山中無樹
IS THERE A PIN ON THE MOUNTAIN
2021
38 mins
纪录实验影像 Experimental documentary
材料 Medium 数字影像 HD video, 立体声 Stereo sound
版数 Edition 3 + 1 AP
这是我在 2019年 全球疫情爆发前开始拍摄，并在极度不安的心理环境和受到人身安全威胁的环境下完成的一件作品。作品的创作过程伴随疫情的演变也发生了完全意料之外的变化。镜头内外我经历的家庭暴力与疫情一起构成了一段难忘的双重存在危机。讽刺的是，这是一部我原本打算记录前男友和他母亲共度巴黎温馨时光的家庭团聚旅游Vlog，最后不仅成为他们母子之间，更是我与前男友之间关系破裂的“最后一根稻草”。
在亲历家庭暴力之后，经过一年的思考，我决定马赛克他和他母亲的脸，并对声音进行变音处理。这是我对自己的保护，也是对这段经历的告别。从今以后，我只以艺术家的身份来剖析这段经历里暴露的问题。这部电影因此重生了，尽管人物的身份不明，但这并不妨碍我们看到，在被抹去了具体的身份信息后，所有人都是“社会原型”，都是暴力的“参与者”，无论身处暴力的哪一方。
最初在 2022 年导出的电影成片本身也作为“社会原型作品”需要根据展览空间的在地语境进行再次处理。关于图像和声音受制于其在地语境规定的显化方式——“预制的（préconfiguré）”感知经验的思考，也为我现在正在进行的 「通过在“新全体装置” 内重构图像和声音的感知方式，对系统暴力和人类共同末日进行演绎的 —— 《寓言三部曲》 （La Fable éternelle，2024 - 2028） 」提供了最初的实践资料。
Initiated before the pandemic, this film was repeatedly adapted in response to the unprecedented COVID-19 crisis. It documents the transmission of violence through the visit of my ex-partner’s mother, and how the abuse my partner suffered during his childhood eventually resurfaced in our own relationship.
Two constraints shaped the realization of the film:
First, faced with abuse and threats, I had to rework the film. By obscuring the faces, I transformed the individuals into archetypal representations. This anonymization marks my refusal to violence, and shifts the question from my individual sphere toward a universal level. Behind these masks, we all become participants in violence — whether as perpetrator or as victim.
Second, the final exported version of the film (2022) gradually revealed itself to be not a fixed object but a social prototype. Just as the anonymized protagonists ceased to function as identifiable individuals and became archetypal figures, the film itself proved incapable of existing independently from the situations in which it was exhibited. Each exhibition context demanded a renewed configuration of the work, revealing how the appearance of images and sounds is conditioned by the local dispositif through which they become perceptible.
This process led me to reflect on the modes through which images and sounds are allowed to manifest themselves, and on perception itself as a preconfigured experience. The question of how situated contexts determine the conditions of appearance and legibility of sensory phenomena has since provided the foundation for my ongoing trilogy, The Eternal Fable (2024–2028). Through the reconstruction of the perceptual regime governing the relations between image, sound, and spectator within what I describe as a renewe total installation, the project investigates forms of systemic violence and stages the possibility of a shared planetary catastrophe.
在亲历家庭暴力之后，经过一年的思考，我决定马赛克他和他母亲的脸，并对声音进行变音处理。这是我对自己的保护，也是对这段经历的告别。从今以后，我只以艺术家的身份来剖析这段经历里暴露的问题。这部电影因此重生了，尽管人物的身份不明，但这并不妨碍我们看到，在被抹去了具体的身份信息后，所有人都是“社会原型”，都是暴力的“参与者”，无论身处暴力的哪一方。
最初在 2022 年导出的电影成片本身也作为“社会原型作品”需要根据展览空间的在地语境进行再次处理。关于图像和声音受制于其在地语境规定的显化方式——“预制的（préconfiguré）”感知经验的思考，也为我现在正在进行的 「通过在“新全体装置” 内重构图像和声音的感知方式，对系统暴力和人类共同末日进行演绎的 —— 《寓言三部曲》 （La Fable éternelle，2024 - 2028） 」提供了最初的实践资料。
Initiated before the pandemic, this film was repeatedly adapted in response to the unprecedented COVID-19 crisis. It documents the transmission of violence through the visit of my ex-partner’s mother, and how the abuse my partner suffered during his childhood eventually resurfaced in our own relationship.
Two constraints shaped the realization of the film:
First, faced with abuse and threats, I had to rework the film. By obscuring the faces, I transformed the individuals into archetypal representations. This anonymization marks my refusal to violence, and shifts the question from my individual sphere toward a universal level. Behind these masks, we all become participants in violence — whether as perpetrator or as victim.
Second, the final exported version of the film (2022) gradually revealed itself to be not a fixed object but a social prototype. Just as the anonymized protagonists ceased to function as identifiable individuals and became archetypal figures, the film itself proved incapable of existing independently from the situations in which it was exhibited. Each exhibition context demanded a renewed configuration of the work, revealing how the appearance of images and sounds is conditioned by the local dispositif through which they become perceptible.
This process led me to reflect on the modes through which images and sounds are allowed to manifest themselves, and on perception itself as a preconfigured experience. The question of how situated contexts determine the conditions of appearance and legibility of sensory phenomena has since provided the foundation for my ongoing trilogy, The Eternal Fable (2024–2028). Through the reconstruction of the perceptual regime governing the relations between image, sound, and spectator within what I describe as a renewe total installation, the project investigates forms of systemic violence and stages the possibility of a shared planetary catastrophe.
