【展讯】圣牛的消亡｜北京
展览
EXHIBITION
圣牛的消亡
艺术家：梁莹菲
策展人：张寺旸
展览时间: 2023.10.14-12.31
地址: 三影堂摄影艺术中心（北京市朝阳区草场地155A）
主办：三影堂摄影艺术中心
协办：瑞士山地区域可持续发展基金会、瑞士发展与合作署
支持：瑞士驻华大使馆
● Please scroll down for English
梁莹菲，《甜蜜家园》，2023. © Liang Yingfei
三影堂摄影艺术中心将于2023年10月14日至12月31日举办艺术家梁莹菲的展览《圣牛的消亡》，该展览将综合呈现莹菲今年初在瑞士蒙泰地区驻地期间创作的包括摄影、录像、装置在内的五十余件作品。
梁莹菲，《甜蜜家园》，2023，艺术微喷，
100cm × 150cm. © Liang Yingfei
莹菲驻地创作时，由荣格提出的“神话是人类潜意识的非自发叙事”[1]获得启发，想要从神话故事中寻找线索。她最终选择北欧神话作为开端，那犹如世界尽头的冰雪之地，深刻地影响着北欧人的精神世界，并在神话故事当中以特殊的形态显现。
梁莹菲，《创世》，2023，艺术微喷，
230cm × 153.3cm. © Liang Yingfei
展览共划分为五个章节：第一章为创世，北欧神话始于众神用杀死巨人尤弥尔(Ymir)的方式创造世界，当它被残酷地肢解后，它破碎的身体就成了自然届里的各部分；第二章"甜蜜家园"，我们来到俗世，观看人类与自然的相处融洽的早期阶段。
梁莹菲，《甜蜜家园》，2023，艺术微喷，
63cm × 95cm. © Liang Yingfei
第三章讲述的是人们对自然犯下的罪行，无止境的欲望，消费主义对环境的破坏与重塑；第四章出现了一位英雄，他试图在这个时代当一名救世主，却终究悲哀地发现自己从未能改变些什么……第五章为一面破碎之镜组合拼接而成的似纺锤体的空间裂口，新的希望也许将从此缝隙中诞生。
梁莹菲，《罪行》，2023，艺术微喷，
61cm × 100cm. © Liang Yingfei
梁莹菲，《罪行》，2023，艺术微喷，
61cm × 97cm. © Liang Yingfei
冰，作为水的源头，是滋养生命真正的源头。来自遥远冰山上的雪融化之后，变成涓涓流水，供养万物。考古《散文埃达》（Prose Edda），世界的起源是一头从白霜创造出来的母牛，欧德姆布拉（Audhumla）。欧德姆布拉的乳房流出牛奶之河，并哺育了创造了世界的尤弥尔。冰霜制成的母牛，正是冰川的最佳隐喻。因为冰山持续研磨着底下的岩石表面，溶解后体内的矿物质让流水呈现牛奶般的白色，亦是田地和草原的最佳肥料[2]。
梁莹菲，《甜蜜家园》，2023，艺术微喷，
144cm × 97cm. © Liang Yingfei
在精神分析学派，即使意见相左的心理分析师都明确这样一个观点：神话是心理分析的基础语言[3]。从心理分析的角度观看这则神话故事，母牛在人类的认知中，往往扮演着奉献者的角色，它们一生辛苦劳作帮助人类进行农业生产，还输出奶水为人类提供营养。因而，圣牛作为冰山的隐喻，可以捕捉出早早雕刻在人类集体潜意识中的暴力--除了作为供养人类生存的大地母亲，反过来，冰山也被人类想要掌控和支配。
梁莹菲，《甜蜜家园》，2023，艺术微喷，
90cm × 136.3cm. © Liang Yingfei
集体无意识为瑞士心理学家卡尔·荣格提出的"冰山理论"，荣格将人的意识分为三类：意识、个人潜意识和集体潜意识[4]。 他认为，隐藏在冰山之下不可见的潜意识，才决定了人类大部分的行为和表达。而神话的创造，基于人类渴望认识环境和探索生命的终极意义,往往带有复杂的符号和象征。因此，神话往往蕴含着丰富的集体潜意识。欧洲的阿尔卑斯山有被诅咒的神话传说[5]，也许是由于人类意识到山潜在对自身具有的毁灭性，因而编撰了神话，以表达意识深处对这庞然大物的恐惧。
梁莹菲，《甜蜜家园》，2023，艺术微喷，
61cm × 84cm. © Liang Yingfei
历史学家詹姆斯·奥利弗·罗宾逊在《美国神话/美国现实》中甚至将神话定义为"使我们成为一体的东西"[6]。 可以理解为，正是神话刺破万物表象，直指深藏在人类整体的潜意识，带有超越时空的真理，掌握着我们的精神面貌，才使我们成为一体。比如，将母牛隐喻为冰山，并非只存在于北欧神话中。在喜马拉雅山区，四处可见冰川与母牛之间的联结，冰洞里的神圣冰柱被称为"母牛乳房"；当冰川上的浮冰脱离开冰层，被称之为冰川"牛犊"[7]。梦想与神话中往往蕴涵着人的意愿和愿望[8]，因此，在我们没有意识到的共同认知里，都把冰山视为无私奉献、勤勤恳恳、劳作一生的母牛，一位默默付出却不求回报的奉献者。
梁莹菲，《甜蜜家园》，2023，艺术微喷，
78cm × 116.5cm. © Liang Yingfei
莹菲借用神话故事里的角色和结构，创作了一系列围绕冰山的图像和视频作品，既有瑞士山地居民的个人史、家庭相册、冰川消退数据，也有用二手明信片、生活垃圾等进行的二次创作。这些作品呈现瑞士人与冰川古老的连结，探讨他们内心对于自然复杂、深刻的情感。采用神话的叙事，亦是把瑞士蒙泰小镇上的人与冰川之间的关联，突破时间和空间，与我们的潜意识中--与自然的关系，与其他生命的连接产生共鸣。
梁莹菲，《甜蜜家园》，2023，艺术微喷，
32cm × 48.5cm. © Liang Yingfei
