3S ReUnion (second edition)
City/Stage/Interface
时间2008年5月22日下午七点 到 九点
1９:00-21：00, May 22, 2008
上海证大现代艺术馆三楼艺术教室
Art Classroom, 3d floor, Shanghai Zendai Museum of Modern Art.
一、刘妍：简要介绍本期讨论话题。（10分钟）
Welcome and brief introduction (10 min) - Liu Yan
二、刘妍&阿角：公共空间艺术与电子媒体（20分钟）
Media and Public Space (20 min)- Liu Yan & Aaajiao
艺术从1970年代末开始就由传统意义上的创作转为将
城市作为创新实验的新平台。所有的艺术学科，
（如：视觉艺术，音乐，戏剧，舞蹈，现场艺术，设
计，建筑）纷纷从那时开始发展新的公众实践：如：
公共艺术，具体站点作品，都市干涉，近15多年来，
一些学院派的学科，如：地理学，人类学，文化研
究，历史学，艺术和建筑理论等许多毋庸赘述的学科
都参与了关于"城市"的争论中来了。
新技术的发展促进了这场革新，同时也为艺术家和研
究者提供了机会去和城市环境进行互动：如：无线技
术，定位系统，地理信息定位装置，视觉技术，全球
通讯装置等很多其他的互动系统。
这些技术促使了新的艺术实践的产生。艺术项目将取
决于项目背景，考虑到空间，作用，流动性和通讯等
因素，既与环境进行互动又对公民的参与进行探索。
"城市"被视为我们所在社会上的所有问题的会聚
点，尤其是在中国的新的城市中心越发明显：空间资
本化的问题，对可持续发展的需要，社会-经济的关
系的转化，排他问题，住房问题以及普通休闲和消费
规则等。
End of the 1970s, art started to think beyond traditional sites of
intervention and turned to the city as a new stage to experiment. All
artistic disciplines (visual arts, music, theatre; dance; live art,
design, architecture) have since then developed a public practice:
public art, site-specific work, urban intervention, while the last 15
years or so, a number of academic disciplines – geography,
anthropology, cultural studies, history, art and architectural
theory, to name but a few – were also drawn into debates on "the
city".
The development of new technologies have further enhanced this
evolution and now offer artists and researchers new opportunities to
interact with the urban environment: wireless technologies,
positioning systems, geographic information locators, visual
technologies, global communication devices and other interactive
systems.
All of this makes for new artistic practice to emerge. Projects are
determined by a contextual approach, take notions of space, function,
mobility and communication into account, while interacting with the
environment as well as seeking citizen's participation.
More than ever, and especially in China's new urban centres, the
"city" is seen as the place where all the problems of our
societies converge: the capitalization of space, the need for
sustainable development, the transformation of socio-economic
relationships, problems of exclusion, housing and the rule of generic
leisure and consumption.
