将物品磨出坑来



















生锈的罐子磨亮，电线杆磨出坑，转头磨圆，书里得图画被擦掉……

粉末装在罐子里

沿着窗外阳光投射在地上的光斑把地面磨出一道道坑

墙上磨出坑的地方有一些小玩意儿

节选自《琰》及其它—巫鸿、史金淞谈话录

巫鸿(以下简称巫)：我们采取一个不太寻常的方法吧——先不谈这次的展览，而是先谈谈你目前正在考虑的最新的计划。也就是你脑子正在想的东西，而不是已经做完了的东西。逐渐地我们可以回到你的艺术历程和有关《琰》这个展览的一些问题。
史金淞(以下简称史)：好。我最近正在做一组叫 《华山计划》的作品。
巫：华山计划？
史：对，我给这组作品起了个名字叫《华山计划》。我对它的描述是：华山是地理概念上隆起物的名称，实际上就“华山”这个词来说，跟那个地理隆起物是没有太多实质关系的，他们的关系是我们的价值系统给地理结构状态的形容词或者是名称、符号什么的，我是从这个逻辑来做工作的。任何价值系统的生活方式都会留下一些很重要的痕迹，比如华山上的台阶、链子、书法刻石等，这些都是硬的，软的还有关于华山的各种传说传奇等。我从来没去过华山，但华山在我心目中是一个很重要的东西，是这样一个系统。我主要是用这个系统来做作品，这次就是在展览的空间里用很多行为方式留下的痕迹，比如用手不停地搓，直到搓出一个洞，或者天上抠一个洞，有一线光线下来，有水嘀嗒嘀嗒，但那个洞显然不是水滴出来的洞。我想做一个紧挨着我们的存在可能，但留下的痕迹跟我们平时留下的又不太一样，似是而非的，比如一把勺，人怎么玩都不会把勺子完成那样，我就是做了一个这样的可能。
巫：可以说是“痕迹”吧，是一些人们不太注意的特殊痕迹。
史：对，我就是利用这些痕迹来做一些存在的可能性。
巫：那你怎么阐释“人的存在的痕迹”这个概念？
史：一个特别大的还是一个特别小的人或者别的什么生命，每个痕迹会有它自己的规律。比方说我经常走的一条路，手的高度是和我的体格有关系的。那么屋顶上的窟窿，还有其他地方的窟窿，跟这个人（或者别的什么生命）有多大、有多长、什么样的性格、兴趣以及文化、信仰等等，都是有关系的。
巫：这个比较有意思。这种设想含有一种空间的限制，因为你想象中的空间是密合的，是和外界完全分离的，仅仅是自己和自己的对话。这种对话可能没有实际的意义，但它证明了自身的存在。
史：限制密合的可能是心境……
巫：这个计划似乎不一定和华山有直接的关系，感觉是进入了一个心理中的黑洞……
史：是，其实华山就是一个名字。像以前什么“南光行动”、“沙漠风暴”等一样，就是个代号，又或许有些说不清道不白的暧昧。
巫：所以这种虚晃一枪式的起名方法是有意为之的。是不是你希望使观众把表象和本质区分开来？
史：对，让它更虚化，但又不是完全的切割。我不知道。不过现在我越来越不喜欢作品像知识的说明书。其实人的很多感觉是很抽象的，特别多细腻的感觉交织在一起，决不可能仅仅是一些观念。我希望作品是从内心里流露出来的一种不一样的状态，人们熟悉的习惯的知识系统不能简单地解读或定义它。我们现在去看展览，已经不习惯用心去感受作品了，因为有太多的阅读系统迅速地把作品消化了。又或者是我们惯性的作品生产系统使我们主动屏蔽了自我内心的输出系统。我渴望能跳出来更接近自己。

