永恒的未来 The Lasting Future (阿尔勒场)
2018集美 · 阿尔勒国际摄影季展出场 · Exhibited in Jimei×Arles International Photo Festival 2018

“永恒的爱,来自没有你的世界

With lasting love, from a world without you”

—Alan Weisman

 

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“永恒的未来”(The Lasting Future,名字源自Alan Weisman(艾伦.韦斯曼)的小说The World Without Us(《没有我们的世界》)的开篇第一句:With lasting love, from a world without you. 

“未来”是不确定的,只有成为不确定的存在,才能称得上可期盼的、具有真实感的“未来”。而“永恒”的语义背后暗喻着本质的不变,一旦用“永恒”来定义,“未来”即刻虚化成一片无法言说的幻境,“世界”的本质已经超出了我们的理解。我们在真相之外。

 

The Lasting Future originates from the first sentence of the novel, The World Without Us , written by Alan Weisman. As the sentence goes: With lasting love, from a world without you. “The future” is uncertain. Only by becoming an uncertain existence, can it become an expected and realistic “future”. The connotation behind the semantic meaning of “lasting” is the metaphor of unchanged essence. Once defined by “lasting”, the “future” will instantly become the unspeakable fantasy, and the essence of “world” exceeded our understanding. Thus, we are isolated from the truth.

 
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部分展出现场之一 part of the installation
2018集美 · 阿尔勒国际摄影季展出场 · Exhibited in Jimei×Arles International Photo Festival 2018
 
 
 “满墙的绿植图像,单向玻璃的大厦镜面倒映着冷静齐整的城市。在那里,似乎有着未知目光的注视;而一旁,一段呈现自然的录像下方,堆叠着几张充满几何感的“人造物”(如通风口、空调、墙砖)局部的静帧图像。整个作品之间,构建了一个与现实世界相似,却又不同的互文“世界”,在这些的细节里,发生着微妙且不可信的变化,一种对日常景观的陌生化。” ———轴艺术策展团队

“A wall of green plants composes a vigor green image. The tidy and indifferent city is mirrored in the one-way glass of a high-rise building. There seems an unknown eye is gazing at it. Next to it are the still-frame images of several artifacts (like air-vent, air conditioning and wall tiles), piled under the ongoing video showing nature. This work construct an intertextual world that is similar but different from the real world. In these details, subtle and untrustworthy changes are happening, causing a kind of estrangement to the daily spectacle.” — Axis Art Project

 

Part One
共同异化·无机与有机·Common and Alienation · Inorganic and Organic
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上图所示中展出现场内影像装置中播出的视觉片段  
Part of the video in the installation showed above from “The Lasting Future” project
 
 
05出风口2(输出尺寸95乘77厘米)
 
出现在作品中的视觉片段都是一些人为景观中常见元素的客观呈现,即现代城市中经常出现而又容易被忽略的“人造物”,例如,商场中央空调外机的电容、标准写字楼的一块吊顶、或是刚刚建起的大厦外部尚且很干净的排风口,等等。进行大量拍摄之后,在挑选和处理用于最终呈现的图像时,我把图像中会产生额外信息的元素都尽量去掉,去掉所有关于地域、文化、政治等背景性的信息。我希望处于不同的城市和不同身份背景的观者,都可以从这些简化过的视觉碎片中体会到对日常景观的陌生感。
 
 The visual fragments appearing in the work are the objective representations of common elements in the artificial spectacle, that is, the “artifacts” that often appear in modern cities but are easily ignored. For example, the capacitance of the external unit of a central air-conditioner outside the mall, a ceiling in an office building, a clean air outlet of a building that has just been built, and so on. After taking a lot of pictures of them, when picking and processing the image for presenting, I remove all the elements that will generate additional information and remove all the background information including the region, culture, politics and etc. I hope that viewers in different cities and of different identities can experience the strangeness of everyday spectacle from these simplified visual fragments.
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展示现场除了静帧图像的输出,还有一块办公楼吊顶板的实物混在其中。“真实”与“再现”之间互文。
In the exhibition venue, in addition to the output of the still-frame image, there is also a material object, the ceiling of an office building, vividly presenting the intertextuality between “reality” and “reproduction”.

Part Two
隐藏的对视与互文·Hidden View and Intertextuality
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_S2A9631副本4
01新植物墙(输出尺寸300乘397厘米)
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直接铺满墙的绿植图像,以及影像中出现的植物的动态图像,都拍摄自生存在城市夹缝中的植物,在看似狂野生长的背后隐约透露着受人造场景约束的信息。在展示时,植物图像的输出布满整面墙壁,而在现实中总是以主角出现的冷静齐整的城市高楼,则被置换成缓慢变化角度的镜面影像,镶嵌在疯狂生长的“植物墙”角落里。这里对应着整个作品是一个人类作为主体缺失的场域,是对主体真实存在性的挑衅。

The green plant images directly overspread on the wall, as well as the dynamic images of the plants appearing in the video, are taken from plants that live in the cracks of the city, which reveals the information of constrained by artificial scenes behind the seemingly wild growth. When exhibited, the output of the plant image is overspread the entire wall. The tidy and indifferent urban high-rise buildings, which are alway appearing as the protagonist in real world, are replaced by a mirror image with slow angular variation and mounted in the corners of barbaric growing plant wall. The corresponding work here is a field in which human beings, as the subject, are missing. It is a provocation to the real existence of subject.

为了避免让观者产生阴郁或阴森的印象,我在拍摄植物时所挑选的时间和光线都是正午时期最明亮的阳光直射。给观者呈现出了一组在视觉上明亮而简约的组合景象,我希望观者也不必完全理解每个图像的意义或背景,而是去感受它们,虽然是明亮的图景,却能感受到所构建这个“世界”周围隐喻浮现的无法言说的不安感。正如我常常感觉什么事情正要发生了,或是正在发生着,这些事情可能是很重要的事情,但是我无法发现它们或者改变它们。这是一种对“世界”未知的不安感,感受到一种隐藏的在深处的危险。

In order to avoid leave the viewers a gloomy impression, I choose to shoot these plants in the high moon when the light is the brightest direct sunlight. The viewer is presented with a set of visually bright combination scenes. The viewers could feel image without having to fully understand the meaning or background of each image. Although it is a bright scene, the views may faintly feel a kind of unspeakable feeling of uneasiness that emerged from this constructed “world”. Likewise, I often feel that something is going to happen or is happening, which may be very important, but I can’t find them or change them. This is a sense of uneasiness about the “world” and I may feel a kind of hidden danger in the deep.

 

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2018 集美·阿尔勒国际摄影季 

2018 Jimei × Arles International Photo Festival

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