施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧

2018-12-03 20:40 浏览:257 A+ | A-


施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆


一切哑语和迷宫般的表述均源于恐惧


施勇: 施

郑念缇:郑


“将一只(   )鸟从一座塔的塔顶放掉” 给人的第一感觉即是一个有着50年代布列玆(Pierre Boulez)的音乐创作背景的剧场,那些满布现场的“事件”遗留,有着欲言又止的节拍,让人充满遐思且怀着敬畏。在环绕“事件”的几个现场空间场景时,观众会心生揣测——是否那些散落其间的艺术家的过往所作,是在给这个特殊“事件”提供某种线索?但又会瞬间警觉,也许诸如种种只不过是庸人自扰的臆造。在一个精心制造的“事件”现场,一切表象(暗示)都尤显珍贵,就像方济各修士威廉带着他的本笃会见习僧阿德索翻越山脉一路朝西走近那个14世纪的隐士修道院时,从雪地上的足印就能推断得出刚才跑过的是大马还是马驹,以至那匹马的容貌特征、颜色、名称都一一归类,得出结论……世界在这些蛛丝马迹里向我们展示它的真面目。虽然表象非真相,但一定是真相的连接,也有可能其本身已代表一部分真相,当然它也可能只是一个毫无关联的独立存在,这都是“事件”(作品)的魅惑之处。而这里,一定有一个暗码,答案应该在某处悬置。 “将一只(    )鸟从一座塔的塔顶放掉”的诸多细节与转折在美术馆空间所制造出的奇特节拍,让人联想到“没有主人的琴锤”(Le Marteau sans Maitre)里沉重的呼吸和起伏的脚步 ,以及层层无法诉尽的猜测……  在这个“事件”里,材料、架构、情景一应俱备,我们还在疑虑什么呢?即刻进入一出悬疑剧,如同我们身处其间的世界……


施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆

《将一只(  )鸟从一座塔的塔顶放掉-A》
2018
综合媒介装置
尺寸可变-1


郑:费欧娜·班那 (Fiona Banner)2007年做了一个影像叫做:镜子。在她的作品里,她用语言将模特的身体特征详尽描述,用这种方式做了一个换位素描,画笔在这里是缺失的,这是一个用语言和想象组成的人体。所有的元素被罗列,真实的人体被悬置。在“将一只( )鸟从一座塔的塔顶放掉”里,你是否让“( )”里的“未知”成为谜底揭晓之处的钥匙,而这个钥匙看似触手可取,却又悬念丛生,遥不可及。作为作者,一个拿钥匙的人,你会在作品里把钥匙递给观众吗?或者你就是要让观众在布满蛛丝马迹的“事件”现场与开启真相的暗码失之交臂,让它归于不可见?



施:为什么只有一把钥匙呢?作为选项被嵌入于句子缝隙中的“( ) ”  从来没有也不可能只有一个答案 。一个人就是一个哈姆雷特。而我也是其中一个哈姆雷特。所以在这个意义上来说,我的这个展览所能给予的答案也仅仅只对我自己有效。我只是我自己一把钥匙的拥有者,虽然我自己在作品中设置了暗码。展览作为一个多重性的语法文本,它对观众而言肯定是开放性的。这就是为何当观众问我这究竟是一个什么样的事件时我拒绝说的原因。在我看来事件的作用不是为了事件本身,而是为了暗示特定维度与具体语境下的现实:它们从语法的现实出发最后又回到现实本身。哈哈,这或许只是我的一厢情愿。


施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆

 《将一只(  )鸟从一座塔的塔顶放掉-B》
2018
综合媒介装置
尺寸可变--2

郑:所以这个被塑造的“事件”由两个大部组成,第一个部分包括:“将一只( )鸟从一座塔的塔顶放掉”、“在另一个句子中忽隐忽现”、“让所有的可能都在内部以美好的名义解决”;第二部分是你幻觉现实时期的作品:“QQ的幻想”、“一堆幸福的幻想”……你把他们放置一处,犹如小说剧本的场景安排,这里有什么玄机?



