Issue 51 (Dec/Jan/Feb) Dancing in the Wild is now available.

總第五十期 (12月/1月 /2月):電空間。

Click here to buy.




Body, space, time and presence but also rituals and inspirations are all part of Dancing in The Wild.

Buying objects, paintings and drawings especially, is the easiest strategy to follow for well-off, investment-minded individuals who are thinking about becoming collectors to validate their position as art connoisseurs. But intangible, experimental or in-progress works of art, which are sometimes awkward or progressive and not easy to brand, naturally get overshadowed in the art market. It is probably a shortsighted version, and one that might be evolving in particular cases, but it is
understandable in the survival-of-the-fittest atmosphere of the art world. Hesitation, vulnerability and uncoolness are only
accepted if the artist promises to be market-savvy.

But it is this quality, and the relinquishing of control over one’s market success, that makes many works interesting – in addition to the works themselves actually being interesting. Openness to the unsafe, an attitude tainted of freedom when it comes to art creation and the bravery to be unique are the main theme of this issue of Pipeline. Dancing in the Wild represents the shaking off of inhibitions often associated with dancing, and the leaps of faith necessary to embracing the unknown. It is a refreshing issue, but one that still tackles grave subjects.

A case in point is the work of Japanese collective Chim↑Pom, featured here after I visited their studio in Tokyo. They and their work are full of risk-taking and wildness, even including exposure to radiation and land mines. Yet their process is well thought through and marketed, and they are getting much of the traction necessary to survive as artists.

More generally within contemporary art, performance art is the awkward discipline and yet one of the most
uncompromising and free. Performances can’t really be bought and sold; they take place in the moment – documentation just isn’t the same – and with their relative lack of market value comes less pressure to conform.

We follow some of the artists who were invited by Melati Suryodarmo to perform at Undisclosed Territory 9 in Solo, a remote festival in Indonesia challenged by a local practice deeply rooted in traditional forms of dance and estranged from international hype. We focus on the process of inspiration rather than on critiquing the work, getting insight into the mechanics of creating a performance. Tzu-chi Yeh gracefully shares her trials and errors, that essence and raw process necessary for reflection, in line with the raw chicken feet she incorporates in her work. From Chuyia Chia we learn the power of a grain of rice, the shifts in communication involved when performing with someone, the mindset of a performer and their tactile discoveries. With Luna Dian Setya A we eat bitter papaya in self-discovery, while we learn to think site-specifically with Sakiko Yamaoka. And we really get
emotional with the work of Snežana Golubović, whose seemingly harmless, uncomplicated performances provoke unexpected reactions from audiences.

We also feature another performance festival, Future of Imagination in Singapore, with an insightful contribution from Jennie Klein, who ran a writing workshop at the festival and shares some of her emotions about performance art.

Finally we also learn about practices that don’t strictly belong to performance art and include some acting, with words by Alice Rensy, who is a firm believer that performers are irreplaceable individuals.

In our regular features, we follow artist Tintin Wulia in her exploration of the hidden life of cardboard boxes in Hong Kong; in the first of a two-part series, she writes in this issue about her project’s outlines, which led her to hang out in underpasses with the city’s Filipino community, in a form of participatory art we can only ponder.

After a year, our dear in-house collector-artist-architect-designer-company owner William Lim closes the chapter on his art travelogue with final diary entries, mainly in Hong Kong and Shanghai.

In Beijing, Fiona He reviews Li Ming’s show at UCCA, which highlights parallels between sports and the collective, solitary practices of art; and also reviews Xie Nanjing’s tri-fold take on creating new forms of painting at Urs Meile. In Hong Kong, Grace Chan reviews The Empty Gallery’s Sonorous Objects and its experiences of sensory deprivation, and I review the Rokudenashiko Tribute curated by Hitomi Hasegawa, a commendable show that points out Japanese gender-related double standards. In Tokyo, I also review Chen Wei’s
impeccable night-themed photography show at Ota Fine Arts.

Finally, the Back Page by Jason Wee discusses another kind of dance – an erotic-urban variety particularly dear to the author.

Cristina Sanchez-Kozyreva


在.Dancing in The Wild(野外的舞蹈)中,肉體,空間,時間,存在,甚至禮制與靈感都得到了展示。


但是,正是這種品質,以及放棄市場成功,使許多作品顯得有趣-除了那些本身就很有趣的作品。本期雜誌的主題正是對危險持開放態度,在藝術創作中堅持自由,敢於做獨一無二的事。 Dancing in the Wild(野外的舞蹈) 代表了對舞蹈中常見束縛的掙脫拋棄,以及要擁抱未知的信念昇華。這是個令人耳目一新的事情,但這件事仍要面對一些嚴肅的審問。



我們關注了一些應.Melati Suryodarmo.邀在梭羅的 「Undisclosed Territory 9」(秘密的9號地域)進行展演的藝術家,這是個遙遠的盛會,受到了當地深深植根於傳統舞蹈,疏遠國際炒作的挑戰。我們專注於靈感而非批評,洞察表演的產生與運作。葉子啟溫文爾雅地分享她的試驗和錯誤,以及同她作品中的生雞爪一般,對反思尤為重要的,那些不成熟的經歷。從 Chuyia Chia 我們學習到了米粒的力量,同他人互動中交流的變化,一 個表演者的心態,以及他們的觸覺發現。隨著.Luna Dian Setya A.我們嚐到了自我發現中的苦木瓜,從山岡さ希子我們見識了從特定場地出發的思考。在.Snežana Golubović.看似與人無害,毫不複雜實際卻激起觀眾意外回應的表演中,我們真的被感動。

我們也紀錄了另一個表現藝術節,也就是在新加坡的 Future of Imagination (想像的未來),Jennie Klein(珍妮,克萊恩)因做出了有洞察力的貢獻,在藝術街上開展了一個寫作研討會,並分享了她關於表現藝術的一些想法。

最後,我們還了解一些嚴格意義上講不屬於表演藝術的實踐,包括一些表演,以及.Alice Rensy(愛麗絲,萊西)的言論。她堅信表演者是無可取代的個體。

在我們的常規介紹中,我們聚焦於藝術家 Tintin Wulia.以及 她對香港紙箱中的隱匿生活的探索;在前兩段,她寫下關於紙箱的輪廓大綱,大綱引領著她走近地下通道中的菲律賓群眾。這是種我們只會想想而不會實踐的參與式藝術。


在北京, 賀瀟回顧了李明在尤倫斯當代藝術中心的展覽,展覽強調運動與集體或孤獨的藝術實踐間的對比。同時也回顧了謝南星在麥勒畫廊創造的新三折疊藝術形式。在香港,陳鈺頤評價在.The Empty Gallery.進行的「靜物之聲」展演中感官被剝奪的經歷。我回顧了由長谷川仁美 任館長的《性別、父親、生殖器——向.Rokudenashiko.致敬》(Rokudenashiko Tribute)中進行的值得讚美的藝術表演,直指日本的性別方面的雙重標準。在東京,我也回顧了陳維在大田美術進行的無懈可擊的以夜為主題的攝影展。

最後,在封底黃漢冲討論了另一種舞蹈—— 一種作者十分重視的都市色情舞蹈。

Cristina Sanchez-Kozyreva