雕塑动画(转曲)-1121.jpg

雕塑动画:图像、媒介与现实风景

文 / 唐 勇

旧的新东西

近年来,技术为艺术创作中的多媒体和互动装置实验开辟了全新的战场,在众多以跨界、互动、参与、浸入式、虚拟/增强现实、赛博空间等命名和定义的展览中,空间、视觉、体验都发生了新的变化。而现在再看“动画”这个艺术媒介,仿佛一盘蒙尘的静物(Still Life),已经不能承担往日的新奇与刺激。同样,雕塑比之无疑更为古老。然而,媒介的新旧并不意味着观念的新旧,旧媒介有时也照样包含着有力的实验。回溯十九世纪,摄影师麦布里奇(Muybridge)那影响深远的媒介实验。他使用多个相机拍摄人类与动物的运动,在时间因素的加入和空间的解构中,开启了现代经验的虚掩着的大门。此后的先锋艺术家在麦布里奇的方法和摄影研究的基础上,不断地尝试着树立新的美学。从源头来说艺术、技术与人的结合,并不是一个新鲜的话题,而关键是在方法和概念之下,延伸出来媒介新论,认知方式和经验。

4D电影院 

日常生活中有过博物馆观展体验的人,可能会对场馆里特别布置的4D电影院有所印象。历史本来就是废墟化的产物,残留着人和事物,事件的后像,而博物馆更是废墟中的废墟,弥漫着笛卡尔式的沉思空间。4D电影院的不同之处在于,编排的历史场景,按照叙事框架播放,同时又借助声、光、温度等手段,试图使历史起死回生。这无疑是借助技术手段,营造出来的一处积极空间,在其中的感受就是打破一种沉思的叙事,而使时间当下化。当你从影院里边走出来的时候,手臂上还没有完全风干的水珠,延迟着被短暂复活的历史体验。而我们这个时代,借助新的媒介而施行的艺术作品,就应该是在这一积极空间中展开的行动。

关于展览作品 

有了以上的文字作为语境和问题的铺垫。再来谈论此次展览的作品,或许要明确一些。首先,参展的艺术家以跨媒介的方式创作,他们有着自身原来的学科背景和工作方法,又试图在媒介语言的底线上往前推进。或者说界限的重要性,只在于去打破它。其次,参展作品分别从日常充满惊奇的现场;身体、声音在空间中的感知和体验;借助虚拟空间中对真实、理性秩序和技术的批判;以及身份所涉及的故事和现实处境;这几个角度出发展开的实践。最后,此次展览中的雕塑和动画是两种方法各异,但在时间性,过程性和体验感有所交叠的媒介方式,两者都处于继续扩延自身概念的状态中。

待解的疑问 

人的经验、感知与判断在数字化时代具备有效性吗?科技的不断更新,在改变人们生活面貌的同时,对人的惯性思考方式以及思维逻辑会有怎样的改变?新的秩序、新体验的出现,我们当如何调整与应对?这些问题启示着此时此刻艺术家的思考方向和应答方式。本主题单元的展览,从图像,媒介和现实风景的角度出发,在展览空间中提供一条仍需不断追问的线索。

 

Sculpture Animation: Image, Media and Realistic Landscape

By Tang Yong

The Old New Thing

In recent years, technology has opened up a new battlefield for multimedia and interactive device experiments in artistic creation. In many exhibitions, visitors may engage with works that are cross-border, interactive, participatory, immersive, virtual/augmented reality, cyberspace, etc. Recent changes and have taken place in space, vision and experience. Now, looking at “animation" as an artistic medium, it seems like still life painting can no longer bear the novelty and excitement of the past. Similarly, sculpture is undoubtedly considered more old-fashioned than it is. However, the current state of the media, whether it is old or new, does not indicate whether the concept itself is old or new, and the old media sometimes contain powerful experiments. For example, the photographer Muybridge conducted his far-reaching media experiment in the 19th century. He used multiple cameras to capture the movements of humans and animals, opening the door to modern experience with the addition of time factors and the deconstruction of space. Since then, avant-garde artists have continually attempted to establish new aesthetics based on the methods and photography studies of Muybridge. Talking about the combination of art, technology and human beings from its origins is not a new topic; what is important are the new media theories, cognitive thinking and experience extended from the methods and concepts. 

