2018 Festival Review & Publication of Accounts｜The 6th UP-ON International Live Art Festival

ARTISTS LIST

国外艺术家 / International Artists:

中国艺术家 / Chinese Artists:

Alan Schacher 艾伦·舍尔（澳大利亚 / Australia） Adina Bar-On 艾迪娜·巴伦（以色列 / Israel） Bartolomé Ferrando 巴托洛姆·费拉多（西班牙 / Spain） Ben Puah 潘家定（新加坡 / Singapore） Clelia Baumgartner 克利莉亚·鲍姆加特纳（奥地利 / Austria） Tomasz Szrama 托马斯·希瑞拉马（波兰 / Poland） Waldemar Tatarczuk 沃尔德·塔塔克祖克（波兰 / Poland） Zygmunt Piotrowski 齐格蒙特·皮奥托夫斯基（波兰 / Poland）

邓上东 Deng Shangdong（中国成都 / Chengdu, China） 邓震 Deng Zhen（中国北京 / Beijing, China） 董洁 Dong Jie（中国成都 / Chengdu, China） 黄文亚 Huang Wenya（中国北京 / Beijing, China） 刘纬 Liu Wei（中国成都 / Chengdu, China） 刘利斌 Liu Libin（中国成都 / Chengdu, China） 李鹏鹏 Li Pengpeng（中国西安 / Xi’an, China） 李心沫 Li Xinmo（中国北京 / Beijing, China） 李琨 Li Kun（中国成都 / Chengdu, China） 马乌 Ma Wu（中国西宁 / Xining, China） 普耘 Pu Yun（中国成都 / Chengdu, China） 邱文青 Qiu Wenqing（中国成都 / Chengdu, China） 童文敏 Tong Wenmin（中国重庆 / Chongqing, China） 王彦鑫 Wang Yanxin（中国成都 / Chengdu, China） 杨俊峰 Yang Junfeng（中国成都 / Chengdu, China） 宇中怡 Yu Zhongyi（中国台湾 / Taiwan, China）

UP-ON Event Schedule

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ACADEMIC LECTURE 

ROUND 1 Artist: Alan Schacher (Australia)	Oct 14 14:00-16:00	Luxehills Art Museum
ROUND 2 Artist: Zygmunt Piotrowski  (Poland)	Oct 14 19:00-21:00	The School of Architecture and Design, Southwest Jiaotong University
ROUND 3  Artist: Bartolomé Ferrando (Spain)	Oct 15 19:00-21:30	Gao Xiaohua Art Museum, Southwest University for Minzu
ROUND 4 Artist: Zhou Bin (China)	Oct 16 14:00-16:00	Luxelakes·A4 Art Museum Academic Hall
ROUND 5 Artist: Adina Baron (Israel)	Oct 17 19:00-21:00	The Art Museum of Sichuan University
ROUND 6 Artist: Tomasz Szrama (Poland）	Oct 21 10:00-12:00	Tianfu College of Southwestern University of Finance And Economics

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PERFORMANCE WORKSHOP 

Oct 16-17 14:00-17:30

Artist: Bartolomé Ferrando (Spain)

Oil Painting Department of Fine Art Institute at Sichuan Conservatory of Music, Xindu campus

DAY 1

DAY 2

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On-Site Performance Creation

Oct. 18 14:00-18:00	LUXELAKES·A4 Art Museum
Oct. 19 14:00-18:00	The Blue Roof Art Gallery
Oct. 20 14:00-18:00	Tianfu College of Southwestern University of Finance And Economics
Oct. 21 14:00-18:00	College of Architecture and Design of Southwest Jiaotong University (XiPu Campus)

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10 / 14 Lecture

14:00-16:00

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Messy, false, broken, inscribed, forgotten…

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Prior to the performance, a patch of paint was applied to a corner of the wall—once dry, it matched the wall color exactly.

The artist, dressed in a black tailcoat and wearing a gray-white wig, began slowly scraping the wall surface with two brass knives. The falling flakes and powder from the wall were carefully gathered and scattered onto a black tablecloth. After some time, the artist put down the knives and brushed the dust from his own body onto the table as well. Then he stood still. Suddenly, the lights went out. The room went completely dark—except for the dust on the black cloth, which, as if by magic, transformed into a glowing blue galaxy.

The revelation came in the final moment: through the dimension of time, the work evoked the image of each person as spiritual dust, quietly drifting through the universe.

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A robotic vacuum pulled me—blindfolded—and six volunteers across the floor as we crawled and wiped the ground together. After circling the space three times, I made tea and invited the participants to drink.

