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展览回顾 | 4C Exhibition 2023Q2

文/黎扬扬

配图:展览现场

法国哲学家居伊·德波(Guy Debord)在《景观社会》(The Society of the Spectacle)中写道:在资本主义的时代,人的物质生产与精神生产及其产品变成异己力量,在导致精神异化(alienation)的同时,图像的表征代替了我们对于世界的真实感知。4C Exhibition 2023Q2展览呈现了卞卡、任碧筠、贾佳、陈佳韵、赵坤、潘梵怡、晋文捷、朱思凝、贺小、赵增熠这十位艺术家的作品,他们通过绘画、摄影、影像、装置等媒介,讨论了异化世界中人的物化、身体、全球化、自然、主观性等议题。本次展览中,4C秉承了展览、宣传当代观念艺术的宗旨,为华裔艺术家提供展示和交流的专业空间,为华裔艺术社群培养深厚的文化土壤做出贡献。

French philosopher Guy Debord wrote in The Society of the Spectacle that in the age of capitalism, human material production and spiritual production and their products have turned into alien forces, leading to mental alienation while images replace our genuine perception of the world. In the 4C Exhibition 2023Q2, ten artists, Bian Ka, Biyun Ren, Jia Jia, Jiayun Chen, Kun Zhao, Pan Pan, Wenjie Jin, Sining Zhu, Xiao He, and Zengyi Zhao, discuss topics including objectification of people, bodies, globalization, nature, and subjectivity in the alienated world through mediums like painting, photography, video, and installation. In this exhibition, 4C adheres to the purpose of exhibiting and promoting contemporary conceptual art, providing professional space for Chinese artists to display and communicate, and contributing to the cultivation of a rich cultural soil for the Chinese art community.

赵增熠的摄影作品探讨了景观聚集的当下,对于视觉客观性的质疑。他通过后期技术将照片进行合成和拼接,使得它们在大体上真实的同时也有怪异之处,但观众第一眼却只会以为照片中的是一处如幻境般的真实景象。在景观社会中,社会的绝对秩序——“实在界(the Real)”——被景观的社会建构所遮蔽,从而变成无法企及、无可描述的,而我们看到的现实只不过是幻象。延续这一观点,赵增熠的质疑的是摄影和光作为媒介的客观性,以及我们是否有能力去质疑视觉作为最“客观”感官的地位。

Zengyi Zhao's photographic works explore the moment of spectacle concentration, questioning the objectivity of vision. Through post-production techniques, he synthesizes and stitches the photos together, making them largely realistic but also strange. However, at first glance, the audience would only think of them as a dreamlike real scene in the photos. In the society of spectacle, the absolute order of society - "the Real" - is obscured by the social construction of spectacle, thus becoming unreachable and indescribable, and what we see of reality is merely an illusion. Extending this point, Zengyi Zhao questions the objectivity of photography and light as mediums, and whether we have the ability to challenge the status of vision as the most "objective" sense.

贾佳的装置作品讨论了个人身份在全球化资本下的异化与抵抗。在资本主义的浪潮中,个体价值被生产力和效率等经济概念所定义,与本真的自我脱离。在手术刀、粘土、字典纸张的碎片中蕴涵着许多矛盾与模糊,正是在这样的存在主义危机之中,在我们对于世界破碎的概念之中,我们重新定义我们自己在世界中的身份。

Jia Jia's installation work discusses the alienation and resistance of individual identity under globalized capital. In the wave of capitalism, individual value is defined by economic concepts such as productivity and efficiency, detaching from the authentic self. Within fragments of surgical knives, clay, and dictionary paper, there are many contradictions and ambiguities. It is in such existential crises, in our fragmented conception of the world, that we redefine our identity in the world.

陈佳韵用手臂和衣物的组合探索了T恤英文文字和中文纹身中令人发笑又让人觉得荒谬的错译现象。语言是无数符号组成的建构,在符号转换的过程中产生的混乱,恰恰说明了全球化文化交流中符号系统的可译性限度,让我们反思,人类是否已经进入到了“后全球化”阶段。但这样的限度也带来了趣味,如将“Keep moving”译成“保留移动”不禁也让人忍俊不禁。

Jiayun Chen uses the combination of arms and clothing to explore the humorous and absurd mistranslations found in English text on T-shirts and Chinese tattoos. Language is a construct made up of countless symbols, and the chaos generated in the process of symbol transformation precisely illustrates the limits of translatibility of symbolic systems in global cultural exchange. This prompts us to reflect on whether humanity has entered a "post-globalization" phase. But such limitations also bring humor, such as translating "Keep moving" into "bao liu yi dong" (literally, "preserve motion"), which is amusing.

