搜尋
  • weini

艺术随笔|游离状态下的公共空间与冠状病毒的恐惧预览 Art Essay|Public space in a free state with the fear of coronavirus

已更新:4月 20

(中/EN)


冠状病毒首宗感染个案发病的第123天。自2020年1月23日武汉市政府宣布采取疫区封锁隔离措施后,各国各市纷纷开始下达“空城令”。政府关闭商场、学校、图书馆、美术馆等所有社会生活公共使用的室外及室内空间,呼吁所有民众尽量留在家中,以控制新冠肺炎疫情在国内蔓延。委内瑞拉总统马杜罗周一(16日)也宣布自当地时间17日上午5时起在全国范围实施“社会隔离”。根据BBC报导,美国政府也在同一天发出全国指引,建议人们在未来15天内,减少聚会与外出,出现社区传播的州份关闭酒吧、餐厅、健身房、电影院等公共场所。


Candida Höfer| Wartesaal Köln, 1981


日前,德国莱比锡一个公共广播电视公司 Mitteldeutscher Rundfunk 的门户资讯主题 MEDIEN360G 中一位新闻记者针对冠状病毒所引发的“公众隔离现象”,与艺术家康迪达·赫弗后期投身于公共与半公开空间的系列作品提出一相互对应的观点。描述艺术家康迪达·赫弗在摄影作品中所捕捉到许多游离状态下的公共空间,如废弃的音乐厅和剧场、废弃的图书馆和博物馆等。这些在主观感知下所被认为对空虚的描绘,迫使我们重新组织对“公共空间”的概念,而人们是如何塑造公共空间,公共空间又如何反塑造人们?我们甚至可以将这些作品视为是一种象征性的符号,作为全球未来几周冠状病毒的恐惧预览。


Candida Höfer| Ethnographisches Museum Lissabon I, 1989


然而,赫弗后期所创作的这些“人造“无人空间作品和上述所试图投射出的“公众隔离现象”有所不同,但仍然可从中取得一些观点的平衡。关于这些火车站候车室、图书馆、博物馆、动物园、银行、歌剧院和剧院等,在赫弗的观点认为,当画面中“无人”时,这些公共空间所带来的视觉冲击力最为强烈。并试图通过作品对空间的形态与结构进行解析,她对空间本身的历史更迭也十分感兴趣,皆因建造初衷与现实用途常有相悖。


Candida Höfer| BNF Paris VI, 1998


随着各种冠状病毒的防疫策略,使得人群消散在以往认知体系下所谓的“公共空间”,也正好符合了赫弗所谓的“无人”现象。但公共的定义是为全社会性的以及“公众”共同所有或使用的,当在没有“公众=人”的情况下,原本赋予的象征意义也使得赫弗将人的历史足迹所纪录的时间情感置入空间里的作品出现了不一样的想法。空间因为人的主观氛围塑造,思想的介入,情感的连结,在日积月累中赋予了另一层次的价值意义。时间对于人与空间而言,甚至可以说是一种理性与感性交织意义生成的过程。而这样的一个切入角度同时也在邀请观众去发现与思考空间之于我们、我们之于空间的交互影响。


病毒的恐惧预览塑造了新的影像意义 。

康迪达·赫弗在2004年出版的摄影集《缺席的建筑》中曾这样评价自己的作品:这些“空间图像”可能会也可能不会召唤所谓的“影像”——但如果通常被召唤的话,大多是被自己的空间时间层所召唤的。”于是“影像”代替了“空间图像”本身。玛莉塔.史特肯和莉莎.卡莱特的《观看的实践:给所有影像世代的视觉文化导论》一书中曾提出”影像召唤观看者“的论点,主张是制造者/艺术家放置意义所在,等待观看者去发觉。但往往影像却是透过观者个人脑中复杂的协商,制造并诠释意义。而在观看的个人的视角里,这是一段意义制造的过程,组成影像结构以及无法与影像内容区分开来的符码和惯例。而近日冠状病毒的介入,给予了观看者一个机会去重新诠释并用另一个视角去体验赫弗的作品,塑造了新的影像意义。这个新的影像意义并非一定会产生于每个人身上,但不可否认的是,在这个脉络下与时间节点上,病毒对于公共空间所带来的恐惧意义确实存在于其中,我们可以把它视为是一种神圣的意义给予。因为在此时此刻亦或是若干年后,对于这场凛冬之役,我们都没有忘记的能力。这也同时完整了赫弗作品理念中的一种怪诞的纪念性。


