2018当代戏剧双年展／深圳·福田展演单元“情场”公共空间表演系列《乱码过失：后末日，少女，甚至，数字未来主义，深圳观念主义，就是说，地理，宴席，颜值担当，知识主权，酱~》
Contemporary Theatre Biennale 2018 Performance Unit “Sceno Place” Public Space Performance Series “Glitch and Error: After Doomsday, Girls, Even, Digital Futurism, Shenzhen Conceptualism, that Is to Say, Geographic, Banquet, Face Value, Knowledge Sovereignty, Done?”
《乱码过失：后末日，少女，甚至，数字未来主义，深圳观念主义，就是说，地理，宴席，颜值担当，知识主权，酱~》，是2018当代戏剧双年展/深圳·福田“情场”公共空间表演系列的策划项目，由王懿泉，孙晓星，李泊岩联合策划。
《乱码过失》（简称）以互文的方法策划、委托、组织多元类型的当代表演和当代艺术实践，并将这些创作与深圳的公共空间和都市环境进行融合与连结，为观众呈现一系列能够引发反思的公共议题。这些讨论包括而不限于：什么是我们的本地文化生态以及我们将怎样去认识它；消费文化和信息技术在何种程度上及其是如何塑造了我们的审美；日常生活实践与都市体验对当代表演和当代艺术产生了何种影响……
《乱码过失》将依托和利用2018当代戏剧双年展/深圳·福田的契机，鼓励公众和文化艺术界去思考我们正身处怎样的一个时间（时代）。策划团队认为，一次展示不可能也不应该全面反映我们所身处的现实，但是，如此的企图将会成为策划实践的出发点。我们不能永远正确，所以我们要追问“永远正确”是不是一种错误？
因而，充满互文关系和超连结关系的艺术家及艺术作品，一系列如同“乱码”般的被输入都市里的艺术实践，在多个有可能产生过失的场所，将一同为观众提供机会和可能性：去欣赏、反观、讨论我们的当代性。
无论是基督教的千禧年，抑或玛雅历的2012，从民间叙事到数位荧幕，末日情结像一场爱情故事。
时间和空间于昨天死亡。
我们已生活在绝对之中。
我们已经创造出永恒的普遍存在的速度。
在媒介现实里，末日既可以没有发生也可以真的发生了。如果把世界想象成液晶显示器，最初按压出波纹的手指属于少女——前台、公主、Twins、AKB48和少女时代，她们的脸上有青春和死亡的印迹。
我们不难想象，在人类发明的科技改变人类生活方式的每一个节点上，人类的决定都至关重要。或许，某一天，在有关AI的历史教科书里会说道：人类从来没有历史，只有AI的历史。
我们要歌颂：
夜晚生机勃勃的军火库和闪烁着电与月光的造船厂，
冒着蜿蜒的烟雾而挂在云端的工厂，
如巨人健将般迈着大步横跨河流的大桥，
……
在一个特别的地理位置，在大庭广众之下，与真实的恋人分手。宕机即重啓，昔日情话如乱码植入一个新的，东方的宣言：
时间就是金钱，效率就是生命；
来了，就是深圳人；
敢为天下先；
送人玫瑰，手有余香；
……
“Glitch and Error: After Doomsday, Girls, Even, Digital Futurism, Shenzhen Conceptualism, that Is to Say, Geographic, Banquet, Face Value, Knowledge Sovereignty, Done?” is a project of Contemporary Theatre Biennale 2018 Performance Unit “Sceno Place” Public Space Performance Series, co-planned by Wang Yiquan, Sun Xiaoxing, and Li Boyan.
“Glitch and Error” uses intertextual methods to plan, commission, and organize diverse contemporary performances and art practices, and integrates these creations with Shenzhen’s public space and urban environment, presenting a series of public issues that can trigger reflection for the audience. These discussions include but are not limited to what is our local cultural ecology and how will we recognize it; to what extent does consumer culture and information technology shape our aesthetics; what kind of impact do daily life practices and urban experiences have on contemporary performance and art…
“Glitch and Error” will rely on and utilize the opportunity of Contemporary Theatre Biennale 2018 to encourage the public and cultural arts community to think about the era in which we live. The planning team believes that a single exhibition cannot and should not fully reflect the reality in which we live, but such an attempt will be the starting point of planning practice. We cannot always be correct, so we must ask if “always being correct” is a mistake?
Therefore, the artists and art works, full of intertextual and hyperlinked relationships, a series of art practices like “code errors” that have been input into the city, in multiple places where mistakes may occur, will provide opportunities and possibilities for the audience to appreciate, reflect, and discuss our contemporaneity.
Whether it is the Christian millennium or the 2012 Maya calendar, from folklore to digital screens, the apocalypse complex is like a love story.
Time and space died yesterday.
We have been living in absolutes.
We have created an eternal universal speed.
In media reality, the apocalypse can either happen or not happen. If we imagine the world as an LCD screen, the fingers that first pressed down and created ripples belong to girls - front-stage performers, princesses, Twins, AKB48, and Girls’ Generation. Their faces bear the imprints of youth and death.
It is not difficult to imagine that at every node of human technology that changes the way we live; human decisions are crucial. Perhaps one day, the history textbook about AI will say: humans have never had a history, only the history of AI.
We shall sing praises to:
The lively armory at night and the shipyard that glitters with electricity and moonlight,
The factory that hangs in the clouds with its twisting smoke,
The bridge that strides across the river like a giant warrior,
…
At a special geographical location, in front of the public eye, parting ways with a true lover. The system crashes and restarts, the once sweet words become gibberish implanted into a new, eastern declaration:
Time is money,
efficiency is life;
Once here, a Shenzhener forever;
Dare to be the first in the world;
Sending roses to others, fragrance lingers on the hands;
…
艺术家：戴陈连，高嘉丰，李燎，仇佳，王震宇，李海光+张云峰，坚果兄弟，九块九，月台小组
策展：王懿泉，孙晓星，李泊岩
Artists: Dai Chenlian, Gao Jiafeng, Li Liao, Qiu Jia, Wang Zhenyu, Li Haiguang + Zhang Yunfeng, Nut Brother, NINE KUAI NINE, YUETAI
Curators: Wang Yiquan, Sun Xiaoxing, Li Boyan
坚果兄弟《真相书店》
月台小组《CLOSE YOUR EYES》
《宴席·乱码过失派对1st》
王震宇《地下室手记》
九块九《九块九成人作品店》
李燎《秀秀》
高嘉丰《落地98k》
李海光+张云峰《拉力测验：关于爱和给予的表达》
仇佳《无题（深圳）》
戴陈连《翠竹》
《深圳观念主义·乱码过失派对5th》