4D Cinema

Those who have had a museum experience in their lives may notice the 4D cinema that we set in the venue. History is a product of ruins, the afterimage of people, things and events, whereas museum is the ruins in the ruins and it is a Descartes-like space for contemplation. One of the unique characteristics of 4D cinema is that the historical scenes are arranged in accordance with the narrative framework, and, at the same time, it tries to bring history back to life by employing sound, light, temperature and other means. This is undoubtedly a positive space created by technology. The audience will feel that it breaks the contemplative narrative and makes time disintegrate. When they walk out of the cinema, there are dews on their arms that are not evaporated yet, delaying the historical experience of being briefly resurrected. In our time, the works of art engaging new media should be seen as activities carried out in the positive space.

About the Works

As the preceding discussion provided an explanation of the context, a clearer discussion can ensue about the works featured in this exhibition. Firstly, the artists participating in the exhibition create works using intermedia. They each have their own backgrounds and working methods and further push the boundary of the language of the medium. In other words, the importance of boundaries is to break them. Secondly, the artworks are inspired by the daily scene full of surprises; the perception and experience of the physical body and sound in space; the criticism of the real, rational order and technology in the virtual space; and the stories and actual situations involved in identity. The works are practices resulting from these perspectives. Finally, the sculptures and animations featured in the exhibition are created in two different ways, but in terms of the experience of time, procedural and experience, both are in a perpetual state of extending their own concepts.

Questions Remain

Are human experience, perception and judgment still relevant in a digital age? As science and technology are constantly evolving and changing people’s lives, how will our inertia thinking and logical thinking change? How do we adapt and respond to the emergence of new orders and new experiences? These questions reveal the way that the artist thinks and responds today. The exhibition of this unit provides a clue to these questions in the exhibition space that still require constant examination from the perspective of images, media and realistic landscapes.

 

陈琪,『那人那事』

尺寸可变,衣服支架、振动器、投影仪、文字、感应器

Chen Qi, "People With Stories"

Dimension Variable, coat hanger, vibrator, projector, text, sensor, 2018

构思理念:多种穿过的或破旧的有职业和社会地位象征的衣物,摆好的人物动态,投影仪投射在每套衣物上的文字都是这些不同人物的故事,多个缓慢的主人公日常声音播放。通过观看者的关注触发感应开关,声音重叠发出,衣物开始抖动,文字像抖落的灰尘一样随着抖动消失。形形色色的人们,有着不同的故事,每套象征身份和社会的地位的衣物似乎都想言之力行地诉说自己的故事,又似乎想摆脱社会给予他们的定义。

Concept: The audience will see a variety of worn or unworn clothing with symbols indicating their professions and social statuses, and these words are projected onto each set of clothes, telling the stories of the different owners. Meanwhile, the voices of these owners will be played slowly. The sensor will be triggered by the audience's attention. As the sounds are superimposed, the clothes start to shake until they disappear like dust. People from all walks of life have different stories. Every set of clothing that symbolizes identity and social status seems to want to tell its own story and reject the definition imposed on it by society.

 

李浏洋,『迎宾』

尺寸可变,铝箔氦气球 / 光敏感应迎宾器

Li Liuyang “Greeting Guests”, Dimension Variable, 

Readymade (helium balloon)/ Photosensitive welcoming device, 2018

作品介绍:街头常见的铝箔氦气球悬挂着光敏感应电子迎宾器,自由漂动在空间中,当气球互相遇见或者遇到观众,光线发生变化,迎宾器就会发出程序化的“你好!欢迎光临!”的声音。时间推移,当部分气球缓缓下落,工作人员就会继续放飞新的气球。

Concept: The common cartoon balloon on the street is hung with an electronic photosensitive induction welcoming device. It floats freely in the space. When the balloons meet each other or meet the audience, the light changes, and the welcoming device will issue a programmed voice saying, "Hello! Welcome!" Over time, as some of the balloons slowly fall, workers continue to release new ones.

