如果日光也是布景
What If the Sunlight is Also A Stage Set
2017


第四届集美·阿尔勒摄影季
Jimei Arles International Photo Festival


时间:2018.11.23 - 2019.01.02
地点:集美新城 市民广场展览馆,厦门
如果日光也是布景|参展艺术家:
陈旻、陈卓、金晶、骆少、喜鹊、许家维
可见的城市|参展艺术家:
阿力玛、邦尼、蔡佳琦、陈湰新、陈丹笛子、狄云涛、林桂明、林銮崇、六尾儿、刘树伟、罗景林、潘菲菲、王皓田、小新&舒柏廿、余摆摆、叶倩甫、朱 湘、杨剑雄、周子悦、张娜松
Date: 2018.11.23 - 2019.1.2
Venue: Jimei new town, Civic Square exhibition hall, Xiamen
What If the Sunlight is Also a Stage Set|Artists
Chen Min, Chen Zhuo, Jin Jing, Luo Shao, Happy Bird, Chia-Wei HSU
The Visible City|Artists
Alima, Bunny, Cai Jiaqi, Chen Longxin, Chen Dandizi, Jiang Li, Jian Xiong, Lin Guiming, Lin Luanchong, Six Tails, Luo Jinglin, Pan Feifei, Qiu Jia, Shun Min, Wang Haotian, Xiao Xin & Shu Bainian, Yang Zhiqian, Ye Qianfu, Pipe Yu, Zhou Ziyue, Zhang Nasong, Zhu Xiang



他者的目光场

想象你从天而降,置于人群聚集的广场,或灯火通明的万达拱廊,或充斥着广告的双十一零点,或朋友圈某条热评,或任何一个你认为你存在的地方。这个全景式的现代社会,此时正在编排着一个个由时间、地点、人物所构成的标准场景,所有人参与其中,暴露直至透明。在这个图像化的肉身景观里,目光时刻存在,在目睹之前,你已为他者的凝视而预备着了。

被预设的确信

图像的确定性似乎是绝对的,你认为有足够的时间与它互相凝视。在这个互相等待的时间层面,图像的“真”以一种提前排演好的平衡幻觉,在制造彼此强烈差异的同时又不断地从整体上抹平这些差异。但偶尔,我们从“感性的梦境”中获得某种模糊的经验,产生对所见现实的怀疑。你总认为问题在于系统本身,但其实恰恰来自于目光的原点——你。相信图像的真实,习惯预置场景,并理性说服自己,这种被预设的确信也就是你认为自己醒着的时刻,日光不容置疑,或“这存在过”。

尝试一次探虚

若你其实是处在“沉醉”(Matrix)中呢?“光”这种“散发光芒的存在”是否依然可信?你大可去尝试,分解图像的肉身,放大侦查并尽可能的放慢速度,发现虚假的线索。这时,图像背后的内容由于你不求实的观察而复归,而图像在这次探虚中实证另一种“真实”——你进入了“可见的反面”(l'envers du visible),一切无从解释,一切难以证明,一切仅是呈现。在这里,那些被掩盖着的东西比能够看见的东西更加真实。

展览空间将被构建为一个犹如柏拉图洞穴的剧场。黑洞与日光,明室与暗室,虚与实,内与外,这类关系被空间有意识的分割与间离,同时,又被穿梭其中的观众链接、黏合。最终在不断拆解之后,紊乱现实,重新生成一个总体。

暗室

“暗室”将被设置为一个环形剧场,作品在四周,观众席在中心。黑暗中的沉醉,如同柏拉图洞穴中那些背对着火把仅看到墙面上的倒影的囚徒。他们到底在凝视图像,还是被图像凝视着呢?

// 暗室内部 —— 可见的城市

“暗室”除了以上四位艺术家及作品,将另设特别计划:可见的城市。计划将通过场外拍摄、场内直播的方式介入空间,如同”洞穴寓言”中重回洞穴的角色。该计划将邀请厦门本地及世界各地的朋友们参与,以各自独特的视角重新观察原本熟悉的城市样本。每两日一人两小时的直播长度,将在展期结束后形成“可见的城市”的剧集。

明室

从黑暗闯入“明室”的观众,将经历短暂的目盲,揉了揉眼睛,他们会到达拱廊一般的展览空间。空间中原本孤立的图像被重构,以照片、档案、录像、截图、明信片等多种形式共同编织成一张不可见却可能一直存在着的生活图样。

// 明室内部 —— 接下来,我们要做什么

真正的“明室”或“日光”决不仅存在于展厅设置之中,而存在于展厅之外的更广阔的场域。明室中的一块倾斜的单向玻璃,它由于某种原因强闪,在所有人的视线中几近消失,随即熄灭的强光又将其变为一块供观众审视自己的黑镜。倒影中,你从那里来,也将回到那里去。

艺术小组喜鹊 Happy Bird将在这个空间继续他们见缝插针的创作方式,每一位观众都将成为喜鹊之一,在穿梭、驻足、重返、左顾右盼中共同建造,再集体退场。这个开放自由、只用目光就能建构的现场,如同我们所生存的全景式社会,图像只是一个动词。



Imagine that you descend from the sky, landing in a crowded square, or a brightly lit Wanda arcade, or a midnight of double 11th festival filled with advertisements, or a comment section of a hotly discussed Wechat moment, or any place where you think you could be. In the physical view of the image, eyes are everywhere, and even before you witness them, you are ready for the gaze of the other. The certainty of the image is basically absolute, because you seem to have enough time to stare at each other with the image. However, this is a preset belief. What if you are in the "Matrix”? Are daylight and its images still credible?

The exhibition will be built as a theater of Plato's cave. The black cave and the daylight, the bright and the dark room, the virtual and the real, the internal and the external, all these relationships were divided by space, but also linked by the shuttled audience. After a few sightless and blindness, the reality was in chaos,  perhaps we lost the possibility of knowing the truth in something that seems clear. We no longer know how to watch. How do we face visible or invisible images? Can the image also be a verb? A flyer, which penetrates a curtain of the sunlight.

Dark Room

In the Dark Room, the space was set up as a "surround theater" - works were set around the space with the auditorium centered. Just as the prisoners in Plato's cave facing the reflection of the torches, four artists work together to create an image performance of "fire and tool" around the audience.

Light Room

In the Light Room, the space was set up as a "arcaded stage". The "real exhibition" and the "real space" have been misplaced, where the audience watches themselves, examines themselves, and in the reflection, sees the origins and destinies.