[北京] 前尘-新大陆架的沉降 邱黯雄个展
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最后更新：2007/09/06 06:14:55 by
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UniversalStudios-Beijing, 北京 (中国)
2007.9.1-–2007.10.13
开幕酒会: 2007.9.1 16:00--18:00
每周二到周日Tuesdays to Sundays
11:00-18:00
邱黯雄的最新个展“前尘-新大陆架的沉降”深入探究了记忆产物这样一个主题，以探讨过去来剖析当代人顾虑的问题。在<<为了忘却的记忆>>这件录像装置作品中，一节真正的火车厢被放置在展厅里，车厢外的24个投影仪将图像投射到车窗上。在昏暗的车厢内，那些连续播放的录像，让人如同置身真正的火车中观看沿路的风景。在历史记录片中穿插的那些新近拍摄的录像，使两个不同时期的录像之间产生了微妙的奇特关系，在这奇特的关系中，历史纪实录像扮演着记忆附属品的角色，实拍录像则如一个可视的标点符号，让人们在现实与回忆中穿梭。抽象的动画又提升了整体效果，让观看者对自己所见的真实性产生疑问。正如录像中插入的潜在图像所引起的下意识举动一样，这种无序插放的特质创造出无逻辑的视觉影像，提升了整体的视觉体验。随着特殊插放方式，录像之间发生碰撞与互动，不真实的录象（动画）与真实录像（记录片）之间的融合让人们对记忆的主观性产生了质疑，这种质疑为作品增添了一种力量与反响。
12个不同的环绕音响播放着传统民谣、乐器和实验唱片的混音，构成了录像的配乐部分。纪念过去的同时再反驳过去，这样的结合所产生的视听迷宫，让观看者不得不自己去揭开作品涵义的层层面纱。现代与历史、想象与虚幻间的相互作用，成为在当代中国文化旋涡中，混淆不清的历史寓言。邱黯雄让我们凝视于“记忆的缺失”——对那些极具诱惑力的视觉刺激物的无止境贪欲，最终让我们内心深处形成了真空。
车厢寓意着当代中国的惊人改变；相比较其它的现代交通工具，如飞机让旅客在短时间里跨越远距离截断时间，火车旅行的步调更有想象空间，它让观看者通过观看“沿路”风景来见证循序渐进的过程。投射在车窗上的录像代表着人们透过车窗瞥见的沿路风景，艺术家通过这种方式，使我们静下来重新思考和评价现代社会政治与文化景观的转变和演进。如此一来，“前尘-新大陆架的沉降”可以在多重层面上进行解释。它展现了如何将历史和现代重新解构，从而产生一种新的形式和意义。
<<群山埋葬我们>>是用一组不同大小的屏幕播放的，描述了三个人攀登一座显然是无法征服的冰山，在这个过程中，观众可以清楚的看到冰山上风雪交加的场景。人们看到这个片段时很容易感悟到人类面对大自然时的渺小和无意义，但艺术家在这里更想暗示的，却是在这个相对广阔的社会文化背景中现代人的窘境。当中国被描述为高速城市化和经济增长令人吃惊的国家时，中国人口与自然界的关系和互动却日趋紧张，这结果让自然风光更变成像是用于来发掘、钦佩和观看的没有生命力的存在，而不是能产生连结的对象。作品中大量的独立屏幕和多重观点，复制了当代城市生活与自然的断裂和脱节，突出了从自然到人造的各种存在之间的悖逆性。
邱黯雄的录像和动画作品充满了抽离的宁静，和抒情式的纤细与优雅，通过对时间与空间、虚拟与现实的捕捉，横向剖析了对社会政治的关注，微妙地向我们展示出从过去到今天细致而迷人的连续风景。
Qiu Anxiong's latest exhibition 'Staring into Amnesia' explores themes of memory production, referencing the past to explore contemporary concerns. Staged within the carriage of a real train transposed to the exhibition space, twenty four projectors positioned outside the carriage transmit an array of images onto the windows of the vehicle. When viewed from within the darkened atmosphere of the carriage these images are presented as a continuous visual scenery. Interlacing images spliced from historic documentaries with contemporary footage filmed during real train journeys, the juxtaposition of the two triggers weird visual relationships in which the historic footage acts as an adjunct to memory while the contemporary shots create sudden visual punctuation marks. This effect is further heightened by the addition of abstract animation sequences, which serve to prompt the viewer into questioning the reality of what they are seeing. Just as subliminal images inserted into film elicit subconscious reactions, the jarring nature of these sequences create visual non-sequiturs which heighten the viewing experience. The subjectivity of memory is thus called into question by the fusion of the unreal (animated) and hyper-real (documentary) images. The resulting effect lends the work added potency and resonance as images collide and interact in unforeseeable ways.
