[兩位呀！唔該！Table for two]
Duo Performance by BBB Johannes Deimling & Jing Pang
@bbbjohannesdeimling
@pang_jing
@performance_art_furnace_hk
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行動時空筆記：
這場Performance 包含了我們的相處和對話，關於中西文化之異同、童年往事、儀式的應用、政治狀況、日常生活與城市觀察等。
我們建構以下一連串的行動順序，運用熔爐已有的物料去拼貼成這場Performance，這種Creative Approach 是我首次應用的，Johannes 的方法準確到位，猶如一幅行動拼貼畫。
過往，我會先建立一個Structure，處理好空間與物料的關係後，在長時間中遊走，即興發生的行動佔很大比例，風險與未知由此發生，結束時如像一場風暴經過的混沌。在德國時，他問了我一個問題：「那麼是不經意的?還是Designed chaotic situations?」這個問題仍思考至今，仍在路上。
行動順序列表
1。縫紉 + 草藥足浴
2。杯子印顏料在(1.自己)(2.對方心臟位置)
3。米造的面粉(Johannes: 撒上臉)(Jing: 印上臉)
4。解開葉子
5。抬起枱轉動行走在葉子上
6。兩人扣起右手對方的衫鈕食花生
(Johannes: 用筷子)(Jing: 叉)
7。拖鞋沾水打櫈
8。重複點蠟燭再吹熄(致敬平平）
9。植物綁頭上
10。火紙
Table for two! Table for two
Duo Performance by BBB Johannes Deimling & Jing Pang
@bbbjohannesdeimling
@pang_jing
@performance_art_furnace_hk-Action
Action [Time & Space] Notes:
This performance involves our encounters and dialogues about the similarities and differences between Chinese and Western cultures, childhood memories, the use of rituals, political situations, daily life and urban observations.
We constructed the following sequence of actions, using the materials already in the furnace to collage the performance. This Creative Approach is the first time I have applied it, and Johannes' method is accurate, as if it were a collage of actions.
In the past, I would create a Structure, deal with the relationship between space and material, and then wander around for a long period of time, improvising a large proportion of the action, taking risks and unknowns, and ending up like a storm passing through the chaos. When I was in Germany, he asked me a question: ‘So is it unintentional? Or is it Designed chaotic situations?’ This question is still on my mind, and I'm still on the road.
Action Sequences:
1. Sewing + Herbal Footbath
2. cup printed with colour on (1. self) (2. other person's heart)
3. rice flour (Johannes: sprinkle on face) (Jing: print on face)
4. Release the leaves
5. Lift the table and walk on the leaves.
6. Both of you button up your right hand and eat peanuts.(Johannes: chopsticks) (Jing: fork)
7. Dip slippers in water and hit the chair
8. Repeatedly light the candles and blow them out again (in honour of Ping Ping)
9. Plant tied to the head
10. fire paper
緣起：
在開始MFA的課程時，渴求一切與Performance Art有關的知識與創作方法，偶然地在網絡上看到PAS(@performance_art_studies) 的online Class，
抱著半信半疑的心上了第一次網課，因為Performance Art始終是一種講求現場性的當下發生，思考到底電腦世界中的虛擬空間如何能實現呢？
最後，我上了三期的網課，每一次也有新的體會，網課上的同學都來自世界各地，大家都非常踴躍、開放及積極地參與課堂。(之後再出Post分享關於網課的感想!)
