策 展 人： 王 軍
學(xué)術(shù)支持： 袁霆軒
視覺(jué)統(tǒng)籌： 趙樂(lè)娟
特邀嘉賓： 艾未未 何云昌 王慶松 俞心樵
藝術(shù)家：Kim（澳大利亞） 高雅+高娜（北京+法國(guó)） 刮子（青海）董潔（四川） 黃寬（青海） 黃文亞（湖南） 賈茜蘭（重慶） 李爻（北京） 李巖（北京） 李鶴（北京） 老道（河南） 麥子（北京）馬志民（河北） 泥巴（北京） 馮麗鵬（北京） 苗世明（河北） 清水惠美（日本） 祁影（北京） 佟志勇（河北） 萬(wàn)巧（四川） 王軍（北京） 聞竹（河北） 小奶花（上海） 小日（北京） 徐典（北京） 神經(jīng)中樞樂(lè)隊(duì)（北京）
開(kāi)幕酒會(huì)： 2009年5月1日下午2點(diǎn)-9點(diǎn)
研 討 會(huì)： 2009年5月2日下午2點(diǎn)-6點(diǎn)
地 點(diǎn)： 北京草場(chǎng)地CCD300藝術(shù)區(qū)
接待電話(huà)： 13810846594
E-mail ： okwangjun666@163.com
協(xié)辦單位（待定）： CCD300軟裝商務(wù)會(huì)所、第八天云南餐廳
第二屆前提行為藝術(shù)節(jié)前言
第一屆前提行為藝術(shù)節(jié)的誕生是偶然促成的，未成形前它僅作為一個(gè)藝術(shù)事件、一個(gè)展覽的索引，后經(jīng)由前衛(wèi)藝術(shù)家自發(fā)組織、策劃，加之圓滿(mǎn)實(shí)施了十幾位藝術(shù)家的現(xiàn)場(chǎng)作品，隨即受到藝術(shù)圈內(nèi)的廣泛討論及關(guān)注。
第二屆前提行為藝術(shù)節(jié)作為第一屆前提的延伸，歷經(jīng)一年的長(zhǎng)足思考，現(xiàn)在正是時(shí)候起身聯(lián)手共歡。我們玩兒似的生活，我們?nèi)鐞和揭粯觿?chuàng)作，我們與哲人一起思考，我們?nèi)缰参镆话闵L(zhǎng)蔓延，盤(pán)踞大地，橫越天空。這種不能言白的力量讓眼前這個(gè)荒謬的世界瞬間清晰又極速破碎。
時(shí)鐘指向2009，我們看到金融風(fēng)暴的影響早已蔓延席卷全球，中國(guó)經(jīng)濟(jì)在這場(chǎng)風(fēng)暴中顯得撲朔迷離，有人認(rèn)為中國(guó)的穩(wěn)定和高速發(fā)展將成為世界的救主，也有人斷言中國(guó)的滯后性將讓中國(guó)的經(jīng)濟(jì)在一段時(shí)間后將遭遇同樣乃至更大程度的挫折。然而這個(gè)尚無(wú)定論的未來(lái)在中國(guó)當(dāng)代藝術(shù)領(lǐng)域的影響卻已經(jīng)格外引人注目：畫(huà)廊撤離，機(jī)構(gòu)隱匿，藝術(shù)家們面對(duì)擺滿(mǎn)工作室的作品不知所措。
行為藝術(shù)自身具有不受顛覆的徹底性和自我性，如同一塊堅(jiān)硬的無(wú)法被商業(yè)進(jìn)程腐蝕的石核，在這個(gè)物質(zhì)即神話(huà)的時(shí)代清冽開(kāi)放，成為庸常圖式和已經(jīng)淪為藝術(shù)市場(chǎng)生產(chǎn)工廠(chǎng)的藝術(shù)體制無(wú)法掌控的野性之刃，我們有理由笑得越發(fā)肆無(wú)忌憚。
我們談?wù)撛幃惖纳?，這就是藝術(shù)的本源；我們懷著昨日的老舊跨過(guò)新銳的火盆進(jìn)入明天的黑客帝國(guó)；我們豎起高音喇叭播放International化的重低音；我們從容面對(duì)政治成為強(qiáng)加的妝容滲透入骨；我們打開(kāi)瓶蓋撕開(kāi)塑封口袋摁下PLAY鍵；我們一個(gè)舉手推開(kāi)世界之窗一個(gè)投足五天攬?jiān)?。我們閱讀來(lái)自各行各業(yè)各色人種的行為闡釋?zhuān)覀冝D(zhuǎn)而背棄文本，我們的作品依然在現(xiàn)場(chǎng)秘然前行，依然和你一同知會(huì)上蒼，它們?nèi)耘f散發(fā)著一路隨行的光芒。
