前言︱重叠卡塞尔

“重叠卡塞尔”前言

中国著名行为艺术家，“谷雨行动”总策展人相西石

Famous Chinese performance artist, Chief Curator of "Guyu Action" Xiang Xishi

重叠再重叠

相西石

蔡青先生每一次策划的艺术活动总在向我传递着不同的信息，有关于“生存痕跡”与 “ 解構前建設”，“异质共生”，有“ Now Live Art Tour”以及“重叠卡塞尔“。他策划的“重叠卡塞尔”国际行为艺术现场，更像是他的一个行为艺术作品。从初期的想法出现，到与诸多国际艺术家们的交流沟通，再到处理各种日常繁杂的琐碎事物，最终到达卡塞尔的不同表演现场。这期间的人、事、物，都与行为艺术的某种特质形成了高度契合，从他在微信朋友圈发布的即时报道中，可以看到艺术家的作品与艺术现场的流转而千变万化，但唯一不变的是蔡青对行为艺术的热情，以及对“重叠”卡塞尔与卡塞尔本身的执拗。7月从卡塞尔返回后，他将这次艺术现场的资料发给了我，其中一些艺术现场的概貌与台前幕后的许多细节，让我想起了以前参加和组织过的行为艺术活动，这些活动始终充满了理想主义和浪漫主义色彩，同时也触动并引发了我对行为艺术沉寂已久的思绪，这也是促成下面部分文字的原由。

1

可以说，2019末开始的这场疫情，以前所未有的方式对生活在这个星球上的许多人都产生了巨大影响，通过信息的传递，我们知晓了地球的任何角落都无法躲开新冠病毒的侵扰，在很长的时间里，交通中断，亲人们无法相聚，朋友们不能见面，物流、航运受阻，整个世界停止了运转。最早受到病毒影响的中国，时至今日仍然无法摆脱疫情留下的各种后遗症。在这里，我能感受到的却是对外面的世界越来越无感觉，世界仿佛变得遥不可及且动荡飘渺。

世界的问题归根结底是人类的问题，所有的问题都指向了人类所面临的危机，全球化、自由主义、多边主义、国家主义、民粹主义、女权主义、环境问题、战争、饥荒、人口问题等等，在这些问题的缝隙处，还有诸多的艺术问题。每个问题与主张都显现出问题本身具有能量属性和物质化的特质，人们从各自的立场赋予了所有危机以极大能量，并且都在以扩大问题的方式争取自我的生存与存在空间，作为一种回应，问题扩大的同时能量进一步得到加强。

对于个体而言，世界就是一个庞大而复杂的系统，系统的孕育与产生过程对于一个个体而言是难以探究且明晰的。从亿万年前到今天，就人类对宇宙有限的认知来看，个体存在方式与行动轨迹往往被限定在有限的空间范畴里，随着运动速度的加剧，其中的个体变得越来越孤立与残化，它被牢牢的固定在系统的某个位置上，丝毫不能挪动，因而这个个体自始至终会服务于自身所处的系统，进而，两者之间从最初的排斥逐渐形成相互的接纳和融洽。这一切都是在知觉或不知觉中进行，最终达成分工合作。

有时我们会感觉到这个世界被某种力量推向一个方向，这个力量来自于尚不可知的东西，这个力量或被称作为能量。当能量被视为等同于物质时，也许求存会成为物质与能量存在最基础的诉求。存在即是对物理空间与心理空间的占据，也是与这两者的渗透与融合。心理空间的建构充斥着能量与物质，心理空间本质上就是物理空间。当下，新的认知与信息已经超出了目前艺术体系范畴，站在一个艺术者的角度，我们无从判断各方的立场与是非，所有的依据都十分充足，但认同所有观点支持所有各方又在我们能力之外。在这地球的场域上，我们正在以可感可知方式洞悉这个系统的碎片化，这个时代的个体已经变得支离破碎。

2

人从狭隘的的角度来思考：

什么是存在？

存在就是存在。

什么是存在的意义？

存在在本质上没有意义。

什么是生命？

存活就是生命。

生命的形态——一个过程。

什么是生命的意义？

生命过程的被感知。

……

终了，上帝拈花一笑！

3

自从艺术成为人类文明的一部分后，艺术就担负起了人类对现实的种种企图，人们在艺术身上寄以希望，并伴以喜怒哀乐索取名誉、利益以及权力。艺术家们不满足单纯的艺术创作方式及展示方式，更多的艺术家从工作室里走了出来，积极的参与到各类公开的社会活动中展示自己的作品，有的艺术家开始考虑通过与不同的系统配套服务找到自己在现实社会中的位置。但这与艺术的自身恰恰相反，因为艺术没有企图，它只是无始无终的存在着。艺术家们寄希望留下自己的作品并使之彪炳史册，进入永恒。但是，这样的作品就像一个生命的开始，是一个起点的开始，也必然将结束与某个终点。说到底，人的局限在于有限的存在方式，而这样一种方式不可能成为哪个无始无终的存在。

有一个小视频上说：时间的概念是一个假象，没有时间，时间不存在，只有物质在空间中运动的过程，或者说只是物质与空间的存在。我们把物质运动的过程片面的理解为时间，随即勾画出了一个两点一线的时间轨迹，这也导致我们误解了对物质与空间永恒性的存在。

行为艺术的出现的早期化解了一些艺术家对于存在的焦虑，由于行为艺术的内在本质中具有一个建构与解构的结构，当某种东西建构的同时，解构这个东西的机制随即产生作用，最终形成彼此消解。这一特质在很大程度上也解构了庄严、崇高、正宗、权威、官方、胜利、奋斗、信心、专制等等一系列被称作“正”的东西，这使得行为艺术从客观上形成了对某种体制有效的解构，但是，这个客观的结果却不是行为艺术刻意为之。当上面这些“正”的东西被消解并剥离后，有些更具深意、更朴素的样貌浮现了出来，这便是过程与存在的由来。当艺术家把行为艺术作品看作是一个过程，就像生命的过程一样，结果不再重要，而艺术过程与生命过程一同成为了终极的存在。行为艺术在逻辑的本质上存在一个悖论，它并非是批判的，可也不是否定的，它无意建立却成为了存在。

4

自二十世纪以后艺术的主要诉求有了改变，除了艺术语音自身的创新与发展之外，艺术不断在寻求介入生活并努力改变现实。但艺术的本质不是为了创新，也无法创新。所谓的艺术创新已经使得艺术的内涵越来越空洞化。大多数艺术家希望自己不被定义和归类，艺术家即便吸取了某个流派的艺术主张，但仍然不希望被归类在这个流派之下。也许是因为这些艺术家希望自身个体的艺术独特性不被忽略。