施:在主空间中我将一架被切割成碎件的三角钢琴与一个现实的事件文本相叠加,以侦探小说的叙事结构,在现场蓄意设置了一个虚构的案发现场。两种文本在相互的纠缠与暗示中构成了控制性的语法。它们构成了作品《将一只(  )鸟从一座塔的塔顶放掉-b》。同时我试着将一些从“案发现场”中出逃的词语(一些钢琴的碎件及被处理过的事件的不同来源信息),以流言蜚语般的晦涩形式蔓延至其它的空间,并迫使主空间的控制性语法处于各种“意外”与“缺陷”的词语干扰之中。它们构成了三件以《在另一个句子中忽隐忽现》命名的作品。同时又与其它的三组老作品重新构成了新的上下文关系。总体来说它们构成了我对现实的一个基本看法。


施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆

《将一只(  )鸟从一座塔的塔顶放掉-B》
2018
综合媒介装置
尺寸可变--3
 

郑:我们都记得你那幅《最后一次古典式敬拜》,那是一幅契里科笔调的作品,一幅自画像。在完成它之后你在你的艺术实践里演绎了各种语言:录音、装置、录像,而它们都是观念作品,耐人寻味。在2015年个展“让所有可能都在内部以美好的名义解决”、和2017年的“规则之下”之后,它们的词语和片段都成为你这一次“事件”的一部分,“将一只(  )鸟在一座塔的塔顶放掉”成为了悬念丛生之地,在你的计划里,你蓄意要使得它成为一个什么样的“事件”?


 

施:让”事件“的空间语法变得可疑而不是确凿。 “事件”的嵌入不是目的而是暗喻,它们时时与我们的现实挂钩。


 

郑:词语的转化对你来说意味着什么?这是一次语言的出走吗,这种出走对于你来说重要吗?



施:以我自己的理解,词语的转化即意味着语法的改变。因为出走的词语常常可以成为颠覆性的能量,并且可以使既有的语法失效。它们是未来词性的。对我来说确实重要。


《在另一个句子中忽隐忽现--消息不胫而走》

2018 

综合媒介装置

现场视频


郑:在你的“事件”里:被分解的图像、被拆开的词语、被图形化的音频等等,事物抵达了它们所要表达的另一边……在这些刻意为之的支离破碎里,你认为观众会怎么看(解读)这些作品?你对这种观看或解读有什么指引?



施:我没想着要如何去引导观众如何进入。这种呈现的方式与语法结构的处理只对我自己有效。虽然我也希望观众可以以一个阅读者的身份去进入,去阅读。在布展那会,我原本还有连接语法空间的两组语句,最后还是被我去掉了。因为我觉得太叙事化了。它很容易导向一种结论,这不是我的本意。我宁可让它们处于一种无序与猜测中。它们没有答案。让时间去做引导者的角色吧,就像一本书静静地躺在书架上,它们并没有要求你什么,你却可以在若干年后从这本书里发现宝藏。博尔赫斯的《巴比伦抽签游戏》就是这样在我的书架上躺了几十年,然后突然有一天我重新在其中发现了一把钥匙,虽然不知它是打开哪扇门的,想象的翅膀已经展翅高飞,还不够吗?


施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆

 博尔赫斯《巴比伦的抽签游戏》
花城出版社
1992年9月出版


郑:博尔赫斯的《巴比伦抽签游戏》里的那一句签词:“将一只鸟从一座塔的塔顶放掉”是你这个作品的名称出处,也是作品的缪思,最后,《巴比伦抽签游戏》给你什么启发?

