MIPAF 2016 瑞士行為藝術亞洲巡演 Swiss Window in Asia Performance Showcase by Ox Warehouse

門

牛房倉庫 O x Wa re h o u s e - 免費入場 Free Admission 26-27/03/2016

澳國際行為藝術節

2 0 1 6 -瑞士行為藝術亞洲巡演

Macau International Performance Art Festival 2016 - Swiss Window in Asia Performance Showcase

MIPAF 2016

主辦

支持

贊助

Organizer

Supported by

Sponsors

前言 | Preface 自二十世紀中葉以來，連結着身體與影像的行為表演隨時代改弦易轍，並向不同藝術界別借鏡，憑藉百家美學的揉合開拓及滋養自身，呈現出交織更為綿密的意識脈絡。與此同時，借以萬變的活體為媒材創作，對既定藝術體制提出審視與反思。一眾國際知名的瑞士當代藝術家將展演六組作品，與牛房倉庫一同引領觀者進入表演與視覺藝術交替的真空地帶。上演作品游移於政治與詩意之界，動中取靜, 探索着似被認知卻無能把捉的空幻之境。「澳門國際行為藝術節2016」由牛房倉庫主辦、澳門特區政府文化局及澳門基金會贊助，「瑞士行為藝術亞洲巡演」節目由瑞士文化基金會、瑞士聯邦總領事館全力支持，並由策展人 Stéphane Noël 夥牛房倉庫（澳門）、香港藝術中心、永天台（香港）、上海當代藝術博物館、及蓬蒿劇場（北京）於北京、上海、香港、澳門四地聯合巡迴演出。

Since the second half of the 20th Century, performing arts have regularly looked into other artistic fields to nourish themselves and develop further, hybridising aesthetics, of course, but also confronting the status of the finished, material artwork to that of the living, transforming body. Ox Warehouse is happy to present a series of performances by contemporary Swiss artists working in this exciting no-man’s-land that is the crossover of performing and visual arts. Six artists or groups will present works between poetic and politic, between moving and standing still, exploring this often visited yet still vastly uncharted territory. MIPAF 2016 is organized by Ox Warehouse and sponsored by ICM and Macao Foundation. Swiss Window in Asia Performance Show Case is supported by Pro Helvetia – Swiss Arts Council and Consulate General of Switzerland in Hong Kong. Curated by Stéphane Noël in association with Ox Warehouse (Macau), Hong Kong Arts Centre, Wing Platform Hong Kong, Power Station of Art Shanghai and Penghao Theatre Beijing.

Stéphane Noël （顧問及策展人 | Advisor & Curator）（瑞士 | Switzerland）生於瑞士，現居柏林，Stéphane Noël 主要為當代舞、音樂及戲劇節目擔任製作人。他曾為洛桑城市藝術節（Les Urbaines festival）總監（1997-1998）及弗里堡 Belluard 藝術節之聯合總監（2004-2007）。他亦從事寫作，探討有關城市化、藝術及創新科技的議題，因此被邀加入巴黎 Gaîté lyrique 藝術及編輯委員會（2009-2011），並自 2010 年起至今，當上歐洲實驗室（European.Lab）的顧問，該活動乃 Arty Farty 舉辦的里昂 Nuits Sonores 藝術節中的一個文化創意平台。經歷二十多年的文化管理生涯， Stéphane Noël 現以編劇（戲情片和紀錄片）及藝術家身份活躍於藝壇。

Born in Switzerland, currently resident in Berlin, Stéphane Noël has worked mostly as a producer of contemporary dance, music and theatre. He was also the director of Les Urbaines festival in Lausanne (1997-1998), and the co-director of Belluard festival in Fribourg (2004– 2007). His editorial activity revolves around urbanism, art and new technologies, and led him to join the artistic and editorial board of Gaîté lyrique in Paris (2009–2011) and act as an advisor for European.Lab, the platform for cultural innovation organised by Arty Farty in Lyons during the Nuits sonores festival (2010–...). Having spent twenty years in cultural management, Stéphane Noël now works as a screenwriter (both for feature and documentary films) and as an artist.

挪亞 | Noah Ng Fong Chao （策展人 | Curator）（澳門 | Macau） 1968年出生於浙江，1984年移居澳門。1990至1997年進修於澳門視覺藝術學院及澳門理工學院的現代繪畫、攝影、版畫等證書課程。學士畢業於澳門理工學院藝術高等學校「視覺藝術系(油畫專業)」。碩士畢業於廣州美術學院「現當代藝術創作及研究」。澳門國際現場行為藝術節（MIPAF）策展人。是一位跨媒體藝術家，自1990年起

Born in 1968 in the province of ZheJiang in China, and settled in Macao since 1983. He studied Painting, Stone Engraving and Photography in Academy of Visual Arts at the Polytechnic Institute of Macau, and has participated in more than 60 collective exhibitions in China and overseas since 1990. Now, he is an Exhibition Planner for the Macao Museum of Art, Civic and Municipal Affairs Bureau.

