The Awkwardness of Neighbors

Work1:

The Awkwardness of Neighbors

我通过组织一场占领tate modern的艺术行动，展示了当代艺术对话的困境。

召集参与者时我使用了另一个概念作为行动的主题：

展示意识形态与现实的缺口。

参与者们躺在展览馆中，成为了需要被每一个行人和工作人员处理的因素。

阐述作为当下西方世界普世性意识形态的自由主义【liberalism】的运作机制决定其必须强调人与人之间的边界，甚至这种强调超出了对传统自由【freedom】的强调。所有他者尽皆需被放置在自身之外，成为邻人，这一行为是对对方边界尊重的同时，同样是一种隔离。

他们被放置了，但是他们也必须被放置，他们被割裂了，但他们也必须被隔离。

在这以项目之中最有意义的部分并不在其自身，而是在其失败的方式清晰的揭露了当代自由主义多元化机构应对此类挑战的方式。这里不再会像上世纪一样有对话能够成立，相较于成为事件的反对者，后意识形态意识形态机构的应对方式是让对话的对象消失，这同时是后现代社会与艺术普遍的困境。

我们被用多种方式请离了，但是没有一个人试图站在我们行动的对立面去批判去对话，他们表现的承认我们，同时他们表现的完全不在意我们，这里不再有对话的对象了。这里仿若不再存有如Hans Haacke, MoMA Poll, 1970的作品被MOMA否定时产生的对话和新的可能性，这里是后现代百花齐放下的一片死寂，如同电视的雪花屏。

普遍性评判标准的难以建立是一种事实的同时也是一种借口，主体性哲学之外及理性框架的无能不应被叙述为一种绝对性和漫不经心——对某物讨论的无能不代表某物的无意义。我们接下来将前往一些后现代社会中的现代或是前现代场域去寻找对话的对象。我们也在不同地点围绕这一概念进行更进一步的调研和实践，比如UCL，去建立和寻找和停止的机构更多的对话。

Through organizing an art action to occupy Tate Modern, I showcased the dilemma of contemporary artistic dialogue.

When gathering participants, I used another concept as the theme of the action: to demonstrate the gap between ideology and reality.

Participants lay in the exhibition hall, becoming factors that every passerby and staff member needed to deal with.

Exploring the mechanisms of liberalism, the prevailing ideology in the Western world today, it is determined that it must emphasize the boundaries between individuals, even beyond the emphasis on traditional freedom. All others must be placed outside oneself, becoming neighbors, which is both a respect for their boundaries and a form of isolation.

They are placed, but they must also be placed; they are severed, but they must also be isolated.

The most meaningful part of this project is not in itself but in the clear manner in which its failure reveals how contemporary liberal institutions deal with such challenges. There will no longer be dialogue as it was possible in the last century; instead of becoming opponents of the event, the response of post-ideological institutions is to make the objects of dialogue disappear, which is also a general dilemma of postmodern society and art.

We were evicted in various ways, but no one attempted to stand against our action to criticize or engage in dialogue. They seemed to acknowledge us while at the same time showing complete indifference to us. There are no longer objects of dialogue here. It's as if there were no longer the dialogue and new possibilities generated when works like Hans Haacke's "MoMA Poll, 1970" were denied by MoMA. It's a silence that descends amidst the flourishing of postmodernism, like the snow on a TV screen.

The difficulty in establishing universal judgment criteria is both a fact and an excuse. The incapacity beyond subjective philosophy and rational frameworks should not be described as absolute and indifferent—incapacity to discuss something does not imply the meaninglessness of that thing. We will next go to some modern or pre-modern sites in postmodern society to find objects of dialogue. We are also conducting further research and practice around this concept in different locations, such as UCL, to establish and find more institutions for dialogue and cessation.

You can now end your performance. Your performance was excellent, and Tate hopes to see more of your work in the future. However, for safety reasons, we must ask you to conclude your project.

你们现在可以结束你们的表演了，你们的表现非常精彩，tate以后也希望看到你们更多的作品，但现在完全因为安全问题请你们结束你们的项目。

Your project is not permitted to take place here, but personally, I really like it.

你们的项目不被允许在这里进行，但是我个人非常喜欢。

Your performance is fantastic, but please leave. Performances here require approval from the curator.

你们的行为表演很棒，但请离开这里，这里的行为表演需要先向策展人提交申请。

Please leave; performances are not allowed here.

请离开这里，这里不允许行为表演。

We welcome your performance, but due to safety concerns, we must ask you to end it. I am curious about the concept of your performance; could we discuss it?

我们非常欢迎你们的行为表演，只是因为这里存在安全隐患我们不得不请你们结束，我对你们表演的概念感到好奇，可以和我聊一聊么？

Please leave, but thank you.

请你离开，但是谢谢你们。

Sir, you need to leave. Are the others lying in the hallway also your collaborators?

