2026年伊始，MAM & UP-ON现场艺术文献中心于上海正式成立，致力于开展现场艺术文献的收集、研究和展示，推动创作实践与跨域交流。
继聚焦于文献梳理和展示的项目《钩沉》于6月启动后，另一旨在推进学术交流和创作实践的《MAM & UP-ON国际现场艺术季》，也将于9月底登场。艺术季将通过讲座、工作坊和现场创作等板块，向公众输出丰富、专业的艺术教育内容。
At the beginning of 2026, the MAM & UP-ON Live Art Documentation Center was officially established in Shanghai. The Center is dedicated to collecting, researching, and presenting live art documentation, while advancing creative practice and cross-disciplinary exchange.
Following the June launch of Gouchen, a project focused on the organization and presentation of archival materials, the MAM & UP-ON International Live Art Season—another initiative dedicated to advancing academic exchange and creative practice—will open at the end of September. Through lectures, workshops, and live creation, the season will offer the public a rich and professionally grounded program of art education.
2026首届FICFF
✨MAM & UP-ON国际现场艺术季开始啦✨
2026 First FICFF
MAM & UP-ON International Live Art Festival
✨is about to Begin✨
本届艺术季有一场持续2.5小时的全体艺术家的作品分享马拉松，免费参与！
This year's Art Season features a 2.5-hour work-sharing marathon by all the artists, which is free to attend!
有8位中外艺术家为期2天的现场创作，免费参与！
This year's Art Season features 8 Chinese and foreign artists creating works on-site for two days, free to attend!
有2位导师主持的2天工作坊，限报名付费者参与（即将售罄）！
This year's Art Season features two workshops hosted by two Performance Art tutors, limited to those who register and pay！
请各位收藏此推文，合理安排时间行程。
Please save this article and arrange your schedule reasonably.
我们现场见！
SEE YOU IN MAM & UP-ON !
日程指南
Complete Guide
除工作坊外，全程免费参与！
🔔请观众提前15分钟候场，活动开始后停止入场
9.24 / 9.26
艺术家工作坊
Performance Workshop
▮ 9月24日
10:00-17:00
Marcel Sparmann (Germany)
艺仓美术馆 5楼
Modern Art Museum, 5F
▮ 9月26日
14:00-18:00
Tony Orrico(USA)
艺仓美术馆 5楼
Modern Art Museum, 5F
9.25
开幕论坛暨FICFF可持续发展论坛·上海
Opening Forum & FICFF Sustainable Development Forum · Shanghai
10:30-12:30
艺仓美术馆 5楼
Modern Art Museum, 5F
现场创作
On-site Performance
14:00-18:00
艺仓美术馆 4楼
Modern Art Museum, 4F
9.27
艺术分享马拉松
Art-talks Marathon
10:30-13:00
艺仓美术馆 5楼
Modern Art Museum, 5F
现场创作
On-site Performance
14:00-18:00
艺仓美术馆 4楼
Modern Art Museum, 4F
艺术家介绍
Artist's Bio
国际艺术家 International Artists
约翰·考特（英国）/John Court (UK)
林荣华（新加坡）/ Jason Lim (Singapore)
娜塔莎·莫斯基尼（瑞士）/ Natascha Moschini (Switzerland)
托尼·奥里科（美国）/ Tony Orrico (USA)
马塞尔·斯帕曼（德国）/ Marcel Sparmann (Germany)
*按A-Z排序
中国艺术家 Domestic Artists
李尧瑶 / Li Yaoyao
王溪曼 / Wang Ximan
王彦鑫 / Wang Yanxin
*首字母排序
约翰·考特（英国）
John Court (UK)
约翰·考特（出生于英国，现居芬兰）是一位视觉与行为艺术家，其创作实践涵盖长时段行为、绘画、雕塑、影像及文本作品。自20世纪90年代中期以来，他的创作聚焦于耐力、重复、时间，以及身体、语言与物质结构之间的关系。
他的行为作品常以与物件和材料持续进行的身体行动为核心；在其中，动作成为一种绘画形式，而身体既是主体，也是结构。他曾在欧洲、亚洲及北美等地举办展览并进行行为表演。自20世纪90年代末以来，他一直在芬兰生活与工作。
John Court (UK-born, based in Finland) is a visual and performance artist whose practice spans durational performance, drawing, sculpture, video and text-based work. Since the mid-1990s, his work has focused on endurance, repetition, time and the relationship between the body, language and material structures.
His performances often involve sustained physical actions with objects and materials, where movement becomes a form of drawing and the body functions as both subject and structure. He has exhibited and performed internationally across Europe, Asia and North America and has lived and worked in Finland since the late 1990s.
艺术家网站：johncourtnow.com
▮ 2 × 无题 （2 × Untitled）
芬兰赫尔辛基，2023
Helsinki, Finland，2023
图片由艺术家惠允/Courtesy of the artist
第一部分：表演者向后退行，用白色粉笔涂抹覆盖黑色飞机雕塑；第二部分：表演者向前行进，用记号笔以黑色颜料重新将雕塑涂抹覆盖。
First: moving backwards while covering a black aeroplane sculpture with white chalk. Second: moving forwards while recovering it in black with a markerpen.
▮ 无题 （Untitled）
中国北京 / Beijing, China, 2016
摄影：Zhang Zhi Qiang
在无穷符号造型的木质结构上开展五小时行为表演，表演者不停走动，标记数字，额头呈现 godgobdog 这组文字。
Fivehour performance on an infinityshaped wooden structure, moving continuously while marking numbers and wearing the words godgobdog on the forehead.
