THE GOAT’S SONG 山羊之歌

08 MARCH 2019 - 10 JUNE 2019







策展人 CURATORS 龙星如 Iris LONG
艺术家 ARTISTS
李昶,刘雨佳,张文心
主办 ORGANIZER大酉·The Merchants x 七木空间

这个展厅的空气里,有浓度为0.01%的酒精。

在保罗·安德森(Paul Anderson)的小说《山羊之歌》里,人类行动被名为SUM的人工智能系统完美管理,从核电站到自动化工厂、卫生系统和服务部门,从教育到文化和社会秩序都一概交付于SUM,永世不灭。人类自身被SUM许诺了「复生」,而且可以一遍又一遍地复制。「所以,死亡实际上相当于睡了一觉。」

直到主人公的女人死去,这种如博尔赫斯笔下的博物馆一般「宁静、恐怖而有条有理」的程序世界,才开始出现一道裂隙。

故事充满似曾相识:主人公弹着竖琴;当他从SUM那里带走被复活的女人时,被要求「不要回头」;「斯丽卡」的追随者们,隐现于阴影重重的荒凉山顶,足之蹈之。在秩序与逻辑取得终极胜利的故事设定里,这些元素仿佛是某个久远时代的回响,勾勒着那位受难、变形、出生两次的希腊神明的面孔。

展览「山羊之歌」(The Goat’s Song)是一张不存在的专辑,歌名来酒神祭司在历史里的残影:古希腊浮雕,珀西·比希·雪莱的《西风颂》,爱伦·坡的《瓶中手稿》,保罗·安德森的《山羊之歌》,以及匿名的作者。它们衔接而成一种在机器精密时代对「醉」的告解,一种在屏幕环绕间对「剧」的吟诵,一种在冬春之交对第一棵葡萄藤的致意,一滴弥散在展厅空气里的酒。

三位艺术家的作品如运送回过去的礼物: 「时间篝火」是旅行影像与虚拟记忆的奔突与交融;「过客」是一次沿直线向你的行走,科学仪器所窥的「内在」成为行走中的褶皱;而无生命的物体在走道尽头自行旋舞,拼贴成展览的结局。瓦尔堡在《记忆女神图集》的导言手稿中曾描述,如果深入对于行走、奔跑、舞蹈、拥抱、拿取或者携带的艺术描绘,我们将有可能从中探测到深邃信仰的幽微回响。展出的作品似乎不绝对属于数字平面:时间的篝火,南半球的荒漠,桌面的陀螺,在窄窄的砖墙展厅里依次明灭,行走,自旋,共同敲打着不可言说的「时间感知」,暗示着那早已从我生命里退场的,可“置身其中”,可蔓延至血肉的“自然”。酒神祭司年代那由隐秘之结关联起来的万物,如今平静地安歇,空气中0.01%浓度的酒,将它们悬吊在醒醉边缘。

这张不存在的专辑并没有实体CD,  如果有,应是如那位希腊人提奥多罗斯·特佐普罗斯(Theodoros Terzopoulos)所描述的,「仪式时间」一般的存在,它「提供着节奏,收集即兴的声音,以及珠玑般的字句」。它们体现了一种令人畏惧的感情,在SUM统治的井然有序的世界里,人们已不再熟悉这种感情——大多数人甚至不知还有这样的感情存在。

那种感情是对当代科技所放大的「永世不灭」之欲念的背水一战。

是放弃「永世不灭」,转身择取「生生不息」。







作品简述 | Artworks



时间篝火I号、II号、III号 (2017)
有声彩色高清动画 2分40秒;3分;2分30秒

一次对时间燃烧的想象式建模。在时间篝火I号中,粒子发射器在模拟气流的作用下形成柱状旋涡,并不断延伸。在时间篝火II号中,圆环在各种牵引力的作用下向 内部弯折、坍缩、爆炸。在时间篝火III号中,多个平面聚合、叠加而后分散。配乐 部分,音乐人依据模型的数值变化将数据输入电脑,并使用算法作曲,使音色震颤 与动画完全同步。

The Bon re of Time I, II, III (2017)
HD color animation with sound 2m40s; 3m; 2m30s
A modelling attempt of the imaginative time burning. In The Bon re of Time I, the emitted particles form into a cylindrical vortex and extends continuously. In The Bon re of Time II, a torus bends inward, collapse and explode under simulated forces. In The Bon re of Time III, multiple planes gather, overlay and then disperse. The music is generated by a computer algorithm based on the data of the animation.

张文心1989年出生于安徽合肥,2013年获得美国加州艺术学院纯艺术硕士学位。张文心运用录像、电脑动画、摄影与装置,并综合写作与音乐,建构以过程为导向的知觉体验,亦常常由日常经验绵延出对时间与超验的思考。
Wenxin Zhang was born in Anhui, China in 1989 and she has received her MFA degree at California College of the Arts in 2013. Zhang utilizes video, CG, photography and installation, as well as combines writing and music to create process-oriented perceptual experience that usually starts from everyday experience and then grows into the continuous reflections on time and transcendence.





