唐潮|Tang Chao

唐潮

1990年生于湖南,毕业于中国美术学院实验影像工作室,现工作生活于上海。

 

展览

2015

[无处可藏]上海 Vanguard画廊

[压缩的项目] 上海 Vanguard画廊

2014

[灌肠2-其乐融融] 实验戏剧 杭州 一个空间

[展览的噩梦]上海 激烈空间

[紧张的经验]上海激烈空间

[产生许可] 杭州 一个空间

[被偷走的能量] 上海 昌平大厦209号

2013

[一切新关系等不到固定下来就陈旧了]上海上午艺术空间

[灌肠] 实验戏剧   杭州 天鸿美和院

[自燃]摄影展   杭州 邵一工作室

[直觉苏醒]平遥摄影节 山西

2012

[一米剧场]杭州 想象力学实验室

 

Tang Chao

Bornin hunan in 1990, graduated from School of Inter-Media Art of China Academy ofFine Arts , now works and lives in Shanghai.

EXHIBITIONS

2015

[NOWHERE TO HIDE]  ShangHai Vanguard Gallery

[COMPRESSED PROJECT]ShangHai,Vanguard Gallery

2014

[ENEMANIA 2-HAPPY ALL THE TIME] Experimentaltheatre  HangZhou   OneSpace

[NIGHTMARE OF EXHIBITION] ShangHai RadicalSpace

[EXPERIENCE OF NERVOUSNESS] ShangHai Radical Space

[PERMISSION] HangZhou One Space

[THE HIDDEN POTENTIAL]ShangHai,ChangPing Building

2013

[ALL NEW-FORMED ONES BECOME THEY CAN OSSIFY] am space ShangHai

[ENEMANIA]  Experimental theatre  HangZhou

[AUTO-IGNITION] Photography Exhibition  ShaoYi's Studio  HangZhou

[THE AWAKENING Of NTUITION]PINGYAO INTERNATIONALPHOTOGRAPHY   FESTIVAL  ShanXi

2012

[ONE METER THEATER] HangZhou Imagokineticslab

 

 

艺术家观点|唐潮

我其实是不相信客观的,但我觉得艺术永远是在追求真实,这似乎听起来很⽭矛盾,因为真实不是现实主义的,它还包括艺术家身处一个环境的临时反应。当然,对我来说把正常的反应拿出来当作品,这太低级了。关键在于你在一个应急状态下,能让语⾔制造歧义同时还能够把它转化成修辞的力量。

政治是要制造一个共同体,在这个共同体里⼈人要去爱同一条街道或同一棵树。艺术是提供差异:感知的差异。我觉得艺术和政治达成和解的时刻就是:这个事情可以是政治的,也可以不是,包括“事件”的公共性:往往针对的是私人化的感官。但我觉得感官同样是创造,它可以提供一种“通感”去连接观众。我们不能成为别人,但可以让别⼈以同样的方式感受。

我最近做的录像是把自己放逐到一个游乐园,幻想自己身处一个“现代岛屿”的困境。里面有主观的探路和觅食的镜头;坐在游戏设备上的眩晕,及缆车上放信号弹的镜头。我也想去呈现城市化进程带来的某种“游戏”的异化感,但说到这我应该闭嘴了,因为如果把“游戏感”和“美学”抛给了工业化和一般的消费问题,这是糟糕。而且我的影像描述的是客观世界的现实,转化为文字也只是一个思考的线索,它只能传达一个价值观,但并不能让人去看,去听,去提供另一种感受这个价值观的方式。

IMG_3790
(唐潮作品-安全岛)

我最看到的哈佛感官人类学实验室(Sensory Ethnography Lab)做的一些⽚子,里面有我感兴趣的虚构的真实、学科之间的平衡,而且是一种波动的平衡,就像茨维塔耶娃说的:可一旦刮起⻛风暴——无底深渊便横亘在左右两翼之间。它是超越了普通意义上的政治问题,而且同时说出了客观世界的风暴和抽象的深渊。

