Nested – Su mei Tse @Artforum

有幸在一个几乎冷清的下午去到谢素梅个展安棲的展厅艺术家对自然物的沉思与呈现对物质肌理的强调与归返正好需要一个空荡的氛围来衬托面对其作品所营造的冥想空间最后竟让人生出某种感慨——礼失求诸野换言之丢失的东西可以到别处去寻回在采访中谢素梅认为自己之于中国不如说仍是异国人但通过这个展览我作为一个在地的中国人却获得了一些曾经缺乏的体验。“安棲在余德耀美术馆将持续展出到324

Su-Mei_Tse_Nested_20

With the title Stone Collection, I like to refer to a very simple gesture, a natural reflex that we had in childhood and even later to collect found stones while longing a path. The quality of choosing is very personal, intuitive. Here the idea is the same, just with a different scale and presenting a found object in the idea of an objet trouvé. As in previous works, I’m not interested in inventing something new but rather pointing on the existing, bring it to the foreground and create a visual composition.

For me the presence of a scholar rock, as it traditionally did in a scholar’s room referring to nature and inspiring the creation, also confronts us (physically) to the question of scale. Scale not only in terms of dimension and weight but also in terms of time. These stones which have been washed and shaped (often by the stream of a river) during hundreds, thousands of years relativize our existence and brings a new perspective to the lapse of time that we have. In another work Red Ladder (The Scale) I present the same concern but with a certain smile. This laboriously forged object (sculpture) is less important for its material existence, but rather a (jokingly) link to its title and theme about scale. A kind of French word play: c’est une question d’échelle, it’s a question of scale (échelle means ladder but also scale). A reflexion I developed in different ways these last years.

The way to present these stones (and my work in general) is important for me. Here trying to create a meditative composition, a space for quiet contemplation and at the same time adding a “painterly” quality, renouncing any ornamentation but create a minimal background for each stone. The choice of color is carefully selected to vanish the obsolete, the “dust” and give a personal and playful note to this tradition that I appropriate into my work. I want to evoke the meditative moments through these works. My cultural background has to do with that interest and affinity in silence, but it is also a personal need. Already in 2003, I worked with our condition to be exposed to noise, speed, and stress. Being overwhelmed by information and impressions, the noise from outside but also noise inside us, provoked by our thoughts, restlessness, and agitation seriously affecting our life. That was also the reason I decided to create the “radical silence” for my solo exhibition “Air Conditioned” in the Luxembourg Pavilion at the 50th Venice Biennale.

2005_tse_2031

Natural materials are also important in my creations. At the one hand, I like to work with natural elements for their visual and haptic quality. For example, in the series of “Moons”, I used marble as paint attracted by its deep and precious texture. At the same time, the use of marble has to do with my time in Rome, its unconscious influence on me but also its historical reference in Roman art. Then there is this red resin, in opposition to create a tension between marble and the strong red color treated in relation to the Japanese tradition of lacquer ware. So in a second reading, there’s a tension underneath the work between two countries and two cultures. This kind of tension relating to nature also embedded in the work Trees and Roots. I started it with a series of photographs of “everyday” moments of these trees with their wrapped roots waiting to be planted before adopting their new environment, the ground, being “rooted” again. I was touched by the fragility (and force) of this “exposed” situation, the beauty of the wrapped roots and the idea (and image) of the growing roots, “taking” the ground and gradually anchor themselves. Later I developed that image into bronze sculptures, working with the scale and space. Beside being inspired by nature and natural elements, I’m interested in the nature of the human being, the physical body and, especially, his spiritual soul. Through my work, I try to get closer to our intuition, to the essence of humankind and reflect to our existence in time and on earth.

My works often refer to words, language, literature, and books. So that people can see the paragraphs on the wall for corresponding works presented in Yuz Museum. During the preparations of the exhibition (the first venue of the touring show was in Luxembourg at the Mudam) I exchanged a lot with Christophe Gallois, the curator who has not only a sensitive reading and understanding of my work but also a deep and rich body of references. This vivid exchange has led to these “notes”, giving like a second layer of meaning. Besides of this, music also plays equivalent role in my creation. I think the most important for an artist is to use a personal language, to express ideas in the most honest way. As I grew up in a musical family, for me, music and sound are the “tools” to use to create images or to get inspiration from and express myself with that language I feel familiar with.

“Nested” is my first solo show in China, which composes interesting dynamics beneath the exhibition. The influence of oriental culture keeps floating in my works for last years. When I visited China (my family is in Hong Kong, to be precise) as a small child, I was fascinated by the landscape and the contrasts between the modern (contemporary) architecture and the tropical natural environment. The loud, busy and “wild” crowds, the smells on the markets and the excitement in the Cantonese language. When I visit China now, I can not speak of a “real” China still being a foreigner feeling that “wildness” in a way, but at the same time feeling very familiar, close the way of feeling, eating and perceiving. Maybe it remains in my works in some way.

Su-Mei_Tse_vertigen_de_la_vida_2011_Peter_Blum

我想用藏石系列指涉一个十分简单的动作,一种我们在童年就有,甚至延续到成年的条件反射在路上散步时收集发现石头选择是一个非常个人化与直觉性的过程。“藏石系列的理念也是如此只不过尺度不同而且是在拾得艺术”(objet trouvé)的概念下呈现这些现成物我一直对发明新的东西不感兴趣我更关注指认现有的事物将它们带入前景并创造出一个视觉上的构图

在我看来供石不仅如它在文人书房中的传统功用那样隐喻自然并激发创作灵感同时还使我们在身体上直面尺度的问题尺度不仅指尺寸和重量也包括时间这些经过河流千百年洗炼的石头使我们的存在相对化并为我们所经历的时间流逝带来新的视角在另一件作品红色梯子比例尺)》我表达了同样的关注但多了一些幽默感这件费心锻造的物品雕塑最关键之处可能并不在于其物质存在而是它的标题和与尺度概念之间玩笑式的联系它是一个法语的文字游戏:c’est une question d’échelle(这是一个尺度的问题)。échelle既指梯子也有尺度的意思

