言外之意
Dein Und Mein Dasein Und Das Dasein Der Welt
“言外之意”提供了一場完全的视听体验（Gesamtkunstwerk），邀请观众踏上一次穿越时空的冥想之旅和运动美学感知之旅。在波涛汹涌的大海中，一艘气势恢宏的航空母舰立即展现出其方向性和管弦乐般指向性的存在。作为一种象征性的视觉结构，它的巨大存在感被环绕它的海洋所感知。海洋在此象征着无意识的集體，在其汹涌澎湃中显示出一种内在的、永恒不变的力量。雙屏裝置就像过去与现在、秩序与混乱、个体性与集体性交织在一起的一場辩证摩擦；沉浸在一种不协调而又令人兴奋的时空中。在这一以指向性结构和無意識集體的追逐情境中，我们潜意识中对集体无意识不可逆转的服從躍然紙上。
无所不在的政治话语形式如何潛移默化地塑造了我们的视角？更具体地说，塑造了我们的 “Dasein”（我們面向世界的存在）？而这在很大程度上是由我们的认知偏差（或者說信息差）决定的。
‘Dein Und Mein Dasein Und Das Dasein Der Welt’ offers a complete audio-visual experience (Gesamtkunstwerk), inviting the viewer on a meditative journey through time and kinaesthetic perception. An imposing aircraft carrier immediately reveals its directional and orchestral presence within the tumultuous ocean. The massive presence of this object, as a symbolic visual structure, is made perceptible by the ocean that surrounds and even embraces it. The ocean, representing the unconscious mass, reveals in its tumults an intrinsic and immutable force. Like dialectical friction, where the past and present, order and chaos, individuality and collectivity intermingle; immersion in this incongruous and exhilarating space-time immerses us in the concrete mass of this military structure, mirroring our subconscious anchorage in the irrevocable dominant force of the collective unconscious.
The key concept here rests on the contradiction between the increasing involvement of individuals in socio-political happenings and the paradoxical difficulty in understanding these events due to the widening information gap and rising entropy. Furthermore, the tension between individual freedom and optimal social functioning has never been more deserving of scrutiny – at the dawn of a globalised era where the boundaries between material and virtual spaces continue to merge. Reflecting the current global tension of rising ultranationalism, this project aims to remind us how the omnipresence of political discursive formations evidently shapes our perspectives, and more specifically our ‘Dasein’ (literally being in the world), which is largely determined by the cognitive biases of our collective consciousness.
The interactive two-channel installation focuses on two powerful symbols: the first aircraft carrier, Liaoning (formerly the Varyag, built by the USSR and acquired by China in 1998), an emblem of structural authority, facing the unpredictable chaos of the ocean in its wildest state; a tsunami, reflecting the uncontrolled and uncontrollable force of the unconscious mass, emerges to confront and crush the hegemonic structure of the military–industrial complex.
Inspired by Ho Tzu Nyen’s project ‘One or Several Tigers’, the visual impact aims not so much to simulate two coordinated oceans as it does to place two screens in a dialectical and synchronised dialogue in the heart of a vast ocean, creating a vertiginous sensation throughout the space. Enhanced by a sound composition that blends historical archives, political speeches, and synthetic sounds—both mechanical and natural. This composition, mixed across 8.2 sound channels, aims to reconfigure the spatial dimension by exploiting the concordance through the face-off of the two images, creating a dimensional trajectory. Ultimately, it seeks to provoke a mental reaction—and an underlying sensory disorientation—between these two monumental interfaces for the viewers.
In the end, the audiovisual experience will evoke a somatic echo, elevating the resonance of individual experiences to an immersive and multifactorial understanding of the dimension of “collective experience”.
Production
Le Fresnoy
International Distribution
Le Fresnoy | Natalia TREBIK
ntrebik@lefresnoy.net