《百物曲》是上海外滩美术馆与香港Para Site艺术空间正在进行的合作项目的一部分。本次展览呼应上海外滩美术馆的长期研究方向，对全球、尤其是中国和亚洲各地的剧场、音乐、视觉艺术形式和时间进行（重新）语境化并提出诘问。

杨圆圆和卡罗·那瑟斯，《相爱的柯比与史蒂芬》（阶段性呈现），2019年，单频彩色有声高清录像，30分钟。剪辑：阿历克斯·文克，主演：柯比·余，史蒂芬·金。感谢唐奂奂与上海外滩美术馆对本作品的支持

展览以“歌剧”的不同形式与发展兴衰作为楔子，展开探讨表演和想象在不同时期及语境中的意义。如同博物馆和展览的发展经历了漫长而错综的历史，歌剧亦逐步发展成为另一种集体仪式。歌剧被视为一种沉浸式的装置，其通过设计“观看”的每个细节引导观众的体验及他们对当代社会的思考。

在此次开幕对谈中，三位策展人将交流该展览的概念以及他们如何挑战歌剧的特殊性及其与自然世界之区分。另外，三位策展人也将探讨两个机构间更广泛的策展合作。

关于讲者

康喆明自2011年起任香港Para Site艺术空间的执行总监及策展人。他曾担任过2018年塞内加尔达卡当代非洲艺术双年展客席策展人（2018），达卡艺术峰会’18策展人（2018），第十届上海艺术双年展联合策展人（2014），荷兰乌得勒支当代艺术基地策展人（2008-2011），首届叶卡捷琳堡乌拉尔工业双年展联合策展人（2010），以及第十二届卡塞尔文献展杂志编辑（2005-2007）。

谢丰嵘为上海外滩美术馆资深策展人。2009年加入上海外滩美术馆进行筹备开馆工作，同时与美术馆团队建立各项制度；2013年参与规划首届HUGO BOSS亚洲新锐艺术家大奖。随着美术馆在中国的发展与崛起，谢丰嵘关注机构角色的演变及自我批判，并探索艺术与观众之间关系及重新被定义的可能性，近期专注以表演作为方法，进行一系列的项目与讲座策划；同时积极促进跨文化、地区的对话，探索图像与历史生成机制。近年策划的项目包括：“行将消退——作品来自山德雷托·雷·雷包登戈收藏”（与拉瑞斯·弗洛乔共同策划，2018年，上海）、“告诉我一个故事：地方性与叙事”（与郑慧华共同策划，2018年，都灵山德雷托基金会）及“RAM HIGHLIGHT 2018：谁的身体？”（2018年，上海）。

曾明俊是上海外滩美术馆资深策展人，于2018年春季加入上海外滩美术馆团队。他的策展工作致力于向更多中国观众介绍影像艺术家，委托年轻艺术家进行大型创作，以及策划旨在干预展览空间的建筑功能和体验的展览项目。其余的个人项目包括在伦敦的一家餐厅中连续策划一系列日常干预性活动，意在探索艺术品出现和被观众消费的方式。曾明俊独立策划或与其他策展人和作者合作策划的展览艺术家包括：王兵、刘窗、拉夫·迪亚兹、李景湖、于吉、娜布其、姚清妹、宋拓和杨沛铿。2019年3月，与上海外滩美术馆馆长拉瑞斯·弗洛乔共同策划德国观念艺术家托比亚斯·雷贝格在中国的第一次机构个展。

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An Opera for Animals is part of an on-going collaboration between the Rockbund Art Museum and Para Site, Hong Kong. For the Rockbund Art Museum, it is a project based on research that has sought to re-contextualise and question the formats and practices related to theatre, music and visual arts, especially in China and other regions in Asia.

Yang Yuanyuan and Carlo Nasisse, Coby and Stephen are in Love (Work in progress), 2019, Single-channel HD video, color and sound, 30'00’’, Editor: Alex Winker, Featuring Coby Yee and Stephen King, Production supported by Tang Huanhuan and Rockbund Art Museum

This exhibition takes the history of different versions of opera as a departure point to explore both contemporary and traditional uses of performance, fantasy, and group spectacles in relationship to the environments that they inhabit. Like the complex history of the museum or exhibition, it has gradually developed into another collective ritual. Opera is considered as an immersive setting, whereby every detail of its design looks to guide the audience and their consideration of contemporary society.

During the public dialogue, the curators will exchange ideas related to the exhibition concept and strategies related to how they challenge the specificity of opera and its separation from the natural world. The curators will also be discussing the exhibition in relation to the wider curatorial collaboration between the two organizations.

About the Speakers

Cosmin Costinas is the Executive Director/Curator of Para Site, Hong Kong since 2011. He was Guest Curator at the Dakar Biennale 2018, La Biennale de l’Art africain contemporain, DAK’ART (2018), Curator of Dhaka Art Summit 18’ (2018), Co-curator of the 10th Shanghai Biennale (2014), Curator of BAK-basis voor actuele kunst, Utrecht (2008-2011), Co-curator of the 1st Ural Industrial Biennial, Ekaterinburg (2010), and Editor of documenta 12 Magazines, documenta 12, Kassel (2005–2007).

Hsieh Feng-Rong is senior curator and founding staff member of Rockbund Art Museum; he joined Rockbund Art Museum in 2009 during its preparatory stage. He was the coordinator of the renovation process and implemented the institutional structure of the museum. In 2013, he got involved in founding the first HUGO BOSS ASIA ART award and was also the project manager for the award. With the rise and development of Arts Museum in China, Hsieh is concerned about the changing roles this institute should play and how it can retain its self-criticality. He continues to explore the relationships between arts and the audience and how these relationships can be redefined. Recently, he focuses on topics related to performance as method and has curated a series of talks and events along this line of thinking. Meanwhile, he hopes to inspire more cross-cultural and cross-regional conversations, furthering explorations of mechanism of visuality. Recent exhibitions curated by Hsieh include: “Walking on the Fade out Lines” (co-curated with Larys Frogier, 2018, Shanghai), “Tell Me a Story: Locality and Narrative” (co-curated with Amy Cheng, 2018, Fondazione Sandretto, Turin), “RAM HIGHLIGHT 2018: Is It My Body?” (2018, Shanghai).

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Billy Tang is Senior Curator of the Rockbund Art Museum (RAM) in Shanghai. He joined the museum in Spring 2018. His previous projects have helped to introduce moving-image artists to new audiences in Mainland China, commissioning large-scale works of young artists, and curating projects that look to disrupt the architectural function and experience of the exhibition space. Other projects involve curating daily interventions that explore how art appears or is consumed by visitors—most recently at a restaurant in London. He has worked collaboratively with curators and writers to realize exhibitions of works by among others, Wang Bing, Liu Chuang, Lav Diaz, Li Jinghu, Yu Ji, Nabuqi, Yao Qingmei, Song Ta, and Trevor Yeung. In March 2019, he recently co-curated with director Larys Frogier the first institutional solo exhibition in China for the German conceptual artist Tobias Rehberger.

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作者：上海外滩美术馆RAM