參加國內外聯展八十餘次，創作媒介包括油畫、觀念攝影、行為藝術、錄像藝術。

許曉楓 | Ann Hoi （策展人 | Curator）（澳門 | Macau） 1985年出生，2001年移居加拿大。及後於加拿大安大略藝術設計學院修讀版畫，取得美術學士學位。許氏作品曾於香港、上海、北京、紐約及葡萄牙里斯本展出。現居澳門，從事藝術及專注於紙雕塑創作。她的作品引發出人們對人造物所抱持的拜物主意觀念，常為死物增添完美化、神秘化和浪漫化的氣場。人所製造的物件體現了人形而上的內在精神，是現實的投射，最大程度地反映著我們作為人類的本質。

Born in 1985, Macau, Ann Hoi has moved to Canada in 2001, where she has studied printmaking art, and obtained her Bachelor of Fine Arts from OCAD University. Exhibited in Hong Kong, Shanghai, Beijing, New York and Lisbon. At the present Ann is residing in Macau where she continues to work, with a focus on the artistry of paper sculptures. Her works induce the notion of fetishism in man-made objects, which is an aura often idealized, mystified and romanticized. An object created by human is a manifestation of a metaphysical anima, an allusion as a representation of reality, foremost, a reflection on what we are.

瑞士文化基金會 | The Swiss Arts Council Pro Helvetia 瑞士文化基金會由瑞士政府成立，並獲全數注資。基金會一方面輔助國內州、市推廣文化活動，另一方面致力於全國性的重點項目。瑞士文化基金會由瑞士聯邦授權，以推廣瑞士藝術創作、促進國內文化交流、向海外宣傳瑞士文化及培育文化外展為己任。基金會則有權自行決定推廣內容。獲瑞士文化基金會支持的項目各異：經公開申請、透過基金會各文化中心及海外聯絡辦公室的網絡、基金會自定的節目及通過宣傳資料和訊息。瑞士文化基金會呈獻六部頂尖瑞士藝術家的跨界作品，遊走於表演與視覺藝術之間，與香港巴塞爾藝術展一拍即合。藝術家將巡迴上海、北京、香港及澳門。除永天台的兩部演出，其他的藝術家將於香港藝術中心展示其作品。

機構領導 | Institutional Leadership 瑞士藝術基金會 | Pro Helvetia Swiss Arts Council Ms. Myriam Prongué [mprongue@prohelvetia.ch] Mr. Rares Donca [rdonca@prohelvetia.ch] http://www.prohelvetia.ch

The Swiss Arts Council Pro Helvetia is a foundation under public law, entirely funded by the federal government. It fulfils a subsidiary role, complementing the cultural promotion activities of the cantons and municipalities. Pro Helvetia is responsible for projects of nationwide significance. Pro H e l v e t i a i s m a n d a t e d by t h e Swi s s Confederation to promote artistic creation in Switzerland, contribute to cultural exchange at home, promote the dissemination of Swiss culture abroad and foster cultural outreach. The foundation makes its own independent decisions about what it should promote. Pro Helvetia supports projects in different ways: on the basis of applications, via its network of cultural centres and liaison offices abroad, within the framework of its own programmes and through information and promotional materials. Pro Helvetia presents a showcase of six leading Swiss artists whose work oscillates between performing and visual arts, making good use of the context provided by Art|Basel Hong Kong. This artistic caravan will visit Shanghai, Beijing, Hong Kong and Macao. In Hong Kong, other artists will present their work at Hong Kong Arts Centre.

行動領導 | Operational Leadership 瑞士藝術基金會(上海) | Pro Helvetia Swiss Arts Council (Shanghai) 徐莉華女士 | Ms. Silvia Xu [sxu@prohelvetia.ch] +86 21 6235 1889 http://www.prohelvetia.cn

節目表 | Program 26/03/2016（星期六 Saturday） 4:00p.m.

預覽酒會 | Vernissage 30min - 2b Company (Tiphanie Bovay-Klameth, François Gremaud & Michèle Gurtner)

5:00p.m. 黄金 | Gold 30min - Alexandra Bachzetsis 6:00p.m. 玻璃浴 | Bain brisé - Yann Marussich

60-120min

27/03/2016（星期日 Sunday） 12:00-4:30p.m.

名譽的勝利 | The Triumph of Fame - Marie-Caroline Hominal

5:00p.m.

藝術盛典（現場表演）| THIS IS A GALA ( PEFORMANCE ) - Martin Schick

6:00p.m.

雜記小品 | Más Distinguidas 50min - La Ribot

7:30p.m.