图片由艺术家惠允/Courtesy of the artist
林荣华（新加坡）
Jason Lim (Singapore)
林荣华（1966年生于新加坡）是一位跨学科艺术家，创作涵盖陶艺、行为、装置、摄影及动态影像。他以土、水、空气、火与空间等元素为线索，探索身体、材料、自然与无形之物之间的关系。重复、持续时长与冥想式行动构成其创作核心；他将身体视为体验材料、时间与转化的载体。陶艺在其实践中延伸至行为、声音与空间装置。近年，他尤其通过陶铃和器皿探讨聆听、共鸣与静默，并关注身体、空气及环境对陶瓷物件的激发。
自1994年以来，林荣华持续参加国际展览、双年展及行为艺术节，包括威尼斯双年展、世界陶瓷双年展、台湾国际陶艺双年展、威尼斯国际行为艺术周、雅加达双年展及印度洋工艺三年展等。2004至2016年，他任“未来想象”（Future of Imagination，FOI）国际行为艺术活动的组织者、联合艺术总监及艺术总监；2021年组织、执导并联合策划“新加坡陶艺现状”；2024年任“PingPong——新加坡与越南现场艺术驻留项目”联合艺术总监。过去两年，他在景德镇持续工作并参与当地陶艺与行为艺术社群；即将参与2026年曼谷艺术双年展。
Jason Lim (b. 1966, Singapore) is a multidisciplinary artist working across ceramics, performance, installation, photography and moving image. Guided by the elements of earth, water, air, fire and space, his practice explores relationships between the body, material, nature and the intangible. Repetition, duration and meditative action are central to his work, in which the body becomes a vessel for experiencing material, time and transformation. Ceramics extends in his practice into performance, sound and spatial installation. In recent years, he has explored listening, resonance and silence, particularly through ceramic bells and vessels, and the activation of ceramic objects by the body, air and their surrounding environment.
Since 1994, Lim has participated in international exhibitions, biennales and performance art festivals, including the Venice Biennale, World Ceramics Biennale, Taiwan Ceramics Biennale, Venice International Performance Art Week, Jakarta Biennale and Indian Ocean Craft Triennale. From 2004 to 2016, he was an organiser, Co-Artistic Director and Artistic Director of Future of Imagination (FOI), an international performance art event in Singapore. In 2021, he organised, directed and co-curated Singapore Ceramics Now 2021. In 2024, he was Co-Artistic Director of PingPong – Singapore and Vietnam Live Art Residency in Hanoi.
Over the past two years, Lim has been working in Jingdezhen, China, and participating in its ceramic and performance art communities. He will participate in the Bangkok Art Biennale 2026.
▮ 仙槎｜Xiancha
现成灯笼/Ready-made lantern，2026
地点：中国景德镇/Jingdezhen, China
图片由艺术家惠允/Courtesy of the artist
在一座曾为聚会与庆典而建、如今已残破的大厅中，我提着两盏红灯笼穿过尘土、寂静与渐暗的光线。它们脆弱的光芒缓缓掠过一片坍塌的景观——仿佛记忆本身正在寻找一处可以停驻之地。
灯笼成为呼吸的身体：承载耐力、哀悼与安静坚持的器皿。面对破损的剧场帷幕和残破的天花板，表演展开为一段穿行于废墟与温柔、消失之物与仍拒绝消失之物之间的过程。
In a ruined hall once built for gathering and celebration, I carried two red lanterns through dust, silence, and falling light. Their fragile glow moved slowly across a landscape of collapse — as though memory itself was searching for a place to rest.
The lanterns became bodies of breath: vessels of endurance, mourning, and quiet persistence. Against the torn theatre curtain and broken ceiling, the performance unfolded as a passage between ruin and tenderness, between what has vanished and what still refuses to disappear.
▮ 铃响系列｜Tintinnabulation series
陶瓷 Ceramics, 2026
地点：中国景德镇/Jingdezhen, China
图片由艺术家惠允/Courtesy of the artist
《铃响系列》是我持续进行的“Tintinnabulation”系列的一部分，在宜兴驻留期间创作，并于景德镇呈现。
该系列探索声音、静默，以及聆听如何改变我们对空间和时间的体验。
装置由六件手工制作的炻器铃铛构成。每件铃铛上都刻有一个甲骨文字：水、木、火、土、山与心。这些古老的文字代表自然元素，并让我想起早期人类理解世界的方式。
这些铃铛并非传统意义上的乐器。我将它们视为容纳声音与记忆的器皿。当它们被敲响时，声音会在空间中停留片刻，随后缓缓消散。对我而言，声音之后的静默与声音本身同样重要。
Tintinnabulation series is part of my ongoing Tintinnabulation Series, developed during my residency in Yixing and presented in Jingdezhen.
The series explores sound, silence, and how listening changes our experience of space and time.
The installation consists of six hand-built stoneware bells. Each bell carries an oracle-bone character: water, wood, fire, earth, mountain, and heart. These ancient characters represent the natural elements and remind me of the way early people understood the world.
The bells are not traditional musical instruments. I think of them as vessels that hold sound and memory. When they are struck, the sound stays in the space for a short time before slowly disappearing. For me, the silence after the sound is just as important as the sound itself.
