时长：⼆⼗五分钟 合作艺术家: Daren Johnston, Ben Rowarth
歌剧演员：Emily Jennings, Rebekah Jones, Will Searle, David Maguire, Jamie Wright, Laurel Neighbour，Xiong Yanzhi,
Opera, Installation, Digital sound, Live Performance Art
Collaborate artist: Daren Johnston, Ben Rowarth
Performer and Opera Singers: David Maguire, Emily Jennings, Jamie Wright, Laurel Neighbour, Rebekah Jones, Will Searle, Xiong Yanzhi
Location: Royal College of Art, London,UK
* YanZhi Xiong - Concept, Music,
Choreographer and Leading singer
* Guan Lexiao , David Maguire - Project manager
* Darren Johnston, Ben Rowarth - Collaboration Artist
* Laurel Neighbour - Soprano
* Emily Jennings - Soprano
* Becky Jones - Mezzo
* Will Searle - Tenor
* David Maguire - Bass/bari
* Jamie Wright - Bass/bari
So there are sounds, movements, props, installations, voices, all of which create a ﬁeld of encounter. What serves, as the integrating principle is space. This sense of space is a multiplication or fold.
⾏为艺术总是在消解它自身所被赋予的定义，所以它总是处于自身的边缘。它要么在过程中爆发，要么在未完成的记忆 中崩溃。这就是为什么它总能唤醒那些经常在重复中被淹没的认知。认知是⼀扇门，你通过它进⼊新的空间。观者可以 用自身的经历，情感、视觉、感官，思想和体验释放出自⼰的能量，并扩散到整个⾏为现场的共振中。
Performance is always on the edge of itself because it undoes what might be assumed as given. It either unlocks surprise within the event or collapses back into half remembered gesture. That is why it can awaken cognitive dimensions that are normally sunk within repetition. Cognition is but one of the doors that can be opened into new conﬁgurations of spatial becoming but with this opening an audience might experience an aesthetic journey predicated upon the play of emotion, visual pleasure, sen- sory striation, and intensities. The audience is thus opened to its own power to expand into this vibratory ﬁeld.
Concept and Draft
在中国古典绘画中，我们从不执迷于现实层面的“真”，我们的⽂化惯性更注重对事物形式的超越和对静的，即站在“静” 的不同能量上去捕捉流动及变化。让双脚能像眼睛⼀样感知光线，感知结构，感知势能，并且把感知的对象作为⼀个全⽅位的整体。通过身体的觉，理解和超越视觉及思想所产⽣的逻辑判断。“静”的稳定性及它在艺术中的代偿是不可忽视的，对事物的理解和表现形式总是在“似与不似”之间。表演中“半开半合”的⽭盾内在起伏，也就是⼀种蓄“势”。“势”则在节奏变化上是⼀种⼼灵上的推进，在⾏为艺术领域中，这就是“韧性”(endure): ⼀种对时间和空间的对抗和延展，⼀种对“静”的超越。
In Chinese Classical painting there is no static representation of reality but rather the presentation of moving forces captured different vectors or ﬁelds of resonance. The feet become organs of perception as much of the eyes because they collect together the diagram mastic structure of the lines of energy of nature which are invisible to the eye. By opening the body to such forces a complex web of visible and invisible traces emerges as a ﬁeld of becoming. The aesthetic outcome of this is not so much de- piction of the visible but rather an embodied breath resonance within the durational frame.
Tree branch, silk textile, steel wire, 6m
Plastic round mirror, 3m
Plastic round mirror, 3m
What my performance project is attempting to do extended these or such principles or abstraction into other forms whilst preserving the spirit of the tradition. The branch of the tree serves as the conductor of the energies that pass backwards and forwards from high to low, and from low to high, the voices establish a ﬁeld of resonance, the sound(invariably technologically generated) collects virtual energies, and bodies display the faculty of movement and channel memories which articulate experience of temporality.
总的来说，这是⼀次从已有认知出发凝视于未来记忆的寓⾔。⼀段⽂字、⼀个⼈声、⼀个动作或⼀个声响都可能作为这个时间深渊里的回响，但随之⽽来的是不可预见的变化在不断瓦解的同时重新配置的遐想，这种遐想是不稳定的，这里没有明确的视觉形式和听觉语⾔，因为表演现场的 “质” 已经超越了具体认知。
Overall this constituents a living performance in which the gaze of tradition mixes with the secret longing for a form of memory of the future. In one passage voice, a movement or a sound might serve as an echo chamber of deep time but then this might be reconﬁgured as a leap into an impossible image of the future. There are no de- ﬁned representational ﬁgures in this because the spirit that distribute and collects these forms or structures is beyond representation and ﬁxed identity.
Video by Yan Yiyun & Audiences