三月八日的若干回响,2018

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?  Part 1: Do You Believe This Is the Indian Ocean on March 8, 2014?

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。
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.

第二部分 此外,还有很多看不见的褶皱  Part 2: In Addition, There Are Many Invisible Wrinkles

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。
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.

第三部分 浪漫主义  Part 3: Romanticism

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。
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.

第四部分 Who is Your Daddy?  Part 4: 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。
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.

第五部分 信-息  Part 5: I-N-F-O-R-M-A-T-I-O-N

新闻之于旧闻,正如后浪之于前浪。
News waves to fresh like tides.

第六部分 晚安  Part 6: Good Night

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。
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.


从此没人和你说话,2016

Since Then, No One Has Talked with You, 2016

 

2015年1月7日,法国《查理周刊》巴黎总部遭到突袭时,我正坐在卢浮宫的咖啡馆里刷朋友圈。那一刻之后的很多天里,抓捕、巡逻和稍后的大规模游行成为新闻的高光点,而政治家、学者、艺术家以及其他民众之间围绕恐怖主义、移民、宗教和殖民地问题的论辩和争吵更让我难以释怀。在那时,我深切地被一句话所震动,那是在事件中遇难的《查理周刊》元老Jean 'Cabu' Cabut之言:“有时候笑会伤人,但笑、幽默和讽刺是我们唯一的武器。”对于此言,不存在认同与否,重要的是它让我对“暴力”及其背后繁杂的影响因素产生了一种表达障碍:太想说些什么,却难以开口——所言总是片面的,而片面将阻碍后续的表达。

所以我只能回到暴力和恐怖袭击本身关联的两端:加害者与受害者。

这六幅是六起恐怖或者暴力事件,关于事件没有具体的选择标准,主要是图像资料相对好找。按照弗朗西斯·高尔顿(Francis Galton,1822-1911)的方式(这位英国学者希望从一个特定群体中找出该群体特有的脸部特征,因此将数张人脸肖像采用光学的方法投影到同一张底片,由此得到合成的人脸图像),我把事件中已被媒体确认的加害者的肖像合成到一起作为每幅作品的基底,而组成这些肖像的细小元素则是此次事件相关的大量图片。肖像之上覆盖着事件受害者的嘴部特写,这些红色正方形截图共同构成了一句与事件相关的话语(来自受害者及其亲人或者袭击者),并以摩尔斯码的形式呈现。摩尔斯码意味着转译,你愿意费点心思听听这些被埋起来的话吗?

这一项目还包括6个音频,分别对应6幅图像。

人已去,遇难者也好,加害者也罢,沉默的他们再难与众人言。借着这回的创作机会,翻找着近几次事件受害者的Facebook,加关注的按键鲜活,但再无意义。无可交流,如鲠在喉。

 

In January 7, 2015, I was sitting in a cafe in the Louvre Museum when the headquarters of Charlie Hebdo were raided. In a few days after that moment, capture, patrol and massive parade became the high light of the press. Politicians, academics, artists and other people's discussions and arguments on terrorism, immigration, religion and colonial problems shook me a lot. I didn't know how to make a more rational and comprehensive analysis of this incident, but at that time, I was deeply impressed by one sentence: 'Sometimes laughter can hurt, but laughter, humour and mockery are our only weapons', which was said by Jean 'Cabu' Cabut, one of the founding members of Charlie Hebdo. For these words, there wasn't agreement or not; the more important thing is that it produced an expression barrier for me about the "violence" and its complicated factors. I could have a lot to say, but couldn't open my mouth. Saying is one-sided, and one-sidedness will hinder the subsequent expression.

So I can only go back to deal with the two points of violence and terrorist attacks themselves: attackers and victims.

These six pictures refer to six terrorist attacks or violent incidents. Using Francis Galton (1822-1911)'s methods (Galton devoted many years of study to the use of "Composite Portraiture", in which photographs of different subjects were combined, through repeated limited exposure, to produce a single blended image), I composite the portraits of attackers who were identified by media into one face. The face is the base of the picture. Hundreds of news pictures about this incident become the tiny fragments that compose the face. The face is covered with the close-ups of victims' mouths; all the mouths form one sentence come from this incident and the sentence present in the way of Morse code. Morse code means translation, would you mind spending some time to listen to these buried words?

This project also contains 6 pieces of sound, each of them refers to one picture.

Lives have gone. Neither victims nor victimizers could speak any more. During this project, I looked through these victims' Facebook. The button of Follow is still alive, but there was no meaning to follow.


自拍者:尺笺传影(与许雷合作),2016

Selfiers: Sealed with Images (with Xu Lei), 2016

 

生活在不同城市的我们分别虚构两位1980年代身处异地且身份不同的摄影爱好者,此二人围绕“自拍”这个主题分别实践,并以书信的方式互相交流拍摄经验和想法。

首先,我们寻找一些现成的摆拍照片(这也是再创作的主要素材),并把自己的脸合成到这些照片的人脸上——你可以发现这是合成上去的。接下来是写信,模拟那个年代两个摄影师的信件交流,主要探讨如何处理自拍,也会涉及其他内容。收信者阅毕信和所附照片的内容后,做一张或者几张照片,再写另一封信寄给对方。如此循环。最后以(伪)文献的形式来展呈,同样,在呈现的一些细节里,依然可以看到制作或者伪造的痕迹。

基于共同的规则,我们尝试在创作过程中进行相对个人化的线索梳理。何博通过加工自己父亲年轻时照片,试图将父亲热衷谈及的往事落实到具体的影像层面,希望以此思考整理父子之间的关系。许雷通过对福州代表性景点留影照的解读重构,并结合文字、档案等,以期从一个侧面对当时摄影及相关活动进行梳理,探索影像在社会发展中的独特价值。

 

Living in different cities, we create two fictional amateurs of photography in 1980s. They took self-portraits separately and kept in touch with each other by letters to discuss their experiences and thoughts on photographing.

