PLAYHOUSE OF POVERTY， A SONG TO THE ONES WHO CONSUME THEMSELVES
21/11 – 10/12
Curator: Li Boyan
Partner: Greenpeace, Baitasi Remade, Space Regeneration Projects
Ort: Goethe-Institut China
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、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、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
Zhang Jing: Digestion
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.
28/11 – 03/12
Zhang Yunfeng & Li Haiguang: Cola, squirt gun, collage
Sun Wei: Untitled „Hong Kong“
Zhang Yunfeng& Li Haiguang
——《Cola, squirt gun, collage》
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
Yao Qingmei: Madam Vuitton. Ling on the Avenue Montaigne
Wang Xuanhe: Le Studio
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"
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.