贫穷剧场: 唱给那些消费自己的人 PLAYHOUSE OF POVERTY,
A SONG TO THE ONES WHO CONSUME THEMSELVES

贫穷剧场: 唱给那些消费自己的人

PLAYHOUSE OF POVERTY,
A SONG TO THE ONES WHO CONSUME THEMSELVES

 

21/11 – 10/12

策展人:李泊岩

Curator: Li Boyan

合作方:绿色和平,白塔寺再生计划,再生空间计划

地点:歌德学院(中国)

Partner: Greenpeace, Baitasi Remade, Space Regeneration Projects

Ort: Goethe-Institut China

 

1、从1980年以来,快时尚商业模式急剧扩张,消费量不断上升,衣服从衣柜到垃圾桶的周期越来越短,1992年到2002年,每件衣服的寿命平均缩短了50%。从2000年到2014年,全球制衣量翻倍,平均每人购买的衣物增长了60%,旧衣服淘汰速度也快了一倍。

1、Since 1980, the business mode of fast fashion has been expanding rapidly, with consumption keeping rising and clothes’ life cycle from closets to trash cans increasingly shortened. From 1992 to 2002, the average lifespan of one piece of garments shortened by 50%. From 200o to 2014, total global clothes production doubled, with a 60% increase in the average amount of clothing bought by each person and the discarding rate of old attires twice as fast.

 

2、约有95%的废弃衣物按照它们的使用状况其实还有被重新穿着(re-worn)、重新利用(reused)和循环使用(recycled)的机会。但实际上最后它们和其他家庭垃圾一样,进入了填埋场和焚烧炉。其实仅仅将衣服寿命从1年延长到2年就可以让温室气体排放量在一年内减少24%。

2、About 95% of the discarded clothes could be given the opportunity for re-wearing, re-using or recycling, according to their condition of usage. Yet, in the end, they ended up in landfill or incinerators, together with other household garbage. If the lifespan of clothes could be expanded from one year to two years, it would reduce the greenhouse gas emission by 24% in one year.

 

3、2017年初绿色和平在中国大陆做的消费者行为调研发现:60%的人买的东西超过实际需要。50%多的人有吊牌都没剪的衣服。约60%人知道自己买太多但无法克制。46%人透支购买。1/3表示不买会空虚无聊,然而50%以上的受访者认为购物带来的快乐持续时间不足一天。约50%购买有负罪感,隐瞒购物行为。2/3人买东西是为了打发时间。

3、In early 2017, Greenpeace Organization conducted a research on consumer behavior in mainland China and finds that: 60% of the participants buy more things than what they actually need; more than 50% participants have clothes with the tags still on; about 60% are aware that they are over buying but could not restrain themselves; 46% overdraw to buy things; one third feel empty and bored if they do not buy something; yet more than 50% interviewees believe that the pleasure brought by shopping would not last for a day; about 50% feel guilty about buying and would conceal their shopping behavior; two thirds buy things to pass time.

 

艺术家身体力行的对于当今全球化所带来的消费与创造的分裂提出了诸多反馈,从于以上来自“绿色和平”提供的数据,可以看出从上世纪80年代至今大众对于消费的心理变化。在反过度消费的宣言中,一种基于消费文化所带来的创造,成为了激发艺术变革的新的可能。齐泽克(Slavoj Zizek)说:“剥削劳动力所得的利润逐渐转向了知识私有化所得的租金。” 这比马克思的理论更为简明。当剧场更多的用来形容自治的社群自觉更新某一区域时,劳动者则转变回保有追求自由力量的传统。在艺术上,所有坚持认为只有“人造品”才可能成为艺术的保守论点都“将历史性因素误认为本体必然因素” 在新西兰美学家斯蒂芬·戴维斯(Stephen Davies)看来,那些“人造条件是不成立的”。该项目通过五件不同的行为录像作品,探讨人造物对于人的精神控制以及对废弃物品再利用的立场。

Artists set example by personally taking part and giving feedback about the discrepancy between consumption and creation brought by globalization. From the data provided by Greenpeace Organization, it is illustrated the psychological change in general public about consumption from the 1980s to now. In the declaration of anti-excessive consumption, the kind of creation, brought by consumerist culture, becomes the new possibility to encourage change in art. Slavoj Žižek once said that “the profit generated by the exploitation of labor-power into rent appropriated by the privatization of this very ‘general intellect’.” It is even clearer than Marxism. When “playhouse” is used to describe an area which is renewed willingly by an autonomous community, laborers would turn back to the tradition pursuing the power of freedom. In art world, all those opinions, insisting on that only “man-made objects” could become art, “mistaking historical factors for ontologically inevitable factors.” As Stephen Davies, New Zealand Aesthetician, argues, those “man-made conditions do no hold.” This project employs five different video works of behavior, discussing man-made things’ control on human mind, as well as the standpoint.

