消失的
边界 //
双剑
档案
THE DISAPPEARING BOUNDARY // THE DOUBLE JIAN ARCHIVE
一项场地特定的研究项目，追踪成都与峨眉山之间濒危的双剑武术套路。通过田野传承、身体实践与口述历史记录，项目探索武术知识在身体之间传递时如何存续、碎裂或消失。研究最终呈现为一件走廊装置作品，结合现场表演、非同步声音与动态影像。
A site-specific research project tracking endangered double jian martial forms between Chengdu and Mount Emei. Through field transmission, embodied practice, and oral-history recording, the project explores how martial knowledge survives, fragments, or disappears when passed between bodies. The research culminates in a corridor-based installation combining live performance, unsynchronised sound, and moving image.
项目摘要
本项目是一项结合场地特定研究、持续性表演与媒体装置的艺术实践，以古典双剑套路为切入点，探索身体知识的脆弱性。
项目植根于艺术家在北方少林派体系中的长期训练，将在成都的城市训练空间与峨眉山的 实践环境之间追踪濒危的双剑材料。项目不将这些套路作为文化遗产加以固化，而是将其视为活的档案——考察当武术知识从一个身体传递到另一个身体时，哪些东西被获得、丢失或转化。
驻留将在两个环境中展开：成都的当代城市语境与峨眉的区域山地传统，使项目能够同时在当代空间和 实践空间中考察传承。
研究路径将保持开放性，根据实际可接触的资源进行调整。鉴于这些套路的零星存续状态，项目的方向将由以下因素决定：哪些传承者仍然在世、他们愿意传授什么、以及在驻留时间框架内可以记录什么。这种不确定性不是限制，而是本次研究的核心主题。
PROJECT SUMMARY
This project is a site-specific research, durational performance, and media installation investigating the fragility of embodied knowledge through the lens of the classical double jian martial form.
Operating from within an existing Northern Shaolin martial arts practice, the project tracks endangered double jian material across the urban training spaces of Chengdu and the lineage-based environments of Mount Emei. Rather than freezing these forms as cultural heritage, the project treats them as living archives—examining what is gained, lost, and transformed when martial knowledge passes from one body to another.
The residency operates across two environments: the contemporary urban context of Chengdu and the regional mountain tradition of Emei, allowing the project to examine transmission across both contemporary and lineage-based spaces of practice.
The research trajectory will remain responsive to what is actually accessible. Given the fragmented survival of these forms, the project's direction will be shaped by what practitioners are still alive, what they are willing to transmit, and what can be documented within the residency timeline. This uncertainty is not a limitation but the central subject of the investigation.
目标
-
通过直接传承，寻找、研究并身体性地学习仍可接触的双剑材料
-
与成都和峨眉武术传承体系中的实践者建立联系
-
收集与传承、失落和断裂相关的口述历史与身体知识
-
将武术知识转化为空间装置与现场表演
-
考察记录、记忆与身体知识之间的裂隙——将错位本身作为创作材料
-
建立一个活的档案，使传承保持可见、不稳定且持续进行
-
将缺席与碎片化视为作品的核心主题，而非失败
OBJECTIVES
-
To locate, research, and physically learn whatever double jian material remains accessible through direct transmission
-
To engage with practitioners across Chengdu and Emei martial lineages
-
To collect oral histories and embodied knowledge related to transmission, loss, and discontinuity
-
To translate martial knowledge into a spatial installation and live performance
-
To examine the gap between documentation, memory, and embodied knowledge—treating misalignment as material
-
To build a live archive where transmission remains visible, unstable, and ongoing
-
To position absence and fragmentation not as failure, but as the central subject of the work
方法论
项目通过三种相互关联的模式运作：
1. 田野传承（成都 + 峨眉研究）
艺术家将与成都和峨眉的武术实践者、传承者及训练环境进行接触。田野调查将采用开放式探究，而非预设套路清单：通过 A4 的 Super Agent 网络、武术协会及本地训练空间寻找传承者。研究将跟随实际浮现的双剑材料，将裂隙、缺席与意外发现视为档案的有机组成部分。
这包括直接观察、动作传授、拍摄记录，以及以技术与个人维度为重点的口述历史采集。
2. 身体实践（物理翻译）
所有习得的材料将被整合到每日身体训练中。身体作为一个不稳定的档案运作——不完整的传承、重复、适应与失败都是研究过程的一部分。艺术家不完美的复制不是缺陷，而是知识在传承中如何转化的主要证据。
3. 档案构建（装置与表演）
采集的影像、访谈与动作研究将被转化为空间装置，通过持续的现场表演激活。观众并非远距离观看，而是穿行于作品之中，亲身居于记录与现场存在之间的裂隙里。
METHODOLOGY
The project operates through three interconnected modes:
1. Field Transmission (Chengdu + Emei Research)
The artist will engage with martial practitioners, lineage holders, and training environments across Chengdu and Emei. Rather than pursuing a pre-identified list of forms, the fieldwork will operate through open-ended inquiry: identifying practitioners through A4's Super Agent network, lineage associations, and local training spaces. The research will follow whatever double jian material emerges, treating the gaps, absences, and unexpected discoveries as integral to the archive.