摄影：Karin Salathé
娜塔莎·莫斯基尼（瑞士）
Natascha Moschini(Switzerland)
娜塔莎·莫斯基尼是一位表演者及舞蹈艺术家。她的创作游走于人体的诗性与政治性交汇之处。她通过编舞与戏剧构作的形式，持续重新审视社会权力关系如何在身体性中显现，并由此得到表达。
她的实践涵盖动作、空间介入与观念研究。她质疑既有的不平等，并游走于行为、绘画及跨学科研究之间。在这些语境中，她将精准的观察与对人际张力的敏锐感知相结合。2022年，她获得巴塞尔乡村州与巴塞尔城市州表演艺术委员会的发展资助，并发起了一项关于恐惧戏剧构作的合作研究项目。
莫斯基尼曾参与“danse et dramaturgie”项目，以及瑞士剧院网络（Swiss Theater Network）中的“handle with care”实验室。她曾获Akademie Schloss Solitude驻留奖学金（2016），并于伯尔尼蒸汽中心（Dampfzentrale Bern）担任关联艺术家（2020/21）。近期，她先后在La Ma Residency（意大利）、Studio Meridional（法国）和Raumstation（德国）完成驻留。
2024年，她获得兰迪斯与吉尔基金会（Landis & Gyr Foundation）创作资助。2025/26演出季期间，她担任巴塞尔兵营（Kaserne Basel）的实验室艺术家；2026年夏季，她将于瑞士文化基金会上海办公室开展艺术家驻留。
Natascha Moschini is a performer and dance artist. Her work oscillates between the poetic and political intersections of the human body. Through choreographic and dramaturgical forms, she continually re-examines how social power relations manifest in physicality and are thereby expressed. Her practice is situated within movement, spatial interventions, and conceptual research. She questions existing inequalities, moving between performance, drawing, and interdisciplinary research. In these contexts, she combines precise observation with a keen sense of interpersonal tensions.
In 2022, she received a development grant from the Performing Arts Committee of Basel-Landschaft and Basel-Stadt and initiated a collaborative research project on the dramaturgy of fear. Moschini was a participant in the „danse et dramaturgie" program as well as the „handle with care" lab within the Swiss Theater Network. She was a fellow at the Akademie Schloss Solitude (2016) and an Associated Artist at the Dampfzentrale Bern (2020/21). Most recently, she completed residencies at La Ma Residency (IT), Studio Meridional (FR), and Raumstation (DE). In 2024, she was awarded the Landis & Gyr Foundation's Work Grant and in 2025 nominated for the Swiss Performance Art Award. During the 2025/26 season, she is a Lab Artist at Kaserne Basel and, in the summer of 2026, a resident artist at Pro Helvetia Shanghai.
艺术家网站：nataschamoschini.com
▮ 恐惧的敏捷性｜Agility of Fear
2024
地点：瑞士巴塞尔 / Basel, Switzerland
摄影：Karin Salathé
我们是否应该更有意识地面对自己的恐惧？在舞蹈作品《恐惧的敏捷性》中，娜塔莎·莫斯基尼（Natascha Moschini）回应了这一挑战。她通过现场音乐、光影的交织，以及手持智能手机摄像机，探索恐惧的美学与动态。我们跟随当晚的主角，来到可见与不可见、熟悉与未知之间的临界处。
在寻找一种能够赋能我们、帮助我们与恐惧共处的游戏式探索中，一个问题浮现：保持冷静，还是陷入恐慌？未知是否令我们畏惧，抑或会展开一股转化性的力量？
除演出外，项目还发展出一系列延伸活动，包括作品的音频描述、酷儿女性主义恐怖电影之夜，以及一场面向青年、位于文本与表演交汇处的工作坊。
Should we engage more consciously with our fears? In her dance performance „Agility of Fear," Natascha Moschini takes up this challenge. Through live music, the interplay of light, and a handheld smartphone camera, she explores the aesthetics and dynamics of fear. The audience is following the evening's protagonist to the threshold between the visible and the invisible — the familiar and the unknown.
In the playful search for an empowering way to navigate fear, a question arises: Stay calm or panic? Does the unknown intimidate us, or does it unfold a transformative force?
Alongside the performances, additional programming was developed, including an audio description of the piece, a queer-feminist horror movie night, and a workshop at the intersection of text and performance for young adults.
▮ 幽灵｜Gespenster
2026
地点：瑞士巴塞尔 / Basel, Switzerland
摄影：Karin Salathé
在《幽灵》中，娜塔莎·莫斯基尼探索自己与跨代传承之间的关系，并思考过去如何被铭刻于我们的身体与我们面对生活的态度之中。然而，那些未被言说的事物该如何被审视？人又该如何进入一个门窗紧闭的祖先领域？
手在空气中划过，整理仪容的动作，蒸汽清洁机轻柔的嘶嘶声——莫斯基尼在这些细微的动作中追随具身的记忆。每一个动作都在个人历史与集体历史之间细腻地编织，并逐渐化作一场哀悼的仪式。光滑的表面开始龟裂，短暂地显露出其下潜藏之物——那些萦绕着我们、拒绝放过我们的存在。
In "Gespenster", Natascha Moschini investigates her relationship to a transgenerational inheritance and explores how the past is written into our bodies and our attitude toward life. But how can that which is unspoken be examined? How can one enter an ancestral field whose doors and windows are tightly sealed?