此次展览我尝试创造一个冥想的结构一个安静沉思的空间同时在其中加入一种绘画放弃任何装饰给每块石头创造一个最极简的背景颜色都经过精心挑选以消除过时与尘土的感觉为这一被我挪用进自己作品的传统增添一种个人化和俏皮的意味我对寂静的兴趣和亲近很大程度上与我的文化背景有关但它也是我的个人需求早在2003我就开始在作品中处理我们日常面对的噪音速度和压力问题我们无时无刻不被各种信息和观感淹没噪音不仅来自外部更来自于内心它严重影响着我们的生活这也是我选择在第50届威尼斯双年展卢森堡馆的个展空气调节”(Air Conditioned)中制造极端寂静的原因

6c9dde9eff222040a83e144b8d7176a5

天然材料在我的创作中非常重要一方面我喜欢自然元素在视觉和触觉上的质感例如月亮系列中我被大理石深沉且珍贵的肌理吸引于是将其当作颜料使用与此同时使用大理石与我在罗马驻留的经历有关不仅反映了那段时间在潜意识里对我的影响也在历史层面上指涉了罗马艺术而使用红色树脂则是为了让大理石与常见于日本传统漆器的那种大红色之间形成对照因此对这件作品的另一种解读也可以指向其背后两个国家和两种文化之间的张力这种与自然相关的张力同样深嵌于作品树和根该作品源于我的一系列日常摄影最开始我拍了很多等待被移植到新环境的树及其被包裹起来的树根我被这种暴露状态下的脆弱与力量所触动被包裹着的树根的美以及树根不断生长慢慢占领一方土地并在那里扎根的景象后来我将这个想象中的图像发展成青铜雕塑让它们与空间尺度相互作用

我的作品经常涉及文字语言文学和书籍在余德耀美术馆的这次展览中观众可以看到墙上的段落与展出作品相互对应在准备展览期间巡展第一站是卢森堡的MUDAM美术馆),我和策展人Christophe Gallois交流很多他不仅对我的作品有敏感的解读还给出了深刻而丰富的参考文本我们之间的交流生成了这些笔记”,为作品编织了第二层意义当然音乐在我的创作中也很重要我认为艺术家最重要就是使用个人语言以最诚实的方式表达想法我出生于一个音乐世家对我而言音乐和声音就像工具”,我借由它们制作图像获取灵感用最熟悉的语言述说自身

安棲是我在中国的首次个展过去的几年里东方文化的影响在我的作品中不断浮现小时候来中国确切地说我的家人在香港),那种现当代建筑与热带自然环境之间的对比令我着迷——喧闹忙碌甚至疯狂的人群市场的气味与粤语对话间的兴奋情绪如今再来中国我感觉自己还无法谈论一个真实的中国因为之前那种疯狂感还在但同时又让我觉得非常熟悉和相近或许这些都以某种方式保留在了我的作品里

During, Doing @ArtShard

2014年,Karen Archey 和 Robin Peckham 在尤伦斯艺术中心推出“后网络艺术”展,同为策展人的 Omar Kholeif 也于同年出版后网络相关文集 You Are Here: Art After the Internet我是在那一年后才听闻这个词,从一开始的疑问到参加中国美术学院的网络社会论坛,与后来连续两届将苗颖作为写作个案参与华宇青年论坛、与李汉威合作史莱姆引擎 VR 空间展览与他的个展。“后网络”这个词从陌生到清晰又迅速沉下认知的海底。Marisa Olson 可能是那个最早给“后网络”定名的人,她在杂志《超时》中曾提到:“比起在网络上创作,我所做的更像是网络之后 (art “after” the Internet) 的创作,这是我强迫性上网和下载的结果。我创作的表演、诗歌、图像、文本或是装置都直接来源于网络素材或是我的网络行为。” 而眼下,似乎所有可见之物都已经成为“网络之后”的了。

后网络这个名称到底意味着什么可能已经无人知晓,而与这个词相关的“新媒体”与“网络艺术”又在迅速变得过时。新美术馆的展览“艺术在此发生:网络艺术的档案诗学”(The Art Happens Here: Net Art’s Archival Poetics)基于延续两年的线上展览“网络艺术选集”(https://anthology.rhizome.org/),讲述了80年代至今的网络艺术。在展览现场你因此有幸还能看到“古老”的电脑外形和控制界面,与如今表面光鲜、 Contemporary Art Daily 趣味式的作品不同,它们当初还满怀着反抗白立方展示空间的热情。作品也从早期依赖技术实体展示,发展为通过剥离隐性的技术特征,将它们包含的政治性与社会隐喻显露出来。当 Rhizome 在梳理这段不长的历史之时,Timur Si-Qin、Simon Denny、Ryan Trecartin 与 Lauren Cornell 等专注网络的艺术家与策展人也纷纷来到国内推出展览。随着曝光度的上升,后网络的意义变得更为流动不居。当然你可以通过媒介将它们定义为“使用网络”创作的作品,可随着网络的渗透,这样的界定变得过于宽泛。后网络曾经通行的那种散漫、无所事事,在现在看来可以被称为佛系的精神状态,或许是一种典型的后现代气质。鲁明军在2016年于没顶画廊策划的展览“过剩的想象,无所事事的绝妙”可谓是对这一状态的恰当总结,其中包括了李维伊、沈莘、王芮、王新一和钟云舒等七位艺术家的作品。由于画廊空间的性质与局限,展览无法包括像林科、陆扬、Kim Laughton 等艺术家,但在这样的主题下,艺术家已经各自呈现了个体微妙的叙事线索,与某种沉迷于自我经验的自在表达。同年 K11 邀请Hans Ulrich Obrist 策划了一个与黑客文化有关的展览“HACK SPACE”。将黑客文化与山寨现象并置,这种针对网络中的一个文化现象进行剖析与讨论的方式成为后网络艺术的另一面向。在其中,山寨、淘宝美学、网络直播、虚拟现实等等主题都成为讨论的对象。