5

现在的艺术不但是一个行业，做艺术家也成为了一个职业。大多数成为了真正意义上的职业艺术家，艺术变成了谋生工作。艺术家在艺术的精神高度上显得十分缺乏，艺术的独特之处不在具备，艺术家特立独行的禀赋不在具有，在大数据互联网下的系统中，意识形态的灌输与价值观的被塑造不可避免，每个个体都深陷其中无力自拔。这不是个好与坏的问题，也并非个体的力量能够改变的现状，社会的发展与我们对以前的事物认知有了距离，进行调整成为必要。与之不同的是行为艺术家，他们总是有意无意的强调自己的艺术身份，这得益于行为艺术被排挤在一个个系统与体制之外，边缘化的处境与状态使得行为艺术孤立且警觉，进而发展出低能量运行的方式。对于行为艺术家而言自身被视为材料，艺术家个体与观众、场域共同成就行为艺术作品，从而无需在强调某一方的独特性。

当我们对艺术的认知逐渐深入，而随之进入艺术的内部，就会发现艺术与存在是一回事，我们是经由艺术而进入了存在，停留在这个层面上，艺术不只是表面的存在，是空间、场域以及个体内在所能联通外在的整体。我们可能会重新思考并体会有关艺术的问题与感受，抛弃有关艺术范畴内的相关知识概念与方法技巧。这时，如果我们再次进入之前的同一个议题或作品现场时，已经不可能找到与当初作品发生时相同如一的现场感受，如同古希腊哲学家赫拉克利特所说：“人不能两次踏进同一条河流。”时间向左，记忆向右，唯一不变的是变化。

在当下，世界逐步扁平化，构建丰富多层的社会图像有着积极的作用，“重叠”卡塞尔将在这个意义上再次与卡塞尔重叠， 但“重叠”仍然是独立意义上的存在。要说，行为艺术的目的不是艺术，它只是借助艺术的方式导入现实，它可以是思考方式，也可以是修行法门，还可以是联通世界的脉络，更可以是打破与建立之上的超越。最终，它是行动，是过程，如生命之本！

2022.8.22于南湖西岸

Overlap and Overlap

Xiang Xishi

Every art activity planned by Mr. Cai Qing always conveys different information to me, such as “survival traces” and “construction before deconstruction”, “Parabosis”, “Now Live Art Tour” and “Overlapping Kassel”.  The “Overlaping Kassel” international performance art scene he curated is more like one of his performance art works.  From the emergence of initial ideas, to communication with many international artists, to dealing with all kinds of daily trivial matters, and finally arriving at different performance sites in Kassel.  The people, events, and things during this period are highly compatible with certain characteristics of performance art. From the instant reports he posted on WeChat Moments, we can see that the artist’s works and the art scene are ever-changing, but the only one  What remains unchanged is Cai Qing’s passion for performance art and his stubbornness towards “Overlapping Kassel”and Kassel itself.  After returning from Kassel in July, he sent me the materials of this art scene. The overview of some of the art scene and many details behind the stage and behind the scenes reminded me of the performance art activities I participated in and organized before.  These activities are always full of idealism and romanticism, and also touch and trigger my long-silent thoughts on performance art, which is also the reason for some of the following texts.

1

It can be said that the pandemic that started at the end of 2019 has had a huge impact on many people living on this planet in an unprecedented way. Through the transmission of information, we know that no corner of the earth can escape the intrusion of the new coronavirus  , For a long time, traffic was interrupted, relatives could not get together, friends could not meet, logistics and shipping were blocked, and the whole world stopped running.  China, which was first affected by the virus, is still unable to get rid of the various sequelae left by the pandemic.  Here, what I can feel is that I feel less and less aware of the outside world, and the world seems to be out of reach and turbulent.

The world’s problems are ultimately human problems, all problems point to the crises facing human beings, globalization, liberalism, multilateralism, nationalism, populism, feminism, environmental problems, war, famine, population problems, etc. , in the gap between these problems, there are still many artistic problems.  Every problem and proposition shows that the problem itself has the characteristics of energy and materialization. People endow all crises with great energy from their respective standpoints, and they are all striving for their own existence and existence space by expanding the problem.  A response where the problem expands and the energy is further enhanced.

For an individual, the world is a huge and complex system, and the gestation and production process of the system are difficult to explore and clear for an individual.  From hundreds of millions of years ago to today, in terms of human’s limited cognition of the universe, the way of individual existence and the trajectory of action is often limited to a limited space.  Isolation and residue, it is firmly fixed in a certain position in the system and cannot be moved at all, so this individual will serve the system in which it is located from beginning to end, and then, from the initial exclusion, the two gradually form a mutual relationship.  Acceptance and harmony.  All of this is carried out consciously or unconsciously, and finally achieves division and cooperation.

Sometimes we feel that the world is being pushed in one direction by a force that is not yet known, this force is also called energy.  When energy is regarded as equivalent to matter, perhaps survival will become the most basic demand for the existence of matter and energy.  Existence is the occupation of physical space and psychological space, as well as the penetration and fusion of the two.  The construction of mental space is full of energy and matter, and mental space is essentially physical space.  At present, new cognition and information have gone beyond the scope of the current art system. From the perspective of an artist, we cannot judge the position of each party. All the evidences are very sufficient, but we agree with all viewpoints and support all parties.  beyond our ability.  On this earthly field, we are seeing in a perceptible way the fragmentation of this system, the individuality of this age has become fragmented.

2

People think from a narrow perspective:

What is existence?

To exist is to exist.

What is the meaning of existence?

Existence is essentially meaningless.

What is life?

To survive is to live.

Forms of life - a process.

What is the meaning of life?

The perception of the life process.

...

In the end, God smiled!

3

Since art has become a part of human civilization, art has taken on all kinds of human attempts to reality. People place their hopes on art and seek fame, interests and power with joy and sorrow.  Artists are not satisfied with the simple way of art creation and display. More artists have come out of the studio and actively participated in various public social activities to display their works.  System supporting services find their place in the real society.  But this is the exact opposite of art itself, because art has no intention, it just exists without beginning and end.  Artists hope to leave their work and make it appear in the annals of history, into eternity.  However, such a work is like the beginning of a life, the beginning of a beginning, and it will inevitably end with a certain end.  In the final analysis, the limitation of human beings lies in the limited way of existence, and such a way cannot become a existence without beginning and end.

There is a small video that says: The concept of time is an illusion, there is no time, time does not exist, only the process of matter moving in space, or just the existence of matter and space.  We one-sidedly understand the process of material motion as time, and then draw a two-point and one-line time trajectory, which also leads us to misunderstand the existence of the eternity of matter and space.

The early appearance of performance art resolved some artists’ anxiety about existence. Because the inherent nature of performance art has a structure of construction and deconstruction, when something is constructed, the mechanism of deconstructing it will come into play immediately, and finally form each other.  digestion.  To a large extent, this characteristic also deconstructs a series of things called “positive”, such as solemnity, sublime, authenticity, authority, officialdom, victory, struggle, confidence, autocracy, etc., which makes performance art objectively formed.  Effective deconstruction of a certain system, but this objective result is not deliberately done by performance art.  When the above “positive” things are dissolved and stripped, some more profound and simple appearances emerge, which is the origin of process and existence.  When an artist regards performance art as a process, just like the process of life, the result is no longer important, and the artistic process and the life process together become the ultimate existence.  There is a paradox in the nature of the logic of performance art. It is neither critical nor negative. It does not intend to establish but becomes existence.

