Feb 20

悬空记 - 马永峰个展  Suspending - Ma Yongfeng's Solo Exhibition at Jiali Gallery

mayongfeng , 13:37 , art | 走秀 , 评论(0) , 引用(0) , 阅读(4391) , Via 本站原创

内嵌图片 3


浮现

 

在社会干预、装置和参与性实践等领域探索数年之后,马永峰又回到摄影,回到白盒子般的展览空间,于是便有了这场在家里画廊举办的新作展。“悬空记”颇有意趣,出手不凡,他的艺术创作又开生面。

 

这些小小的银盐照片体现出一种观看的方式,当代问题及其搭建与中国传统文化之间的桥梁的需要在其中相遇,微妙无华,却足可生变。

 

这些影像被洗成很小的尺寸,略显无规则,取决于相纸的大小。影像很小,数量又相对繁多,使观者穿行于一次私密的体验,时间慢了下来:若要看尽所有的照片,我们需要贴得很近,花上几分钟。

 

初看这些尺寸各异的照片时,我就为它们所吸引。它们生出一种别样的观看韵律:参差错落,先交给观者一个全面的印象,再带领他细细地注视每一件作品。

 

这些照片被分成10组,我们可以在东方传统的哲学中找到最初的观看线索,然而,当我们尝试采用另一种批评的视角,透过西方思想的棱镜去观看时,也常常不无助益。

 

夏尔·波德莱尔在他那影响深远的《应和》诗中写道:

 

“自然是一庙堂,那里活的柱石

不时地传出模糊隐约的语音……

人穿过象征的丛林从那里经行,

树林望着他,投以熟稔的凝视。”

 

在此,波德莱尔造成了词语与事物、描写与被写的物之间的破裂。“通感”任性地使符号成为象征的替代,它不命名,却暗示。

 

马永峰的多数影像作品都来自有序的拍摄,如同对中国历史、艺术和哲学中的形式和主题的随兴探索(“自然”是其中的重要意象),但每组照片中的叙述和层次总会被一个出人意料的意象打破,这个意象的侵入开启了新的可能,产生新的关系,发现新的意味——无论观者还是艺术家本人,皆无法控制,无法预期。

 

马永峰将自己拍摄的照片与互联网上他人拍摄的照片相互混杂,显出更多无定与暧昧的意味。他同时作为照片的拍摄者和编选者,既将叙述空间重新布置,又对平行的时间重新编排,使新的、潜藏的意义浮现出来,成为可见。

作品的组织方式显出机敏的技艺,既非严格,又不重复:不依循任何预先设立的规则,而是以一种有机的方式不断变化着。

在这儿,我们遇到一种别样的准确,艺术家从未想要做到“太好”。没有必要润饰,也没有意图使任何事物超出它自身真实的存在:一种别样的情感发生着作用:即一个人找寻自己的内在生命与身边的外在世界之间的共鸣的需求。 

一股潜在的激流产生脉冲,终会为这种形式带来诗意。“悬空记”捕捉到这诗意的浮现,先于其成形、先于其被定义。

这是一种零度的影像,一种无意识的反照,可以溯源至马列维奇的“白方”或阿尔托的“复象”:一面无形之镜,存在并反照于“超然”,呼应着那有如物理学中物质与反物质一般的相互作用。

艺术家不让自己去描述作品,也不肯以教导的方式去展示,一旦这样做,一切便都将失去、死灭。“悬空”,意味
在浮现的一刻将其表明,在一个缥缈、隐约的中间地带,情感、形式与审美经验浑然一体,未曾分化。

“悬空记”巧妙地搭起一座桥,连通了传统中国艺术与当代艺术的语言。从拍摄到洗印,到汇集,到最终形成展览,马永峰的创作过程有如耶日•格洛托夫斯基“质朴戏剧”的著名训练方式:当一个人初次学唱一支佚名的古歌,他会以一种戏谑但准确的方式不断地摸索旋律的节奏和词语的发音,直到一种
飘然无定却极为鲜活的关系浮现。