A hand tracing the air, a gesture of grooming, the soft hiss of a steam cleaner — in small movements, Moschini follows embodied memories. Each action delicately weaves between personal and collective history, becoming a ritual of mourning. Smooth surfaces begin to crack, offering fleeting glimpses of what lies beneath — that which haunts us and refuses to let us go.
托尼·奥里科（美国）
Tony Orrico(USA)
Tony Orrico（he/they，1979年生于美国）是一位跨越行为艺术、绘画与身体实践的艺术家。其创作以身体作为重要媒介，通过即兴与持续性过程探索心理与身体耐力、身体感知、生物几何以及形式如何在运动与行动中生成。
Orrico 曾在美洲、欧洲、亚洲及澳大利亚等地进行表演与展览，作品被美国国家科学院、墨西哥国立自治大学当代艺术博物馆及爱荷华大学斯坦利艺术博物馆等机构永久收藏。他曾于巴塞罗那当代文化中心、蓬皮杜中心梅斯分馆、新博物馆等机构呈现作品。2010年，他受邀参与纽约现代艺术博物馆Marina Abramović 回顾展，重新演绎 Abramović 的行为作品。
Orrico 曾是 Trisha Brown Dance Company 与 Shen Wei Dance Arts 成员，并在悉尼歌剧院、威尼斯凤凰歌剧院等国际舞台演出。现任美国爱荷华大学雕塑与跨媒介艺术及舞蹈助理教授。其创作亦被收录于 Performance Drawing: New Practices Since 1945（Bloomsbury，2020）等出版物中。
Tony Orrico (he/they; b. 1979, US) works at the intersection of performance, drawing, and embodied systems. Their practice investigates mental and physical endurance, somatics, bio-geometrics, and emergent form through improvisation and durational process.
Orrico has performed and exhibited internationally across the Americas, Europe, Asia, and Australia. Their visual work is held in the permanent collections of the National Academy of Sciences (Washington, DC), the Museo Universitario de Arte Contemporáneo (MUAC, Mexico), and the Stanley Museum of Art (Iowa), among others. They have presented work at institutions including the CCCB, Centre Pompidou-Metz, and the New Museum. In 2010, Orrico was selected to reperform the work of Marina Abramović during her retrospective at the Museum of Modern Art.
A former member of the Trisha Brown Dance Company and Shen Wei Dance Arts, Orrico has performed at venues including the Sydney Opera House and Teatro La Fenice. Orrico is currently Assistant Professor of Sculpture & Inter media and Dance at the University of Iowa. Their work was featured in Performance Drawing: New Practices Since 1945 (Bloomsbury, 2020), a collection examining the relationship between drawing and performance.
艺术家网站：https://www.tonyorrico.com
▮ 就像飞蛾扑火，我们最终还是会回归这个系统
（Like moth, we return to the system）
时长：约90分钟
活动：D5 Live Arts Festival
地点：法国圣朱利安-莫兰莫莱特
日期：2025年6月1日
-
Approx. 90 min
D5 Live Arts Festival
St. Julien-Molin-Molette, France
June 1, 2025
表演视频网站：https://vimeo.com/1150207974
图片由艺术家惠允/Courtesy of the artist
一场回应特定场域的行为绘画与装置作品，以昔日的 Ste Marthe 丝绸工厂为创作现场。作品将蚕蛾——一种原本可以象征蜕变的生命——置于丝绸生产中被压迫的主体位置，由此回应这一场所的历史及其生产关系。
A site-responsive performance drawing and installation responding to former Ste Marthe silk factory, isolating the moth—what could be a symbol of transformation—as the oppressed subject of silk production.
▮ 彭沃尔德_4_ 齐奏对称站立 ｜ Penwald: 4: unison symmetry standing
地点：RISK SceneKunst，挪威斯塔万格
日期：2022年2月3–5日
媒介：行为表演，纸上石墨
时长：连续3天，每天持续4小时（共12小时）
尺寸：96 × 240英寸
版本：限量8次行为表演
-
RISK SceneKunst, Stavanger, Norway
February 3-5, 2022
Performance, graphite on paper
4 continuous hours, 3 consecutive days (12 hours)
96 x 240 inches
Ed. of 8 performances
表演视频网站：https://vimeo.com/916755454?share=copy&fl=cl&fe=ci
摄影：Michael Hart
Orrico 面向墙壁保持固定站姿四小时，通过个人的身体运动实践进行双侧对称绘画，其动作会对周围环境的提示与身体感受作出回应。这一行为连续三天重复进行：从第一天的左手主导，转变为第二天的右手主导，最终进入一种不再具有主导次序、完全开放接收的状态。最终形成的装置如同一份记录身体付出的幽灵般的痕迹档案：整合后的身体经验集中于画面中央，而更加破碎、零散的痕迹则逐渐向边缘扩散。
Orrico stands stationary facing a wall for four hours, performing a bilateral drawing through a personal movement practice responsive to environmental cues and bodily sensation. Repeated over three consecutive days, the work shifts from left-hand dominance to right-hand dominance, to a fully receptive state without dominant order. The resulting installation presents a spectral record of effort, with integrated experience centralized and more fragmented traces dispersing toward the edges.
