策展宣言 Curatorial Statement

时间无间的地理学:第三届深圳独立动画双年展 
李振华 2016


一个宽大的屏风让人可以从两侧穿过,视觉上的时间无间,通过文字和蓝色,让观者在两个楼房之间视觉得到一定的休息,越过这个屏风是华侨城创意园的 C2 展厅,也就是主展览的地方——空间中的动画。 
屏风和展览之间,是一个类似于亭台的间隔,一个休息的场所,通过草地和周围融为一体,包围着树木和街灯,设置的座椅和空间,适合摄影爱好者和家庭,这一包裹着软性材料的空间,让水泥和工业感的园区更温婉可亲。这是对人造物和工业现实的回应,另一个人造的开放的园——时间的广场。 
观众可以从绿色的两侧进入展厅,并体会绿色中观看外部景色的突然,从圆形的窗格向外张望或窥看时,是对中国传统故事、园林的致敬,圆形所区隔的内外空间, 变得通透雅致。 
进门处是卡特琳·比约卡的作品《与四维相遇》,体会来自网络二次元动画和平面拼贴的戏谑呈现,一个简约的传统建筑、雕塑、壁画,一对讨论着关于无聊的动画人物,幽默感和荒诞的场景移植,行走在二维的世界,人会和四维相遇吗?时间是这个作品的指向,而时间作为第四维是需要观者来触发的。 
向左走、向右走,都会与不同的艺术家相遇,卡特琳·比约卡的二维空间构建的三维是一个进出口,如遇到徐文恺的作品《双重》,是看到光和影,是与科技材料的极简和抽象的型相遇。如遇到胡为一的作品《低级景观 3》,是与机器传动 的剧场相遇,转动的机器和实时生成的图像,将会构建一个小小的时间和空间的错位。如不小心进入伊夫·内茨哈默、伯恩特·舒尔的作品《云的陵园》,一个无限展开的空间,有序时间的动画剧场,将展览的内心无限的扩延,并形成与空 间的对应,无限延伸的视觉空间和真实空间的对峙。 
大卫·奥锐利的《全部》是一个动画到游戏的作品,被隐藏在胡为一机器装置的投影幕之后,简约的三维动画,不断旋转的场景,一个简短的小宣传,将转动着 一个空间的角落,并让这个空间的出口消失在其后,从而介入空间的功能性,出口也就有了另外的意味,是通往真实世界,还是另一个童话故事?
大卫·奥锐利的旁边是安吉拉·瓦施蔻的《自然》、《医者》,是一个来自“魔兽世界”游戏的项目,微微上提的投影幕会让视觉从惯常的角度上扬,发现展厅的顶部结构。艺术家通过角色扮演,进入网络空间,并与他人交流讨论关于女性的话题, 她创造的 “魔兽世界性别敏感性与行为意识处” 生成着这些讨论和作品,三维的联网动画,被遮蔽的真实面貌,介入女性话题的游戏讨论,都让这个作品处于 “ 无处” (无间)的境地,并让现场进入游戏的通路,打开共感。 
陆扬的作品《忿怒金刚核》将空间和视觉拉回到俯瞰,一个连通着神经学和宗教文化的作品,呈现着人体内在构造和精神性的科学图像,金刚肉身和科学的融合, 动画类似医学说明的方式,展现着一个内观的现实,如同自身的镜像,即是身体的,也是精神的。 
徐文恺的作品旁边,一个宽大的三屏幕作品《轻身而出》,是帕特·奥尼奥 70 年代初期的创作,特殊的摄影、化学药剂、磨片等处理方式,提供了一个逐个动画的影像作品,帕特通过复杂处理方式提供了一个二维平面化的影像壁画,是对电影逐格和时间之于动画的最恰当的理解。帕特的作品是平视的,与徐文恺、伊夫、孙逊的作品完成一个区域的空间和视觉上的起落,人是穿行其中的,思考极简的高科技材料,思考极简的手工方法和电影,思考光和影。 
孙逊的作品《鲸邦实习共和国》是凝固在时间和空间中的,是一个静止的观念,与人的行动呼应,人是时间的刻度,是空间,而作品是空间和时间的坐标。横坦在空间中的手册,让人理解鲸邦的世界,一个处于公海中的世外桃源。悬置的旗 子昭示着合法性,以及世俗世界的传统和审美,这个空间是三叠的,与伊夫的菱形图案,与帕特的平面化电影,安静相处。 
安吉拉作品旁边,陆扬作品的上首,是艾德·弗奈立的作品《精神:肉身盛宴》,小狐狸作为艺术家的替身,网络图像和动画,以及被编译的故事,都在述说着当 代的焦虑感,既是精神上的,也是身体健康的。这个作品连接着陆扬的精神性和 身体感,也连接着关于网络社群的工作的线索,和安吉拉的作品一致,讨论的话题从性别敏感到无性的自我焦灼。 
从任意一个方向行走,都无法错过伊夫·内茨哈默和伯恩特·舒尔的作品《云的 陵园》,而最终汇聚在展厅最后一个角落,刘毅的作品《一只乌鸦叫了一整天》, 如同动画的帷幔静静的等待着观者,从其中穿行,或绕着走过。形式上刘毅的作 品和徐文恺的一致,内容的巧思,作品结构的设置与胡为一接壤,其创作方法的简约又与帕特的作品呼应,这一现场创作的作品,构成了某种综合。 
在没有路的地方,有一个很小的阶梯向上,这里本不开放的,是属于空间附属的 库房,我和邵志飞先生选择了这里,呈现他和莎若·肯德丁合作的《人间净土—— 扩增实境版》,这是一个来自敦煌 220 号洞窟的延展现实作品,穿过一个洞窟贴 图的空间——如星门,人可以到达另一空间,空间中的暗示和图像需要 iPad 来识别和延展,继续着对无间(无处)的理解,这一空间是混合的,库房的逼仄,和 虚拟空间的幻化,构成一个整体。华侨城创意园的库房,也是连接着敦煌的时间隧道。 
这个空间的光感是由蓝色引导的,蓝色的锥形构建了一个巨大的洞窟。屏幕的错落如同一个隐形的山水园林,观者需要俯仰拾取其中的风景,动画的图像和作品的材质,成为认知的媒介和自然的障碍物。一边是安静的,一边有些热闹。中心的作品俯瞰是一个菱形的钻石,如同镶嵌在空间中的眼睛,而从主展厅到仓库, 从主展厅回到进出口,需要理解屏风、假山、九曲回廊的传统之精妙,幻化之无形。 
时间、无间,是一个通过身体体感和思维的扩延来完成的体验,必须在展厅内,感知作品延伸的艺术家的创作线索,通过身体运动和视角变化构建的经历时间和空间的经验。 

