吴承典的造景
倪昆

一
第一次接触到吴承典的作品，是在2008年，在成都一个有着小资情趣的酒吧中，我遭遇到他的“混账Confusion”，那是一个有着剧场感的行为现场，历时120分钟。构成作品的现场行为怪诞混杂，着西服带牙套的艺术家本人，传统川剧，卡拉OK，诗词朗诵，性充气娃娃，洗脚小妹，结合酒吧中昏暗的现实环境及一众旁观者在接受洗脚服务时的暧昧或不适之状态，共同谱写了一出现世场景剧。这些在生活中真实存在的片段被空间压缩后呈现出一种极致的陌生感，这是我所喜欢看到的。因为在这现场中，我不光感受到了一位艺术家的态度和立场，更看到某种不同于以往以个体单一观念为主体的行为作品类型。作品形态的拓展意味着多元表达的可能，也意味着对语言本体展开讨论同样存在价值，也因此，2009年，吴承典参加了由行为艺术家周斌发起的，本人主持的，就行为艺术的现场语言展开讨论的系列现场行为作品“庆典Celebration”。“庆典Celebration”的结构是由3位行为艺术家及3位声音艺术家现场即兴合作，看单纯的行为片段彼此交叉融合后存在何种可能，就目前的实践看来，中国巨大的现实语境正在提供一个具体和明确的参照背景，这也让这些随机行为被贴上了相对明确的语意。这是非常有趣的一个结果，至少它表明了在中国这个现场，（身体）语言纯化后的语意表达的自律性及极大化之可能。

二
如果我们把语言及其修辞看作是作者表达思想的手段，那么在我看来，‘造景’可以被看成是作为视觉艺术家的吴承典的阶段性的，最主要的表达途径。‘造景’的重点在于‘造’，这是艺术家观念及立场的承载之处，‘景’则关乎修辞。需要指明的是，修辞和表达存在相互转换及融合的可能，视点的转移将带来表述的转移，风格和内容可以存在统一。

以个展形态出现的“白匣子”，保持了艺术家一贯的批判立场，展览中出现的材料——行李箱，飞机（模型），白衬衣等，无不在暗示目前出现在中国这个现实背景下的商务人士的生活状态及生活现实，这在艺术家看来，是欲望的现实体现。“白匣子”的整体是一个废墟现场，黑色手提箱里的飞机失事视频在强调着这一点，这也在事实上表明了艺术家对于其表达主体的批判性否定。有意思的是出现在另外两个黑色手提箱里的视频，艺术家强迫两位商务人士观看一部关于自虐的极端电影，视频主角在观看时所表现出的局促及不适感，恰恰是艺术家真实希望看到的，这是一种虚假的造像，因为这个被抽离了对话对象的现实表现，被强制在这个视觉废墟里，其错位恰好可以说明这仅仅是一种被强加的反省能力，它既不真实，也不存在。这是当前中国金钱至上后道德崩塌的真实写照，是让人焦虑而愤怒的。最后值得一提的是，“白匣子”现场出现的粉尘及烟。烟来自檀香的燃烧，它在制造视觉氛围的同时，也在提醒和暗示着我们，既然尘土归一，何必执着一时。

2010年10月9日
于杨家坪

最大的价值就是没意义

楼上的可以说一下为啥没意义。

展览还可以，顶一下

Wu Chengdian’s Scene Making

Nikun

Ⅰ
The first time I get to know about Wu Chengdian’s art work is in 2008. In a bar with petty bourgeoisie atmosphere in Chengdu, I encountered with his live performance “Confusion”. It was a performance with dramatic scene, which lasted for 120 minutes. The work is bizarre and jumble, with artist himself in a suit wearing braces, traditional Sichuan Opera, karaoke, poetry reading, sex doll, feet washing service girls, mixed with dark realistic environment in the bar, and the audience’s discomfort of the ambiguous state when accepting the service. These all things composed a realistic live scene. These fragments of real life compressed by space showed an extreme strangeness to us. This is what I like to see. Because in this scene, I could feel not only an artist's attitude and position, but also something different from individual behavior of a single concept in a performance work. The discovery of work forms means multiple expression ways. It also shows the value of discussing language itself. And thus, in 2009,Wu Chengdian participated “Celebration”, which initiated by the performance artist Zhou Bin, directed by me. It is a series live performance work which discusses performance art language. The structure of the group is an improvising cooperation of three live performance artists and three sound artists. They are to develop the possibilities of combination and cross-fusion of simple acts. The practice shows China is now providing great practical context of a specific and clear reference, which have labeled these random acts of relatively clear semantics. This is a very interesting result. At least it shows that in the scene of China, purified (body) language expression has possibilities of self-regulation and maximization.