公爵夫人 | Duchesses 40min - Marie-Caroline Hominal & François Chaignaud

15min@ *

45min

所有演出禁止拍攝，演出語言會以英文為主，並含裸露演出，建議 18 歲以上觀眾進場觀看。演出完結後將會舉行演後坐談會，歡迎出席與藝術家交流。 Photography is prohibited for all performances. The works contain nudity and are suitable for audiences above 18. There will be discussion session after performances every day. Welcome to talk with our artists! *The Triumph of Fame 將會以一對一方式進行演出，每場 15 分鐘，一共演出10場，並安排在3月27日（日）1:004:30 p.m. 期間進行，有興趣的觀眾請致電牛房倉庫報名（電話：28530026）。演出適合 18 歲以上觀眾，並禁止攝影與錄影。其他觀眾請於當日五時欣賞下一個演出。 *The Triumph of Fame is a one-to-one performance for 15 minutes. The artist will perform for 10 times during 1:004:30pm on 27 March 2016 (Sun). Interested parties please call Ox Warehouse (Tel: 28530036) for appointment. The performance is suitable for audiences above 18. Photography and video-recording is strictly prohibited. For the others, please arrive at 5 p.m. for the next performance.

Photo captions All photographies & painting by 2b company

預覽酒會 | Vernissage 2b company 《預覽酒會》這部作品中，三位演員以某藝術展開幕作背景，交替着置入扮演偽術家、政治家、觀眾和歌者等等角色。及此，作品《預覽酒會》開展了我們對電影、劇場、表演以及裝置藝術之間意義疊層的初步想像。影片《預覽酒會》將被投放於「預覽會」現場的實景裝置之中，以敘事空間生產出虛實的面向，來回應電影實踐的可能擴延。 Vernissage shows the opening of an exhibition of artists that are seemingly amateurs. The three actors play all the roles in the film: artists, politicians, audience and singers. Vernissage stands between film, theatre, performance and installation: the shots are static, each still frame in the movie is like a theatre stage in which the bodies stand out clearly. The scenes were performed according to the usual working protocol of GREMAUD/GURTNER/BOVAY: different frames were chosen, and then the actors improvised, in one day, the different moments of a vernissage: the official part and the festive party. During the editing of the film, the actors doubled their own voices, sometimes by re-recording the dialogues exactly as there were improvised during filming (then with a peculiar shift) sometimes by reimprovising new dialogues. The film was originally shown amidst the paintings appearing in the movie, with a typical opening buffet standing in front of the screen. When the movie ended, the audience was invited to eat and drink, just like in the movie. The projection of the film called Vernissage is thus itself like a vernissage of a vernissage. 鳴謝 | Credits 聯手創作 | By & With Tiphanie Bovay-Klameth, François Gremaud & Michèle Gurtner 技術指導 | Technical direction Stéphane Gattoni 管理 | Administration Michaël Monney 製作 | Production 2b company 合作 | Coproduction Arsenic Lausanne 支持機構 | Supported by Ville de Lausanne, Canton de Vaud, Loterie Romande & Ernst Göhner Stiftung.

2b company 簡歷 | Bio 2b company (GREMAUD / GURTNER / BOVAY) 成立於 2005 年，協會 2b company 歷年來既經編定, 製作各劇種相互之原創保留劇目。部分劇場制定（如：“Western Dramadies”、“KKQQ”、”Recital”) 由藝術家三人組 ── Francois Gremand、Michele Gurtner 和 Tiphaine Bomy - Klametg 聯手創作。 2006 年以後，此機構由 Michael Monney 營運管理。 Founded in 2005, the association 2b company has built up over the years a repertoire of original creations consisting of shows and small forms, theatrical or otherwise. Some productions (“Western Dramedies”, “KKQQ”, “Recital”) are signed by the collective GREMAUD/ GURTNER/BOVAY, composed of François Gremaud, Michèle Gurtner and Tiphanie Bovay-Klameth, others by François Gremaud (“Simone, Two, Three, Four”, “Re”, “Conférence de choses”). The administration and distribution have been handled by Michael Monney since 2006.

基本資料 | General Information 網址 | Website http://www.2bcompany.ch 面書 | Facebook http://www.facebook.com/2bcompany 聯絡 | Contact info@2bcompany.ch

錄像截圖 | videostills © Alexandra Bachzetsis

黄金 | Gold (2004) Alexandra Bachzetsis 《黃金》探討慾望經濟作為當代視覺藝術的黃金標準如何慾化女體。透過女唱作音樂人 Missy Elliot、Kelis、Khia 等引人入「性」的街頭音樂及性感形象所代表的另類女性力量，作品巧妙地玩弄源於 Hip Hop/R&B 的澎湃流行舞蹈語言，强而有地揭示舞蹈文化、視覺快感與慾念商品化之間的關係。 In her aptly titled solo performance Gold, Alexandra Bachzetsis continues to explore the proverbial gold standard of the libidinal economy that buttresses contemporary visual culture - the eroticised, empowered female body. Propelled, among others, by a riveting dance track courtesy of Missy Elliott, Kelis and Khia—a potent symbol of sex-laden female power in her own right—Gold deftly plays around the ambiguous choreographic vernacular of hiphop and R&B: a black-and-tan tits-and-ass show complete with the obligatory sprinkling of gold dust, Bachzetsis’ solo piece offers a powerful and fully embodied reflection on dance culture, visual pleasure and the commodification of fantasy.

