传奇

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传奇 一. 歌唱是一种行为。鸟在树林里歌唱。白果林不是树林,是中国西南大都市成都的一个区。在白果林里歌唱的,被称为白果林的哲学家,他是一位漫长的迁徙者,具有徒步和飞翔两种本质。   二. “风道北来”,大荒西经是这么说的:“西有沃之野,凤卵为食,甘露是饮,鸾鸟自歌舞,百兽相群处。风道北来,天及大水……”《山海经》是中国最古老的传奇的一部分。“大荒西经”是《山海经》的一部分。位于秦岭和大巴山以南,也是一个展览的名字。进入这个展览的大厅,中间是一座突兀的白山——白色的盐堆成雪的山。山巅上,有一缕白色的气雾,是一个水的雾化器发生出来的。上升然后下降。那个山的名字叫冈仁波齐。有磅礴的雪顶,很多神和神性居住的地方:除了藏密,还有苯教的众神以及印度教的创造与毁灭。人还没有企图登上过它的顶峰。我曾经在它和玛旁雍错之间被风吹散,只记得那里的雪、冰川和下午巨大的阴影。白色的雪变成白色的盐。水雾降下来的时候,盐会有一点点融化,山的高度会有一点点降低。从理论上说,如果水雾一直不停地降下来,山将会全部融化。山就变成了海,盐的山就会变成咸的海。大荒西经就回到了山海经。当然,这样的沧桑并没有历史性的时间在成都的那个美术馆里发生。   三. 从前,徒步的迁徙者年轻的时候,梦想的意象包括糖和革命。孩子不会梦想盐的咸味。糖像一条巨大而甜蜜的航船。大巴山曾经是革命与梦想的摇篮。趴在这摇篮边上的孩子的孩子是梦想家和诗人。那航船是四川美院男生宿舍双层床的上铺。那是18岁的年龄。1989的糖化了,勇气和热情只剩下一副庞大的龙骨,像《老人与海》中那条著名大鱼的残骸。   四. 黑色的道路。沥青的气味惊动了楼里安居乐业的邻人。他们报了警。你只好又搬家。 你一直搬家。 canada goose 很多年都不给自己买房子。这是一种迁徙者的本质。迁徙者的本质包括遥远的目的和当下的自由:到达、离开。 黑色的道路后来在北方延伸成黑色的十字,包含碎裂的路口。那个展览中矗立着展望7米高的不锈钢巨石,姜杰用小青瓦铺成的粉色乌托邦,观众可以使用隋建国的熊猫垃圾箱……,而张永见送来一块沂蒙山的巨石,他说:黑沥青的十字路,好。   五. 枯竭。荒原。艾略特的背影。 水从上面沿着一层一层的钢板流下来。下面越来越热,最下面是火。水没有别的选择。水注定被毁灭而升华。水义无反顾,前仆后继。 canada goose pas cher 像那些顽强的革命者和顽固的坚守者,像那些悲悯的拯救者,像保罗·策兰从塞纳河的黑暗中递过来的细枝: 七个夜更高了,红色涌向红 七颗心更深了,手敲大门 七朵玫瑰更迟了,泉水溅起泉。源头活水。朱熹的背影。在《水与火》这件作品里,源泉是一根连接自来水龙头的橡胶水管子。   六. 夸父是山海经里另一个雄奇的故事。这个巨人追逐着太阳最后渴死在北方,看到过一片灿烂的桃花。逐日的夸父是古代骑士的神话祖先。所有追逐光明的勇士都是他的后裔。他们在夕阳西下的时刻骑上他们的马,手里握着四米长的利刃。太阳马上就要落山了。光明和黑暗的分界线向骑士站着的地方移动过来,渐渐漫上他的马和身体。太阳一半在山后面,一半在山上面。骑士一半在残阳中,一半在山的阴影里。他手中的利刃破墙而出。房子里的灯光也是半明半暗,而且每隔50秒就会轻微地摇晃一次,让那灯罩制造的明暗分界像水波一样在他的刀锋上荡漾。   七. 碑,湿润的碑,兀立于另一个界面。 碑是一种纪念方式,是历史的重量。形式是极少的,质感是湿润的。因为湿润它成为一种新 的东西,成为渗透和漫延,成为可能性的河床,成为活的存在,呼吸着的存在,生与死的共同体。 在既往与未知事物的衔接界面,在定论和祭奠过去的位置,书写将发未发之际的完整、醇厚与清凉。   八. 一块砖,也是一种碑。也是历史、纪念和召唤。 迁徙者的巢穴,因为砖的搭建慢慢成为了故乡。 然后有一天,砖累了,厌倦了自己固定不变的位置。它回到土。比如乌坎具有某种当代政治意义的土和没有释放的革命热量。砖带着土的象征重新出发,把自己再次定义为网络中的浪子,经过无数陌生人手掌的温度,残损、碎裂和还原。   九. 威尼斯是水做的城。万古长空,一朝风月。上善若水。 马可波罗和忽必烈是两个无所事事的顽童,一个讲,一个听。一共有55个编造的故事,讲述了55个“看不见的城市”,那是55个漂流的意象与隐喻。它们漂流在透明的空气里,就像鱼游进你忘记关闭的窗户。 《看!看!》,当你涉过海洋,穿过广场,它是水的立方体。在威尼斯双年展平行展“无常之常”的水磨石地面上,极少到本体论的形状,透明到抽象和空性的高度以后,就剩下每隔15秒冒出一串小气泡,以及“不存在的骑士”在看金刚经。   十. 印刷机发出斩钉截铁的声音。“新华”的意思是新的中华。这是一份报纸,一份发行在60年前的关于每个人都有糖果的承诺。糖果是孩子们的梦想,所以他们唱着卖报的歌谣。   十一. 60年以后,死亡成为另一个孩子的梦想。他16岁,带着三个弟弟妹妹头也不回地走了。留给社会学和糖果承诺一个无法填补的疼痛。 从喜马拉雅运来的咸的岩石,被切成2000块砖。喜马拉雅是世界的头顶,终年都是白皑皑的智慧和悲悯。 离天津泰达美术馆最近的海是渤海,外面连着太平洋。所以这个展览分成两个部分:在渤海湾的沙滩上是盐砖铺成一个陈述句:“死亡是我多年的梦想”——这是四川毕节那个孩子的遗言。海潮如约在月圆的时候涌上来,世界上海拔最高的盐回到了最辽阔的海。 我们站在数十公里外的美术馆里看着屏幕,喜马拉雅面向大海,那个叫海子的诗人还说过春暖花开,但铁轨冰凉,美术馆的水泥地面湿漉漉的,疼痛被距离和诗性缓解,但更持久地握紧。   十二. 黑戈壁。 3000年前的太阳墓地和军营废墟重叠在苍茫里,前面出现一道没有尽头的墙……你开废了朋友的大切,因为需要带上摄影师和一车砖。砖的作用是置换,在黑戈壁的深处置换四个也是用砖垒的大字:“保卫祖国”。那里是军事禁区,也是生命禁区,曾经生长过一种遮天蔽日的“黑蘑菇”。在它盛开的地方,其他的一切,死亡。 你活着回来的时候送给我一块石头,很重,像陨石,被剧烈地燃烧过。 侵略者和保卫者,征服者与复仇者,都有可能成为民族英雄或罪人。蒙古人的弯刀很像戈壁滩天边的新月而那些马脖子上悬挂的头颅,闭着眼睛。 可是大黑蘑菇分不清这些:民族、国家、英雄、罪人,它只知道节日般欢乐地升起,把人类的史诗夷为不毛之地。   十三. 极度寒潮,透明的帐篷里有毛毯和暖色的光。这是一个以物易物的游戏:“如果你需要”取消了等价交换物和等价交换原则。于是三百条毛毯在两个小时之内没有了。留在这童话光芒中的,是小女孩手中熄灭了的火柴棒。   十四. 网络。 密布整个世界,庞大到不可思议的活系统。 你是最早运用和发挥网络特殊力量的艺术家之一。 你在网络上“传递一块砖”,还在网络上玩“秘密交换”:有数以百计的陌生人用自己的秘密交换你从未展出过的油画局部。 网络将成为什么?非中控的、混沌的、自组织的另一个自然吗? 在这自然之中,进化仍然是一种物竞天择。   十五. 你建构的楼正在从地平面向天空举起双翼。 那段乌木沉积了沉寂,而你的歌声将从更高处俯瞰大地。  

唐尧:策展人、批评家 “中国雕塑”主编