4

Since the 20th century, the main demands of art have changed. In addition to the innovation and development of artistic voice itself, art is constantly seeking to intervene in life and strive to change reality.  But the essence of art is not to innovate, nor can it be innovated.  The so-called artistic innovation has made the connotation of art more and more hollow.  Most artists don’t want to be defined and categorized. Even if they absorb the artistic propositions of a certain genre, they still don’t want to be categorized under this genre.  Perhaps it is because these artists want their individual artistic uniqueness not to be ignored.

5

Today’s art is not only an industry, but being an artist has also become a profession.  Most became true professional artists, and art became a job for a living.  Artists are very lacking in the spiritual height of art, the uniqueness of art is not possessed, and the artist’s maverick endowment is not possessed. In the system under the big data Internet, the instillation of ideology and the shaping of values are inevitable.  Everyone is trapped in it and unable to extricate themselves.  This is not a question of good or bad, nor is it a status quo that can be changed by the power of individuals. The development of society has a distance from our cognition of previous things, and it becomes necessary to make adjustments.  The difference is that of performance artists, they always emphasize their artistic identity intentionally or unintentionally. This is due to the fact that performance art is excluded from each system and system. The marginalized situation and state make performance art isolated and alert.  And then develop the way of low energy operation.  For performance artists, they are regarded as materials, and the individual artist, the audience and the field work together to achieve performance art works, so there is no need to emphasize the uniqueness of one party.

When our understanding of art gradually deepens, and then we enter the interior of art, we will find that art and existence are the same thing. We enter existence through art. Staying at this level, art is not just a superficial existence.  , is the space, the field, and the whole that the individual can connect with the outside.  We may rethink and experience the problems and feelings related to art, and discard the relevant knowledge concepts and methodological skills in the field of art.  At this time, if we re-enter the same topic or work scene before, it is impossible to find the same scene feeling as when the original work happened.  into the same river.” Time goes to the left, memory goes to the right, and the only constant is change.

At present, the world is gradually flattening, and constructing a rich and multi-layered social image has a positive effect. “Overlapping Kassel” will overlap with Kassel again in this sense, but “overlapping” still exists in the sense of independence.  It can be said that the purpose of performance art is not art, it is only the introduction of reality through the means of art, it can be a way of thinking, it can be a method of practice, it can also be the context of connecting the world, and it can be a transcendence beyond breaking and building.  In the end, it is an action, a process, like the essence of life!

22.8.2011 on the west bank of South Lake

相西石，居住在西安。中国著名行为艺术家，“谷雨行动”中国行为艺术城市联合展演暨国际行为艺术节总策展人

Xiang Xishi lives in Xi’an.  Famous Chinese performance artist, Chief Curator of “Gu Yu Action” China Performance Art City Joint Exhibition and International Performance Art

台湾顽石剧团艺术总监, 资深实验剧导演郎亚玲

Artistic Director of Taiwan's Stone Theatre Troupe, Senior Experimental Drama

Director Lang Yaling（黃瑞慶攝影 Photo by Huang Ruiqing ）

《重叠卡塞尔行为艺术节》大汇演

 －蔡青与近百位行为艺术家集结卡塞尔

文／郎亚玲

1. 什麽是《卡塞尔文件展》?

二战后介于东西德之间，从砲火瓦砾中重建的小镇卡塞尔（Kassel）之所以能名噪一时，乃因卡塞尔是第一届《卡塞尔文件展》（Kassel Documenta）（1955）的创始人阿诺德•博多（Arnold Bode1900-1977）的家乡，文件展／文献展（Documenta）是指透过彙集、编辑文献资料，将曾在战争中饱受打压，且被纳粹政府封杀的所谓“堕落艺术”作品，十年后重见天日被展示出来，有浓厚反帝国主义的传统。最初仅仅附属于园艺展之下，但因其具有针对各种社会议题的思考与批判，乃成为当代艺术的精神指标，此后每五年的策展，与巴西圣保罗双年展、威尼斯双年展并列为世界三大艺术展，每届都吸引全世界的艺术爱好者亲临朝圣。今年即便疫情全球肆虐，《卡塞尔文件展》仍继续办理，六月即将迎接第十五届的盛会，夹著2021德国当代艺术大师约瑟夫•波依斯（Joseph Beuys1921-1986）诞辰一百周年的馀威，相信又会引发全世界对当代艺术关注的新话题、新视野。

波依斯身份多元，他对艺术的观念和行动，成为当代艺术的标竿和典范。他是雕塑家、装置艺术家、行为艺术家，观念艺术家、艺术教育者……，他的创作试图揭示人人都具有成为艺术家的创造力，方法不一而足，如一切生活物件都可挪用、形塑、改装成为艺术媒介，通过行动实践赋予媒介隐喻与象徵，成为人们心中的“艺术品”。而“身体”既是最直接的媒介，那麽投入“行为艺术”更能直接反映个人的情感与思维。波依斯著名的行动艺术作品《七千棵橡树，城市造林替代城市管理》(7000 Eichen – Stadt-verwaldung stattStadt-verwaltung)，正是在卡塞尔执行，他呼吁市民共同参与，由志愿者在市内种植七千棵橡树，并在每棵橡树旁放一个约120－150厘米高的玄武岩石条。他推动一种美化“人类生存空间”的改造运动，他相信：只有艺术才可能是革命的，尤其在当前人们通过从艺术范围走向‘反艺术’，走向动作和行为，从而把艺术的概念从传统的技巧意义上解放出来，使得艺术完全由人类支配。这就出现了：艺术=生活，艺术=人。唯一的革命手段是艺术的全球观念，它也会导致新的科学观念的诞生。

而即将揭幕的第15届文件展，策展团队“Ruangrupa”是2000年成立于印尼雅加达的非营利组织，他们为艺术家和社会科学、政治、科技、媒体等不同领域，创造合作契机点，以参与城市与文化脉络下的各项艺术活动，并对当代都会议题提供批判观点。这次以传统农业的“穀仓”意象为策展概念，除了诠释“穀仓”在地意涵是储存农作物的空间，更体现了传统农耕社会的协力互助、集体共享的价值观。希望以此刺激思考当代艺术的意义与价值，解析本土化与全球化之间的关联。对当代社会如何分享时间、精神、金钱、知识，与分配社会资源，提供崭新的视野。

然而，《重叠卡塞尔行为艺术节》又是甚麽?它和《卡塞尔文件展》又有甚麽关联呢?

