【GCA展览】李一凡 |抵抗幻觉 日常生活的仪式

时间2017-01-12

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重回底线 

文/李一凡

 

A、

为什么抽大麻?

抵抗景观给我们造成的幻觉。

大麻不是专门用来制造幻觉的吗?

多元的幻觉比单一的幻觉强。

本质上都是幻觉,有什么区别吗?

多元是自由意志对控制最好的抵抗。

意思是抵抗才能体现自由意志?

抵抗就是自由意志,自由意志就是抵抗。

所以抵抗不是手段,更是目的?

至少在今天的语境下是如此。

所以大麻只是个借口?

是的。


 ————和哈佛人类学博士史杰鹏的对话

 

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B、

为什么这几年不看新书,特别是理论性书籍?

完全无法容忍自己在一个问题还没搞清楚的时候,又开始一个新问题的研究,新问题刚刚处于知道状态又再开始去认识一个更新的问题,并不断的循环往复。

中国这三十年变化那么快,不接受新的知识怎么能适应新的发展呢?

想保持清楚的自我认知,其中一个很重要的工作就是必须不断的寻找参照物,只有看清了参照物才能清楚自己究竟在哪里、在干什么。而这些参照物,主要就是中西方现当代各种新的知识和实践,以及来自历史的经验和教训。令人疑惑的是在寻找参照物的过程中我们看清楚过一次参照物吗?哪次不是当一个问题还没搞清楚,刚刚要进入深入认知阶段,就由于这样那样的原因,发现问题太难太复杂,就机智地转换出一个新的问题去掩盖旧问题,然后这些没搞清楚的、越来越多的误读,再生产出更多全新的无解的问题,再然后,光解释这些误读带来的问题已让人穷于应付,忘记为什么要寻找参照物是常有的事。

这不正好是多元的幻觉吗?

这是相同的幻觉,数量上虽然很多。

你的多元如何定义?

多元的前提是自我定义的差异化,是自觉的不同选择。也可以说多元是建立在人的主体性上的,没有主体性就没有多元。多元和所谓的新旧没有任何关系,追求所谓样式的新、物化的新,不过是被景观控制的一种异化的表现。


 

——和艺术家谢冰鑫的对话

 

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C、

全球化,后殖民,帝国,在地性,地方主义,集体主义,本土,城市化,边缘,后网络时代,游牧,主体性,共同体,二元结构,身份政治,素人,空间生产,主体性,客体,普世主义,多元主义,社会学转向,语言学转向, 政治正确,认同政治,承认的政治,齐物平等,景观、意识形态, 新自由主义,新左派,新儒家,你选择哪些词?

空洞的能指制造的只有学术景观,在修辞中每个词都是一样的价值,从价值判断的角度来讲选择和不选择是一回事。但是这些词本身是对应着某种事实的,对应着某种解决方案,它是有自己的上下文逻辑关系。没有词无法表达,但词真的不重要,重要的是那些背后的事实。所以社会学界今天才流行一句荒唐的口号:“让社会学回到社会”。

艺术界需要“让艺术回到审美吗?”

审美的意思是非利益的情感判断,好看只是审美中一个狭小地带。回到非利益的情感判断当然是艺术的目标。非利益的情感判断,依靠身体的感知,审美是不同政治和伦理认知者之间最容易达成共识的最大公约数,它是一切社会活动的底线。艺术回到审美的时候就是艺术重要的时候。

 

 

——和艺术家徐然的对话

 

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D、

戏剧不是幻觉吗?

戏剧是仪式,是一种在假定性中进行的人生推演和逻辑思辨。虽然都是在假定性中,但戏剧本身有两个完全不同的概念,一种是由模版生产出来的表演仪式;另一种是由观看者和演出执行者在同一空间中即兴的情感碰触产生的观看仪式。前者制造幻觉,后者是在生产事实。

你想生产什么事实?

我不知道每次戏剧实践会生产出什么事实,因为时空和人都是不确定的,我只希望这个过程能产生另一个纬度上的对世界的观看方式。我想把日常生活中哪些我们熟视无睹的、觉得理所应当的许多东西, 放在某种规定的情景中仔细的观看它,深究它。在那个假定的时空里忘记自己习惯的经验,象个无知者一样重新从最简单的东西开始认识世界,这也许能抵抗那些由二手经验、二手理论、各种规训、各种宣传以及各种景观带给我们的种种幻觉。

回到底线?

对,回到起点,用一种假定性重新感知一遍那些影响我们的理论和实践。

你不觉得这个假定性跟大麻很象吗?

也许有些人把大麻就是当成日常生活的仪式的,这种把日常生活仪式化的方式也许就是抵抗对幻觉习以为常的一种借口吧。

 

——和艺术家江何广的对话

 

Back to the Bottom Line

Author / Li Yifan

 

A

Why do we smoke marijuana?

To run away from the illusions caused by landscapes.

Isn’t marijuana used exclusively to create illusions?

Mixed illusions are usually stronger than the single illusions.

They are both kind of illusions. Are there any differences?

The former is the best resistance of free will towards control.

That means, only by resistance can people achieve free will?

Resistance is exactly the free will and vice versa.

So in this sense, resistance isn’t a sort of means, but more like a purpose?

Yes, at least in today’s context.

So, in this way, marijuana is merely an excuse?

Yes, absolutely.

 

——dialogue with Shi Jiepeng, doctor of anthropology from Harvard

 

B

Why these years you don’t leaf through new books, especially the theoretical ones?

