周啸虎 Zhou Xiaohu 中国 China

周啸虎 Zhou Xiaohu 中国 China

动画作品《反蒙太奇-党同伐异》改编自美国早期同名电影《党同伐异》[Intolerance,美国导演葛里菲斯(D.W. Griffith)在1916年拍摄],其中“最后的营救”四个平行蒙太奇场景最为著名,它们将四个历史故事打碎后搅拌穿插进行:耶稣受难、现代美国、圣巴塞洛缪节大屠杀、巴比伦沦陷。影片以资产阶级有条件宽容的姿态拍摄,是前蒙太奇理论的伟大实验之作,也是国家价值观的宣言之作,“宽容”成为操控者拥有的道德武器,电影的布道功能与中情局的职守同出一辙,其后爱森斯坦对蒙太奇理论的总结,理所当然也成为宣传前苏联革命的有效工具。动画编辑走反蒙太奇割裂路线:把因蒙太奇手法而切割分散的情景重新分类拾起组接,成为顺时播放的8组“长镜头”,表现为平行推进的无始无终的现在进行时态,内容保持无终点的准备或期待发生的状态,相当于持续地积蓄能量但是决不释放它们。同样地,利用电影胶片的形式制作雕塑装置,在装置空间中嵌入电影胶片时序元素,进一步将时间序列引入到雕塑空间的时序关联中,建造一个电影胶片式装置图腾。8个场景雕塑装置对应于8个重复播放的动画录像,螺旋循环的雕塑装置与动画影像互为事件引证或互为伪证。观众依据自己的位置移动,形成“分镜头场次”的切换。  The animation Against Montage-Intolerance is adapted from the early American movie of the same name Intolerance (directed by D.W. Griffith in 1916). In the original movie, the four parallel montage scenarios in “The Last Rescue” are the most well-known: they make the four historical events blended and interacted: Crucifixion of Jesus, Modern America, Saint Bartholomew Massacre and Babylonian Captivity. This film adopted an attitude of Bourgeois’ conditional tolerance, becoming a masterpiece of the experimental practice of pre-montage theory. Meanwhile, it was a manifesto of national values: “tolerance” turned out to be the moral weapon of the controllers. The “sermon function” of movies were just like the propaganda of CIA, therefore, the conclusion made by Sergei Eisenstein about the montage theory was used as a practical tool for the propaganda of Soviet revolution. However, the animation editor follows an approach of against-montage: classify and reconnect the scenes cut and divided by montage method, and chronologically play the eight groups of “long shots”. It is represented as a present progressive tense without a beginning or an end, and its content always gets ready for something and never expects an end, which seems to constantly restore the energy but never unleash it. In the same way, the sculpture installation has been made through the form of films. Inside the space of the installation, the elements of time sequence featured in the movie making are imbedded, so the time sequence could be introduced into the timing relationships of sculptural space, building up a totem of film-type installation. The eight sculpture installations correspond to eight repeatedly playing animations. The spiral circles of the installations and the animations are the mutual references or the mutual perjuries for each other. The switchovers of the “scene numbering and shot calls” are based on the moving positions of the spectators.  反蒙太奇-党同伐异,2011年,8屏动画录像,雕塑装置,L520cm/W520cm/H450cm Against Montage-Intolerance ,2011, eight channels animation installation  L520cm/W520cm/H450cm

动画作品《反蒙太奇-党同伐异》改编自美国早期同名电影《党同伐异》[Intolerance,美国导演葛里菲斯(D.W. Griffith)在1916年拍摄],其中“最后的营救”四个平行蒙太奇场景最为著名,它们将四个历史故事打碎后搅拌穿插进行:耶稣受难、现代美国、圣巴塞洛缪节大屠杀、巴比伦沦陷。影片以资产阶级有条件宽容的姿态拍摄,是前蒙太奇理论的伟大实验之作,也是国家价值观的宣言之作,“宽容”成为操控者拥有的道德武器,电影的布道功能与中情局的职守同出一辙,其后爱森斯坦对蒙太奇理论的总结,理所当然也成为宣传前苏联革命的有效工具。动画编辑走反蒙太奇割裂路线:把因蒙太奇手法而切割分散的情景重新分类拾起组接,成为顺时播放的8组“长镜头”,表现为平行推进的无始无终的现在进行时态,内容保持无终点的准备或期待发生的状态,相当于持续地积蓄能量但是决不释放它们。同样地,利用电影胶片的形式制作雕塑装置,在装置空间中嵌入电影胶片时序元素,进一步将时间序列引入到雕塑空间的时序关联中,建造一个电影胶片式装置图腾。8个场景雕塑装置对应于8个重复播放的动画录像,螺旋循环的雕塑装置与动画影像互为事件引证或互为伪证。观众依据自己的位置移动,形成“分镜头场次”的切换。

