http://www.mayongfeng.com/blog/index.php zh-cn http://www.mayongfeng.com/blog/read.php?192 mayongfeng <admin@mayongfeng.com> Tue, 09 Mar 2010 07:26:30 +0000 http://www.mayongfeng.com/blog/read.php?192
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《寄居蟹2号》当代摄影展
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摄影的寄居蟹

顾振清

寄居蟹，甲壳纲，十足目，外形介于虾和蟹之间，属于甲壳类中异尾类的节肢动物。为了避难与自我保护，它寄居在空螺壳或一些中空的物体内。对寄居蟹而言，寄居其实是一种另类的蜗居行为，甚至是一种隐居态度。

寄居蟹的鼎鼎大名来自一些霸道的摸样，它挥舞大螯、小螯，似乎会吃掉海螺等软体动物的肉，再把人家的外壳占为己有而得来。其实，寄居蟹只是个具有环保概念的资源回收者，住的是贝类死后所遗留下的空壳。贝壳是海洋贝类生物与生俱来的硬基质良好的“经济适用房”。贝类死后，贝壳就成了遗弃之物。寄居蟹见到空壳，只是清扫一番便废物利用，把贝壳当作形影不离、难以割舍的家园。它从此背负着这个家园到处谋生。

寄居蟹是一种符号。对摄影而言，它具有比附的寓义。

摄影术原本是工业革命兴起之后发明家们兑现其发明激情的一个遗留之物、一个空壳，但是早期摄影师和一些艺术家心无芥蒂地寄居到里面。他们借助一种新兴的技术，催生了一门新兴的摄影艺术。相机和摄影术，虽然不是人们与生俱来的外壳。但是不少人一旦邂逅了相机和摄影术，就当作形影不离、难以割舍的精神家园。这莫非是一种寄居蟹式的社会文化行为？

对很多当代艺术家而言，他们玩摄影，主要是出于一种进取心，而不是为了避难与自我保护。艺术家住进了摄影这个“蜗居”，也就多了一个工具，磨砺自我的洞察力和想象力；同时也多了一件盾牌，捍卫自我在艺术边界上突破和超越的权利。有的人进得去，出得来。有的人进去了，出不来。摄影也就是一个外壳，可以成就一种生活方式。其实，它是一个极具包容性的躯壳，可以寄托和孕育艺术家的私人情感和主观思想。艺术家加载摄影这一媒介，就得接受或挑战摄影的游戏规则，其情感和思想就得或多或少地“寄居”在摄影图片所呈现的事物、符号和观念之中。艺术家可以就此加封为摄影家，背负上相机、摄影术及后期加工成像术所构成的坚硬的、并不轻松的外壳。

定格时间和空间形成了艺术家对摄影纪实本质的一种理解。但是，摄影术一旦深入到他们的价值系统、成为实现理想诉求的手段，摄影观念也就真的变身为他们一种外壳、一种家园。摄影作为一种被侵占的领域，被艺术家和政治艺术家极端的生活方式所附体，或是另存为另一个版本的时候，它呈现的可能性还有哪些？

当今的拍客一族无疑是艺术家、摄影家身份的一种稀释和泛化。他们把相机像手机那样常年揣在衣袋里，与自我身体捆绑。他们走到哪里，兴之所至就掏出来摁动快门。影像泛滥、读图时代等概念，在一定程度上，来自拍客一族在网上、纸本上不揣简陋地暴晒自己摄影经验，继而引发全球围观、传阅的社会文化行为。盲目的看与被看，这种潜藏在相机和摄影术之中的人类的集体无意识，就是一种根深蒂固的人性。

摄影成就的图像，其实早就“寄居”在机械复制和图像篡改技术的外壳之中，构成种种视觉欺骗。摄影构成了与现实、现实主体平行存在的一个虚拟世界。有时，现实流逝了，现实主体消亡了，其影像却留下来，成为后人怀旧并雕刻时光的素材。

Tags - 寄居蟹 , 荔空间 , 顾振清 ]]> http://www.mayongfeng.com/blog/read.php?191 mayongfeng <admin@mayongfeng.com> Sun, 07 Mar 2010 16:37:54 +0000 http://www.mayongfeng.com/blog/read.php?191
斯拉沃热·齐泽克

The explosion of capitalism in China has many Westerners asking when political democracy -- as the "natural" accompaniment of capitalism -- will emerge. But a closer look quickly dispels any such hope.

当资本主义在中国蓬勃发展的时候，很多西方的观察者都会问，政治上的民主（作为资本主义“自然伴随物”）何时才会到来。然而，当我们仔细看清中国的现状时，基本上很快就会打消这种希望。

Modern-day China is not an oriental-despotic distortion of capitalism, but rather the repetition of capitalism's development in Europe itself. In the early modern era, most European states were far from democratic. And if they were democratic (as was the case of the Netherlands during the 17th century), it was only a democracy of the propertied liberal elite, not of the workers. Conditions for capitalism were created and sustained by a brutal state dictatorship, very much like today's China. The state legalized violent expropriations of the common people, which turned them proletarian. The state then disciplined them, teaching them to conform to their new ancilliary role.