因为他太过熟悉旋律,声音踌躇,却充溢着张力和欲望……他可以由此发现空间与时间如何被编排在节奏之中:来自山地的歌与来自平原的歌不是一种节奏,发声的方式也绝然不同。何人是它最早的歌者?火旁孤独的牧人?河
流之畔的舵工?怀抱孩子低吟的母亲?一切都在歌里。

格洛托夫斯基在其名篇《你是某人之子》中
,这种考古式的还原能使一个人以更加宽广的方式重新接触自己的本原、记忆、特性。马永峰的方式与此相仿,运用摄影和传统文化中的元素(石,水,竹,树),通过看似随意的元素进入集体无意识的深层,让我们感到无所依傍,他同时也放逐了自己。在这纤弱、微妙的感知层面,安全的专业性被抛弃,得到风险与潜能。

中国的文人画,女人的性器,原子弹的蘑菇云,它们之间有怎样的关系?或许我们该问自己“这些照片来自哪里?”来自马永峰,来自我们所有人?……还是来自别处?

 

雅克·莫诺在《偶然与必然》一书中说,转变最初是偶然的,然而,当它进入一个活的有机体中,便会经过数十亿次的复制和转译,进入必然。“悬空记”正处在偶然与必然之间,而唯有通过这样一种“张力—潜力”,过去与当下在转瞬之间相会,未来的剧变之种得以破土。

 

也许,马永峰暗示着我们可以由社会性或政治性的视角解读这些影像。这是中国的文人和画家对抗现状的传统方式,远离城市,将自然作为隐迹的所在和象征的源泉,他们会通过自己的艺术表达对政权的不满。明末画家石涛在他有名的“野草图”中描绘过一条野草丛生的道路。

 

他想说,纵使一条道路本是为了方便人们经行,丛生的野草却可以将它覆满,毁掉它的功用:同样,当贪官蠹役们过多地介入人们的生活,生活就会变得难以忍受。石涛在画上的自题很是简约:“杂然生道中”。

 

马永峰希望“悬空记”能使我们慢下来,避开外面世界的迅疾和残酷,静静站立,细细聆听。他邀请我们重新构造自己的内心风景,滋养生变的潜能,直到恰切的时刻,犹如半尊佛头,浮现于边际。

 

李山,北京,2014

申舶良/



EMERGENCE

 

With this new exhibition at Jiali Gallery, after several years of inquiries in the field of social intervention, installation and participatory practice, Ma Yongfeng simultaneously, comes back to photography and back to the white box. The way he does it, with the “Suspending” series marks an interesting and pivotal phase of his artistic expression.

 

These small gelatin silver photographs embody a way to look, in which contemporary issues and the need to build a bridge with Chinese traditional culture meet in a discreet but transformative way.

 

The images have been printed in small formats, slightly irregular, whose range is dictated by the size of the vintage paper.The small size and the relatively large number of images lead the viewer through an intimate experience during which time slows down: to see all the pictures we need to get close and to spend several minutes.

 

I was attracted since the beginning by this sequence of pictures whose size is slightly different .They create an interesting rhythm for the eye to watch: an irregular alternation which gives the viewer a first overall feeling and then leads him to carefully pay attention to every single piece.   

 

The pictures are divided in 10 series, and although the first references that come up when we look at them could be found in the tradition of Eastern philosophy, we can also read them through the prism of another critical thought, a Western one this time.

 

Charles Baudelaire, in his seminal poem “Correspondences” states :

La Nature est un temple où de vivants piliers
Laissent parfois sortir de confuses paroles;
L'homme y passe à travers des forêts de symboles
Qui l'observent avec des regards familiers.

 

Baudelaire caused here a rupture between the word and the thing, between the act of transcribing and the object recorded. The “correspondences” are arbitrarily turning the signs into symbolic substitutes that do not name but suggest.

 

Most of Ma Yongfeng images taken one by one, seem informal inquiries into forms and motives of Chinese history, art and philosophy, (with nature as a key metaphorical element) but their narrative and hierarchy are disrupted in each series, by an unexpected element whose intrusion opens the possibility to make new associations and find new meanings which cannot be controlled or predicted anymore: nor by the artist, neither by the viewer.

 

The fact that Ma chose to put together pictures he took by himself and others taken from internet archives increases the sense of indeterminacy and ambiguity;being both photographer and photo-editor he operates a juxtaposition between the relocation of narrative space and the re-appropriation of parallel time which bring new hidden meaning visible on the surface.  

