假想死亡

English

  假想死亡…… 文/ 杜曦云   死亡,我不相信这件事,因为我不会在场确认它已经发生了。对于这件事我不能发言,因为我还没准备好。——安迪• 沃霍尔   据媒体报道,2015年6月9日,贵州省毕节市七星关区茨竹村4名儿童在家中死亡。这四名儿童是一兄三妹,最大的哥哥13岁,最小的妹妹5岁。孩子的父母均在外打工,四兄妹身边没有直系亲属照料。经公安机关调查勘验和相关尸体检验,4名儿童均系口服农药中毒死亡,排除他人所为。12日23时,在征得儿童的母亲同意后,4名儿童的遗体被火化。 nike mercurial   6月12日,有媒体披露了哥哥张启刚留下的一份简单遗书。遗书大概内容是:“谢谢你们的好意,我知道你们对我的好,但是我该走了。我曾经发誓活不过15岁,死亡是我多年的梦想,今天清零了!”之后,据《中国青年报》报道,警方在现场勘验中提取了一封遗书,在提取4名儿童在学校的作业本后,鉴定认为这封遗书是年纪最大男孩的原笔迹。据毕节市七星关区公安局党委委员刘歆介绍,遗书是在作业本纸上写的,与网上流传的有一定出入。毕节市公安局刑侦支队支队长周家庆说,因为牵扯到未成年人的保护和事件后续的调查,原件内容不便透露,遗书的大致内容是:“谢谢你们的好意,我们知道你们对我们好,可我们该走了,我曾经发过誓,我活不过15岁,可中间的意外让我活了这么多年,我现在14岁多,死亡是我多年的梦想,可是我从没有实现过,今天,终于实现了。” 对于为什么一开始没有披露遗书,刘歆解释说,因为当时找到这份遗书后,要到小孩的学校提取他们的作业本,并进行送检,才能确认这封遗书的真伪,需要一定的时间。   关于这份遗书的真伪,很多人曾展开热烈讨论。其实,对不在场的所有人来说,关于这个事件的一切,都是通过媒体传送的文字、图像、视频来了解的。只不过,面对这些信息,每个人能展开自己的推想。   在浩瀚宇宙中,能拥有生命,这本身就是不可思议的奇迹。对生物来说,最宝贵的就是生命,对拥有意识的人来说,更是如此。在拥有生命、必然死亡这方面,所有人是平等的。有所差异的,主要是活着时拥有的权利,以及快乐的程度。 vente de asics 这二者既有必然联系的部分,又有彼此独立的成分。求生存、继而求更大的快乐,是人的本能。除非痛不欲生或追求虚幻的狂喜,没有人会选择主动结束自己的生命。   除非亲身体验,否则只是假想。死亡,是生命的一个绝对界限,生者无法触及。对于活着的人,只有生是可感知的,关于死亡,只能假想。4个留守儿童,最大的14岁、最小的5岁,生命尚未盛开,是什么样的亲身体验和想法,让如此年幼的孩子选择了主动结束生命?随着他们的逝去,很多事情都已不可知:他们生前的生存状态、他们为什么死、为什么4个一起死、怎么死的……对活着的人来说,如此极端的事,再一次探测和展示了当下现场的状况。   李勇政是一个拥有“艺术家”身份的人,和很多人的本能反应相似,这4个儿童主动选择如此极端的方式,让他深深刺痛却又茫然难言。那份“遗书”的真伪姑且不论,4个儿童的死亡和“死亡是我多年的梦想”这句话,强烈触动着他自身的经验和思考,让他产生通过艺术方式来表达的冲动。这种表达,既是个人体悟的转化,也是对这个将要被快速遗忘的惨痛事件的挽留。 多年来,李勇政频繁触及着复杂的人和事。中国现场中,利益暗流的盘根错节、陈旧模式的积重难返等,他深有体会。他也经常尝试着从现场中抽身来独面时空,这时,他体会到生命中虚无的一面:无论多么繁华或悲凉,在万古长空中,终归只是一朝风月。死亡是生命必然抵达的境地,是无言以对的消失,又是悲欣交集的解脱。他也经常茫然无措,当生命诉求遭遇复杂坚硬的现实处境时,他曾认为自己活不过30岁。之后,在经历了很多不堪的事情后,他至今依然活着。毕节4个儿童的死亡和“遗言”,让他的这些体会进一步发酵。   他用来自喜马拉雅山的天然盐块,在海滩上摆放成“死亡 我多年的梦想”这8个汉字,让这文化的产物在潮水的冲刷中很快融化掉,回归到大海之中。和这自然环境相对,在美术馆空间内,他也放满盐块,同期播放潮汐融化盐块的视频。这种表达方式,在自然环境和人为空间的张力关系中,把4个儿童的具体事件和李勇政对死亡的个人假想混合起来。在李勇政自己的艺术行迹中,这件作品和回溯1949年前新华日报内容的《送给你》、源起于广东乌坎事件的《传递一块砖》、出售喜马拉雅山天然盐块的《被消费的盐与冈仁波切》等作品连带起来,显露出了他近年来关注的问题(信仰、言行、民权)和表达惯性(从具体的社会事件中提取、转化抽象规律)。这样的作品有丰富的指向,更具体的意涵和魅力,取决于每一位观者的人生体会,和作品展示的时间、地点。特定的时间和地点,能牵涉出特定的现场背景,增强或减弱作品的力度。在奇观纷涌的当代中国,让这件作品力度强化的社会背景,往往不期而至……  

