On 30 and 31 March 2024, The AUUUUDITORIUM at the Rockbund Art Museum presented Rendering Zhenze: Diadromous In Spring (2024), a newly commissioned performance by artist Payne Zhu. This sound, visual and gastronomical experience transformed AUUUUDITORIUM as a spiritual abode that propels one to reconsider the question of value. Referencing Wu vernacular novels (吴语列传), the performance explores the nomadic nature of amphibious creatures, the feminist resistance of the Jiangnan region, and the exchange frontier of sea-land collision in Shanghai. The Yangtze River Delta, where Shanghai is situated, was formed due to the constant accumulation of sediment carried by the river system. Under the flooding of moving images accompanied by music composed by the artist and Sun Dasi, Zhu narrates the spirit of fish swimming against the current and speculates the incalculable debt while consuming dishes with the audience alongside the other performer Zheng Haozhong. Rendering Zhenze definancializes the act of exchange, decentralizes dominant language and belief systems, and reclaims the value of different bodies of water. The artist will continue his endeavor in searching for an alternative economy and critically examine the attention economy rendered by platforms that algorithmically encourage vicious competition and financial bidding through this project.

2024年3 月 30 日至 31 日，上海外滩美术馆的“讲———堂”项目呈现了艺术家佩恩恩的新近委任创作的表演作品《震泽渲染：春季洄游》（2024）。其以声音、视觉和美食的体验将“讲———堂”转变为一个精神居所，令人重新思考价值问题。该表演以吴语列传的风格探索水陆两栖式的游牧基因、江南女性主义式的抵抗精神，以及海陆冲击混杂的交换前沿——上海，其所处的长江三角洲不断被河流水系裹挟着泥沙淤积成陆。随着与孙大肆一同创作的音乐和艺术家影像的涌入，佩恩恩与观众和另一位表演者郑皓中一起进餐，并讲述鱼逆流而上的精神以及推测无法估量的债务。《震泽渲染》将交换行为去金融化，将主流语言和信仰体系去中心化，为河流水体和生态声景重估价值。该项目将持续艺术家对其他可选经济体的探索，对平台经济通过算法鼓励恶性竞争与金融竞标来获取的注意力经济形态进行批判性研究。