Dimensionof The Absolute

实在的维度3

“寓言在艺术中现身世间，正如真理在认知中达到完满。”

开放艺术空间与M50艺术空间荣幸地于2015年3月20日推出吴鼎“实在的维度3”。这是艺术家在上海的首次个展，呈现影像与装置新作，作为近年同名项目的延续。在文学中，寓言是隐喻的延伸，以物喻物；吴鼎的作品也是如此：他将日常物件剥离其日常性，使具象物体抽象化，以体现一种“内在的秩序”。艺术家认为，在无数看似偶然的碰撞中，必然终会自现。

我们分不清在吴鼎的作品里，对艺术本体论的思考与对解释世界的执迷，两者中哪一个推动了另一个。但这重要吗？诗句中写道：“只有秘密可以交换秘密/只有谜可以到达另一个谜”（夏宇），吴鼎不倦探索艺术的超验潜力，从一个发光谜团将我们遣送到另一个发光谜团，此中真意只可被感知，不可被言说。

对吴鼎来说，图像和文字只不过是同一个所指的两种不同承载，而图像可能比文字更靠近“内核”。在柏拉图的洞穴里，在（可能或永不）感知到更高现实之前，影子就是洞中人的现实；而影像，光之产物，是我们与“真像/相”之间的隐秘联系。伊曼努埃尔·列维纳斯认为艺术只诉诸感官，“艺术与任何一种现实都不熟识，它与知识南辕北辙。艺术正是关于遮掩的事件，是夜的后裔，影子的侵袭。”

吴鼎作品中的意象以一种沉默（虽然声音是录像中重要一部分）安然的姿态，抵抗一切都被量化了的现代性以及充斥着戏谑与冷漠的后现代，试图触碰到更为持稳的境界，他称之为“实在的维度”。在那个维度中，经验是存在的，且不分时态地存在着。时间失去了其“现世”意义，回复到更原始态。

Opening

2015/03/20  17：00-19：00周五

5-7PM, 20 March, 2015

M50 Art Space

101, No.15 Building, No.50 Mo Gan Shan Rd, Shanghai

Dimension of the AbsoluteIII

In art allegory is introduced into the world, as truth is accomplishedin cognition.

—Emmanuel Levinas

Bloom Art Space  and M50 Art Space are proud to present WuDing’s solo project Dimension of the Absolute III on March 20, 2015. Theexhibition includes some new installation and photographic works as thecontinuation of the artist’s long term project of the same title. Inliterature, an allegory is an extended metaphor; it is one imagery directlyleading to another through analogy. Wu Ding’s art works the same. Hedefamiliarizes familiar objects and turns the figurative into abstraction, inorder to search for an “inner order”, something the artist has been pursuedthroughout his practice. He believes that behind collisions of contingencytherein lies a larger dominating force of necessity.

It is hard to distinguish, in Wu Ding’s practice,between the ontological reflection upon art and his passion for interpretingthe world. And it is hard to tell which propels which. But is it reallyimportant? In poetry we read “A secret is only to be exchanged by anothersecret/ A myth only reachable through another myth” (Hsia Yu). Wu Ding tirelesslyinvestigates the transcendental potential of art. He transports the viewersfrom one illuminated cloud to another. Something profoundly “true” revealsitself during this journey, something only perceptible, ineffable.

For Wu Ding, words and images are two of numerousagencies of the same signified, to which the image is closer among the two. InPlato’s allegorical cave, before possibly or never perceiving the “higher”reality, the prisoners see the shadow as reality itself. The shadow of reality,the image, is the secretary intermediary between us and the higher order. In Realityand Its Shadow, Levinas thinks art appeals to sensibility more than tosense: “[a]rt does not knowa particular type of reality; it contrasts with knowledge. It is the very eventof obscuring, a descent of the night, an invasion of shadow.”

The imageries in Wu Ding’s work are always in silent(albeit sound as an important creative component) objection both to modernity,in which everything is quantified, and to the often ironic and indifferentpostmodernism. He attempts at reaching a realm that is more stable andtimeless, a realm that he calls the “Dimension of the Absolute”. Within thatdimension, experience exists without tense. Time departs from its worldlysignificance, approaching the immemorial state.