摄影：Fenia Kotsopoulou
马塞尔·斯帕曼（德国）
Marcel Sparmann(Germany)
Marcel Sparmann 是一位以身体运动为核心的艺术家，创作横跨行为、舞蹈与装置等领域。他的艺术实践在表演艺术与视觉艺术之间游移，并会根据不同阶段呈现出不同的侧重点。他对于沟通、关系与交流的理解，主要建立在图像与行动之上。Marcel 始终置身于多重社会叙事、个人叙事与自我叙事之中，同时也关注塑造这些叙事的具体语境，并试图不断加深对这些相互纠缠关系的觉察。多年来，他持续尝试在这些叙事尚未被语言界定之前，触及其复杂性，对其加以辨认与理解，并将其转化为诗意且碎片化的表达形式。他尤其关注流动性的变异与解构，并意识到我们始终被各种视觉语言所包围，而这些视觉语言的意义、诠释与编码也在不断变化。如何穿梭于这些元素之间，与之互动并重新框定它们，并在这一过程中创造新的文化环境，是其艺术实践中的核心议题之一。
Marcel Sparmann is a movement-based artist working across performance, dance, and installation. His artistic practice moves—at varying points of emphasis—between the performing and visual arts. His approach to communication, relationships, and exchange is primarily grounded in imagery and action. Marcel is embedded in diverse social, personal, and self-narratives, as well as in the contexts that shape them, and seeks to become increasingly aware of these entanglements. For years, he has been driven by the desire to grasp such narratives in their pre-linguistic complexity, to acknowledge them, and to transform them into poetic and fragmentary forms of expression. He is particularly drawn to ideas of fluid mutation and deconstruction, recognising that we are constantly surrounded by visual languages, with their shifting meanings, interpretations, and codes.
Navigating, engaging with, and reframing these elements—and, in the process, creating new cultural environments—is a central concern of his artistic practice.
▮ 若一个词来自海洋，它便足以将你吞没
A single word can engulf you, if it comes from the ocean.
2020威尼斯国际行为艺术周，Co-Creation Live Factory，莫拉宫，意大利威尼斯
Venice International Performance Art Week 2020, Co-Creation Live Factory,, Palazzo Mora, Venice [IT]
摄影：Jacques Martens
《A Single Word Can Engulf You, If It Comes from the Ocean》（若一个词来自海洋，它便足以将你吞没）将已经被讲述、以及尚待讲述的时间置于特定情境之中，并赋予其形态。
作品为那些难以言说之物创造了一个可被感知和亲身体验的空间，并在持续三小时的过程中展开为一场仪式化的交流——发生于受伤的身体、玻璃与不断变化的声音之间。随着每一个新章节展开，一个完整的共鸣空间逐渐形成；它既承载着个人经验，也成为一个面向公众的相遇与交流之所。
“A single word can engulf you, if it comes from the ocean” situates and shapes narrated and yetto-be-narrated time. It offers the unspeakable a sensorial, experiential place and unfolds over 3 hours as a ritualized exchange between a wound body, glass and voice in transformation. Each new chapter becomes a holistic space of resonance, taking shape as both a personal and a public site of encounter.
▮ 脚与头之间的未言——与阿尔弗雷多·贾尔对话
From the unspoken between feet and head – in conversation with Alfredo Jaar
第五届 Deformes 行为艺术双年展，记忆与人权博物馆，智利圣地亚哥，2014年
V. Bienale de Performances Deformes, Mueo de la Memoria, Santiago de Chile [CL], 2014
摄影: Dominique Wainstein
这场行为表演发生于智利记忆与人权博物馆前，同时作为 Alfredo Jaar 装置作品“意识的几何”的临时组成部分呈现。行为表演与展览都将观众引向博物馆建筑的地下空间，由此营造出另一种空间——一个引导人们思考光明与黑暗、感性与知识之间关系的场域。作品的概念出发点源自一句墨西哥格言：“他们试图埋葬我们，却不知道我们是种子。”这一隐喻同时唤起了在场与缺席，并由此展开一系列联想与思考，聚焦于消失、记忆与抵抗。
This performance took place in front of the Museo de la Memoria and as a temporary component of Alfredo Jaar’s installation “La Geometría de la Conciencia.” Both the performance and the exhibition lead into the underground spaces of the museum building, creating another kind of space - one that invites a meditation on light and darkness, sensuality and knowledge. The conceptual point of departure was the Mexican slogan: “They tried to bury us, they didn’t know we were seeds.” A metaphor that simultaneously evokes presence and absence, unfolding a field of associations and reflections centered on disappearance, memory, and resistance.
李尧瑶 （中国，成都）
Li Yaoyao（Chengdu, China）
李尧瑶（b.1994），本科毕业于四川美术学院，2021年硕士毕业于威尼斯美术学院，现生活工作在成都。
她的作品涵盖了行为、影像、文字等创作媒介，从不同的记忆情境链结到身体的自我意象转化，在专注于每个当下的同时，再构建一种真实可靠的平衡关系，这个关系里会包含一个正在不断盛接又不断在溢满的容量空间。
Li Yaoyao（b. 1994）born in Chengdu, China, graduated from Sichuan Fine Art Institute before getting the Master's degree in Venice Academy of Fine Arts, Italy. She currently lives and works in Chengdu.
Her artistic practice spans performance, video, and text. By connecting disparate memoryscapes with the transformative self-imagery of the body, she focuses on each present moment while reconstructing an authentic and balanced relationship—one that contains a capacious vessel in a perpetual cycle of filling and overflowing.