James Bridle 提出的新美学(New Aesthetic) 在许多艺术家身上得到印证(李维伊、赵要《奇迹》、郑源《游戏》、尉洪磊、关小、Ian Cheng、Tabor Robak 等),数字技术与互联网在物理世界中日益增长的视觉语言造就了层出不穷的景观;如2016年横空出世的《PokémonGO》游戏一般,虚拟世界与现实世界的错置、融合,随着AR/VR/MR等技术调用着你的感官与身体。而除景观之外,网络带来的关系变化为人们提供了分享的乌托邦愿景,剩余空间由 Passing Fancy(朱筱蕤和弗雷迪·克鲁兹·诺维尔)策划的展览“P2P”与余德耀美术馆的“艺术家此在”都呈现了这样的理想,在其中知识不再成为产权而是人类共有的开放资源;因为“挪用”概念的延续,艺术与日常生活之间的视觉界限也渐次模糊。另一方面,越来越多的艺术家通过艺术的线上市场建立自己的名声。全民网红的现象是指一介草根可以凭借快手、抖音这些网络平台崛起,也意味着任何一个艺术家可以通过社交媒介传播作品巩固自身的视觉语言。对艺术家 Brad Troemel 而言,这意味着作品要求的作者身份、艺术的版权与艺术品必需居于艺术语境之中的传统概念受到了挑战。而在这乱象中野蛮生长的,则是资本主义的建制与消费主义的狂欢。2016年的柏林双年展,艺术家与企业家之间的身份渗透,为后现代的景观又添上了浓墨重彩的一笔。Troemel 在其文章《社交媒体之后的艺术》的结尾说到:“那些将乌托邦主义与资本主义玩弄于股掌之间的加州意识形态技术人员(Califonian Ideology technogists) 对这一代媒介成瘾、创作几乎雷同的艺术家们负有责任”。

正因为此,越来越多的“后网络”艺术家开始逐渐清醒,从因网络而萎靡的个体意识中产生觉知。这意味着不再停留于网络带来的虚空盛景与网络内部裹挟的意识形态,而是从界面的那一边跳脱出来,返回到这个略显尴尬、双手僵持在键盘上的身体。这个反向过程必然带着极度的不适,但某种程度上,这等于跳离沈莘指涉的那种“危机与舒适并存”的场域。当你回望屏幕的深处,意识到“网”所链接的一个个原子化的个体,是《网络迷踪》中消失的  Margot,同时也是自己。电子景观背后的魔障、或是人工智能引发的主体危机、社交媒介与算法共谋之下的过滤泡沫与数据歧视;这些网络/技术系统背后的结构问题开始渐次破壳。后网络艺术显现出一种逐渐明晰对象的探索过程。从原始阶段对于网络这个单纯载体的创作与二元关系想象,到后来借用网络特性抒发后现代颓靡,延续至今,后网络艺术的敌方似乎越来越向网的背后退去。2018年底苗颖的个展“他山之石”,是一次“网络之后”的觉醒,从 “Filter Bubble Detox” 项目到此次的硬核数据排毒,都与佩恩恩的《坏数据表演》处理着同样的权力问题,个展的呈现形式借用古老的(瑜伽式)的身心灵修炼方法,结合VR戒瘾(《在现实中以毒攻毒》)技术与防火墙这些“他山之石”,营造了一个 New Age 式的体验空间。

将要落幕的广州三年展集中呈现了近几年艺术家对技术的沉思,1945年的文本《诚如所思》被放置在当下并面向即将到来的时间。加速的未来虽然意味着进步、变革或是激动人心的“奇点”,也象征着虚无主义、原子化的社会与 Michael Connor 所言:“网络造就的新自由主义的资本主义”(internet-enabled neoliberal capitalism)。在略显俗套的愿景和期盼中,对技术未来的遐想使我们深陷“进步”之中。卡斯滕·哈里斯在《无限与视角》中曾警惕,技术可能成为一种危险的力量,将其接触到的一切(包括人类在内)都还原为由技术规划加以组织的材料。后网络的社会人群也是如此这般地行走于自我脱离原位(self-displacement)与自我去中心(self-decentering)的倾向之中。在这段看似离题的言语中,我想说明的是,当我们在谈论后网络或技术的时候,我们事实上触及的是怎样的人情未来。Art Forum 的“有情绪”专题面对的正是类似的问题。而在哈里斯这本反思后现代的著作之中,他对技术(网络)做的最深刻的注脚就是“家”的沦丧,这个家是主体、是心之居所、是现代游牧人群无法定锚的方位,也是被技术理性所剥夺去的东西。拥抱技术与探索未知,意味着离家与在乡愁(nostagia)的情感间撕扯。这不是一个太时兴与“先锋”的概念,而在这里却能够成为调动后网络艺术发展的杠杆。

I am that I am 弗朗西斯·埃利斯“消耗” @NOWNESS

Vimeo: https://vimeo.com/314448047

WechatIMG920

试用弗朗西斯·埃利斯偏爱的方式,漫步在上海街头,局促的脚步、过剩的产品、一次性用品堆积的垃圾、路边被店家拴着脖子的狗,膨胀的物价与购买欲、“work hard, play harder” 般自我安慰……一切焦虑、仓皇弥漫在令人喉咙发痒的空气中,潜入身体内部。这是展览“消耗”(La Depense)被安置的城市,消费/耗费在乐观与悲丧的情绪之间牵扯着大众,或许你会在外滩美术馆那净白的殿堂中走进埃利斯的绘画,通过素描悉数与体会女孩盘发的动作。这位本可以在速写簿上留下宏伟建筑蓝图的艺术家,选择将时间耗费在平淡无常的生活细节之上。

