评委感言
行爲艺术源自视觉艺术，与绘画及油画等传统表现手法不同；行为艺术是一种概念，在特定时间以及特定空间约束下产生的结果，并不会跨越年代。
人体是一个实质载体，赋予我们思想，让我们意识到自己和别人的存在。
这个现象似乎是显而易见，是一件平平无奇的事情，但它往往会为人所忽略。
当我们发现身体本身天赋的生物行为所蕴含的不同表达和感受后，人类身体就获得了截然不同的角色。而痛苦、愉悦、疾病和厌恶等感觉构成了这些生物行为使用的生物词彙。
当身体成为表演者时，它实际上只是继承了在头脑主宰身体之前的传统──在不同的审美观和价值观的影响下，人们喜欢在身上搞刺花、打孔、烫疤等花样来改变外表。
而随着时代变迁，新时代的出现，旧有事物亦会随之被赋予新的意义及含义。
全球一体化促使现今社会资讯无远弗届，而资讯的流通令我们更重视对信息的选择；不单是信息本身，而是如何让读者了解、吸收和重新解读这些信息的方法。
中国文化、历史和传统源远流长、博大精深，由铜器时代发明的针灸术，到不同时代的戏曲表演，丰富的传统讲故事的技艺，以至近年优秀电影製作的出现并发展成为出色的电影等等，确保了行为艺术能够继续发展成长，并利用精深的中国传统文化来丰富自己，让观众惊叹于行为艺术目前的发展情况以及未来的发展潜能。
是次文献展将中国不同地区的作品带到中西文化交流汇聚的澳门，有机会作为展览评判之一，本人深感荣幸与兴奋！。
籍此感谢澳门艺术博物馆让我们参加这次活动，同时亦衷心祝愿此次活动和未来的活动都将能圆满成功！
江连浩
澳门艺术博物馆顾问
Judge’s Comment
Performance Art, as an offspring of visual arts, differ from more traditional methods of expression such as painting and canvases, as being conceptual and not perennial, but instead confined, as an event, to a specific space and time.
Our body is the material vessel that allows us all to have the perception of a mind, and thus realize our own existence, and that of others.
While this may appear to be obvious, it is quite too often that I have seen the obvious being overlooked.
The human body acquires different roles as we discover the different expressions and feelings that exist in its natural biological behaviour to which the feeling of pain, pleasure, sickness or revolt are its biological vocabulary.
When the body becomes the performer, resuming the inheritance of traditions that go back since the mind took conscience of the body and the possibility of changing its appearance by tattooing it, by perforating it, scarificating, in time cycles of different significances and significants.
As time passes and new cycles begin, the original sources change, acquiring new meanings and intentions.
Globalization has generated a circulation of information today that requires the importance of selective information. What is important it is not information itself, but the mechanics of how information is understood, absorbed and reinterpreted.
However China and its immense culture, background and traditions, from the Bronze Age acupuncture practices, to different eras of theatre and different opera, to the rich traditions of storytelling and more recently, the emergence of superb movie making that matured into great movies are an assurance that performance arts will continue to evolve and enrich themselves with intensive Chinese traditions therefore bringing to us all, as spectators a great excitement on what is now being made plus the potential of the coming future.
It was for me a very exciting experience to participate as a juror on the present selection of events that converged from all over China into Macau, a place of Exchanges of experiences and of cultures, a place that has a long memory of East meeting West.
I take this opportunity to thank the Macao Museum of Art for the opportunity to participate in such an event and formulate every wish that this and future events will be full of success as I believe they will.
