被介入的物件
Objects That Have Been Intruded
策展人：王欢
CURAOTR:WangHuan
参展艺术家：陈维/蒋志/孔维子童/苏育贤/杨沛铿/杨嘉茜/郑龙一海
ARTISTS:Chen Wei/Jiang Zhi/Weizitong Kong/SU Yu Hsien/Trevor YEUNG/JiaXi Yang/Dragon Zheng
2016集美·阿尔勒国际摄影季策展项目
以摄影截取物件的形象，希冀以此能够暗示什么，仿佛人们都心照不宣地把图像和物体维系在了一个可交换性的原则下，然而，我们是否应该首先警惕物件本身造型的美感以及它们自身潜在的意义在图像化以后，对于作品借物件所提出问题的有效性？在这个或转译或纯化的连续动作里，是否把物体原有的潜能转送出来了？又是否在这一连串的动作中缺失了什么？为了规避（图像可以被当做物体来等同对待）这一既有的预设，我们在此生成一个的语境作为前提，从而，将关注点投向一个边缘问题，即，当摄影作用于物件发生图像化之前或者之后，原始的物件被其它“行动”所介入时，此刻引发的另一种思考。
拉图尔（Bruno Latour）在《我们从未现代过》中借用“准客体”的概念来谈及主客关系，主体与客体间既不是康德以前的主体受制于客体，也不是康德之后的主体中心论，“准客体”就像是一种中间物，承担着相互渗透的作用力。于是，“（某种方式）介入物件”也便成为了一个中间地带。而本次展览所展出艺术家的实践在一定程度上都是基于介入物件来解决着各式繁杂的议题。
被包裹的雕像，2015，陈维 Wrapped Statue,2015,Chen Wei
陈维以他一贯使用的布景方式来重置物件结构，并将物件推至剧场的行动中来完成新的论述。而在本次展览中则消解了陈维的系列，我们提出一种趋近于“工作方法”的展示，不同作品或以包含剧场行动的图像出现，或以切断“图像化”的物件本体临显。除了艺术家作品自身的论述外，“打破剧场神话”也更多地为我们引向被介入物件自身的能指。
情书2014，蒋志 love letters2014,Jiang Zhi
众所周知蒋志通过拍摄点燃的花朵“写”了一封送给所有人的《情书》，花并非有情，火也亦非语言，而“烧 花”这个行动，拟作一种“准客体”变成了有效的情感寄托，情书在这个浪漫的，悲情的，被迫的（甚至许多形容词加持的）行动中变得多情。
并置，2015，孔维子童
Juxtaposition,2015,Weizitong Kong
孔维子童在作品《并置》中通过自制背景与镜子、金属以及塑料等物质来完成空间构建，再借由一种完全取消透视关系、保持绝对二维性的摄影来呈现出几近抽象的图形和颜色，在这个没有体积只有面积的世界里，物件自身的物性甚至消失了。从而，一种构建的完成引发了另一层的消解，物件成为连结它们之间的枢纽。
花山墙，录像，2013，苏育贤
Hua-Shan-Qiang,Video,2013,SU Yu Hsien
苏育贤的《花山墙》以纸扎作为一种形象的投射，在这部由多帧静止照片所组成的录像中，过分关注纸扎或许只会将人们的目光引向一种文化属性上，而激活物件（纸扎）的则是叙事的闯入（旁白以及剧本）。在它们共同的密谋下，一个以幽灵般的躯体回应往常人们认知的世界生成了，被激活的物件与激活行动本身则在一种有些滑稽的转折中将人们的目光重新引向了艺术家在个体或历史，政治或国家中的种种明指和暗指。
扭拧（上环），照片，植物，2015，杨沛铿
The Enigma (Sheung Wan),Photo, Plant ,2015,Trevor Yeung
（作品由艺术家、Collection of Alfred Cheong & Kwong Yee Leong及刺点画廊提供）
在杨沛铿本次展出中，他将植物直接摆置在照片前面并对画面内容形成一层“干扰”，就此影响人们对于图像以及图像与遮挡物作为整体的观看，物件在一种既中心又边缘的位置互换中，诱导着自发性观看行为的发生。
清醒生活的平行模式，“鸡蛋,线”，2014，杨嘉茜
The Horizontal Mode of A Waking Life,“Eggs, threads”,2014,JiaXi Yang
杨嘉茜的作品《清醒生活的平行模式》是作者把日常琐碎的细小的物件和食物提出置于新的空间中，以此来感知习惯性存在的方式。而如何感知习惯性的存在？杨嘉茜反向地选择了制造一种陌生来予以回应，陌生的空间，陌生的视觉…或许，只有在最陌生的环境下，那些习以为常的经验才“哧”的一声引起了我们的注意。
e 频道，2016，郑龙一海
CHANNEL-e,2016,Dragon Zheng
郑龙一海的《e 频道》在本次展览的语境中，首先被提取出来的是他所关注对象的特殊性——“破碎的屏幕”，屏幕作为一个如结界般存在于人们现实生活和虚拟世界的中间物，也是进一步扩张了我们对于物件本身（所能承载的）既有的想象，而郑龙一海则通过破碎屏幕的内外世界来关照着他所关心的有关于后网络的诸议题。
“主体介入物件”，在面向物为中心的讨论中，它们是重要的又是不重要的，它们自身已在中心与边缘的转换中脱离了原本的语境，在剧场、行为、空间、叙事等不同维度的“介入”下发生了另一层转向。
Photography, by capturing the images of objects, intends to imply something as if people tacitly see images and objects as things that are exchangeable. However, should we be alert to the sense of beauty embedded in the shape of the object and the validity of the question raised behind the visualized representation of the objects? During the process of interpretation, or purification, has the original potency of the object been conveyed? Has anything gone missing during the process? To evade the preset premise (that object and image of the object can be treated equally), we therefore shift our focal point to a somewhat marginalized issue: the intrusion of photography (before and after) upon the object and new questions that will arise following it.