三、小艾（北京动舞台工作室）：以城市为背景的公
共表演艺术（20分钟）
The City as a Site for Performance – Performance as a Tool to Test
the City
Theatre in Motion research project in 08/09
Els Silvrants / Theatre in Motion
城市为表演艺术提供场所-表演艺术作为一种检验城
市的工具
动舞台08/09年艺术研究项目
小艾Els Silvrants/动舞台Theatre in Motion
当艺术被放置到美术馆或者剧场之外的场所，用来定
义艺术的界限遭到质疑，种种新的关于艺术与其直接
的环境间关系的思考的可能性被打开。现在艺术也不
得不承受原来只有建筑才受到的束缚和控制。
在许多公共项目中，艺术被要求承担一系列的"功
能"，比如：缓和社会问题，遵守不同的要求，或者
是接近广泛的观众或"用户"。然而，有些时候艺术
可以通过把自身放置在一个可能质疑项目本身实施的
方式中，而采纳一种批判性的功能。这就是一种拥有
批判性、参与性的公共艺术实践；它与主流观念相合
作的同时对其挑战。
被提出自身传统环境的艺术的这种双重功能例证了艺
术理论家Malcolm Miles在《艺术，空间和城市》（Art,
Space and the City）一书中所描述到的公共艺术有两种主
要的常见的问题：一，公共艺术经常像墙纸一样用来
覆盖社会问题，二，公共艺术像一座纪念碑以提升主
流观念的愿望。
然而，伴随着对于城市的新的跨领域兴趣的趋势，以
城市为一种能够连接所有的社会、文化、政治和经济
变迁的网络的理念也出现，从而需要大量个案例对它
们进行学习和研究；一些艺术家已经找到新的理由去
面向城市：去收集故事或者戏剧化的信息，去理解和
描绘出他们共处的环境。从他们的观点来看，某种公
共艺术项目的重要性不在于它们在社会中能起到的作
用；它的重要性在于某种介入行为，互动和研究城市
网络自身的过程。
城市不是所谓"黑盒子"式剧场的替代物 –公共广
场，空荡的建筑和街道不仅仅是为艺术家们提供更多
促进想像所需要的背景—动舞台的该研究项目则开放
了关于如何利用表演艺术作为互动的工具而去搜集不
同的塑造城市动态信息的讨论。
我们把城市学和建筑学的实践，即"城市行动主
义",用来比较和联系艺术与公共和特定场地并进行
新的定义和阐释。
通过项目研究和行为介入的形式，在"偶发艺
术"（巧合而发生的）和在不同城市环境下的"事
件"（置于场景中）的两种活动之间的对比关系的潜
在展演性体现出一种对中国城市的新的理解。
When art is placed outside the gallery or the theatre, the parameters
that define it are called into question and all sorts of new
possibilities for thinking about the relationship between art and its
direct environment are opened up. Art has to engage with the kinds of
restraints and controls to which only architecture is usually subject.
In many public projects, art is expected to take a set of
"functions", for example, to alleviate social problems, to comply
with different requirements, or to be accessible to a wide group of
audience or "users". However, in some cases, art can adopt a
critical function by being positioned in ways that make it possible
to question the terms of engagement of the projects themselves. This
kind of public art practice is critically engaged; it works in
relation to dominant ideologies yet at the same time challenges them.
This two-fold function of art that is brought out of its traditional
context exemplifies two of the main pitfalls of public art as
described by cultural theorist Malcolm Miles in Art, Space and the
City: its use as wallpaper to cover over social tensions and as a
monument to promote the aspirations of dominant ideologies.
However, within the wake of new cross-disciplinary interest in the
"city" as the maze linking up all social, cultural, political and
economical transformation and thus the ultimate case study to
research them; some artists have found a new reason to turn to the
city: to collect narratives or dramaturgical information, to
understand and map out the context they are equally part of. From
their point of view, it is not so much the function of an object or
intervention in the public space and the role it fulfils that matters
as the process of intervening, interacting and researching the urban
network itself.
In stead of using the city as an exotic replacement of the black box
of the theatre – in which public squares, empty buildings and
streets are reduced to a canvas for the imagination of the artist –
this Theatre in Motion research opens discussion on how to use
performance as an interactive tool to collect information about the
different dynamics shaping the city.
Practices in urbanism and architecture - "urban activism" - are
compared with and linked to new definitions and appropriations of
public and site-specific art.
In the form of research projects and interventions, the performative
potential of and the tension between happenings (taking place by
coincidence) and events (put in scene) in different urban contexts
represents as an alternative reading of the (Chinese) city.
