《集体记忆-佛山》创作自述和创作后记 / “Collective Memory -Foshan” artist statement

创作自述

选择佛山人记忆中的地标建筑且具有时代印记的图像作为创作素材。

将“旋宫酒店”与仁寿寺内的“如意塔”并置,两者都是塔的形状,一个是千百年来佛教文化的精神象征;另一个是八十年代初消费社会的理念进入后,人被解放出来的物欲追求。“龙塘诗社”是二十世纪初期受西方美学影响的殖民化建筑,而“梁园”却是体现中国传统美学的园林造境,两者皆为那个社会中士绅生活和文人游戏的场所。“人民体育场”作為典型的社会主义建筑,在全民发展体育运动的同一时代,“祖庙”曾被当成封建迷信备受冷落。把这几个景物连接在一起不仅仅以勾起佛山人的回忆,而公众在参与这个活动中将体验重新把这些碎片化的记忆粘合起来。

“旋宫酒店”和“如意塔”代表信仰,一个是拜物主义,一个是牺牲现世;“龙塘诗社”和“梁园”代表文化,本土文化和殖民文化的碰撞,这个问题至今仍然如此;“人民体育场”和“祖庙”代表政治,现实政治对人的思想影响形成了一个意识形态的变迁史。

中国特殊的社会形态和全球化进程中城市的飞速发展,城市人感受到更多的环境改变,这种情况造成人们记忆的储存量比他们的先辈要大很多,对新环境的追捧和对消逝的景象之留恋并存于人的情感中,这即是我创作集体记忆系列作品的动机,邀请具有共同记忆的人们留下他们的指纹以确认他们对同一个景物的追忆和思念。

 

Statement

I have chosen specific landmarks that live in the memories of the people of Foshan, and images which serve as the indelible marks of a bygone era as the subject matter for this series of paintings called Collective Memory- Foshan.

I have juxtaposed the Rotating Palace Hotel against the Renshou Ruyi Buddhist Pagoda, the two pagoda like structures. The pagoda is a spiritual symbol of the Buddhist culture while the Rotating Palace Hotel manifests the liberated materialistic desire after consumerism that emerged and began to prevail during the early 1980’s. Both the Longtang Poet Society and the Liang’s Garden used to be places of entertainment for the elite literati class at that time. The Longtang Poet Society building imitates colonial architecture, demonstrating the strong influence of Western aesthetics of the early 20th century, while the Liang’s Garden is a manifestation of the aesthetics of traditional Chinese garden design.

The People’s Stadium is constructed in a typical socialist architectural style. It was built at a time when a popular mass movement called the “Development of Sports Culture” was launched in China. Last but not least, the Ancestral Temple, once neglected by people, was regarded as a symbol of feudalism and superstition. By setting these landmarks alongside one another, not only can the collective memories of the Foshan people be recalled, but they also engage the local residents, thereby enabling them to bind their fragmented memories back together.

The Rotating Palace Hotel and Renshou Ruyi Buddhist Pagoda symbolize two different beliefs. The first one represents materialism, while the latter represents the abandonment of a secular life. The Longtang Poet Society and Liang’s Garden are both cultural symbols. They illustrate the encounters between local and colonial cultures, an issue that still occurs in the present day. The People’s Stadium and the Ancestral Temple symbolize politics. They demonstrate different ideological developments in history, showing how people were influenced due to realpolitik.

Under the unique social transformation of Chinese society as a result of rapid urban development and economic globalization, Chinese urbanites inevitably experience enormous changes to their environment. Because of this, they have to acquire a much bigger capacity for memory than that of their ancestors. The Collective Memory series is intended to motivate people to embrace the new environment as well as a nostalgia for the fading scenery embedded in their emotions. I would like to invite all the local inhabitants to share these common memories and to leave their fingerprints on this work as a way to acknowledge their recollection and nostalgia for the depicted objects.

 

 

创作后记

从第一次到佛山岭南新天地踩点、选择项目实施空间、到档案局收集图片和自己拍摄佛山新建筑等工作至今差不多快一年了。这个项目从构思、成型、实施的 各个过程都经历了不少挫折,每个环节的沟通和处理都需要更多的时间和耐心。这是我第一次做如此庞大的工程,也是第一次做如此地地道道的公共艺术项目,以往 所做的合作都是在艺术体系中,但这次的合作是和真真正正的普通百姓打交道。从学步的婴儿到八十的老翁,从底层的屌丝到地方的官员,从咖啡店的收银员到大公 司的CEO , 有打酱油路过的,也有专程跑来的,有懵懂只为了礼品的,也有积极参与且反复回头的热心人。

在现在所看到的这件平静的绘画作品前面,我们难以想像它的创作过程是何等的闹腾。它颠覆了绘画即个体创作行为的定义,这件作品的参与者愈万。周末的 访客络绎不绝,龙塘诗社被挤得满满的,门口长队如龙,换取礼品的地方如同口岸过关。来访者大多不是默默地打下指模便离开,他们流连闲聊。他们不仅留下那些 不可取代的指纹,也留下了他们独特经历的个人故事,这些故事与时代有关、与佛山有关、甚至与画中所涉及的图像有关。

项目开始的第二天来了一位年长的访者,他在龙塘诗社的图像中摁下指纹,然后和我们描述他曾经在这个建筑中居住过的确切位置:当时他自己住的房间、他 父母所住的房间、他家的厨房和客厅。而过了两天,另一个老太太,却和我讲述她儿时曾在这个院子里玩耍的情形,并且告诉我,当时这里是粮食局的仓库。一个建 筑就像一个生命,它有自己的出身,自己的遭遇,它的辉煌和落寞隐藏在它的一砖一瓦中,龙塘诗社在经历它几十年的坎坷之后,现在被我们重新激活而恢复了它原 本的文人身份。

一个这样的公共艺术项目也是一次对社区居民的心理调查,好些来者有如参拜庙宇,他们要么拘谨而不敢动手,要么只想图个吉利而只点佛塔,他们没有明白 什么是艺术参与,也没有明白什么是人人平等,从这个方面,我们的公共艺术也充当教育的功能,我们告诉他们:是大家一起来完成一个时代的记忆,一件艺术巨 制。好多年轻人不了解历史,尤其不了解微观的、区域性的历史,我们在邀请他们参与时和他们交流,而从某些方面或多或少促使大家寻根的兴趣。

相比起在各种照相机、录像机镜头前的地方官员参与,我觉得有必要多提那些默默无闻的参与者,他们是当地的学生,来自附近地区的游客,在佛山工作的外 国人,曾居住这里的街坊大叔大嫂,城市建设者农民工,地产公司的营销工作者。特别要提的是那些坚强和执着地生活在这里几十年的文化人,这些人的到来总是给 我们带来了惊喜: 有个神秘的地砖研究者指着龙塘诗社的地砖告诉我这些东西的出处和年代; 图书馆馆长告诉我们人民体育场的建设和拆除的经过;在项目结束的那天,我们正准备关门休整,一个苦苦央求的人感动了我,他是旋宫酒店的第一任老板,我们可 爱的保安阿东帮他找到了一个漏掉的点,而这位可爱的老板心满意足地在该画面上留下他的指纹。

除了参与的群众,这个项目的完成还要感谢一起工作的人,瑞安公司该项目的参与者,我的两个聪明的助手,特别要提的是我们的项目策划人——香港D3Eart的David 和Eric. 是聪明的Eric先生发明了用手机镜头观看集体记忆该类作品的方法,这方法非常非常有用!

 

 

 

 
 
 

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