现场】吴山专5月29日香港汉雅轩个展

现场】吴山专5月29日香港汉雅轩个展

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发起人：oui　　回复数：24 　　浏览数：6013 　　最后更新：2010/08/01 20:36:18 by guest

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[楼主] oui 2010-06-01 16:19:42

“蝶蛙”，在没有上帝的天空
高士明
2010

“蝶蛙”在吴山专与英格工作中的初次现身是在1995年，作為“单性主义”的标示物。在他们庞大繁密的工作系统中，“单性”是符合“物权”的生產/生殖方式，而“蝶蛙”则是这一生產与生殖的载体。“蝶蛙”的出现，或许是出於对这两种生物之神秘性质的迷恋。无论蝶或者蛙，在其短暂的生命史中都在展示著一种“进化”。在单性主义的叙述中，蝶和蛙融為一体，自我组构，自我创生，高度自洽。“蝶蛙”的美在於它是一个“演体”，是物种进化链条上自我滋生、演替的中間过程。“蝶蛙”是非本质化的物，它不是结果，而是一种中間状态，它不是某物，而是物之為物的过程。当然，吴与英格在此处所欲昭示的，既不是庄周化蝶的玄思，亦非“一气化生”、“万物齐一”的终极物理。
“蝶蛙”既非伊甸园中準备好的某物，也不是诺亚方舟中被保护的倖存者，它甚至不是“被造物”，而是生命自我排练、演化出的一种“演体”，它的存在与上帝无关。它是单性生殖的载体，同时也是一个赤裸而神秘的衍生符号，这符号所昭示的，是一种未来的神学。我始终认為在吴与英格的工作中存在著某种“未来异教”的神学潜能，“完美的括弧”似乎可以成為十字架的替代品，而“蝶蛙”则是“完美括弧”埋伏其中的“道成肉身”。然而，与钉在十字架上的耶穌基督不同，“蝶蛙”并非祭品。“蝶蛙”与牺牲或献祭无关，它只是从“演体”肉身的开放性中发显出来的一种徵兆，一个神秘的咒符。
这个神秘的咒符被摆置到天空之上，成為辽阔宇宙中的一个“星丛”（constellation）。星丛的有或者无在於繁星的关联方式，它是被意识投射-建构起的观念图像。就像“蝶蛙”这个图形本身一样，星丛亦是非本质主义的存在，我们看到它，但它却并不实存。就星丛而论，显形就是存在。在吴的作品中，那组成星丛的繁星点点，是大地上无数不具名的他者正在网路引擎上即时搜寻的语词之流。
在《今天下午停水》中，有一个反復出现的句子——（年月日，别的地方发生了什麼？）。这是作者面对某一确定时刻的迟疑与惶惑，然而它所牵扯出的，却不只是存在与时間的交错纠结，以及随之而来的存在主义情怀，它所洩露出的，是一种对於他者的关切。与大多数艺术家的极度自恋不同，吴山专始终关心的是——别人正在关心什麼？在1980年代的中国，当萨特的“他人即地狱”被到处传颂之际，吴山专反其道而言之——“他人就是上帝”。现在，通过网路搜寻引擎这个流变的共时性介面，来自无数他人的关切汇聚成瞬息即逝的语词之流，裹挟著形形色色的当下欲望，组构起星丛的神秘轨跡。正如阿多诺所说，“星丛”呈现出的是“一种没有支配而只有差异相互渗透的独特状态”。差异的相互渗透，在差异的相互渗透中自我演替，这是逃离造物之手的唯一方式，这岂不正是“蝶蛙”的本质？
在夜空中，来自无穷差异的匿名他者的欲望-语词之流闪烁变幻著，编织起“蝶蛙”的图案，这是為了他者的星丛，闪耀在他者的天空，这没有上帝的天空。

