Closed Circuit, Open Duration闭合回路,开放过程

芬兰艺术家特瑞可·哈波亚认为自己是一个非常传统的艺术家,她的创作试图探讨人们千百年来探讨的话题:如何与他者相处,以及内部世界和外部世界的关系。 Finnish artist Terike Haapoja views herself a very traditional artist, her art creation tries to investigate a topic that has been discussed by humans for thousands of years: How to

Vantage Shanghai - - 文化圈 - 作者Author:Johanna Lou 编辑Editor:陈溪Cecilia Chan

At Closed Circuit - Open Duration, Haapoja's solo exhibition held at the Chronus Art Center, the space is made into an unimaginable garden through the use of multiple devices adopting new media and technologies that connect nature-dirt, plants, sound and video; in here, organic beings, digital beings, electronic beings, etc., all interact with each other; life interacts with death, so are the species that live in and outside of our worlds; all these form the theme of the exhibition: The Various Relationships Between Human and Nature.

在新时线媒体艺术中心的个展《闭合回路,开放过程》中,透过以土壤、植物、灯光、声音、录像以及各类自然科学媒介构成的多个装置,展览现场被打造成了一座匪夷所思的花园—有机体、数码、电子,人类与非人类的物质在这里交织互动,生命和死亡、交流以及存在于我们内部与外部的他者,构成展览的主题:人与自然间的各种关系。

THE THEORY OF PHYSICALITY

When looking back at the entire 20th century, humanity's view on nature has always been constrained by the restoration of the Theory of Physicality which is governed by natural science. Under such view, nature exists outside of consciousness, and it can be reduced into pure materials, particles, and electronic forces; culture, technology, and science are categorized into a different field. This type of categorization formed our view of the world and resulted in corresponding languages. However, science is also forcing us to question the basis of such understanding. Latest studies from fields of animal research, microbiology, ecology, and more indicate that the world is a complex composition, in which our bodies and minds are inseparable, humans and other beings are inseparable. According to Haapoja, though art unavoidably uses the existing languages repeatedly, it can also break the existing categorizations for nature, technology, consciousness, and spirituality, thus responding to the traditional view of the world.

A DIALOGUE BETWEEN SOUND AND LIGHT

After entering into the exhibition hall, one is naturally attracted by the trees that appear odd to the space, hanging on the tree branches are some small black devices that broadcast whistle sound when being blown at by audiences.

This large interactive device, Dialogue, makes trees, sound, lighting, and electricity into one connected system; when physical reactions occur because of photosynthesis caused by the interactions between audiences' breath and the plants, non-physical reactions are also created through mimicking technologies - It seems as if humans can have beyond-verbal communications with trees.

唯物认知

回顾整个20世纪,人类的自然观长期以来一直被以自然科学为主导的唯物论还原说所制约。在这种视角下,自然存在于意识之外,并可以缩减为纯粹的物质、粒子和电磁力;文化、技术和科学则被划分到了另一个领域。这种分类方法构成了我们对世界的认知,并形成相应的语言。然而,科学同样也迫使我们质疑这种认知的基础。动物研究、微生物学、生态学等诸多研究领域的最新发现表明,世界是一个复杂的混合体,在其中,身体和精神不可分割,人类与其他物种不可分割。在哈波亚看来,尽管艺术无可避免地会重复这种已有的语言,但也可以打破自然、技术、意识和精神间的简单分类法则,对传统世界观做出回应。

声光对话

进入展厅自然被与空间显得格格不入的树木吸引,树枝上悬挂有黑色小装置,当观众对之呼气,枝叶间则传出口哨声。这件大型互动装置《对话》将树木与声光电融合为一个关联系统,观众的呼吸和植物的光合作用产生物理作用的同时,通过模拟技术引发非物理作用,仿佛人能够直接与树木产生超越寻常语言的沟通。另一件类似主题的雕塑作品《吸入-呼出》在类似棺材大小的玻璃盒子中铺上土壤和枯叶,其腐败过程中产生的二氧化碳由感应器监测,盒子两边的风扇以20秒为间歇开启和关闭,维持其中的二氧化碳浓度,使得整个“棺材”似乎随着二氧化碳浓度的升降在自主呼吸。