The animation Against Montage-Intolerance is adapted from the early American movie of the same name Intolerance (directed by D.W. Griffith in 1916). In the original movie, the four parallel montage scenarios in “The Last Rescue” are the most well-known: they make the four historical events blended and interacted: Crucifixion of Jesus, Modern America, Saint Bartholomew Massacre and Babylonian Captivity. This film adopted an attitude of Bourgeois’ conditional tolerance, becoming a masterpiece of the experimental practice of pre-montage theory. Meanwhile, it was a manifesto of national values: “tolerance” turned out to be the moral weapon of the controllers. The “sermon function” of movies were just like the propaganda of CIA, therefore, the conclusion made by Sergei Eisenstein about the montage theory was used as a practical tool for the propaganda of Soviet revolution. However, the animation editor follows an approach of against-montage: classify and reconnect the scenes cut and divided by montage method, and chronologically play the eight groups of “long shots”. It is represented as a present progressive tense without a beginning or an end, and its content always gets ready for something and never expects an end, which seems to constantly restore the energy but never unleash it. In the same way, the sculpture installation has been made through the form of films. Inside the space of the installation, the elements of time sequence featured in the movie making are imbedded, so the time sequence could be introduced into the timing relationships of sculptural space, building up a totem of film-type installation. The eight sculpture installations correspond to eight repeatedly playing animations. The spiral circles of the installations and the animations are the mutual references or the mutual perjuries for each other. The switchovers of the “scene numbering and shot calls” are based on the moving positions of the spectators.

反蒙太奇-党同伐异,2011年,8屏动画录像,雕塑装置,L520cm/W520cm/H450cm
Against Montage-Intolerance ,2011, eight channels animation installation  L520cm/W520cm/H450cm


周啸虎 
1960 年生于中国江苏省常州市,1989 年毕业于中国四川美术学院,现在生活和工作于上海。参加过很多国内外大 型展览,主要个展:2012 年上海 Art-Ba-Ba 流动空间“姿态”、2011年瑞士巴塞尔艺术节“艺术声明”单元“反蒙 太奇 - 党同伐异”、2010 年北京长征艺术空间“词语链”、 2009年上海比翼艺术中心“军演营”和北京长征艺术空间 “集训营”、2008 年美国芝加哥沃什画廊周啸虎个展等。主要群展:2013 年北京泰康空间“消极或抵抗?”、南京金鹰当代艺术空间“内景:个体的经济化”、华侨城当代艺术中心上海馆“曲径通幽:独立动画作品展”、澳大利亚悉尼白兔美术馆“为人民服务”、匈牙利德布勒森现当代艺术中心“景观重建”、2012 年台北易雅居当代空间馆“资产阶级审慎的魅力”。 

Zhou Xiaohu
Zhou Xiaohu, was born in1960 in Changzhou, Jiangsu Province. In 1989 he graduated from the Sichuan Academy of Fine Arts, China. He lives and works in Shanghai. Selected Solo Exhibitions: Position, Art-Ba- Ba Mobile Space, Shanghai,China(2012); Zhou Xiaohu's Solo Show, ART BASEL 42, Switzerland (2011); WORD CHAINS, Long March space, Beijing (2010); Military Exercises Camp, Biz Art Central, Shanghai (2009); Concentration Training Camp, Long March space,Beijing (2009); Zhou Xiaohu's Solo Show, Walsh Gallery, Chicago, USA(2008).Selected Group Exhibitions: Pessimism or Resistance? Taikang Space, Beijing (2013); Innenansichten- Ökonomisierung des Privaten, Goden Eagle Contemporary Art Center, Nanjing (2013); The Garden of Forking Paths, OCT Contemporary Art, Centre, Shanghai (2013); Serve the people, White Rabbit Gallery, Sydney, Australia(2013); Spectacle Reconstruction, Center modern and contemporary Arts, Debrecen, Hungary(2013); Discreet Charm of Bourgeoisie, Taipei Yi&C Contemporary Art, Taipei (2012). 
 

谢素梅 Su-Mei Tse 卢森堡 Luxembourg

谢素梅 Su-Mei Tse 卢森堡 Luxembourg