三月八日的若干回响 Several Echoes of March 8
2018
最初，许多人都在追问、挖掘或者制造真相，热切、喧嚣。几年以来，那些为接近真相而生的巨量信息一次次冲刷着人们的智性和耐心；而各种信息相互堆砌，以及控制和传播信息时如造山运动般型塑而成的“事实的褶皱”，都剥减、消耗着初始的渴望。长久的悬而不决滋养出一种宽慰的欺诈，无关者借此“合法”地转移注意力或者回复日常的安全状态，而当事人至亲的执念则被或快或慢地稀释着——“放下”“应当”是正确选项，这与运作于过去任何一次灾难或谜题中的规律别无二致。
其他被定义为灾难的事件，我们尚且有时间点或处所去施以纪念，而对于2014年3月8日，迄今谁也无法（不愿）为它立碑。或仍有期待，或者保持现状更为“合适”，那架飞机就这样飘荡在时间里，以及那片被时间化的海洋上空。
At first, many people have been asking, digging and making truths, eagerly and uproariously. In years past, the vast quantities of information that had been generated for touching the Truth have lashed people's intelligence and patience over and over again. All kinds of information have been piled up. “Wrinkles of facts” have been shaped just as the orogeny when people controlled and diffused information. All of these are stripping and expending the initial desire. The long-time suspense has nourished a certain kind of comforting fraud, depending on it, people who are not involved in this mystery "legally" distract their attention or return to the daily security situation, meanwhile the obsession of those closest relatives of the passengers is has been diluting fast or slowly. It seems that “moving on” “should be” the correct choice which shares the same pattern that operated in any past disaster or mystery.
We have time or places to honor other events which are defined as disasters, but as to March 3, 2014, so far no one can (want to) build a monument to it. Still expect, or believe it is more “appropriate" to maintain the status quo. That airplane is just floating around in the TIME, also, over the ocean which is turned into the TIME.
第一部分 你相信这是2014年3月8日的印度洋吗？
把印度洋按一定经纬度分割成小块，按图索骥。你也可以是搜寻者，但更需耐心和专注——相纸在下沉，我们最初的信誓旦旦也在消耗着。
图像素材来自Google地球。标题是疑问句，关联着素材的拍摄时间——这些图像拍摄于2014年12月31日，是离当年3月8日之后最新的卫星图像留档。我按照一定的经纬度区间和拍摄高度，较为平均地截取了161块那一天印度洋洋面的图像。
这些图像铺在地面上，人们可随意在其上踩踏、行走，间或以“上帝视角”观看这些图像。图像逐渐变脏、变烂。原本不可见的更加不可见。
Part 1 Do You Believe This Is the Indian Ocean on March 8, 2014?
Divide the Indian Ocean into small pieces according to certain latitude and longitude, have a try to locate the missing one by following up some clues. You can also be a seeker, but more patient and focused. The pictures are sinking, and our initial confidence is reducing at the same time.
These pictures came from Google Earth. The title is a question, related to the date when the pictures was taken. It was on December 31, 2014. These pictures are the most close satellite images from March 8 of that year. I captured 161 images of the Indian Ocean surface on that day on an average basis based on certain latitude and longitude intervals and shooting heights.
These pictures were spread on the ground, on which people could walk, and sometimes view the images "from the perspective of God." The image gradually becomes dirty and rotten. What is invisible is even more invisible.
第二部分 此外，还有很多看不见的褶皱
那些经由媒体和灵媒揉搓而成的“事实的褶皱”，推动着事实的变异，或者形塑着巨量的新事实。这些褶皱与海中的沟壑一道，在试图发掘独一无二细小碎片的同时，又亲手把它们埋藏起来。
标题中的“褶皱”源于一份关于此次事件的论文，其中提到“信息的褶皱”这一说法，各种不同的推论和猜测不断塑造着信息，新的事实不断隆起、下沉，就像造山运动。
我把这一层面的“褶皱”跟飞机残骸联系起来。这些残骸图像来自2017年底澳大利亚政府公布的一份调查报告，这个部位都有对应的名称，据这份报告显示，其中一些残骸已能确认属于该架MH370。
我将这些图像打印出来，把它们一一揉皱，以商业摄影的手法相对“细致”地在棚内拍下作为数字存档，于展览中直接将它们粘贴上墙，展览完毕取下，下次展览再上。如此循环，越渐皱缩、破败。
Part 2 In Addition, There Are Many Invisible Wrinkles.
Those ‘wrinkles of facts’ that are rubbed by media and psychics are driving the variation of the facts, or shaping a huge amount of new facts. These wrinkles, as well as ocean trenches, are trying to excavate the unique fragments, burying them in their own hands at the same time.
The "fold" in the title came from a paper on the event that refers to a conception called "fold of information," in which information is being shaped by various inferences and guesses, and new facts are rising and sinking like mountains.
I associated this layer of "folds" with aircraft debris. These images came from an Australian government investigation report released in late 2017, which identified the parts with their names, and showed that some of the debris had been identified as belonging to the aircraft.
