APSMUSEUM论坛回顾 | 孤独及其所创造的

APSMUSEUM空间外景

“孤独及其所创造的”论坛现场

In the afternoon of February 24, we were pleased to invite Mr. Sun Qidong, curator of Shanghai Minsheng Art Museum, Ms. Alice Chen, artist and founder of Positive Art Research Centre (PARC), Mr. Shi Yong, artist and Artistic Director of ShanghART Gallery, and Mr. Yang Zhenzhong, artist, to have a conversation around Shi’s Inside or Out and Yang’s Light and Easy 2, which are now on view in the opening exhibition “Ensemble Urbain” at APSMUSEUM, and their other works, discussing and exploring the different possibilities of space in the contexts of urbanization, globalization, “planetization” and more.

作为论坛的主持人，孙啟栋以“孤独及其所创造的”这段标题为出发点，首先指出公众对于艺术家“孤独”状态的刻板印象，并引用法国思想家布莱兹·帕斯卡的这句话：“人类所有不快乐的唯一原因是他不知道如何安静地呆在房间里，” 与艺术家就其与空间的关系展开讨论。通过分享艺术家不同时期的项目与作品，讨论的空间由艺术家日常的工作室移动到上海这座城市，随后又扩展到全球，甚至是外太空。随着空间的转换，主持人与艺术家阐述着空间的多种可能性：它可以是孤独的、丰富的、魔幻的、暧昧的、外露的、隐性的……这些特性都在人与人、人与空间、艺术与空间的对话中一一显露出来。论坛最后，孙啟栋又将话题转回到“孤独”一词。当我们在面对当代艺术或是大都市时，“孤独”实际上是我们身为“局外人”角色的一种反射。正如艺术家对于空间的观察与想象，这种角色能帮助我们在观察、投入、抽出的过程中达到更高的创造力。

As the moderator, Sun began with the title “The Invention of Solitude,” pointing out the stereotype associated with the “solitary” characteristic of artists. Quoting the French philosopher Blaise Pascal, “all of man’s misfortune comes from one thing, which is not knowing how to sit quietly in a room,” he unfolded the conversation around the relationships between artists and their spaces. By sharing the works of different periods by these artists, the space of the discussion moved from the daily studios of artists to the city of Shanghai and extended to the globe or even the outer space. Through these spaces, the guest speakers demonstrated multiple possibilities of space: it can be solitary, fertile, magical, ambiguous, explicit, or hidden….These characters all got revealed among the dialogues between human and human, human and space, and art and space. At the end of the forum, Sun pulled the topic back to the word “solitude”. When we are facing contemporary art or metropolises, “solitude” is indeed the reflection of our “outsider” character. Just like how artists perceive and imagine different spaces, this character could help us to achieve a higher degree of creativity, through the processes of observing, falling in, and pulling out.

To watch the complete video of the forum, press on the QR code.

上海从上世纪90年代开始，重新成为了全球大都市之一。按照科幻电影的思路来讲，全球大都市总是外星人攻击地球的首选打击目标。我们这个讲座由这个问题出发：“外星人每每入侵地球都从这些超级城市入手，但这是否是最佳选择？”

Since the 1990s, Shanghai has returned to one of the global metropolises. Based on the typical plot of sci-fi movies, the global metropolises are always extraterrestrial’s first targets of invading Earth. Therefore, our forum begins with this question: extraterrestrials always start with the super cities when they invade Earth, but is it the optimal option?

时代发展带来的城市改变和重构，不是一个单纯的于城市空间层面上的变异，而是一个多尺度的内爆和外爆的过程。简单来说，就是这个过程不仅体现为城市景观的改变，同时也体现在由它的改变引发的人的心理的改变。

Brought by the progress of the age, the reformation of cities is not merely a mutation of urban space, but actually a process of implosions and explosions in multiple scales. In other words, this process not only shows a change in city landscapes, but also shows a change in people’s mentality caused by the city’s change.

