Remaking Fractures（duàn céng zài zào）
断层再造（duàn céng zài zào）
Remaking Fractures
时间：2017年9月23日 全天
地点：四川省德阳市（多处公共区域）
策展人：李泊岩、孙晓星
艺术家：蔡应、高宇、曲媛媛、孙伟、徐静、章嘉禾、张悦群、张静＋季小萍
主办：三星堆戏剧节
Time: September 23, 2017
Place: Deyang, Sichuan (multiple public spaces)
Curator: Li Boyan and Sun Xiaoxing
Artists: Cai Ying, Gao Yu, Qu Yuanyuan, Sun Wei, Xu Jing, Zhang Jiahe, Zhang Yuequn, and Zhang Jing + Ji Xiaoping
Sponsor: Sanxingdui Theatre Festival
地质学上的断层，是地壳由外力形成的断裂结构。文化上的断层，更多的是愿望中的文化，与现实文化之间存在的差异。一座城市的历史脉络，形成一个地方如何建造城市、生活以及创造文化。文化的变革，如同地壳运动之前所蕴藏的动力，虽然不是一朝一夕都能看见的巨变，但却在潜移默化中积蓄能量。
艺术形式的碎片化，全球化进程中的文化断层，人口迁移导致的身份问题等，逐渐浮出水面，并交错在一起。侯瀚如在致小汉斯（Hans Ulrich Obrist）的信中提出了“动态而复杂的体系”，表示出无法定义和概括这一模糊的状态，或者说评论家有意将“不确定的试验场”来概括这种复杂的不确定状态。世界各地的文化割裂，以及各种文明对于当代艺术的补偿犹如“断层线”，它真实又直观地描述着某个看不见的地方所聚集的能量。而当因果关系被重新放置后，蕴藏于表象下的巨大能量就有可能展现出来，并成为预言。这种巨大的能量在世界各个角落自发而成，公共空间成为艺术展现的舞台。
一次行动往往胜过一件作品。街道上、废墟中、空地上、工厂里……当艺术的呈现场地回到艺术的诞生场地时，缝合文化断层的信息将被传递。当观者摆脱了欣赏艺术的先验的、权威的姿态后——再造，将会以某种新的逻辑和规则进行，逐渐成为艺术边界的开拓力量。
Fracture in geology points to the fissure or crevice in earth’s crust caused by outside pressure. Fracture in cultural sense means the gap between the culture aspired and the culture in reality. The historical context of a city gives shape to how a place build city and life, and create culture. The transformation of culture, like force hidden before earth’s crustal movement, despite of it is not drastic change which could be observed daily, builds up energy imperceptibly.
The fragmentation of art forms, cultural fracture in the process of globalization, and identity issues brought by population migration gradually surface and tangle with each other. In the letter to Hans Ulrich Obrist, Hou Hanru mentioned a “dynamic and complex system”, meaning it was impossible to define and summarize the vague status. Or it was the critic’s intention to sum up this complex and uncertain status as an “uncertain experimenting field”. Cultural fractures in different area of the world and compensation made up for contemporary art by different cultures are like fault lines, which describe the energy hidden in some invisible area in a factual and intuitive manner. When the cause and effect relationship is re-positioned, the enormous energy hidden under the surface will likely to be displayed and become predictions. This enormous energy has been formed spontaneously; public spaces becomes the stage to present art.
An action speaks more than a work. In the street, the wasteland, an open space, or a factory … when the stage of art goes back to where the art was born, the information of healing the cultural fracture will be delivered. When audiences get rid of the apriori and authoritative attitude, Remaking will be conducted under some new logic and rules, and gradually become the exploration force of the art’s boundary.
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