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评论 | 李昶:时间万变 The Times Are Changing

原标题:评论 | 李昶:时间万变 The Times Are Changing

作者:朱塞佩马拉斯科

翻译:李竹君

公元前5世纪的希腊哲学家赫拉克利特(Heraclitus)曾观察到“人不能两次踏入同一条河流”,李昶的展览试图呈现这条河流的诸多面。

李昶使用极简化的语言与创作来处理时间与无意识。她使用不同的媒介和技术建立起不同的时间通道,并在展厅中安置了一个“时间”星图。她反思东方与西方在本体论观点上的矛盾,并迫使个体去面对宇宙时间。

李昶将西方历史中钟表的演化与时间计算的成熟及其历史联系起来。

《4’33”》是一个悬挂着的时钟装置。它所投射的影子暗示着时间的非物质性。不同的时间指针以螺旋式排列,并指示出273秒的时长。这件作品受启发于约翰·凯奇(John Cage)的作品4’33”的寂静(4'33" of silence)。李昶的4’33”通过展示机械时间和量度来使人们产生观感上的改变。将其转化成为一种重组后的全新物理存在,一个被浓缩了的“物像”。

4’33”,黄铜石英表针,黄铜丝,约2.6cmx13cm,2017.

4’33”, Brass clock hands, Brass wire, about 2.6cmx13cm, 2017.

对于时间单位的叠加使人想到卡尔·安德列(Carl Andre)对于工业方格的应用(尤其是他的赋格式系列Fugues series),而这里的实体代表着一秒钟时间。每个指针中饱含着它被生产所消耗掉的时间,这些被复制生产的实体单位让人不禁联想工业及经济的提速。

我想艺术家或许可以根据瓦尔特·本雅明(Walter Benjamin)的文章《机械复制年代中的艺术作品》The work of art in the age of mechanicalreproduction中所提到的“灵光“来进一步发展这件作品。

从文艺复兴到当下的数码时代时钟以不同形式存在着的方形边框,艺术家将其视作无限延伸的视觉迷宫之横截面,每一幅精致的图像都是这个视觉迷宫里面的一瞬,每个人都是自身迷宫的唯一体验者。这些无形的存在又游走在表象海洋之中。同时李昶也受绘画经历的启发——艺术家在手绘和观察中放慢眼睛的速度、追随每一个细节,密切地凝视从而“看”得更深刻。

《空白之诗》是一种文字式干预,这些如今泛白的文字源自1954年4月11日的《世界新闻》,这一天被认为是20世纪最“无聊”的一天,因为这一天没有任何非同寻常的事件发生。这种官方式的“无事”与比利时诗人、电影制作人和艺术家马塞尔·布达埃尔(Marcel Broodthaers)在1969年对法国诗人史蒂芬·马拉梅(Stéphane Mallarmé)在1887年所写的诗《骰子一掷消除不了偶然性》(Un coup de dés jamaisn'abolira le hasard)所创作的作品相呼应。

空白之诗报纸原件,碳素墨水,铅笔,40x58cm,2017.

A Poem of Emptiness, Newspaper(original), graphic ink, pencil, 40x58cm, 2017.

被涂黑的部分变成了真正的诗,因为在其中我们感受到了无意义时间的重量与空间。报纸的排版和字体的效果变得可见,对没有“新闻”的可笑掩饰也显现出来。 日常词汇被重新组合之后吟诵出来,好似新鲜出炉或是刚被发掘的创造物。李昶以这些全新的方式组织在一起的句子作为材料而创作了一首诗。这里包含的关于价值的反射性思考与当今24小时循环新闻的特点形成鲜明对比。

报纸上被涂黑的部分是是艺术家手工涂抹的碳素墨水,这使它带有一种很有意思的表现性。人们依然能够透过若干层半透明的碳素墨水看到原文。这种自制的“再挪用”展示了“大批量生产”社会中所产生的公共时间中的空间。而手留下的痕迹使作品变得个人化、无意识且有自然美。就像是新的时间被倾入了过往。被重造的记忆就像是被复活的记忆。

在艺术家看来,植物是时间流逝的固化形态。灯箱作品《无题(影)》展示了艺术家工作室后窗外的树。一个石英钟的时针末端装上了LED灯,它的运动过程升华了观众对于时间总是处于不断变化之中的观念。

无题(影),石英表机芯,LED灯管,菲林片,电阻等, 52x70x20cm,2017.

Untitled (shadowclock), Quartz Clock, LED lights, Photographic Acetate, etc, 52x70x20cm, 2017.