▮ 倒立｜Upright reflection
单屏4K有声，7'56''min，彩色，重庆嘉陵江，2023
Single-screen 4k video,color,7'56''min,Chongqing，2023
图片由艺术家惠允/Courtesy of the artist
凹，是我在水下倒立时想象的身体图景：四周溢满了水，中间那块几何的方形，是我的头部。
这是一段缓慢离开的过程。身体像一滴水垂直滴落，70%的水分子在这一刻开始不断溶解、聚集、分离。当呼吸进入水下，水面重新归于平静，新的身体也在新的重力中缓慢生成。
“凹” is an imagined bodily landscape that emerged as the artist stood upside down beneath the water: water fills the space around the body, while the geometric square at the center represents the artist’s head. It is a slow process of leaving behind the body of inertia. The body falls vertically like a drop of water; in an instant, the 70% of water molecules within it begin to dissolve and gather, again and again. As the surface of the water gradually returns to stillness, a new tension forms between the body and the water. Breath enters beneath the surface, and another body emerges.
▮ 过山岗 ｜Nowhere
单屏4K, 5min,彩色无声, 2024
Single-screen 4k video,color,5min,2024
图片由艺术家惠允/Courtesy of the artist
图片由艺术家惠允/Courtesy of the artist
我将身体埋藏于沙土之下，脚心朝上，一根牧羊绳连接着我的手与小羊羔。一位头戴粉色头巾的牧羊女从一方走来，解开拴于我手上的绳索，抱起羊羔，双脚站立在我的脚心之上。片刻停留后，牧羊女放下羊羔，牵引它从另一方慢慢离开。这里发生的故事关于时间，关于重量，也关于温度。
The artist buries her body beneath the sand, the soles of her feet facing upward. A shepherd’s rope connects her hand to a lamb.At this moment, a shepherdess wearing a pink headscarf approaches from one side. She unties the rope from the artist’s hand, lifts the lamb, and stands with both feet upon the soles of the artist’s feet. After remaining there for a moment, she sets the lamb down and slowly leads it away in the opposite direction. What unfolds here is a story about time, about weight, and about temperature.
王溪曼（中国，沈阳）
Wang Ximan (Shenyang, China)
王溪曼1990年出生于辽宁沈阳，是一位活跃于中国和欧洲的行为艺术家。2016年毕业于意大利罗马美术学院，获得多媒体视觉艺术专业硕士学位。她的创作有着反抗精神的内核，关注和探究身份认同、性别流动、权利不平、失能，并持续通过多媒介探索自身及在表演创作中外在和内在的关系。
Ximan Wang, born in Shenyang, Liaoning Province, in 1990, is a performance artist active in both China and Europe. In 2016, she graduated from the Accademia di Belle Arti di Roma, where she received a Master’s degree in Multimedia and Visual Arts.
Her practice is rooted in a spirit of resistance and critically engages with issues including identity, gender fluidity, inequalities of power, and disability. Working across multiple media, she continuously explores the relationship between the self and its external and internal dimensions within the context of performance-making.
▮ It Looks So Blank Up Here, The Power of The Rope Is Real
2025
Prosthesis: Queer Crip Performance Archive Exhibition- Tomorrow Maybe- Hong Kong, China
钢砂、煤渣、废机油、工业风扇、裁纸刀、承重支架、高空作业安全带、铜铃
Steel grit, coal cinders, used engine oil, industrial fan, utility knife, load-bearing support frame, safety harness for working at height, copper bells
摄影师：Tze Long
摄影师：Tze Long
▮ 梦是野蛮人的神 ｜Le rêve, dieu des sauvage
2024
没顶画廊/MadeIn Gallery
丹宁布料、钢钎、干冰、水、低音、凡士林、霓虹灯
Denim fabric, steel rods, dry ice, water, bass sound, Vaseline, neon lights.
摄影：小子
摄影：小子
王彦鑫（中国，成都）
Wang Yanxin (Chengdu, China)
出生于甘肃兰州，毕业于四川美术学院，2012年至今以行为方式为基础进行多媒介艺术创作，工作生活于绵阳、成都；现任四川文化艺术学院副教授。
他的创作始终围绕着“在场性（Presence）”展开，“在场”是身体与一个地方的历史、记忆、生命、创伤以及生活于其中的人持续发生关系。
近年在喜玛拉雅美术馆（上海），黄盒子美术馆（青岛），成都当代美术馆（成都），澳门牛房仓库（澳门），器空间（重庆），501序空间（重庆），十方艺术中心（重庆），空空间（昆明）等地举办个展或个人项目，曾获得SAYA菁英国际青年艺术家年度成都当代美术馆特别奖（2017）、入围澳门VAFA国际录像节终选（2018）、第九届新星星艺术奖第一等奖（2019）。
Yanxin Wang was born in Lanzhou, Gansu, and graduated from Sichuan Fine Arts Institute. Since 2012, he has developed multimedia artistic practices grounded in performance art. He currently lives and works in Mianyang and Chengdu and is an Associate Professor at Sichuan University of Culture and Arts.
His practice has consistently centred on the concept of “presence.” For Wang, presence is the ongoing relationship between the body and the history, memory, life, trauma, and people of a place.