2. 《重叠卡塞尔行为艺术节》的独立精神

卡塞尔既是当代艺术的重要指标，更代表现今当代艺术的高度；为了效法波依斯以“身体实践”的行为艺术走入人群的精神，并呼应《卡塞尔文件展》历来在行为艺术上的支持包容，《重叠卡塞尔行为艺术节》（OverLapping Kassel）由独立策展人蔡青发起，发挥独立艺术节的精神，不依赖任何官方资助，仅藉由《卡塞尔文件展》的艺术氛围，号召全世界行为艺术家共同集结于卡塞尔，从6月16日至26日，在卡塞尔城、文献展展区、湖边驻地、和郊外的毛瑟工厂等地，共同现场创作和表演。

总是神采奕奕，眼神坚定的蔡青强调：“重叠”在时间上意味著一件事和另一件事同时发生，如行为艺术展与文献展有10 天重叠。但重叠也意味著“压缩”，具有“重複”或“累加”的概念，让来自世界各地的艺术家，各自表达艺术立场和反映生活现实，共同面对人类当下的处境创作反应的重叠。在策划初期，蔡青就尝试与雅加达团队策展人联繫徵求合作意向。基于三度去过印尼的行为艺术节，与在地艺术家建立了如亲人的情谊。他对印尼人的单纯、勤于思考和善于讨论，追求理想的执著深敬佩，乃将印尼经历写出《我的印尼》一书，表达自己对印尼的热爱。在最后一次赴雅加达参加行为艺术节时，曾由艺术节策展人陪同拜访艺术团体“ruangrupa”经营的艺术学校“Gudskul”，遇见其中重要成员，并与其交流了未来文件展的行为艺术计画与合作可能性。

由于没有经费挹注，参与的艺术家不但必须出于自发，更要自筹旅费前来，在疫情威胁下，实属不易。虽然艺术家停留时间极其有限，但“行为艺术”的优势是以自己的身体为创作媒介，加上环境空间的触发，以及群众的反应互动，预期之中，现场会有偶发（Happening）与即兴（impromptu）的意外之喜!除了既定的展演，在蘑菇厂的空间裡，也同时举办一个集图片、录影和实物等有关行为艺术的文件展。展出内容有蔡青多年考察、收集和写作储备的资料，和他近年在疫情期间在网路组织的国际行为艺术活动中的精品。也有参展艺术家提供的代表作品的图片、影像。展览后将移到科布伦兹（Koblenz）的路德维希美术馆德（Museum Ludwig）做一个规模较大的，包括现场行为艺术在内的《行为艺术文件展》，并在美术馆举办行为艺术理论研讨会。

3.行为艺术的“行者”－策展人蔡青

任何超越体制的行动，都必须有个高瞻远瞩的发起人，任何民间自发性的组织，也必须有个坚持理念、不畏挫折的领导者。《重叠卡塞尔》乍看不过是一项艺术表演活动，但无论时间、空间、人力、物力，都处在最不被看好的状态下。但策画去年12月初连续四日的2021台北《淨土-国际行为艺术节》的蔡青，不畏疫情在各地蔓延的趋势，透过网路发声，持续放送办理艺术节的目标与意义，许多艺术家深受感动，乃呼应他的号召，用行动赴会参与表演。他说：

我的“雄心”，是意图让来自世界各地的行为艺术创作者肝胆相照，大家如兄弟姐妹一样在卡塞尔相会。在这个行为艺术的理想之城，携手同行，以最低的成本创作出世界高水准的行为艺术节，来纪念德国行为艺术大师“波依斯”！

蔡青目前定居新加坡，出生于黑龙江虎林的他，毕业于“中国美术学院”（旧名浙江美术学院）获博士学位，曾旅居德国、纽约十多年，长年于世界各地策画参与“行为艺术”展演活动，不仅活跃于当代艺术领域，并以个人丰富的创作经验，从事前卫艺术教育，曾任新加坡南洋理工大学艺术设计媒体学院教授，与天津美术学院任特聘教授。他最石破天惊的行为艺术课程，是将美术系素描课程所使用的大卫像在众目睽睽下被不同的方式“破坏”，这个极端行动本身带有强烈“批判性”与“表演性”，予观众深刻印象。目的极具象徵意涵，就是宣告传统学院的制式化学习美术的方式，势必摧毁，才能解放学生被制约拘禁的想像力与创造力。“破坏”之后就是“建设”，接著他让学生拿著石膏碎片，做二次创作，让天马行空的想像力驰骋，尝试结合各种媒材，重新创造一个全新的，属于个人独一无二作品。这样出其不意的教学方式，往往让学生震撼之馀，进而重新思考艺术创作的过程、价值与意义。

2017年他出版《行动在海外－实验艺术实践》、2015出版《蔡青2015表演艺术年鉴》等行为艺术专书，内容详实，提供行为艺术发展脉络、创作记录和展演资讯。《重叠卡塞尔行为艺术节》是他自 2014 年起在世界各地规划执行的“现场行为艺术巡迴”（ Live Art Tour）第七回的国际展演，同时也是他五度回到卡塞尔的历史见证。

曾质疑蔡青这项行动的人，也包含他的老朋友加拿大行为艺术大师伊斯特凡•康托尔（Istvan kantor），他曾分别在1982、1987二度前往卡塞尔发表作品，认为全球疫情造成各国的封锁，《卡塞尔文件展》自身难保，更何况大型艺术节耗费过多成本，且已然过时，建议蔡青不必投入过多时间精力。但蔡青不为所动，他觉得零成本的行为艺术节，恰恰突显各种艺术节办理上的某些隐性却本质的问题，况且疫情绵延了两年之久，被终止的艺术活动不可胜数，目下的集聚正是鼓舞艺术家创作发表的绝佳时机。他坚定的意志，让许多原本犹疑不决的艺术家们，在最后一刻排除阻碍，选择投入艺术节的活动，蔡青喜出望外，也自己为这整个行动下了一个注脚：

“雄心”就是敢想敢干，实现愿望，而不是空想。雄心也是不图一时的衝动，而是朝著一生坚持选择的方向前进。我想，雄心并不与成绩画等号，而是以自我实现为前提；雄心是另闢蹊径，有所坚持；雄心不只是“颠覆”，而更多的是“包容”！

4.行为艺术家百花齐放

策展人蔡青强调，作为一项平行展，《重叠卡塞尔行为艺术节》是以合作形式为基础而展开的艺术专案。自助、互助的方式展开，仰赖每位艺术家的现场个别创作，创建、组合并完成这一活动壮举。“重叠”一语的玄机，是以“共在此时”，“平行出现”的形态，实现一种共生合作的艺术创作方式。也和本次《卡塞尔文件展》的策展初衷，相互辉映。