This includes direct observation, movement transmission, filming, and recording oral histories focused on both technical and personal dimensions of practice.
2. Embodied Practice (Physical Translation)
All learned material is integrated into daily somatic training. The body functions as an unstable archive where incomplete transmission, repetition, adaptation, and failure become part of the research process. The artist's imperfect replication is not a shortcoming but the primary evidence of how knowledge transforms through transmission.
3. Archival Construction (Installation & Performance)
Collected video, interviews, and movement studies are transformed into a spatial installation activated through live durational performance. The audience does not observe from a distance but walks through the work, inhabiting the gap between documentation and live presence.
与本地社区及 A4 平台的互动
本项目旨在积极融入 A4 驻留的本地生态系统、社区结构与跨文化网络。
驻留期间，我将：
-
通过 Super Agent 系统与成都的武术实践者及本地社区合作
-
通过田野调查与峨眉及区域武术传承 体系建立关系
-
参与 A4 的社区活动、沙龙与群体交流
-
组织 1–2 场参与性活动，邀请本地参与者身体性地介入动作研究——目的不是"学习武术"，而是体验观看与移动之间的差距
-
将社区互动作为不断演变的档案的一部分，而非独立的外联活动
这使得作品与 A4 所倡导的本土化、交流与艺术家-居民共创模式相契合。
ENGAGEMENT WITH LOCAL COMMUNITIES & A4 PLATFORM
This project is designed to actively engage with A4 Residency's local ecosystem, community structures, and cross-cultural network.
During the residency, I will:
-
Work with martial arts practitioners and local communities in Chengdu through the Super Agent system
-
Build relationships with Emei and regional martial lineages through field-based research
-
Participate in A4 community events, salons, and group exchanges
-
Develop 1–2 participatory sessions where local participants are invited to physically engage with movement-based research—not to "learn kung fu" but to experience the gap between watching and moving
-
Use community interaction as part of the evolving archive rather than separate outreach
This positions the work within A4's model of localization, exchange, and co-creation between artists and local residents.
对 A4 驻留支持的使用
驻留支持将直接服务于项目的研究与制作两个阶段。
-
工作室空间: 身体训练、影像分析、剪辑与装置开发
-
Super Agent 系统: 获取本地知识、联系实践者、融入日常文化环境
-
本地网络资源: 识别成都与峨眉地区的相关武术传承体系
-
制作补助: 记录设备、成都-峨眉区域交通、装置材料、合作者报酬、本地中间人费用
-
展示平台: 最终装置、持续性表演与公共活动
USE OF A4 RESIDENCY SUPPORT
The residency support will directly enable both research and production phases of the project.
