha Chatterjee 講座: 發現政治社會：國家暴力、現代性與後殖民民主》(2000)、《文化研究在台灣》(2000)、《後東亞論述》(2006，與白永瑞、孫歌合編，東京，日文版)、Inter-Asia Cultural Studies Reader (2007 ，與蔡明發合編)。他是台灣社會研究季刊的成員，Inter-Asia Cultural Studies: Movements期刊的執行主編。
Chen Kuan-Hsing is Professor in the Graduate Institute for Social Research and Cultural Studies, and also the coordinator of Center for Asia-Pacific/ Cultural Studies, National Chiao Tung University. He has held visiting professorships at universities in Korea, China, Japan, Singapore and the U.S. He has published extensively in both Chinese and English, including edited volumes in English: Stuart Hall: Critical Dialogues in Cultural Studies (1996) and Trajectories: Inter-Asia Cultural Studies (1998), Inter-Asia Cultural Studies Reader (2007); and in Chinese: Cultural Studies in Taiwan (2000) and The Partha Chatterjee Seminar–Locating Political Society: Modernity, State Violence and Postcolonial Democracies (2000). His own books include Media/Cultural Criticism: A Popular-Democratic Line of Flight (1992, in Chinese), and The Imperialist Eye (2003, in Korean), De-Imperialization—Asia as Method (2006, in Chinese). His writings have been frequently translated and published in Korea, China and Japan. Founding chair of Taiwan’s Cultural Studies Association and a core member of the Taiwan: A Radical Quarterly in Social Studies, he is a co-executive editor of the journal, Inter-Asia Cultural Studies: Movements.
Gao Shiming is the Director of the School of Intermedia Art at the China Academy of Art. In the past years, he has founded the Center of Visual Culture Research, Institute of Contemporary Art and Social Thought, as well as the Research and Development Center of Media City in the China Academy of Art. His focal points are visual cultural research, contemporary art studies, curatorial studies and social thought. Gao has organised many large-scale exhibitions of academic standing, including ‘The Migration of Asian Contemporary Art and Geopolitics’ (2002–04), ‘Techniques of the Visible: The 5th Shanghai Biennale’ (2004), ‘Micrology: Micro-politics in Chinese Contemporary Art’ (2005), ‘Yellow Box: Contemporary Art and Architecture in Chinese Space’ (2006), ‘Special Exhibition of China in The 6th San Paulo Architecture Biennale’, ‘Alchemy of Shadows: The 3rd Lianzhou International Photography Festival’ (2007), ‘Farewell to Post-colonialism: The 3rd Guangzhou Triennial’ (2008), ‘Rehearsal: The 8th Shanghai Biennale’ (2010) and ‘West Bund 2013: A Biennial of Architecture and Contemporary Art’. Gao has also published many academic writings, including Thoughts of the Visual (2002), The Migration of Asian Contemporary Art and Geopolitics (2003), Farewell to Post-colonialism: The 3rd Guangzhou Triennial (2008) and Relevant Readers 1, 2 and 3 (2008–12), Rehearsal: The 8th Shanghai Biennial (2010), Ho Chi Minh Trail (2010), All Lethal Things are Unspeakable (2011) and The Book of Action (2012).