Duan Yingmei 段英梅
Clown 小丑, 2004
Video of performance held at The Braunschweig University of Art (HBK), Braunschweig, Germany 在德国布伦瑞克造型艺术学院进行的行为表演记录录像
ca. 5 min. 约5分钟
In Duan's work the body activates conversations about space, time and the human psyche and social structures through a quiet, yet powerful presence, playing with notions of silent forms of...
In Duan's work the body activates conversations about space, time and the human psyche and social structures
through a quiet, yet powerful presence, playing with notions of silent forms of communication through physical and mental states of being [...] In “Clown” (2004), for example, she dresses like a clown and approaches members of the audience, laughing up close into their faces, invoking the tragic state of the outsider in the jester’s (and perhaps by extension, the artist’s) position. This work displaces the traditionally male figure of the clown and touches on the imminent sense of threat that the marginal, in this case female figure poses to the mainstream.
英梅用无声的力量,在身心两种维度上,来激发 身体同空间、时间、人类灵魂和社会结构的对话。表达、 交流、创意,三者的结合决定了在作品中,口头和书面的 表达是次要的,视觉和身体的交流才是真正的创作灵魂。 例如《小丑》(2004 年),她把脸涂成小丑一样去靠近现 场的观众,几乎是脸贴脸地对着观众嬉笑,她从小丑的角 度唤醒外人的悲伤状态。这件作品替换了传统男性小丑角 色,涉及到了边缘胁迫的意义,在这种情况下,女性形象 成为主流。
From: Hill, Katie, "Yingmei Duan: A Subliminal Presence". In: Kuck, Jürgen Bernhard (Hrsg.), "Yingmei Duan, Performance and Performative Installation Art (1995-2013)", published by Lehmanns Media GmbH, 2013
through a quiet, yet powerful presence, playing with notions of silent forms of communication through physical and mental states of being [...] In “Clown” (2004), for example, she dresses like a clown and approaches members of the audience, laughing up close into their faces, invoking the tragic state of the outsider in the jester’s (and perhaps by extension, the artist’s) position. This work displaces the traditionally male figure of the clown and touches on the imminent sense of threat that the marginal, in this case female figure poses to the mainstream.
英梅用无声的力量,在身心两种维度上,来激发 身体同空间、时间、人类灵魂和社会结构的对话。表达、 交流、创意,三者的结合决定了在作品中,口头和书面的 表达是次要的,视觉和身体的交流才是真正的创作灵魂。 例如《小丑》(2004 年),她把脸涂成小丑一样去靠近现 场的观众,几乎是脸贴脸地对着观众嬉笑,她从小丑的角 度唤醒外人的悲伤状态。这件作品替换了传统男性小丑角 色,涉及到了边缘胁迫的意义,在这种情况下,女性形象 成为主流。
From: Hill, Katie, "Yingmei Duan: A Subliminal Presence". In: Kuck, Jürgen Bernhard (Hrsg.), "Yingmei Duan, Performance and Performative Installation Art (1995-2013)", published by Lehmanns Media GmbH, 2013