-
Studio space: Physical training, video analysis, editing, and installation development
-
Super Agent system: Access local knowledge, connect with practitioners, integrate into daily cultural environments
-
Local network access: Identify relevant martial lineages in Chengdu and Emei regions
-
Production grant: Documentation equipment, travel within Chengdu–Emei region, installation materials, collaborator compensation, local intermediary fees
-
Presentation platforms: Final installation, durational performance, and public engagement events
驻留结构（10 周）
第 1–2 周：成都导览 + 调研
Super Agent 介绍、社区融入、寻找实践者与训练环境
第 3–5 周：成都田野调查 + 传承
动作学习、访谈、拍摄、口述历史、每日身体实践
第 6–7 周：峨眉田野调查
前往峨眉地区与 实践者接触；收集动作材料与历史知识。如田野调查获得的双剑材料有限，研究将转向记录这种缺席的状况——访谈关于已失落的内容，并观察相关单剑套路作为对比。交通与当地住宿通过 A4 的 Super Agent 网络安排。
第 8–9 周：身体综合（成都工作室）
将所有材料整合到日常实践中；开发装置结构与声音设计
第 10 周：最终装配 + 公开展示
装置搭建、持续性表演与公开分享活动
RESIDENCY STRUCTURE (10 WEEKS)
Weeks 1–2: Chengdu Orientation + Mapping
Super Agent introduction, community integration, identifying practitioners and training environments
Weeks 3–5: Chengdu Field Research + Transmission
Movement learning, interviews, filming, oral histories, daily embodied practice
Weeks 6–7: Emei Field Research
Travel to Emei region to engage with lineage-based practitioners; collect movement material and historical knowledge. If fieldwork yields limited double jian material, the research will pivot to documenting the conditions of that absence—interviews about what has been lost, and observation of related single-sword forms as contrast. Travel and local accommodation arranged through A4's Super Agent network.
Weeks 8–9: Embodied Synthesis (Chengdu Studio)
Integration of all material into daily practice; development of installation structure and sound design
Week 10: Final Assembly + Public Presentation
Installation setup, durational performance, and public sharing session(s)
公共活动
项目将包括：
-
1–2 场参与性工作坊或公开动作活动，与本地参与者一同进行，融入走廊装置空间
-
驻留期间的开放工作室展示
-
最终持续性表演，在装置环境中进行
这些活动是研究的延伸，而非独立的教育活动。参与者的动作将被记录，并可能被纳入不断演变的装置中。
PUBLIC PROGRAMME
The project will include:
-
1–2 participatory workshops or open movement sessions with local participants, integrated into the corridor installation space
-
Open studio presentation during the residency process
-
Final durational performance within the installation environment
These events function as extensions of the research rather than separate educational activities. Participant movements will be documented and may be incorporated into the evolving installation.
成果
最终作品将是一个装置与表演的复合环境：
-
一个走廊空间（非封闭展厅），两面相对的墙壁上各有一组投影
-
投影无声：传承者练习双剑套路的田野影像、动作研究及记录下的传授过程。屏幕上的身体是沉默的幽灵——脱离肉身的、不可触及的、档案式的存在。
-
叠加的音频：传承者讲述的录音——指令、口述历史、呼吸、训练环境声音——从走廊中多个扬声器发出。音频不与画面同步。它自由漂移，创造偶然对齐与刻意错位的瞬间。不同声音被分配至不同扬声器，营造出观众在声音中穿行的空间体验，而非从单一来源接收。
-
观众穿行于投影之间，身体性地置身于所见与所听之间的裂隙——即传承发生或失败的空间
-
持续现场表演：艺术家在空间内练习所学材料，其现场的呼吸与步法为装置增添第三层——与墙上的记录幽灵既竞争又互补
-
空间内放置木质练习剑，邀请观众短暂地体验动作的身体性
作品将传承定位为持续的、不稳定的过程，而非完整的历史对象——一道随着每个穿行其中的身体而消失与重现的边界。
OUTCOME
The final work will be a combined installation and performance environment:
-
A corridor space (not a closed gallery room) with two projections facing each other on opposing walls
-
Projections are silent: field recordings of practitioners practicing double jian forms, movement studies, and documented transmission sessions. The bodies on screen are silent ghosts—disembodied, unreachable, archival.
-
Layered audio: recordings of practitioners speaking—instructions, oral histories, breath, training environment sounds—emanating from multiple speakers throughout the corridor. This audio is not synced to the visuals. It drifts, creating moments of accidental alignment and deliberate disjunction. Different voices and sounds are assigned to different speakers, creating a spatial experience where the audience moves through the voices rather than receiving them from a single source.
-
Audience walks between the projections, physically inhabiting the gap between what is seen and what is heard—the space where transmission either happens or fails
-
Live durational performance: the artist practices transmitted material within the space, their live breath and footwork adding a third layer to the installation—competing with and complementing the recorded ghosts on the walls
-
Wooden practice swords available in the space, inviting audience members to briefly engage with the physicality of the forms themselves
The work positions transmission not as a completed historical object, but as an ongoing and unstable process—a boundary that disappears and reappears with every body that passes through.