 

施:我通常在阅读文字时(经常是前后乱翻似的阅读,甚至有时没能读完它),老是会被文字中的某些词语吸引。它们就像迷药般让我着迷,以至于很久之后那些词语还会在我的记忆里忽隐忽现。但阅读的内容本身可能早已模糊不清。我的意思是有时真正能影响我的并非那些显见明了的情节或者理论,而常常是嵌在文字缝隙中的一些迷一样的词语。所以当我随意地翻阅着博尔赫斯的《巴比伦抽签游戏》看到了其中一个签上的那个句子:“将一只鸟从一座塔的塔顶放掉”时,我被彻底的迷住了。我几乎是一刹那的意识到,如果在“一只鸟”之间嵌入一个词语会意味着什么?因为通常当我们阅读这个句子时,它的语意是确凿的:一只鸟在高高的塔顶上终于可以自由地飞向远方。然而,当我想象着在这个句子中嵌入一个括号变成“将一只(  )鸟从一座塔的塔顶放掉“时,我发现整个句子的语意突然变得不再确凿了。假设:“当一只(被折了翅膀的)鸟从一座塔的塔顶放掉“这意味着什么?这意味着”谋杀“!一种由词语带来的谋杀与死亡!


施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆

 《一堆幸福幻想》
2009
霓虹灯装置
  尺寸可变
 

郑:在美术馆的这样一个特定的空间里,在呈现作品时,你把可见物变成了另一种意义上的不可见——被屏蔽的真相,被迷宫化的现实,一切确凿可见却又同时虚无缥缈。或者,对你来说现实就是这个样子的?


施: 不是说现实就是这个样子,而是说现实会以各种不同的形式予以显现。无论是主动的,还是被迫的。就我个人来说,一切以哑语和迷宫般的方式来表述的现实形式的表述均源于恐惧……这就是现实!


郑:表象转瞬即逝,而那些提供所谓真相的线索也随时会在我们周围隐遁,在“将一只(  )鸟从一座塔的塔顶放掉”里,阐释不是为了明晰,它更加像是对于现实的模糊,这是一次明白无误的例外,也是一次意在醍醐灌顶的蓄意为之的“事件”。 


                                                 2018年10月




施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆

  施勇
 摄影:雨桑 Samo




All labyrinthine expressions are rooted

 in fear 



Shi Yong:  S

Christina Y Z:  C


The first impression of “a (    ) bird be released from the top of a certain tower" possesses a theatrical effect, as if it belongs to the world of Pierre Boulez’s music from the 1950s. The remains of a certain “event" on site acquire a dramatic rhythm and beat that bring out the feeling of reveries and awe. When viewers circle around the on site scenes of the show, they may wonder if the artist’s works from the past could provide any clues to the particular present event? They could also be alerted, for they may doubt that all things presented here are mere fabrications. In a carefully crafted scene of some untold “event”, all appearances (hints) are particularly rare and precious. Just as Brother William, a learned Franciscan monk of Baskerville, and his Benedictine disciple Adso were undertaking a mission that would lead them westward across various cities and mountains to a 14th century‘s abbey of secrets, William could see clearly from the footprints on snow whether it’s a horse or a foal, and even its features such as color, hair, and posture are classified. The world reveals its true colors in these observed clues. Although appearance is not the actual fact, it must be connected to the fact, or represent part of the fact, or rather lead an unrelated existence which becomes the charm of the "event" (works). There must be a secret code, or an answer that should be suspended somewhere. Details and twists of "a (    ) bird be released from the top of a certain tower" created peculiar rhythms in the gallery's space, reminiscing of the heavy breathing and undulating footsteps in "Le Marteau Sans Maitre" with its endless speculations... In this "event", materials, structures and situations are set. What are we waiting for? Now is the time to step into this suspenseful drama, which has so much in common with our everyday life… 



C: Fiona Banner made an video in 2007 called “Mirror”. In this work, she made use of detailed language to describe the body characteristics of a model. In this way, she made a sketch with a switch over, where paint brushes were absent and replaced by a body composed of language and imagination. All elements are listed, and the real human body is suspended. In "a (    ) bird be released from the top of a certain tower," the "unknown" in "(    )" become the key of the solution to the mysteries, and the key seems to be desirable, but is actually far away and suspenseful. As a writer, a key holder, will you hand the key to the audiences in your work? Or do you want it to be lost among the secret codes in which the truth of the whole "event" can be unlocked?