在三频影像装置《滞》中,空白时间及安迪·沃霍尔(Andy Warhol)的动态主义被记录,并伴随着时间演进,如日常舞台一般呈现出来。心理时间与主角的焦虑间的对比显现出来。在作品开始的几分钟钟表的滴答声引导观众进入画面,一个庞大时钟的内部构造显现出来,场景透叠来到一个房子的卧室或是客厅。

渐隐……

随着镜头缓慢地逼近,时钟沉重的滴答声如同它在消磨和碾压着三个屏幕中的个体。在场景一中的男青年尤甚,看起来似乎是存在主义剧作家Samuel Beckett作品中的人物。

他在染成蓝绿色的刘海和硕大的黑框眼镜后面眨眼睛。他的鼻孔略张,脸部肌肉轻轻抽搐。我们能看到他的疲劳和保持专注的努力,而不被无聊击溃。然后镜头慢慢后退至平房之外,当风吹过时,镜头后退了更多些,转移到房子外部,一座被废弃的房子和一只正在吃草的羊。

三频录像19’32”,尺寸可变,3+1AP,2016-2017.

On hold, three channel HD video19’32”, Dimensions Variable, 3+1AP, 2016-2017.

这些元素在其他两块屏幕中被重复,除去人们反应上的差异性——当他们面对空白时间及摄像机记录它的流逝时的压力。人们在不同的荧幕中形成反差。在场景二中一个年轻女孩躺在了沙发上;而在场景三(逐渐隐去)中,时间令她负重并将其痛苦地内化,这令她抱住自己,不耐烦地晃动着她交叉的腿。

《站台》是一个经过精心设计的静态镜头,拍摄火车经过一个空旷的月台。火车通过的时间与在电影中的一帧帧镜头相似。它经过的速度表达了我们内在的节奏。

站台单频录像 2’44”,尺寸可变,版数3+1,2014.

Stations, single channel HD video 2’44”, Dimensions Variable, Edition of 3 +1AP, 2014.

《午后故事》这个视频的图像看似像是海边风光的明信片,海浪间的连接所持续的时间削弱了展览中的其他节奏。

午后故事,单频录像7’27”,尺寸可变,3+1AP,2017.

A Story in the Afternoon,single channel HD video7’27”, Dimensions Variable, 3+1AP, 2017.

这些影像强调了所有存在形式都有记忆,包括非生物——时间在其中所写的讯息能被解译。

这些作品见证了一个图像、娱乐、色彩和广告都过剩的时代。李昶在表象之下持续地寻找一种孤寂——“只与自己在一起,没有他人”。她对于“通过一种无情的降级,我们的身体和其它生物不再有区别,由此揭示了存在与意识的状态”的那一刻感兴趣。她的作品也许能够减少对于时间流逝的恐慌,并能令个人面对自身的平凡与他们对独特性的渴望。

所以李昶总是回到这些问题上:我是谁;我如何与宇宙、瞬息即逝及永恒相连接。

By Giuseppe Marasco

By Giuseppe Marasco

The 5th Century B.C. Greek philosopher Heraculicus observed that “one can never step in the same river twice", Lisa Lee’s exhibition attempts to show innumerable facets of the river’s face.

Lee develops the language and practice of minimalism to deal with time and the unconscious. Constellation is created by channeling time through different mediums and technologies. She meditates on the ontological clashes between the East and West, while confronting the individual with cosmic time.

Lee connects the evolution of the clock in Western history with a maturing of time and its experience.

4'33"is the name of the suspended clock sculpture.. It casts a shadow that hints at the immaterial nature of time. Arranged in a spiral, multiple clock hands taking the position of each of the 273 seconds. Referring to John Cage’s 4'33" of Silence. It evokes the altering of perception by the introduction of mechanizedtime and measurement. It isa condensed image which contains something of Lee’s concerns regarding the accumulation of new images encountered.

The multiplication of clock units recallsCarl Andre’s use of industrial blanks (especially the Fugues series). While concretely representing seconds of time, you think of the repetition of manufactured units representing industrial and economic acceleration,with each unit containing it's production time.

My mind turns to the future potential for Lee to further explore this piece in relation to aura inWalter Benjamin’s essay: The work of art in the age of mechanical reproduction.

The frame as applied from the early renaissance painting to our digital age is imagined by Lee as a film still ceaselessly extending forward in time, each detail forms an instant of a labyrinth - one which will extend over an entire lifetime. She imagines these as anchoringupon a small isle in the ocean of the visible.