杜曦云:批评家、策展人、上海昊美术馆副馆长

  Imagining Death… Text : Du Xiyun   “I don’t believe in [death], because you’re not around to know it happened. I can’t say anything because I’m not prepared for it.”- Andy Warhol   According to media reports, on June 9, 2015, four children died in their home in Cizhu village, Qixing district, Bijie city, Guizhou province. There was one older brother and three sisters. The older brother was 13 years old and the youngest sister was five. The children’s parents were both in other areas working, and there was no next of kin caring for the children. According to the Public Security Bureau investigation and examination of the bodies, the four children orally ingested pesticides and lost their lives. At 11PM on the 12th, after receiving the agreement of the children’s mother, the remains of the four children were cremated.   On June 12th, the media revealed that the older brother Zhang Qigang had left a simple suicide note. The basic content was, “Thank you all for your kindness. I know that you’ve been kind to me, but I need to go. I have already sworn that I would not live past 15, and death has been a dream of mine for many years. Today I will clear out!”   Later, China Youth Daily reported that during the police investigation a suicide note was discovered. After picking up the homework binders of the four students, they confirmed that the suicide note was in the handwriting of the eldest child. Party Member Liu Xin of the Bijie City Qixing District Public Security Bureau Office explained that the suicide note was written on paper from the homework binder, and that there were some discrepancies with the version that had been circulating on the internet. The Bijie City Public Security Bureau Criminal Investigation Unit Chief Zhou Jiaqing explained that because it involved the safety of minors and the ongoing investigation, the original document could not be revealed, but the general content of the letter was, “Thank you all for your kindness. We know that you have been kind to us, but we must go. I have already sworn that I would not live past 15. Due to some intervening accidents, I have lived this many years and I am now 14. Death has been a dream of mine for many years, but I was not able to realize this dream. nike air max 2017 Today, I have finally realized it.” In regards to why the suicide was not revealed earlier, Liu Xin explained that when the note was found, authorities had to go to the school to retrieve the notebooks and then confirm the handwriting. Only then could they verify the truth of the document, and that required time.   Many have heatedly debated the veracity of the suicide note. In truth, for all those who were not on scene, their entire understanding of the events originates in text, images, and videos distributed by the media. It’s just that facing this information, every person develops their own interpretation.   In this vast universe, it is possible to live. ugg outlet france This itself is an unthinkable miracle. For living organisms, life is more precious than all else. For those that are conscious, this is even more so. soldes puma chaussures The inevitability of death faces all living creatures equally. Any differences are primarily in the privilege of a long life and in the degree of happiness. These two are connected, but also independent. It is human instinct to seek to survive and to seek greater happiness. Except when wracked by unbearable pain or when ecstatically pursuing an illusion, no person would actively seek to end their life.   Outside of personal experience, everything is imagination. Death is an absolute limit to life that those who are living cannot connect to. Those who are alive can only perceive life and only imagine death. For the four children whose parents had left them, the eldest being fourteen and the youngest being five, life had not yet bloomed. What personal experiences and ideas led these young children to choose to end their lives? Following their deaths, there were many things that were unclear. What was the state of their lives? Why did they die? Why did all four die together? How did they die? … For those who are alive, such an extreme event probes and reveals the current state of affairs.   Li Yongzheng is a person who is defined as an “artist.” Like many who learned of the decision these four children took to end their lives and the extreme methods they used, Li was deeply affected and left speechless. For the time being we will not discuss the veracity of the “suicide note.” The deaths of the children, and the sentence “Death has been a dream of mine for many years,” resonated strongly with Li Yongzheng’s personal experiences and thoughts, and became the impetus for a new work of artistic expression. Although this expression has been transformed by his individual experiences, it also holds in place this quickly forgotten, terrible event.   Over many years, Li Yongzheng has frequently come into contact with complex people and events. In China, undercurrents of profit form a twisted web and traditionally ingrained habits are difficult to overcome. Li has deeply experienced these. He attempted to step back and independently evaluate the situation. In this moment, he faced the emptiness of life. Regardless how grand or dismal, life is ultimately a single wind across a boundless sky. Death is a condition that all life must arrive at. It is an indescribable loss, a liberation from the intersections of happiness and sadness. Li is often blankly speechless. When facing the complex realities brought on by the need to live, he has thought that he would not live beyond 30. Now, after living through many unbearable events, he is still alive. The death of the four Bijie children and their “suicide note” pushed these experiences to ferment further.   Using natural salt from the Himalayas, he spelled out the Chinese characters for “Death, a dream of mine for many years.” This cultural product melted quickly under the tidal waters, returning to the ocean. In an art museum that contrasted with the natural environment of the performance, he filled a room with salt and set up a broadcast of the salt melting into the sea. These expressive methods, located in the tension between the natural environment and the artificial space, blend together the specific circumstances of the death of the four children and Li Yongzheng’s personal conception of death. This work is connected to works such as I give to you, which recalled pre-1949 Xinhua Daily articles, Transmitting a Brick based on the Wukan incident in Guangdong province, and Consumed Salt and Mount Kailash, in which he sold natural salt from the Himalayas. It clearly connects to the issues he has been concerned with in recent years (belief, words and actions, human rights) and with the expressive method he uses (beginning with a specific societal incident and transforming it into an abstract rule).   This type of work is rich with implication. The specific significance and beauty will be based on the life experiences of each viewer, and on the time and location that the work is displayed. Specific dates and places can implicate specific backgrounds settings, increasing or weakening the power of the work.

Share:

More Posts

Leave a Reply