稻田里绽放——“消化的自我与虚拟的彼岸”展览

专业分类：专题报道

10.03.2016

看腻了“躺”在展厅里的艺术品，不妨和“长”在稻田里的艺术品来一次亲密接触！10月1日至5日，“消化的自我与虚拟的彼岸”——新陈代谢首届（隆里）国际新媒体艺术家邀请展公共空间单元，在贵州隆里古镇展出。

据策展人阎玉婷介绍，此次共展出20件作品，不仅有艺术家的创作，还有建筑师的参与。整个展览共分为三个部分，第一部分是隆里古城内部的艺术板块，第二部分是户外的河流、稻田等区域的艺术板块，第三部分是在“稻田里的孤岛”的艺术板块。

其中，最“惊艳”的就是第二部分。白天，这些艺术品看似是摆在稻田的“奇怪”装置，到了夜间，就会变得奇妙无比，展现不一样的魅力。沿着龙溪河，你可以看到坠落的“水滴”，这是郑路的作品《淋漓系列一》；穿梭在稻田间，状若星球的不锈钢球体映入眼帘，这是爱默杨的作品《黑暗》；仿佛悬浮空中的“白色帐篷”，这是李豪的作品《稻田庇护所》……

谈及为何以“消化的自我与虚拟的彼岸”为题，策展人阎玉婷说到，“消化的自我与虚拟的彼岸，意在以一种文化温度切入对新媒体艺术形式的思考，同时试图以一种去社会化的方式，对有关‘公权力’与‘私权利’在精神层面，所进行关系美学的探索。由此在一种‘单向度’的社会趋向力中，我们如何在被消化的过程中生成新的自我意识，成为现代社会需要思考的一个重要节点性问题。”

消化的自我与 虚拟的彼岸
策展人：阎玉婷

公共空间单元

人类文明目前已经渐进进入一个全新的历史阶段，有关“进化”的概念成为从大众意识到精英导向的共同课题。我们所处的新的社会系统逐渐走向多层结构之中，在现实作用力的权利体系逐渐被虚拟世界进行消化的过程中，超越于“人”的知识极限的信息集成体正在逐渐自我完善。个体在庞大的信息系统中，在面对外部与自我之间形成了一个虚拟空间的夹角。在此夹角中，被折射的自我成为自我的虚像，不断的消失在此岸的现实与彼岸的虚拟之间。我们似乎进入了一个信息化的消化时代，在新陈代谢的过程里，自我终究走向虚像抑或真实，成为一个极为辩证的课题。

Human civilization has gradually stepped into a brand new historical phase, and the concept of "evolution" has also became a popular ideology expanded from the commoners to the elites. The new social system that we live in is moving towards a multi-layered structure, and the system of power-in-reality that is within the social system is gradually being digested by the virtual world. An information-integrated body that has exceeded "Human" knowledge is self-completing. Individuals, living in this enormous information-integrated body, have transformed to be virtual intersection angles when facing the exteriors and the selves. Within these intersection angles, the refracted selves became the virtual images and constantly move between the reality at one side and the virtual on the other side. People have stepped into an informationalized digestive era. In the process of social metabolism, individuals will eventually move towards a dialectical topic about the real virtuality and the real selves.

在此单元中，以“消化的自我与虚拟的彼岸”为题，意在以一种文化温度切入对新媒体艺术形式的思考，“消化”代表一种社会与信息系统的综合消化力，个体的片段化信息被集合为一种集体意识，并反向提供一种超于个人的信息经验；“自我”代表着一种个体所处的精神思考，对“自我”的观念的延续通过新的信息化进程提供了哲学语境与艺术传达的更新可能；“消化的自我”同时以为着一种更新的个体与外界（现实社会与虚拟世界）的所处关系。“虚拟”代表着一种未知的宇宙规则，我们通过新媒体数字化的手段，似乎更加接近一种宇宙意识与世界本源，通过不可见的途径去触碰这个我们未知的世界；“彼岸”象征着一种终极意识，即是自我内在对“终极”的追求，同时又是对世界本身运行规则的显像与妄想。“虚拟的彼岸”是纯粹精神力的，代表着一种对形而上的，有别一观念艺术、极简主义的再次转译。“消化的自我与虚拟的彼岸”同时试图以一种去社会化的方式对有关“公权力”与“私权利”在精神层面所进行关系美学的探索。由此在一种“单向度”的社会趋向力中，我们如何在被消化的过程中生成新的自我意识成为现代社会需要思考的一个重要节点性问题。