  Legend   1 You can move through the world singing, as birds sing from treetops. Though a ginko forest isn’t really a forest, but a Chengdu district, in Southwest China. A song amidst ginko, our Ginko Philosopher is on a long journey, essentially by foot or wing.   2 “A north wind blows.” In China’s Classic of Mountains and Seas, the chapter “Classic of the Western Wilderness” says, “There are wild fertile lands, where one can feast on phoenix eggs and quench one’s thirst with sweet dew. The phoenix sings and dances, a hundred beasts gather. Wind blows north and heaven gives forth great waters…”. The Classic of Mountains and Seas is China’s oldest compendium of myth and folklore. South of the Qinling and Ta-pa mountains is a name on display. As you enter the large exhibition hall, a great white mountain arises before you—piled white and mountainous with salt. At the mountain summit wisps blanche mist, given off by a machine, rising and falling. The name of this mountain is Gangren Boqi Mountain, a majestic summit with many gods and sacred places. There are multitudes of its gods in Tibetan Buddhism and Bon, as well as Hindu gods of creation and destruction. bottes ugg soldes Nobody has ever attempted to summit. I was once torn apart by the wind between Gangren Boqi Mountain and Lake Manasarovar. All I can recall from the experience are snow, glaciers and a megalithic shadow over me. White snow makes for white salt. As mist descends, bits of salt melt. The mountain’s grandeur shrinks ever so slightly. As this continues, theoretically the mountain will disappear. Mountain becomes sea, as a mountain of salt creates a salty sea. The “Classic of the Western Wilderness” folds into the Classic of Mountains and Seas. Of course, transformation of this scale has never occurred before in Chengdu, has never been on display in a fine art museum.   3 Once, when the wanderer was young, he dreamt visions of candy and revolution. As a child he never dreamed of salt-tasting water. A big sweet candy ship. Ta-pa Mountain was the cradle of dreams and revolution. The children of children traipsing this cradle are dreamers and poets. The ship is a double bunk at Sichuan Fine Arts Institute. The wanderer is 18 years old. In 1989 the sweet taste of candy has changed, masculine energy and passion have left behind of themselves only a single dragon bone, similar to The Old Man in the Sea’s ravaged marlin carcass.   4 A black road. The acrid odor of asphalt startles our otherwise content neighbours. They call the police. You have to move. nike x fragment You are always moving. Years pass and you never buy yourself a home. This is the essence of your journey. Wanderers have only their present freedom, and a distant destination. Arrive. Depart. As it veers north, the dark road stretches into a black cross of broken roads. At this exhibition towers a huge seven meter tall stainless steel stone. Qiang Jie’s pink utopia laid out with small greenish-black tiles, the audience can use Sui Jianguo’s panda bear trashcans…, Zhang Yongjian sends a large stone from Yimeng Mountain. He says, “Black asphalt crossroads are best.”   5 Dried up. A Wasteland. Elliot’s back shadow. Water drips from