Geographies of “Time Based, Non-Places”: The 3rd Shenzhen Independent Animation Biennale
Li Zhenhua 2016


A wide folding screen forces the audiences to take a detour through both sides, thus time based non places have been visually presented to the public. Texts and the color blue between two buildings, at the same time, shall also relax the eyes of the audiences for a while. Over the folding screen lies the C2 exhibition hall of OCT-LOFT, where the main exhibition Animation in Space is held. 
An interval space similar to a pavilion lies between the folding screen and the exhibition hall; it is a resting place and has been integrated into its surroundings by the nearby lawn. Surrounded by trees and street lamps, and equipped with seats and recreation space, this space is suitable for photo enthusiasts and families as well. In addition, despite the cement works and industrial features in this park, a sense of geniality has been highlighted as the whole space been wrapped up by soft materials. It is well considered as a response from man-made objects and industrial objects, as an alternative man-made open park Square of Time. 
Audiences could walk into the exhibition hall from the green sidewalks and experience the unexpectedness of watching the outside views in green. While looking or peeping out through the round windowpane, one thereby pays homage to traditional Chinese stories as well as ancient Chinese gardens. Also in this regard, both inside and outside spaces as divided by this round object have been endowed with a sense of permeability and elegance. 
Catherine Biocca’s Meeting 4D,a tricky presentation of Internet ACG animation and plane collage stands at the entrance, comprising of a small set of traditional architecture, sculpture, fresco, and a pair of animated characters discussing boredom. This work represents a transplanted scene of absurdity and sense of humor, so if one walks in the two-dimensional world, can one just encounter a four dimensional space? Time is the axis of the work, but in the meantime, as the fourth dimension it needs to be triggered by the audiences. 
Whether turning left or right, one could encounter different artists. The three dimensional space constructed by Catherine Biocca’s two dimensional one is an exit/ entrance: if encounter with Aaajiao’s Overlap, one will see light and shadow—an encounter with the minimality of scientific and technological materials as well as abstract pattern; for Hu Weiyi’s Pulp Landscape III, it is a theatrical encounter with machine wheel-work, the rotating machine and the real-time image building up a tiny space-time dislocation; if one casually encounters the work Cemetery of Clouds by Yves Netzhammer and Bernd Schurer, the infinitely unfolding space and the chronological animation theatre will push the kernel of the exhibition to boundlessness, and will bring a correspondence with space, as well as a confrontation between the in nitely unfolding visual space and the real space. 
David O’Reilly’s Everything is a work of computer game originating from animation, which has been hidden behind the projection screen of Hu Weiyi’s machine wheel- work. A brief three-dimensional animation, an ever-rotating scene, and a short advertising film, the work will make a corner of the space rotate and let the exit of the space disappear at its back. Therefore, exit has been endowed with other implications: is it a threshold to real world, or another fairy tale? 
Next to David O’Reilly’s work is Nature and Healer by Angela Washko, a game project from World of Warcraft. The slightly uplifted projection screen will force the audiences to apply a higher viewing angle, thus observing the roof structure of the exhibiting hall on the top. The artist gains an entrance into cyberspace by means of role-playing, and discuss with others on the topic of women. “The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft ” created by her has been generating these discussions and works. To sum up, the three-dimensional networked animations, the obscured realities, and discussions on computer games that get female topics involved put the work in a situation of “non-places”, and integrate the scene with the game channel, bringing forth a sense of empathy. 
Lu Yang’s work Wrathful King Kong Core brings space and perspective back to the position of overlooking. It is an art work that connects neurology and religious culture, presenting the inner structure of human body and the scientific image of spirituality. The integration of the physical body of King Kong and science, together with the method of the animation which is similar to medical instruction, have presented an introspective reality, just like the mirror image of oneself, both physical and spiritual. 