可行性
10 周的结构使项目能够从城市田野调查（成都）清晰地推进到区域 研究（峨眉），随后进入综合与制作阶段。
项目设计保持对可用实践者、本地条件及 A4 社区生态系统的响应性，同时维持一致的研究轨迹。
如成都田野调查获得的双剑材料有限，峨眉研究将转向记录这种缺席的状况——访谈实践者关于已失落的内容，并观察相关单剑套路作为对比。项目始终致力于探究传承这一问题，即使传承的对象稀缺。
峨眉的交通将通过 A4 的 Super Agent 网络安排，当地住宿与实践者介绍将在出发前协调完毕。将聘请本地中间人以促进与传承者之间的信任建立，确保知情同意及对其知识分享的公平报酬。
FEASIBILITY
The 10-week structure allows for a clear progression from urban fieldwork (Chengdu) to regional lineage research (Emei), followed by synthesis and production.
The project is designed to remain responsive to available practitioners, local conditions, and A4's community-based ecosystem while maintaining a consistent research trajectory.
If the Chengdu fieldwork yields limited double jian material, the Emei research will pivot to documenting the conditions of that absence—interviews with practitioners about what has been lost, and observation of related single-sword forms as a point of contrast. The project remains committed to the question of transmission even when the object of transmission is scarce.
Travel to Emei will be arranged through A4's Super Agent network, with local accommodation and practitioner introductions facilitated prior to departure. A local intermediary will be engaged to facilitate trust-building with lineage holders, ensuring consent and fair compensation for their knowledge sharing.
艺术家背景（与本项目相关）
艺术家兼具长期身体训练与实验艺术训练，为项目提供了直接支撑：
-
持续的武术训练：在释延孜及其弟子指导下多年修习北方少林派，持续研习达摩剑
-
身体性研究实践：英国少林寺现场（2024–至今）记录了机构表演语境之外的社区性武术实践——本项目是该方法论的直接延伸
-
装置与沉浸式环境：荒野（2023）构建了多感官、走廊式的沉浸体验，观众在碎片化叙事空间中穿行
-
多语言与碎片化交流：一个小广场（2023）处理语言之间的间隙与可译性的限度——与峨眉方言传承者的工作直接相关
-
心理空间与张力：我们到了（2022）与消失（2025）探索空间如何在无需解释性解决的情况下承载记忆与不稳定性
身体实践、装置创作与研究型方法论的结合，使艺术家能够以技术能力与概念深度执行本项目。
ARTIST BACKGROUND (RELEVANT TO THIS PROJECT)
The artist brings a combination of long-term somatic practice and experimental arts training that directly informs this project:
-
Ongoing martial training: Years of practice in Northern Shaolin under Shi Yanzi and his disciples, with ongoing study of Damo Jian
-
Embodied research practice: Shaolin Temple UK: In Situ (2024–ongoing) documents community-based martial practice outside institutional performance contexts—this project is a direct extension of that methodology
-
Installation and immersive environments: Wildlands (2023) built a multi-sensory, corridor-based immersive experience with audience navigation through fragmented narrative spaces
-
Multilingual and fragmented communication: Une Petite Hiroba (2023) worked with the gaps between languages and the limits of translatability—directly relevant to working with dialect-speaking lineage holders in Emei
-
Psychological space and tension: Here We Are (2022) and Vanished (2025) explore how spaces hold memory and instability without explanatory resolution
This combination of embodied practice, installation-making, and research-led methodology positions the artist uniquely to execute this project with both technical competence and conceptual depth.