这次已报名参加《重叠卡塞尔行为艺术节》的艺术家，来自世界各地，地主国德籍居多，其次是意大利、以色列。有经常出现在国际行为艺术发表场合中的老面孔，也有通过这个活动招来的新朋友，比例约在六比四之间，以女性为多。文件展策展团队来自印尼，行为艺术节也有三位来自印尼的艺术家参与。包含知名的Somantri Entri，以及年轻新秀也曾是蔡青的学生Kelvin Atmadibrata。令人雀跃的是，其中不乏大师级艺术家，排除万难赴会。如伊斯特万•科瓦奇（István Kovács 1964-) 从事行为艺术工作已 34 年，为中欧著名行为艺术家。策展人Jonas Stampe在《违规 9艺术节》中曾说：

在作品中，他专注于肉体、血肉、生与死，却没有忘记心灵所扮演的角色。他可以是赤裸的，身体被油漆覆盖，或被塑胶薄膜或玻璃纸等材料包裹，创造出具有存在主义扭曲的现场图像，诠释了作为人类、生命、出生和重生的涵义，将当代人如何将这些人工及天然材料相互作用的基本问题联结起来。幽默和讽刺往往是他宽大和自由的表达调色板的一部分。

此外，艺术家分佈各国，作品风格、运用材质、表现手法、选择现场各有不同，好个百花齐放，行为艺术家即将在卡塞尔大显身手!即将到卡塞尔相会的行为艺术家还包括：捷克传奇人物Flyiri Suruvka、荷兰Peter Baren、法国Patrick Jambon、爱尔兰Paul_Regan、罗马尼亚/德国Viviana Druga、德国Beate Linne、波兰/芬兰Tomasz Szrama、美国Anya Liftig、芬兰John Court、德国Alexandra 、中国/德国段英梅等。

蔡青表示，虽然支持艺术家的自由创作下，也有些基本原则需要凝聚共识，不要越线，忽略道德和社会的基本约束。行为艺术以身体为本，祟尚身体对于世界的感知和表达，所以有些艺术家以裸体形式出现，为了不至于遭遇误解，这类作品将儘量安排在室内或艺术空间中进行。告诫艺术家不要随意在公共场合做类似以裸体方式，或用火、和含有暴力或破坏性的作品，这些容易在公共场合产生异议和误解的作品，要在实施前慎重考虑和安排。展演结束要收拾遗留在现场的杂物，尽快恢复原状。儘量避免作危险性的作品，若有要在行动之前备好医疗抢救物品。总之，每位艺术家都需周全的考量，方案到实施过程中可能会出现的各种情况，以及遇到问题如何及时适当处理，艺术家必须对自己的作品承担全部责任。

5.在卡塞尔留下恢弘的创作足迹

卡塞尔位居德国中央位置，以其优美的景色与典雅的建筑吸引游客驻足，这个城市风景优美，大量的绿地，如同仙境，有山有水，富达河（Fulda Fluss）从市区流过，还有无数小河和溪流，和占地160公顷的湖边园林。格林兄弟笔下的梦幻城堡与森林，为世人提供一个充满想像与欢乐无限的童话世界。各地的艺术爱好者在六月时节聚集卡塞尔，人人都为奔赴艺术而来。可以体验在森林中的古城─萨巴堡（Sababurg），演一齣《灰姑娘》的音乐剧，体验灰姑娘赴王子舞会的期待和欢愉。而那裡的名胜古迹比比皆是，山顶有护城神“大力士”海格立斯（Heracles）耸立半天高，爬上山顶可瞭望整个城市和清翠山脉。半山腰上的“桑拿浴场”（Sauna），无论男女老幼进入其中，都必须得裸体，在这裡不但能感到真正的人类和大自然的源头，并体现了这个古城的健康和文明。城市的街道上有两条线的铁轨车，四通八达，方便人们的往来探访。这个花园城市，无论是街道还是广场，艺术大师波伊斯（Joseph Beuys）号召种植的7000株橡树，几乎举目可见。艺术不假外求，就在生活周遭当中。

蔡青觉得卡塞尔对他深具意义，他去过卡塞尔已五、六回了，随著《卡赛尔文件展》每五年的推移，自己从年轻跟到了老，岁月也跟著流逝，此行如同丈量自己生命过程的一个尺度。只要到了卡塞尔，他一边创作行为艺术，一边欣赏世界各地艺术家的作品。每当文献展地方委员会的主管见到他，都会和他聊上一会，并在他的作品前合影。经常怀念卡塞尔的人事物的蔡青，这次的行为艺术节在他催生之下，报名踊跃，似乎将有更多的人们可以分享过去他在卡塞尔的惊奇与喜悦，他语重心长地说：

这裡早在十八世纪就赢得“艺术名城”的美誉，也一度曾是德国火车、战车、坦克制造基地，而今它对世人的重要意义在于：它是精神和肉体的开放之城，是行为艺术家激情奔放，从事现场创作的最佳之域！ 

《WAVES》生活潮艺文志 2022 Summer 17期  作者：郎亚玲

郎亚玲，台湾顽石剧团艺术总监，自1987年以来从事实验剧场艺术创作

《未来艺术档案》著者，艺术批评，策展人张海涛

Author of "Future Art Archives", Art Critic, Curator Zhang Haitao

张海涛：重叠卡塞尔与差异共识

引言

卡塞尔文献展与威尼斯艺术双年展是两个影响世界艺术趋势的风向标式的大型学术展览，我们就不必再多介绍了。行为艺术家蔡青，今年6月在卡塞尔文献展期间组织了一场国内外行为艺术重叠展。对于“重叠”我的理解是平行于卡塞尔展，必然需要与卡塞尔文献展进行对话与达成共识，才有重合和叠加的表达，另外此次行为艺术展将现场表演与文献展示结合，同样做到了互补与重叠的意义。其实卡塞尔文献展也早已经打破了只是展出文献的边界，现场艺术也已经介入展览，最具代表的是艺术家博伊斯1982年在第7届卡塞尔文献展开幕式上的行为艺术作品，他亲手实施了作品《7000棵橡树：城市造林而不是城市管理》，这次重叠展也在博伊斯以前的作品现场呈现作品，具有一种时空重叠的纪念意义。

卡塞尔文献展与“重叠卡塞尔”的关係

中国艺术家参加卡塞尔文献展源自1977年，第五届文献展的策展人哈洛德.舍曼首次邀请中国艺术家彭万慈参加。时隔多年1997年，艺术家汪建伟、冯梦波开始了参加了第10届卡塞尔文献展，之后不断的有不同的艺术家参展但数量有限，虽然国际上重要的策展人舍曼与奥利瓦在多个世界大展上几经周折，试图改变亚非拉艺术家尴尬处境，打破欧美中心主义文化但这麽多年过去了对于卡塞尔文献展中国艺术依然扮演的是90年代栗宪庭先生说的“拼盘和春捲”的角色。当然现在由于中国GDP和中国重要的艺术家在国际上亮相，逐渐改变了其现状。这一次“重叠卡塞尔”是中国策展人策划，以中外艺术家合力的展览，有一定的互动性。