四、丹尼尔•阿希旺登和彼得•施达姆： "一张纸
币的旅程(POM)" 项目介绍: (50 分钟)
Lecture Performance by Daniel Aschwanden and Peter Stamer on the Path
of Money (POM) project
来自奥地利的表演艺术家丹尼尔•阿希旺登（Daniel
Aschwanden）和彼得•施达姆（Peter Stamer）将跟随一张
人民币在中国的旅程，其追踪的全行程将在全球卫星
定位系统的帮助下通过表演者自身的身体实现。
在2009年的4周时间里，他们将跟踪一张纸币的临时主
人们，这张纸币将被安装上电子装置。艺术家们会尽
可能保持与纸币的近距离，或是在纸币主人的抽屉
下，在他们的房子里，在大街上等等。这张纸币从一
个人的手中传递到另一个人的手中，它燃烧着拥有者
对财富的梦想，这张纸币经过了不同人们的身体，言
谈，社会身份，个体情感，经济命运，存在的个体的
故事。通过这些过程，跟踪纸币的过程成为遇见不同
的人和个体故事的方式；它将承载展现不同的价值观
的问题：在哪里，更重要的是用过这些钱的人是谁？
2008年5月21日POM试验项目参与上海证大现代艺术
馆"介入：艺术生活366天"计划在上海实施.
POM项目是丹尼尔•阿希旺登（Daniel Aschwanden）和彼得
•施达姆（Peter Stamer）与动舞台的合作项目，参与合
作与支持的机构有三术沙龙/三术媒体中心，Arthub
Shanghai，北京奥地利文化论坛，艾德里安•布莱克威
尔/多伦多大学，城市中国和上海证大现代艺术馆/介
入：艺术生活366天。
Daniel Aschwanden & Peter Stamer, two Austrian performers, will chase
a RMB bill through China, tracking it down with the help of a GPS
device and – by their own bodies.
For four weeks in 2009, they will accompany the temporary owners of
an electronically marked bill, staying as close to it as possible,
under the owners' drawers, in their houses, in the streets. Since
the bill goes from one hand to another, fuelling the owners' dreams
of prosperity, the bill crosses bodies and their discourses, social
identities, individual emotions, economic fates, tales of beings. By
this, chasing the money becomes a means to meet people and their
individual stories; it takes on a different kind of (face) value:
where and, more importantly, who are the people using it?
On May 21, 2008 , the first POM experiment is realized in Shanghai as
a part of Intrude: Art & Life 366 project of Shanghai Zendai MOMA.
Path of Money is a project of Daniel Aschwanden and Peter Stamer with
Theatre in Motion, in collaboration with and supported by 3S Media
Center Shanghai, Arthub Shanghai, Austrian Cultural Forum Beijing,
Adrian Blackwell/University of Toronto, Urban China and Shanghai
Zendai MOMA/ Intrude366 Art&life project Shanghai.
五、讨论和提问（20分钟）
Discussion and Q&A.
六、招待酒会(一小时)。地点：月亮河餐厅（证大艺
术馆旁边）
Reception(one hour). Location: Moon River Dinner(next to Zendai MOMA).
[组织人]
三术媒体中心:刘妍，阿角
[合作方]
北京动舞台工作室
上海证大现代艺术馆"介入"项目组
[赞助方]
上海证大现代艺术馆，Arthub Shanghai，北京奥地利文化
论坛, 瑞士上海领事馆文化处，上海月亮河餐厅
Organized by Liu Yan and Aaajiao of 3S Media Center
in collaboration with Theatre in Motion, Beijing and Intrude366
Art&life project of Shanghai Zendai MOMA.
supported by Shanghai Zendai MOMA, Arthub Shanghai，Austrian Cultural
Forum Beijing，Swiss Consulate Shanghai and Moon River Diner Shanghai.
三术媒体中心:
三术媒体中心是一家跨艺术、设计、学术以及新媒体
技术领域的非营利型独立研究开发机构。三术关注的
是在城市发展中，当前新媒体技术的研发与实验与艺
术，教育，社会，文化，经济和政治发展的有机结合
与应用。由荷兰大同创意产业平台（www.datong.nl)和新
媒体艺术网站WNMNA 合作建立运营。
About 3S Media Center:
3S Media Center is an interdisciplinary center for art, media
technology and academic research based in Shanghai。An independent
not-for-profit organization for experimentation, research and
development in art, social and cultural, economical and political
embedding of new media in the urban context. Established by Da-Tong
China Desk Creative Industry and new media art portal: www.we-need-
money-not-art.com http://www.we-need-money-not-art.com/
动舞台:
动舞台是一个融合了三个相互独立的活动项目的名
称，旨在为中国的当代表演艺术构建良好环境：TIM/
LAB主持在京的艺术研究项目，TIM/TXT对能够纪录并宣
传该研究成果的产品加以投资以及支持，TIM/HUB与荷
兰和比利时弗兰德的戏剧研究院合作，以帮助荷兰和
比利时弗兰德的艺术家与在中国表演艺术领域的同行
相互联系。
About Theatre in Motion (TIM):
Theatre in Motion (TIM) is the brand name uniting three inter-
independent projects building a base for the international
contemporary performing arts in China. TIM/LAB hosts artistic
research projects in residence and has a specific interest in
research that proposes cross-disciplinary strategies to collect
dramaturgical information, read or produce performing arts.
