CREB從天台搬到牛房，演出生o左個展覽~ 記憶演化再演化，直至城市居住於體內。
再次參加者名單 / Participating Artists:
林詠欣 Lam Weng Ian
陳妙芝 Chan Mio Chi
張楚誠 Cheong Cho Seng
關若斐 Kuan Ieok Fei
馮曉華 Fong Hio Wa
2007 Fringe Macau澳門藝穗節的其中一個演出──“CREB反應結合蛋白”，聚集了幾位「創作演員」，他們除了在天台進行形體創作外，同時創作了他們的第一件裝置藝術作品。「創作」到底是怎麼一回事？常常聽到大家在論討這個話題，而我，則認為「創作」可以有很多不同的化身，它可以是嚴肅的、可愛的、美麗的、燦爛的、醜陋的、閃爍的、輕鬆的、自由的或者是壓抑的；在創作裡呈現的每個化身，都是藝術家的選擇、判斷和表達，也是源自創作者對生活的想法。
故事的開始，是這幾位創作演員和我在討論裝置藝術是什麼？他們對城市的看法和記憶是什麼？即使這些演員主要的經驗是在舞台上，但從“CREB反應結合蛋白”的創作過程裡，我們探討關於藝術創作、概念的表達、主題探討，以至物料運用等不同面向的問題，對於我個人，也是一種成長的機會；這次在牛房的展覽，除了想要嘗試以更多不同的方式表達，展現這群年青人是怎樣以他們的記憶回顧與展望自己生活的城市外；更重要的，則是希望能承著上次的創作經驗，讓這些對城市的關懷，能有進一步的表達和發展的空間。
策展人
簡佩茵
“CREB反應結合蛋白”是去年(2007)自己在藝穗節中一個有點“不像話”的嘗試，由於很想念小時候的天台和那段時光的城市，因此想進行一個讓觀眾用望遠鏡觀看，而演員在一個天台上進行的演出，但實行起來發現困難重重，在反覆思考其它可行方法的時候，幾個想法又同時作崇──“為什麼表演一定要有“演員”？一定要有“東西”可看？表演一定要在現場進行嗎？演出可不可以是“己經完成”就像記憶一樣？．．”之類似乎係食滯咗才會想的問題，結果，一個沒有演員在現場表演的關於天台和城市記憶的“演出”就出現了。
整個過程與過往的演出很不同，值得記錄一下：製作人員(鄭冬)幫忙找來幾個天台，我和一班演員再加上負責拍攝的Bianca(李少莊)，在一天之內，拍下幾名演員在天台上的個人表演，然後我和Bianca各自回家做剪接，演員則進入另一階段──由阿簡(簡佩茵)帶領進行個人裝置創作。
演出那天，觀眾不會在現場（天台）看到演員表演，只看到由演員創作的裝置作品（演出的延伸），而觀眾在各個天台親身感受現場環境後，回家再通過DVD機（代替最初構想的望遠鏡）看天台上的演出（日間的經歷己經成為記憶的一部份）。演出己經消失，如同『天台』作為城市中曾經存在的一些美好特質的載體，觀眾是在觀賞一個己經消失的『演出』，牽連帶動回想一些己經消失的城市感覺。
這是一個和之前自己所做都不同的“演出”，對我自己來說，好玩是能把一些抽象的想法很具體地實行出來了，那個過程是很有趣的，尤其看到演員所做的裝置作品，很驚訝她們可以這麼費心思來實驗自己的一個也是很抽象的想法，對我來說，這就是實實在在的“創作”，我被我的演員所感動，因此，阿簡構思了一個讓創作再伸一伸的展覽，故事還沒有完，好玩的才剛開始，如果我們的城市，我們的生活，毎一天也像這樣，是一個可以不斷延伸的創作．．就好了！
李銳俊
A retake of CREB Installations’ Creation
Installation Exhibition by Performers of CREB: Camp Response Element-Binding
‘CREB: Camp Response Element-Binding’ was premiered at the Macau Fringe Festival 2007. A group of ‘creative performers’ presented imaginative dance movements, creating simultaneously their first installation on a few rooftops, used as artistic venues. What on earth is ‘creation’? This is an often discussed topic. From my viewpoint, ‘creation’ stands for many incarnations, which can be serious, lovely, beautiful, resplendent, ugly, glittering, light, free or oppressive; any incarnation in any creation is always a result of the artists’ choice, judgment and expression, while reflecting their philosophy of life.
This story was started by discussions between the performers and me, about installation art and their views and recollections of the city. Despite their experience being focused on the stage performance, during the creation of CREB we explored together a wide variety of different topics regarding artistic creation, the expression of concepts and themes as well as the use of materials, all of which I found personally rewarding. Through this exhibition in Ox Warehouse, we not only try to explore different expression modes, trying to show how the CREB performers look back on and look forward to their own city through their reminiscences. But we also aim to develop further the last CREB performance, so as to offer the artists a space to better express and increase their care and concern for the city.
Kan Pui Ian, Curator
‘CREB: Camp Response Element-Binding’ was my ‘extravagant’ attempt at the Macau Fringe Festival 2007. Since I missed my childhood rooftops and the old days of the city, I conceived such a performance: audience watch from a distance with binoculars while artists perform on rooftops. But the concept proved very difficult to stage. While thinking about some solutions, silly questions came to me: “why there must be ‘performers’ at all in a performance? Why must we always see ‘something’? Why must we see a performance ‘on a spot’? Can performance just be ‘done’, like recollections of memory?” After elaborating on these, I came up with the idea of a performance about rooftops and memories of the city, without performers or venues.
This completely different performance approach is worth of a note: the production team found several rooftops where each performer’s individual act was filmed by the performers, the photographer Bianca Lei and me. Bianca and I then edited the films, while performers moved on to another stage – to create their own installations.
On the performing day, the audience did not see the performances on the actual venues (rooftops), but instead the performers’ creation of installations (as an extension of the performance), which drove viewers into a personal feeling of the ambience. Then at night (when the daytime experience had become already a reminiscence) they would see the rooftop performances at home with DVD players (as a substitute for the originally conceived binoculars). Once finished, the performance would thus vanish, just as the former ‘rooftops’, once carriers of some beautiful things, had disappeared from the city’s skyline. The audience was witnessing a vanishing ‘performance’, reminiscent of some feelings about the city which are there no more.
This was a ‘performance’ completely different from all my previous ones. For me, it meant lots of fun, as I was able to put some of my very abstract concepts into practice. The whole process was indeed very interesting. It was particularly a high moment to see the performers’ installations. Their dedicated efforts to join my testing of romantic abstractions left me astonished. This was to me a truly tangible ‘creation’, in which I was moved by the performers. Therefore, Kan (Pui Ian) and I design again this exhibition, as a retake of the original creation. The story is yet to start and the fun just begins. If every day in our city and life could be an extensible creation, how fantastic it would be!
Jane Lei, Director of CREB Camp Response Element-Binding
展期 / Exhibition Period：
11/5/2008—8/06/2008
開幕 / Opening Time：
10/ 5/2008 (Saturday/星期六), 15:00
展覽地點 / Location :
牛房倉庫二樓 / 2 nd Floor , OX Warehouse
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