先生，你需要离开这里，请问其他也躺在走廊里的人是你的合作者么？

After you go back, you can submit an application to the curator. This is our website, but staying here now poses some safety issues.

你们回去之后可以向策展人提交申请，这是我们的网站，但现在留在这里会有一些安全问题。

Madam, you need to leave now.

女士，你现在需要离开了。

……

Work2:

The Falure of occupy tate modern

我使用占领Tate为口号，召集了二十位在伦敦不同身份的参与者，在25/2/2024下午三点二十分于Tate Modern 的“艺术家与社会”常设展区域的全部交通要道处安眠，成为需要被行人与工作人员处理的障碍。

这一事件通过无为之为的形式，在去中心化方法论指导下，以移民问题为窗口，对意识形态与现实的裂隙展开了叙述，并通过tate工作人员的参与将整个作品真正完成。

【邻人的尴尬】项目之中最有意义的部分并不在其自身，而是在其失败的方式清晰的揭露了当代自由主义多元化机构应对去中心化运动的方式。当我们在一个提倡多元化的场域之中进行行为时被各种各样不同的理由礼貌的驱离时，这里所有可能存在的评判标准都被消解了，无从着手，无从触摸，无从判断。

在这种语境之下，重复传统意义上的艺术行动不仅无法产生真正的影响，甚至无法建立任何有效的对话。后现代语境中本身包含的矛盾性摧毁了其语境之下评价标准建立的可能，无数的话语之间构筑了复杂的二律背反系统，对主体性与个体性强调的叙事也在反对其自身，

不同立场者可以使用同样的词语去编制自己的截然不同的叙事，无论是通过多元性来拆解中心，还是通过多元性来鼓励身份的固化。

在艺术家与机构关系的不断演化过程中，上个世纪中依然如Hans Haacke, MoMA Poll, 1970的作品被MOMA从艺术概念的角度否定其作品于MOMA出现的正当性，问题依然需要被回应。而如今，当代艺术本身的概念已然受困于名为无限的囚笼之中，当代艺术所孕育的所谓无限的可能性恰恰是对其对自身迭代与演化可能性的抹消，即自由需要其外部方可存在，当代艺术的讨论中政治之外的话题提出问题的能力甚至已然被完全消解。机构完全无需于此呈现任何对抗性姿态，就如同此次在tate的行动一样，对话仅仅会被以类似安全问题，场馆脉络问题消解，其会肯定行为的一切正当性并使用其他方面的理由达成本质上没有差别的目的，他们所占据的点位已非传统的话语权权威，其与其反应正是反意识形态意识形态的真实呈现。

正是通过占领tate modern这一行为中建立对话尝试的彻底失败，展示当代艺术等所面对的对手的宏大与结构性批判的无力，漫天之网绞缠于身，对话的对象不会出现，真正的于机构的对话在这一套体系之内自然不再可能发生。

Using the slogan Occupy Tate, I gathered twenty participants with different identities in London to lay in state at 3.20pm on 25/2/2024 in all traffic lanes of Tate Modern's ‘Artists and Society’ permanent exhibition area, becoming an obstacle to be dealt with by pedestrians and staff.

This event, in the form of a do-nothing, was guided by a decentralised methodology, using the issue of migration as a window into the fissure between ideology and reality, and was completed by the participation of Tate's staff.The most meaningful aspect of the "Neighbor's Embarrassment" project lies not within its own framework but in its clear demonstration of how contemporary liberal pluralistic institutions deal with decentralized movements. When we are politely driven away for various reasons while performing in a domain that advocates diversity, all possible criteria for judgment are dissolved, leaving no starting point, no touchstone, no judgment.

In this context, repeating traditional artistic actions not only fails to have a genuine impact but also fails to establish any meaningful dialogue. The contradictions inherent in postmodern contexts destroy the possibility of establishing evaluation criteria under their own context, constructing complex systems of paradoxes between countless discourses. Narratives emphasizing subjectivity and individuality are also opposed to themselves. Different stakeholders can use the same words to create radically different narratives, whether by dismantling centers through diversity or by encouraging the solidification of identities through diversity.

As the relationship between artists and institutions continues to evolve, questions raised in the last century, such as Hans Haacke's work "MoMA Poll, 1970," which was denied legitimacy by MoMA from the perspective of artistic concepts, still need to be addressed. Today, however, the concept of contemporary art itself is trapped in a cage called infinity. The so-called infinite possibilities nurtured by contemporary art precisely erase its own possibilities for iteration and evolution. Freedom needs its external to exist. Even the ability to raise questions about topics other than politics in discussions of contemporary art has been completely neutralized. Institutions no longer need to present any confrontational posture.

As in the action at Tate, dialogue will only be dissolved by similar safety concerns and venue context issues. All legitimacy of the behavior will be affirmed, and the same goals will be achieved through other reasons. Their occupied positions are no longer authoritative in traditional discourse, and their reactions are the true representation of anti-ideological ideology.