建筑,恰恰是一桩要消耗大量人力物力的事业,在现代社会,它很大程度上显现了不动产的贪婪与雄心。所谓众人拾柴火焰高,建筑就是靠着这样的信心,成就着人类的建造神话。而事情总有它的另外一面,当地震来临或是海啸席卷城市,即使没有亲身经历,也难保不会在电视上看到,众志成城是如何显得渺小,坚实的信心可以被瞬间击垮成瓦砾。埃利斯在他的27岁遭遇了这个局面——墨西哥的震后灾景;很难说这不是让他放弃建筑转向艺术的其中一个原因。这个过程花了他将近十年的时间,而这十年,不仅仅成为他职业生涯的转向,同样也预示了他生命的转向。将长达9余小时的行为剪成9分54秒的影像,并起名为《实践的悖论1(有时行动只能引向虚无》;将十年时间里追逐龙卷风的经历浓缩成39分钟的录像作品;将4年绘制的820篇的手稿集合成为16秒视频——这些转向渗透在他作品的每一个孔隙——对于生产意义的质疑,对于有与无的判定,对于微小与宏大的踟蹰。

埃利斯的很多作品都基于行走、旅行或是漫步,像是《偷自行车的人》中在城市游走的安东。行走对于外界的干预而言,其效用是微乎其微的,存在与否似乎都无甚差别;如同在路上留下一条不具名的线、往身体的一边铲倒沙子、或是等着冰块融化。埃利斯将自身的劳作用这种细微、隐没的方式积攒在作品之中,像一位践行信念移山的愚公,在日常生活中创造他的寓言。1997年,他第一次来到上海,正是因为类似的作品缘由——《环行》(Loop),规避了在蒂华纳竞争激烈的美墨边界:利用他在圣地亚哥举办展览的费用,乘飞机从蒂华纳飞往墨西哥城、巴拿马城、圣地亚哥、奥克兰、悉尼、新加坡、曼谷、仰光、香港、上海、首尔、安克雷奇、温哥华、洛杉矶、最后南到圣地亚哥;通过这种方式从外部绕行美墨边境。这当然是他对边界进行的身体力行的思考,与此同时,也是一种对于“逾越”的另类说明。从墨西哥的一侧非法穿越美墨边境的围栏与绕行都能到达另一侧(美国),二者的差距不仅在于时间与体力的耗费,也在于身份和个人权力的悬殊。11年后的今天,这样的悬殊在美墨边境面临移民潮时再次被铺展在世界眼前:北上的难民拖家带口地朝着美国前进,口中喊着:“我们可以。”可以怎样呢?在他们心里,他们意图穿越的是贫穷与温饱、暴力与安全之间的边界。而埃利斯则借《环行》表露出心中叹息,将墨西哥作为第二故乡的他,也只能以第三者的身份对这象征性的边界添加注脚。边境总是相对而言的,如同生产性也是相对而言的一样。

这种相对性也发生在他追逐龙卷风的时刻,2000年开始的“龙卷风”项目或许是他时隔14年之后,对自然力量的重新审视。龙卷风不再是绝对摧毁性的象征,而成为一种可以捕捉的、令人“上瘾”的体验。项目的起因缘于2000年墨西哥经历的一场重大政治变革,那场变革原本意味着开放与民主,结果却被证明是一场闹剧,什么都没有发生。不仅如此,在那之后,墨西哥陷入贩毒与腐败的暴力漩涡。龙卷风对埃利斯而言,成为了这个创伤时期的隐喻。直接体验这场风暴不仅意味着你要花长久的精力去计算这个庞大之物的降临,也要求你在终于面对它时能够不被那未明的力量与恐惧威吓停止,暴力留下的阵痛仅仅发生在进入与离开的时刻。而风暴的中心或者说是内核,却是一种令人窒息的安静。埃利斯像着魔一样重复体验着这样的过程,他把这比作冲浪。这更多的是一个等待的过程,在兴奋与恐惧的共同情绪中等待着遭遇,正如他所说,在生活的许多时刻也的确如此,阵痛过后也许什么也没有发生,而事件的风眼——如果你有机会进入那样的冥想时刻——或许你也能感受到那被沙石包裹的虚空中心。

关于龙卷风的研究,对纽结的风暴进行刻画生出了《出埃及记》近千幅相关素描手稿,女子重复着盘发并解开盘发的动作,以图像的方式与龙卷风关联在了一起。你尽可以打趣说,就像老天爷生气了会打雷,龙卷风或许就是“老天爷”在盘发。这听起来像个笑话,却被埃利斯认真对待了。至少在工作量上,他对龙卷风与盘发的诠释都付出了应有的敬意。基于圣经第三章第14节,摩西问神:如果以色列人问起你的名字要如何回答,神回答说:“我是我所是的。(I am that I am)”这句重复句式是盘发动作同义反复的隐喻,也事实上成为埃利斯创作的哲性注脚。另一方面,它为展览提出的“非生产性消耗”与“生产性消费”关系问题作出了回应。事物因其所是的,而成为其所是。这是埃利斯理解与肯定世界的方式,他用这种方式,逃逸现代社会追究效益、可测性、理性等等的价值体系。女子盘发,或许正是因为这没有任何意义,才值得他花将近四年的时间去描画。

