Abstract
Why curate live arts without the bodily presence of external live audiences? After all, are the latter not the omphalos of live arts? This article responds to the above questions through a case study of the 2018 GAN and GAN International Performance Art Festival that took place on May 1, 2, and 3—an annual off-the-grid festival in the village of Meibei in the Southern Chinese province of Jiangxi. As a festival without an external live audience, GAN and GAN challenges both the central position of the audience in the conceptual framework of live arts curating and established concepts of audiences. I examine the curatorial practice and philosophy of the festival’s two curators, Xiong Yunhao and Xiao Shang and demonstrate how their live arts festival—curated for its artists—not only preserves the endangered genre of Xingwei Yishu (performance/behavioral art from China) but widens the scope of contemporary curatorial practice.
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