LIFE AND DEATH

Another important theme of the exhibition is the meaning and intrinsic nature of death, and the emergence and disappearance of various worlds. In a sense, death and nature are equal, our relationship with nature and death is based upon the same origin - a foreign territory beyond human's subjective view, therefore death and nature can merge as one force that threatens our existence. Our body and every breath we take are all living within nature and death. The role of art is to build a bridge between life experiences and bodies of knowledge; besides demonstrating the operations behind carbon dioxide's generation in our eco system and carbon dioxide's significance to human existence, it is also worthy exploring the effect art has on our inner reality, the reality between love and our body, and the reality of death.

The video-taping device, Writing, on the wall of the exhibition hall quoted from French author Marguerite Duras' essay collection Writing: it describes the death of a fly. In the single-screen video-taping device of Anatomy of Landscape, the painting-like images made of live plants illustrate technologies that reserve life during painting.

The five-screen video-taping device of Community demonstrates a body's decomposition process following the death of different animals. On the round screen are images that have the same size as the actual animals along with the decrease of the animals' body temperature, the images reduce in size too until they disappear - just like the disappearance process of the animals themselves in the real world, the entire process could take two to five hours. In addition to interpreting logic and science, the painting-like images also reveal a type of unique beauty. The difference between individuals is significantly reduced until there is none; if we leave out the energy needed to maintain life, there is no meaning to the structures of our bodies, either inside or outside.

Humans cannot witness their own death, but we always witness such irreversible process of others. Therefore, our understanding of death seems to be a forever puzzle. The discussion of “others” is also one of the core themes of Haapoja's art creations.

Human languages form the foundation of knowledge and our experience of the world, but the non-human experiences are rather "silenced". Animals have no ability to negotiate with humans, and we cannot prove whether they possess feelings and thoughts. As a result, many animal-related arts are all visual based - they are viewed as some form of human reflection and sub existence.

生命与死亡

死亡的意义、内在性,各种世界的出现和消失亦是展览另一个重要的主题。从某种意义上说,死亡和自然同等,我们与自然或死亡的关系均基于一种相同的根源,即超越人类主观性的异质领域,因此两者可以融合为同一股威胁我们存在的力量。我们的身体和每一次呼吸都活在自然之中、死亡之中。艺术的角色正是在于建立生命经验与知识体系之间的桥梁。除了展示生态系统中碳元素的运作方式,二氧化碳对人类的意义,它在我们的内在现实、爱与身体的现实、死亡的现实中产生的作用同样值得探讨。

展厅墙上的录像装置《写作》引用了法国作家杜拉斯的随笔集《写作》中的文字片段,描绘了一只苍蝇的死亡。单屏录像装置《风景解剖》中,由活体植物制作而成的绘画般的影像阐释了在绘画中保存生命的技术。五屏录像装置《社区》则透过红外线镜头展示了不同动物死后的身体消亡过程。圆形屏幕表 面是和动物等身的影像,随着体温逐渐变低,影像变小直至消失,就如同动物本身在这个世界的消亡,时间可长达2至5个小时。绘画般的图像在理性和科学之余也透露出一种独特的美感。个体间的差异性在其死亡后缩小至无,抛却维持生命所需要的热量,身体内部和外部的结构和联系不再有意义。

人类无法目睹自己的死亡,却总是见证他者的这一个不可逆过程。

对“他者”的探讨同样是贯彻哈波亚创作的核心命题之一。人类的语言构成了认知和体验世界的基础,而非人类的经验则被“消声”。动物没有与人进行谈判的能力,我们也无法证明它们是否存在感觉和思考。大多与动物有关的艺术因此都是视觉性的,它们被视为人类的某种镜像和次要的存在。近代的生物学研究和技术让我们有机会重新思考和动物,甚至他者联系和互动的方式。“语言”或许是一个很大的障碍,但并非无可逾越。科技和自然交织的世界,万物均有出生和消亡的回路,唯过程不同,充满不断变化的可能性。

从左图起

FROM LEFT

熵 Entropy, 2004

《吸入-呼出》

Inhale – Exhale, 2008/2013

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