墨水历史/Ink History,自述/Statment

 

 

创作这件作品的意图远不在于对历史镜头的重现,事实証明,历史是难以重现的,甚至是无法重现的。在现实中,历史仅仅提供各种解释的素材,不同的解释为了不同的政治需要。《墨水历史》只是收集不加任何解释的历史图片,这些图片在时间和过程中也仅仅是瞬间的记录,它只代表一个片面的目击证据,而留待解释以无限可能。虽然这样,在集体记忆中这些图片又充当时间线中的关键帧。我的作品就是对这些关键帧的联接但放弃任何解释,因为所有解释都是具目的性,且为某种价值倾向和意识形态服务,这在我们的教育体制中已经充分体现了。

 

The point of this work is not to reproduce a version of history. Experience shows that history is difficult, even impossible, to reproduce. In reality, history merely provides material for interpretation, and different interpretations are produced to fit different political needs. “Ink History” merely collects historical images without adding any interpretation. These images in turn are but fleeting records of time and process, and they only represent fragmentary, eyewitness evidence, leaving infinite space for interpretation. Even so, these images function as key points of reference in the collective consciousness of time. My piece strings these key images together, but abandons any duty to interpret them, because all interpretation is teleological, and exists in the service of a particular set of values or ideology, as our education system so adequately proves.

 

《墨水历史》的图片收集也不是调查式的,作为个体,我们没有权力和机会对这些史料做任何深入的挖掘,个人只能是被动的接受这些素材,而当今,来自网络的素材在某种程度上标示了这个社会宽容度。也就是说该作品所收集的图片提出了这个问题:我们在历史资料中只能看到什么?而剩下的资料又在等待什么?

 

The image collecting that underlies “Ink History” is not the result of some long investigation. As individual subjects, we are granted neither the power nor the opportunity to do deep research into these historical materials. The individual can only absorb and accept these materials, even if the onset of the internet has gone some way to showing a new ecumenism. In other words, this collection of images raises the question: What do we see when we look at historical materials? And what are the remaining materials waiting for?

 

 

用水墨画的方式对这些图片的重温和复制,作为个体重新体味这个静止帧所包含的意义,也对观者表示历史复述的困境。当复述如此难以令人信服时,一百年的历史压缩成三分钟的静帧交叠和跳动,我们失去了判断,只有感叹和悲哀。这个创作的过程,是一次自我教育的过程,这些图片和水墨画,让我得以进入那些惊心动魄的历史场景中的一次次机会。图画是这个过程所留下来的证物,而录像是对过往经验和现实体验的混合,这个混合表明:此时此景,我们的极限性,面对历史中的彼时彼景,我们又能做什么?

 

Using ink to warm up and replicate these images is a way of confronting them and the meanings they have been assigned. It is also a way of showing the viewer the impossibility of historical retelling. In our present moment when historical narratives have become nearly impossible to believe, a century of history can be compressed into a three-minute silent progression that jumps from image to image, showing how we have lost any power to judge, retaining only the ability to sigh and bemoan. Making this work was a process of self-education; painting from these photographs enabled me the opportunity to engage with these hair-raising historical scenes one by one. The resulting paintings are the physical remnants of this process, and the video is a mix of past experience and the sensation of reality. This mix asks: at this moment, having reached our limits, how do we face up to the earlier moments of our history?

 

 

 

录像展出设备要求:

1,根据不同环境选择适合的流明度的投影机

2, 四比三屏幕比例,尺寸大约在240cm X 320 cm

Video specifications:

1. Projector and brightness to be chosen according to the specifications of the space.

2. Screen ratio of 4:3, approximate size 240 x 320 cm.

 

 

水墨画展出要求:

1,不需要镜框

2,按照晾照片的方式展示用夹子悬挂这些水墨画(见附图)

 

Painting specifications:

1. Unframed

2. Mount the images using clips, similar to how photographs are hung to dry. (See attachment.)

 

 

2011年2月13日

 

 

 
 
 

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