这种肯定价值的自有性,最终也会在他人生的定锚之处闪烁着意义。在采访最后,我问埃利斯如果不做艺术会做什么?这或许是个傻问题,却得到了一个真诚的答复。他说到恰好是前一天,他的朋友们在饭桌上提起这样的话题,她说:我们之间都有着相同的热情,又恰好把它们都倾注在了艺术上。而事实上,我们最终是可以把热情放到其他的东西上,成为木匠、律师或是医生。生活最终让埃利斯成为了一名艺术家,而在他看来,他很可能成为别的什么样的人。生活是其所是的样子,若不然,他或许也可以成为一位好父亲。

 

Liquid Health 液态健康 @Goethe Open Space

 

Liquid Health is a fictional cultural and creative company established by Li Hanwei, which exploits Chinese culture to conduct brand development, thereby creating a cultural brand that is designed to cultivate the body-mind-soul-spirit of human beings. On 13 January 2019, the exhibition entitled by the brand’s name “Liquid Health” will open in the context of the Goethe Open Space at the Department of Culture and Education of the German Consulate General. The entire office space will be transformed into a private lounge of the brand, and also the latest product series of Spiritual Beauty Instrument will be launched on that day.

Beauty mask instruments, eyes massagers and face lifting instruments ….. All these provincial TV products stem from advertisements the artist watched as a child. These ads usually arise from very spontaneous and shallow thoughts, and end up with shoddy produced “landscapes”. They also form the narrow core of “Chinese Dream, Blue Dream”. Together with the artificially high GDP and the overwhelming promotion of a great nation image their advertisers share a common enemy, and these circumstances form a strong contrast to the “American dream” that once tempted many people of the world.

IMG_4404.jpg

Ultimately, this exhibition may be seen as a confrontation between “Socialism with Chinese characteristics” and “American Imperialism.” Li Hanwei chose to stand on a side more related to himself. This means that he does not observe these Chinese phenomena with a Western gaze, but rather adopts abundant local resources in his artistic work. By so doing, he emphasizes more the cultural landscape in China’s special environment than just focusing on issues of pan-capitalism (like most post-internet art do).

If you would like to experience these cultural landscapes, just visit the Cross Tower at No. 318 Fuzhou Road in downtown Shanghai. Enter the lobby of this office building through the revolving door, and turn right into the “Liquid Health” high-grade private club. The first thing jumping into your sight will be the reception desk and the money drawing feng shui pool, which appear at the same time as our glittering brand logo. You can choose to stroll around, or lie on a comfortable lounge chair to watch the brand’s promotional videos. All this creates the cultural ambience for our brand. Three brand new spiritual beauty instruments, as this time’s blockbuster products released by Liquid Health, will provide unprecedented spiritual sublimation for customers by means of Chinese culture. Here, as a product, culture becomes purer and pleasing. The cultural impoverishment caused by the landscape will be compensated by a landscape correspondently. The healthy liquid, is the “zen” of lifestyle, “be water” encouraged by Bruce Lee, a cultural form that is floating and flexible, and it is also an anonymous thing, which is omnipresent, wrapping and pervading you.

IMG_4413.jpg

液态健康是李汉威建立的虚拟文创公司,利用中国特色文化进行品牌研发,借此塑造一个滋养人类身心灵健康的文化品牌。2019年1月13日,歌德开放空间将呈现品牌的同名个展,整个办公楼式的空间被改装成品牌的私人会所,并同时发布“液态健康”的最新产品系列“美灵仪”。

美容面具、眼保姆和瘦脸仪······这些地方性的电视营销产品来自艺术家从小耳濡目染的广告。拍脑门想出来的点子和粗制滥造的“景观”是此类广告的群体性特点,也形成了中国梦梦之蓝的局促内核。这些广告商与虚高的GDP、铺天盖地的大国形象宣传同仇敌忾,和曾经诱惑着全球人民的“美国梦”形成了鲜明对照。究其根底,这或许是中国特色社会主义与“美帝国主义”的对抗。而李汉威选择了更切己的阵地。这意味着他不是用西方化的眼光审视中国现象,而是从自身出发去采用丰富的本地资源。他针对的不是泛资本主义的问题(如大多后网络艺术一样),而是中国特殊环境中的文化景观。

想要体验这些景观,你需要找到位于上海市中心福州路318号的华设大厦,通过旋转门进入办公楼大厅,并右转步入“液态健康”的高级私人会所。首先映入眼帘的是接待前台与招财风水池,它们与金闪闪的品牌标识同时出现。你可以选择随处逛逛,或者躺在舒适的躺椅上观看品牌的宣传广告片,而这一切都是为了营造品牌的文化氛围。最新打造的三款美灵仪,作为“液态健康”此次推出的重磅产品,将通过中国文化为用户获得前所未有的精神升华境界。在这里,文化作为一种产品,变得更加纯粹并旷人心怡。景观造成的文化贫乏,也将由景观来弥补。健康的液态,是生活方式化的“禅意”,是李小龙的那句“像水一样(Be water)”,是流动随行的文化形态,也是无处不在包裹着浸染你的不具名的东西。

Despite Our Ruination 尽管我们毁灭 @Shanghai Curator Lab

by Jenny Chen / Giulia Colletti / Kate Davis / Thomas Laval / Viola Yip
Artists: Adelita Husni-Bey, Hanne Lippard, Lu Pingyuan, Viola Yip & Peter Ablinger
Despite our Ruination was included in the exhibition It was a dream of a trip which was curated by 21 curators and hosted by Shanghai Curator Lab. We took one month to work together in a tense situation. That was too crazy to be true. Thanks for all friends/cooperators/enemies, I’ve learnt a lot in this long lasting dream/nightmare. 

“A constellation is made up of some stars that are nearer, others further away. It is only from our perspective, that of the here (and now), that they appear to take on a significant configuration.”

Spencer, Lloyd. “On Certain Difficulties with the Translation of ‘On The Concept Of History’”, 2000

7X7A6888.JPG

In an age of rising accountability over our most intimate gestures, where governance of borders, rights, and minds seems to be the norm, how can we evade regulation and take a journey into the unknown?