贺小的手制书页聚焦于女性在社会建构下的体验,例如母亲身份、家庭责任、精神疾病等方面。女性主义提出“性别是社会建构”的观点。其中一本手制书中,贺小以夏洛特·帕金斯·吉尔曼(Charlotte Perkins Gilman)的小说《黄色墙纸(The Yellow Wallpaper)》为灵感,截取了文字,并为其中的意象绘画。书中的的女主人公被丈夫带到一件老宅修养,因能看到房间的黄色墙纸里有无数女人在爬行而后疯癫,也成为了一个爬行的女人。在以精神分析剖析女性镜像身份构建的同时,还讽刺了当时的父权体制对于女性心理健康的忽视与摧毁。

Xiao He's handmade book pages focus on the experiences of women under social construction, such as the identity of mothers, family responsibilities, and mental illness. Feminism puts forward the view that "gender is socially constructed". In one of the handmade books, Xiao He took inspiration from the novel The Yellow Wallpaper by Charlotte Perkins Gilman, extracting text and painting images from it. The heroine of the book, brought by her husband to an old house for recuperation, goes insane from seeing countless women crawling inside the room's yellow wallpaper, becoming one of the crawling women herself. While analytically dissecting the construction of the female mirror identity from a psychoanalytic perspective, it also satirizes the patriarchal system's neglect and destruction of women's mental health at that time.

在人的异化中,个体与社会建构的冲突常会带来躯体化的创伤。任碧筠有关身体的实验影像作品以自我和世界进行冲撞的角度切入。在大量的符号、意象和虚拟场景的使用中,她展现了不可言说的女性经验。在镜子面前的表演片段仿佛也像是镜像理论中,人类总是通过镜像中的他者“误认”自我的形象,从而弥补自我本身破碎的事实。

When humans are alienated, the conflict between the individual and social construction often brings about bodily trauma. Biyun Ren's experimental video works on the body take the perspective of self-collision with the world. Through the use of numerous symbols, images, and virtual scenarios, she displays the unspeakable female experience. The performance in front of the mirror also seems to mirror the theory that humans always "misrecognize" their own image through the other in the mirror, thereby compensating for the fact that the self is fragmented.

在朱思凝的多媒体作品中,她深入边缘群体的生存状态和死亡的议题,关注自杀的空巢老人的心理状态。她以这些老人的遗书作为创作的蓝本,刻入石头,并用火焰燃烧,当石头一点一点变得焦黑,这些刻字也逐渐消失,以此代表老人被忽视的孤独情感,以及最后他们生存的痕迹消失。朱思凝也以这些遗书为旁白制作影像,画面中是一本有着这些石头的图像的书。我们能听到这些文字是极富有温情的,但又能让人感到写作者在孤独、沉寂中的异化心理,平静地离去才是他们唯一的出路。当遗书朗读结束,书页也翻到两面全黑的纸,故事结尾。

In Sining Zhu's multimedia work, she delves into the topics of living condition and death of marginalized groups, focusing on the psychological state of elderly people living alone who ultimately commit suicide. She uses these elderly people's suicide notes as the blueprint for her creation, carving them into stones, and burning them with flames. As the stones slowly turn charred, these inscriptions gradually disappear, representing the ignored loneliness of the elderly, and finally, the traces of their existence disappear. Sining Zhu also made a video with these suicide notes as the voiceover, showing a book with images of these stones. We can hear that these words are gentle, but they also allow people to feel the authors' alienated psychology in their loneliness and silence, and a peaceful departure is their only way out. When the reading of the suicide notes ends, the book turn to two black sheets of paper, ending the story.

晋文捷通过抽象手法表现建筑结构画面,在她极简主义的构图中有着霍普(Hopper)的宁静。她着重强调了建筑中窗户的作用——带来光线,同样是与外界产生联系的渠道,作为艺术史中的图像,也有着强烈宗教意味。她以窗户为中心的画面展现超现实的梦境,正如弗洛伊德所说,梦境是潜意识的反映,她的画面能带来强烈的感官共鸣。

Wenjie Jin uses abstract methods to depict architectural structures, and her minimalist compositions have the tranquility of Hopper. She emphasizes the role of windows in architecture - they bring in light and serve as a conduit for connection with the outside world. As an image in art history, it also carries a strong religious significance. Her window-centric images display surreal dreams, and just as Freud said, dreams are a reflection of the subconscious, her images can bring a strong sensory resonance.