 

张增增,『满满的幸福』,条纹布、灯泡、多肉植物、钢架

Zhang Zengzeng, “Full of Happiness” 360×544×120cm, striped fabric, light bulbs, succulents and steel frame, 2018

构思理念:

在红蓝条纹布上镶嵌数百颗灯泡,在灯距之间整齐排放植物多肉,背景的灯泡矩阵重复播放“柱体”落下坍塌的影像。

Hundreds of bulbs are embedded in red and blue striped cloth, and the plants are arranged in neat rows. The light bulb matrix in the background repeatedly plays the image of the "column" falling and collapsing.




唐勇,『筑巢』

影像互动装置,钢管、灯、机械工具、彩条布

Tang Yong "Nesting" 5×5×7m video interactive installation, Steel pipe, lamp, machine tool, color strips, 2018

构思理念:

纵横交错、参差错落的钢管架于城野之中破土而起,在生成与消失之间造就城市的扩张。变幻莫测的城市形态以及无限延伸的幻化空间虽彰显出城市的尊严与伟大,但记忆中斑斑锈驳的印迹、忽明忽暗的灯光以及噪杂纷乱的声音却泣诉出生存的苦难、生命的悲欢离合与卑微之下的伤痛。

Concept:

The criss-crossed, staggered steel pipe frame breaks through the ground in the city, creating the sense of a city expansion, conflicted between generation and disappearance. The unpredictable urban form and the infinitely extended illusion space show the dignity and greatness of the city, but the imprints, the faint light and the noisy sounds in the memory are crying out the joys and sorrows of life.

 

焦兴涛,『美丽新世界』

三轮送货车、霓虹灯管、音响、方便食品

Jiao Xingtao "Beautiful New World" 320×120×220cm, three wheel motorbike, neon lights, speaker, instant food, 2018

构思理念:一辆侧翻的三轮送货车,霓虹灯成型的各种数字,英文和电话号码,根据音乐的节奏,有规律地依次闪烁。霓虹灯拉出舒展随意的形状,在空间中蔓延。几个空空的方便面盒子从轮子下面露出来。底层和生活的粗粝质感,在俗艳律动的灯光的招徕下,浓郁的叙事感透散发着已经消逝的生气。

Concept: A three wheeler with a rollover, various numbers of neon-shaped figures, English characters and phone numbers, flashing orderly according to the rhythm of the music. The neon lights are placed in random shapes and spread out in the space. Several empty instant noodle boxes are exposed from behind the wheels. The work demonstrates the rough texture of low life, and the rich narrative feeling exudes the feeling of fading under the kitsch of the vulgar light.

 

张翔,『下水·道』,尺寸可变,PVC管、水、显示器、动画

Zhang Xiang, "Sewer", Dimension Variable, PVC pipe, water, screen, animation, 2018

构思理念:在现场搭建几组和下水道有关的场景,下水管道、地面排水井等,这些装置里都装着水。观众可以透过水看到单纯的动画:蓝天漂浮的白云、水中游弋的小鱼。容易被忽略的纷繁生活的末端,在这样的提示下,似乎可以找到另一种充满诗意的精神出口。道在哪里?“道在屎溺”。

Conception: Set up several scenes related to sewers, sewer pipes, ground drainage wells, etc., all of which are filled with water. The audience can view innocuous animation through the water: the white clouds floating in the blue sky and the small fish swimming in the water. At the end of the magnitude of life that is easily overlooked, it seems to suggest that another philosophical truth can be found: “Where is the road?” “The road is in the filth”.


**以上作品由第四届深圳独立动画双年展委约创作

Commissioned by 4th Shenzhen Independent Biennale