现代中国，并不是一个资本主义的东方专制的扭曲版本，而是一个欧洲资本主义自身发展的翻版。在近代早期，大部分的欧洲国家离民主还有一段距离。而且那时候，如果它们是民主国家的话（如17世纪荷兰的），也只不过是有财产的自由主义精英的民主，而不是工人的民主，而发展资本主义所需要的条件当时就是由野蛮粗暴的国家专断权力创造，并维持下去的。这一点，与今天的中国非常相似。过去，中国合法化了各种剥夺老百姓财产权的野蛮暴力，使普通老百姓成为了无产阶级，然后，国家再对其进行规训，教育他们去适应新的辅助型角色。

The features we identify today with liberal democracy and freedom (trade unions, universal vote, freedom of the press, etc.) are far from natural fruits of capitalism. The lower classes won them by waging long, difficult struggles throughout the 19th century. Recall the list of demands that Karl Marx and Friedrich Engels made in the conclusion of The Communist Manifesto. With the exception of the abolition of private property, most of them -- such as a progressive income tax, free public education and abolishing child labor -- are today widely accepted in "bourgeois" democracies, and all were gained as the result of popular struggles.

那些今天我们所熟知自由民主的特征（工会，普选，出版自由等）其实都远非是资本主义的自然结果。中下阶层在19世纪当中，通过发动长期而又艰苦的斗争才争取到这些权利。我们不妨回忆一下马克思和恩格斯在《共产党宣言》当中提出的那一系列的要求，除了要废除私有产权以外，大部分的这些要求——如累进所得税，免费的公共教育，禁止使用童工等——这些在今日的“资产阶级”民主当中经已被广泛采纳和接受的权利，实际上全都是普通老百姓一直以来斗争的结果。

So there is nothing exotic in today's China: It is merely repeating our own forgotten past. But what about the afterthought of some Western liberal critics who ask how much faster China's development would have been had the country grown within the context of a political democracy? The German-British philosopher Ralf Dahrendorf has linked the increasing distrust in democracy to the fact that, after every revolutionary change, the road to new prosperity leads through a "valley of tears." In other words, after the breakdown of state socialism, a country cannot immediately become a successful market economy. The limited -- but real -- socialist welfare and security have to be dismantled, and these first steps are necessary and painful. For Dahrendorf, this passage through the "valley of tears" lasts longer than the average period between democratic elections. As a result, the temptation is great for leaders of a democratic country to postpone difficult changes for short-term electoral gains.

所以，在今天中国也不例外：它只是在重复我们早已忘却的过去。然而，一些西方自由主义的批评者曾经提出疑问说假如中国进入到政治民主的状态时它的发展会可能会有多快，后来他们又是怎么想的呢？哲学家达伦多夫曾经把民主当中日益增长的不信任与以下的这个现实联系在一起：在每一次革命以后，通往新的繁荣之路都必须要经过一个“眼泪谷”。也就是说，在国家社会主义崩溃以后，一个国家是很难迅速地成为一个良好运作的市场经济体。那些有限的却又真实存在的社会福利以及保障将被迫先要清除，这些往前迈出第一步的行动都是必需的，同时也是痛苦的。达伦多夫说，穿越“眼泪谷”的这段旅程所花的时间往往比两次民主选举间的平均周期要长。因此，对于那些民主国家的领导人来说，就会受到某种诱惑，令他们推迟重大的改革，而谋求短期的选举收益。

In Western Europe, the move from welfare state to the new global economy has involved painful renunciations, less security and less guaranteed social care. In post-Communist nations, the economic results of this new democratic order have disappointed a large strata of the population, who, in the glorious days of 1989, equated democracy with the abundance of the Western consumerist societies. And now, 20 years later, when the abundance is still missing, they blame democracy itself.

在西欧，从福利国家迈向崭新的全球化经济时代的过程中，包含着痛苦的放弃，被减少的安全措施以及难以保证的社会保障。在那些后共产主义国家里面，新的民主秩序下的经济成果让社会当中的大多数阶层失望，这些阶层在1989年左右曾有某些辉煌岁月，当时，他们把民主与西方富饶的消费主义社会混为一谈。但如今，20年过去，被预期会出现的经济富庶却一直没有出现，于是这些阶层就转过头来去责怪民主。

Dahrendorf, however, fails to note the opposite temptation: The belief that, if the majority of a population resists structural changes in the economy, an enlightened elite should take power, even by non-democratic means, to lay the foundations for a truly stable democracy. Along these lines, Newsweek columnist Fareed Zakaria points out how democracy can only "catch on" in economically developed countries. He says that if developing countries are "prematurely democratized," then economic catastrophe and political despotism will soon follow. It's no wonder, then, that today's most economically successful developing countries (Taiwan, South Korea, Chile) have embraced full democracy only after a period of authoritarian rule.