 

21/11 – 26/11

张静:消化

Zhang Jing: Digestion

 

张静

2016年有一段时间因为挑出门的衣服我会花掉一整天的时间,所以放弃了有超大更衣室的家逃到视频中的单室想要极简的生活方式。但是换季、旅行采购让衣橱再一次膨胀。作品中和所有买回从来没穿过的衣服做真正的诀别。再次搭配、改造、送人都无法摆脱它们,最后决定捐到回收处,精神上才得到真正的空间。

——《消化》

Zhang Jing

In 2016, there was a period of time, I would spend a whole day picking up clothes to wear so I could go out. Therefore I gave up the home with a super spacious walk-in closet and fled to the single room in the video, wishing to live a minimalist way of life. Yet, seasonal change and shopping in travel bloated my closet again. I bid my farewell with the clothes I bought but have not worn in the work. Re-matching, altering or giving them away to other, none of these could help me break up with them. In the end, I decided to donate them at the recycle post and acquire the real space in my soul.

——《Digestion》

 

28/11 – 03/12

张云峰+李海光:可乐,水枪,双拼

孙伟:无题“香港”

Zhang Yunfeng & Li Haiguang: Cola, squirt gun, collage

Sun Wei: Untitled „Hong Kong“

 

张云峰+李海光

作品介绍:1)8月的某天下午,太阳毒辣,和李海光在798看了一天的展览,头发昏,眼发胀,从东门出来就买了两瓶冰可乐,仰头灌下一口,脸就拧成一团,咬着牙跺着脚,浑身酥麻,后颈发痒,姿势奇怪的可爱。

2)十岁的时候,哥哥新认识的女朋友来家里做客,那天热闹的客厅、漂亮的大姐姐、一大桌子的菜,都记不住了,因为我被三瓶可乐灌的眼睛发直,呆呆的坐了一个中午。这事成了一个笑话,被家里人说了十几年。

3)我喜欢喝茶,海光喜欢喝酒,我们都应该多喝点可乐。

——《可乐、水枪、双拼》

Zhang Yunfeng& Li Haiguang

——《Cola, squirt gun, collage》

孙伟

我進香港前在深圳白石洲城中村的米糧店、肉鋪、食雜店換來數百枚面值一角錢的硬幣,進香港後用強力速乾膠(三秒膠)把這些面值一角的硬幣粘在香港的馬路、人行道上,直到回大陸前結束。

按粘硬幣時間順序的地點排列:中環、皇后大道中、牛棚藝術村、賽馬會、九龍、旺角警署、陸港大巴站、皇崗口岸香港關口、皇崗口岸中國邊檢。

——《無題(香港)》

Sun Wei

Before entering Hong Kong, I exchanged for hundreds of ten-cent coins in the grain stores, butcher’s stores and grocery stores in the urban village of Baishizhou in Shenzhen. After I entered Hong Kong, I had been gluing these ten-cent coins in the streets and sidewalks in Hong Kong with fast dry glue (Cyanoacrylate Adhesive) until I went back to mainland China.

The places where coins were glued in chronological order are: Central Hong Kong, Queen’s Road Central, Cattle Depot Artist Village, Jockey Club, Kowloon, Mongkok Police Station, Mainland-Hong Kong Bus Station (陆港大巴站), Lok Ma Chau Control Point, and Huanggang Port of Entry.

--“No Name (Hong Kong)

 

05/12 – 10/12

姚清妹:林威登女士在蒙田大道

王轩鹤:单人间

Yao Qingmei: Madam Vuitton. Ling on the Avenue Montaigne

Wang Xuanhe: Le Studio

 

姚清妹

在一个公寓内部,我述说并演练了我想象的即将在蒙田大道上实施的行为介入的场景。

在这个行里,林威登,一个中国新贵,在路易威登专卖店里突然爆发了恋物癖症的精神崩溃。 这件作品同时也提出了这样一个问题:行为是否需要排练?而这种排练同时作为行为之前的行为,表演之前的表演,同时也构成了行为之前的文献。那么行为是否真的发生?行为的真实发生是否有必要?

——《“林威登女士在蒙田大道”》

Yao Qingmei

In a flat, the ideal safe environment, I enact and explain a planned intervention to be performed in Paris at an address in Avenue Montaigne. My role is that of “Mme Ling .V”, one of China’s newly rich, having a nervous breakdown in the LV luxury store. Is such a rehearsal really necessary? Staging the rehearsal becomes a performance in its own right and a record of an event seen before it even occurs.

——“Mme Ling .V sur l’avenue Montaigne"

 

王轩鹤

王轩鹤在法国的生活中的一部分就是拣旧家具,因为那些家具还能使用。他在作品《单人间》中重现并夸张了这一行为。他在白天的搜集和摆放,在夜间由清洁工人清理一空。

Wang Xuanhe

A part of Wang Xuanhe’s life in France is to pick up the old furnitures as those furniture can still be used. He reproduces and exaggerates this behavior in his work "Le Studio". His collection and placement during the day was cleared by the cleaners at night.

 

 

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