 

Taking cue from Walter Benjamin’s critique, Despite Our Ruination is
an exhibition that emanates from a constellation of objects. Displaying alphanumeric messages, a pager embodies impending automation, as well as the interdependency between humans and technology, which in our informational era is tinged with mysterious impulses. Within the constellation, these impulses are explored through the I Ching, an ancient Chinese divination text, using cleromancy to establish unexplored connections with the universe. Reimagining the rules that govern reality is a task also undertaken by science fiction novelist Octavia Butler, whose seminal book Wild Seed explores power struggles, eugenics, and cyborg identities. The blurred edges of actuality and fiction are at stake even in The Real As Imaginary, a piece by Peter Ablinger consisting of the recitation of a text over white noise that completely envelopes the speech. The white noise is, in fact, a theoretical idealization, assimilated to natural sounds such as the rain in a forest, which nurtures organic and inorganic species. In forests disturbed by humans, the matsutake grows. It is a mushroom utilised by Anna Lowenhaupt Tsing as a trope to picture a post-Enlightenment natural world, one that can answer to the promise of cohabitation in a time of unprecedented human destruction. These entities are assimilated into a natureculture vision, aimed at re- establishing a synthesis of nature and culture in a time when the dualism of science and the humanities prevails.

 

The constellation opens up to a series of artworks that challenge normative structures of thinking while stimulating critical paths. This interpretative exercise draws on artistic practices that deconstruct limitative visions on the environment,
noise, and the future of human and non-human species. The invited artists’ research spans from visual to sound art to suggest further vanishing points that jeopardise Western normative accounts of measurability, language, and rationality. Fostering an object-oriented approach that rejects the privileging of human existence
over the existence of nonhuman 10 identities, Despite Our Ruination is an invitation to explore routes not yet standardised.

 

Lastly, Despite Our Ruination proposes a Virtual Reality experience of the exhibition. Accessible via an internet link it introduces an extraterrestrial setting for the artworks presented. In this free space, the conventions of the white cube no longer assert a rational framework rooted in the history of exhibitions.

Pager

Supposedly technology never dies, it’s just no longer dominant; like the pager. Mostly seen in movies, their obsolescence is assumed. However, pagers are still used in hospitals, as for urgent messages, their simplicity makes them more efficient than the pervasive smartphone. Today, we work alongside ever-evolving and increasingly intelligent machines already capable of independent learning and development. Imagine that we are the pager and these machines the smartphone; what type of future awaits us?

This, of course, is not an accurate comparison. As biological beings we have to adapt to new conditions; otherwise, we die. That being said, some humans and machines already function as cognitive units, as for the past few decades humans have bent the laws of natural selection that previously governed Earth and life. Despite the vast quantities of data being gathered, and the multitude of scientists, technologists and futurologists attempting to answer this question, future forecasts vary greatly and there are no conclusive answers or solutions.

7X7A6841.JPG

I Ching

I Ching, also known as the Book of Changes, is an ancient Chinese divination text and one of the oldest Chinese classics. Published in the Western Zhou period (late 9th century BCE), I Ching was first mentioned in Europe by Leibniz in 1703. This sparked philosophical questions, such as universality and the nature of communication. The foreword of the English edition of I Ching was written in 1949 by Carl Jung.

For Jung, I Ching was a way of exploring the unconscious, and an approach to the nonhuman field. As stated in his introduction: “The Chinese mind, seems to be exclusively preoccupied with the chance aspect of events. What we call coincidence seems to be the chief concern of this […] mind, and what we worship as causality passes almost unnoticed”. (1) The I Ching not only offers a path into the unknown but raises a counter perspective to scientific causality by investigating the asynchronicity of real events.

Wild Seed

Octavia E. Butler was an African- American science writer. Her novels and short stories tackle a scope of issues still omnipresent today, such as climate change, the increasing gap between the rich and the poor and pharmaceutical developments, as well as sexual identity. Her science-fictional storytelling warns of malignant possibles, and gives voice to destitute living forms, offering a path for an expanded understanding of the world.

Butler’s novel Wild Seed (1980) introduces Doro, a thousand-year-old cyborg living off the bodies of others. A gang from the New World destroy the African village Doro cultivated for centuries, and force him to leave. On his way, he meets a shapeshifting and equally powerful rival; Anyanwu, able to heal with a kiss. Their encounter triggers a century-long conflict jeopardising the essence of humanity.

Aside from her published writing, Butler’s notebooks serve as a space for her innermost thoughts. These pages enliven Butler’s practice and inform
her inspirations and horizons. Partial sketches of a novel, or an expression of a condensed state of mind, mirror the author’s profound wishes for humankind.

The Real as Imaginary

Peter Ablinger’s The Real as Imaginary is a composition for a solo speaker and noise. The performer can have any voice type; however, the text should be translated into a language that the audience can understand. The performance noise track should be generated by the sum of frequencies in the recording of the performer’s recitation of the text. The noise track, then, needs to be further filtered through oscillated frequency bands to create “windows”.

As a result, this noise track is played at a volume that is just loud enough to envelop the performer’s voice; but with the oscillated “windows”, the voice floats between the foreground, background and space in between.

