刘毅 Liu Yi

刘毅 Liu Yi

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一只乌鸦叫了一整天 
A Crow Has Been Calling for a Whole Day
旅行记录体实验影像动画装置 Animation and Video Installation
12' 
2016
由第三届深圳独立动画双年展委约创作 Commissioned by the 3rd Shenzhen Independent Animation Biennale
2015 年 11 月我去了印度,印度回来后整一年,旅行回来后所能辐射的时间消失了。 杭州回望,地方性的边缘界限已经消失,也许此刻和另外一个城市有关,和自己的身体有关。影像流动的画面,有潜在的时间性又是非常充满想象,动画部分又是将心理的变化,变成视觉呈现,它是一部非常长的绘画,绘画成为潜在的线索, 而绘画部分又是影像消除时间之后平铺下来的东西。 
乌鸦是我对印度的一种很特别的印象,到处都是,纷纷扬扬,它们不怕人,也不怕车,富有魔性的呱呱叫声响彻整座城,它们与死亡糜烂的距离与印度街头随地躺倒的人有一种神似,似乎都有着一种庞若无人的生存姿态,到了夜晚便是它们光顾着这些穷人们的梦魇。 
在印地语中,昨天与明天是同一个词汇。

时间并不向前流动。当所有傍河生息的民族都用河流来理解时间,他们在这里焚烧躯体,化身为灰,回归生命的永恒,他们将喝完的陶土杯喝完就杂碎,落到地上化为尘土,他们用芭蕉叶来盛装食物,用短暂的鲜花来供奉岩石...... 
时间超越了空间隔断,城市的不同地域的生存状况,自然的状态,常态,社会潜在的发展。不管是即性捕捉的记忆动态还是记忆中的情景剧场,都变成我们的共 同的生活剧场。 
——刘毅 
In November 2015 I went to India. A whole year passed after I returned from India before the iridescence from the trip vanished. Looking back in Hangzhou, it seemed that regional boundaries and limits also disappeared; perhaps this is connected to that particular moment and city, and perhaps this is connected to oneself. The plane of images flowing has a latent temporality and is also charged with imagination. The animation part is the transformation of psychology into a visual presentation; it is a very long painting which becomes a potential clue, and this painting part is what is laid down after the images erased time. 
Crows were a distinct impression I had of India. They were everywhere, flocking to and fro, unafraid of people or cars, with their magical cawing resounding through the entire city. Their proximity to death and decay has an eerie resemblance to how there are just random people lying on the streets in India, as though both have this unselfconscious stance towards survival. When night falls, it is they who attend to the nightmares of the poor. 
In Hindi, “yesterday” and “tomorrow” are the same words. 
Time does not flow forward. While all riverine peoples understand time through the ow of rivers, here they burn corpses, turning bodies into dust, returning them to the eternity of life. After they finished drinking, they break the clay cup to bits, which fall to the ground as dust. They serve food with banana leaves, they make offerings to rocks with evanescent flowers... 
Time transcends the separations of space, the conditions of existence in different areas of the city, natural conditions, normality, the potential development of society. Whether it is to capture the dynamics of memory or the scenes within memory, they have become our common theatrical stage of life. 
—Liu Yi 

刘毅,1990 年出生于浙江宁波,2009 年毕业于中国美院附中, 2012 年毕业于中国美院跨媒体艺术学院获学士学位,2016 年毕业于中国美院获硕士学位。目前在杭州生活。“中国早期美术电影与实验动画”是她的主要的研究方向,先后创作了《天演论》《混沌记》《度口》《身寄虚空》《一只乌鸦叫了一整天》等实验动画,她广泛采用了装置、绘画、雕塑、文本等形式尝试去寻找最为准确的传递方式。 

Liu Yi, born in 1990 in Ningbo, Zhejiang, China. In 2009 she graduated from the Academy of Fine Arts High School; in 2012 she graduated from the China Academy of Fine Arts School of Intermedia Art with a Bachelor’s degree; in 2016 she graduated from the China Academy of Fine Arts with a Master’s degree. Currently she lives in Hangzhou. “Early Chinese art films and experimental animation” is her main research direction. She has created the “Origin of Species”, “Chaos Theory”, “A Travel Inward”, “Into the Void”, “A Crow Has Been Calling for a Whole Day” and other experiments animation. She has broadly used installation, painting, sculpture, text and other forms in an attempt to find the most accurate means of transmission. 
 

策展宣言 Curatorial Statement

伊夫·内茨哈默 Yves Netzhammer

伊夫·内茨哈默 Yves Netzhammer