然而，达伦多夫没有注意到另一种相反的诱惑：这种观点就是，假如大多数的民众拒绝经济上的结构性转型的话，那么那些较早觉悟的精英就应该去掌握公权力，即使是通过一种非民主的手段，从而为真正意义上稳定的民主打下基础。按照这种观点，新闻周刊专栏专家Fareed Zakaria为我们指出，民主是如何只在经济上的发展中国家里面得到理解的。他说，如果一个发展中国家处于“早熟的民主状态”，那么经济上的灾难和政治上的专断就会随之而来。所以，毫无疑问，今天经济上最成功的一些发展中国家和地区（台北省，南韩，智利），它们都在经历了一段威权主义统治以后，才获得充分发展的民主制度。

Isn't this line of reasoning the best argument for the Chinese way to capitalism as opposed to the Russian way? In Russia, after the collapse of Communism, the government adopted "shock therapy" and threw itself directly into democracy and the fast track to capitalism -- with economic bankruptcy as the result. (There are good reasons to be modestly paranoid here: Were the Western economic advisers to President Boris Yeltsin who proposed this approach really as innocent as they appeared? Or were they serving U.S. strategic interests by weakening Russia economically?)

这种说法，是否就是对于为何中国会采纳一条有别于俄罗斯模式的资本主义道路最好的回答呢？在俄罗斯，在共产主义崩溃以后，它们采取了“休克疗法”而直接进入民主制度以及通向资本主义的快速通道——当然，也伴随着经济上的破产。（在这里，我们有很好的理由去成为一个温和的偏执狂：那些向俄罗斯前总统叶利钦建言让其采纳“休克疗法”的西方经济学家是否就真的是如他们看起来的那样纯真呢？又或者说，他们是否服务于美国的利益而有心削弱俄罗斯的经济呢？）

China, on the other hand, has followed the path of Chile and South Korea in its passage to capitalism, using unencumbered authoritarian state power to control the social costs and thus avoid chaos. The weird combination of capitalism and Communist rule proved to be a blessing (not even) in disguise for China.

在另一方面，中国则采纳了之前智利和南韩的资本主义道路，使用毫无监管和约束的威权主义国家权力控制社会成本，从而避免社会骚乱。这种资本主义和共产主义离奇的结合对于中国来说，被证明是个伪装的幸福，甚至还不能算是个幸福。

The country has developed fast, not in spite of authoritarian rule, but because of it. With Stalinist-sounding paranoia, we are left to wonder, "Maybe those who worry about China's lack of democracy are actually worried that its fast development could make it the next global superpower, thereby threatening Western primacy."

中国之所以发展得如此地快，不是因为其脱离了威权主义的统治，相反，而是由于这种威权主义统治所带来的。假如我们用斯大林式貌似合理的偏执想法来思考的话，那么的确还有很多值得我们思考的问题，“那些担心中国缺乏民主的人，可能实际上是在担心中国的高速发展，从而形成一个新的全球超级力量，最终威胁到西方的利益。”

Today, the tragedy of the Great Leap Forward is repeating itself as a comedy. It has become the rapid capitalist Great Leap Forward into modernization, with the old slogan "iron foundry into every village" re-emerging as "a skyscraper into every street." The supreme irony of history is that Mao Zedong himself created the ideological conditions for rapid capitalist development. What was his call to the people, especially the young ones, in the Cultural Revolution? Don't wait for someone else to tell you what to do, you have the right to rebel! So think and act for yourselves, destroy cultural relics, denounce and attack not only your elders, but also government and party officials! Swipe away the repressive state mechanisms and organize yourself in communes!

今天，在中国，昔日“大跃进运动”的悲剧以一种喜剧的形式重新上演。它变成了一场高速地奔向现代化的资本主义大跃进运动，当年“大跃进运动”当中的口号“每个乡村都要有一个炼钢厂”如今变成了“每条街道上都要有一座摩天大楼”。但该段历史最大的讽刺却是毛泽东为资本主义的迅猛发展创造了意识形态上的条件。还记得毛泽东在“文化大革命”中说了什么，尤其是对青年人说了什么吗？不要等其他人告诉你你要去做什么，你有反抗的权利！所以，为自己去打算和行动吧，破坏文化遗迹，不仅要去谴责和攻击你的长辈，还包括政府和政党的领导人！推翻这种压迫人的体制吧，到在人民公社当中实现自我管理吧！

And Mao's call was heard. What followed was such an explosion of unrestrained passion to delegitimize all forms of authority that, at the end, Mao had to call in the army to restore order. The paradox is that the key battle during the Cultural Revolution was not between the Communist Party apparatus and the denounced traditionalist enemies, but between the Communist Party and the forces that Mao himself called into being.