Ⅱ

If we treat the language and rhetoric as artist’s expression ways, then it seems to me,
If we take the language and rhetoric as a means of expressing ideas, then it seems to me, 'scene making' can be seen as the most important expression of this stage of visual artist Wu Chengdian,. The focus of scene making is 'making', this is the point of the artist’s position and concept. And ‘scene’ is about rhetoric. It is necessary to specify that the existence of conversion between rhetoric and expression, and possibility of integration and transformation, style and content can exist in unity.

The solo exhibition “White Box” keeps a critical position of the artist. The material which appears in the exhibition - luggage, airplane (model), white shirt, all imply that the living conditions and living reality in the context of Chinese business people, and it seems to the artist, is the reflection of desire to reality. The whole scene of “White box" is a ruins scene. A plane crash video in the black suitcase underscores this point; it is also the critical negation to the target. The interesting point comes from the videos in other two black cases. The artist forces two business people to watch an extreme self-flagellation film. When watching the video characters show the cramped and uncomfortable state, is the artist’s expectation. This is an untrue statue, for it is realistic expression without dialogue object, which is forced to hide in the ruins of vision. The dislocation is just to illustrate that it is merely forced self-reflection ability. Neither true, nor existed. This is the reflection of China’s current state, exclusive concern with money conduces to the collapse of moral, and people are anxious and angry about this. Last but least, the white smoke is from the burn of sandalwood. It helps with building the scene, as well as implies and reminds us one thing: everything returns to dust in the end, then do while when we can.

2010/10/9
In Yangjiaping

我看了现场，支持

气质不错。顶一个

白匣子

每个人的秘密，在盒子里。每个人都在兴奋着、忙碌着。好像有明确的目标，朝着一个方向，充满希望。所有的疲倦埋在盒子底层，藏在黑暗里。隐忍、淡定或者麻木都写在脸上……
在盒子深处包裹着一个灵魂，满载着欲望，在起点和终点之间循环往复，周而复始。一切都在快速旋转，期待着落地后的自由。但一切都是一厢情愿的想象，虚幻的结果早已在开始注定。
依然相信曾经有过的真实，从眼睛到心，怀揣着灵魂用腿支撑着躯壳，进进出出。眼睛盯着屏幕，急切地希望它燃烧。殷切地盼望着辉煌时刻的到来。后来，你毫无快感地燃烧了，什么也没有留下。
真的明白自己归宿在哪里吗？还是随波逐流，麻木地误读着自己的本能？能超越欲望吗？幻化成青烟的真实你能接受？自己和灵魂能偷偷塞进小小的空间里吗？所有的不安、恐惧、兴奋、欲望都压制住了，变形了吗？
你误读了过去，透支着现在，错解了未来。透不过气的渴望并非你的真意，依靠以往的经验，得出了错误的答案。除了满足虚幻，最终留下的只有一地的苍白。
既然知道最终没有结果，当初我们为什么还要恐惧？


吴承典
2010年9月重庆 黄桷坪

White box

Everyone has secrets, kept in a box. Everyone is excited and busy. Seems to have clear objectives, toward a direction, full of expectation. All the exhaustion is buried at the bottom of the box, hidden in the dark, while tolerance, calm or numb is written on the face…

In the box, a soul is deeply wrapped inside, filling with desire, wondering back and forth from the start to the end again and again. Everything is in a fast rotation, looking forward to the freedom after landing. But everything is merely wishful thinking, for the virtual result is destined already at the beginning.

I still believe that there is truth, from eyes to heart, which carries soul and supports body with legs, in and out. Staring at the screen, I eagerly hope it burns, eagerly looking forward to the moment of glory. Later, it burned without pleasure, nothing’s left.

Do you really know your fate? Or just let yourself drift, misread your instincts with numbness? Can we go beyond desire? Can you accept the truth, which has turned into smoke? Can you squeeze yourself into a tiny space with your soul? Is all the anxiety, fear, excitement, and desire suppressed, and distorted?

You misread the past, overdraft the present and misunderstand the future. The suffocating desire is not your real intention. Relying on the old experience, you get the wrong answer. In addition to the satisfaction of illusion, there is merely emptiness left behind.

Wu Chengdian
September 2010 in Chongqing. Huangjueping

这个器空间好像是新的吧，没听说过，展览还行，顶一个。

顶，

踩，踩，踩，踩，踩，踩，