THE FALSE MAGRITTE contains both participatory performance and interactive installation which references Belgian surrealist artist Rene Magritte. THE FALSE MAGRITTE stands on the purpose of challenging the audience’s preconditioned perceptions of reality – Magritte’s surrealist within his numbers of “witty and thought-provoking images”. THE FALSE MAGRITTE extends the art scene from where the art piece finally presents to the places where it produces and grows. 32 volunteers are invited to perform “arrogant” in front of the camera by using their facial expression, body movement, and stage property. Their performance is collected, edited, and played as idiosyncratic, symbolic, and expressive materials in the interactive installation – as one object of conversation – facing directly to the audience. In this work, Magritte’s “canvas” and “symbols” are being “stage” and “props” which are involving the audience in dynamics. In addition to thinking about the diversity of stitching, penetration, and even conflict between audience, artwork, space, and time, THE FALSE MAGRITTE hopes to explore how performativity and interactivity, either for meaning-maker or/and for meaning-encounter, could integrate new forms of artistic expression or/and audience experience “beyond” traditional alignment and presentation. Moreover, THE FALSE MAGRITTE tried to dig out how performativity and interactivity could make artist and audiences from being two separate roles of making/viewing an art piece to being together creating and blooming an art experience.
special thanks go to performance participants: 张会; 黄芳; 缪静茹; 赵唯嘉; 张玉荣; 张怡珺; 陈殊; 王雅婧; 贺云琪; 张宇辰; 吴新宇; 郑锦程; 周冰; 汤秋蕊; 李雍; 逯瑞洁; 吕玲; 潘高琪; 盛火花; 赵凡凡; 严卓; 张小雪; 刘青; 冒婕; 陈依婷; 王令媛; 梦竹; 叶涛; 陈碧琪; 李珂心; 岳宇辉; 訾然