Alexandra Bachzetsis Lenio Kaklea Amie Makris Danai Anesiadou, David Blum, Lies van Borm Dieter Roelstraete All Exclusive 瑞士文化基金會 | Pro Helvetia Arts Council of Switzerland

Alexandra Bachzetsis 簡歷 | Bio Alexandra Bachzetsis 的專業涉及編舞和視覺藝術, 現以巴塞爾及蘇黎世作基地。她的跨介作品毗連舞蹈、表演、視覺藝術和戲劇，以身體打破固有模式的韌性，來展現多元素的表現形態。畢業於蘇黎世藝術高中及瑞士韋爾斯喬的迪米特里戲劇學院，及後在比利時魯汶的 STUK 藝術中心修讀演藝教育。後來更於荷蘭阿姆斯特丹的 Das Arts 藝術學院戲劇及舞蹈中心當研究生。在學期間，Bachzetsis 以舞者及表演藝術家等身份活躍於當代演藝舞台，曾合作過的藝團包括柏林舞團 Sasha Waltz & Guests 及比利時當代舞團 Les Ballets C. de la B。 Bachzetsis 的作品一直依隨著協作、無意識的情感轉移和發掘聲音與身體的多元性，再者發展出個人風格。她喜以流行文化為題材：種種意識形態、故做姿態和等同思想，如何不斷地將我們的身體和身份塑造再塑造，以此審視當代「流行」與「商業本位」的次文化，和藝術舞台上形態技巧的相互關係，對人體通過互相牽引組合的可能性提出疑問。我們的身體如何自省，是原型還是被定型，是個人選擇還是盲目跟風，是切實幹還是定定看──Bachzetsis 將之調解成一種精湛靈巧的語言形式。從 2001年起 Bachzetsis 開始獨立創作，作品長期在各大型機構展演。她與不同藝術家合作，並於世界各地的劇場、藝術節及公共空間演出。她的作品更見於當代藝術空間及博物館，其中包括：瑞士巴塞爾 Kunsthalle Basel 藝術博物館、荷蘭阿姆斯特丹市立美術館 (Stedelijk Museum)、泰特現代美術館 (Tate Modern)、墨西哥城Jumex博物館及多個國際藝術雙年展，包括：第五屆柏林雙年展、德國卡塞爾文獻展 ((d)OCUMENTA 13) 及瑞士日內瓦活動影像雙年展 (Biennial of Moving Images)。 Bachzetsis 曾榮獲瑞士米格羅文化百分比基金會紀念獎2007 (Migros Kulturprozent Jubilee Award)、瑞士藝術獎 2011 (Swiss Art Award) 及瑞士演藝大 2012 (Swiss Performance Prize)。 Alexandra Bachzetsis is a choreographer and visual artist, based in Basel and Zurich. Her practice unfolds at the intersection of dance, performance, the visual arts and theater, generating a conflation of the spaces in which the body, as an artistic and critical apparatus, can manifest. This fundamentally interdisciplinary approach is reflected in her educational background. She studied and graduated at the Zürcher Kunstgymnasium, the Dimitrischule in Verscio, the Performance Education Program at the STUK arts centre in Leuven, and then continued to post-graduate level at Das Arts, the Advanced Research in Theatre and Dance Studies centre in Amsterdam. During these years of training, Bachzetsis began to work as a dancer in the contemporary dance and performance context, collaborating with Sasha Waltz & Guests and Les Ballets C. de la B. –among others. Collaboration, transference and a plurality of voices and bodies have informed Bachzetsis’ work ever since and is often thematisedas a method of developing new work in her practice. Much of Bachzetsis’s work involves choreographies of the body and, in particular, the way that popular culture provides source material for gesture, expression, identification, and fantasy as we continually create and re-create our bodies and the way we identify. Within this, she scrutinizes the mutual influence between the use of gesture and movement in the ‘popular’ or ‘commercial’ genres on the one hand (online media, video-clip and television as a resource) and in the ‘arts’ on the other hand (ballet, modern and contemporary dance and performance). For Bachzetsis, the artificial and often precarious relationship between such genres produce an inquiry into the human body and its potential for transformation, however conceptual or actual. Ultimately, the way we all perform and stage our bodies and ourselves – through stereotypes and archetypes, through choice and cliché, through labor and spectacle – is a question that continues to shape the work of Bachzetsis. Since Bachzetsis started working independently in 2001, she has created over 23 pieces, often working collaboratively, which have been shown in theatres, festivals and public space venues worldwide. In addition to this, her work has been exhibited in a variety of contemporary art spaces and museums, including Kunsthalle Basel, the Stedelijk Museum in Amsterdam, Tate Modern and the Jumex Museum in Mexico City, as well as a number of international biennials, such as the 5th Berlin Biennial, (d)OCUMENTA 13 in Kassel and the Biennial of Moving Images in Geneva. Bachzetsis is a laureate of the Migros Kulturprozent Jubilee Award (2007), the Swiss Art Award (2011) and Swiss Performance Prize (2012)