 


Shi: Why is there only one key? The "(   )" embedded as a gap in a sentence can never only hold one answer. Everybody has his own Hamlet. I am one of the Hamlet. In this sense, the answer I set for my exhibition can only be valid for me, as I am just the owner of my own key. Though I set up a secret code in my work, as a multiple grammatical text, the exhibition must be opened up to the audience.That's why I refuse to give an answer when the audiences asked me what kind of event it may be. It seems to me that the function of the event is not for itself, but to imply a reality of particular dimensions and contexts: they started from the grammatical reality and returned to the reality itself.Aha! It may just be my own wishful thinking.

 

施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆

《在另一个句子中忽隐忽现--意外在意料中》
2018
装置

C: Therefore, such a "event" is made up of two major parts, the first part: "a (    ) bird be released from the top of a certain tower",  Flickering in Another Sentence", "Let All Potentials Be Internally Resolved Using Beautiful Form" ; and the second part is the works from your Illusory Reality period: "QQ’s Fantasy", "A bunch of happy fantasies "... You placed them there like scenes from a novel. What would you reveal to us there?

 


Shi: In the main space, I displayed a manipulated grand piano with the text of an event rooted in reality, and deliberately set up a fictional crime scene on site with the narrative structure of a detective story. In mutual entanglement and implication, the two texts formed a controlled grammar. They constituted the work of "releasing a (     ) bird from the top of a certain tower-b”. At the same time, I tried to spread some words (pieces of piano and different sources of information of the event which had been processed) from the "crime scene" to other spaces in gossip-like obscurities, while the dominant grammar of the main space were to be interfered by various "accidental" and "defective" words. They constituted three works named "Flickering in another sentence". At the same time, it reconstituted new contextual relations with the other three groups of old works. In general, they constituted my basic view of reality.

 

施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆

《在另一个句子中忽隐忽现--意外在意料中》
2018
装置(局部)

 

C: We all remember your self-portrait painting: “The last classical worship”. It is a salute to Giorgio de Chirico. After that, you developed various expressions in your artistic practices: recordings, installations, videos, and they are all amazing intriguing conceptual works. After the 2015 solo exhibition "Let all potentials be internally resolved using beautiful form" and "Under the rule (2017)", the words and phrases also become a part of this "event" , "a (    ) bird be released from the top of a certain tower" becomes a site of suspense. What kind of event do you dedicate to make in your plan?

 


Shi: Let the space syntax of such an "event" become suspicious rather than conclusive. The embedded event is not a purpose but a metaphor, and it is always linked to our reality.


C: What does the transformation of words mean to you? Is this a possible runaway of language? Is it important to you?

 


Shi: In my personal understanding, the transformation of words meant the change of grammar. Because the runaway words can often become subversive energy, and invalidate existing grammar. They are part of the speech of the future. It's really important to me.

 

施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆

《在另一个句子中忽隐忽现--xxxdxrx》
2018
综合媒介装置


C: In your "event": the decomposed image, the disassembled word, the graphical audio, and so on, things arrive at the other side of what was expected... How do you think the audiences would read into these deliberately fragmented things? What guidelines would you share for watching or interpreting this event?


  

Shi: I didn't expect to guide the audiences to enter. The presentation and the processing of grammatical structure are only effective for myself, although I hope the audiences can enter and read as readers. Originally, I had two groups of sentences connected to the grammar space, but they were removed in the end. I think it has too much narrative. It is too easy to be lead to a conclusion, which is not my intention. I would rather set them in an unordered suspicion. There is no answer. Let time be the guide. Like when a book lie quietly on a shelf, they don't ask for anything, but we can possibly find treasures in it some years later. That's how Borges' “Babylon Lottery Game” laid on my bookshelf for decades, and then one day I rediscovered a key in it. Though I didn't know which door was opened, the wings of imagination spread widely, and flew up high in the sky. Isn’t that not enough?

