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Zhongguonongcun (Rural China)

Conceived and directed: Tingying Ma
Dramaturg: Kang Kang
Designer: Ray Ting

《Zhongguonongcun》是从“中国农村”一词中抽离出来的观念,意在摆脱中国农村无与伦比的历史、政治和视觉再现包袱,以及当代精英猎奇的审丑消费和道德困境,通过表演的点状激活使其重新成为可能的审美经验。

《Zhongguonongcun》从中国数亿“底层、边缘”用户中广泛流行的短视频应用平台快手切入不可见者的注意力经济,让3D动画模拟的虚构爱豆李李司在喊麦、直播、社会摇、自导自演的荤段子、双击666等当代视觉文化图景中成为图腾。具有两性器官、生殖力极度旺盛的李李司象征着Zhongguonongcun以迅猛、无可阻碍的速度吞噬和繁殖着一切微不可见的景观,观看却成为了抹除差异的工具。在中国农村意象的复兴与耗竭成为现场艺术。

Zhongguonongcun is the phonetic spelling of “rural China”. A strategy of abstraction to do away with the extraordinarily long and disparate baggage of history, politics, and representation of rural China, as well as the elite’s consumerist exoticization and moral dilemma . when history originates from an app called Kuaishou, or Kwai, a video and photo-sharing social media platform uniquely popular among users living in rural China and its urban fringes. Hundreds of millions of users, otherwise invisible in mainstream media, broadcast their everyday life, singing pop music, choreographing dances, staging self-directed drama all the while cultivating fans in a highly competitive economy of attention. With the hyperfertility of LeeLeeSu’s duplicated genitals, rural China consumes and reproduces every teeny spectacle with cancerous ferocity, whereby the very act of looking again becomes a homogenizing force of erasure. The ongoing revival of the image of rural China, as well as the fatigue of the concept itself, will be experienced as a live art form.

Presented as an opening performance for Elevator Repair Service's revival of No Great Society, Bushwick Starr, Brooklyn, NY, US
June 15, 2017