Emilie Salquèbre - Festival Souterrain VI - Nancy - FR - 2011

玻璃浴 | Bain brisé (2010) Yann Marussich 一缸尖銳的玻璃碎片，瞬看如綿密的溫水，水晶般的溶岩。一名男子浸沒於 1,300 磅的玻璃碎片，沐浴於刺痛之中無法脫身。矛盾的悖論，讓觀者面向自身壓迫與墮落的困境產生自覺。 Yann Marussich 透過人體極限耐能轉移到寂靜私密時刻的美學，描繪出非常感官的地景，讓我們探究身體的本質。 A bath is filled with broken glass. A man’s forearm is visible at the surface of the sharp and crystallike magma. The man is stuck inside his bath of glass shards and cannot get out without getting injured. Why get out? It is impossible for the audience to truly grasp that he is steeped inside some 1’300 pounds of solid matter, and that time is ticking by. Is this the paradox of contemplating a man in danger? Yann Marussich shares this intimate moment, creating a dreamlike atmosphere with the everyday situation of a bath being taken in public, rather than seeking to reveal the superhuman element of his performance. For some two hours, Yann Marussich plunges the audience into a visual and sensory apnoea, until the body is freed to the echoing sound of crushing glass.

Yann Marussich Julie Semoroz Yann Marussich Denis Rollet

Yann Marussich 簡歷 | Bio 生於1966年，Yann Marussich 以其強烈且獨特的表演語𢑥震撼當代舞蹈界。展演作品以「損傷性的、挑釁性的、令人不安的」形式符號，侵略觀眾的感官極限。從1993年到2000年，作為劇院 Théâtre de l’Usine（日內瓦）的策展人，其專業涉及對表演藝術、戲劇技巧和舞台形態進行研究，再將之組合成一種新生的實驗風格編舞結構，他於1993年創建 ADC 工作室（日內瓦）。 2001年他以完全靜態的作品 Bleu Provisoire 探討對身體感的深挖；藝術家將泰然自若的身體奉獻給逼切的侵略，突顯的是充滿視覺意象的美學暴力。 Bleu Remix 讓他獲得 Ars Electronica Award 的榮譽肯定。自2011年起，Yann Marussich 由日內瓦文化局與當代藝術基金會(FMAC)全力支持。 Born in 1966, Yann Marussich, a unique character of the contemporary dance, delivers performances, which have a true impact on the audience: “scraped, disturbing, provocative, authentic”. Since 1989, he has created a score of performances and choreographies diffused all over Europe and the World. From 1993 to 2000 he as curator of Théâtre de l’Usine (Geneva), where he programs almost exclusively contemporary dance, and more specifically new forms of expression. He is co-founder of the ADC Studio (Geneva) created in 1993. Bleu Provisoire (2001) is his first totally motionless piece. Since then, he is sinking into introspection and the control of stillness meanwhile confronting his body to diverse solicitations, or even aggressions. That is where the poetic space of the performer is located, in an often violent contrast between what his body is undergoing and an absolute impassivity. Today, he is moving towards solo performance and body-art in its poetic aspect. His last performances have been presented in many festivals in Switzerland and abroad. In December 2015, a retrospective exhibition of performative works of Yann Marussich has been presented at BAC - Le Commun in Geneva. He is a laureate of Ars Electronica award (2008, category Hybrid Art) with the performance Bleu Remix. Since 2011, Yann Marussich is supported by the Department of Culture and the Municipal Fund for Contemporary Art (FMAC) of the City of Geneva.

基本資料 | General Information 網址 | Website http://yannmarussich.ch 面書 | Facebook http://www.facebook.com/yannmarussich 管理 | Management Perceuse Productions Scènes / Julie Semoroz 聯絡 | Contact julie@yannmarussich.ch More about the show http://yannmarussich.ch/perfos.php?p=28

Triomphe 2 ( Lukas Beyeler )

名譽的勝利 | The Triumph of Fame (2013) Marie-Caroline Hominal 《名譽的勝利》取自弗朗切斯科·彼特拉克的《凱旋詩集》(1304-1374)，從而訴說人性的根本：每一種罪惡都與一種美德配對，永垂不朽的「名譽」戰勝死亡, 卻無法戰勝永恆。 Marie-Caroline Hominal 以單對單，一人一演出的形式，拆解傳統抒情的芭蕾舞句文法，讓異化的舞姿把觀眾放至於幻起幻滅的須臾時空中。 The Triumph of Fame is one of a collection of six poems by Petrarch (1304-1374) titled “I Trionfi”, which describe the phases of life by opposing virtues in duels: Fame wins over Death but is defeated by Time and Eternity. In the backstage of a theatre, beyond the scenery, Marie-Caroline Hominal welcomes one guest at a time. In this performance, she strips down the codes of theatrical artifice in a phantasmagorical and intimate one-to-one encounter.