行为艺术在卡塞尔文献展平行出现增强了展览鲜活的一面，它会打破一种既定的大展模式，尤其行为艺术的现场互动性会调动多种感官的身体体验，文献的缺憾是不能记录触觉或嗅觉体验，而现场艺术弥补了这一点。当然文献是时间凝固的永恆性记录，让行为艺术得以广泛传播与生命的延展与重叠。“重叠卡塞尔”展也是在触及国际环境的複杂性，中国艺术与西方文化的碰撞更是在探讨普适性话题，不论国际形势怎样变化，交流与融合的意义是无法抹去的。

中国艺术在国际上的地位、互动性频率与西方价值体系主导世界及中国的差异性文化有关，也与中国体制自由开放程度相关。2000年中国加入世贸组织，国际化和全球化程度逐渐改变。然而近几年中美贸易战和全球性疫情，俄乌战争与中国内外格局的变化与世界格局重新洗牌都有著紧密联繫，脱钩和内循环迹象显现，这样的矛盾与衝突我们希望依然是暂时的，不应该成为未来全球总体的趋势，我们更希望全球普世价值观的未来主导性。

行为艺术的脉络、困境与趋向

行为艺术发端于上世纪40年代的达达主义、新现实主义、偶发艺术与激浪派时期。如果把杜尚的作品“泉”作为广义的行为艺术，那可追加到上世纪10年代，行为艺术经历了各种演化，从身体与材料及语言跨界，到关注各种话题，运用各种符号表达各种观念与生存感受，作为一种媒介表达方式，已经充分的得到了全世界范围的认同，然而行为艺术面对身体行为的表达方式也面临各种雷同、重複比恨的困惑，多为关注当下人文的经验，个体艺术家也逐渐介入社会与历史、自然、政治、宗教等等已经发生或者正在发生的事物和事件的反应。而行为艺术关注科学未来的探索非常少，当代人类面临向科学世的转型，人文主义逐渐转向科学人文主义，由未来启示当代，也可以由当下警示未来，行为艺术需要关注和介入新型的未来世话题，所以语言、符号、观念上也更加需要向未来延展和创新，艺术家也可批判未来，借行为媒介表达科技的负面影响。

2000年后行为艺术现象和特徵

2000年后行为艺术现象具有以下特徵：一、2000年后少数艺术家延续90年代的身体体验、感性伤害及观看禁忌的脉络；二、往往在极端禁忌之后，必有对一极化艺术的反弹，而在作品中表达多极感受的交织、不确定，越来越符合2000年后暧昧多元的生存感受；三、社会实证、公共互动和生态介入是艺术与现实最有效的沟通方式，用介入来揭露社会“真实”现象，体现公民的责任与权利，推动社会良性的生态发展；四、对“生命寓言、自然物态”等经典思想的转换，即对普世、永恆、记忆和终极永恆价值的再次体悟，给我们以新的启示；五、艺术家对现实信息化、时尚化、消费化特徵的体现与反讽。

艺术家蔡青策划国际展有著很多的优势，他游走于东西方，参加过很多国内外的行为艺术节，加上他的性格擅长交流，有多年的旅居经历，曾在国内多所院校参与行为艺术教育，也曾出版过多本行为艺术现场的文献。笔者也曾经在中国参与发起策划了“行为艺术中国文献1985-2010”，并参与策划了第14届和第16 届“open国际行为艺术节”，笔者有多次与蔡青的交集，相互之间也比较了解。

中国的行为艺术困境与现状

中国大陆85年到现在社会公众依然存在著对行为艺术的误解，误认为行为艺术家是社会不安定分子，认为他们的表达方式也是极端和变态行为的代言，更是不合法的。很多人谈行为色变是因为行为艺术时常揭露现实社会中真实的丑态和现象，表达个体生命的寓言性感悟。很多人只记住了艺术的表象，那是一种被惯性化的思维理解行为艺术。行为艺术自身也应该走出以前的语言和观念的怪圈，寻找具有未来感的破格思维，逃离艺术史和时代的束缚，甚至在摆脱商品化炒作和政治意识形态的束缚，独立自由、真诚的表达，这样才能成为超体的艺术。

2000——2010年的中国与国际社会逐渐形成一体化，文化在经济面前非常脆弱，跟随经济至上价值观的步伐文化也逐渐走向城市化、商业化、娱乐化、产业化。近几年走进院校，作为选修课出现。虽然行为艺术到现在在中国仍然是被误解的对象，饱受争议，但其成为艺术普及的媒介表达方式，是无法阻挡的。2000年后跟随城市化艺术街区的发展脚步，行为艺术节也逐步从“地下”走到“地上”，发展公共空间和国际化交流。

2005年后艺术商业化衝击，让行为艺术生态又一次受到衝击。滥行为艺术的泛化、炒作目的也让行为艺术“名誉受损”，需要艺术工作者理性的建构其价值判断与生态关係。而到现在行为艺术的出版和教学逐渐公共化，这也是行为艺术家和策展人努力的结果。行为艺术的生存虽然艰难，但在争取自由表达空间的同时也越来越多地被大家关注和认可。

2022年6月7日

Zhang Haitao: Overlapping Kassel and Difference Consensus

introduction

Documenta and the Venice Art Biennale are two large-scale academic exhibitions that have influenced the world art trends, and we do not need to introduce them any more.  Performance artist Cai Qing organized an overlapping exhibition of domestic and foreign performance art during Documenta in Kassel in June this year.  My understanding of “overlapping” is parallel to the Documenta in Kassel. It is necessary to have a dialogue and reach a consensus with the Documenta in Kassel before the expression of overlap and superposition. In addition, this performance art exhibition combines live performance and document display, and also achieve complementary and overlapping meanings.  In fact, the Documenta in Kassel has already broken the boundary of only exhibiting documents, and live art has also intervened in the exhibition. The most representative is the project of the artist Beuys at the opening ceremony of the 7th Documenta in Kassel in 1982.  As an art work, he personally implemented the work “7000 Oaks: Urban Afforestation instead of Urban Management”. This overlapping exhibition also presents Beuys’s previous works on the spot, which has a commemorative meaning of overlapping time and space.

Documenta in Kassel and “Overlapping Kassel”

The participation of Chinese artists in Documenta in Kassel originated in 1977. Harold Sherman, the curator of the fifth documenta, invited Chinese artist Peng Wanci to participate for the first time.  After many years, in 1997, artists Wang Jianwei and Feng Mengbo began to participate in the 10th Kassel Documenta. Since then, different artists have been participating but the number is limited.  After many setbacks in many world exhibitions, they tried to change the embarrassing situation of Asian, African and Latin American artists and break the European and American centralist culture. However, after so many years, Chinese art in the Documenta in Kassel still plays the role of “platter and spring rolls” said by Mr. Li Xianting in the 1990s.  “character of.  Of course, the status quo has gradually changed due to China’s GDP and the international appearance of important Chinese artists.  This time, “Overlapping Kassel” is an exhibition planned by Chinese curators, with the joint efforts of Chinese and foreign artists, with a certain degree of interaction.