I have zero tolerance of starting a study of a new problem without a thorough understanding of the previous one. Such kind of incessant thinking in circle won’t happen on me, because if I have just latched onto a new problem, it will be unlikely for me to push myself into the savvy of another.

 

How do you adjust to the new environment without socking up new knowledge as China is developing so rapidly in the past 3 decades?

In order to maintain a clear self-recognition, one must look for references in life without a stop. That is a key job. Only when you have a clear vision of the references you take, can you realize where you are and what you do. All these references come from the various new knowledge and practice from the contemporary western and eastern world, as well as the experience and lessons from the history. What is puzzling is that in the process of searching references, did we once see through them? Every time was like, we hadn’t sort things out, and still were at the very beginning of the stage to delve deeply into the real problem, but due to this or that tricky reasons, we finally found that the problem was of a set of difficulties and complicity, thus a new problem would spring up in our mind as a troubleshooter to cover up the previous one. In such sense, those unsettled misunderstandings continued to grow more and more, and then there emerged a new flock of unsolvable problems, which directly led to the fact that we were at the end of our wits to interpret the problems brought about by the previous misunderstandings and it was common for us to forget the need to search for the references

 

Is this exactly a kind of mixed illusion?

They belong to the same group of illusions, though large in quantity.

 

Then how do you define ‘mixed’?

The prerequisite of the mixed property lies in the differences of self-definition, out of a variety of spontaneous choices by ourselves. Or we could say, mixed property is based on the subjectivity of human beings. No subjectivity, no mixed property. It has nothing to do with so called new or old. The pursuit of new pattern and materials is nothing other than an alienation performance controlled by the landscape.

 

——dialogue with the  artist Xie Bingxin

 

C

Which terms will you choose? Globalization, post-colonization, empire, localization, regionalism (localism), collectivism, indigenization, urbanization, marginalization, post-network era, nomadism, subjectivity, community, dualistic structure, identity politics, general public, space 

 

 

production, subjectivity, objectivity, universalism, pluralism, sociological transition, linguistic turn, political correctness, identity politics, politics recognition, equality on uniformity of all things, landscape, ideology, neo-liberalism, the new-left, and neo-Confucianism.

 

The only hallow issue that could be manufactured is academic landscape. Each term has an equal value in the rhetoric. From the perspective of value, to choose or not to choose shouldn’t be a question. Nevertheless, these terms themselves are in accord with certain facts, or certain solutions. It is of logical relations beyond the lines. Indeed, terms are all futile and what is important is the facts behind them. Therefore, there is an absurd slogan all the rage in the sociological circle, ‘Let sociology return to the society.’

 

The art world really needs the voice ‘Let sociology return to the society’?

Aesthetics is meant to be an emotional judgement with interest. Beauty is merely a narrow zone in the aesthetic field. The return to the emotional judgement without interest is definitely a goal for art, as it is dependent on physical perception. Aesthetics is the greatest common divisor, a consensus most easily achieved among divergent political and ethnic groups. It is the bottom line of all the social activities involved. The moment art comes back to aesthetics is the very time for art to display itself.

 

——dialogue with artist Xu Ran

 

D

Drama isn’t a form of illusion?

Drama is a form of ritual, a progressive life and logical thinking undergone in an assumption. Though both in the assumption, the two different concepts of drama, one is a performance ritual produced by a format, and the other is a sort of review ritual created by the instantaneous emotions and feelings between audiences and show performers in the same space. The former produces illusion, while, the latter, facts.

 

What kind of facts you want to brew?

I have no idea of what kind of facts each drama practice could brew, because of the uncertainties in time and people. The only hope I bear is to create a new perspective, from another latitude to look at the world through this process. I want to take a close look at and dug deeper into many things which are ignored and taken for granted in our daily life after placing them in a certain prescribed context. Under the assumed time and space, we leave behind the usual practice of experience, and start to reinterpret the world from the simplest things like an ignorant man, which might be resistant to different illusions brought by those second-hand experience and theories, regulations and rules, promotions and propaganda, as well as various landscapes.  

 

So, back to the bottom line?

Yes, back to the starting point, an assumption is used to review those theories and practice that have influenced us.

 

Don’t you think the assumption looks alike with marijuana?

Perhaps, some people regard marijuana as a kind of ritual in the daily life. Such kind of ritualization might be a matter of common practice of excuse given for the resistance towards the illusion.

 

—— dialogue with artist Jiang Heguang

 

 


 

艺术家 / Artist:

李一凡   Li Yifan

艺术总监 / Art Director:

杨述   Yang Shu

出品人 / Producer

黄中华 Huang Zhonghua

展览统筹 / Coordinator:

李丽   Li Li 、朱君 Zhu Jun

开幕时间 / Opening Time:

2016年12月25号,16:00

16:00, Dec. 25th, 2016

时间 /  Duration:

2016年12月26号至2017年2月19号

Dec. 26th, 2016to Feb. 19th, 2017

地址 / Venue:

重庆市两江新区星汇两江商业艺术中心3区星汇当代美术馆1-2楼

F1-F2, The Galaxy Museum of Contemporary Art, Bloc 3, XinghuiLiangjiang Art Business Center, Liangjiang New District, Chongqing

            主办方 / Organized by:            

GCA 星汇当代美术馆

The Galaxy Museum of Contemporary Art

特别鸣谢 / Thanks to:

重庆高科集团

星汇两江艺术商业中心

重庆HMD集团

重庆筑尚文化传播有限公司



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opening time:Tue-Mon 10:00-18:00

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