 

Technically wise, we observe that composition is neither strict, nor repetitive: it does not follow any pre-established rule, and, instead it changes continuously in an organic way.Here another form of accuracy is searched, one in which the artist is not trying to do anything “too well”. There is no need to re-touch, and no attempt to fake that whatsoever element is more than what it really is: a different form of sensibility is at work: it is the need to find a resonance somewhere between one’s inner life and the outside world close by.

 

An hidden current generates an impulse that will eventually take the form a poetic gesture,the “Suspending” series capture the emergence of this poetic gesture before it takes form, before it is defined.

 

It is a zero-degree of the image, an unconscious reflection whose references can be traced back to Malevich’s white square as to Artaud’s definition of the “double”: an invisible mirror that exists and reflects from “beyond”, echoing the kind of interaction we know in physics between matter and anti-matter.

 

The artist restrains himself from describing it, or representing it didactically because then it would be gone, dead.To suspend it, instead, means to testify it while it appears, in a sort of “limbo” zone where emotion, aesthetic experience and form are still undifferentiated.

 

The “suspending” series is also an interesting way to cast a bridge between the language of traditional Chinese art and the contemporary one.In the whole process of shooting, developing the images and putting them together for this exhibition, Ma’s process reminds a famous exercise Jerzy Grotowski used in his Poor Theater training:when a person is trying to learn and sing an old anonymous popular song from the past for the first time, he is constantly searching in a playful but accurate way, for the rhythm of the melody and the sound of the words, until an uncertain but extremely lively connection appears.

 

Because he knows the melody too well, the voice is hesitant but full of tension and desire….in this way the person can discover how space and time are codified in the rhythm: it will be different if it is a song from the mountain or from the plain, as the voice will come out differently. Who sang this song for the first time? Was it a shepherd alone by the fireplace or a rower along the river, or a mother to a child? All the information are in the song.

 

Through this archaeological regression, Grotowski explains in a well known article called “Tu est le fils de quelq’un” (You are someone’s son), it is possible to get in touch again with one’s own origin, memory and identity in a larger sense. Ma Yongfeng operates in a similar way, using the photographic medium and the symbolic elements of traditional culture, (the stone, the water, the bamboo, the trees) and the apparently random elements  to dig inside the collective unconscious and make us lose our grip at the same time as he lets go of his own. On this fragile and subtle level of perception, the safety of expertise is abandoned for risk and potentiality.

 

What is the connection between Chinese metaphorical landscapes, a woman’s sex and nuclear mushrooms? Maybe we should ask ourselves “where do these pictures come from?”Are they coming from MA or from all of us?...or from somewhere else?

 

Jacques Monod in his book “Le hasard et la necessite’” (Chance and necessity), says that the initial event, the transformation, is a matter of chance, then once this event is inscribed in a living organism, it is replicated and translated billions of times and enters the field of necessity. Suspending exists right between chance and necessity and only in this kind of tension-potential, in which the past and the present touch each other briefly, the seeds of a future radical transformation can grow.

 

That is what Ma Yongfeng seems to suggest if we try to read these images from a socially and politically engaged point of view.The way Chinese intellectuals and artists traditionally challenged the status quo, was to leave the city and to find in nature both a physical refuge and a source of symbolic elements that they would use in their art to send a message to the power. In his famous painting “Wild Grass”, Shi Tao, the famous artist born towards the end of the Ming dynasty, depicts a road overgrown with wild grass.

 

He express the fact that even if roads are supposed to be convenient for people to walk along, wild grass can grow over a road and destroy its usefulness: in the same way when corrupted officials interfere too much with people’s lives, existence becomes

unbearable. Shi Tao wrote a simple inscription on the painting “They all grow in the middle of the road” .

 

With Suspending Ma Yongfeng suggests to us we should slow down and step aside from the speed and brutality of the outside world and stand still and listen carefully. He invites us to re-invent our inner landscapes and cultivate the potential for change until the right occasion, like the half-head of the Buddha, will emerge from the border.

 

Alessandro Rolandi, Beijing 2014

 

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