In this unit, the title "The Digested Selves and The Virtual Other" illustrates a cultural temperature that is put into the reflection of the format of new media arts. The word "Digested" represents a comprehensive absorbing ability by the society and the information system, and it appears when an individual's fragmented information has been sorted into a collective ideology. This ideology reversely provides an extensively informative experience back to the individuals. The "Selves" in the title represents a spiritual thought that is maintained in individuals, and by using the new information progression, it has provided new possibilities for philosophical context and artistic expression. Therefore, "Digested Selves", as two ideas combined, demonstrates the relationship between the new individuals and the new world, i.e. the real world and the virtual world. "Virtual" means an unknown universal rule. People learn from new digitals to step closer to the universal consciousness and worlds ultimate origin, and we are adapted to use this non-physical method to touch on the unknown world that we live in. "Other" symbolizes an ultimate consciousness that humans pursue on the "extreme", but it also represents the human visualization or delusion of knowing the world's operation. "Virtual Other" describes an absolute spiritual stage, a thought on formation, or a translation that's different from conceptual art or minimalism. The entire title: "The Digested Selves and The Virtual Other" tries to use a non-social method to explore the aesthetics between "public power" and "private rights" in a spiritual realm. Therefore, in a "one-dimensional" social progression, the question of how people develop a new self-consciousness in the process of social digestion has became an essential investigation in a contemporary society.

此次展览中，我们有幸的邀请了多媒体、装置、录像、声音艺术家以及建筑师的参与，通过多种形式的集合呈现了这个单元主题。展览分为三个组成部分，第一个部分为隆里古城内部的艺术板块，这个板块相对于突出群体化的特征，通过对日常行为与参与互动的形式将外来观众与古城的原始生态进行一种互文对话。第二个板块是户外的河流、稻田等区域，通过对自然环境的利用，将新媒体艺术进行了户外展示的转化，在概念上指向了一种回归原始的“居住”概念与人类原初在自然中寻求庇护所与安全感的原初意识，以一种逆向思维介入当代话语。同时通过各位艺术家的作品传达了一种对成熟社会化体系的“出走”意识，而这种“出走”建立在一种完善的自我体系之上，这是艺术家在自足与自知的状态下的自我选择与自我思考。第三个板块是一个观众不可触及的区域，在遥远的“稻田里的孤岛”中建筑师李豪创造的一个集合了多媒体形式的概念意识体，该部分近似于一个介入物，在自然环境的合理性中呈现出一种不合逻辑的“彼岸物体“。观众将遥远的观望着不可通行的对象。这三个板块将形成对“社会群体—去社会化转化—纯粹精神力”的思维导向与转化，艺术家通过新的材料、媒介、技术将艺术引向一种在视觉形式上的新的自我构建的可能之中。由此完成一次对自我的消化意识与对彼岸世界的再度虚拟。作为此次隆里新媒体艺术节的艺术主题“新陈代谢”的一个策展单元，希望更多的填补了对“自我”在当下现实与虚拟集成的群体结构中发散思维，在一种重拾精神温度的态度趋向中，通过“新陈”与“代谢””进行自我“消化”与“进化”，由此形成一种对终极彼岸的一次精神探险。

