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言外之意
Dein Und Mein Dasein Und Das Dasein Der Welt


2024
版数 第1/ 3 版 - 希克收藏
Ed. 1/3 Uli Sigg Collection
CGI 图像、双通道沉浸式视频装置
CGI, immersive two-channel installation
10 mins 45 seconds

长6米、宽3.4米、墙体厚0.5米。尺寸可变
6 metres long, 3.4 metres wide and 0.5 metres thick. Flexible dimensions
出品 Production
Le Fresnoy - Studio national des arts contemporains
联合赞助 Partner
Neuflize OBC Corporate Foundation

中国有一句古话：“水能载舟，亦能覆舟”。

这件作品是我的推测性寓言三部曲《永恒寓言》（The Eternal Fable）的第一章。在这里，我借用了“水”作为社会政治洪流的隐喻。通过巨幅动态影像和空间化处理的具象声音（concrete sound），作品试图将影像的“语义力量”和“物理力量”结合，从而完成一种“重置历史”的姿态。

在展览现场，一片由3D建模生成的海洋被分置于两块巨大的投影墙上，8.2声道分布在展厅上空。画面中有两个极具象征意味的庞然大物穿行而过：首先进入视线的是一艘航空母舰，它代表着海上国际关系博弈中的绝对力量，伴随着画面的推进，空间化的声音呈现出一种多维度的叠加：历史档案的录音、政治人物的标志性演讲以及自然界的采样融合在一起；紧随其后的是海啸——一种与之相对的自然力量，声音也从可明确辨识的意识形态、政治话术的录音，演变为不同音色——或狂喜、或亢奋、或愤怒的群声。随着海水一面向我们涌来，间隙之间又离我们而去，这两个意象仿佛穷追不舍，又仿佛历史的循环往复。

当观众站在两块巨大的屏幕之间时，仿若被直接“穿透”。全方位的动觉（kinesthetic）体验，带来一种强烈的失重感与迷失感（somatic disorientation）。寓言三部曲的第一章不仅把观众置于对历史的重新审视中，更意在提问：作为身处当下时代洪流中被裹挟的微小个体，在复杂的当下究竟该如何看清全局、掌握多重视角。





A Chinese proverb often used to describe the relationship between power and democracy says: “Water can carry the boat, but it can also overturn it.”

Drawing on this metaphor of water as a socio-political current, the installation — the first chapter of my immersive trilogy The Eternal Fable — mobilizes monumental moving images and spatialized concrete sound, harnessing both semantic intensity and physical scale to perform the gesture of re-situating history.

A 3D-modelled ocean unfolds between two monumental projection screens, while an octophonic sound system ​(8.2) is suspended above the space. Within this corridor of images, two symbolic entities traverse the surface of the water. The first to appear is an aircraft carrier. Emblem of military authority, it plays a decisive role in international relations. In synchronization with the image, the soundscape layers itself in successive strata, weaving together historical archives, political speeches, and mechanical noise. A tsunami then surges forth — an uncontrollable force of nature — seeming to pursue it. The sonic matter evolves accordingly: from clearly identifiable archival documents, ideological voices, and political rhetoric, it gradually transforms into shifting timbres — the voices of crowds in ecstasy, in frenzy, in fury. As the ocean rushes towards us only to immediately withdraw, the two entities appear to chase one another endlessly, like an eternal repetition of history.

Between the two screens, viewers are traversed by these elements — like individuals swept up and carried away by the currents of the present. This total kinaesthetic mise en situation anchors the audience within a revision of history and a somatic disorientation, thereby reflecting the paradox of the simple fact of being-there, face to the world (Dasein,
In-der-Welt-sein).




Production : Fresnoy – Studio national des arts contemporains
With the support grant from the Neuflize OBC foundation