IMG_3791

哈佛感官人类学实验室|利维坦

这次展览中另一个展出的计划,是我与地方上的刑警交涉,甚至参与到他们的工作中去,也就促成了这个关于现场摄影的长期项目。在这个项目中,我试图去引导和撬动刑警本身的工作逻辑,当两股力量扭在一起时,他们按部就班的拍摄里面产生了一些意外的图像,摄影作为证据或作品之间的关系模糊了。最后我再去扮演一个组织者,收集、分类和展示这些图像。

[现场摄影]No.9
(唐潮作品-现场摄影项目)

我已经很久没有拍照片了,之前也试图把拍摄的紧张感直观的呈现到展厅,我做过一个暗房,里面用铁链拴住一条狼狗,我在里面用3个闪光装置一直闪狗的眼睛,观众在闪光灯亮起的一瞬,通过暗房上面开的小窗口能隐约看到里面人和巨大的狗,还有一地散落的照片。照片在这⾥里变成了行为中的附属物。这次展出的摄影项目我也没拍,也许把摄影当成一个事件里的制作过程,能展示中间被人忽略掉的事件性和图像生产的劳动 .对我来说,是谁拍,拍不拍,最后都变得不重要了。

Artist’s View|Tang Chao

I don’t believe in objectivity, but I feel that art is always pursuing the real. This sounds contradictory, but reality isn’t Realist.It includes improvised reaction to the environment an artist is situated in. Of course for me, it’s a bit basic to present reactions as art works. The key is how to manipulate languages into both ambiguity and a metaphoric force underemergent situations.

Politics is about creating a commune. In this communeeveryone has to love the same street or the same tree. Art is to offer difference, differences in perception. I feel that the moment art and politic sreach an agreement is when an event could be political, or it could be not.This includes events that are supposedly public. They are still targeted towardprivatized perception. And I feel that perceptions are also creations. They could connect an audience through “synesthesia”. We cannot become someone else,but we can however provide an opportunity for others to perceive the way we do.My recent video work involved exiling myself into an amusement park and imagining I’m stuck on a lone modern island, where I subjectively explore newpaths and hunt for food. I sit on those game machines and feel nausea, and I shoot those signal missiles on cable cars. I want to present a kind of de-familiarization of game that came from urbanization. I think I should shut up at this point, because society has left the problem of game and aestheticsto industrialization and consumerism. This is bad, but this description is ofthe reality in the objective world, offering only food for thought while written down in words. It’s merely an ideology. It does not call upon people tolook, to listen, or to find a different way of perceiving said ideology.

IMG_3790

Image from Tang Chao’s vidio work:Refuge Island

I recently saw a film from the Sensory Ethnography Lab at Harvard University. What interested me was the fictional balance betweenreality and multiple subjects of study. Such balance is oscillating, like what Marina Tsvetaeva said, “but when there is storm – endless abyss/span across theleft and right wing.” This balance is beyond political in the normal sense, andis really about the abyss of the storm and the abstraction in the objective world.

IMG_3791
Image from” Leviathan”

Another project I’m exhibiting here is about my dealing with local criminal police, including engaging myself in their work. This is along-term photographic project. I tried to give guidance and even change their working logic as criminal police. And when the forces were entangled, the photographs they produced generated some accidental images. The photographs’functions as evidence or art are blurred. Then I also play the role of an organizer,to collect, categorize and present these images.

[现场摄影]No.9
Tang Chao’s photographic project

I have not taken a photographfor a long time, and I have tried to present the intensity of shooting these photos to the exhibition hall. Once I had a dark room and brought a wolfhoundinside. I used three flickering devices to flash at the dog’s eyes. Theaudience could see through a small window on the door of the dark room a manand a huge dog when the flickers were triggered, as well as photographsscattered all over the floor. Photographs are accessories to theseperformances. I did not personally shoot the photographs in this exhibitioneither. Maybe I’m only presenting the process of photography, and the neglectedevent-ness and the labor of image production during this process. For me, who shotthe photographs, or whether anyone shot any photograph at all, is to the leastimportance at the end of the day.