鳴謝概念演出製作

| Credits | Concept & Text | Performance | Production

Marie-Caroline Hominal Marie-Caroline Hominal MadMoiselle MCH-Geneva

Marie-Caroline Hominal 簡歷 | Bio Marie-Caroline Hominal 曾受訓於瑞士蒙特勒 Janet Held 舞蹈學校、蘇黎世 Schweizerische Balletberufschule 芭蕾舞學院及英國倫敦蘭伯特芭蕾與當代舞學院 (Rambert School of Ballet and Contemporary Dance)。她曾是國家青年舞蹈團的成員，涉獵藝術範疇包括錄像、作曲、音樂、編舞及現場表演。2009年，她與 François Chaignaud 聯合創作《公爵夫人》，亦曾與 Clive Jenkins、Cristian Vogel 及視覺藝術家 Kim Boninsegni、David Hominal 及 Delphine Coindet 合作。近年積極發展單對單的小型演出，包括《奧洛弗森酒店》(2013) 、《名譽的勝利》(2013)；足本演出：《芭蕾舞》(2014)、《在汽水機前搔首弄姿的帕小姐》 (2011) 及現場音樂會演出《銀》(2013)。 Marie-Caroline以舞者身份曾與巴塞爾舞蹈劇場、Irène Tassembedo、Blanca Li、Gisèle Vienne、Gilles Jobin、La Ribot 及 Marco Berrettini 合作。她亦曾為 William Forsythe 的《Human Writes》及黃大徽的《B.O.B.》作客席演出。自 2008 年，她的作品於世界多處劇場及藝廊發表，包括巴塞爾、貝爾格萊德、柏林、貝魯特、畢爾巴鄂、波哥大、布魯塞爾、芝加哥、德累斯頓、日內瓦、洛杉磯、紐約、巴黎、羅馬、三藩市、聖克魯斯、智利聖地亞哥、華莎、弗羅茨瓦夫、薩格勒布和蘇黎世等。 Marie-Caroline Hominal did her Dance education at Janet Held Studio in Montreux, the Schweizerische Balletberufschule in Zurich and at the Rambert School of Ballet and Contemporary Dance in London. During this last period she was a member of the National Youth Dance Company. Her practice includes video, songwriting, music, choreography, and performance. She has collaborated with François Chaignaud, with whom she created Duchesses (2009), Clive Jenkins, Cristian Vogel, and visual artists Kim Boninsegni, David Hominal and Delphine Coindet. Recently, she has developed miniature oneto-one performances such as Hôtel Oloffson (2013) and Le Triomphe de la Renommée (2013), as well as full length performances such as Ballet (2014), Patricia Poses by the Pop Machine (2011) and the live concert performance Silver (2013). As a dancer she has worked with the Tanztheater Basel, Irène Tassembedo, Blanca Li, Gisèle Vienne, Gilles Jobin, La Ribot, and Marco Berrettini. She was a guest performer for Human Writes by William Forsythe and B.O.B. by Dick Wong. Since 2008, she has been showing her work, in both theaters and galleries, among other cities, Basel, Belgrade, Berlin, Beirut, Bilbao, Bogotá, Bruxelles, Chicago, Dresde, Genève, Los Angeles, New York City, Paris, Rome, San Francisco, Santa Cruz, Santiago de Chile, Varsovie, Wroclaw, Zagreb, and Zurich.

Photo: A Gala at the Metropolitan Museum of Art New York, evening topic: China! (No copyrights)

藝術盛典 | THIS IS A GALA (現場表演 | PERFORMANCE) Martin Schick 隨着藝術本質於大眾社會的形體轉變，藝術創作﹣作為事件驅動的手段，漸以社交形式實踐為本；各種藝術盛典、博覽會、籌款晚宴成為了階級表現的時尚遊戲。舞台變成生產諸眾性事件的發生地；在此語境之下，表演藝術的有利立場在于其快速凝聚出無形社群的功能。作為身份卓越的象徵，行動藝術被認為是高雅精神活動的觀念日益普及，更成為了以獲取藝術市場上利益的工具。若然行為藝術於上流社會變成了展覽填充物，「藝術家」與「服務階層」之角色應當從何介定？這場《藝術盛典》幽默地把玩藝術社會中的濫調陳詞、荒謬感官政治、名人名言和美學，意在引發未來政治和人類經濟問題上爭議性的討論。冒必盛裝出席！ With the art world becoming increasingly event-driven, commissions for contemporary art projects designed specifically for events, such as gallery openings, art fairs or gala benefits have become fashionable. Performance art offers not only a unique experience, with a notoriety that spreads through word of mouth, but lends the art institutions a forward thinking aura. In this context, a performance can serve not only to bolster reputations among the elite as a demonstration of taste, but also as an instrument for profit. The very nature of commissioning a performance for such events triggers a tension around artistic independence: What do performance artists do or not do for money in this context? Is it still art if it is performed for a specific request or is it a service? If artists provide more critical performances, will “being critical” become a suitable form of entertainment for the bourgeois? With‚ “This is a Gala (Performance)”, the Swiss artist Martin Schick is staging a Meta-Gala, bringing up typical elements of an Art Gala and talking about them at the same time. You’d better dress up! Designed for art biennale MANIFESTA 11, Parallel Events Zurich