In recent years, Wang has held solo exhibitions and presented personal projects at the Himalayas Museum (Shanghai), Yellow Box Art Museum (Qingdao), Chengdu Contemporary Art Museum (Chengdu), OX Warehouse (Macau), Organhaus (Chongqing), 501 Sequence Space (Chongqing), Directions Art Center/DAC (Chongqing), and KongSpace (Kunming). His awards include the SAYA Elite International Young Artist Annual Special Award at Chengdu Contemporary Art Museum (2017); finalist recognition at the Macau VAFA International Video Art Festival (2018); and First Prize at the 9th New Star Art Awards (2019).
▮ 磨心坡｜Indestructible
2025
行动影像，片段式，彩色，有聲/Action video, clip, color, audio
地点：中国重庆/Chongqing, China
图片由艺术家惠允/Courtesy of the artist
《磨心坡》是以重庆天府煤矿、江北煤矿的停产与废弃为背景，探讨告别以碳能源为主的时代后，工业化与城市化进程中个体与集体记忆的消逝。作品通过行为影像呈现出记忆的重构。工厂的废墟、破碎的机器、废弃的设施，不再是劳动的象征，而是失落与遗忘的代名词,在时代的洪流中闪烁片刻后便分崩离析。
Indestructible is set against the closure and abandonment of the Tianfu and Jiangbei coal mines in Chongqing, exploring the disappearance of individual and collective memory amid the processes of industrialization and urbanization following the decline of the carbon-energy era.
Through performance-based moving images, the work presents memory as something reconstructed and reconfigured. The ruins of factories, fragmented machinery, and abandoned facilities are no longer symbols of labor; instead, they become metaphors for loss and forgetting. After briefly flickering within the overwhelming currents of history, they gradually fracture, collapse, and disappear.
▮ 沙珠玉｜Sha Zhu Yu
2024
行动影像，片段式，彩色，有聲/Action video, clip, color, audio
地点：中国青海/Qinghai, China
图片由艺术家惠允/Courtesy of the artist
《沙珠玉》是以中国青海湖共和沙漠为背景，通过自然景象与历史符号的交织，呈现出一幅充满孤独与挣扎的荒漠画卷。
作品探讨人在极端自然环境中对自由、孤独与存在意义的追问。艺术家通过象征性与具象的场景，构建了一个既充满荒凉又充满生命力的空间，沙漠成为一个隐喻，在这片无尽的荒野中，我们是否能找到属于自己的方向。
“Shazhu Yu” is set against the backdrop of the Qinghai Lake Gonghe Desert in China, intertwining natural landscapes and historical symbols to present a desert scene filled with loneliness and struggle.
The work explores the human quest for freedom, solitude, and the meaning of existence within extreme natural environments. Through a combination of symbolic and tangible settings, the artist constructs a space that is both desolate and brimming with vitality. The desert emerges as a metaphor—amid this boundless wilderness, can we find a direction that truly belongs to us?
策划机构
Curatorial Organization
MAM & UP-ON现场艺术文献中心由艺仓美术馆与UP-ON向上行为艺术档案馆于2026年在上海联合设立，是专注于现场艺术生态梳理、文献归档、学术研究与创作交流的专业艺术平台。
中心立足档案建设与策展实践两大核心，系统整理、活化现场艺术史料，建立完整的观看与研究脉络，填补领域空白；并以展览及公共活动为载体，搭建国际化的现场艺术交流对话网络。
The MAM & UP-ON Live Art Documentation Center was jointly established in Shanghai in 2026 by Modern Art Museum Shanghai and the UP-ON Performance Art Archive. It is a professional art platform dedicated to mapping the ecology of live art, archival documentation, academic research, and creative exchange.
Centered on archive-building and curatorial practice, the Center systematically organizes and activates historical materials on live art, establishes coherent contexts for viewing and research, and addresses gaps in the field. Through exhibitions and public programs, it also builds an international network for dialogue and exchange in live art.
主办机构
Organizer
艺仓美术馆（Modern Art Museum Shanghai）原为上海煤运码头旧址处的煤仓，在保留原有的建筑和风景上重新构筑，成为一座承载艺术的“仓库”。
艺仓美术馆聚焦 “多元”、“开放”、“交流”与“学习”，秉持开放的国际视野及跨领域的融合触角，引介东西方经典艺术，呈现现代设计与生活美学，探索新科技与多元媒体触发的艺术未来，持续关注以亚洲为主体的当代艺术，透过新颖的策展理念与技术，让美术馆成为公众的艺术文化体验舞台，从中获得灵感，增益新知，美感生活。
我们的理念：“艺术在发生”（Art’s Happening），艺仓始终坚持艺术的高度，致力于推广公共教育，平衡国际化与本土化的关系，聚力艺术文化的生产，通过艺术、音乐、表演、美食的兼容并蓄，为来自不同背景的公众带来全年无间断的艺术发生现场。
Formerly a coal bunker located at the old Shanghai Coal Transport Wharf, Modern Art Museum Shanghai (MAM) has been transformed into an art “warehouse” while preserving the original architecture and landscape.
MAM focuses on “diversity,” “openness,” “exchange,” and “learning.” It maintains an open international perspective and integrates cross-disciplinary approaches, introducing classic art from both the East and the West, showcasing modern design and aesthetics, and exploring the future of art inspired by new technologies and diverse media. The museum continues to pay close attention to contemporary art with an emphasis on Asia, using innovative curatorial concepts and techniques to transform the museum into a platform for public art and cultural experiences. Visitors can gain inspiration, acquire new knowledge, and enrich their aesthetic lives.