很多人响应了毛泽东的号召。于是接下来就是一场无法压制的热情爆发，他们把所有形式的权力机构通通认为是不合法的，到了文化大革命的后期，毛泽东不得不召来军队恢复了社会秩序。这里面有一个重要的悖论，这不是一场发生在共产党机构和被谴责的传统主义敌人之间的重大战争，而是一场发生在共产党和被毛泽东所鼓动的那股力量之间的重大战争。

A similar dynamic is discernible in today's China. The Party resuscitates big ideological traditions in order to contain the disintegrative consequences of the capitalist explosion that the Party itself created. It is with this in mind that one should read the recent campaign in China to revive Marxism as an efficient state ideology. (Literally hundreds of millions of U.S. dollars are spent on this venture.)

而在今日中国，我们通过能够清晰地发现到仍旧存在着某种相似的力量。共产党重新激活了大型的意识形态传统，用它们来抑制共产党自己创造的资本主义高速发展所带来的分裂恶果。我们心中必须以下这一点：即最近中国开始了一场重新把马克思主义作为有效率的国家意识形态的运动。（从官方文件上，我们知道有数十亿美元将会用于这个计划上面。）

Those who see this as a threat to capitalist liberalization totally miss the point. Strange as it may sound, this return of Marxism is the sign of the ultimate triumph of capitalism, the sign of its full institutionalization. For example, China has taken recent legal measures to guarantee private property, a move that the West has hailed as a crucial step toward legal stability.

那些把这场复兴马克思主义的运动视为是一种对资本主义自由化威胁的人基本上是看错了。可能听起来会有点奇怪，实际上，这次马克思主义的回归的确是资本主义的最后胜利，是资本主义完全制度化的标志。举个例说，中国最近已经采取立法手段来保障私有产权，这一举动被西方国家赞其是迈向法律稳定性上的重要一步。

But what kind of Marxism is as appropriate for today's China? First, let's look at the difference between Marxism and Leftism. Leftism is a term that refers to any talk of workers' liberation -- from free trade unions to overcoming capitalism. But the Marxist thesis says that developing the forces of production is the key to social progress, and it is this type of Marxist development that fosters the conditions for the continuing fast "modernization."

但哪一类型的马克思主义最适合今天的中国呢？第一，先让我们来看一下马克思主义和左派之间的差别，左派指的是关于工人解放的一切言论——从自由组建工会到推翻资本主义。但马克思主义却认为发展生产力才是社会进步的关键，而正是这种类型的马克思主义的发展才能为持续而快速的“现代化”进程培养土壤。

In today's China, only the Communist Party's leading role can sustain rapid modernization. The official (Confucian) term is that China should become a "harmonious society."

在今天的中国，只有共产党的领导地位才能维持快速的现代化进程。而官方（儒家）的主题则是中国应该变成一个“和谐社会”。

To put it in old Maoist terms, the main enemy may appear to be the "bourgeois" threat. But, in the eyes of the ruling elite, the main enemies are instead the "principal contradiction" between unfettered capitalist development that the Communist Party rulers profit from and the threat of revolt by the workers and peasants.

把这一点放进旧的毛泽东主义里面去看，主要的敌人可能会是“资产阶级”的威胁。然而，在统治精英的眼中，主要的敌人已经发生了改变，其“主要矛盾”已经变成了“共产党领导人想要利用的不受约束的资本主义发展”与“工人和农民企图革命的威胁”这两者之间的矛盾。

Last year, the Chinese government strengthened some of its oppressive apparatuses -- including forming special units of riot police to crush popular unrest. These police are the actual social expression of what, in ideology, appears as a revival of Marxism. In 1905, Trotsky characterized tsarist Russia as "the vicious combination of the Asian knout [whip] and the European stock market." Doesn't this characterization still hold for modern-day China?

去年，中国政府加强了它某些具有压制性功能的机构的力量——包括成立特种防暴警察来压制民众的骚动。这些防暴警察的设置其实在意识形态上马克思主义的复兴落实到现实社会层面的一种表达。在1905年，托洛茨基就指出沙皇统治下俄罗斯的几个特征，包括“亚洲皮鞭与欧洲股票市场的残暴混合”。这一点，是否也能够概括今天中国的特征呢？

But what if the promised democratic second act that follows the authoritarian valley of tears never arrives? That is what is so unsettling about today's China: Its authoritarian capitalism may not be merely a remainder of our past but a portent of our future.

但是，假如在眼泪谷之后，威权主义国家没有迎来民主的第二波运动的话， 那怎么办呢？这就是为什么大家对于今天中国会感到如此不安的地方：它的威权资本主义不单单是我们过去的某个剩余物，还可能是我们未来的预兆。

Slavoj Žižek, a philosopher and psychoanalyst, is a senior researcher at the Institute for Advanced Study in the Humanities, in Essen, Germany. He is the author of, among many other books, The Fragile Absolute and Did Somebody Say Totalitarianism?

