[View] Wu Shanzhuan - Hanart TZ Hong Kong
发起人:art-pa-pa  回复数:4   浏览数:2559   最后更新:2010/06/10 12:46:17 by art-pa-pa
[楼主] art-pa-pa 2010-06-10 12:43:48


'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) 


 
artist Wu Shanzhuan





























 




 






Photo credits: Shi Yong
[沙发:1楼] art-pa-pa 2010-06-10 12:44:51
Installation - views 





















 

[板凳:2楼] art-pa-pa 2010-06-10 12:46:17




































返回页首

[快速回复] (HTML代码不可用)[高级回复]
请输入验证码: +jdlfjdlfljl12l12jl+*ljld- + +zdfn,n,/,/,;k1234-353;kdf;kdf;+*ljld- 1 (请输入计算结果)
表情
发言前,请仔细阅读并同意以下注意事项,未注册用户请返回社区首页注册。
1.请自觉遵守:Art-Ba-Ba论坛免责声明
2.请尊重网上道德;
3.自觉遵守:爱国、守法、自律、真实、文明的原则;
4.遵守互联网电子公告服务管理规定 及中华人民共和国其他各项有关法律法规;
5.严禁发表危害国家安全、破坏民族团结、破坏国家宗教政策、破坏社会稳定、侮辱、诽谤、教唆、淫秽等内容的作品;
6.承担一切因您的行为而直接或间接导致的民事或刑事法律责任。
7.Art-Ba-Ba所有帖子仅代表作者本人意见,不代表本社区立场。
8.转载文章请注明出自“Art-ba-ba中国当代艺术社区(www.art-ba-ba.com)”。如是商业用途还请联系原作者。