陈劭雄/Chen Shaoxiong: 风干历史/Air – Dry History

 

At a time when we increasingly distrust information received via mass media, social media has emerged to offer an alternative understanding of the world, particularly when news of sensitive subjects is censored or transmission is blocked. We rely on social media’s 1st-hand transmissions despite its mixed bag of gossip and junk content. Based on our orientation, we filter the information to get what we need, and we reach for more, by looking beyond ourselves-this is how we shape our view of the world. Today, the shock of remote news events assaults our senses even before we fully and rationally process such information. Never before have events in faraway places been made so vivid to us, and we share their anger and despair.

“Ink Media” (2011-2012) is based on a collection of photographs I found recently online. I downloaded these protest pictures from around the world to study their details in the quiet of my studio. Then, I opted to “revive” these scenes using ink painting; finally, piecing these fragmented scenes together, in installation and video form.

What protesters oppose and demand varies from region to region, but protest nevertheless is a shared means of individual as well as group political expression-protest is more effective with increased communication and participation. Retelling these events via Ink painting can bring the audience closer to what people suffer in faraway places, while I participate from my studio, in my own peaceful and artistic way.

The “Ink Media” ink paintings in “Air-Dry History” will comprise a new animation video, recording events of disparate time and place, in order to appreciate their similarities: throughout, the human figures are the common denominator of protest, their movements a shared language of political expression, their bodies exposing common strengths and weaknesses.

 

 

当我们对大众媒体越来越失去信任,而社交媒体提供我们更多了解外界的途经,尤其是当某些敏感的事件受到控制甚至屏蔽,我们依赖这些原始的,虽然其中不无垃圾的信息,我们按照对这个世界的理解来过滤这些信息,获得我们每天的所需,然后结合我们周遭的事物来理解这些内容,因而形成我们的世界观。这些冲击在我们来不及整理和缺乏思想的引导下已经深深地植入我们的身体和记忆,我们比任何时代更加真切地感受到远在他方所发生的事件,我们感受他们的愤怒和失望。

墨水媒体是我近两年来从网路媒体看到的世界各地的政治抗争的图片,我将这些图片下载之后在工作室重新观察其中的细节,通过水墨画来重温那一场场令人激愤的现场,并把这些破碎的事件联系起来,这些分布于世界各地的事件虽然抗议者所针对和所诉求的目的截然不同,但是,抗争是一种个体或群体政治表达的共同方式,这些方式可以通过交流和分享来提高其有效性。用水墨的方式来转述这些事件也是在平静的地方通过审美把远在他乡的苦难带入观众的心中。

这些水墨画也是为了一个新的动画录像所准备的,不按照时间和地域来编辑这些事件内容, 我们更多可以感受到它的相同性:身体作为抗战的媒介、身体作为政治表达的语言、身体的坚强和脆弱。

 
 
 

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