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Daijing’s performance practice began in 2015 through her continuous touring as a noise musician. All those different performances became a form of autodidactic research in the hyper- vulnerability of the performer, their connection with the audience and the conditioning effect of location and environment. 

From churches to theatres, from power plants to historical sites, performing solo, often appearing masked and in a suit, Daijing metabolised the power relations and hierarchies inherent to live work and the relationship between the individual body and built environments. Instead of documenting the performance itself, she often films the audience from the stage and the footage become part of the research sources. It’s in these years that scale and improvisation emerged as central elements to Daijing’s compositional practice and the question of how to articulate the unspeakable, even the unrecognisable, aspects of human experience through music, storytelling and performance. 

岱静的表演探索开始于2015年,她以噪音音乐人身份的持续巡回演出。所有不同的演出在表演者的高度脆弱性,与观众的连接和位置环境的条件共同体作用下成为一种自学研究材料。从教堂到剧院,从发电厂到历史古迹,单独表演,时常戴面罩穿着西装出现,她的呈现消解了生活工作与个人身体和建筑环境间固有的权力关系和等级结构。与其记录下表演本身,她经常从舞台拍摄观众,影片片段继而研究材料的一部分。就是在这些年里,规模和即兴逐渐成为岱静作曲实践的核心元素;通过音乐,讲故事和表演如何阐释不可言说,甚至难以辨认可以描述的以人类为核心的经历。