前言proface | 漂移的花园 Floatin Garden

现场图

Floating Garden

Moving Images, and Imaginations….

“Newly tiled public space is demolished again, exposed naked and right under the shadow of the fence, in front of everyone. They spread silently, among the plants, among those trees recently moved here which were abandoned before their roots could find home underneath. Then a few steel pipes, supporting a screen, and a giant water fountain connected to a plastic blowup swimming pool not permitted to enter. Here, apart from a few chairs seemingly functional, no one knows where the secret paths lead to.” Here, the real space “disappears”, and is replaced by a garden spectacle blurring the line of the interior and the exterior. This all-new artificial garden seems to be transient. Here are moving images and imagines, and a place to stroll and cross.

Space, Spectacle, and Private Space…

In this “space”, how do we understand “reality” when public space in its absolute form is undergoing a recovery and reiteration of certain other circumstances? It’s replacing its original space with a concept of “absolute space”. It means nothing, of course. However, when we plant “private spectacles” into this space. Only when they almost “force” you to behold, feeding moving images and sound to you, only through these moving images in the “private space” itself can one be reminded that the place you are situated in now is indeed a fictitious space, instead of a real one, and this space can only be established when they are a copy of the “private space.”

The Everyday, Repetition, and Apparition…

The everyday life is merely a repetition of itself. Habitual interests accumulate and overflow in a limited space. The so-called “freedom” is merely a recycling of forms inside a long enclosed and stiff system. There is no need to question the “everyday”, because there will just be more “plumpness” to fill time, which would mean that all temporalities are especially everyday. It is said that when unique spatial-temporal space occurs, when distance and faces remain stuck a place, some shimmering “apparition” would appear. Only then, life becomes an apparition.

Poetics, Vision, Recurrence…

But we are still looking for some kind of poetics. This seemingly irreplaceable part of the artistic instinct does not however originate from searching for it, nor does it come from deliberate construction. It’s even less of an aesthetic binary under an ideology. This “existence” is inextinguishable in the artistic heart, and an untamable spirit…through regrouping and redisplaying their visions and imaginations.

Fictitiousness, Reality and a Floating Space…

This exhibition includes spectacles and the everyday. It naturally also includes consumption and the consumed. They created some ambitious display of their thoughts and embedded their views on social issues inside it. If we were to float between the world of moving images and reality, it’s inevitable that an artificially constructed space appears. Then we have a plagiarized “down-low spectacle” of reality, and some moving images windows resembling propaganda…Huang SongHao recorded the everyday life of a spectacular human being; Tang Chao’s “Lone Island Life” explores both repulsion and inseparability toward order in modern life; Wang FangYi’s “Copy” built a metaphoric tunnel between the Absurd and the Real, and Lin AoJie tries to deal with displacement in human characters, forming a delusional context for real social roles to “betray” their own. The works here interject each other while alive on their own.

Text: Yajing Yuan

 

漂移的花园

这里有影像、想象……

“刚刚铺好地砖的露天空间重新被撬开,皮绽肉开般裸露在被围墙围起来的阴影下,悄然像深处蔓延。到处都是植物,那些刚刚被移植过来的树甚至还没有把它们的根部埋入泥土就草草地被丢弃在那里了。几根托起显示屏的钢管;一个巨大的‘喷泉’下接着水的是不允许进入的塑料充气泳池;在这里,除了摆设着的几个椅子显示着功能之外,谁也不知道留在其中的几条秘径究竟通往何处。”在这里,真实的空间“消失”了,取而代之的是模糊了室内外界限的花园式图景……这新搭建的花园,这仿佛随时都有可能发生改变的人造空间,这里有影像、想象,这里可以游荡、穿行……

空间、景象、私人空间……

在这样的“空间”里,当仿佛已然绝对化的公共空间里有人在悄然恢复、模仿某些场景时,该如何理解它的“真实”?它只是以不同空间的常识性建造出来的,是用另一种“绝对空间”的概念来替代原本的空间,这本身并没有意义。然而,当这个空间中植入“私人景观”,当它们以某种近乎“强迫”的方式让你观看,不断地把影像、声音灌输给你时;当这些发生在“私人空间”的影像画面本身时刻在提醒着你:你所身处的其实正是虚构的空间,是不真实地空间,而且这里的空间形式也只有在作为影像中呈现的“私人空间”景象的复制时,它才是成立的。

日常、重复、灵晕……

日常即是重复。是不断固化的习惯与趣味在有限空间里的持续累积与溢出。是在已然密闭的僵化系统中不断循环的形式“自由”。不用去质疑“日常”,因为会有更多的“丰盛”来充斥时间,这意味着时间总是在日常着的……据说,当独一无二的时间与空间仍旧存在于此,当距离与面孔仍然滞留于此,某种闪着微光的“灵晕”便出现了。于是,生活便是灵晕。

诗性、视觉、重现……

但仍然存在着某种“诗性”。这种类似于艺术家天性中不可或缺的一部分并不是来源于寻找,也不是生发于刻意的建构,更不是在某种意识之下的美学对立。这种“存在”在被称为“艺术家”的人的心中永不熄灭的,以及无法将其驯服的某种灵性……通过他们的视觉、想象进行重组和呈现。

虚构、真实、空间漂移……

这个展览里包含了景观、日常,自然也包含了消费和被消费。他们雄心勃勃地创制了他们的所想、所思,并将自己对社会的看法隐含其中。如果要将影像世界与现实世界中进行“漂移”,现场空间的人为搭建便不可少,于是就有了伪造出的“低级景观”现场,宣传式的影像窗口……黄淞浩记录了一个景观人物的日常生活;唐潮的“孤岛生活”,探讨了现代生活对秩序感的排斥和不可脱离;王芳艺通过“临摹”日常行为造就一条在“荒谬”与“真实”之间转喻的通道;而林奥劼则通过对人物的错位处理,形成了作品中人物随时准备从现实社会角色中“叛逃”的臆想语境。就这样,恰恰是他们,他们的作品以各自的方式真实地介入并存在着。