 

 

C: The line written in Borges’ “Babylon Lottery Game” - "a bird be released from the top of a certain tower" became the title and muse of your work. In short, what kind of inspiration did "Babylon Lottery Game" bring to you ?

 


 

S: I am usually attracted by certain words when I read a text (often I flipping back and forth, and sometimes not even finishing it). I was attracted by them, as if addicted to enchanting pills. They fascinated me, and for a long time some words still lingering in my head, though the real content of reading is no longer remembered. I mean, sometimes, what really affects me is not the obvious plot or theory, but the mysterious remarks that embedded in the cracks of the text. So when I flipped the pages through Borges' “Babylonian Lottery Game” and saw the phrase:  "a bird be released from the top of a certain tower,"  I was completely impressed. I realized immediately: what if a word is inserted between "a bird"? Because usually when we read this phrase, its meaning is conclusive: a bird can fly freely away at last on the top of a tall tower. However, when I imagined inserting a bracket (    ) into the phrase and turning it into "a (    ) bird be released from the top of a certain tower," I noticed that the meaning of the whole sentence suddenly became less conclusive. Suppose that: "a (broken-winged) bird be released from the top of a certain tower." What does that mean? It means a murder. A murder and death brought by words!

 

施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆

《让所有的可能都在内部以美好的形式解决》(部分)
2015


C: In the particular space of the museum, when you present the work, you turned the visible into something invisible - a shielded truth, a labyrinth of reality, or all that is tangible but illusory at the same time. Is this the reality for you?

 

 

S: It is not to say that reality is like this, but reality will manifest itself in many folds. Whether it is visible or invisible, as far as I am concerned, all expressions of reality in silent signs and labyrinthine forms are rooted in fear... That is reality! 

 

C: Appearances are fleeting, clues for the so-called truth are hidden or may disappear at anytime. In "a (    ) bird be released from the top of a certain tower", interpretation is not for clarity. It is more like a blurred reality, an unambiguous exception and a deliberately attempted event meant to enlighten us. 



October, 2018



作品现场摄影:王闻龙 

Photography by : alex

   

施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆


 同期展出 


袁泽强 | 天 空


施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆



+ 艺术总监 

周力

+ 项目负责人

刘可

+ 驻地艺术家

袁泽强

+ 工作团队

冀然 谢剑波 郭燕 邓子军 陈思佳

王珊 杨诗晓 曾芸

+ 视觉设计

陈思臻

+ 开幕时间 

2018年11月23日下午15点30分

+ 展览时间 

2018年11月23日—2018年12月12日

每周二至周五10:00 — 18:00 周六,周日10:00 — 20:00 

+ 展览地址 

华侨城盒子美术馆四号展厅 

佛山市顺德区顺峰山湿地公园(南门)

+ 特别鸣谢

广东顺德华侨城实业发展有限公司


展览现场,施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆

展览现场



展览现场,施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆

展览现场



施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆


华侨城盒子美术馆  OCT Boxes Art Museum 


Email:boxesartmuseum@163.com  

TEL:757-22916960

电话:757-22916960

开放时间:每周二至周五10:00-18:00 周末:10:00-20:00

Opening time:Tuesday to Friday 10:00-18:00 Weekend 10:00-20:00

地址:佛山市顺德区顺峰山湿地公园(南门)华侨城盒子美术馆

Add:OCT Boxes Art Museum,Shunfeng Mountain Wetland Park,Shunde District, Foshan City,Guang Dong Province.



施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆



施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆施勇对谈 | 一切哑语和迷宫般的表述均源于恐惧,迷宫,哑语,施勇,塔顶,语法,装置,钥匙,巴比伦,媒介,美术馆



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