§

巫：你说的就是把观众或者你自己从约定俗成的轨道或者阅读方法中跳出来，用一种独特方式切入。“跳出来”有两个意思：一是从别人或者大众跳出来，二从你自己跳出来。别人来看史金淞的时候，可能脑子里已经带着不锈钢、摩托车等符号。你是不是也非常希望从自己跳出来？
史：是的。
巫：我们说到希望把自己从规律性的东西移开，也就是我常说的“自我边缘化”，在我看来这是实验艺术的基础。


Excerpt from 《Fire His Breath, Jade His Bones》and other
——Wu Hong and Shi Jinsong interview

Wu Hong (Wu for short) ：Let’s approach an unusual way -- talk about your latest proposal, which you are thinking in your mind without completing, rather than this exhibition, then we will come back to your art experience and this exhibition.
Shi Jin Song (Shi for short): Fine. I am working on a project called Hua Shan Project .
Wu: Hua Shan Project?
Shi: Yes, I titled this work by Hua Shan Project. I describe it like this: Hua Shan is a geographical name of the protrusion. The term Hua Shan itself has little substantial connection with the geographical protrusion, the relationship is just provided by our value of making the adjectives, names and symbols by the geographical construction situation. I am working based on this logic. Any value system life style will leave some important traces. For instances, the stages, chains, calligraphy inscribed stones and etc, which are all hard traces and soft ones like various legends of Hua Shan. I have never been to Hua Shan, but in my mind Hua Shan is very important, it is the system what my project based on. This time I left a lot of traces by different ways of behavior in the exhibition space, such as, rubbing by hand constantly until a hole come out, or making a hole from sky, from which a light beam comes out, the water pattered on, but the hole is not made by the pattered water. I want to create a possibility close to us, but the traces left are quite different from what we usually leave. It is a paradox, like a spoon, anyone can not play with it like that, I just want to display this possibility.
Wu: So we can them “traces”, which are too special for people to pay attention on.
Shi: That’s it. I just use this traces to creat some possibility of existent.
Wu: How do you illuminate the concept “ the trace of human existent”?
Shi: A great person or a little person or other lives, every traces have their own rule. For instant, the road I always walk, the height of the hand has the connection with my body. The hole on the roof or at other places has some connection with the person (or other lives)’s length, the character type, interest, culture, religious, etc.
Wu: This is quite interesting. This tentative plan including the space limitation, because the imaginary space is enclosed, separated from the outside world. It is only the conversation with yourself. This kind of conversation may have little actual meaning, but it proved the self-existence.
Shi: The limitation may work on the mind…
Wu: This project seems has no direct relation with Hua Shan. It feels like getting into a mental dark hole…
Shi: Yes, actually, Hua Shan is just a name. Like the previous “Nan Guang Movement”, “Desert Storm”,etc, which are all the symbols, or other unclear vagueness that can not talk .
Wu: So the cop-out way of naming is deliberately made. Do you hope to make the audience distinguish the superficial phenomenon from nature?
Shi: Yes, make it more vague, but not completely seperated. I do not know, but now I do not like the works like knowlegeable instruction gradually. Actually, many of the human’s feelings are abstract, so many subtle feelings mingled together to form something more than a concept. I hope that the works are all come from the heart in a different status. The familiar knowledge system can not simply illustrate it or define it. We are no longer used to feel the exhibition by heart nowadays, because too much reading systems digested the works quickly. Or our inertia work production system makes us prevent from our inner heart export system. I wish to jump out of it and close to myself.
Wu: You mean to take the audience or yourself jump out from the established track, or the ways of reading, then get into it in a special way. “Jump out” has two meanings: one is jumping out from others or the mass; the other is jumping out from yourself. When people look at Shi Jin Song, their mind may be filled with stainless steel, motorcycle and other symbols. Do you hope to jump out from this?
Shi: Yes.
Wu: We mentioned that hope to remove ourselves away from the disciplined objects, in another word “self marginalized”, in my view, it is the base of the experimental art.

痕是 永恒
迹是 奇迹

消磨生命的时光
从1988年开始
年年的打磨
让那彩虹
变成了
白色

很牛的展览!