這是藝術(shù)界的一場(chǎng)革命，是一場(chǎng)戰(zhàn)爭(zhēng)。它又看似一場(chǎng)游戲，用最簡(jiǎn)單、最直接，也是最唯一、最本源的、人人都可以自由支配的材料——身體，來(lái)傳達(dá)藝術(shù)觀(guān)念，反抗傳統(tǒng)習(xí)俗，挑戰(zhàn)話(huà)語(yǔ)權(quán)威，這個(gè)詞匯不代表誰(shuí)也代表不了誰(shuí)，重要的是我們?cè)诒磉_(dá)，并且將一直延續(xù)。本次前提行為藝術(shù)節(jié)正是在這樣的背景下醞釀施行。作為一個(gè)行為“節(jié)日”，它是沒(méi)有地域性，不需陳舊的資歷和不堪的隱情背景，不自我強(qiáng)調(diào)學(xué)術(shù)價(jià)值，更不牽扯任何商業(yè)目的，它是一個(gè)純粹又真誠(chéng)的，落落大方作為自己也是給世界當(dāng)代藝術(shù)的禮物。
第二屆前提行為藝術(shù)節(jié)由王軍策劃并聯(lián)合CCD300軟裝商務(wù)會(huì)所、第八天云南餐廳等支持單位于2009年5月1日在北京草場(chǎng)地CCD300藝術(shù)區(qū)舉辦?；诓邉潏F(tuán)隊(duì)和組織者的經(jīng)驗(yàn)和思考，在藝術(shù)家以及其他藝術(shù)同仁的關(guān)心支持下，前提行為藝術(shù)節(jié)已茁壯成長(zhǎng)。在這個(gè)社會(huì)空前復(fù)雜的現(xiàn)世，這次相聚將迸發(fā)出最激情的力量，我們對(duì)周身環(huán)境全方位、多角度、多層次的界定和反饋尤為值得期待。我們滿(mǎn)懷希望，拭目以待第二屆前提行為藝術(shù)節(jié)將為當(dāng)代藝術(shù)世界創(chuàng)造怎樣一個(gè)全新而獨(dú)特的舞臺(tái)。
【編輯：鄒斌】
The 2nd QIANQI Performance Art Festival
Organizer：WangJun
Academic Support： Yuan Tingxuan
Invited guests：Ai Weiwei He Yunchang Wang Qingsong Yu Xinqiao
Artist : Kim（Australia） Gao Ya+Gao Na(Beijing + France) Gua Zi(Qinghai) Huang Kuan(Qinghai) Huang Wenya(Hunan) Jia Qianlan(Chongqing) Li Yao (Beijing) Li Yan (Beijing) Li He (Beijing) Lao Dao(Henan) Mai Zi(Beijing) Ma Zhiming(Hebei) Ni Ba(Beijing) Feng Lipeng(Beijing) Miao Shiming(Hebei) Emi Shimizu (Japan) Qi Ying(Beijing) Dong Zhiyong(Hebei) Wan Qiao(Sichuan) Wang Jun(Beijing) Wen Zhu(Hebei) Xiao Naihua(Shanghai) Xiao Ri(Beijing) Xu Dian(Beijing) The nerve center of the band (Beijing)
Opening: At 2:00. p.m -7 p.m May 1, 2009
Workshop: at 7:00 p.m. -9 p.m May 1, 2009
Venue : Bei Jing Cao Chang Di CCD300 Art Area
Contact : t 13810846594
e: okwangjun666@163.com
Sponsor : CCD300 Business Club、The Eighth day Yunnan Restaurant
The 2nd QIANQI Performance Art Festival Preface
The birth of 1st QIANQI performance art festival was occasioned. In the past, it was only an art event ,an index of an exhibition，then some avant-garde artists’ spontaneous organization and planning, moreover, dozens of artists’ works created on the scene were exhibited successfully , following it received far-ranging attentions and discussions from the art circle.