one steel plate onto the next below. Underneath gets hotter and hotter, fire at bottom. Water has no other choice, destined for its own destruction, but to evaporate into air. It can never look back, advancing wave upon wave. Much like stalwart revolutionaries and stubborn holders-on, or compassionate rescuers. Like a small twig making its way along Paul Celan’s Seine River. Seven nights are even taller, red color surges red. Seven hearts are even deeper, a hand knocks at the door. Seven roses are even later, a spring splashes. Springs. Mouth of living water. Zhu Xi’s back shadow. new balance femme pas cher In the artwork Fire and Water, the source of our spring is a plastic hose coming from a faucet.   6 Kua Fu is another legend from the Classic of Mountains and Seas. This giant followed the sun until when in then north he died of thirst. A livid plum blossom was the last thing he ever saw. Kua Fu who followed the sun is the mythological ancestor of knights. All knights who pursue the brilliant light are his descendants. They ride into the setting sun, brandishing four meter long blades. The sun horse now descends the mountain and the line between light and dark encroaches upon our knight who sits astride his horse. With sunlight now half upon the mountain and half behind, the knight is half lit, half dark. His blade pierces the wall. The room’s light also shines on just a portion. It flickers every 50 seconds, dancing light waves along the blade.   7 A stele, a moist stele. Standing in stillness along another face. A stele is to commemorate, it is the weight of history. Form is minimal, touch is moist. As moisture becomes something new, it permeates and extends into a riverbed of possibility, existence of life, breath, a unity of life and death. At the interface of what is bygone and what is yet unknown, where final conclusions and sacrificial ritual are past, the whole written description of both the past and yet to come, rich and mellow, cool and refreshing.   8 A brick is also a stele of sorts. It is historical, commemorates and summons. Our wanderer’s lair, built with brick, grows into a homeland. Then one day, bricks piled high, he grows weary of his fixed abode, and returns to the land. Like Wukan, with political sense of land and bound revolutionary fervor; the brick comes to symbolize renewal and departure. Redefine oneself as online surfer. The brick surfs through palms of countless hands, crumbling to pieces in return.   9 Venice is a city made of water. An infinite and vast sky. The beauty of a single morning. Water is most virtuous. Marco Polo and Kublai Khan were two idol urchins, one speaks, the other listens. 55 stories told of 55 “invisible cities”, 55 drifting images and metaphors, floating through transparent air, just as fish sail through a window you forgot to close. Look! Look! As you navigate the sea, or cross the plaza, is a free-standing structure. At Venice Biennale’s Confronting Anitya exhibition, on the terrazzo flooring, are tiny ontological shapes, transparent abstractions at the height of emptiness. Just a single bubble surfaces every 15 seconds. And the “knight who doesn’t exist” reads the Diamond Sutra.   