2018深圳當代戲劇雙年展展演單元「情場」公共空間表演系列《亂碼過失：後末日，少女，甚至，數字未來主義，深圳觀念主義，就是說，地理，宴席，顏值擔當，知識主權，醬~》 2018 SHENZHEN CONTEMPORARY THEATRE BIENNALE PERFORMANCE UNIT “SCENO PLACE” PUBLIC SPACE PERFORMANCE SERIES “GLITCH AND ERROR: AFTER DOOMSDAY, GIRLS, EVEN, DIGITAL FUTURISM, SHENZHEN CONCEPTUALISM, THAT IS TO SAY, GEOGRAPHIC, BANQUET, FACE VALUE, KNOWLEDGE SOVEREIGNTY, DONE?”
“Glitch and Error: After Doomsday, Girls, Even, Digital Futurism, Shenzhen Conceptualism, that Is to Say, Geographic, Banquet, Face Value, Knowledge Sovereignty, Done?” is a project of Contemporary Theatre Biennale 2018 Performance Unit “Sceno Place” Public Space Performance Series, co-planned by Wang Yiquan, Sun Xiaoxing, and Li Boyan.
“Glitch and Error” uses intertextual methods to plan, commission, and organize diverse contemporary performances and art practices, and integrates these creations with Shenzhen’s public space and urban environment, presenting a series of public issues that can trigger reflection for the audience. These discussions include but are not limited to what is our local cultural ecology and how will we recognize it; to what extent does consumer culture and information technology shape our aesthetics; what kind of impact do daily life practices and urban experiences have on contemporary performance and art…
“Glitch and Error” will rely on and utilize the opportunity of Contemporary Theatre Biennale 2018 to encourage the public and cultural arts community to think about the era in which we live. The planning team believes that a single exhibition cannot and should not fully reflect the reality in which we live, but such an attempt will be the starting point of planning practice. We cannot always be correct, so we must ask if “always being correct” is a mistake?
Therefore, the artists and art works, full of intertextual and hyperlinked relationships, a series of art practices like “code errors” that have been input into the city, in multiple places where mistakes may occur, will provide opportunities and possibilities for the audience to appreciate, reflect, and discuss our contemporaneity.
Whether it is the Christian millennium or the 2012 Maya calendar, from folklore to digital screens, the apocalypse complex is like a love story.
Time and space died yesterday.
We have been living in absolutes.
We have created an eternal universal speed.
In media reality, the apocalypse can either happen or not happen. If we imagine the world as an LCD screen, the fingers that first pressed down and created ripples belong to girls - front-stage performers, princesses, Twins, AKB48, and Girls’ Generation. Their faces bear the imprints of youth and death.
It is not difficult to imagine that at every node of human technology that changes the way we live; human decisions are crucial. Perhaps one day, the history textbook about AI will say: humans have never had a history, only the history of AI.
We shall sing praises to:
The lively armory at night and the shipyard that glitters with electricity and moonlight,
The factory that hangs in the clouds with its twisting smoke,
The bridge that strides across the river like a giant warrior,
At a special geographical location, in front of the public eye, parting ways with a true lover. The system crashes and restarts, the once sweet words become gibberish implanted into a new, eastern declaration:
Time is money,
efficiency is life;
Once here, a Shenzhener forever;
Dare to be the first in the world;
Sending roses to others, fragrance lingers on the hands;
Artists: Dai Chenlian, Gao Jiafeng, Li Liao, Qiu Jia, Wang Zhenyu, Li Haiguang + Zhang Yunfeng, Nut Brother, NINE KUAI NINE, YUETAI