【展讯】“新生还者”｜第二届集美·阿尔勒“影像策展人奖”获奖展览（北京）
第二届集美·阿尔勒“影像策展人奖”获奖展览
新生还者
策展人：王姝曼
艺术家：哈伦·法罗基、洪子健、贾兹明·洛佩兹、小泉明郎、安娜·曼迪耶塔、阮纯诗、莫萨、唐潮
展期：2023.05.20 — 07.02（周一闭馆）
地址：北京市朝阳区草场地155号A
联合主办：三影堂摄影艺术中心、香奈儿
特别协办：法国阿尔勒摄影节
· 关于展览 ·
展览始于一段迫于居家的生活与阅读经验，在很多个瞬间里——现实时间和阅读时间在意识里出现了明显的偏差，现实时间变得荒诞而不可理解，好像只有在阅读的片刻才能短暂地感受到“时间”的存在。与此同时，正在消退的远不仅是我对时间的感知力，更多的是对现实意义曾经自以为的判断与信任。
展览“新生还者”将以影像为展示媒介与研究对象，思考当代创伤记忆如何在影像系统的运作中被记录、制造、修改、并建构出新的意义。部分创伤理论学者认同弗氏（Sigmund Freud）将创伤显现的过程隐喻为水晶的破裂——水晶往往是在连续、重复且预设的裂缝断层中最终破碎的。以此，创伤也总是在二次或连续出现的冲击中被唤醒从而形成了真正的伤口。[1]然而，更新阶段的创伤理论则在试图破除——现在的创伤和过往的性创伤[2]之间的连接必要性。比如凯瑟琳·马拉布（Catherine Malabou）在其2012年的书作中就曾以脑损伤为例，明确地指出创伤的首次出现便已造成了不可逆的后果，它几乎是第一时间就立即摧毁了主体的同一性。[3]她曾如是描述：“创伤指定了某一种震惊，它的力量直接打开并刺穿了保护的心理屏障。”[4]
展出作品：哈伦·法罗基，《不灭的火》，1969，单通道超16毫米菲林转高清数码录像（黑白，有声），25分钟，© Harun Farocki 1969
这股冲击力循迹着创伤理论走向普遍化，着床于今日我们所面对的混合现实——灾难、暴力、冲突等人为创伤事件被自然地掩饰、篡改与捏造，并成为了新常态下的固有结构。或许就像马拉布所说：“今日的创伤是自然灾难被政治化，社会政治灾难被自然化。”[5]不同类型与来源的创伤事件经由影像系统的生产与传播，抵临个体的潜意识层并弥散出新的创伤经验。此时的“新”对应着一种不可识别的状态，就如同人体的免疫系统始终未能找到现有的抗体（和T细胞）以识别及应对新病毒的出现。以此，展览将记录下外露的伤口，再而转向于伤口在自然和技术双重时间下的溃烂过程，最终将观看者引向不同的受创主体，从而提出有关存有论向度的问题：在此之中，主体是否得以生还，如果是，它正以何种形态存在着？
展出作品：小泉明郎，Rite for a Dream (Today my Empire Sings)，2016，三通道高清数码录像（彩色，有声），28分04秒，图片由 Shizune Shiigi拍摄，由艺术家、 Annet Gelink画廊（阿姆斯特丹）及MUJIN-TO Production（东京）提供
展出作品：莫萨，《无题 # 1（十五年之后）》，2022，单通道高清数码录像（彩色，有声），2分59秒，作品图片由艺术家和曼谷诺瓦当代艺术画廊提供
齐泽克在“活死人”立论的后半部分提及——21世纪仍旧是活死人的世纪，此时的“活死人”概念已不再专指集中营里的战俘，它俨然成为当代各种全球化创伤形式之下的复合形象。21世纪10年代的最后一日，人们在世界各地倒数着新年代的到来，然而同新年代共同抵临的还有这个世纪，甚至人类现代历史上都前所未有的一次全球公共卫生危机，它携带着政治、经济、社会等多重危机在具象的生命体上试验着重启与暂停的无限循环。在此之下所催生的创伤经历或再难借鉴历史阶段中的单一创伤经验（如灾难、战争、疾病），它更像是一种复合创伤，一种始于偶然的、无法预期的意外冲击，并将长期蛰伏于当下人类的生命周期内。以此，展览“新生还者”将穿越现在和历史时刻去见证——创伤外露、恶化及使主体生还这一完整过程，并在展览最后借由倒带播放的影像向观看者设下伏笔：如果可以返身进入展览，我们是否得以重新观看这些创伤现场及其历史。
展出作品：阮纯诗，《冬去春来》，2008，单通道数码影像（彩色，有声），4分30秒，作品图片由艺术家提供
节选自策展人文
参考文献
[1] 西格蒙德·弗洛伊德，“第三十二讲——心理人格的剖析（1933[1932]）”，摘自《精神分析引论讲座》(西格蒙德·弗洛伊德心理学全集)，James Strachey等编译，明尼阿波利斯：W. W. 诺顿公司，1990年)， 第59页。
[2] “性创伤”援引于弗洛伊德的表述。弗氏认为，所有歇斯底里的症状都是由童年时期的“性虐待或性骚扰”留下的无意识记忆所引起的。
[3] 凯瑟琳·马拉布和史蒂文·米勒:《新伤者：从神经官能症到脑损伤》，纽约：福特汉姆大学出版社，2012年，第18页。
[4] 同上，第6页。
[5] 同上，第156页。
· 关于策展人 ·
展览“新生还者”｜策划团队
策展人：王姝曼
展览伙伴：杨思嘉（展陈顾问）、陈子涵（展览统筹）
平面设计：罗曼蒂克
感谢以下机构对本次展览的支持
北京日本文化中心（日本国际交流基金会）
OCAT上海馆及华侨城（上海）置地有限公司
Annet Gelink画廊，阿姆斯特丹
艺术家版权协会（ARS），纽约
Empty画廊，香港
勒隆画廊，纽约与巴黎
Harun Farocki GbR
MUJIN-TO Production，东京
诺瓦当代艺术画廊，曼谷
马刺画廊，北京
安娜·曼迪耶塔遗产收藏有限责任公司
Vanguard画廊，上海
并特此感谢
安特耶·艾曼
艾琳·格里森
车宣桥
封金发
付了了
季晓军
黄臻卿
李雪罡
陶寒辰
张孝全
The 2nd Awarded Exhibition of Jimei x Arles Curatorial Award for Photography and Moving Image
The New Survivors
Curator: WANG Shuman
Artists: Harun Farocki, James T. Hong, Jazmín López, Meiro Koizumi, Ana Mendieta, Nguyễn Trinh Thi, Moe Satt, TANG Chao
Duration: May 20 - July 2, 2023 (Closed on Mondays)
Location: 155A, Caochangdi, Chaoyang District, Beijing
Organizers: Three Shadows Photography Art Centre, CHANEL
