物化消费 · Materializing Consumption
 
2015
主题“物化消费”的灵感是来源于一位我非常喜欢的法国哲学家鲍德里亚的一本书,叫《消费社会》。这本书引发了我们,对当下是什么驱使人们持续消费时尚的一种思考,主题中的物化,指的是对人们持续消费时尚这个行为的物化。
这是一个无限的强制性消费的意义的链环,我们都被一种看不见的锁链捆绑,并进行强制性消费。这里所说的锁链是隐形的,是指我们每个消费品背后的一种全套的意义,带领我们,牵扯我们往前消费.
The inspiration of this work, “Materialized Consumption”, derives from a book named
The Consumer Society written by Jean Baudrillard, one of my favorite philosophers.
This book has inspired me to think about the driving force behind people’s continuous
consumption of fashion. The word “materialized” refers to the materialized action of
people’s continuous consumption of fashion.
This is an infinite chain of the significance of compelling consumption. We are bound
by an invisible chain and are compelled to consume. The chain we mention here is
invisible. It refers to the full significance of every single consumer item. It leads and
pushes us to consume consistently
“物化消费”装置部分2
“物化消费”装置部分1
“物化消费”行为表演现场
 
行为表演现场 
The performance
作品的第一部分,是舞台中间一个类似于纪念碑一样的装置作品
The first part of my work is an installation in the middle of the stage, which looks like a monument.
我采用的材料是比较粗糙锐利的金属溶质和有韧性的织物
The material I used is some rough and sharp metal solute and resilient fabric.
我将这两者搭建起来,并且相互拉扯
I built the two substances together and make them pull each other.
人与时尚消费之间的挣扎、纠缠、吸引、共存和这个雕塑有着某种微妙的共通性
The struggle, the entanglement, the attraction and the co-existence between people and fashion are in common with this sculpture in a subtle way.
接下去是作品的第二部分,就是模特
Next comes to the second part— the models.
我将模特打造成雕塑感
I molded the models into a kind of sculpture
并且不是把它放置于舞台中间,而是放置在观众之间
They were not put into the middle of the stage, but in the middle of the audience
其实我是想打破观看方式
Actually I was intended to break the traditional way of viewing—-
就是打破原有的观众对模特的一种有距离的观看状态
That is changing the traditional pattern of watching the models in a distance
而变成零距离的,一种有压迫感的观看状态
into a way of face to face watching, a stressful appreciation.
作品的第三部分,也是最重要的一部分是一个行为表演
The third part, which is also the most important part, is a performance
当时是等全部的观众差不多都入场了以后,整个空间已经布满了人群的时候
At that time when almost all the audience entered the arena and the whole space was full of people,
一种充满神秘感的声音开始响起
a sound full of mystery was heard.
空间中所有的模特开始进行一种简单的、重复性动作
All the models started to do a simple and repetitive action
带着这种动作开始向舞台中间慢慢地聚集
And started to gather toward the stage slowly.
这个动作有类似于像挣扎、一种被牵引和朝拜的元素在里面
This action was similar to a kind of struggle, with a pulling force and a pilgrimage element in it.
其实这个表演过程是探讨人们持续性进行消费时尚的一种状态
In fact, the process of this performance is an exploration of the state of people’s continuous consumption of fashion.
所以最终模特会聚集到舞台的中间
At last, all the models gathered together to the middle of the stage
然后重复着以上的动作,并且围着这个如同纪念碑一样的装置
And repeated the previous action and encircled the monument-like installation
这里觉得非常有意思的一点是
The interesting point here is that
在人群中持续站立了半个小时如同雕塑一般的模特
when the sculpture-like models who had stood for half an hour
突然在观众的身边开始进行表演的时候
suddenly started to perform beside the audience
这种零距离的震撼感,让现场观众感到非常的惊讶
This zero-distance shock surprised the audience
我看到他们都纷纷地拿出手机拍摄
I saw them taking out their mobile phones and taking photos,
并且张望交谈想知道接下去会发生什么
looking around and discussing what will happen next.
其实这是整个作品最重要的内容之一
In fact, this is the most important part of the whole work
是我们想探讨和记录观众的反应
It is the reaction of the audience that we want to explore and record.
也是我将模特零距离放在观众之间的一个初衷
我们现在对时尚的需求其实不是对时尚物品本身的需求,而是对差异的需求,因为这个差异中包含着对符号化的社会意义的需求,因为现今社会,我们本身的特质其实不再能直接赋予我们身份,赋予我们身份和地位的是对个性化的时尚产品的消费
 
The current need we have for fashion things is not the product itself, but the need for difference.
Because the difference includes the need for the symbolized social meanings. Since in modern society, our personal characteristics can no longer give us the identity. 
what gives us the identity and status is the consumption of personalized fashion products. 
“物化消费”纪录片:对话艺术家金晶  The interview of Jin Jing and the documentary
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