在2013年谈1991至1993年的旧作

早期的这几件作品,围绕“时间”的问题。那个时候我迷恋爱因斯坦的空间弯曲理论,我想:时间是可以分割的…我想从日常的生活中把一部分时间截取出来,而相对于这部分时间,生活反而成了一个可以观看的艺术,而艺术就是一种日常的状态。

91年初,我买了几十米透明薄膜把空间分隔成要绕几个弯才能找到出口的迷宫,每日懒洋洋地涂油漆,这个迷宫最后成了黑色。每天都有日期标示,和河原温(On Kawara)那些简洁沉默的数字不同,我的生活成为可视的行为,其实,沉寂的不是那七天,而是那七天之外的其他时间,后悔把那个作品命名为《七天的沉寂》。

92年的《耗电72.5小时》,几个日光灯构成的人形,落寞而又消耗能量,除了对丹·弗莱文(Dan Flavin)、布鲁斯·瑙曼(Bruce Nauman)的致敬,更是对南方城市的夜间大排档的致敬。我们在那些地方狂饮,然后把白日变成荒诞。彩色日光灯来自于那些生活素材,在那些低廉的生存中幻想着如何偷盗时间。每小时记录电表就是用无意义的行为来消耗时间,叛逆时间必须用意义去填充的普遍观念。

93年夏天,广州红蚂蚁酒吧门口的《5小时》,是一个没有行为的行为,对Happening Art(偶发艺术)的调侃,我当时想要做一个Nothing Happen的行为。像爱九十年代的酒吧一样爱约翰·凯奇( John Milton Cage )的思想。我讨厌观众对事件和情节的期待,我讨厌行为中的象征和仪式,我讨厌把意识形态演化成表演。

事隔多年回观旧作,觉得真的奇怪。解释是我现在的解释和参考当年的解释,其实我真的不懂那个陈劭雄是怎么搞的?

These early pieces of work revolved around the issue of ‘time’. During that time, Albert Einstein’s theory space warping infatuated me. I thought that if time could be broken up, I would like to cut out a portion from my daily life. Through this segment of time, life would inadvertently become an art you could observe – where art would really become a situation of the everyday.

In the beginning of 1991, I bought a few ten meters rolls of plastic mulch and used it to partition a space with curves that produced a maze you had to negotiate with in order to find the exit. Everyday I would paint nonchalantly until the maze eventually turned to black. My life turned into a visible performance. Everyday I recorded a new date, which would differ from the silent and concise numbers of On Kawara. In fact, the silence went beyond those seven days and actually engaged time beyond this duration. Afterwards, I eventually came to regret naming this work Seven – Day Silence.

The work 72.5 Hours of Electricity Consumption (1992): a human shape was formed using fluorescent lights that conveyed loneliness as well as the consumption of energy. More than Dan Flavin or Bruce Nauman, the work paid homage to the large night stalls of Southern China. We drank heavily in those places and those days changed to absurdity. Colored fluorescent lights were the materials found from this kind of life. From this cheap existence we made illusions of how to steal time. Every hour recorded by the electric meter was a meaningless performance to consume time, and to rebel against a universal concept that time must be filled with meaning.

In the summer of 93, the work Five Hours took place at the door entrance of Guangzhou’s Red Ants Bar and was a performance without a performance. A satire of ‘Happening Art’ at the time, I wanted to create a performance where ‘Nothing Happened’. It was there was a similarity to the love of 90s style bars with the reflections of John Cage. I hate the expectations the audience has for a plot or an event; I hatethe symbolism and pomp of performances; and I hate when ideology evolves into a performance.

It is strange looking back at these old works after a lapse of many years. An explanation is now is that I have explained the fact that I have had to reference an explanation that I made all those years ago. In fact, what I really do not understand is: how did Chen Shaoxiong make it happen?

 

 
 
 

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