For this exhibition, we had the honor of inviting artists who work on multi-media arts, installations, videos, sounds, as well as architects, and we hope to include variable arts to demonstrate this sections theme. The exhibition "The Digested Selves and The Virtuality On The Other Side" is constructed in three parts. The first section shows the interiors of Long Li ancient city. This section highlights the features of collectiveness and creates a dialogue between audiences and the ancient city using humans daily activities and their interactions within the space. The second section is the river and rice field outside of the ancient city. By using the natural environment, the section adapts new media art and transforms the exterior presentation. In the concept, the section points to the idea of "inhabitation" by going back to the original and the primitive mentality of humans relying on nature for protection and security. This concept uses a reverse thought to insert a contemporary language. At the same time, this section works with artists from various fields to pass on a consciousness of "escape" in an established social system. The "escape" is built on an established self-system, and it is the artists self-selections and self-reflections under the status of self-containing and self-knowing. The third section is an un-touchable area for the audiences. In "Lonely Island In a Rice Field", architect LI Hao created a conscious body of concepts that collects multi-media formats. The section is much like an interference that reveals a non-logical "object on the other side" in a logical natural environment. Audiences will look at this non-enterable area. These three sections will formulate a thinking orientation and translation that processes as "social collectiveness -- non-social transgression -- pure spirituality". Artists will use new materials, mediums and technologies to lead art to the possibility of new visualized self-establishments. The three sections have completed a self-digestion and another virtualization to the world "on the other side". As a curatorial unit for Long Li New Media Art Festival, The Digested Selves intends to supplement the divergent thinkings about "selves" in a collective structure constructed by reality and virtuality. It recollects the spiritual temperature in attitude tendency by analyzing the "new and old" and “substitution and decline" to create a spiritual exploration towards the ultimate shore on the other side.

参展艺术家作品赏析

宋冬

作品简介：煞风景（雨米皴）A Blot on the Landscape - Rain and Rice Stroke， 2010Video 录像running time：5minutes 30seconds。

作品位置：稻田左侧

宋冬

作品简介：煞风景（斧劈皴）A Blot on the Landscape - Chop Stroke，2010Video 录像running time：3minutes 21seconds。

作品位置：稻田左侧

宋冬

作品简介：煞风景（水风皴）A Blot on the Landscape - Wind and Water Stroke，2010Video 录像running time： 4minutes 17seconds。

作品位置：稻田左侧

宋冬

作品简介：煞风景（剪刀皴）A Blot on the Landscape - Cut Stroke，2010Video 录像running time：7minutes。

作品位置：稻田左侧

Alicia Eggert

作品简介：On a clear day you can see forever Video 录像作品18 mins 48 seconds2016。

作品位置：稻田左侧

周文斗

作品简介：点石Midas Touch。霓虹灯、太湖石尺寸可变。2016

作品位置：古城内

郑路

作品简介：淋漓 Dripping。不锈钢500x 300x160cm。2016

作品位置：古城外河流之中

郑路

作品简介：等待戈多Waiting for Godot。亚克力、重力感应装置、LED80 x 40 x 45 cm x 10。2015

作品位置：古城内

爱默杨

作品简介：黑暗。Darkness不锈钢、3D多媒体投影Dia.200cm。running time： 5minutes44 sconds。2016

作品位置：稻田右侧

AT GROUP

作品简介：感应场Induction Field装置、亚克力、灯光装置、LED、感应装置尺寸可变20 x 20cm x 200个；240 x 300 x 300cm可变尺寸，2016

作品位置：稻田右侧

王权

此在By This Time动态装置500 x 300cm三面翻自动装置。2016

作品位置：稻田右侧

王墒

无光无影No Shadow without Light录像Video 12mins。2014

作品位置：稻田右侧

陈霄

作品简介：戴一一 Dai YiyiDayami，影像Video21’50。2016

作品位置：稻田右侧

马氏社会调制器

12:35
虫鸣
来自中国舞台美术学会

声音特别项目：虫鸣
作品简介：采样人声或其他自然发出的声音通过音频处理变成抽象的音频，将特定频率的音箱在农田中摆放成一个场域，播放音频。人在经过作品区域时能会随着音箱摆放的阵列远近，有特殊的声音体验，可以感受到接近虫鸣的声音，但又能明显分辨出并非虫鸣的声音。
现场演出：艺术家现场即兴声音表演。
作品位置：稻田