斯拉沃热·齐泽克，哲学家和精神分析师，德国埃森高级人文研究所的高级研究员。著有大量书籍，其中包括《易碎的绝对》以及《有没有人说过集权主义？》
Tags - 斯拉沃热·齐泽克 ]]> http://www.mayongfeng.com/blog/read.php?190 mayongfeng <admin@mayongfeng.com> Sat, 06 Mar 2010 06:33:08 +0000 http://www.mayongfeng.com/blog/read.php?190

Ma Yongfeng, Volcano, C-type Print (2007)

HAMPSHIRE, UK.- ArtSway will feature Ma Yongfeng: The Cretaceous Period, on view 28 July - 16 September 2007. The Cretaceous Period is the first UK solo exhibition of art work by Ma Yongfeng. Ma Yongfeng is a Beijing-based artist who has received international recognition for his photographic and video pieces examining the ways that humans position themselves in relation to the natural world. The artist describes his photographic work and video installations as “relating to aspects of animal culture, man-made environments and topographic modelling”. Hosted at the Chinese Art Centre in Manchester for three months and subsequently in residence at ArtSway, Ma Yongfeng has spent a total of five months researching and developing his work.

Ma Yongfeng came to international prominence with his notorious work, Swirl (2003), exhibited at MOCA in Los Angeles, and PS1 in New York in which six coy carp were subjected to a fifteen minute wash cycle in the drum of a washing machine. The work raised a debate about the human treatment of animals both within and outside an artistic context. The artist has continued to explore the relationship between humans and their nature displays, photographing empty dioramas and “natural habitat” enclosures in zoos and museums, and revealing the centrality of humans and their own narratives in these spaces.

During his residency in Manchester, Ma Yongfeng visited numerous zoos and museums and conducted exhaustive research relating to all aspects of Natural History. For his subsequent residency and exhibition at ArtSway the artist has chosen to focus on a significant period in Earth’s history, The Cretaceous Period, after which he has named the exhibition of video works and large-scale photographs. These images examine the cretaceous period in relation to the artist’s continuing research into natural history, animal culture and fossil archaeology alongside his interest in archaeological simulations, geographical models and displays in natural history museums. Ma Yongfeng’s new work has developed from the photography of animal enclosures and man-made environments to the documentation and recreation of these sites as ‘sets’ in his own studio, as in the work of German photographer Thomas Demand. Ma’s images, however, create what he terms an “installation after an installation”, referencing and refashioning earlier media such as television, stage-production, film set building and installation. Hibernation (2007) depicts a bright chocolate box snow-scene in which one imagines a hiding animal, and the photographic work Volcano (2007) depicts a miniature volcano, complete with authentic looking lava that the artist constructed in his studio in Beijing. This working volcano is also featured in one of two video works in The Cretaceous Period, and comments upon the relationship between artificial environments, natural habitats and aesthetics.

Ma Yongfeng was born in Shanxi, China in 1971 and is a media artist currently based in Beijing. He has exhibited widely across Europe, the United States and China – most recently in Chinese Video Now at the John Hansard Gallery, The Fragmented Gaze: Video Art from the PRC at Deborah Colten Gallery, Houston TX, and Becoming Landscape, Platform China Contemporary Art Institute, Beijing. He was selected for a residency by ArtSway and the Chinese Art Centre Manchester from an exceptional shortlist of artists nominated by Chinese curators and professionals.

http://www.artdaily.com/indexv5.asp?int_sec=11&int_new=20842
Tags - artdaily , artsway , mayongfeng ]]> http://www.mayongfeng.com/blog/read.php?189 mayongfeng <admin@mayongfeng.com> Tue, 02 Mar 2010 08:34:45 +0000 http://www.mayongfeng.com/blog/read.php?189

你在优酷和土豆网上传的两个视频必须删除！！
　　
这是我2003年的作品《对抗练习》，在纽约现代艺术博物馆下属的PS1展过，当时给你拷了一份，你竟然把字幕改成你的作品！！
我的字幕都是中英文对照的。还有《砖》那个也是我的作品。
　　
今天偶然看到，你传上去已经2－3年了，我对国内网站关注比较少，所以没看到，这么长时间应该引起很多不明真相的人的误解。希望你立即删除以上以上两个作品。
　　
做人不能无耻到这个地步！！！！！！！！！！！！！！
　　
　　
首先给你警告！！如果不删除的话，在北京找到你就地解决！！！
　　
另外敬告其它人：原作在我的个人网站：
　　
http://www.mayongfeng.com/works/video.html


此人我就不说了，大家应该自己可以找到是谁。

豆瓣截图





Tags - 对抗练习 , 砖 , 剽窃 , 优酷 , 土豆网 ]]> http://www.mayongfeng.com/blog/read.php?188 mayongfeng <admin@mayongfeng.com> Sun, 21 Feb 2010 03:38:29 +0000 http://www.mayongfeng.com/blog/read.php?188
Tags - video ]]> http://www.mayongfeng.com/blog/read.php?187 mayongfeng <admin@mayongfeng.com> Mon, 15 Feb 2010 10:54:56 +0000 http://www.mayongfeng.com/blog/read.php?187

