HALF REMEMBERED GESTURE
                                                                                       Royal College of Art, London, 2018, @Xiong Yanzhi








* 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 is always experimentation with improvisation, technology, opera, movements, props, installations and layers, 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.

所有的实验、即兴、歌剧、电子、动作、装置和人声,遭遇了一场空间运动下的撞击。它们不断地衍生不断地折叠。





Concept and Draft


Integrated experimental art 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, sensory striation, and intensities. The audience is thus opened to its own power to expand into this vibratory field.

整合实验艺术总是处于它自身的边缘,因为它总是在消解自身所被赋予的定义。它要么在过程中爆发,要么崩溃在未完成的记忆里面。这就是为什么它总能唤醒那些经常在重复中被淹没了的认知。认知只是一扇门,它可以让你进入到一个新的空间,通过这扇门观者可以用他自身的经历、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场中。




Score




Tree branch, silk textile,  steel wire, 6m
Plastic round mirror, 3m


In Chinese Classical painting there is no static representation of reality but rather the presentation of moving forces captured in different vectors or fields of resonance. The feet become organs of perception as much of the eyes because they collect together the diagrammatic 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 depiction of the visible but rather an embodied breath resonance within the durational frame.

在中国古典绘画中,我们有一个文化惯性,就是对“静”的超越。“静”的稳定性及它在艺术中的代偿是不可忽视的。对事物的表现形式及理解总是在似与不似之间,因为空则灵气往来,则气韵生动是我们艺术的定律,同时也是能量。这个能量就是“势”的变化,半开半合这种美学矛盾的内在起伏,也就是蓄“势”,“势”的节奏也是一种心灵上的推进,推到这个领域中就是 “endure” ,是一种对时间空间的对抗,同时也是对静的超越。



Improvisation Test


What my performance project is attempting to do is to 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.

我试图做的是将这些抽象意识形态扩展到其他已经固化了的形式上,它要传达的是一种未来可能性的“质” 的延展。装置的这棵树,作为导体建立一个同频共振的空间,用声音和表现去收集这一能量,让动作和记忆打开这个通道,通过不同纬度的空间探索去到想象,然后在现场的空间运动关系中,打开的是当下的体验。







Overall this constitutes 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, a 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 defined representational figures in this because the spirit that distribute and collects these forms or structures is beyond representation and fixed identity.

总的来说,这是一次用已有的认知对未来记忆的渴望。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,但随之而来的是一种不断变化被解构以后再重新配置的不稳定的未来假想。这里没有明确的具象形式和要说清楚的话,因为现场的 “质” 已经超越了具象意象和固化了的认知。



Video by Yan Yiyun & Audiences



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