The parallel appearance of performance art at Documenta in Kassel enhances the freshness of the exhibition. It will break the established mode of large exhibitions. In particular, the on-site interaction of performance art will mobilize the physical experience of multiple senses.  Tactile or olfactory experiences are recorded, and live art makes up for that.  Of course, documents are timeless records that allow performance art to spread widely and extend and overlap life.  The “Overlapping Kassel” exhibition also touches on the complexity of the international environment, and the collision between Chinese art and Western culture is a discussion of universal topics. No matter how the international situation changes, the significance of communication and integration cannot be erased.

The international status of Chinese art and the frequency of interaction are related to the Western value system that dominates the world and China’s differentiated culture, as well as the degree of freedom and openness of the Chinese system.  When China joined the WTO in 2000, the degree of internationalization and globalization has gradually changed.  However, in recent years, the Sino-US trade war, the global pandemic, the Russian-Ukrainian war and changes in China’s internal and external patterns are closely related to the reshuffle of the world pattern. There are signs of decoupling and internal circulation. We hope that such contradictions and conflicts are still temporary.  It should not become the overall global trend in the future. We prefer the future dominance of global universal values.

The Context, Predicament and Trend of Performance Art

Performance art originated in the period of Dadaism, Neorealism, Accidental Art and Fluxus in the 1940s.  If Duchamp’s work “Fountain” is taken as performance art in a broad sense, then it can be added to the 1910s. Performance art has undergone various evolutions, from cross-border between body, material and language, to focusing on various topics, using various  Symbols express various concepts and survival feelings. As a medium of expression, it has been fully recognized all over the world. However, the way performance art faces the expression of physical behavior is also faced with various similarities, repetitions, and confusion.  In order to pay attention to the current humanistic experience, individual artists are also gradually involved in the reaction of society and history, nature, politics, religion, etc. to things and events that have happened or are happening.  However, performance art pays little attention to the exploration of the future of science. Contemporary human beings are facing the transition to the scientific world. Humanism is gradually turning to scientific humanism. The future inspires the present, and it can also warn the future from the present. Performance art needs to pay attention to and intervene in the new future world.  Therefore, in terms of language, symbols, and concepts, it is more necessary to extend and innovate into the future. Artists can also criticize the future and express the negative impact of technology through behavioral media.

The phenomenon and characteristics of performance art after 2000

The phenomenon of performance art after 2000 has the following characteristics: 1, after 2000, a few artists continued the context of physical experience, emotional injury and viewing taboo in the 1990s; 2, often after extreme taboos, there must be a rebound against polarized art.  The intertwined and uncertain expressions of multi-polar feelings in the works are more and more in line with the ambiguous and diverse survival feelings after 2000; 3, social evidence, public interaction and ecological intervention are the most effective communication methods between art and reality.  Expose the “real” phenomenon of society, embody the responsibilities and rights of citizens, and promote the benign ecological development of society;  4, the transformation of classic ideas such as “life fables, natural state of matter”, that is, the transformation of universal, eternal, memory and ultimate eternal values.  Once again, it gives us new enlightenment; 5. The artist’s reflection and irony of the characteristics of informatization, fashion and consumerization of reality.

The artist Cai Qing has many advantages in curating international event. He has traveled in the East and the West and participated in many performance art festivals at domestic and abroad. In addition, his character is good at communication. He has many years of living experience and has participated in many domestic colleges and universities.  Performance art education, has also published a number of performance art scene documents.  The author has also participated in the planning of “Performance Art Chinese Literature 1985-2010” in China, and participated in the cutating of the 14th and 16th “open International Performance Art Festival”.  Also understand more about this.

The Dilemma and Current Situation of Chinese Performance Art

Since 1985, the public in China mainland  still has misunderstandings about performance art. They mistake performance artists for social unrest, and think that their expression is also the endorsement of extreme and abnormal behavior, which is even more illegal.  Many people talk about the discoloration of behavior because performance art often exposes the real ugly states and phenomena in the real society, and expresses the allegorical perception of individual life.  Many people only remember the appearance of art, which is a kind of habitualized thinking and understanding of performance art.  Performance art itself should also get out of the previous vicious circle of language and concepts, look for out-of-the-ordinary thinking with a sense of the future, escape the constraints of art history and the times, and even get rid of the constraints of commercial hype and political ideology, independent, free and sincere expression,  Only then can it become a super-art of the body.

From 2000 to 2010, China and the international community gradually formed an integration, and culture was very fragile in front of the economy. Following the pace of economic supremacy, culture gradually moved towards urbanization, commercialization, entertainment, and industrialization.  In recent years, it has entered colleges and universities and appeared as an elective course.  Although performance art is still an object of misunderstanding and controversy in China, it is unstoppable that it has become a medium of expression for the popularization of art.  Following the development of urbanized art districts after 2000, the performance art festival has gradually moved from “underground” to “on the ground”, developing public spaces and international exchanges.

After 2005, the impact of art commercialization has once again impacted the performance art ecology.  The generalization and hype purpose of indiscriminate performance art also “damages the reputation” of performance art, which requires art workers to rationally construct its value judgment and ecological relationship.  Now, the publication and teaching of performance art are gradually becoming public, which is also the result of the efforts of performance artists and curators.  Although the survival of performance art is difficult, it is more and more concerned and recognized by everyone while striving for free expression space.

June 7, 2022

text / Zhang Haitao / translate / Cai Qing

张海涛,未来艺术学者、策展人、艺术评论家、艺术档案网主编、2009—2017年先后任宋庄美术馆执行馆长、元典美术馆副馆长。2012年出版著作《未来艺术档案》

Zhang Haitao, Future Art Scholar, Curator, Art Critic, Editor-in-Chief of Art Archives Network, Executive Director of Songzhuang Art Museum and Deputy Director of Yuandian Art Museum from 2009 to 2017. he published book “Future Art Archives” In 2012,

中国另类新女性，行为艺术家、自由创作者高雅

Chinese alternative new women, performance artist, freelance creator Gao Ya

行为艺术家高雅女士随笔

2021年6月接到策展人兼艺术家蔡青的邀请，准备在德国柏林和蔡青老师连同德国当地波兰裔艺术家亚历山大•桑德罗共同举办“思想在行动•柏林三人行为艺术展”，在此期间，将连续参加“重叠卡塞尔文献艺术展”和6月16～26日在德国卡塞尔举办的“重叠卡塞尔行为艺术现场展”——即十五届卡塞尔文献展的平行展。但囿于国内和国际疫情的发展，主要是国内政治生态环境和国际局势的风云变幻，最终没有成行，遗憾之余难免有些感慨。 