The 2nd QIANQI performance art festival is the extension of the 1st one. After a year’s far-reaching-thinking，now, it exactly the time for us to join hands, have a upbeat party. We live like playing games, create works like devil, think together with wise men, occupy the land and stretch across the sky like the spread of the plants. Such indescribable power makes this absurd world clear instantaneously but shatter rapidly.
The clock points to the year of 2009. The impact of financial storm has spread next engulfed the whole world, in this storm, China’s economy looks vague and ambiguous. Owing to its stability and rapid development, someone believes that China will be the savior of the whole world. At the same time, someone affirms that China’s economy will suffer the same or even more serious setback in future as its backwardness. However, the effect of this uncertain future which is especially noticeable in the realm of China’s contemporary art: Galleries have been removed; institutions are hiding; artists can do nothing with a whole studio’s works.
The performance art itself has the characteristic can it be immune to subvert of its thoroughness and selfhood, as a hard stein kern not being eroded by the commercial process, walks soberly and openly on its own way at the age of material (namely miracle). Like a wild blade going beyond the control of the art system which has became the stodgy iconograph and came down to the factory of art market, it’s reasonable for us to have the unscrupulous laughter even more.
We talk about the abnormal life, which is the origin of art; crossing the hot brazier with memories of yesterday enter the Matrix of tomorrow; play the international XBS BASS with a tweeter and we get used to the reality that politics has become the imposed makeup to infiltrate the bone marrow. We open the bottle, tear the plastic bag and press the PLAY key. One of us open the Window of the world with hands, one take the moon in arms with feet. We read the interpretation of act from all walks of lives and all races. Then we turn-back abandoning the text, while our works still goes on secretly at the scene, and we still believe in Heaven with you all, it will be shining all the way up.
For artistic community ，this is a revolution ,a struggle. Whereas it looks somewhat like a game, use the most simple, direct but also the unique and original material ,everyone can control freely ---- body, used to convey the art concept ,fight against the traditional custom , challenge the“say” authority. It doesn’t represent anyone and can not represent anyone, what is important is that we are expressing and we will continue to do like this. This festival is generated in such background. As a “festival” for performance art, it has no limitation on region, dated experience and worm-eaten secret background. Itself does not emphasize on the academic value, nor involves in any commercial purpose. The festival itself is pure and sincere, which is looked upon as a gift for the world of contemporary art.
The 2nd QIANQI performance art festival will be held at CCD 300 art zone of CaoChang Region Beijing on May 1st, 2009. It is planned by Wang Jun and sponsored by CCD300 flexible package commercial chamber and The Eighth Day Yunnan Restaurant. Based on the experience and consideration of planning team and organizer, together with the help and concern of the artists and art lovers, the QIANQI performance art festival has grown up sturdily. In such complex society, this party will spurt the most passionate power. What we are looking forward to is our definition and feedback toward the environment in an all-directional, multi-angle and multilevel way. With great hope, let’s see what a brand-new and unique stage the 2nd QIANQI performance art festival will bring to the world of contemporary art.
【編輯：鄒斌】
