Zhang Peili, Focal Distance

被“翻拍”的十字路口车流的影像:用单机拍摄实景(马路上的车流)15分钟;将拍好的影像通过25英寸电视机播放,并对电视屏幕中的街景(的一个局部)进行“翻拍”;以后按上述方式重复“翻拍”7次,每次“翻拍”的焦距与第一次“翻拍”相同;由此得到8个不同画面效果的影像 — 街景中车流的图像(和声音)变得越来越抽象。用录像装置的形式将这些“翻拍”出来的影像按“翻拍”顺序排列出渐变的效果。

拍摄器材:松下 M8000摄像机,VHS录像带
剪辑设备:VHS录像机;Betacam SP剪辑机;

《焦距》由排成一条直线的八个显示器构成。排最后的显示器播放实景拍摄、长达十五分钟的马路车流影像;艺术家将拍好的影像通过显示器播放,并对显示器中的街景进行“翻拍”, 然后在第二个显示器中播放;以此类推,每次“翻拍”的焦距与第一次“翻拍”相同;作品中的图像和声音因而变得越来越抽象、模糊、甚至带有绘画的质感。艺术家用录像装置的形式将这些“翻拍”影像按“翻拍”顺序排列出渐变效果。虽然所有影像均描述相同的内容,但随著翻拍次数增加,原初记录的真实性也变得不稳定。声音在如此创作过程中同样变得抽象,在视听感知失效中衍生具有时间性的雕塑。


Wang Xingwei, Ji Gong, oil on canvas, 240×200cm, 2015

Both Wang Xingwei’s Ji Gong and Duan Jianyu’s The Muse has Awoken No.3 both offer conspicuous comical impressions, which on the one hand, articulate a kind of literary comedy from the narrations of the figures on canvas, their expressions, motion, theatricality and etc., while stylistically – be it Wang Xingwei’s compositional momentum and the exaggeration rendered through brushwork, or Duan Jianyu’s kitsch and crass emphasis – give shape to the comedy of mannerism, providing theatricality for the language of painting. Thirdly, they are comical on a cultural history level as they have adopted the Baroque style to portray the Mad Monk and placed the Goddess on Dunhuang murals into modern countryside context, this kind of casual yet poignant fusion has taken the “La Comédie Humaine” approach to respond to the rapidly evolving Chinese society and the unsettled dust of cultural order.

Li Liao, A Slap in Wuhan, Video, Color, Sound, 5’09”, 2010

On the Pedestrian Street in Wuchang District, Wuhan City, Hubei Province, Li Liao closed his eyes, waited for a slap in the face from the perpetrator who volunteered online. After the slap, Li Liao continued to maintain his eyes closed until the perpetrator left.

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