鳴謝 | Credits 概念及演出 | Concept & Performance

Martin Schick

Martin Schick 簡歷 | Bio Martin Schick 是一名瑞士藝術家（自由職業演員、舞者、舞蹈編導、作家）及「生活旅者」。他畢業於伯爾尼修讀戲劇，2007年起開始在獨立舞蹈團體和劇院進行創作。他認為劇院是一個永遠處在轉化的地方，他時刻留意那些詭異、不純粹、不規則的事態，意在打破劇院與日常生活裡的常規。他已完成的作品包括：《TITLE》（在2009年蘇黎世戲劇節上獲得 ZKB 贊助獎）、《CMMN SNS PRJCT》（2011年暢遊者國際藝術節、北京國際青年戲劇節、巴黎TJCC節、開普敦現場藝術節）、《NOT MY PIECE》（2013年瑞士現代舞節）、《HALFBREADTECHNIQUE》（維也納舞蹈中心、2013年瑞士文化風景線）、《舞台假日》（聖德尼舞蹈藝術節）。製作中的作品包括：為伯爾尼音樂廳製作的《SWITZERLANDS NEXT TOP PROBLEM》、為洛桑 Arsenic 劇院製作的《THE SPECTACULAR SPECTATOR（2014）》和由國際組織WEB 2014贊助的《RADICAL LIVING IV》。近期他更為關注展覽和空間實踐，成立了 GENERAL PERFORMANCES 品牌，目前他計劃在瑞士山區購入一座軍用燃料庫，供 ARTIST RESISTANCE 所用。此外他還為後資本主義理念建造了一個學習中心。 Martin Schick: freelance performance artist from Switzerland, currently living ‘on the road’. After a short career as a dancer, he was educated in theatre and performance at Kunsthochscule in Berne. He has been working on scenic plays in the independent dance and theatre environment since 2007, while considering the theatre as a place of permanent transformation, looking out for the awkward, impure and uneven, aiming to interfere conventions and standardization within the theatre and everyday life. His work has gained international attention and is shown all over the world. Lately he tends to a more generalist and spatial practice, focusing on exhibitions, text works and open formats. Currently he is about to buy a military bunker in the Swiss mountains for a future Artist Resistance and designs a Learning Centre for Post-Capitalist Ideas. Supported by the European network WEB, he realized several new cross-gender projects under the title Radical Living. Martin Schick also teaches and develops a new training technique called Radical Embodiment (RMB). He recently initiated a collective for spatial practice based in Berne called General Performances.

基本資料 | General Information 網址 | Website http://martinschick.wordpress.com 面書 | Facebook http://www.facebook.com/martin.schick.526 聯絡 | Contact mr.schick@gmx.ch

雜記小品 | Más Distinguidas (1997，經典回顧 | revival 2015) La Ribot 《雜記小品》篇號14至26承襲于1993-94年度的一系列單人行動演出系譜；作品內容以女性身體意識為主題,強烈不失幽默，以即興、偶發、機率等觀念引入舞蹈的具體實踐之中，企圖打破「藝術」與「生活」兩者關係界線，如作家 Irène Filiberti 而言：La Ribot 將其身體塑造成一件「藝術產物」──種無生命物性的生物體。 Más distinguidas comprises Distinguished Pieces number 14 to 26 and was premiered in October 1997 in Madrid. It follows the pattern established in the first Distinguished Pieces of 1993-94: all the pieces are short, they begin with the performer unclothed, and most use an everyday object or a garment as a motor for the actions involved. Writer Irène Filiberti points out that in the Distinguished Pieces, La Ribot presents her own body as “an objet d’art” : “both as considered subject, and living matter”. That’s true of the entire project, but comparing the first series of Distinguished Pieces with Más distinguidas we see a shift in tactics: the slippage between inanimate objects and the live performer’s body, latent in the 1993-94 pieces, becomes much more visible. 鳴謝 | Credits 雜記小品｜Más Distinguidas, 1997 ( 雜記系列第二部｜second series of Distinguished Pieces ) 首演｜Premiered at the Desviaciones Festival, Madrid, 21-23 November 1997 長度｜Duration: 50 minutes 指導、編排、演出｜Directed, choreographed and performed by: La Ribot 燈光｜Lighting Design: Daniel Demont 服裝｜Costumes for Divana, 19 Esquilibrios et un Largo, and Angelita’s wings: Pepe Rubio 音樂｜Music: Erik Satie, Javier López de Guereña, Rubén Gonzalez, Carles Santos Original project produced by La Ribot with support from the INAEM and the Spanish Ministry of Culture, in collaboration with the ICA, Live Arts in London, Danças Na Cidade in Lisbon and the “distinguished proprietors”. 經典回顧｜Revival 演出｜Performed by: Ruth Childs 燈光｜Lighting Design: Eric Wurtz

Credits for Distinguished Pieces in order of appearance: Number Title of Distinguished Piece Distinguished Proprietor City 17 16 15 14 19 21 22 20 23 18 24 25 26