Special Co-organizer：Les Rencontres d'Arles
· ABOUT THE EXHIBITION ·
The exhibition starts with my quarantine experience of daily life and reading. I kept noticing a stark contrast between real time and reading time; real time became absurd and incomprehensible, as if the existence of time could only be briefly detected when I was reading. Meanwhile, what was fading included not only my sensitivity to time, but also the complacent judgment and trust I once had in the meaning of reality.
The exhibition "The New Survivors" takes video as both a display medium and research object to reflect how the memory of contemporary trauma is recorded, produced, and revised, and in turn constructs new meaning. Some trauma theorists agree with Sigmund Freud’s metaphor that trauma occurs like a crystal: it never shatters haphazardly, but rather always follows a secret fault line that makes it disintegrate in a specific manner.(1) However, newer versions of trauma theory try to look beyond the presumed connection between present traumas and past sexual traumas(2). In her 2012 book, Catherine Malabou cites brain injury as an example of a trauma that immediately has irreversible consequences, destroying the subject’s singular identity almost immediately.(3) She describes it as follows: "In either case, trauma names a shock that forces open or pierces a protective barrier."(4)
exhibited work: Jazmín López, Juego Vivo (Live Game), 2008, 35mm film transferred to HD digital video (color, sound), 2’, Image Courtesy of the artist
This shock follows the trajectory of trauma theory towards the banal and arriving in the mixed-up reality we face today, an era in which man-made traumatic events such as disasters, violence, and conflict are naturally disguised, falsified, and fabricated, and become intrinsic to the new normal. Perhaps it is as Malabou says: "Trauma today is the heterogeneous mixture of nature and politics at work in all types of violence, this mixture where politics is annulled as such so that it assumes the face of nature and where nature disappears beneath the mask of politics."(5) Traumas of different types and origins are produced and promoted by image systems, reaching the layer of the individual subconscious and diffusing new traumas. The "new" corresponds with an unrecognizable state, like the human immune system that has never been able to find antibodies (and T cells) to recognize and respond to a new virus. In this manner, the exhibition firstly records the exposed wounds, then examines the festering of the wounds under both natural and technological time. The audience is ultimately led to different traumatized subjects and confronted with existential questions: is the subject alive, and if so, in what form does it exist?