Next to the work of Aaajiao is Easy Out created by Pat O’Neill in the early 1970s. This large three-screen work with a special photographic chemical and grinding processes provides us with a stop-motion animation. Through a complex procedure, Pat presents a two-dimensional fresco image, which can be regarded as the best understanding of the influence of cinematic frame and time on animation. Pat’s work is created from eye level, which contributes to spatial and visual ups and downs together with the works of Aaajiao, Yves and Sun Xun. While walking through their works, people will tend to think about the minimalist high-tech materials, about the simplest manual methods and movies, and about the re ections of light and shadow. 
Sun Xun’s work The Republic of Jing Bang is solidified in time and space; as a static concept, it echoes human actions and human beings become the scale of time and space in his work. For him, his work can be regarded as a coordinate of space and time. The pamphlet lying horizontally in the space lets people understand the world of whale state, a paradise locating in the high seas. Suspended ags indicate its legality, as well as the tradition of secular world and aesthetics; this triptych and quiet space gets along harmoniously with Yves’ diamond-shaped pattern and Pat’s lm. 
Next to Angela’s work, and above Lu Yang’s is Ed Fornieles’ Der Geist: Flesh Feast, a small fox as an avatar of artists, network images, animations, and compiled stories, all recounting contemporary anxiety, both spiritually and physically. This work connects Lu Yang’s spirituality and physical senses, and it also connects with a clue to the online community works. Being consistent with Angela’s work, it explores the topics ranging from gender-sensitivity to self-anxiety of being asexual. 
Walking in either direction, you cannot miss the Yves Netzhammer and Bernd Schurer’s Cemetery of Clouds, and they finally converge on the last corner of the exhibition. Like a valance of animation, Liu Yi’s work A Crow Has Been Calling for a Whole Day quietly waiting for the audience to walk through or just around it. It is consistent with that of Aaajiao’s in form, but the ingenuity in its content and structure is closer to the work of Hu Weiyi. In addition, the simplicity of working approach echoes Pat’s work, so the site creation constitutes some kind of integrated works. 
At the absence of the road, there is a small ladder upwards, which is not open for the public. This place is a storehouse attached to the space. Mr. Jeffrey Shaw and I chose here to present Pure Land AR co-created by himself and Sarah Kenderdine, which is an extension of the No.220 Dunhuang cave: through Star Gate, a space represented by a cave image, people can come to another space. The spatial implications and images need to be identified by iPad, and it continues the exploration of the understanding of non-places. In this mixed space, the narrowness of the storehouse, and the illusion of the virtual space constitute a cohesive whole. The storehouse of OCT-LOFT is also connected to the time tunnel of Dunhuang. 
The light perception of this space is led by the color blue, and the blue cone builds up a huge cave. The proper disposition of the screens reminds the audience of a hidden landscape garden, in which people need to pitch so as to appreciate the scenery. The animation image and the material of which the work is made become a cognitive medium and natural obstacle. On one side, it is quiet; on the other, lively. From a bird’s eye view, the work in the center is a rhombic diamond, which is like eyes embedded in the space. From the main hall to the storehouse, from the main exhibition hall back to the entrance, the audience needs to understand the screen, rocks, the exquisite zigzag journey of the traditional cloisters, and the intangible beauty of all above. 
Time Based, Non-Places is an experience that is accomplished through the physical somatosensory and the extension of thinking, which must be put into practice in the exhibition hall: to perceive the clues of artists’ creation extended by their works, and to construct the space-time experience by the movements of physical body and the shifts of viewpoint. 

 

 


 

刘毅 Liu Yi

刘毅 Liu Yi