Antonio Conceicao Junior
Consultant of Macao Museum of Art
行为艺术──身体作为艺术言说的机制
二十世纪艺术潮流遽速衍化替换，令人目不暇给，新艺术的主要诉求之一，便是要打破艺术与生活的界线，让艺术和生活经验参揉，以探讨其间的真实本质，行为艺术便是其中之一。回溯西方艺术史的发展历程，行为艺术的先驱者包括达达、未来派以及超现实主义等。在“达达运动”（Dadaism）之后，艺术家的身体成为实践艺术观念的“载体”，通过身体行动将创作概念公开呈现。例如着名的德国行为艺术家波依斯（Joseph Beuys [1921-1986]）曾提出“社会凋塑”的艺术观念，将艺术推展到极限，举凡人的思想、行为、行动，都是成为意识过程的塑造。他最广为流传的一句话便是：“每个人都是艺术家。”人人都有与生俱来的创造性本质，艺术不应自外于生活实践，与社会脱节，艺术应贯彻艺术与生活的密切连结。
行为艺术不同于所谓的表演艺术，并不特别强调身体美感、表演技巧，更不需仰赖叙事情节及角色刻画。更有别于传统的美术创作，艺术家扬弃凋塑、绘画等传统艺术形式，仅用自己的身体作为表达工具，单纯经由行为本身呈显创作理念，并进一步扩大至外在环境乃至于社会层面。行为艺术一直以来都被纳入观念艺术的范畴中讨论，其创作意义往往须透过行为实践的能量与强度而彰显，身体并非只是表面上所见的“肉体”躯壳而已，行为背后的创作观念对于行为的方式具有决定性的影响。随着行为的操作，身体早已质变，并承载了日常生活和生存在的意义，成为建构文化与权力论述的重要符码。也因此，如何思考身体运用的必要性，避免其流于工具化，让行为本身具涵唯一且不可逆的质地，是现今行为艺术家时常面临的课题。
作为观察当代华人行为艺术家创作样态和趋势的前哨站，“以身观身──中国行为艺术文献展”在主办机构澳门艺术博物馆的推动之下逐渐发展成为行为艺术的重要研究机制。本届艺术节的参展作品已呈现出行为艺术创作的雏型光谱，来自不同世代的艺术家藉由创作赋予当代行为艺术不断翻转的界说定义，所探讨的议题亦十分广泛，包含了艺术与生活的界线、公共领域与私密空间、观众意识与自我存在、全球化与在地论、个人主体与国家机器、生存状态与生命本质、以及观看与凝视等等面向。这些创作不但是藉由艺术观看来体察生活或生命意义的重要媒介，更具体而细微地呈现出当代文化思潮的发展脉络与形迹。
赖香伶
前台北当代艺术馆馆长
Judge’s Comment
Behavioural Art: The Human Body as a Mechanism of Art
Art trends in the 20th Century have changed bewilderingly quickly. One of the pursuits of new arts is to breach the line between art and life, allowing them to infiltrate each other so that their real nature may be explored. Behavioural art is of this type. Forerunners of behavioural art include Dadaism, Futurism and Surrealism. Following Dadaism, the artists’ bodies have become the vehicle in which their artistic ideas are practiced. Through their bodies, their creative ideas are presented to the public.
Joseph Beuys (1921-1986), a German behavioural artist, propounded the concept of ‘social sculpture’, by which he pushed the limit of art to extremes, to the extent that the thoughts, behaviour and activities of a person became processes of the mind. One of his most widespread quotations claims “Everyone is an artist”. Everyone possesses an inborn creative nature, thus art should not be separated from society and real life. Art should be closely connected to life.
Behavioural art is different from the performing arts in that the former does not stress physical beauty or performing skills, much less the character’s narrative and depiction of roles. It is even more different to traditional art creation as behavioural artists abandon traditional forms such as sculpture and painting. They solely use their bodies to express their message, sharing it with the environment and society. Behavioural art has been referred to as conceptual art, its significance often relying on the energy and strength of the ‘behaviour’. The body is not just the physical body; the idea behind the work is decisive regarding the form of behaviour. The body takes on new qualities as its behaviour unfolds, as does the meaning of everyday life and existence; as such, it becomes a symbol and the material of a new cultural and power structure. A major challenge that artists face, therefore, is how to avoid instrumentalism in the necessary use of the body, and make the connotation of its behaviour singular and irreversible.