回到“外星人攻击大都市”的问题，答案自然是否定的，因为大都市就是一个表象。当你把整个城市理解为一个“有机体”，就会关注城市的能源、材料、水、垃圾等基础设施领域的问题，你很快就会发现你进入了一个区域、世界甚至星球的尺度。从现代城市发展的一开始，城市化就不是仅仅发生在城市集群的空间之内，城市化形成的城市结构已经延展到了整个星球——跨越陆地，海洋，甚至延伸至外太空。

Coming back to the question of “extraterrestrials attacking metropolises”, the answer is of course negative, because a metropolis is just an appearance. If you comprehend the whole city as an “organism”, you will see the issues of energy, materials, water, wastes, and other infrastructures. Therefore, you will soon find out that you are entering a scale of a field, the world, or even the planet. Since the development of modern cities, urbanization has not only been happening within the spaces of urban clusters. The urban structure caused by urbanization has expanded throughout the whole planet—across lands, seas, or even reaches outer space.

《引力——上海夜空》是我对上海“魔幻”表象的思考。上海其实是在1991-93年才开始被定位为中国面向世界的窗口，那个时候我们在上海有很多口号，比如“立足上海，面向全球，与国际接轨”等。当时基础建设在上海是轰轰烈烈，整个城市变得很魔幻。晚上，我一边开着车，一边拿着照相机，随便拍摄闪烁着霓虹灯的建筑的顶部。因为那时，甚至现在，建筑的高度一直是我们对欲望幻想的一种物理性表述。在这件作品中，我设置了56个灯箱，里面的发光灯管使得每个灯箱上的建筑顶部照片更加迷幻。我想，很多时候我们都是被这种局限于视网膜或视觉上的东西给控制了，我们没办法绕开它去探讨这个特殊语境中的世界。

Gravitation - Shanghai Night Sky represents my thoughts about Shanghai’s “magical” appearance. It was until 1991-93 that Shanghai was positioned as China’s window to the world. At that time, we had many slogans in Shanghai, such as “standing in Shanghai, facing the globe, connecting to the world”. The infrastructure development in Shanghai was vigorous, and the whole city became very magical and surreal. At night, I carried a camera when I was driving, randomly taking photos of the tops of buildings illuminated by neon lights. At the time, or even now, the height of architecture is always a physical representation of our desires and fantasies. In this work, I installed 56 lightboxes, and the fluorescent tubes inside made the attached architecture photos even more illusory. I thought we were often captured by the visuals, or those that could only be sensed by our retinas, and we could not avoid them to explore and talk about this world.

我在创作《内或者外》时，正着迷于“缺陷”这个概念：通常在我们的社会系统里，“缺陷”是被排除在外的，因为它不符合与之对应的“完美”概念。但是如果你试图想改变既有的语法，你或许只有通过“缺陷”这个词才能予以颠覆。就像我们无法脱离的全球化却因为“COVID-19”这样一个病毒，使之至少在物理空间的层面被实实在在地断开了。这就像在一个漂亮完整的语法当中，突然嵌入了一个变异的词汇，改变了整个局势，使整个语法被瓦解。对我而言，“COVID-19”就是一个实实在在的“缺陷”。所以我试着选用特定的词语通过对中文简体进行笔画拆解与重组的方式，当然它们务必建立在一个基本的概念前提之上，即“围合”这个概念，做成了一个个围合型的字体装置作品。不过，这件《内或者外》是在上述概念基础上的一次推进与展开。我把它们设置在不确定的状态之中：它们既可以可以展开延伸，同时亦可以闭合。

我刚开始在上海做职业艺术家时创作了《轻而易举2》。1997年，由于工作的原因，我从杭州搬到了上海。这两个城市有很大的区别，杭州节奏比较慢，生活比较悠闲。我刚到上海时，在20层高的楼里看到外面都是灰蒙蒙一片，到处都在做建设。因为周围空间在不断地改造，这令人感觉在风暴中心，同时又非常兴奋。所以我在《轻而易举2》里，把整个城市倒转过来，玩了一个掌间游戏。我感觉作品中如明信片一般的图像很轻，因为它可能随时会被覆盖。

杨振中(Yang Zhenzhong)，《轻而易举2》(Light and Easy 2)，2003，单频影像 彩色，有声，1'00''