She was also inspired by how drawing leads to you tolook deeply by slowing down the eyes when tracing the gaze on paper.

A Poem of Emptinessis the result of a textual intervention, the now pale newspaper text of the News of the World, April 11, 1954 is officially the most boring day of the 20th century. This official ‘nothing' echos Belgian poet, filmmaker and artist Marcel Broodthaer’s 1969 homage to French poet Stéphane Mallarmé’s the 1887 Un coup de dés jamais n'abolira le hasard (A throw of the dice will never abolish chance).

The blacked-out sections become concrete poetry where we feel the weight and the space of meaningless time. As the duration and effect of the newspapers typographical layout becomes visible so does the comic avoidance of the absence of ‘news’ or reference to the day itself. While the now displaced ordinary everyday words describing the day, sing out as if freshly minted or newly discovered artifacts. Lee creates a poem from these now foreign turns of phrase. Thereflexive mindfulness of the values they contain contrasts deeply with the character of 24 Hour news cycles today.

The blacked-out sections were hand-brushed with graphic ink, possessing an interesting expressive quality. The original text still shows through the material accumulation of semi-opaque ink. This DIY re-appropriation enters and takes hold the formal space of the ‘mass produced’ public time. The hand’s presence makes it personal, unconscious and imperfect. It is as if new time pours into the past. Much as memory is remade anew as it is revived.

For Lee, trees are like a solid form to record the passage of time. The light box Untitled(Shadow Clock),shows the tree outside the artist’s window. Within it a quartz clock has a small LED light fixed at the end of the clock hand, its movement elevates the viewer's perception of time always being in flux.

In the 3-channel video installation “On Hold, idle time and Warholian gesturalism is recorded and situated in a mise en scene build up through duration.

A contrast of human time and the anxiety of the subjects emerges. As the clock is first heard for a couple of minutes, then the interior workings of a timepiece seen. We are in the bedroom or living rooms of a house. Fade out -

The clock sounds as if it is grinding down the different individuals as the camera incrementally closes in. The young man in Screen 1 looks particularly tormented as if in a play by the existentialist playwright Samuel Beckett.

In screen 1 the youth portrayed blinks from below the fringe of dyed blue-green hair and thick black glasses. His nostrils flare, facial muscles twitch. We can see tiredness and the effort to remain attentive, without succumbing to boredom. Then the camera zooms out of the bungalow, as wind blows - zooming out further to picture a goat eating grass in front of an abandoned house.

In the other screen all elements are repeated but the section portraying the heterogeneity of individual reactions to the stress of idle time and the presence of the camera recording its passing. The characters contrast in the accompanying screens. On Screen-2 the young woman lies on the sofa while Screen-3 (faded) Time weighs on her and it is painfully internalised (she physically folds herself), impatiently bouncing her crossed legs.

Stations is a carefully composed static shot of a train passing through an empty platform.

The duration of the trains passing is in analog to the film. The speed at which it passes frames our internal rhythms.

In the video of a postcard like, Seaside viewA Story in an Afternoon, the duration of the lapping of the waves undermines the other rhythms or times in the show.

These films insist that all forms of existence have memories, including non-living objects. In which messages and codes written by time can be read.

The intention behind this body of work is to make witness to an era of overloading imagery, profusion of distractions, colors, bright ads etc.

Lee continually searches behind appearance for “a kind of solitude - being with only oneself, no where else.” Her interests is in the moment when “through a brutal downgrading… our physical being is no different from any other living creature, which reveals the status of being and consciousness”. Her work may help confront the fear of experiencing the passing of time, and the individual’s confrontation of their own mundanity with their hope for uniqueness.

And so Lee is always returning to these questions: who am I, and how do I relate to the universe, to temporality and eternity.

GINKGO SPACE成立于2014年。通过展览、出版、驻留等多种方式,建立具有广泛影响力的开放平台,GINKGO SPACE积极参与国际当代艺术的发展进程,探索亚洲当代艺术的独特美学价值和文化身份,持续关注中国艺术家的多元创作。

GINKGO SPACE was founded in 2014. Through a range of methods, including exhibitions, publication, sartists’ residencies, collectors salons and non-profit projects,

Ginkgo space aims to participate in the developmental progress of international contemporary art, to examine the Asia artists’ diverse creativities in depth, actively explore the unique aesthetic values and cultural identity in contemporary Chinese art.

GINKGO SPACE

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开放时间 10:30-17:30 周二至周六(Tue-Sat)

北京市朝阳区酒仙桥路4号院 798艺术区65幢

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