The images are accompanied by twelve different audio loops which combine both traditional folk songs and instrumentals with experimental sound recordings. Invoking a remembered past while simultaneously refuting it, the combined effect produces an audio-visual labyrinth in which the viewer has to untangle and decipher the different strands and multiple layers of meaning. This interaction between the modern and the historical, the imagined and fantastical becomes a greater allegory for the confusion and loss of history engendered by the vortex of contemporary Chinese culture. Qiu forces us to admit that we are indeed 'staring into amnesia' where the amnesia is presented as a vacuum resulting from our insatiable desire for new and ever more alluring visual stimuli.
The employment of the train itself is also used to draw allegorical references to the startling pace of change in contemporary China; unlike other modes of transport such as planes which appear to truncate time by allowing the traveller to transverse vast distances in relatively short periods, the contemplative pace of train journeys permits the viewer to witness the gradual progression through the landscape. By presenting the visual footage as if they are actual scenes glimpsed from train windows, the artist forces us to slowly reconsider and re-appraise the transition and evolution through the modern socio-political and cultural landscape. In this way 'Staring into Amnesia' can be interpreted on multiple levels and shows how both history and contemporary concerns can be deconstructed and reassembled to generate new forms and meanings.
The exhibition is supplemented by a new video work which is displayed beyond the train on an array of split screens. Depicting three men (one of whom is the artist) climbing an apparently insurmountable ice-capped mountain amidst torrents of snow and wind, it is easy to read the piece as a meditation on the insignificance of man in the face of nature. However, the artist perhaps intends it to draw a wider allusion to the plight of contemporary man within the wider socio-cultural context. In an age when China is characterized by rapid urbanization and startling economic growth, the relationship and interaction between its populace and the natural world is becoming increasingly strained. As a result the landscape becomes something either to be exploited, admired or viewed almost as an inanimate entity rather than directly engaged with. In this way the use of split screens and multiple viewpoints mimics the fractured and disjointed nature of contemporary urban life and highlights the transgression from a natural to a manufactured and artificial state of existence.
Qiu Anxiong's video and animation work is imbued with both a detached calmness and an almost lyrical subtlety and grace that transverses sociopolitical concerns while playing with the conventions of time and space, fiction and reality. In this way he offers up a detailed and highly engaging panorama which spans the present and the past with equal finesse.
UniversalStudios-Beijing, 北京 (中国)
2007.9.1-–2007.10.13
开幕酒会: 2007.9.1 16:00--18:00
每周二到周日Tuesdays to Sundays
11:00-18:00
邱黯雄的最新个展“前尘-新大陆架的沉降”深入探究了记忆产物这样一个主题，以探讨过去来剖析当代人顾虑的问题。在<<为了忘却的记忆>>这件录像装置作品中，一节真正的火车厢被放置在展厅里，车厢外的24个投影仪将图像投射到车窗上。在昏暗的车厢内，那些连续播放的录像，让人如同置身真正的火车中观看沿路的风景。在历史记录片中穿插的那些新近拍摄的录像，使两个不同时期的录像之间产生了微妙的奇特关系，在这奇特的关系中，历史纪实录像扮演着记忆附属品的角色，实拍录像则如一个可视的标点符号，让人们在现实与回忆中穿梭。抽象的动画又提升了整体效果，让观看者对自己所见的真实性产生疑问。正如录像中插入的潜在图像所引起的下意识举动一样，这种无序插放的特质创造出无逻辑的视觉影像，提升了整体的视觉体验。随着特殊插放方式，录像之间发生碰撞与互动，不真实的录象（动画）与真实录像（记录片）之间的融合让人们对记忆的主观性产生了质疑，这种质疑为作品增添了一种力量与反响。
12个不同的环绕音响播放着传统民谣、乐器和实验唱片的混音，构成了录像的配乐部分。纪念过去的同时再反驳过去，这样的结合所产生的视听迷宫，让观看者不得不自己去揭开作品涵义的层层面纱。现代与历史、想象与虚幻间的相互作用，成为在当代中国文化旋涡中，混淆不清的历史寓言。邱黯雄让我们凝视于“记忆的缺失”——对那些极具诱惑力的视觉刺激物的无止境贪欲，最终让我们内心深处形成了真空。
车厢寓意着当代中国的惊人改变；相比较其它的现代交通工具，如飞机让旅客在短时间里跨越远距离截断时间，火车旅行的步调更有想象空间，它让观看者通过观看“沿路”风景来见证循序渐进的过程。投射在车窗上的录像代表着人们透过车窗瞥见的沿路风景，艺术家通过这种方式，使我们静下来重新思考和评价现代社会政治与文化景观的转变和演进。如此一来，“前尘-新大陆架的沉降”可以在多重层面上进行解释。它展现了如何将历史和现代重新解构，从而产生一种新的形式和意义。
<<群山埋葬我们>>是用一组不同大小的屏幕播放的，描述了三个人攀登一座显然是无法征服的冰山，在这个过程中，观众可以清楚的看到冰山上风雪交加的场景。人们看到这个片段时很容易感悟到人类面对大自然时的渺小和无意义，但艺术家在这里更想暗示的，却是在这个相对广阔的社会文化背景中现代人的窘境。当中国被描述为高速城市化和经济增长令人吃惊的国家时，中国人口与自然界的关系和互动却日趋紧张，这结果让自然风光更变成像是用于来发掘、钦佩和观看的没有生命力的存在，而不是能产生连结的对象。作品中大量的独立屏幕和多重观点，复制了当代城市生活与自然的断裂和脱节，突出了从自然到人造的各种存在之间的悖逆性。
邱黯雄的录像和动画作品充满了抽离的宁静，和抒情式的纤细与优雅，通过对时间与空间、虚拟与现实的捕捉，横向剖析了对社会政治的关注，微妙地向我们展示出从过去到今天细致而迷人的连续风景。