展示《栅栏》的箭厂空间位于北京的箭厂胡同里，是一个很小的空间，只有十多平米左右。这个空间本来是敞开的，我建了一堵墙将门封住，留了一个小窗户。窗户上面放着栅栏，栅栏背后从街上看是一面镜子。其实那是一种审讯用的单面镜——路人从街上看过去是自己，而从屋内看过去是外面的人。因为是栅栏，屋外的人好像在看牢笼里的自己。而在屋内看监控的人虽然看到的是“栅栏里”的他人，但因为自己在室内，又有种置身于笼内的感觉。

我们在城市里生活，是被规训的人，改变不了设定好的规则。艺术家可以把自己摆在一个好像从其他时空穿越过来的、完全不懂规矩的思路，在这样的思路上来看城市，我觉得这是一种孤独，一种角度。

杨振中(Yang Zhenzhong)，《栅栏》(Fence)，2017.6.14-9.11，特定空间装置，箭厂空间，北京

“露台计划”是一场发生在法国驻上海总领事官邸露台的艺术实践。被转换成为当代艺术替代空间的官邸露台拥有了解读上各种指向的暧昧性和丰富性。比如说，这个空间既是一个私人居住空间，同时也因为它官方的身份，具有了某种特殊的对于公共性的指向。再比如说，它原本不是一个常规的艺术场域，但是艺术却实实在在地在此生发了。而且它身在官邸的围墙里，但它在墙外也部分可见。作为项目主持，我希望它能成为艺术家创作灵感的基因提取库和刺激源。“露台计划”为期约两年，总共将会推出10期，敬请关注与期待。

“Project Terrace” is an art project happening on the balcony of the Residence of the French Consul- General in Shanghai. As a contemporary art alternative space, the transformed balcony has different extents of ambiguity and fertility. For instance, this space is not only a private residence, but also a special place associated with publicity due to its official identity. Furthermore,  it is indeed not a regular art space, but art has actually developed here. It is situated within the fence of the official residence, but it is still partially visible beyond it. As project conductor, I hope it could become the gene bank and stimulative source of artists’ inspirations. The duration of “Project Terrace” is about two years, and it will introduce 10 programs in total, please stay tuned for future programs.

施勇老师在“露台计划”中的作品《谨慎！你的介入将对其产生影响，也对你产生影响》是一件与“平衡”概念有关的身体介入式装置。艺术家在创作这件作品的时候，把这个露台看成是一个带有政治地理象征意味的空间。

Shi’s work in “Project Terrace”, Caution! Your Intervention will make an impact on it, as it will also make an impact on you, is an interactive installation associated with the concept of “balance”. When the artist was creating this work, he took the balcony as a space related to political-geographical symbols.

作品最初的灵感源自对一块大平板下不小心滑入一颗小钢珠而导致不平稳所给予的一个启发。那颗小钢珠就像是一个“缺陷”，使原本习以为常的平衡被瓦解。

The inspiration for the work came from the imbalance caused by a small steel ball that slipped under a big plate. The steel ball was like a “flaw” that broke down the balance that we were used to.

艺术家觉得这个作品特别适合落实在这样一个具有特殊空间意义的露台上。因为露台的位置正好处在四个具有不同国家属性的空间边界交汇处（露台属法国领馆，道路左对面属美囯领馆、右对面属伊朗领馆，中间道路属中国地界），其边界的复杂性和彼此立场的差异与敏感性是不言而喻的。所以将这个可以不断产生失衡又可以不断找寻平衡的敏感装置嵌入至这样一个特殊环境中是确切而又必须的！通过它（平衡装置），多重边界的特殊性与敏感性将被激活、被凸现。

The artist thought that the special balcony was very suitable for realizing the work. Because the balcony is situated at the intersection of four spaces representing different nations (the balcony belongs to the French Consulate General; across the street on the left side is the Consulate General of USA; across the street on the right side is the Consulate General of Iran; the streets belongs to China)，the complexity of these boundaries and the differences and sensitivity of the different standpoints are self-evident. Therefore, it is accurate and necessary to install such an imbalance-generative and balance-seeking work in this special environment! Through this installation, the particularity and sensitivity of multiple boundaries become activated and highlighted.

点击图片回顾往期

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