事物的心灵 ——储云个展

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关于“事物的心灵”的笔记
那些日常中出现的彩旗,即使天天与它们相遇,也不会想起它们。它们似乎作用于微弱的知觉,既不产生理想也不确定意志;既不是快乐,也不生产快乐。它无法界定,无从回忆,但在不同的空间、不同的情境中,彩旗却以它特定的色彩和形状,让我们自身感受的情状清晰地浮现在眼前。
在储云的作品中,有一种内在的静默,邀请观者——人类中的一员——和作品相处,等待返观自身感知那一刻的浮现。这种静默,一方面缘于人与事物的关系无法言说,主观的表达在此略显傲慢;另一方面,作品本身也携带着时间,当某一刻,人的感知和事物的存在到达其交汇之处,作品才会以其自身存在方式进入到我们的生活进程之中。
《数字的形象》似乎回归到时间流逝本身和知觉经验之间的直接关系,在艺术家持续反复的朗读中,从10到0的各个数字依次不断进入我们的脑海,我们的听觉在聆听的同时也开始在塑造这些数字的形象,就像我们在听到一个人的故事时,开始想象关于这个人的形象。数字作为从时间和空间中抽象出来的存在形态又得以重返人的身体和呼吸,走向人所存在的基本条件,而正是这些时空条件让人得以进行生命实践,探索“共同生活”的可能。
由此,储云将艺术家所面对的展厅空间视为某种具有“潜能”的空间,重回感官现实的空间,它可以让某种被撕裂的“共同时刻”通过个体和作品的相遇重新展开。在这样的空间中,事物本身与人的感官交汇,焕发出与生俱来的启迪,但并未给予更多人们所希冀的承诺。就像,《平凡的一刻》中卡纸上所保留的这一刻,是我们在这个时空中截取的和作品相遇的一刻,它不是创造奇迹的一刻,也不是疯狂创业的一刻,它在过度的经济生活的时间之外运行着,因其平凡而逸出我们平常的感知范围。
这个“现实中的圆形”,清晰地出现在墙上,出现在和我们共享的空间中。它不再仅仅是观念中的圆形,也不是圆形的类似物或象征,它就是在我们感官的现实中可以直接感受到的一个圆形。我们在这个圆形面前,同时,我们置身于这个圆形所在的现实的时空中。从感官现实中的这个圆形出发,我们也许可以趋近圆形所蕴含的伦理学,追索这一个现实中的圆形和充满矛盾的现实将有什么样的关联。
(胡昉)

 

 

Notes on The Mind of Things

 

Buntings appear in our daily life, yet we don’t think of them even if we run into them every day. They seem to act on our subtle sensations, generating no ideal, validating no will, not constituting happiness itself, nor producing any happiness.  It cannot be defined nor memorized, but a bunting has its own specific color and shape in various spaces and contexts, causing the shapes of our own feelings to clearly emerge in front of us.
In Chu Yun’s works, there is an inner silence that invites its viewer— one of our human race— to stay with it, waiting for the coming of a moment when he is able to reflect on his own sensual feelings. This silence, on the one hand, relates to the relationship between human beings and things being beyond words, with all subjective expressions becoming rather conceited; on the other hand, it has something to do with the works carrying time within themselves, such that at a certain moment the sensations of a human being and the existence of things reach to their meeting point, only until then may the works enter the journey of our life by way of its own existence.
The Image of Numbers seems to have returned to the direct relationship between the passage of time itself and our sensual experiences. In the artist’s repeated recitation, each of the numbers from 10 to 0 continuously enters our minds one after another, and our sense of hearing begins to shape the images of these numbers while we are listening to his recitation; it is like: at any time when we hear the story of someone, we are set to conceive his images in our mind.  As a form of existence abstracted from time and space, numbers are able to return to our bodies and breaths, moving towards the basic conditions for our being. It is exactly because of these conditions involving time and space that people are able to experience their own lives and explore the possibility of “living together” with each other.
Therefore, Chu Yun regards the exhibition space, which an artist has to face, as a space with “potentials” that returns to one’s sensory reality. It is a space that can make some “common moments” previously torn apart to be renewed through the encounters between individuals and the works. In such a space, things themselves meet human senses, bringing out inspirations originated from their own nature without offering any promise to satisfy people’s desires.  For instance, the moment preserved on the card in An Ordinary Moment is a moment we captured when we encounter the work in this time and space.  It is not a moment of creating a miracle, nor a moment of entering into a crazy venture.  It operates outside of the time in our excessive economic life, and because it is ordinary, it falls out of our usual range of perception.
This “realistic circle” distinctly appeared on the wall, and it appeared in the space embracing our bodies. It is no longer a circle as a concept, nor an analog to or a symbol of a circle. It is a circle that can be directly felt in the reality of our senses. We are in front of this circle, and at the same time, we are in the real time and space where this circle appears. Starting from this circle in the sensory reality, we may be able to move closer to the ethics embedded in the circle, and to ponder what is the relevance between a circle in the reality and the reality itself that is full of contradictions.
(Hu Fang)

 

摄影:温鹏
图片由镜花园惠允