老人、小孩、治愈者 
夏维伦 2016 


近年,经常感到吴超是高级生命体,上辈子欠我人情,才投胎人间与我结交。梁小延说我俩搭档,大概为了照顾我的面子,吴超是执行者,我是思想者。其实这顶多只是我们的表面,言论而已。谢晋宇老师说我有抽象的天赋,大概也仅指嘴上功夫。 
作品能让意识与无意识对话,最反映一个人到底是什么样子。大家看我的画,就 是个淘气的孩子而已。再看看吴超的《追逐》《发生》《悬浮》,这分明是一个老人, 虽然意识中她做艺术为了回到小孩的状态。在《植物人视听唤醒项目》中,她所 表现出的慈爱、智慧、坚定,更不是一个小孩所能做的。说抽象能力,大家看到 很多艺术家的作品以小趣味为主,表达某种情绪,但吴超的作品不是,她的作品 总是很庞大,《发生》《悬浮》,看来都是些日常事物,透出来的是她对整体生命 的抽象直觉,有关自我与他者,日常与无常。吴超常说很爱植物、做饭,作品中 虽感受她现实层面的关注,但细心体会却会发现这种关注很抽象,比如很明显有 一种类似齐物论的东西,人与植物一样、漂亮女孩与驼背老太一样,她从这些现 实中感受到了他们共有的生动的东西。 
我跟她生活了多年,总算学会一点点。吴超一个人待着从来不会无聊寂寞,她真的喜欢日常、安静。我还是无法一个人生活,如果没了吴超,我得再找一个。当然, 这只是我说的,说不定我疯了。 
在《悬浮》中,我也看到了吴超把自我的位置放低了,这让我特别高兴,不像很 多艺术家作品全是我我我。比如不特别安排剧情、声音简简单单、画面像写生, 没什么个人风格。 
吴超说《悬浮》没有社会意义,其实不然。太多现代人都患有“意识障碍”,意识 不到日常事物的妙趣,很难投入,看片、工作,甚至做爱。脑子总在自己跟自己 说话,关心自己在人际网络中的反应,而对眼下的事物,甚至自己的身体毫无觉知。 虚妄而焦虑。《悬浮》就是对日常的关注,对他者的关注,把自我投入到众物中。 
与很多艺术家不同,比如有人反对景观社会,作品会呈现出反对、不安的气质。 这其实是另一种堕入景观社会。吴超喜欢安静、干净。去年 10 月在法国驻留,吴 超自我分析自从我生病,特别从做植物人项目以来,她的治愈者原型被明显强化。 她的这种无意识原型驱使她的创作具有疗愈效应,于己于人。 


The Old, the Young, and the Healer
Xia Weilun 2016


In recent years, I’ve been feeling that Wu Chao might be some transcendental being who only became my acquaintance because of owing me some favour in our previous lives. Liang Xiaoyan used to describe the collaborative relationship between Wu and me as that Wu delivers the work while I’m more of a thinker. Perhaps Liang was just taking care of my feelings as we both know that the “thinker-executor” is only what Wu and I appear to be and not what the reality is. Xie Jinyu’s praise of my “talent of abstraction” might only be a polite way to describe my semantic tricks. 
A piece of artwork can bridge the conscious and the unconscious, and reflect what a person truly is. My paintings only reveal a naughty child, while if we look at Wu Chao’s oeuvre, for example Chasing, Happening, Suspending, we see an aged person, even though she consciously believes that art is a route towards a child’s mentality. The level of benevolence, wisdom and rmness expressed in Wake Up the Vegetative Patient is far less reachable for a child. In terms of the ability to abstract, many artists’ works are focused on small interests and expressions of certain emotions. Wu Chao’s works, however, are not. Her works tend to tackle immense subjects, as seen in Happening and Suspending. These pieces seem to be depicting everyday objects, but at the same time manifest her abstract intuition about life, about the self and the other, the everydayness and the uncertainty. Wu Chao often expresses her love for gardening and cooking, as parallel to her practices – a degree of attention to daily life. However, if we peel away that everydayness and pay close attention to her work, we will notice the abstract nature of it. For example, a sense of “Qi Wu Lun”(the Chinese philosophy of the equality of things) emerges. Humans are just like plants; beautiful young ladies are no different from hunchbacked grandmas; Wu detects what’s in common. 
I’ve lived with Wu Chao for many, many years and have come to the realisation that she will never feel lonely; quite the opposite, she loves being at peace with herself. I cannot. If she were gone, I might need to find someone else. Well, of course, I must be mad to say that. 
In Suspending, I notice and appreciate that Wu Chao has minimised her own existence, unlike many artists whose works are self-indulgent. In this piece, no particular storyline is designed, the sound environment is straightforward, while the imagery has a sketch-like style – nothing too personal. 
Wu Chao says there is no social implication in Suspending, but I don’t agree. Too many people today have a “disturbance of consciousness”, a symptom of lacking awareness of the beauty of the everyday, and the ability to devote oneself to such things in life as watching a film, working, or even making love. Their lives are entangled with nihilistic and anxious feelings. Suspending, meanwhile, pays attention to these kinds of daily moments, to the other, and projects the self into the miscellany of the everyday. 
Some artists – albeit against the notion of the society of spectacle – convey a sense of antagonism and unsettling, which in turn falls into another “society of spectacle”. Wu Chao would rather stay quiet. Last October, during an artist residency in France, Wu Chao underwent self-analysis and realised that the “healer” archetype embedded in her has consolidated ever since I got sick, especially after the Wake Up the Vegetative Patient project. This archetype of unconsciousness has driven her creative work in the direction of healing for both herself and others. 

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