Storm Model
5min  color  sound  2005
Single channel video installation, projected
One DVD player, one projector

In Storm Model (2005), Ma Yongfeng inverts his strategy to address a related set of issues. The 5-minute video impersonally records the destruction of a model village by "forces of nature." While the turgid water tossing the helpless fish about in The Swirl is obviously part of a humanly made design and a mechanized expression of routinized abuse, the water depicted in Storm Model is supposed to be torrential rainfall and flooding-a simulated retribution to humanity for its iniquities, perhaps, like the biblical floods meant to cleanse the earth. Here, however, here there is no Noah, no ark, and there are no animals to fulfill promises of regeneration. There is only destruction as simulated "nature" reclaims the earth, sending us back to our origins.

Maya Kóvskaya


In preparing this video work Ma Yongfeng spent several weeks working on a large model of a Chinese mountain village that is struck by a severe storm, complete with torrential rains, floods, and combining sound, and light effects.After the video was produced, Ma Yongfeng proceeded to destroy the installation. This work sets out to challenge the relationship between digital video, installation, and the common practice of model building,particularly by natural history museums. These man-made constructions represent mock-up residues of the real world, where people and animals are transported into the simulacra of the origin of species.

Thomas J. Berghuis  

http://www.cinemambiente.it/film_ambiente/3985_Storm_Model.html
Tags - video , film ]]> http://www.mayongfeng.com/blog/read.php?186 mayongfeng <admin@mayongfeng.com> Sat, 13 Feb 2010 07:59:10 +0000 http://www.mayongfeng.com/blog/read.php?186

It was 25 years ago that Anne Teresa De Keersmaeker, who was still very young then, created Rosas danst Rosas. It became a classic and has been learned over and over by new groups of dancers. Today Anne Teresa De Keersmaeker is once again taking her place on stage and to dance with three members of the second generation, Cynthia Loemij, Sarah Ludi and Samantha Van Wissen. | 4, 6, 7, 8/02/2009 - Kaaitheater (Brussels)
Tags - 舞蹈 , rosasdanstkaaitheater , anneteresadekeersmaeker ]]> http://www.mayongfeng.com/blog/read.php?185 mayongfeng <admin@mayongfeng.com> Sat, 13 Feb 2010 06:06:54 +0000 http://www.mayongfeng.com/blog/read.php?185
Tags - video ]]> http://www.mayongfeng.com/blog/read.php?184 mayongfeng <admin@mayongfeng.com> Thu, 11 Feb 2010 01:05:26 +0000 http://www.mayongfeng.com/blog/read.php?184 泪担心水平

经过仪器
不换档

维修光
搂禁书入怀

爱面子
爱颤抖抛石机

守不住大坝里的水
淹白帝

牵手刀上练平衡木
猜石头

峰恋蜜
呼吸着位置

粉墙翻过黛瓦
吊环花

书法拱
离开四处游说

虎抬头
拼命的雷锋过来帮

脚无趾
坐气垫

鲸鱼泉
扔下每一件青花

跨过岛
坐在寺庙里译经
Tags - 诗歌 ]]> http://www.mayongfeng.com/blog/read.php?183 mayongfeng <admin@mayongfeng.com> Tue, 09 Feb 2010 12:13:10 +0000 http://www.mayongfeng.com/blog/read.php?183 给奖状一块糖 给长途电话立交桥
搭水果梯子到教堂

碰碰车嘟嘟囔囔

卖客机 在树顶上逛

2.
白石榴和黑石榴
围着棋盘

矮过菜青虫 还矮过吐鲁番

3.
几何课

住在等腰三角形上
等雪崩

一身少先队服
蜂蜜粘呀粘

4.
把一颗树埋了
等煤

左眼珠想换位置
去右边

煤眼球
煤眼球

5.
蚯蚓泪 挂冰凌

南极和北极的对联
一边一条

收集闪电点灯

6.
热爱党 热爱处决
在血里面
捞

枪杆子里面
出
月亮

7.
颠覆雨 你的机器荷
火力覆盖

粉红战场
摇着手榴弹

8.
守着睡 直升机的睡
无人处置
吐火罗文

骆驼守着玉
在壁画上打牌

9.
给路灯断电
折断纪念碑 折断光

在人名里找到自己
座位空

空的像弹壳

10.
游泳槽 堵着鱼

尖爱丁堡
在火星上玩考古

累
摔倒在累里
Tags - 诗歌 ]]> http://www.mayongfeng.com/blog/read.php?182 mayongfeng <admin@mayongfeng.com> Sun, 07 Feb 2010 05:19:13 +0000 http://www.mayongfeng.com/blog/read.php?182



