The Real as Imaginary questions whether the “imaginary” and the “real” oppose each other in our perception. Ironically, perceiving reality relies on our imagination, as Ablinger expressed, “I had asked whether it would ever be possible to reach the real, whether it would ever be possible to break through the prison of my imaginations onto the real.” (2)

The monologue allows Ablinger to search for the idea of the “real”, and the relationship between the “real” and the “imaginary”. At the end of the text, he concludes that:

The imaginary as real, and equally the real as imaginary – this would then be, so to say, a formula for the interpenetration of the two, a formula for the living and for the being-here.” (3)

7X7A6835.JPG

Matsutake

We are stuck with the problem of living despite economic and ecological ruination. Neither tales of progression nor of ruin tell us how to think about

collaborative survival. It is time to pay attention to mushroom picking. Not that this will save us – but it might open our imagination.”(4)

The matsutake is one of the most expensive mushrooms in the world, as it grows in destroyed forests across Asia and North America. Due to its capacity to nurture trees, matsutakes enable forests to flourish in human-damaged places. It
is also an edible delicacy in Japan, where it can fetch astronomical prices. In The Mushroom at the End of the World, Anna Tsing offers insights into areas far beyond just mushrooms, using the matsutake to ask a crucial question: how are we going to live in the ruins we have made?

The matsutake becomes a metaphor to narrate a tale of diversity within our daunting landscapes, exploring the unexpected edges of consumerism, and challenging the connections between capitalist destruction and collaborative survival within multispecies landscapes; demonstrating the potential for fungal ecologies to foster a better understanding of cohabitation in a time of significant human destruction.

Notes
(1) Wilhelm R. (trad.) and C.G. Jung (Foreword), The I Ching, or, Book of Changes. Princeton: Princeton University Press, 3rd edition, 1967.
(2) https://ablinger.mur.at/i+r_the-real. html
(3) https://ablinger.mur.at/i+r_the-real. html
(4) Tsing, A., The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins. Princeton: Princeton University Press, 2015.

星丛是由一些距离较近的星星组成 的,另一些则相对远。它只从我们的 角度出发,而在此时此地,它们显现 为一种重要的构型。

劳埃德·斯宾塞,《论翻译“历史概念” 的若干困难》,2000

 

寻呼机

假设技术永远不会消亡,它只是不再占据主导地位; 像寻呼机一样。 我们可以经常在电影中看到被过时化的它们。然而,寻呼机仍然在医院使用,至于紧急信息,它们的简单性使它们比普及的智能手机更有效。今天,我们与不断发展且日益智能的机器一起工作,这些机器已经能够独立学习和开发。 想象一下,我们是寻呼机,这些机器是智能手机; 什么样的未来等着我们?

当然,这不是一个准确的比较。作为生物,我们必须适应新的条件; 否则, 我们就会面临死亡。话虽如此,一些人类和机器已经被作为认知单元在发挥作用,因为在过去的几十年里,人类已经扭曲了曾经统治地球和生命的自然选择规律。尽管收集了大量数据,众多科学家、技术专家和未来学家都在试图回答这个问题,但未来的预测差异很大,也没有确定的答案或解决方案。

易经

《易经》,也被称为《变化之书》,是中国古代的占卜文本也是中国最古老的经典著作之一。出现于西周时期(公元前9世纪晚期),《易经》在欧洲最早于1703年被莱布尼茨提及。这引发了如普遍性与沟通本质的一系列哲学问题。《易经》的英文版序言由卡尔·荣格于1949年撰写。

对于荣格而言,《易经》是一种探索无意识的方式,也是一种探索非人类领域的方法。 正如他的介绍中所述:“中国人的思想似乎完全专注于事件的偶然性方面。 我们所说的巧合似乎是这种思想的主要关注点,而我们所崇拜的因果关系几乎没有被注意到“。(1)《易经》不仅为我们提供了进入未知世界的道路,而且通过调查真实事件的异步性, 提出了与科学因果关系的相反视角

野生种子

奥克塔维亚·巴特勒是一位非裔美国科学作家。她的小说和短篇小说解决了当今仍无处不在的一系列问题,如气候变化、贫富差距和药物发展以及性别认同等问题。她的科幻小说讲述了“恶”的可能性,并为贫困的生活形式发声,为扩大对世界的理解提供了一条道路。

巴特勒的小说《野生种子》(1980) 讲述了一个有着千年历史的赛伯格“多罗”的故事,他依靠其他人的身体存活。一天,来自新大陆的一伙人摧毁了几个世纪以来由多罗耕耘的非洲村庄, 迫使他离开。路上他遇到了一个能变形并且和他同样强大的竞争对手:安言午,能够用吻来愈合创伤。他们的遭遇引发了长达一个世纪的冲突,并危及人性的本质。

除了她出版的文章,巴特勒的笔记本也在此为我们呈现了她内心的思想世界。这让巴特勒的实践显得更加生动,并让我们了解她的灵感和视野。小说的一部分草图,或这说是一种思想的凝聚表达,反映了作者对人类的深切愿望。

真实如虚幻

彼得·阿林格的《真实如虚幻》由独诵和噪音演奏组成。表演者可以用任何音区演奏;但是,诵词需要被翻译成观众可以理解的语言。表演者需表演前把诵词录音,然后把音轧的所有音频重叠,形成噪声。然后,需要通过振荡频带进一步过滤噪声轨道以创建“ 窗口”。这个噪音音轨一方面能以音量包围表演者的声音;而另一方面,声音随着振动的“窗口”在前景、背景和噪音跟诵词的空间之间浮动。

《现实如虚幻》质疑“想像”和“现实” 在我們的感知中是否相互對立。 諷刺地,感知现实依賴於我們的想像力, 正如阿林格在词中表達:“我曾經問過是否可以達到现实,是否有可能突破想像力的監控来感知现实。”(2)

这独白允许阿林格寻问“现实”的概念,以及“现实”和“虚构”之间的关系。 在文本的最后,他得出结论:

“虚构作为真实,同样是现实的假想 – 这就是说,这是两者一个相互渗透的公式,和一个生活和此在的公式。” (3)

松茸

“尽管经济和生态破坏,我们仍然陷于生存问题。无论是进步还是毁灭的传说都没有告诉我们如何思考共同生存。现在是时候关注蘑菇采摘。并不是说这会拯救我们 – 但它可能会打开我们的想像力。“(4)

松茸是世界上最昂贵的蘑菇之一,因为它生长在亚洲和北美洲被毁坏的森林中。由于其培育树木的能力,松茸使森林在人类破坏的地方蓬勃发展。它在日本也是一种可食用的美味佳肴,可以以天价获得。安娜·秦于《在世界尽头的蘑菇》中,提供了远超蘑菇范畴的见解,通过松茸提出一个关键问题:我们将如何生活在我们所制造的废墟中?

