For Immediate release 即将开幕

Bili Bidjocka « …Do Not Take It, Do Not Eat It, This Is Not My Body… »

Bili Bidjocka 《......不要碰它,不要吃它,这不是我的身体......》

Solo Exhibition by Bili Bidjocka 个展

October 6 - November 18 2012 2012年10月6日 – 11月18日

Opening October 6 from 5 pm - 9 pm 开幕式:10月6日,下午17:00点-21:00点

For the occation of the Shanghai Biennale, stage候台BACK is pleased to announce the first solo exhibition of Bili Bidjocka in mainland China. This exhibition includes performance, installation, video works, drawing and sculptures.

For over two thousand years, many artists have been inspired by The Last Supper, Christ's last meal during which the son of God delivered his testament. There are thirteen people at the table, as if in a perfectly staged play. With " …Do Not Take It, Do Not Eat It, This Is Not My Body… " , the Cameroon artist is showing us some sort of anti-Last Supper. A secular proposal in which God, in his Judeo-Christian conception, is absent. The event, it is best to that expression than the word "show", which doesn't correspond to the theme at all, takes place in two stages. We could describe it as a diptych. On the one hand, it is a purely formal element: a bead curtain which, borrowing from the Leonard de Vinci painting, represents a sketch, an abstract projection, presenting us with an empty table. Christ and his apostles appear to have deserted their places and we are left to wonder if it is not primarily a temporal experience that we are facing. The table is empty as if it is enough in itself. As if it doesn't matter if the meal took place before or after. It is up to us to fill the haunted void. This void, which we know represents the very essence of all spirituality: the omnipresence of absence. Absence as an impossible idealisation, absence as a grip that is lost forever and which will remain nothing but a memory. A naturally truncated memory since only our despairing determination convinces us that there is something to see. Absence as the symbol of a new epiphany.


This tableau's counterpart is a lively and carnal scene (the word is used deliberately). A moment of physical presence, which the spectator is invited to look at. In this lively tableau, it is the meal, and not its abstraction, which marks the curtain's counterpoint. The curtain, in its primary function, is reduced to a decorative element. A decorative element overdetermining that the performance will try to contradict by playing, not on the reference but on its contestation. The human becomes the centre of any possible realisation, and the display as a whole represents this part of the painting, which is so dear to the artist. Again, the meal itself is not the goal. Everything lies in the process. The long road leading to the final supper. There may be no supper. As in the curtain, we could have been invited to imagine the time before and the time afterwards. However, since the performance is the aesthetic and conceptual contradiction of the curtain, the spectator has the privilege of seeing that which cannot normally be seen, and will later say, as Rimbaud did, that they have seen, some times, that which man believes he has seen. This carnal moment, this moment of life, in the very sense of the term, undoubtedly holds the key to the riddle presented by the title of this moment. It depicts the age-old battle between God and humans.

This ontological experience, which combines the secular and the sacred whilst humanising concepts that have been lost, by dint of its meaning being mechanically repeated, reminds us that sharing, in its simplicity and spontaneity, is what makes humanity. A reminder which is greatly appreciated in these troubled times. Written by Simon Njami, Paris 2012


Bili Bidjocka has attended numerous collectives and he has shown in the Biennale of Johannesburg (1997), Havana (1997), Biennale Dakar (2000), Taipei (2004) and Venice Biennale (inside Check List - Luanda Pop, 2007 curated by Fernando Alvim and Simon Njami); he has exhibited his works in the New Museum of Contemporary Art of New York and in the exposition Africa Remix (Düsseldorf, London, Paris, Tokyo, Johannesburg, 2005–2007). He founded and directed the contemporary Art Center Matrix Art Project in Brussels.

He lives and works in Paris, France

候台画廊很高兴地宣布Bili Bidjocka在中国大陆的第一次个展即将开幕。 此次个展包括有表演、视频作


两千多年以来,许许多多的艺术家都曾从耶稣最后的晚餐中获得灵感。在这最后的晚餐上,上帝之子留下 了他的遗言。当时,13人共进晚餐,如同一出精心设计的戏剧。然而,喀麦隆艺术家正向我们展示的是名为《 ......不要碰它,不要吃它,这不是我的身体......》的“反最后的晚餐”的展览。在艺术家世俗化的理念中 ,在他的犹太基督教构想中,没有了上帝。

此次活动,或者我们最好说此次“表演”和原本的宗教主题相差甚远,分成两部分进行,像一幅双联画的 两部分。一方面,这里有纯粹形式化的元素:一幅珠帘画,取材于莱昂纳尔•达芬奇的名作,一张空空如也的桌 子呈现了一个场景,一个抽象的投射。耶稣和门徒们似乎抛弃了他们的座次,剩下我们不禁在想,这是不是短 暂的幻觉。桌子是空的,仿佛只要有这个桌子就够了,似乎这时晚餐是否已经结束或者尚未开始一点都不重要 。全在于我们,如何去填补着挥之不去的空白,如你我所知,这空白是所有灵性的实质:即无所不在的缺失。 一种像是不可能实现的理想化的缺失,一种像是永远不抹去的精神压迫的缺失,这种缺失将永远像回忆那样存 在。它是一段被删减的回忆,那样的自然,因为唯有我们绝望的决心才能让我们相信这儿有值得看得东西。这 一缺失象征着新的主显节(每年一月六日纪念耶稣显灵的节日)。

与这幅画相对应的是一个真实的、肉体的场景(有意使用“肉体”一词)。 观众被邀请来观察,这一刻的实际存在。在这活生生的真人画面里,这就是晚餐,这不是抽象,因而成为珠帘 画的对照。而这时,珠帘的作用被简化成一种装饰性元素。这副装饰画由多个因素构成,它呈现出来的内容则 通过冲突,而不是参照,与之冲突。人成为了一切可能实现的中心,画上人物形象和空间的布置对于艺术家来 说都显得十分珍贵。除此之外,这样的一桌饭局并不是最终的目标。一切都在进展之中。这条长路将人引向了 最后的晚餐,也许并没有最后的进餐。就如在珠帘画中,我们可以想象画上反映的是晚餐之前抑或是晚餐之后 。然而,由于真人表演与珠帘画在审美和构思上是对立的,观众便能看到正常情况下可能看不到的东西,或者 如兰波所说,很多时候,人们见过那些他们相信自己看见过的东西。这样世俗的时刻,对大多数人而言,生命 毫无疑问地在这一刻抓住了解开“此刻”之谜的关键。它展现了千年来人与上帝之间的对立。 这一本体论的体验融合了那些已丢失的世俗以及融合了人文主义的宗教观念。通过机械地、不断地重复它 们的深层含义,我们回忆起分享,在它简单和自发之中,造就了人性。在这多事之秋,这一人性的召唤来得正是时候。

Simon Njami于2012年写于巴黎

Bili Bidjocka加入过很多艺术团体,出现在很多双年展上:1997年南非约翰内斯堡双年展、1997年古巴哈瓦那、 2000年塞内加尔达喀尔、2004年台北和威尼斯双年展。他的作品曾在纽约新当代艺术博物馆和《非洲混音》展 览中展出。(《非洲混音》于2005-2007年在杜塞尔多夫、伦敦、巴黎、东京和约翰尼内斯堡巡回展览)。他曾 在布鲁塞尔主导当代艺术中心“矩阵艺术计划”项目。Bili目前在法国巴黎居住和从事艺术创作。