对于此次重叠卡塞尔行为艺术现场艺术节，它是一场具有一定自主批判、自由自性，既独立个体又有共同时代特征指向和公共意识的反主流文化价值观的大型活动现场。策展人蔡青在此次活动中，集结了世界各地具有独立思想和观念的艺术家若干人，共同参与了一场声势浩大的行为艺术现场活动。对于艺术家和策展人来讲，它是一次从未有过的活动能量的发散和精神体验；是人与时间、空间和公共场域的博弈：也是人与人、人与灾难共生，人与战争平行、争夺生存空间的隐形战斗。

原计划，5月26日至6月6日的“德国柏林三人行为艺术展”是我此次出行展览的前站，目的是为6月份的“重叠卡塞尔”预热。为此我还做了大量的前期准备工作，包括对身体体能、行为预案、前期预演以及突发状况的准备等工作。虽然最终未能出行，但这一系列操作为后期不间断的艺术创作带来了源源不断的灵感和启示，也为个人成长创造了更多精神能量。

从展览前的几个月开始，即将参展的来自世界各地的艺术家们就会不定期的举行网络视频会议。每一期会议的内容和主题都会有所不同，把活动会存在的和会遇到的问题都说出来、大家的建议以及现场的分工协作和公共环境领域的情况逐步明确和逐一解决掉，这样直到现场艺术节到来的时候，把所预想和面临的问题逐步细化。结果如大家所料，事态没有超出细节和全局把控范围，最终实现了圆满。

在这个人类饱受疫情和战争灾难痛苦的时代背景，在公共意识领域，大量有良知和悲悯心的艺术家以其独特的视角和敏感，和应对这个时代的批判精神的表达方式向世界提出问题、表达诉求希望世界实现和平的美好愿景。因而此次“重叠卡塞尔行为艺术节”的平行和共生方式，在自给自足、合作、互助等多种形式并行的时间和空间领域，需要艺术家更加勇敢、智慧和独立的完成一系列行为作品和同时要解决现实问题。这对于艺术家无疑是一次历练和精神与意志的考验，也为今后的创作累积了丰富的视觉体验，拓宽大量作品素材及创作经验，这对艺术家来说是一个难得的机会。遗憾的是，这次我没能在卡塞尔现场出现，但是我一直在关注着这个行为艺术节的发生和发展，通过网络的便捷，我在艺术家群中仍然可以看到每天大家发出的作品图片，使我如同仍然可以与现场的艺术家一起呼吸和一起欢心鼓舞！

希望我们能早日走出紧箍的思想意识和受限的精神枷锁。未来，希望自己无论以何种方式和多元的表达方法，都要积极的投入到点燃自我和释放能量的宽阔场域中。以个人主义的存在方式继续探寻自我、思考生命与价值的个体意义，由此反射出群体、人类的共同命运，以及关注人类赖以存活的生存环境。 

Essays by performance artist Ms. Gao Ya

In June 2021, I received an invitation from the curator and artist Cai Qing, and planned to hold the “Thinking in Action • Berlin Three-person Performance Art Exhibition” in Berlin, Germany, together with Cai Qing, a local German artist of Polish, Alexandra Fly.  During this period, I will continuously participate in the “Overlapping Kassel performance art documenta” and the “Overlapping Kassel “Live Performance Art festival held in Kassel, Germany from June 16 to 26 - the parallel of the Kassel Documenta 15.  However, due to the development of the domestic and international pandemic, mainly due to the changes in the domestic political ecological environment and the international situation, the trip did not take place in the end.

For the Overlapping Kassel Live Art Performance Festival, it is a large-scale event site with a certain degree of independent criticism, freedom and self-nature, both independent individuals and countercultural values with common characteristics of the times and public awareness.  In this event, curator Cai Qing brought together several artists with independent thoughts and concepts from all over the world to participate in a massive livr art  performance event.  For artists and curators, it is a never-before-seen emanation and spiritual experience of activity energy; it is a game between people and time, space and public fields: it is also a symbiosis between people, people and disasters, people and  Parallel war, stealth battle for survival space.

It was originally planned that the “Three Performance Art Exhibition in Berlin, Germany” from May 26th to June 6th was the first stop of my travel. the purpose was to warm up for the “Overlapping Kassel” in June.  To this , I also did a lot of preparatory work, including physical fitness, cation plans, pre-rehearsal, and preparation for emergencies.  Although I was unable to travel in the end, this series of operations brought a steady stream of inspiration and inspiration to the uninterrupted artistic creation in the later period, and also created more spiritual energy for personal growth.

From a few months before the exhibition, artists from all over the world who will be participating in the exhibition will hold irregular online zoom conferences.  The content and themes of each session will be different. The problems that will exist and will be encountered in the event, everyone’s suggestions, and the on-site division of labor and cooperation in the field of public environment will be gradually clarified and solved one by one. In this way until the arrival of the live art festival, the expected and faced problems will be gradually refined.  As expected, the situation did not exceed the scope of details and overall control, and finally achieved a complete success.

In the context of this era when mankind is suffering from the pandemic and the disaster of war, in the field of public consciousness, a large number of artists with conscience and compassion have raised questions to the world with their unique perspective and sensitivity, and the expression of critical spirit in response to this era.  Express the appeal and hope that the world will achieve a beautiful vision of peace.  Therefore, the parallel and symbiotic approach of the “Overlapping Kassel Performance Art Festival” requires artists to complete a series of performance works more courageously, wisely and independently in the time and space fields where self-sufficiency, cooperation, mutual assistance and other forms are parallel.  And at the same time to solve real-world problems.  This is undoubtedly an experience and a test of spirit and will for the artist. It also accumulates a wealth of visual experience for future creations, and broadens a lot of work materials and creative experience. This is a rare opportunity for the artist.  Unfortunately, I was not able to appear in Kassel this time, but I have been paying attention to the occurrence and development of this performance art festival. Through the convenience of the Internet, I can still see the works sent by everyone in the artist group every day.  Pictures that make me feel like I can still breathe with them and cheer with the artists on site!

I hope we can get out of the tight ideology and limited spiritual shackles as soon as possible.  In the future, I hope that no matter in what way and multiple ways of expression, I will actively devote myself to the broad field of igniting myself and releasing energy.  Continue to explore the self and think about the individual meaning of life and value in an individualistic way of existence, thereby projecting the group, the common destiny of human beings, and paying attention to the living environment on which human beings live.

高雅，原名高志艳。中国另类新女性，行为艺术家、自由创作者。Gao Ya, formerly name as Gao Zhiyan.  Chinese alternative women, performance artist, freelance creator.

结语end words：

蔡青在此对为“重叠卡塞尔”行为艺术项目写文的作者深表感谢!

Cai Qing would like to express his deep gratitude to the author who wrote the article for the "Overlapping Cassel" performance art project! 

【声明】以上内容只代表原作者个人观点，不代表artda.cn艺术档案网的立场和价值判断。