松茸成为一种隐喻,构建了骇人图景中的多样性故事,探索消费主义的异常性,并在多种景观中挑战资本主义破坏与“共生”之间的联系;显示真菌生态的潜力,以便在人类面临毁灭的时候更好地理解共同栖居的意义。

 

P2P 剩余空间 @ArtShard

海报海报(最终版小图)

恰逢比特币十周年,这一采用点对点网上与共识主动性,开放源代码,以区块链作为底层技术的加密货币,由化名为中本聪的作者于20081031日发表白皮书。200913日,创世区块诞生,裹挟着质疑、盲信与资本的狂喜发展至今。

使这一电子加密货币成为可能的 P2P 概念被策划小组 Passing Fancy(朱筱蕤 & 弗雷迪·克鲁兹·诺维尔)恰逢及时的作为剩余空间1013日开幕的展览题目。P2P 意味着去中心化 (无中心服务器,每台计算机或“peer”充当其他计算机的服务器)、平等的用户地位与关系(任何人皆可参与)、无版权限制的资源共享(允许访问各种分布式资源:如文件或外围设备)。这场展览,借由这些新世纪网络滋养与共生的乌托邦意识形态,幅及了最早由 Seth Price 2003年录制的文字式电脑游戏 Romance Cory Arcangel 今年创作的 istheapplebeesondelcoparkdrinthesuburbsofdaytonopenrightnow 这十五年不长不短的时间。

P2P 令人瞩目的特点,是其全新的资源分配、传播与集散的方式。而在2014年,集散Distribution)也被 Karen Archey 和岳鸿飞援引至展览后网络艺术(尤伦斯艺术中心),作为网络艺术实践的其中一个面向被讨论。当时涉及的文本也包括 Seth Price 的《分散》(Dispersion, 2002) 。集散,不仅意味着文本的形式/媒介流变(如作品 Dump Bin 2016-2018)中注定过时的 DVD 影带)以及媒介变换产生的意识或是主体重构;也指涉了此次展览所提出的自相矛盾的权力结构与用户端(与背后的主体)之间的社会关系。

策划人十分了然去中心权利结构的自相矛盾。你可以看到 Cory Archangel 直接了当的作品 The Source (2013) 将开源代码作为作品,以纸本的形式呈现在展览现场。作品展现着与版权限定、作者权威分庭对抗的概念,不免令人联想到莫瑞吉奥·卡特兰围绕复制概念在余德耀策划的展览“The Artist is Present”。通过这样的并置,所谓自相矛盾的结构开始逐渐显现为西方内部的利益矛盾。

P2P 的形成与传播与版权法的建制几乎开始于同一时期——二十世纪七八十年代。它们几乎可以被视为生长于同一土壤之上的对立面。剩余空间与余德耀美术馆的两个展览面对着十分相似的议题,开源与复制/挪用所预设的假想敌始于西方语义中的版权限制。这一限制导致中国在官方立场窘迫,自1989年起就面对着知识产权保护的压力,1991年,美国开始将中国设为“301条款的重点国家,持续近30年的中美知识产权论战围绕的也是这个时期建立的法案——1974年贸易法案》。也是从那个时期开始,知识被过渡成了产权,不可计算的被归入了资本的评估领域。 在这30年间,中国的音乐/视频共享平台、山寨文化与复制在意识形态上屡受责难,另一方面,却被艺术家们乐此不疲地援引为创作素材。P2P 的原罪在于,它产生于建立创作权威的时代环境,并只有依赖这样具备有效型的敌方,才得以生存。试问,假设在一个从来不将知识视为产权的国度,P2P 还能否保有它的道德光环与看起来激进左倾的姿态?

展览同样将人类主体放入问题当中,策划人将点对点网络中的 peer 还原成了身体,未被定锚的是这身体的存在状态以及各个身体之间的关系。正如比特币白皮书(Bitcoin: A Peer-to-Peer Electronic Cash System)所总结的,它提供了一种不需依赖信任的电子交易系统。这折射出的是 P2P 用户在信息时代中的社会生活所共同面对的脆弱与焦虑。郭奕豪的作品 The Floor (2014-18) 在此正是释放着这样的情感维度。他将即时信息的聊天过程转换为实体空间的行为,观众面对着一扇不断被递出纸片的门,煞白的门和墙体保持一致,个体似乎隐于这层白色背后,又似乎触手可及(只要打开那扇门)。然而(墙内外的)双方都为了保持某种安全感而选择不去打开那扇门。本来真实鲜活的肉身甘于成为那个只产生只言片语的用户端。这种精神焦虑与交流的被动性正造成了现代社会原子化的个体,个体的亲密关系也朝着 P2P 网络的连接图示趋近。

如策展人所言,这场展览既是关于被构想的互联网政治,也同时关于个体用户的主体性。P2P 呈现的去中心的雄心与因此被碎片化与孤立的交往方式是原生的因果关系,他们必然是虚拟空间和现实生活都固有的。展览作品通过不同的方式揭示了网络社会的意识形态坐标,无论是线上的身体,还是使互联网成为现实的血肉之躯,使其成为现实的终究是可触摸的人造基建与操作着用户端的个体,P2P 的症结也就是当代主体的症结,如何去思考或者能否去思考它,我们不能靠  Jenna Sutela 的那些智能粘液来告诉我们。