As a frontier post for observing the creation and trends in contemporary Chinese behavioural art, the Inward Gazes - Documentaries of Chinese Behavioural Arts exhibition hosted by MAM is gradually becoming an important research mechanism of behavioural art. This exhibition is already presenting a spectrum of behavioural art. Artists from different generations, via their creativity, provide behavioural art with a ceaselessly reversing definition. Issues include the delineation between art and life, public and private space, spectacular conscience and self-existence, globalisation and localism, personal subjectivity and state machine, living conditions and nature of life, and watching and staring.
These works not only provide a medium for experiencing life and its meaning but reveals how contemporary cultural ideas came about and where they are heading.
Lai Hsiang-Ling
Former Director of Museum of Contemporary Art Taipei
二零零五年十一月六日，来自两岸四地、当晚出席首届“以身观身──中国行为艺术文献展”开幕礼的行为艺术家们，在艺博馆留下一张又一张字条：
“大胆地一步”
“中国行为艺术的希望和再生之地”
“一件了不起的大事”
“意义重大”……
这些纸条一直贴在艺博馆办公室的白牆之上，作为大家共同面对挑战及超越各种条件限制的动力。
三年时间瞬间过去，本人作为评选委员之一，再次有机会接触那些以直接、率真作表白的录像、摄影及文字记录，并沿着那充满张力的身体在种种特殊条件及空间中自主伸展的过程，从一个情境进入另一个情境，从个人游戏转到对当代社会的剖析与体验，从隐私、精神层面扩展至公众关心的焦点……。
身体活动本身，是人类在生命中与生存条件及身处空间的相互探索、挣扎与互动的过程，而行为艺术家却在看似断断续续或支离破碎的偶发行动中，注入自身的直觉、意志、焦虑、思考、关注与判断。在极度依赖网络与物质消费挂帅的当代现实情境中，在交杂着无数危机与点点希望的嬗变时代裡，具有创造力、竞争力以及多元兼容特质的新秩序，将向所有既定架构展开严峻的挑战，在现存制度疆域不断向前推移的同时，以开放、包容及不断反思等态度而获至的生命新体验，便将成为当代社会进步的最大动力。
在那些关心中国当代艺术事业发展的朋友及艺术家们的共同努力下，澳门，一个仅有人口五十万的城市，能在短短三年时间内集中多近五百件优秀行为艺术作品并建立起相关文献库，这一计划出现的本身已是一个回应时代召唤的姿态及行动，更是一项别具意义的当代文化艺术梳理尝试及充满能量的集体艺术创造。
既然如此，就像当日众多留言中的一条所言：“那就继续吧！”
吴卫鸣
民政总署文康部部长
Judge’s Comment
On 6th November, 2005, attending the opening ceremony of the first Inward Gazes - Documentaries of Chinese Performance Art, the artists left notes for MAM such as:
“A bold step forward!” / “Where the hope and rebirth of Chinese Performance Art lies” / “Great!” / “Significant!”
These endorsements were subsequently clipped to the wall of the MAM office, encouraging us to face the challenges ahead while exploring new boundaries.
Three years on, I have once again had the privilege of reviewing video and photographic works and written notes expressing their authors’ feelings in a most direct, frank manner; the process in which the strained body moves within extraordinary confines with a purpose; works that transport one from one scene to another, from a personal game to the analysis and experience of contemporary society; works that extend from the private and spiritual to what concerns the public.
Physical movement itself is the process of mutual exploration, struggle and interaction of human beings, while performance artists seek to impregnate seemingly isolated and incidental occasions or settings with their own intuition, volition, anxiety, thoughts, concerns and judgment. In the current reliance on the Internet and predominant consumerism, in this changing era where countless crises and pockets of hope interchange, a creative, competitive and accommodating New Order will pose a serious challenge to all established structures. While existing institutions may move with the times, a new life experience acquired through an attitude of openness, tolerance and continuous introspection will be the greatest motivating force of contemporary social progress.