--(EN)


Day 123 of the first case of coronavirus infection. Since January 23, 2020, the Wuhan municipal government announced the quarantine measures of the epidemic area, each city in many country began to issue "empty city order". The government closed all public outdoor and indoor spaces such as shopping malls, schools, libraries and art galleries, and urged people to stay at home as much as possible in order to control the spread of pneumonia in China. Venezuelan President Nicolas Maduro on Monday also announced a nationwide "social quarantine" starting at 5 am local time. On the same day, the U.S. government issued a national guideline advising people to cut back on partying and going out for the next 15 days, according to the BBC.


Recently, a journalist in MEDIEN360G, a portal of Mitteldeutscher Rundfunk, a public broadcaster in Leipzig, Germany proposed a corresponding view on the "public isolation phenomenon" caused by coronavirus, together with artist Candida Höfer's later series of works devoted to public and semi-public space. The artist Candida Höfer captured many public spaces in a state of dissociation in her photographs, such as abandoned concert halls, theaters, libraries and museums. These subjective perceptions of emptiness force us to reorganize the concept of "public space", and how people shape public space also how public space shape people? We can even think of these serve as symbolic status, as a frightening preview of the next few weeks of coronavirus.


However, these "artificial" space work created by Höfer's later works are different from the "public isolation phenomenon" that she tried to project above, but there is still a balance of views to be struck. As for these railway station waiting rooms, libraries, museums, zoo, banks, opera houses and theaters, in Höfer's perspective, these public spaces have the strongest visual impact when there is "no one" in the picture. It also tries to analyze the form and structure of the space through the works and is also very interesting in the historical change of the space itself, because the original intention of construction is often contrary to the practical use.


With various coronavirus epidemic prevention strategy, make the crowd disperse in previous cognitive system under the so-called "public space", also fits into what Höfer said the "no one". But the definition is for the whole social public, "the public" jointly owned or used, when in the absence of "public", originally given symbolism makes Höfer’s footprint shape by the time the rules of empathic works appeared in the space is not the same point of view. space is endowed with another level of value significance in the accumulation of time because of the shaping of people's subjective atmosphere, the intervention of thoughts and the connection of emotions. Therefore, it can also be said that time, for human and space, is a process of interweaving rationality and sensibility. Such an angle also invites the audience to rediscover and think about the interaction between space and us and viceversa.


The fear preview of the virus shapes the new image meaning.

In her book released on 2004, "Architecture of Absence," Ms. Höfer said that her works regarding "spatial images" may or may not summon so-called "images" -- but if they are usually summoned, they are summoned mostly using their own space-time layers. Thus "image" replaces "spatial image" itself. Marita Sturken and Lisa Cartwright. In thier book Practices of Looking: An Introduction to Visual Culture, argues that "the image summons the viewer," arguing that the creator/artist places meanings for the viewer to discover. But often times images create and interpret meaning through complex negotiations in the viewer's individual mind. In the individual perspective of the viewer, it is a process of meaning making, constituting the image structure and the codes and conventions that cannot be distinguished from the image content. The recent intervention of the coronavirus gives viewers a chance to reinterpret and experience Höfer's work from another perspective, creating a new image meaning. This new visual meaning does not arise in everyone, but there is no denying that in this context and at this point in time, the fear of the virus does exist, we can consider it as a sacred meaning given. For we have no power to forget this battle of winter, at this very moment, or many years from now. At the same time, under the control of the meaning givers, also complete a kind of grotesque memorial in the concept of Höfer's works.

16 次瀏覽0 則留言