TIM/TXT documents and disseminates that research while TIM/HUB
collaborates with the Dutch and Flemish Theatre Institutes to connect
the Chinese performing arts scene with their Dutch and Flemish peers,
and the other way round.
上海证大现代艺术馆
位于中国上海浦东芳甸路199弄大拇指广场28号的证大
现代艺术馆，成立于2005年，建筑面积3000平米，展览
空间1500多平米。通过两年多专注于中国当代艺术事
业的推动，上海证大现代艺术馆已成为中国最前沿的
当代艺术平台。两年多来，上海证大现代艺术馆策划
主办过50多次展览和活动，与40余位国内外知名策展
人合作，邀请超过300位国内外优秀艺术家创作、展出
他们的优秀作品，出版30逾本画册及文献。2005年，威
尼斯国际艺术双年展中国国家馆的支持者，2006年，
再次支持威尼斯建筑双年展中国馆，积极推动中国当
代艺术走向国际舞台，2008年，主持大型文化艺术项
目《介入：艺术生活366天》，将当代艺术带入大众生
活，2009年，将建成亚洲规模最大最顶尖的艺术中心
——喜玛拉雅中心•证大当代艺术馆，展览面积超过
两万平方米，必将成为全社会热烈关注的文化地标。
About Shanghai Zendai Museum of Modern Art
Founded in 2005 and located at No. 28, Lane 199, Fangdian Road, Thumb
Plaza in Pudong, Shanghai, the Zendai Museum of Modern Art occupies
3000 square meters with an exhibition space of about 1500 square
meters. After two years of great efforts in promoting contemporary
art in China, the museum has become one of the leading platforms in
this field. In two years, the Zendai MoMa has curated and hosted more
than fifty exhibitions, collaborating with about forty renowned
Chinese and international curators and more than 300 outstanding
artists. It has also published thirty catalouges dand books. It
supported the China section of the Venice Biennale in 2005, and the
China section of the Venice Architecture Biennale in 2006. In 2008,
Zendai MoMa organises the grand art project Intrude: Art & Life 366,
bringing art to the life of the general public. In 2009, a new
cultural landmark in Shanghai, the Himalaya Art Center of Zendai
Museum of Contemporary Art, will raise its curtain. Then the Zendai
MoMA will be the largest and best-equipped museum of contemporary art
in Asia.
关于"介入"
《介入：艺术生活366天》是由上海证大现代艺术馆馆
长沈其斌先生发起并担任总策划的跨学科、跨领域、
跨媒介的大型文化艺术项目。自2008年1月1日开始实
施，至2008年12月31日结束，全年366天，"介入"将为
您每天呈现一个发生在上海的文化艺术项目。
About Intrude: Art & Life 366
Intrude: Art & Life 366 is an ambitious cultural art project
organized by the Shanghai Zendai Museum of Modern Art. From January
1st to December 31st 2008, every day one cultural event will take
place somewhere in the city of Shanghai. One cultural event a day,
366 events in a year!By intervening in the daily life of Shanghai
City with extraordinary cultural happenings in public places,
Intrude: Art & Life 366 wants to bring art closer to the people.
That's how Intrude: Art & Life 366 shows global perspectives of art
and culture!
[联络]
Contact: liuyan.datong@gmail.com, aaajiao@gmail.com
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