引擎:一种由图像引发的艺术生产机制 Engine: The Image-triggered Mechanism of Artistic Production

陈红汗作品《克丽丝蒂娜》

引擎:一种由图像引发的艺术生产机制

Engine: The Image-triggered Mechanism of Artistic Production

策展人:海杰

Curator: Hai Jie

艺术家:蔡东东、陈红汗、高岩、任瀚、汤南南

Artists: Cai Dongdong, Chen Honghan, Gao Yan, Ren Han, Tang Nannan

越来越多的创作实践正在危及惯常意义上的图像的主体地位,而将它变成一个艺术家创作过程或一种新的艺术生产机制里的意义触发装置。艺术家,在此刻,调用各种媒介来与图像谈判,并进而像巫师一样对图像与其他媒介进行图像语言与跨界内容上的衔接和转换。

Creative practice is increasingly endangering the traditional subject status of the image, turning it into a detonator that triggers the meaning in artist’s creative process or a new mechanism for artistic production. Currently, artists employ various materials to negotiate with the image and proceed to, like a sorcerer, link and transform the pictorial language and trans-media content of images and other media.

图像的主体地位因此消失了。附着其上的被动观看行为也不得不成为一次次调整姿势的行动。图像具有了一个新的身份——“意义诱发者”,它的绝对权力被分解。

放置在具体的实践中,由直接拍摄变为图像“拓扑”装置,由图像与文字信息位置互换而生成新的语境,甚至图像被评论、被涂写,成为文本或素描,并延展到它本身不具备的社会学指向。

The subject status of the image is thus dissolved. The inherently passive act of image viewing thereby becomes a performance of constantly balanced posturing. The image possesses a new identity—“inciter of meaning”, its fundamental rights revoked. Set in the midst of a specific practice, it changes direct image capture into an implement of pictorial topology, a new context created from swapping image information with textual information. Image has even been critiqued, endlessly scribbled about, becoming something written or sketched, and extending into fields of sociology, a direction which originally the image doesn’t go.

QQ截图20150704114637蔡东东利用了摄影,他将自己拍摄的废片或者收购的照片进行阅读,将其进行“拓扑学”处理,重新激活其性能良好的部分,处理方案有如下:利用图像符号本身具有的属性进行语意的联想、符号的嫁接、直觉的诱导、视觉的捣乱、媒介的位移。最后形成图像装置。表现在材料上,他的尝试体现在对于照片做出划线、涂抹、编织、折叠、堆积、撕扯、扎孔、遮挡、描摹、打磨、拼贴、卷曲、灼烧、镂空、翻转等干预性动作。蔡东东拒绝接受图像自成一体的意义,他将这种干预行为进行到极致,使图片从它天生的平面优势和意义自恰中被唤醒。

Cai Dongdong works with photography. He begins by reading discarded negatives he shot himself and found photographs. By subjecting them to “topographical” treatment, he reactivates those positive parts of their inherent function. The methods of treatment include: utilizing the inherent attributes of pictorial symbolism to carryout semantic associations, symbolic grafting, intuitive guidance, visual disturbance, and displacement of medium. The ultimate result is image installation. Expressed in the materials, his attempts are realized by a variety of intervening actions such as drawing, painting, weaving, folding, stacking, tearing, poking, copying, abrading, collaging, crimping, burning, hollowing, and reversing images. Cai Dongdong refuses to accept the inherent meaning of an image and by taking these interventional actions to the extreme, he makes pictures awaken from their innate two-dimensional superiority to realize their true meaning.

陈红汗作品《克丽丝蒂娜》陈红汗作品《克丽丝蒂娜》选取了一个名叫克丽丝蒂娜的法国妓女的照片,他将这张照片镂空,抽离了图像本身所具有的色情表象,同时,他将克丽丝蒂娜在网站上招客的陈述文字和她的心得体会填充进被他镂空的图像轮廓之中。在这个作品里,我们看到了图像现成品、文字装置,在这些行为之外,我们看到的是一系列社会学的图景:交易(指向消费)、妓女(指向身份)、肉体经验(指向消费心理和身体)。

In Chen Honghan’s work Cristina, he takes a picture of a French prostitute named Cristina and hollows out the image, creating distance from its inherently sexual imagery. Simultaneously, he fills Cristina’s outline with textual statements sourced from internet recruits about her experiences. In this work, we see pictorial ready-mades and textual installation, but aside from this we see a series of sociological scenes: the transaction (alluding to consumerism), the prostitute (alluding to identity), and corporeal experience (alluding to consumer mentality and body).

005艺术家高岩通过对网络下载或者自己拍摄的照片进行命名,虚构作者、主题、创作方法、呈现方式和创作年代,并通过煞有介事的艺术评论来将图像转化为文本,从而来对当代艺术及其评论体系进行质疑。

Artist Gao Yan uses images that he downloaded from the internet or photographed himself and (re)names them, fabricating an author, title, production method, display method and year of production, even generating feigned art criticism to transform image into text and thereby call into question contemporary art and its system of critique.

dfa250232b4206150a87fd531d4bce17b7660a65b0b6-mjvQPP(雪山系列), 布上铅笔、乳胶漆, xcm, 2014任瀚将网络下载的雪山登山探险图像处理为黑白素描,这一动作解除了原来图像所具有的丰碑感。同时,在作品命名上,他沿用下载图像实施“另存为”这个动作时出现的乱码文件名作为作品的名称。

Ren Han downloads pictures of snowcapped peaks and adventure mountaineering from the internet and transforms them into black and white sketches. This single action removes the monumentality of the original image. Simultaneously, for the title of the piece, he maintains the random file name generated when using the “save as” function to download images online.

《铸浪为山》录像截屏汤南南的作品《铸浪为山》,用四千格高速电影摄像机拍摄自己制造的海浪,这一行为直接导致了所拍摄的海浪在图像、雕塑、录像等媒介上延展和模糊性,也从而促发了海浪与山脉的文化身份置换。

Tang Nannan’s video Faith Mountain uses 4000 high-speed filmed frames of waves he generated himself, which directly results in the extension and ambiguity of these waves captured in image, sculpture and video media. Additionally, it encourages transference of the cultural identity of waves and mountains.

海杰 Hai Jie

海杰

海杰,独立策展人、影像批评家、作家,南方报业集团《289艺术风尚》杂志主笔。2002年毕业于西北师大中文系,曾做过高校教师、电子杂志主编、航空杂志编辑部主任,艺术类杂志首席记者,担任全球最大影像生活门户网站色影无忌副总编,后辞职,专门从事独立策展和影像批评。
在《读书》、《新周刊》、《南方周末》、《中国摄影》、《周末画报》、《城市画报》《东方艺术-大家》、《中国摄影报》等杂志报刊发表摄影评论等文章逾百万字。

Hai Jie is an independent curator, photography critic, book author, and chief writer for Art289 magazine produced by Nanfang Media Group. Since he graduated from the Chinese Department of Northwest Normal University in 2002, he has been a college instructor, chief editor of two magazines, senior journalist of an art magazine, and vice chief editor of the biggest photography-lifestyle website – xitek.com (Seyingwuji). He now focuses on independent curating and photography critiquing.