I printed out these images, crumpled them one by one, and took them in the studio as a digital archive in a relatively "meticulous" way of commercial photography. I pasted them directly on the wall in exhibitions, took them down after the exhibition, and put them up in the next exhibition. The papers get more and more wrinkled and broken.
第三部分 浪漫主义
抽象图像的线索有迹可循，要么指引我们回望对挖掘答案进行的理性尝试，要么帮助我们与特定的记忆建立关联。在这个故事以及其他太多故事里，图像赋予我们身份和意义，但它们也告知我们：我们不会对你们的失望负责。
这部分的材质是一条长宣纸，在其上，我以水墨重绘了（当然不是精确地）澳大利亚在该国西部海域进行的水下声纳探测的结果。宣纸和水墨的构想源于飞机上那些国画家和书法家乘客。最终展呈时，这幅长卷被拧成了莫比乌斯环的形式悬挂。
Part 3 Romanticism
Clues of abstract images are traceable. They can lead us look back to those rational attempts for digging answers, or help us build associations with specific memories. In this story and so many other stories, images give us identities and meaning. But they also tell us: we are not responsible for your disappointment.
This part is made of a long piece of rice paper on which I have redrawn in ink the results of underwater sonar surveys conducted by Australia, near the western coast of the country. The idea of rice paper and ink came from Chinese painters and calligraphers who were on that plane. When this part of the project is finally shown, the long scroll is twisted and hung in the form of a Mobius Strip.
第四部分 Who is Your Daddy?
被证实或者证伪的普通故事，最后被雕刻成一桩桩瘦削高耸的碑，即便他们本无心如此。
此部分以较多的图像构成了19岁的伊朗青年普里亚·努尔·穆罕默德·迈赫达德（Pouria Nour Mohammad Mehrdad）半虚构的图像故事——他消失前最后几天的行程，以及如果飞机正常到达北京后他的计划。最初，这名青年被认为是劫机的恐怖分子，事后查明他和一个伙伴盗用了别人的护照，计划自德黑兰出发，经由吉隆坡、北京、阿姆斯特丹飞到法兰克福与其母亲团聚。
我根据一篇关于他的通讯稿，搜集、拍摄了相关照片，有真有假，在展墙上大致以上述五个地点的方位将照片排布起来。
所有涉及“悬而未决”的境遇，都让惯常的判断孱弱无力。而关于“whosyourdaddy”，这是游戏《魔兽争霸》里“无敌”的秘籍。彼时想到，觉得实在是个不合时宜的期待。
Part 4 Who is Your Daddy?
Those ordinary stories that have been proved or falsified were carved into the tall and thin monuments at last, even if they didn't mean it.
A few images made up the semi-fictional story of Pouria Nour Mohammad Mehrdad, a 19-year-old Iranian, about his last few days before he disappeared and his plans if the plane arrived in Beijing as usual. Initially thought to be the terrorist who hijacked the plane, the teenager and a partner turned out to have stolen someone else's passport and planned to fly from Tehran to Frankfurt via Kuala Lumpur, Beijing and Amsterdam to be reunited with his mother.
Based on a newsletter about him, I collected and took relevant photos, some true and some false, and arranged them on the exhibition wall roughly with the directions of the five locations mentioned above.
In all cases where the suspense is involved, the usual judgment is weakened. "Whosyourdaddy" is a cheat code to invincibility in Warcraft. At that time, I thought it was an untimely expectation.
第五部分 消-息（视频：29分26秒）
新闻之于旧闻，正如后浪之于前浪。
《信-息》是一位前记者的独白，她在过去几年里一直同MH370的家属保持着接触。
Part 5 I-N-F-O-R-M-A-T-I-O-N (video: 29’26’’)
News waves to fresh like tides.
I-N-F-O-R-M-A-T-I-O-N is a monologue by a former journalist who has spent the past few years in contact with the families of MH370.
第六部分 Good Night（视频：30分40秒）
如果你一直盯着画框里他们的负像，30秒后白场到来时，就能看见他们短暂出现，然后跟你道晚安。视觉暂留只是权宜之计，依靠它，我们暂时对抗着遗忘。
《Good Night》立足视觉残留这一非常基本的生理现象。我将媒体公布的机组成员和乘客的肖像反转为负相，每幅肖像停留30秒，之后图像消失，长10秒的白场出现。如果观者持续看着屏幕，会在白场中看到这些人的正相浮现，又逐渐褪去。这个视频的背景音是MH370失联前机长与塔台的对话，最后一句就是“Good Night”。
Part 6 Good Night (video: 30’40’’)
If you keep staring at their negative images in the frame, you’ll see their faces appear briefly when the 30-second white field comes, saying good night to you. Persistence of vision is only an expedient, depending on it, we temporarily confront the oblivion.
Good Night is based on the very basic physiological phenomenon of visual residue. I reversed the media images of the crew and passengers to negative.