10 The print machine chops along at resolute pace. “Xinhua” means “New China”. It’s a newspaper promise of candy for all, made 60 years ago. Sugar is what children dream of, and so they sing to sell their newspapers.   11 60 years ago, another child dreamt of death. He was 16, leading three brothers and sisters, unable to look back. He left behind his sociology and candy promises, an irresolvable ache. 2000 salt blocks brought back from the Himalayas, stacked mightily high, reaching the Pacific Ocean at its outer edge. The Himalayas are the peak of our world, white capped year round, wise and compassionate. The sea nearest Tianjin’s TEDA Fine Art Museum is the Bohai sea, which in turn borders the Pacific. This exhibition is dual in nature. On the beach of Bohai Bay are salt blocks forming words, spelling “I have long dreamt of death.”—Will and testament left by that kid from Bijie, Guizhou. The tide swells at its appointed times. In it dissolves salt from the highest point above sea level, now returning to the sea’s expanse. Many miles away, we look at the screen on a museum wall, where the Himalayas face the sea. That poet, Haizi, said spring warmth opens flowers, but train tracks are icy old. Well the cement of this museum floor is freezing. Our ache melts slightly in the warmth of these poetic images, though still persistent, digging in.   12 Black Gobi. The 3000 year old sun cemetery convulses with the ruins of a military encampment along this endless expanse. Ahead is an endless wall……you cast aside your friends, because you need a cameraman and a vehicle full of bricks. The bricks are for swapping, in the depths of the Black Gobi Desert, you use these bricks to swap out older ones spelling the words: “Defend Our Nation”. This is a forbidden military zone, forbidding life, itself, once home to a “black mushroom”, one which covered the earth and hid the sky. When it bloomed, all else died. If you live long enough to return, bring me a brick. Heavy as a meteorite, burnt relentlessly black. Invader and defender, conqueror and avenger, each either criminal or hero of the people. The Mongolian curved blade resembles a new moon at the edge of the Gobi Desert, like skulls hung about the necks of horses, close your eyes. But the black mushroom doesn’t discriminate. People, nations, heroes, criminals. It only knows how to jubilantly explode, erasing epics of human history, leaving behind barren wasteland.   13 An extreme cold spell. Within a transparent tent, a carpet gives off a warm glow. A game of barter, “if you need it”, subverting exchange of goods for money. Three hundred carpets are taken in two hours. Left in fairy-tale radiance are a handful of smoldering matchsticks in the palm of a young girl.   14 The internet. Blanketing the entire world, an unimaginably vast and living system. You are one of the first artists to utilize the power of the internet. Online, you “passed along a brick”, and you also “exchanged secrets”.

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