In Bruno Latour’s “We Have Never Been Modern”, the author resorted to the notion of “quasi-object” to elaborate the relationship between the subject and the object, proposing that the relation was neither pre-Kantian (subject under the control of object) nor post-Kantian (subject-centrism). Rather, the intermediary between the subject and object makes them possible to interpenetrate. Drawing on this notion, “to intrude upon objects” also becomes a kind of intermediary. Artists featured in this exhibition resort to “intrusion” to tackle the various issues. The “intrusion” by “subjects” upon “objects” puts the objects at the central position. They are important and unimportant at the same time as they are detached from their original contexts during the shift of positions between the center and the periphery.
Very often, CHEN Wei’s work narrates through relocating objects in theatrical sceneries. However, this exhibition has deconstructed his usual way of working and proposed an alternative presentation, which is more like demonstrating his “methodology”. Various works are shown either in the form of visualization of his theatre, or of the objects per se that suspends his original process of visualization. Apart from what the artist has told in his works, this exhibition also leads us to the intervened objects as the signifiers by “breaking the myth of the theatre”.
It has been widely known that by photographing burning flowers, JIANG Zhi has written a “love letter” that is dedicated to everyone, in which flowers does not contain love messages, neither fire works as a language. But the act of “burning flowers” somehow turns into a “quasi-object” that substitutes emotional feelings. And in this romantic, sad, forced (with even more adjectives ahead) action, the lover letter is becoming more affectionate.
In the work “ Juxtaposition”, KONG Weizitong has created a world with his self-made background, mirror, metal ball and plastics. Through photographing in an absolutely two-dimensional way, he abandons the perspectives and presents purely abstract shapes and colours. In a world that does not count by volume but by area, the physical materiality of these objects vanishes. By then, the object connects the reality and its visual representation in which the construction of the later deconstructs the earlier.
In SU Yu Hsien’s still-image video “Hua-Shan-Qiang”, the paper dolls are only projections of the figures. Too much attention of the paper burning ritual will only lead the audience to take it culturally. But what does activate the objects (papers dolls) is the invasion of narrations (voice over and script). Together, they have conspired to produce a phantom-like body to respond to a world that has been commonly known. While in a comical turn, the activated objects and the activation per se have redirected the audience’s attention to numerous individual or historical, political or national meanings and metaphors that the artist wants to evoke.
This time, Trevor YEUNG puts plants directly in front of his pictures and builds up a barrier, which interferes not only with viewing the works, but also with viewing the works and the obstacles as a whole. The object’s alternation of being at the center and margin attracts the audience to choose a perspective on their own. In “The Horizontal Mode of A Waking Life”, YANG Jiaqian relocates those little common objects and food in a new context to reflect on what we are accustomed to. To achieve this, YANG chooses a reversed way of defamiliarization, like creating an unfamiliar space, an unfamiliar visual effect… Maybe, it is only in an unfamiliar environment that those accustomed experiences could catch our attention with an alert sound.
What Dragon ZHENG’s work “CHANNEL-e” has firstly demonstrated in this exhibition is his unique concern of the broken screen. Screen, like an intermediate between the real and virtual life, has further expended our imagination that an object could ever load. By showing the inner and outside world of a broken screen, ZHENG aims to reflect on the various issues of the Post Internet Age.
展览现场
EXHIBITION
王欢 WANG Huan 