Body Archive 身體檔案
Drawing of Choreography 舞之畫語
Vicky (Yijia) Tang
Body Archive 身體檔案 和 Drawing of Choreography 舞之畫語 是 Vicky (Yijia) Tang 唐藝嘉於Royal College of Art 英國皇家藝術學院的作品。 Vicky 描述說她的作品通常以舞蹈，現場行為藝術表演，視覺傳達，編舞，繪畫和影視製作等形式展出。她的表演性語言探索了我們的身體如何通過運動來傳達與自我更新。
Her work has presented in London at Work in Progress Show, Royal College of Art (2020), The Creative Space Autumn Exhibition, Arlington House, (2019), Archiver(s), Tate Britain Archives (2019), P.3-P.117, Tenderbooks, and in New York at the School of Visual Arts Illustration Residency (2019).
Body Archive ‘身體檔案’是 Vicky 對英國泰特美術館檔案室有關當代舞蹈材料的身體研究。她從和舞蹈藝術家 Margarita Zafrilla Olayo 合作表演中來討論個人身體是否能夠作為一個檔案室或沙場。此項目提出了一個關於'如何存檔一件拒絕自身被存檔的藝術品的問題。並且實驗瞭如何記錄與轉化現場藝術表演瞬間。
她從Marcel Mauss在1950年有關'身體與技巧'的研究中提煉出：他認為身體是一個不斷自我更新的資料庫。它就像她的作品‘身體檔案’ Body Archive一樣，唯一為了研究，更需要用自己的語言將沉睡的經典喚醒，賦予其生機與活力。
德國的哲學家Marcus Steinweg曾說：“請給我一些你的材原料，我將只會做你沒做過的東西。”她的這個項目也是要求作者和參與觀眾重新來定義那些被封存的作品，並且取其精華，使作品再生。在這個過程中，積極的重塑現代舞蹈的演變史，重新重建現場藝術體驗。
This work was in response to the material in the Tate Britain archive. Part of the work is a performance piece with Margarita Zafrilla Olayo that explores the body as an archive/battlefield. My project asked questions about how to archive a work that refuses to be archived. It is an experiment on how to document live art.
The project draws on Marcel Mauss’d research on body technique in 1950. Mauss argued that the body is a repository of the form of usage. Here the ‘body as an archive’ uses the materiality of the body to accumulate documents and then trace the knowledge stored back to the body.
The theory of dance, like memory, form bodies. German philosopher Marcus Steinweg said, “give me your material, and I will show you what you are not doing with it.” This project asks how we can redefine archival material and use embodied knowledge to bring it alive - actively performing dance history, reconstructing, and reimagining the lived experience.
Drawing of Choreography 舞之畫語
舞蹈是一種隱於形的藝術，身心結合，將即時的狀態連結時空。而繪畫是有形的敘述語言，是一種運動軌蹟的紀錄。
Vicky的表演經常沉浸於舞蹈與繪畫的關係中，並將兩者融會貫通。‘舞之畫語’Drawing of Choreography 是一場為時三天的表演作品，其後通過視頻記錄與再加工，在皇家藝術學院的畢業展中通過靜態影像的形式展出。此作品作者思考如何在表演的過程中與觀眾產生無形的對話，並從觀看之道的角度探討空間位移與好奇心的重要性。
靈感源於對事物無常的追問，通過即興表演的方式將這一思想表現出來。她吸收了佛教與道德經的精神，思想源於萬物皆不穩定的規律。在探索的過程中，Vicky執著於對舞蹈與繪畫的可視性與隱秘性的研究。
因為舞動的人是無法實時看到自己的運動痕蹟的，於是她置身於面具之下，並將自己的繪畫貼近身體，作為外衣，顯現於觀眾的視角中。把身體運動的軌跡以畫面的形式展現出來，並記錄與存檔了此表演的過程。通過傳達繪畫與舞蹈的品質與精神，產生共鳴。她相信藝術不僅是為了單方面的敘述問題，它還可以積極地影響觀眾的個體感受，並參與於其中，自然地成為了作品的一部分延伸。作為一名視覺行為傳達者，她希望找到一個不斷交流與辯論的空間作為平台，並且邀請觀眾來參與互動。
This work is a three-day live performance in a collective space. It proposes a dialogue and “gives attention” to the spectator. It talks about the politics of curiosity.
In my performance, I played with the idea of uncertainty and fear without knowing, inspired by Zen Buddhism and Tao-te Ching. Furthermore, the invisibility and visibility through sharing and communicating different qualities of drawing and dancing. Here, I bring pictures close to my body and become visible to the spectator, transforming performative action into archiving notations.
I believe that art isn’t there to explain things. It’s there to affect people and to activate the relations between the senses. As a performative communicator, I want performance space to be a place of permanent debate, and the spectator to play an active part in perception.
充满水的眼睛
The Eyes Filled Up with Water
充滿水的眼睛是將兩個移動影像面對面的放置，就像一本翻開的書，每一頁的翻動都保留了過往的聯動記憶。
這個項目是我與創意空間的藝術家合作完成的，這裡有很多藝術項目和創意工作坊。它由卡姆登的阿靈頓植入中那些無家可歸的藝術家共同經營。此次合作是皇家藝術學院的視覺傳達專業伴隨組織的開山對話。
面具製作工作坊是我們用表演來代替對話，走近彼此。為了回應這個作品，她把自己分成兩部分遊走在自我的重影與四個稱為面具舞者之中，逐步來呈現一種呼喚與回應的功能關係。
The Eyes Fill Up with Water positions two moving image works facing each other, like a book to hold connections and memories.
The project is a collaboration with participants at The Creative Space, a studio space programmed with artist projects and creative workshops run by SPACE for homeless people at Arlington hostel in Camden.
Mask-making workshops were translating the action of communication into a performance. In a responding work, I separated myself in ‘double motions’ and travelled between myself and the four masked dancers to create a work that functions as a kind of call and response.
唐藝嘉
Vicky (Yijia) Tang
我的敘述語言會關照身體與心靈的結合，通過舞蹈表演與繪畫將知識再生。根據人的感官，觸覺，視覺，和人類學之動物與自然的天性入手，試圖與日常物件，相遇的人還有所處的環境產生關聯，並且在現實與虛擬空間中發出回音。
我的作品通常需要在公共空間中展覽並有不同的觀眾參與。
我試圖去將一些無形事物的存在可視化：例如那些無法表達的事實，破冰之旅的對話，還有言語中所需要被呼喚的平衡法則，身體的運動規律等等。通過記憶與經驗的累積，我提煉出人類身體檔案和記憶儲存空間，並將其轉化成個人藝術語言。
我認為運動可以為那些持續失去的傷痛搭建療癒的橋樑。它承載並傳達著人類固有的連接關係，這一規律也適用於一些難以表達的尷尬，或用幽默來回應的脆弱性之中。
My language for communication focuses on embodied knowledge through dance, performance, and drawing. I look at how our senses, tactility, gaze, and the animal nature of human beings, interact with daily objects, people, and architecture through virtual and physical space. My works are usually presented collectively in open space with various audiences.
I aim to visualise intangible realities: the inability of communication, the attempt of dialogue, and the unbalance between language, and body movements. By connecting the division between the realm of memory and the field of experience, I reflect on the closely related subjects of the body as archive and physical memories, and how they transform through movement.
I consider movement as a bridge for a continuous loss. It presents as a transformation for human connection, as well as awkwardness, a humour that echoes our vulnerabilities.
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