此时此刻,我们如何“远走高飞”
发起人:牧羊人  回复数:0   浏览数:2334   最后更新:2007/07/19 09:28:19 by
[楼主] 牧羊人 2007-07-19 09:28:19

此时此刻,我们如何“远走高飞”

此时此刻,我们如何“远走高飞”
Here and Now, How We Fly High

只有为那些人们认为没有希望实现的事业奋斗才是给予我们的希望。
——本雅明 
Only for the sake of the hopeless is hope given us.
-Benjamin


我们对世界的体验既是对在时间过程中成长起来的漫长生命经验时刻的积累,又是对联系各个点并与其自身的线索交叉在一起的时间、空间的独特体验。而此时此刻,我们正处于这样的一个思想时刻:处于价值并置的时代,处于远与近相互观望的时代,处于事物消散的时代。在这个时代,世界日益变成图像,日常生活成为景观,而现实却始终难以辨认;艺术家(知识分子)在这样的时代同时要承担的是作为艺术理想的现实主义和超现实主义的幻灭感,并以此为现实。中国当代艺术经历了自80年代以来的语境变化后,抛却了文化符号和表象政治的诱惑,艺术家是否可以再次发掘出写作的强度和深度?艺术家的工作在这个时代是否要重新回到对日常生活的细节性关注,返回到纵深的对于身边事物和经验的自我体认和书写?我们认为,“此时此刻”是重要的,对于生存,对于经验生成,对于思考,需要我们各自的应对。此时此刻,我们如何超越,如何实现精神的“远走高飞”,成为写作者的问题关注。
Our experience of the world is both the accumulation of the moments of life long growing experience, and the unique experience of time and space interwoven with all the points and their own elements. Here and now, we are at such a moment of thought: at a time of value apposition, at a time when the near and the far watching each other, and at a time when things are dissipating. At this time, the world is increasingly becoming an image, daily lives are become landscapes while the reality is hard to be recognized all the while; and at such a time what the artists (intellectuals) undertake is the disillusion of the realism and surrealism as the artistic ideal, and taking this as the reality. Experiencing the context change in the 1980s, contemporary Chinese art has gotten rid of the lure of cultural icons and politics of representation. So can the artists re-exploit the creation intensity and depth? At this time, can the focus of the artists’ work return to the consideration on the details of daily life, return to the self-realization and writing of the things and experiences around them? We think “now” is critical. Either for the subsistence, or the experience generation or the thought, We need to cope with them respectively. Here and now, how can we overtake ourselves, and how to let our spirit fly high have become the pivotal issues of the authors.
本展览借用了英国著名社会学家安东尼·吉登斯“脱域Disembeding”的概念。根据吉登斯在《现代性的后果》一书中的描述,所谓脱域,指的是社会关系从彼此互动的地域性关联中,从通过对不确定的时间的无限穿越而被重构的关联中“脱离出来” 。脱域的基本方式或机制概括起来有两种,即象征标志( symbolic tokens)和专家系统(expert system) 。去涉身性、去情境化、去特定性和非人格化是脱域机制的基本特征,也是在者非己化、他者凝视在者行动以及意义的一种方法。很显然,凝视者作为行动者的他者所完成的脱域,从根本上说也是一种在者意义的重构过程。转而论之,由“脱域”唤起的“图像”能够更好的抓住时间和空间的转换组合,这种组合一般而言对社会变迁,特殊地说对现代性的性质,都是特别重要的。“脱域”机制把社会关系和信息交流从具体的时间-空间情境中提取出来,同时又为它们的重新进入提供了新的机会。
This exhibition borrows the concept of Disembeding by Anthony Giddens, the famous British sociologist. As Giddens described in his book The consequences of modernity, By disembeding I mean the `lifting out' of social relations from local contexts of interaction and their restructuring across indefinite spans of time-space. There are two types of disembeding mechanisms: symbolic tokens and. expert systems. Disembodiment, unsituation, unspecificity and impersonality are the basic features of disembeding mechanism, and also one approach for the actor to impersonalize and for others to gaze at the action and significance of the actor. Obviously, the disembeding completed by the gazer as the other of the actor is also a reconstruction process for the actor.  On the other hand, the “image” aroused by “disembeding’ could better master the transform combination of time and space, which is important to the social vicissitude and especially to the nature of modernity. “Disembeding” mechanism lifts out the social relations and communication from specific time-space context, while at the same time provide an opportunity for them to reenter. 
“现实”是一个哲学意义上的场域,也是艺术家思考的基点。在参展艺术家的创作中,我们重视地看待这样的角度,而且也注意到,作为艺术家思考媒介的思想工具的重要。无论创作是对记忆中现实的“再造”,还是对于今天精神现实的“制造”,以及对于真正现实的批判性反思,究竟在艺术家的思考中处于什么样的位置,意义又在哪里?正如,这个吉登斯的提示,只有用“工具”,这个工具的概念使我们能够从事物与现实的真实界面抽身,对感知的对象产生适当的距离,这种心理的纬度,使艺术家的工作脱离了“忘乎所以”和“不可控欲望”的羁绊,产生出强度和意义。
“Reality” is a field in philosophical sense, but it is also the base point for artists to think. In the creations of the artists taking part in the exhibition, we pay high attention to these view points. In addition, we also recognize the importance of the thinking tools as the thinking media of the artists. Whether the creations are the “reproduction” of the reality in memory, or the “creation” of the existing spiritual reality, or the critical recollection of the true reality, what place on earth is the artists’ thinking at, and what is the significance of it? Just as Giddens suggested, only the concept of “tool” can we lift ourselves out of things and the real world interface of reality, and keep an appropriate distance from the cognitive object. This mental altitude allows artists to get rid of the fetter of “ overwhelmed” or “ uncontrollable desire”, thus generating intensity and significance.
展览在两方面构成我们所理解的“脱域”。首先,它是指在思想上对语言习惯性僵局的“脱域”,在这里或许会呈现出一种断裂性特质和对现有语境的挣脱或对一种语言的“限定场域”的转换,“脱域”不仅仅体现出一种“运动”着的机制变化,这种“转换”意味着产生一种新的批评策略和对“求真之志”的解释欲望;其次是它在时空流动性特质的思考上接近吉登斯所的“脱域”,时空的分离和流动使得现实正成为新的存在。
The exhibition exposits the “disembeding” to our understanding in two aspects. First of all, it means the “disembeding” from the customary impasse of language ideologically. Here “disembeding” shows a rupture feature and a breakaway from present context, otherwise a transform of “ limited field” of language. Disembeding does not merely show a dynamic mechanism change, but rather means a new criticism strategy and a temptation for interpreting the “ambition to seek the truth”. Then, it is close to the Giddens’s “disembeding” in terms of time-space liquidification, the separation and flow of time and space make the reality becoming a new existence.
展览邀请了中国当代富有活力和持续保持思考特质的艺术家,参展作品类型包括摄影、声音艺术、装置、油画及电影等。也从多种角度准确呈现了关于当代艺术中的身份、主体意识、权力转换及工具主义的价值系统等具体问题。很多情况下,一个艺术家作品的意义是在恢复记忆中的“现场”,艺术总是运用某种媒介物,达到对寻常经验(甚至是自我细微经验)的超越和反思,籍此重新提出艺术家对权力关系、客观世界及微观现实的反思性见解。对于现实的感知,艺术家使用的物象工具箱各不相同,这是一个判断艺术家立场和思考能力的一个尺度。The most active contemporary Chinese artists with the most unique thinking are invited to take part in the “Disembeding” Exhibition, which covers photog
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