Glitch and Error: After Doomsday, Girls, Even, Digital Futurism, Shenzhen Conceptualism, that is to say, Geographic, Banquet, Face Value, Knowledge Sovereignty, Done?
乱码过失：后末日，少女，甚至，数字未来主义，深圳观念主义，就是说，地理，宴席，颜值担当，知识主权，酱~
Glitch and Error: After Doomsday, Girls, Even, Digital Futurism, Shenzhen Conceptualism, that is to say, Geographic, Banquet, Face Value, Knowledge Sovereignty, Done?
2018当代戏剧双年展/深圳·福田
展演单元“情场”公共空间表演系列
2018.3.16-2018.3.25
策展人：王懿泉，孙晓星，李泊岩
艺术家：戴陈连，高嘉丰，李燎，仇佳，王震宇，李海光+张云峰，坚果兄弟，九块九，月台小组
Contemporary Theatre Biennale, 2018, Futian, Shenzhen
Public space performance series in unit Sceno Place
March 16 – 25, 2018
Curator: Wang Yiquan, Sun Xiaoxing, and Li Boyan
Artists: Dai Chenlian, Gao Jiafeng, Li Liao, Qiu Jia, Wang Zhenyu, Li Haiguang + Zhang Yunfeng, Nuts Brothers, Nine Kuai Nine, and Platform Group
“乱码过失：后末日，少女，甚至，数字未来主义，深圳观念主义，就是说，地理，宴席，颜值担当，知识主权，酱~”，是2018当代戏剧双年展/深圳·福田展演单元“情场”公共空间表演系列的策划项目，由王懿泉，孙晓星，李泊岩联合策划。
“乱码过失”（简称）以互文的方法策划、委托、组织多元类型的当代表演和当代艺术实践，并将这些创作与深圳的公共空间和都市环境进行融合与链接，为观众呈现一系列能够引发反思的公共议题。这些讨论包括而不限于：什么是我们的本地文化生态以及我们将怎样去认识它；消费文化和信息技术在何种程度上及其是如何塑造了我们的审美；日常生活实践与都市体验对当代表演和当代艺术产生了何种影响……
“乱码过失”将依托和利用2018当代戏剧双年展/深圳·福田的契机，鼓励公众和文化艺术界去思考我们正身处怎样的一个时间（时代）。策划团队认为，一次展示不可能也不应该全面反映我们所身处的现实，但是，如此的企图将会成为策划实践的出发点。我们不能永远正确，所以我们要追问“永远正确”是不是一种错误？
因而，充满互文关系和超链接关系的艺术家及艺术作品，一系列如同“乱码”般的被输入城市里的艺术实践，在多个有可能产生过失的场所，将一同为观众提供机会和可能性：去欣赏、反观、讨论我们的当代性。
Glitch and Error: After Doomsday, Girls, Even, Digital Futurism, Shenzhen Conceptualism, that is to say, Geographic, Banquet, Face Value, Knowledge Sovereignty, Done? was a projected curated for the public space performance series in unite Sceno Place of Contemporary Theatre Biennale 2018, Futian, Shenzhen, by Wang Yiquan, Sun Xiaoxing and Li Boyan.
Glitch and Error was curated in an intertextual manner, and committed and organized contemporary performance and art practice of multi types. It fused and linked the creative work with Shenzhen’s public space and urban environment, to present a series of public discussion topics which would cause reflection. These discussion included, but not limited to: what is our local cultural ecology and how we shall understand it; how and to what degree consumer culture and information technology has been shaping our aesthetic; what impact has been exerted on contemporary performance and art by daily life practice and urban experience, and et cetera.
Glitch and Error would rely on and take Contemporary Theatre Biennale, 2018 Futian, Shenzhen as an opportunity, encouraging the public and the art world to reflect on what the time or the era is in which we currently exist. The curating team believes one display is unable to and should not be able to reflect holistically the reality living by us; yet, an intention as such becomes the start point of the curating practice. We are not going to be correct forever, so we want to ask if being correct forever is a mistake.
Therefore, artists and art work intertextually connected, a series glitch like art practices input into the urban area, and many spaces which could possibly make errors would provide audiences with opportunities and possibilities: to appreciate, reflect and discuss our contemporaneity.
more：
《艺术新闻｜巴塞尔艺术展香港展会日报》 2018年3月29-31日［pdf］
私人感受：让策展如藤蔓生长（王懿泉）［pdf］