As the snacks from above descended, they overlapped with a projected mandala animation. When an alarm sounded, we crawled under the table to adjust the clock. Once the ringing stopped, we shifted from the performance space back into everyday space, sitting down to share tea and snacks.

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Qiu Wenqing (CHENGDU)

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Wearing a suit, I carry a white door with a doorframe and walk through the crowd. I stop at random moments, face the people in front of me, knock on the door, then continue walking—then knock again. This action is repeated throughout the performance.

Artistic Intention:

1. The “door” is an object we use to intentionally seal off private space. Normally, when we hear a knock, we instinctively move toward the door, curious about what lies on the other side. We decide whether or not to open it. But when a door appears in a public space and a knock sounds—does our usual experience still apply? What kinds of responses might emerge? That’s what I want to explore.
2. A door represents separation—not just between physical spaces, but also between awareness and ignorance, clarity and numbness, privilege and poverty. No matter whether I or the audience are wise or foolish, awake or asleep, noble or ordinary, I hope to open these gaps and barriers, and create space for open, fluid exchange.
3. Knocking on a door in a public space—this door can be opened. I hope it will be. But whether it opens or not is beyond my control; it’s left to chance. I welcome the possibility of that chance occurring.

I took a calligraphy lesson of the most difficult writing system in the world.  Amid heavy physical exercises and a struggle with unfavourable indoor weather conditions, all that toil to express what I felt at that moment with a one single character.雨.

I took a calligraphy lesson of the most difficult writing system in the world.  Amid heavy physical exercises and a struggle with unfavourable indoor weather conditions, all that toil to express what I felt at that moment with a one single character.雨.

My live performance work, Proverb, is an attempt to create a visual poem through action—where layered and interconnected images generate a poetic space and imaginative field.

The inspiration for this piece comes from stories and legends about the robin. In one tale, the robin is known as God’s bird. It is said that when Jesus was nailed to the cross, a robin flew to his side and sang to ease his pain, and its breast was stained red in the process.

Another source is a dark English nursery rhyme: at the trial of the birds, the robin is killed by the sparrow, the fly is the witness, and the fish carries away its blood… In the next trial, the sparrow stands accused.

The performance took place in a courtyard. I used white clay to sculpt abstract bird forms, placing them scattered across the stone slabs like the fallen souls of birds. I sewed blue thread and needles through my clothing, piercing it. Beside a pool of rainwater, I blew blue feathers into the air; they scattered and floated on the water’s surface. I leaned close, bringing my face toward the water… This work is not a literal illustration of these stories, but rather an abstract expression—something that moves beyond narrative, becoming a multivalent visual language open to interpretation.

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This was a speech without words. A speech composed entirely of punctuation.

Throughout the entire performance, Deng Zhen did not read a single word from the title or body of the text. Instead, he recited only the punctuation marks—one by one, in their proper sequence and rhythm, as they would appear in a normal speech.

All the emotional tone typically conveyed through language was instead expressed through variations in the way he vocalized each punctuation mark.

At the end of the performance, Deng Zhen immediately burned the manuscript on site. The performance lasted approximately ten minutes.

This was a speech without words. A speech composed entirely of punctuation.

Throughout the entire performance, Deng Zhen did not read a single word from the title or body of the text. Instead, he recited only the punctuation marks—one by one, in their proper sequence and rhythm, as they would appear in a normal speech.

All the emotional tone typically conveyed through language was instead expressed through variations in the way he vocalized each punctuation mark.

At the end of the performance, Deng Zhen immediately burned the manuscript on site.

The performance lasted approximately ten minutes.

The Road is a work that explores the meaning of life, as well as the gathering and release of energy fields across time and space. Over the course of nearly four hours—from afternoon to dusk, and into the night—I repeatedly threw flour into fire, watching it ignite and burn.

The artist, dressed in a black, form-fitting outfit that covered her from head to toe, walked slowly within a circle in the space. Several pockets were sewn onto her body. As she moved, she continuously murmured in a low voice: “If you wish, you may choose…”

The phrase served as an invitation—encouraging the audience to interact by touching the artist’s body to select a pocket. Inside each pocket was a black fabric strip containing an open-ended action prompt or small object. The audience could choose to respond through movement, language, writing, or sound.

In the past, audiences often expected the artist to deliver meaning through their performance. Here, the work sought to co-create a different kind of organic interpretation—one of shared authorship between artist and audience. Together, they shaped a web of expectation, observation, connection, and attentive listening.

DAILY PHOTOS (Behind- the-Sence)

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Web Editors | Zeng Jie

Festival Photography copyright | UP-ON Performance Art Archive