Tags - 图片 ]]> http://www.mayongfeng.com/blog/read.php?181 mayongfeng <admin@mayongfeng.com> Fri, 05 Feb 2010 11:56:15 +0000 http://www.mayongfeng.com/blog/read.php?181 粘稠的自我 掉入凡士林的矿洞

经过地图上软弱的地点 呛得像发射的脂肪
和“熟悉液体的嘴”

坐在护士一样的斑马线上
我被迫区别洗衣粉的白 和抽筋的白

医院挑剔的白 很会说话
搜集所有鸟类的翅膀让我绊倒在
分类里

接过软组织的接力棒 接过“纺织让丝绸如此复杂”
爱上线条上变质的点

大家用眼睛打桌球
用事物的过滤等待蜘蛛

结束真的很好玩 和开始一样冒烟
只让植物自己说

咳嗽的秋天 宋徽宗的秋天 和射箭的秋天

Tags - 诗歌 ]]> http://www.mayongfeng.com/blog/read.php?180 mayongfeng <admin@mayongfeng.com> Fri, 29 Jan 2010 15:13:34 +0000 http://www.mayongfeng.com/blog/read.php?180 是发抖像发烫一样逼近

来回旅行的姑娘 接近排球赛的鲜艳
她们一路脚步凌乱 如同水银管不住自己

是心跳中隐藏着相思发动机
是观众的摩擦让情节上升

接近的温度只是两个人的温度 让台风围绕着
围绕着蒸馏水一样的白昼

可是体育不知道自己的缺陷
可是来回传递的排球 只在发烫的姑娘手中

Tags - 诗歌 ]]> http://www.mayongfeng.com/blog/read.php?176 mayongfeng <admin@mayongfeng.com> Sun, 17 Jan 2010 06:51:17 +0000 http://www.mayongfeng.com/blog/read.php?176



























Tags - polaroid , 宝利来 ]]> http://www.mayongfeng.com/blog/read.php?177 mayongfeng <admin@mayongfeng.com> Sat, 16 Jan 2010 12:23:51 +0000 http://www.mayongfeng.com/blog/read.php?177



















Tags - polaroid , 宝利来 ]]> http://www.mayongfeng.com/blog/read.php?175 mayongfeng <admin@mayongfeng.com> Tue, 12 Jan 2010 04:57:57 +0000 http://www.mayongfeng.com/blog/read.php?175

“设计是个人的事。一般而言没有尽善尽美的设计。为尽善尽美而努力，却从来没有实现，尽善尽美的愿望总成为艺术家的动机。下一件作品的种子就在已完成的作品之中。”　 ――Louis Isadore Kang

　　1901年2月20日，路易・康（Louis Isadore Kahn）出生在波罗的海的萨列玛岛，它是爱沙尼亚的一座小岛， 当时处于波兰统治下。1905年，全家迁徙至美国。作为宾夕法尼亚大学的一名学生，他幸运地被安排在保罗・甚列特（Paul Cret）执教的班上学习，后者是法国著名的设计师，从巴黎到费城，他一直严格地沿用Beaux-Arts体系的一系列方法论。在完全领会Beaux-Arts体系之后，康从宾夕法尼亚大学毕业。20世纪20年代至30年代，他像一名制图员一样工作，后来，康成为了费城几家建筑集团的主要设计师。

　　20世纪30年代到40年代，康开始设计单独的住宅和工厂。1947年，他成为耶鲁大学建筑学教授，在那里，他提出：“一个好的问题远远比最满意的答案更让人满意。”在1950年参加了位于罗马的美国建筑学研讨会之后，康对地中海式的建筑特别欣赏，于是他开始了他最重要的工作：在纽黑文创建耶鲁大学艺术中心（1952-1954），他的建筑风格违背了当时盛行的国际式建筑风格。



　　 1957年，康成为宾夕法尼亚大学建筑学的知名教授。他所设计的宾州大学理查兹医学研究大楼（ Richards Medical）（1960－1965）突出展示了“医生区”与“病人区”的空间区别。病人区通常包括楼梯间、电梯、排气口以及进气口、管道等都分别在四个单独的塔里；而医生区就不同，主要包括实验室和办公室，实验室的建筑几十年来一直都是照此设计。康将实际的特征运用于建筑原则之中，加利福尼亚拉霍亚索克研究中心（Salk Institute La Jolla CA）（1959-1965）正体现了他这一成熟的风格，也是其最好的例证。康从古典建筑和中世纪建筑风格中得出的灵感，并运用基本的几何图形以及混凝土和砖瓦之类的原材料成功地建成了耶鲁大学艺术中心（Yale Center for British Arts）（1977）。

