Tan Diyi 覃笛一

UZH PhD Candidate 苏黎世大学在读博士生

The Queering of Aesthetics and Positionalities: Revisiting the “Gaps” between Histories, Memories and Aspirations

14: 40-15: 00 CET 29/05/2021

The artist He Qiwo (b.1985) is known as Ergao, whose choreographic works explore the overlapping and conflicts between daily experience and the construction of urban aesthetics and anachronic imageries in the post-socialist Chinese society. During the Covid-19 pandemic in 2020, Ergao developed the dance film Kung Hei Fat Choy N+ from the live performances Kung Hei Fat Choy at Rote Fabrik Zurich and Guangdong Times Museums. I will carry out a comparative study of the prequels of Kung Hei Fat Choy N+ to examine how Ergao’s interweaving of oral history, everyday body movement, and dance performance reflect on the positionalities in different times and spaces. I regard these performances “queer,” as they do not reaffirm the linear, progressive conceptualization of history and futurity so as to invoke nostalgia for a seemingly communal past. Rather, the two live performances are threaded through disagreements and negotiations which reintroduce the “gaps” (inconsistency, hesitation and resistance) to the composition of History. Instead of mourning over the disruption of the (Neo)confucian family structure and ethics in rapid commercialization and urbanization, Kung Hei Fat Choy performances recapture the complex feelings of and tension between de- and re-territorializing the experience of “returning home” in the Lunar New Year rituals.

Diyi Tan is a PhD candidate from the Institution of Art history at the University of Zurich. She majored in Chinese Painting at Guangzhou Academy of Fine Arts during her undergraduate studies (2012-2016). In 2015, she studied Japanese Painting at Joshibi University of Art and Design as an exchange student. She developed her research interest in the queer artistic discourse in the contemporary Sinosphere from her MA thesis with a focus on interpreting Ren Hang’s nude photographs. In 2017, she obtained her MA in Art Gallery and Museum Studies at the University of Leeds. Currently, she is working on her research project about the relationship between queer perspectives and contemporary Chinese art from the mid-1990s to 2018.

将美学与位置性酷儿化:重访历史、记忆与志向之间的“空隙”

艺术家何其沃生于1985年。他更广为熟知的称呼是“二高”。其编舞作品探究后社会主义时期中国个体日常生活经验与社会对城市美学和“过时”诠释之间交叠与交锋。2020年的新冠疫情期间,二高创作了舞蹈影像《恭喜发财N+》。这部作品建立在二高此前于苏黎世“红厂”和广东时代美术馆的现场演出之上。我将着手《恭喜发财N+》前篇的比较研究,探究二高如何用口述历史、每日动作和舞蹈表演的混合叙事反映其对不同时空中的主体的位置性的思考。我用“酷儿性”来描述这系列演出的缘故在于它们并不以线性、前进性来想象历史和未来,更不以这种叙事来唤起对共同过往的伤怀。反之,意见不和及协商贯穿于这些作品,从而把这些不连贯、犹疑和对抗的“空隙”带进对历史的书写之中。“恭喜发财”演出并不全然为极速商业化与城市化对儒家式家庭结构的干预而恸哭。这些演出却再现了农历新年中“回家”旅程的复杂情感,以及当中“去领域化”和“重新领域化”之间的张力。

覃笛一是一名就读于苏黎世大学艺术史研究所的博士生。2012年至2016年期间,她就读于广州美术学院的中国画学院人物画工作室,并通过交换生项目于2015年赴日本女子美术大学研习日本画。 她对当下华语圈酷儿艺术话题的研究兴趣源于她的硕士毕业论文写作,内容关于摄影师任航的裸体摄影作品多重解读。2017年,她于利兹大学的画廊与美术馆学研究中获得硕士学位。目前,她正着手关于九十年代中期至2018年间酷儿视角与中国当代艺术之关联的研究。