MFA畢業後，2023年的春天，終於有機會見到真人，面對面的相處真的是難以取替，那趟歐洲之旅獲益良多。在德國Leipzig 參加了第82屆的PAS Performance Class後，邀請Johannes和Monika來港開課，同時也誠邀他與我創作一場Duo。
Johannes是一個自學成才的視覺藝術家，學習起源自他成長的小鎮圖書館，其視覺語言系統準確分明，作品核心是創造視覺圖像[Agierte Bilder]，有意識地迴避直接邏輯，允許隱喻和詩意的感知。圖像創造是運用一種藝術自由，與沉思之間開闢哲學空間。他的圖像宇宙旨在轉換感知，並整合了廣泛的當下議題與思考。
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關於語言的反思：
在PAS#93香港課時，大家都用英文溝通，都不是自己的母語，在對話時也有出現到Lost in Translation 的狀況，但這並非一件負面的事。我們都發現，這不單跟語言有關，而是關乎於語境(Context)與文化習慣(Cultural Behaviour)。
我回想起在德國時，其實有時候也並非100%理解課堂的英文指令，會出現半猜半明的情況，但當觀察到其他同學行動時，就會更加理解，這與身體感知與行動方式去註釋習作的目標有關，而非全依賴語言。
Performance Art有其專屬的語言詞庫，由肢體動作所組成的「字母表」，就像摩斯電碼一樣，但不需要對視覺效果進行解碼，如詩一樣，「字」的組成背後有多層含意，反轉對五感約定俗成的「基本」定義。
那天，我們到美彤家作客，與Deimling夫婦分享書法的方法，以及象形文字的源頭，以天地人事物的「形」為始，也聊到語言和文字的學習方式也對思維模式有著密切的關係。
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日常城市觀察：
Johannes 與Monika住在灣仔的酒店，他們說每一天都被這個城市mind-blowing，香港人的速度與效率極高，陝小的空間訓練出香港人的韌力，想像的實現使命必達。
上課期間，我們一同在窗邊觀賞香港搭竹棚之絕技。每次再路上看到，我定必駐足觀看，每每被這技術的神奇之處所驚歎。竹的韌性和可塑性如像一個屬於此時此地的Metaphor。
此外，我們也參加了美彤的新書發佈會，位於中環的法國書店，空間不大，觀眾就站坐於書櫃之間觀看，這場活動也令Johannes 感到莫名驚喜。香港人適應力之強，與有限城市空間下的生存之道有重要關係。
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⚪️: “Are you happy?”
🔴: “I am veryyyyyyy happy!!!!!!!”
感謝這跨越千萬里的相識相知✨
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Origin of this duo performance:
When I started my MFA programme, I was thirsty for all the knowledge and creative methods related to Performance Art, and by chance I came across the online class of PAS (@performance_art_studies) on the internet.I took my first online class with a half-believing heart, because Performance Art is always a kind of live, present occurrence, and I wondered how it could be realised in the virtual space of the computer world.
Finally, I took three online classes, and each time I had a new experience. The students in the online class came from all over the world, and all of them were very enthusiastic, open and active in the class. (I'll share my thoughts about the online class in a post later!)
After I graduated from MFA, in the spring of 2023, I finally had the chance to meet real people. It was hard to replace the face-to-face meeting, and I benefited a lot from the trip to Europe. After attending the 82nd PAS Performance Class in Leipzig, Germany, I invited Johannes and Monika to come to Hong Kong to give a class, and at the same time, invited them to create a Duo with me.
Johannes is a self-taught visual artist whose studies originated in the library of the small town where he grew up, and whose system of visual language is precisely defined. At the core of his work is the creation of visual images [Agierte Bilder], which consciously eschews direct logic and allows for metaphorical and poetic perception. The creation of images is an exercise in artistic freedom that opens up a philosophical space between contemplation. His pictorial universe aims to transform perception and integrate a wide range of current issues and reflections.
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Reflection on Language:
In PAS#93 Hong Kong, we all communicated in English, which is not our mother tongue, and there were cases of Lost in Translation in our dialogues, but this is not a negative thing. However, this is not a negative thing. We all found that this is not only related to language, but also to the context and cultural behaviour.
When I think back to my time in Germany, there were times when I didn't understand 100% of the English instructions in the classroom, and I would half-guess, half-understand, but when I observed other students' behaviour, I understood better that it was related to body perception and the way of action to explain the objectives of the work, rather than relying on language.
Performance Art has its own language vocabulary, an ‘alphabet’ composed of physical movements, like Morse code, but without the need to decode the visual effects. Like a poem, there are multiple layers of meaning behind the composition of ‘words’, reversing the ‘basic’ definition of the five senses that has been commonly agreed upon.
On that day, we visited Mei Tong's home, where we shared with the Deimling's about calligraphy and the origins of hieroglyphics, which begin with the ‘shapes’ of things in the world, and we also talked about how the way we learn language and words is also closely related to our thinking patterns.
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Everyday urban observation:Johannes and Monika stayed in a hotel in Wan Chai and said that every day they were mind-blowingly impressed by the city, the speed and efficiency of the Hong Kong people, and the toughness of the Hong Kong people who are trained in a small space to imagine what they can achieve.
During class, we watched the Hong Kong bamboo scaffolding technique from the window. Every time I saw it on the road, I would stop to watch and was always amazed by the magic of this technique. The toughness and malleability of bamboo is like a Metaphor for this time and place.
We also attended the launch of Meitung's new book, which was held in a small space in a French bookstore in Central, where the audience stood and sat between the bookcases, an event that also surprised Johannes. The adaptability of Hong Kong people has a lot to do with their ability to survive in the limited space of the city.
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⚪️: ‘Are you happy?’
🔴: ‘I am veryyyyyyyyy happy !!!!!!!’
Thankful & gratedful for all the encounters across the miles ✨
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