With the joint efforts of the artists and those concerned about the development of Chinese contemporary art, Macau, a city of just half a million souls, has been able to assemble five hundred examples of quality performance art and establish a documentary database within three years. The project itself is a posture and action in response to the clarion call of the times and a meaningful attempt to address contemporary culture in addition to an energetic collective feat of artistic creation.
If so, then, as one of the notes says, “Let’s move forward!”
Ung Vai Meng,
Director of Cultural and Recreational Affairs Department, IACM
澳门艺术博物馆“以身观身”行为艺术评选及展览活动，对推动两岸四地当代艺术和活跃澳门城巿文化生活，具有重要意义。同时，收集、梳理、保存中国行为艺术作品资料，以助当代艺术学术研究和艺术史写作，是一项不负历史的建设性工作。如能长期坚持下去，定有不凡成果。
参评得观二百多件行为艺术作品，受益匪浅，感言如下：
行为艺术作为身体的、现场的、过程性的创作活动，其行为之所以成为艺术，在于日常行为的陌生化、异样化和非日常行为的意图化、象徵化，在于创作行为和文化语境、现场环境及艺术史上下文的价值关係，在于创作行为对自我生理、心理及精神的挑战，并将这种挑战指向惯性意识形态和既成社会体制。行为艺术因其不能直接收藏的特点，成为最难为体制所操控，又因其野生性和批判性同时也是最为突出的当代艺术活动。
行为艺术既为一类艺术样态，自然应有大致的界域。比如摆拍一类作品可纳入摄影，尚未实施的计划则可纳入方桉艺术。而对于艺术家是否必须亲自实施的问题，原则上当强调身体力行，但也有个别出格的情况，比如必须通过他人才能实施。至于小剧场表演和行为艺术，相互介入是很难避免的。当然前者有赖于剧场这种场所，更多表演艺术的假定性，后者以社会现场为舞台，更注重当场性、机遇性。
以上所言，来自评选心得，不确之处，敬读批评。
王林、张培力
二零零八年九月十七日
于澳门艺术博物馆评选现场
Judge’s Comment
The “Inward Gazes” performance art work screening and exhibition conducted by MAM is pivotal in promoting contemporary art in the regions across the Strait as well as in activating Macao’s cultural life. In addition, the collection, sorting and preservation of information about Chinese performance art, which facilitates the studies of contemporary art and art history, is a constructive work that keeps history alive. If this is carried out with perseverance, extraordinary achievements can be expected.
Having benefited from examining more than two hundred works of art, we would like to share our thoughts as follows:
Performance art, being a physical, on-the-spot, procedural creation, is by its nature dependent upon the estrangement and alienation of everyday behaviour as well as on creating intention and symbolism in non-commonplace ‘regions’. It relies on the artist’s creativity and presentational context as well as the historical value relationship between behaviour and cultural context. It also relies on challenges to the physical, psychological and mental state of the artist, and points him/her towards established ideology and social institutions. Performance art does not lend itself to easy collection, and as such has become the most prominent contemporary art that does not yield to authoritative manipulation because it is wild and critical in nature.
As an art form, performance art roams a natural domain. For example, posed pictures may be categorised as photography; a programme yet to be broadcast can be termed programme art. In principle, artists should perform ‘inside’ their art. There are a few exceptions, as in the case where rendition must be done by others. As to performance art and small theatre performances, mutual intervention is inevitable, as the former relies more on the theatre itself and greater artistic assumptions, while the latter employs society as the stage and is more about the site and probability.
Criticism regarding the above thoughts is welcome.
Wang Lin and Zhang Peili,
MAM screening venue
17th September 2008
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