Sin Titulo IV Narcisa Numeranda No. 14 19 Equilibrios y un Largo Poema Infinito Oh! Compositione Manual de Uso Sin Titulo III Angelita Misunderstanding Divana No. 26

Isabelle Rochat

Lausanne

Blanca Calvo Lois Keidan Marga Guergue Julia y Pedro Nuñez Robyn Archer Thierry Spicher Gag Comunicación Malpelo North Wind De Hexe Mathilde Monnier Ion Munduate

Madrid London New York Madrid Adelaide Lausanne Madrid Barcelona Barcelona Montpellier San Sebastián

This revival is produced by La Ribot - Genève. La Ribot - Genève is funded by the City of Geneva, the Republic and Canton of Geneva and Pro-Helvetia (Swiss Cultural Support Foundation). Más Distinguidas was passed on to Ruth Childs by La Ribot, in December 2014.

La Ribot 簡歷 | Bio 瑞士舞者、編舞家兼現場表演藝術家 La Ribot 的跨界創作形式自由豐富多樣，對其任何歸納與框架均顯得片面化。她的表演概念以破碎的動作、身體語彙和後現代舞蹈劇場作起點，透過不同中介媒體、行為和機制作載具而繁衍其轉化動能。從80年起，她開始以現場展演方式、電影、語言、手語研究及裝置情境塑造，等等以人類學中心取向的表達形式呈現思維。[詳情: http://www.laribot.com/biography] La Ribot is usually introduced as a dancer, choreographer and live artist – but even that capacious labelling feels a bit restricted. She is a radically trans-disciplinary artist, her projects starting out from movement, the body and her origins in dance, and then adopting whatever practices, systems or materials her concept prompts. Hence, her works from the 1980s to the present show her working not just with live performance, but also video, speech, writing and sign language, the construction of objects and installations, and “relational” works involving diverse communities: both fellow arts practitioners, and lay people with no previous art-making experience. [more at: http://www.laribot. com/biography]

公爵夫人 | Duchesses (2009) Marie-Caroline Hominal & François Chaignaud 當權者與囚奴上演一場最古老的人性遊戲。《公爵夫人》在狂喜、冥想與催眠之間，利用象徵性解放的呼啦圈 ──「圓輪」的形態表象，展現出一部永無止盡的非常舞蹈。 Between arid ecstasy, radiant meditation and cruel hypnosis, Duchesses explores an unlikely dance, sovereign and prisoner from the most ancient game of humanity. The hula-hoop, symbol of sexual liberation, becomes for the Duchess a choreographic device, instantaneous and incessant, without a past or future – a universal two wheeled

鳴謝 | Credits 概念及演出 | Concept & Performance 製作 | Production

Marie-Caroline Hominal & François Chaignaud MadMoiselleMCH (Genève | 日內瓦) & Vlovajob Pru (Paris | 巴黎)

Marie-Caroline Hominal 簡歷 | Bio P.11

François Chaignaud 簡歷 | Bio François Chaignaud 於雷恩國立音樂學院接受傳統及當代藝術訓練，並畢業於巴黎國立高等音樂舞蹈學院。他曾參與由法國編舞 Boris Charmatz 帶領的《保鮮瓶》計劃 (Bocal Project)，其他主導藝術家包括 Vera Mantero、Steve Paxton 及 Jean-Luc Moulène 等。及後，他更為 Emmanuelle Huynh、Gilles Jobin、Aydin Teker、Mille Plateaux Associés 藝團、Tiago Guedes 及 Frédéric Gies 擔任舞者。自2004年起，François 開始編作自己的作品，包括獨立編作的《Dumy Moyi》(2013) 及與 Cecilia Bengolea 合編的《雛菊》(Pâquerette)、《Dub Love》及《Twerk》，他的作品更經常巡迴世界。 François Chaignaud received both a classical and contemporary training at Conservatoire National de Région (Rennes) and graduated from Conservatoire National Supérieur de Musique et de Danse (Paris). After having taken part in Bocal project, lead by Boris Charmatz in association with other artists (Vera Mantero, Steve Paxton, Jean-Luc Moulène, etc.), he dances for Emmanuelle Huynh, Gilles Jobin, Aydin Teker, Mille Plateaux Associés, Tiago Guedes orFrédéric Gies. He has been creating his own performances since 2004, alone (Dumy Moyi, 2013) or in collaboration with Cecilia Bengolea (Pâquerette, Dub Love, Twerk, to name a few) and has been extensively touring his work around the planet.

牛房倉庫 | Ox Warehouse 地址 | Address

開放時間 | Opening Hours 查詢 | Enquiry 電郵 | E-mail 網址 | website

澳門美副將大馬路與罅些喇提督大馬路交界 No Cruzamentoentroa Avenida Do coronel Mesquita e a Avenida Almirante Lacerda Macau 12:00 ~19:00 (Closed on Tuesdays) 2853 0026 oxwarehouse@gmail.com http://www.oxwarehouse.blogspot.com/