装置草图 / 空间示意图
装置将占据一个走廊空间（非封闭展厅）。两台投影仪相对置于两侧墙壁上，播放无声的纪录影像——传承者的练习与艺术家的学习过程。扬声器分布于走廊各处——部分靠近天花板，部分与耳平齐——营造出一个多声道声景，观众穿行其中。现场表演区域位于走廊中央，使艺术家能够在两幅投影之间移动。观众动线不受限制；观看者可自行决定穿行节奏、驻足停留或折返观看。入口处备有木质练习剑，供希望短暂体验动作身体性的观众使用。
INSTALLATION SKETCH / DIAGRAM
The installation occupies a corridor space (not a closed gallery room). Two projectors face each other on opposing walls, screening silent documentation of practitioners and the artist's learning process. Speakers are distributed throughout the corridor—some near the ceiling, others at ear level—creating a multichannel soundscape that the audience moves through. The live performance area is positioned in the centre of the corridor, allowing the artist to move between the two projections. Audience flow is unrestricted; viewers may pass through at their own pace, linger, or return. Wooden practice swords are available near the entrance for those who wish to briefly engage with the physicality of the forms.
音频将被混音为多声道声景。录音将包含三个重叠的层次：
1. 技术指导：直接的传授口令（"抬肘""转腰""气沉丹田"）——教学的语言
2. 个人记忆：传承者讲述关于套路逐渐消失的看法、对自身师承的记忆、学习与失落的故事——其中所涉的人文维度
3. 环境质感：练习中的呼吸、步法、以及训练空间的環境音（鸟鸣、车流、寺鐘）——传承的物理与地理语境
不同的声音将被分配至走廊中不同位置的扬声器，营造出一种观众在声音中穿行的空间体验，而非从一个单一来源接收声音。音频将与无声的投影不同步——它会自由漂移，创造偶然对齐与刻意错位的瞬间。观众行走于两幅无声投影之间，同时聆听着不属于任何一幅画面的声音，身体性地置身于记录、记忆与身体知识之间的裂隙之中。
The audio will be mixed as a multichannel soundscape. Recordings will include three overlapping layers:
1. Technical instruction: direct transmission cues ('lift the elbow,' 'turn the waist,' 'breathe from the dantian')—the language of teaching
2. Personal recollection: practitioners speaking about the forms disappearing, memories of their own teachers, stories of learning and loss—the human dimension of what is at stake
3. Environmental texture: breathing during practice, footwork, and ambient sound from training spaces (birds, traffic, temple bells)—the physical and geographical context of transmission
Different voices and sounds will be assigned to different speakers distributed throughout the corridor, creating a spatial experience where the audience moves through the voices rather than receiving them from a single source. The audio will not be synced to the silent projections—it will drift, creating moments of accidental alignment and deliberate disjunction. The audience, walking between two silent projections while hearing voices that belong to neither, physically inhabits the gap between documentation, memory, and embodied knowledge.
伦理声明
本项目在所有参与者的知情同意下运作。传承者将因其时间与知识获得报酬。将聘请一位本地中间人，以协助处理传承体系中的礼仪规范、方言差异，并与可能不熟悉当代艺术实践的老年传承者建立信任。所有记录材料——影像、音频及照片——将在公开展示前与参与者共享。参与者保留在任何阶段撤回其贡献或要求删除特定材料的权利。本项目将参与者视为合作者，而非研究对象。
ETHICS STATEMENT
This project operates with informed consent from all participants. Practitioners will be compensated for their time and knowledge. A local intermediary will be engaged to navigate lineage protocols, dialect differences, and ensure trust-building with elder practitioners who may be unfamiliar with contemporary art practices. All documentation—video, audio, and photographic—will be shared with participants prior to public presentation. Participants retain the right to withdraw their contribution or request the removal of specific material at any stage. The project treats participants as collaborators, not subjects.
为何选择 A4
A4 驻留的本土化模式与 Super Agent 系统恰好提供了本项目所需的条件——结构化地接入本地知识网络、用于身体性研究的时间，以及一个重视过程甚于成果的公共参与平台。驻留位于成都，且毗邻峨眉山，使其成为本次田野调查的理想基地。此外，A4 强调艺术家与本地居民之间的共创，这与本项目将社区互动视为不断演变的档案之有机组成部分、而非独立外联活动的方法论高度一致。
WHY A4
A4 Residency's model of localization and the Super Agent system offers exactly the conditions this project requires—structured access to local knowledge networks, time for embodied research, and a platform for public engagement that values process over product. The residency's positioning within Chengdu, with proximity to Emei, makes it the ideal base for this field-based investigation. Additionally, A4's emphasis on co-creation between artists and local residents aligns with the project's methodology of treating community interaction as integral to the evolving archive rather than separate outreach.