Qiu Anxiong's latest exhibition 'Staring into Amnesia' explores themes of memory production, referencing the past to explore contemporary concerns. Staged within the carriage of a real train transposed to the exhibition space, twenty four projectors positioned outside the carriage transmit an array of images onto the windows of the vehicle. When viewed from within the darkened atmosphere of the carriage these images are presented as a continuous visual scenery. Interlacing images spliced from historic documentaries with contemporary footage filmed during real train journeys, the juxtaposition of the two triggers weird visual relationships in which the historic footage acts as an adjunct to memory while the contemporary shots create sudden visual punctuation marks. This effect is further heightened by the addition of abstract animation sequences, which serve to prompt the viewer into questioning the reality of what they are seeing. Just as subliminal images inserted into film elicit subconscious reactions, the jarring nature of these sequences create visual non-sequiturs which heighten the viewing experience. The subjectivity of memory is thus called into question by the fusion of the unreal (animated) and hyper-real (documentary) images. The resulting effect lends the work added potency and resonance as images collide and interact in unforeseeable ways.
The images are accompanied by twelve different audio loops which combine both traditional folk songs and instrumentals with experimental sound recordings. Invoking a remembered past while simultaneously refuting it, the combined effect produces an audio-visual labyrinth in which the viewer has to untangle and decipher the different strands and multiple layers of meaning. This interaction between the modern and the historical, the imagined and fantastical becomes a greater allegory for the confusion and loss of history engendered by the vortex of contemporary Chinese culture. Qiu forces us to admit that we are indeed 'staring into amnesia' where the amnesia is presented as a vacuum resulting from our insatiable desire for new and ever more alluring visual stimuli.
The employment of the train itself is also used to draw allegorical references to the startling pace of change in contemporary China; unlike other modes of transport such as planes which appear to truncate time by allowing the traveller to transverse vast distances in relatively short periods, the contemplative pace of train journeys permits the viewer to witness the gradual progression through the landscape. By presenting the visual footage as if they are actual scenes glimpsed from train windows, the artist forces us to slowly reconsider and re-appraise the transition and evolution through the modern socio-political and cultural landscape. In this way 'Staring into Amnesia' can be interpreted on multiple levels and shows how both history and contemporary concerns can be deconstructed and reassembled to generate new forms and meanings.
The exhibition is supplemented by a new video work which is displayed beyond the train on an array of split screens. Depicting three men (one of whom is the artist) climbing an apparently insurmountable ice-capped mountain amidst torrents of snow and wind, it is easy to read the piece as a meditation on the insignificance of man in the face of nature. However, the artist perhaps intends it to draw a wider allusion to the plight of contemporary man within the wider socio-cultural context. In an age when China is characterized by rapid urbanization and startling economic growth, the relationship and interaction between its populace and the natural world is becoming increasingly strained. As a result the landscape becomes something either to be exploited, admired or viewed almost as an inanimate entity rather than directly engaged with. In this way the use of split screens and multiple viewpoints mimics the fractured and disjointed nature of contemporary urban life and highlights the transgression from a natural to a manufactured and artificial state of existence.
Qiu Anxiong's video and animation work is imbued with both a detached calmness and an almost lyrical subtlety and grace that transverses sociopolitical concerns while playing with the conventions of time and space, fiction and reality. In this way he offers up a detailed and highly engaging panorama which spans the present and the past with equal finesse.
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