‘Butterfrog’ in a Godless Heaven
Gao Shiming

The ‘butterfrog’ first appeared in the work of Wu Shanzhuan and Inga in 1995 as the emblem of ‘mono-sexism.’ Within the broad and complex systems of their work, ‘monosex’ corresponds to the method of production/reproduction of ‘things rights’; and the butterfrog is the vector of this production and reproduction. The emergence of the butterfrog perhaps was the result of an infatuation with the mysterious nature of these two organisms. Within their brief life cycle, both the frog and the butterfly undergo a kind of ‘evolution’.
Within the monosex narrative, the butterfly and the frog are merged into one, self-structuring, self-generating, and highly integrated. The ‘butterfrog’s beauty lies in its being a kind of self-breeding entity within the succesionary process of the evolutionary chain. The butterfrog is a non-essential thing; it is not an end result, but an intermediate condition. It is not a thing in itself, but [a step in] the process of becoming a thing。Naturally, what Wu and Inga wish to express here is not the mystical philosophy of Zhuangzi’s transformation into a butterfly, nor a kind of [Daoist] physics encompassing cosmic ideas of spontaneous generation and the ultimate unity of all things.

The butterfrog was not created in the garden of Eden, nor was it among the species saved from the flood by Noah’s Ark; it is not even a manufactured being, but rather it is a thing self-developed from life itself, a kind of evolutionary intermediate form whose existence has nothing to do with God. It is a vector of monosex reproduction, and at the same time is a kind of symbol of this naked and mysterious process--an indicator of some kind of theology of the future。I have always thought that within Wu and Inga’s body of work is implicit a kind of futuristic theological heresy, where the ‘perfect bracket’ becomes the substitution for the cross, and the butterfrog represents ‘the Way become flesh’ hidden within the perfect brackets. And unlike Jesus nailed to the cross, the butterfrog is not a sacrificial being. The butterfrog has nothing to do with sacrifice or offerings, it is only a sign emanating from the open process of evolution, a mysterious omen.
This mysterious omen is placed in the heavens, where it becomes a ‘constellation’ within the vastness of the cosmos. The presence or absence of a constellation depends entirely on how a cluster of stars is linked together; it is a conceptual image that is consciously projected and constructed. Just like the image of the butterfrog, the constellation’s existence is non-essentialist. We see it, but it doesn’t actually exist. In terms of a constellation, appearance equals existence. In Wu Shanzhuan’s work, the cluster of stars forming the constellations is just like the instantaneous wordflow generated by the countless, anonymous ‘others’ roaming the Internet’s search engines. In Wu’s ‘Today No Water’ there is a recurring sentence—(year, month, day, what happened in other places?) This is what the artist pauses to worry about at a particular moment in time. And this implies not only a concern about the interconnectedness of existence and time,but also the existentialist’s sensitivity, through which is revealed a sense of concern for the other. Different to the narcissistic focus of many artists, what has always concerned Wu Shanzhuan is the question: What concerns other people in this moment? In 1980s China, Sartre’s statement ‘Hell is other people’ was quoted everywhere, but Wu Shanzhuan turned this concept on its head when he wrote: ’God is other people.’ Today, with the Internet as a site of simultaneous and ever-flowing encounter, the constant flow of language emanating from the fleeting congregations of the interests and concerns of innumerable others and their myriad, momentary desires form the mysterious trajectory of the constellations。As Adorno said, constellations give rise to a unique state of interpenetration in which there is no dominance, but only difference.Within this interpenetration of differences, the evolutionary process is completely self-contained and self-generated, without any interference from ‘above’. And isn’t this the essence of the butterfrog?
In the night sky, the flashing and changing desires emanating from the infinite differences of others form the image of the butterfrog: a constellation for the others, shining in the heaven of the others. A heaven where there is no god.
(Translated by Valerie C. Doran)

香港这个人头密度世界可数的地方，三个作品一放，整个展厅就满了。
有人说千万别懂吴山专，你肯定会爱上他！有多少人自告奋勇，请过来排队！

第一个作品是一个投影，据说是跟发送进来的短信内容互动。

吴大师温柔地给美女讲解

有观众到吴山专的影像作品前冥思苦想~!!!!