Our philosophy: “Art’s Happening.” MAM is committed to maintaining high artistic standards, promoting public education, balancing international and local elements, and fostering the production of art and culture. Through the integration of art, music, performance, and cuisine, MAM offers a continuous, year-round site of artistic events for audiences from diverse backgrounds..
冠名赞助机构
Title Sponsor
Fashion in a Conscious Future Foundation（时尚与可持续未来基金会，简称FICFF基金会）是一家非政府组织（NGO），同时也是一家以联合国可持续发展目标（SDGs）为导向的创新与文化影响力机构，致力于通过时尚、文化、教育及全球合作推动可持续发展。
FICFF基金会致力于将时尚与文化转化为推动全球可持续发展的积极力量，通过时尚、生活方式、环境保护、教育及国际合作等多元领域的创新实践，促进可持续理念的传播与落地，推动构建更加绿色、公平、包容的未来。
目前，FICFF基金会所提交的可持续发展倡议已正式发布于联合国经济和社会事务部（UN DESA）“可持续发展目标伙伴关系平台”（Partnerships for SDGs Platform），项目编号为#SDGAction60806。
Fashion in a Conscious Future Foundation (FICFF) is a non-governmental organization (NGO) and an innovation and cultural-impact institution guided by the United Nations Sustainable Development Goals (SDGs). It is committed to advancing sustainable development through fashion, culture, education, and global collaboration.
FICFF is committed to transforming fashion and culture into positive forces for global sustainable development. Through innovative practices across fashion, lifestyle, environmental protection, education, and international cooperation, the Foundation promotes the communication and implementation of sustainability principles and contributes to a greener, fairer, and more inclusive future.
The sustainable development initiative submitted by FICFF has been officially published on the United Nations Department of Economic and Social Affairs (UN DESA) Partnerships for SDGs Platform under project No. #SDGAction60806.
支持机构
Supporting Organization
Pro Helvetia Shanghai, the Swiss Arts Council
瑞士文化基金会上海办公室
The University of lowa
爱荷华大学
Finnish Cultural Foundation Lapland
芬兰文化基金会拉普兰
Finnish Cultural Foundation
芬兰文化基金会
主办机构：MAM艺仓美术馆
策划机构：MAM & UP-ON现场艺术文献中心
冠名赞助：Fashion in a Conscious Future Foundation时尚与可持续未来基金会
项目制作人：Damien Zhao
项目总监：周斌
统筹执行：倪嘉、绿子
视觉设计：丁澪
工作组成员：郭有恒、黄嘉珺、林琰杰、彭玮雯、任柏玉、Soma Sun、曾晓冬（首字母排序）
Host Institution: Modern Art Museum
Curatorial Organization: MAM & UP-ON Live Art Documentation Center
Title Sponsor: Fashion in a Conscious Future Foundation
Project Producer: Damien Zhao
Project Director: Zhou Bin
Coordination & Execution: Ni Jia, Lv Zi
Visual Design: Ding Ling
Working Group Members: Guo Youheng, Huang Jiajun, Lin Yanjie, Peng Weiwen, Ren Baiyu, Soma Sun, Zeng Xiaodong
(Listed in alphabetical order by surname initial)
MAM展览时间
2026.08.15-2026.12.13
周二至周日 10:00-18:00（17:30停止入场）
周一闭馆（法定假日安排以艺仓美术馆公告为准）
MAM艺术商店
档案馆理事会成员 | 2026年：
艾几ART、陈成、陈默，蔡斯民、邓乐、邓煜恒、都晓、冯博一、郭建平、韩飞、黄效融、何兮、黄中华、蒋懿嘉、李勇政、李振华、罗群毅、宁文、唐佩贤、田萌、文鹏、谢晓波、张熹、张欣宇、张颖川
档案馆赞助机构和个人 | 2026年：艺仓美术馆、近悦儿童美术馆、A4美术馆、浓园文化、上城设计事务所、东来艺术、唐勇（迈克）王彦鑫、樸術、石晓东、在惊奇AI探索空间薛野+姚忠琴、野地單于、东奴任钓、邓乐、瑞士文化基金会、YES FAITH也是费时、冯晓炜、Mavis、红印艺术中心档案馆理事会成员 | 2025年：
艾几ART、陈成、陈默、蔡斯民、邓乐、邓煜恒、都晓、董柯君、冯博一、韩飞、黄效融、何兮、黄中华、蒋懿嘉、李勇政、李振华、罗群毅、唐佩贤、田萌、文鹏，谢晓波、张熹、张欣宇、张意、张颖川
档案馆赞助机构和个人 | 2025年：
近悦儿童美术馆、A4美术馆、浓园文化、上城设计事务所、东来艺术、优活文化、朱朱（近悦）、戴敏、翟一涛、王彦鑫、唐勇（迈克）、彭湘、100km&X空间、水贵、邓乐、蔡斯民、冯晓炜、董柯君、东奴、野地單于、Christine Straszewski、石晓东、王瑞芸
档案馆理事会成员 | 2024年：艾几ART、陈成、陈默、邓乐、冯博一、韩飞、黄中华、蒋懿嘉、李勇政、李振华、唐佩贤、田萌、文鹏、叶彩宝、查常平、张欣宇、张熹、张意、张颖川、朱发东
档案馆赞助机构和个人 | 2024年：近悦儿童美术馆、A4美术馆、浓园文化、上城设计事务所、东来艺术、优活文化、水鬼、晋奇伟、李占洋、朱朱、野地單于、董艺斐、杨然
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