　　 康的设计风格以其简洁、柏拉图式而闻名，因此，他所设计的建筑有相当明显的特征，譬如：强大有力的结构、厚实的窗体等，这使他成为二战后涌现出来的、颇有争议的建筑师。通过砖块和混凝土圬工的使用，他设计的当代不朽建筑使其获得了当地一致的赞同。由于深受国际风格的影响，康的建筑将Beaux复合结构和个人的审美观结合在一起，形成了他自成一体的风格。

　　像打破国际风格的著名建筑师艾罗・萨里南（Eero Saarinen）和井赖・奥托（Frei Otto）等一样，在康的一生中，他的工作也颇具争议。然而，他的作品还是得到了每个时代评论家们的好评，并被誉为“20世纪最具独创性、最重要的建筑师。”

　　他被誉为建筑界的诗哲，大器晚成的他五十多岁时才真正成为一代宗师，他的建筑作品通常是在质朴中呈现出永恒和典雅，而这次在莱斯大学的讲演则阐述了建筑应该怎样在反映人类对本质的思考过程中创造的奇迹；他在演讲时提到的光明与阴影，与他在建筑作品中善于把握光的作用一样，都启发着人们对存在和哲理的思考。通过他的描述，我们可以感知建筑学的真谛――对超越物质与技术而存在的人类的梦想的表达。



　　路易・康的著作有《建筑是富于空间想像的创造》、《建筑・寂静和光线》、《人与建筑的和谐》等。

近年来，相当多的建筑评论家认为，路易斯・康是一位在现代建筑的演变中居关键地位，因而为后现代主义的出现提供重要启迪的学者，认为他是一位承前启后的人物，是一个理论、实践皆极为出色，因而无愧为当代大师的人物。他的理论，既有德国古典哲学和浪漫主义哲学的根基，又糅以现代主义的建筑观，东方文化的哲学思想，乃至中国老庄学说。在建筑理论方面，他的言论常常如诗的语言一般晦涩、艰深、令人费解；然而也确如诗句一般，充满着隐喻的力量，引人而又多义。他的实践，似乎为这些诗句般的理论做了注解；而他的理论，似乎又为他的实践泼洒上一层又一层神秘的色彩。在20年的颠峰状态中，他的作品遍及北美大陆、南亚和中东，他的弟子成为今天美国以至其他国家建筑界、建筑教育界的中坚，而他的建筑思想，更是风靡了一代又一代。评价更高的人们崇奉他为一代“建筑诗哲”。


Tags - 路易・康 , louiskahn ]]> http://www.mayongfeng.com/blog/read.php?174 mayongfeng <admin@mayongfeng.com> Tue, 05 Jan 2010 10:18:05 +0000 http://www.mayongfeng.com/blog/read.php?174 暂时放置在豆瓣 Time-based Media 小组里面
有兴趣的可以看看下面这个链接。


http://www.douban.com/group/131506/
Tags - 100件事儿 ]]> http://www.mayongfeng.com/blog/read.php?179 mayongfeng <admin@mayongfeng.com> Sat, 02 Jan 2010 02:33:30 +0000 http://www.mayongfeng.com/blog/read.php?179 自己保持体温的理由 以及插座带来的刺痛

矩形方框中 保温的节目
储存笑和泪腺

差点进入沸点的转播器
咀嚼着信号和电流

是地震摇着闪烁的夜晚
摇着脆弱的对白

停机坪淹没在红灯中 直到电梯携带着电池的记忆
把我们呕吐到 玻璃动物园

Tags - 诗歌 ]]> http://www.mayongfeng.com/blog/read.php?178 mayongfeng <admin@mayongfeng.com> Fri, 01 Jan 2010 14:59:39 +0000 http://www.mayongfeng.com/blog/read.php?178 有着车灯的阴影
轮胎鼓着速度的气体 黑珍珠的气体

街上的水库害羞的一闪
有烟点着了路灯

闪光灯回忆着去年的闪光
水泥游乐场维修工失败的轮岗 失败的
像一起车祸

围绕着满城灯火 围绕着救护车一样的闪烁
我筑起水库堤坝

在石油的黑暗中
藏着石榴的经文
和冥想的速度

Tags - 诗歌 ]]> http://www.mayongfeng.com/blog/read.php?169 mayongfeng <admin@mayongfeng.com> Tue, 22 Dec 2009 14:34:53 +0000 http://www.mayongfeng.com/blog/read.php?169
7:22am  Dec. 22, 2009


4:58pm  Dec. 22, 2009

Streetlight in Beijing, 2009
Off at 7:22am   On at 4:58pm    
Totally duration of 14 hours and 22 minutes between the two moment

北京路灯

2009年12月22日，星期二，农历十一月初七，冬至。
关闭时间早上7点22分，开启时间下午4点58分。
在两个时刻之间（夜间）总共运行了14个小时22分钟。

关注这期间内的光线变化、能量传输和时间流逝。
然后用扩音器告诉街上的行人准确的关闭和开启时间，以及持续了多长时间。

Tags - streetlight , beijing , mayongfeng , 北京路灯 ]]>