Firstly, we use some found-photos or old photos belong to ourselves that are the main resources of recreation to cover our faces onto the faces on the original photos. One can easily find out the traces of the digital synthesis. Then we mimic the communication method of writing letters in 1980s to discuss how to deal with taking self-portraits and other things. After reading the letter and photos from A, B must make (or fake) one or several photos and also write a letter, send them to A. Circulate like this. Finally we display our works in a documentary(mockumentary) way.

Basing on the same rule, we try to sort through some personal threads of our own stories in the project. By recreating his father's photos in the early years, He Bo intends to revive the past stories about which his father has talked a lot from those still images. He wants to think about the relationship between he and his father in this way. Xu Lei reconstructs some old souvenir photos that were taken in the city of Fuzhou. With photos, words and archives, he tries to do some studies on the practices of photography in Fuzhou at that time and look for the value of photography in the development of society.  


延伸的刺点,2013-2015

The Extending Punctums, 2013-2015

 

《延伸的刺点》系列共十一组,每组三幅平面影像。

第一幅:选自我扫描的诸多老照片(这些照片或来自我老家的旧相册,或是我在旧货市场购得),即呈现的是这些日常拍摄的老照片本身——这些原始影像里潜藏着“刺点”(这些刺点对不同人来说是不一样的);

第二幅:将这些老照片通过邮件或微信发给朋友,由朋友选择自己的亲友,观看照片并将观后感想(任何想法)写在白纸上,拍摄白纸上的字发回给我,我再将这些字在photoshop里抠下,粘贴在原来的老照片上——这是在接受“刺点”的前提下,人们对原始影像的直接读解;

第三幅:我基于每张照片上的不同文字给我留下的“图像化”的印象,通过网上寻找图片和自己拍摄照片来对这些文字反馈进行诠释,最后将这些影像拼贴成原始影像被摄主体的大致形态(拼贴照片所用的底色是根据原始照片中RGB三原色各自的像素数量生成的)——这是对于原始影像的间接读解,也是原始影像中刺点的延伸。

这一项目关注的重点是照片的“观看”,尤其是这类来自他人的、又带有强烈熟悉感的影像,这些熟悉感包括照片中的可视信息,以及观看者从“推测”衍生出来的对于照片的认同感和代入感。通过这一项目,我想在实践中拓展对于日常照片中“刺点”的认识:照片的刺点不仅可以出自照片的画面(实际存在的),也可以由照片的气息引发(实际并不存在)。不过,无论是哪种存在方式,刺点都确实作用到了每个观看者身上,不同年龄(参与者从十六七岁到二十六七岁不等)、不同社会角色(中学生、不同专业的大学生、白领等)、不同国籍(中国、挪威、英国、立陶宛、保加利亚、韩国等)的人的观看角度和反馈差异很大。

这一创作项目实际上是一项游戏,每组的三幅影像对应的行为主体是“我——他人——我”,而对应的形式则是“图像——文字——图像”。我想借此强调照片观看者对于照片“完成”的意义。一张照片的展示不仅仅是单向度且线性的(即作者占主导),观看者面对照片的能动性也应该得到足够的重视。“刺点”与照片应当是共存的,没有哪一张照片只具有一种意义,而赋予意义多样性的正是观看者。

我希望通过此次项目实现两个目的。一方面,此次项目立足于自己与他人之间的合作,我希望借此尝试一种“公共的”产生作品的方式,看看这种由不同元素参与的创作形式对我而言是否可行;另一方面,我也希望借此对我感兴趣的“日常照片”的特点进行探索,将“日常”中“个人”“家庭”和“社会”三个层面里能够通过艺术语言表达的特质挖掘出来。

这组作品也是我硕士毕业论文《当代摄影艺术实践中对现成照片的再创作》在创作层面的一次实验。

   

Each group of the series of The Extending Punctums comprises three pictures.

The first picture comes from the scanned old vernacular photos that belong to my own collection. I present the photo itself in which there are a lot of punctums. For different people, these punctums are different from each other.

To create the second picture, I send the old photo to my friends by e-mail or wechat. My friends choose their friends then tell them watching the photo and writing down their thinking on white paper. They take a photo for the paper then send it back to me. I put these words on the first photo through PS. So the second picture directly shows the effect that the punctums put on the viewer.

Then I make the third picture. The different words in the second picture may leave me some 'photographic' impression. Basing on the impression, I use some other pictures that come from inter-net or taken by myself to interpret these words. Finally I collage these pictures into one piece, making them get together as the shape of the figure in the initial photo. This is an indirect explanation for the initial photo, also the punctums' extending of the initial photo.

Actually, this program is a game. The change of each picture's subject in each group is Myself-Others-Myself, while the change of corresponding method is Image-Word-Image. With this series, I want to emphasize that viewers are so important to complete one photo. The presentation of one photo isn't just one-dimensional or linear, that is to say, photographer is leading factor. Viewer's activeness should be fully valued. Every photo has more than one meaning and it is the viewer who endows the photo all kinds of meaning.