《过客》三联屏(2018)
双声道;HD高清影像,5分30秒;尺寸可变
外景拍摄于英国,智利和法国,艺术家体内影像素材由微型胶囊相机拍摄于2017年(于洛阳市立医院)
拍摄:Jeroen van Dooren
剪辑:官靖桓

我沿直线而行 ,行走向你
摄像机 的双眼,屏幕,主观的肌理 一道生命之线
去提问
什么超越肉身
而永恒究竟在何处
与真实相连

Transient Triptych (2018)
Stereo sound, 2 speakers. Three synchronous video projections, 5’30’’ loop, dimensions variable.
Locations: England, France and Chile.
*Footage of the artist’s internal body was taken via a capsule camera at a Luoyang hospital, 2017.
Camera:Jeroen van Dooren
Editing:Guan Jingheng

I walk a line, a straight line towards you the camera eye,
the screen and the skin of subjectivity..
A life line
to question what is beyond this physical body
and to which it eternally connected,
the physical world.

李昶出生于北京。先后就读于中央美术学院附中(2002-06),中央美术学院版画系 (2006-10)和英国皇家美术学院(2012-14),现为英国皇家版画协会委员。李昶的作品跨越多维,关注时间,图像,经验和行为方式之间的交叠关系,以东西方哲学观探讨个体与环境,当下和历史之间的流动性关联。
Lisa Chang Lee was born and raised in Beijing, China in an art academicians’ family where her father is a Chinese ink painter and art theorist, her mother is an animation and film director. Grown up with the most freedom given by her parents, she developed herself a strong interest in Chinese philosophy in art forms from early age. Thereafter she expanded her research and practice focused on Eastern philosophy in modern context of globalizaiton during her MA at the Royal College of Art in London and continued ever since.






终结的进程 (2013)
三频高清录像
受舞台剧的启发,没有生命的物体在舞台上自行运转,相互影响,且导向最终的结局。然而,舞台剧依照故事的真实时间(real time)进行,从幕布拉起到落下,动作和叙事始终是从未被打断的。电视和电影则通过剪辑,即拼贴时间 (zeitcollage),打断动作来保持叙事的连续和完整。我希望在不使用剪辑、不打断动作,且延⻓物体运动进程的情况下,仍然连续、完整地呈现物在 舞台上的运动和叙事;拍摄的真实时间被破坏,而其连续性和完整性却仍保留在观看和体验的“内在时间”(reel time)里。 物体的 运动在拍摄的时间里构成了场域中力的较量,其不同的位置关系定义了空间场域的界限和形构。隐形的博弈和力量的对峙制造了场域的不确定性。

The Progress of Ending (2013)
Three-Channel HD Video
This video work and its installation is a configuration of object, time, space and sound. In the light of theatre, lifeless tops automatically spin on a stage and interact with each other, which eventually leads to an end. However, the performance in theatre is presented according to the real time; actions and narrations begin when the curtain is up and never stop before the curtain is down. TVs and movies on the contrary employ zeit-collage and break up the original actions to attain a continuous and complete narration. This work attempts to present the action and narration of object on a stage in its non-stop and non-missing appearance with no cutting, no interrupting, meanwhile delaying the whole process. Though the real shooting time no more exists in delay, its continuity and completeness still persist in the reel time experienced during watching.


刘雨佳,1981年出生于四川,2004年毕业于四川美术学院,2009 年硕士毕业于伦敦艺术大学传媒学院。目前工作、生活于北京。 她近期的个人展览包括《海滩》,当代唐人艺术中心,北京, 2017;《眩晕》,当代唐人艺术中心,北京, 2016 。刘雨佳的近期创作主要通过影像来探索记录性现实与虚构的辩证张力。艺术家通常使用纪录片的手法来拍摄“真实生活”的场面,但同时又使用虚构或“虚假”形象来描绘“真实生活”的隐私时刻。
Liu Yujia was born in Sichuan Province in 1981. She graduated from Sichuan Fine Arts Institute in 2004 and got her Master’s Degree in London College of Communication, University of the Arts London in 2009. She currently lives and works in Beijing. Her recent solo exhibitions include The Beach, A Fantasy, Tang contemporary art, Beijing, 2017; Vertigo, Tang contemporary art, Beijing, 2016.Liu Yujia’s recent practice engages with moving image. Her video and films explore the dialectical tension between the documentary reality and fiction, examining the complex and mysterious dimension of subjective experience in different social and political context. Artist shoots the ‘real life’ scenes in a documentary way, meanwhile the privacy and invisible dimension of ‘real life’ could be revealed by her fictional or ‘take’ figures.



Mark