exhibited work: Moe Satt, Untitled # 1 (one and half decade after), 2022, Single-channel HD digital video (color, sound), 2’59’’, Image courtesy of the artist and Nova Contemporary (Bangkok)
exhibited work: Meiro Koizumi, Sacrifice, 2018, VR installation (color, sound), 32’, Image courtesy of the artist, Annet Gelink Gallery (Amsterdam) & MUJIN-TO Production (Tokyo)
Slavoj Žižek concludes his "living dead" thesis with the statement that the 21st century is still the century of the living dead, wherein the term "living dead" no longer refers exclusively to the concentration camps, but rather a composite image of contemporary globalized traumas. On the last day of the 2010s, people around the world counted down to the arrival of a new era. However, this new era heralded a global public health crisis unprecedented in this century, or even in modern history. As a multilayered political, economic, and social crisis, the pandemic seemed to create a vicious cycle of suspensions and restarts for living things. The experience of trauma that the pandemic induced has been much greater than that of a single traumatic encounter (such as a disaster, war, or disease) in history. It is more like a hybrid or compound trauma, an unexpected shock that began out of the blue and will remain dormant for a long time in the life cycle of humanity. As such, "The New Survivors" travels through both present and historical moments to bear witness to the whole process: exposure to trauma, subsequent deterioration, and the survival of the subject. At the end of the exhibition, the rewinding of the images sets the stage for the audience to ask themselves: if we could walk through the exhibition in reverse, would we be able to revisit these sites of trauma and their histories anew?
exhibited work: TANG Chao, Stills from Local Photography -01, 2016–, Single-channel HD digital video, 13’30’’, Image courtesy of the artist and Vanguard Gallery
Excerpt from Curatorial Statement
Reference
(1) Sigmund Freud, "Lecture XXXI-The Dissection of the Psychical Personality (1933 [1932])," in New Introductory Lectures on Psycho-Analysis (Complete Psychological Works of Sigmund Freud), eds & trans. James Strachey et al, (Minneapolis: W. W. Norton & Company, 1990), 59.
(2)Sexual traumas originated from Freud's theory that all hysterical symptoms were caused by childhood sexual "abuse or molestation" which left unconscious memories.
(3) Catherine Malabou and Steven Miller, The New Wounded: From Neurosis to Brain Damage, (New York: Fordham University Press, 2012), xviii.
(4) Ibid, 6.
(5) Ibid, 156.
· ABOUT THE CURATOR ·
WANG Shuman (b. 1993, Nanjing) holds a master’s degree in Art Curating from the Department of Art History and Film Studies at the University of Sydney and is currently based in Shanghai. From 2018 to 2023, she served as the supervisor of the Exhibition Department at OCAT Shanghai, where she gained years of experience in curating, organizing, and coordinating exhibition programs in a contemporary art museum system.
Since the start of her career, she has been focusing on writing and curating the practice of video and media art. Her recent research interests revolve around the tension between the self and the multiplicity of power, and the proxy rules run during the exercise of power.
THE NEW SURVIVORS | Curatorial Team
Curator: WANG Shuman
Curatorial Partners: YANG Sijia (Scenographer and Architecture Consultant), CHEN Zihan (Exhibition Coordinator)
Graphic Designer: luomantic
Special thanks to
The Japan Foundation, Beijing
OCAT Shanghai & OCT Land (Shanghai) Investment Ltd.
Annet Gelink Gallery, Amsterdam
Artists Rights Society (ARS), New York
Empty Gallery, Hong Kong
Galerie Lelong & Co., New York & Paris
Harun Farocki GbR
MUJIN-TO Production, Tokyo
Nova Contemporary, Bangkok
SPURS Gallery, Beijing
The Estate of Ana Mendieta Collection, LLC.
Vanguard Gallery, Shanghai
Thanks also go to
Antje Ehmann
Erin Gleeson
CHE Xuanqiao
FENG Jinfa
FU Liaoliao
HUANG Zhenqing
LI Xuegang
TAO Hanchen
ZHANG Xiaoquan
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