冰山是提供能量的自然之相，亦是蕴涵着神秘气息的大地母亲。无数生命折服于其壮观之美并默默吸收它的养分，但也有不少生命被它吞噬，永久尘封于冰山之中，因而对它产生敬畏害怕之心。直到全球气候变暖，坚硬的白色外壳开始融化，水平面上升，深埋于冰山之中过往的幽灵重新浮现[9]。所以，冰山是活的，长久以来它都在移动和变化，只是全球气温的加速上涨，导致冰山的生命轨迹发生变化。在"甜蜜家园"章节，蒙泰小镇居民写到："随着时间的推移，山脉发生了变化。冰川退缩了很多，雪崩摧毁了森林。以前十二月会下雪，但现在圣诞节是 '绿色'的。"
梁莹菲，《甜蜜家园》，2023，艺术微喷，
141cm × 94cm. © Liang Yingfei
梁莹菲，《甜蜜家园》，2023，艺术微喷，
141cm × 94cm. © Liang Yingfei
巨大的冰山，已似耄耋的圣牛，只剩下消亡。冰山若死亡，人类的生命也将画上句号。思考冰山之死，亦是思考生命如何存活。此刻，极致的静夜之下，展厅内回响着冰山的声音，叮叮咚咚，原来是冰雪在融化，这场无人凝听的音乐会瞬间转变为奄奄一息的呼救声，你听到了吗？
梁莹菲，《罪行》，2023，单通道数码影像
（黑白，有声），12‘53" © Liang Yingfei
梁莹菲，《英雄》，2023，单通道数码影像，
（黑白，有声），10‘55" © Liang Yingfei
参考文献
[1] 卡尔·荣格，荣格文集9i，第262页。
[2] 安德烈·赛恩·马纳颂，刘泗翰[译]，”寻找圣牛”，《在冰川消失之前——关于远古时间与未来之水的27则故事》，第88-107页。
[3] 罗洛•梅 ，“序言”，《祈望神话》，第1-2页。
[4]卡尔·荣格，《论分析心理学与诗的关系》，1922。
[5] 关于阿尔卑斯山被诅咒的故事，延伸阅读：https://feel-albania.com/blog/bjeshket-e-namuna-accursed-mountains-and-their-legend/
[6] New York: Hill and Wang, 1980.
[7] 安德烈·赛恩·马纳颂，刘泗翰[译]，”寻找圣牛”，《在冰川消失之前——关于远古时间与未来之水的27则故事》，第88-107页。
[8] 罗洛•梅 ，“寻根”，《祈望神话》，第52页。
[9] 关于冰山融化，曾经被冰冻掩埋的生命被找到的更多故事，延伸阅读：https://www.gq.com/story/missing-parents-melting-glacier-swiss-alps
艺术家
梁 莹菲
生于1990 年，广东广州。2015 年成为一名影像故事讲述者。作品涉猎广泛的社会议题，关注被挟裹在激烈变化与冲突中的人，影像记录他们不断受外力左右的生命轨迹，他们的生存方案，以及他们在隙缝中艰难生长的精神世界。我一直尝试将纪实风格与更多样的表达方式相结合。作品多次参加国内外摄影节，策划过多场摄影展览，是一个创意与执行力兼具的人。
策展人
张 寺旸
策展人，影像艺术研究者。硕士毕业于伦敦大学金匠学院电影和屏幕学研究，研究方向为实验媒体艺术。关注的方向为从知觉心理学角度思考影像本体，以及捕捉人的感知和情绪的艺术实践。近期关注以空间行为学的视角研究当代社会的主体间性的变化。目前担任三影堂摄影艺术中心助理策展人。
关于SMArt项目
SMArt（Sustainable Mountain Art）山地可持续发展艺术项目由瑞士山地区域可持续发展基金会（FDDM）、瑞士发展与合作署、瓦莱州文化部于2014年共同发起，由瑞士以及多个国际文化机构共同支持。三影堂摄影艺术中心作为SMArt项目的中国合作单位，每年以公开征集并投票评选的方式，向瑞士蒙泰地区推荐中国影像创作艺术家，在“山地地区面临的挑战”主题范围内，就“气候变化”、“水域管理”、“山地开发”等问题进行驻地研究和创作。
展览
EXHIBITION
The Death of Giants
Artist: Liang Yingfei
Curator: Zhang Siyang
Duration: 2023.10.14-12.31
Venue: 155A Caochangdi, Chaoyang District, Beijing
Organizer: Three Shadows Photography Art Centre
Co-Organizers: Foundation for Sustainable Development in Mountain Regions, Swiss Agency for Development and Cooperation
Supporter: Embassy of Switzerland in China
Sweet Home, Liang Yingfei, 2023,
Giclée Print. © Liang Yingfei
Three Shadows Photography Art Centre feels pleasure to announce that we will present “The Death of Giants” from 14 October to 31 December 2023, which will present a comprehensive collection of more than fifty works, including photographs, videos, and installations, created by the artist Liang Yingfei during her residency in the Monthey region of Switzerland at the beginning of this year.
Sweet Home, Liang Yingfei, 2023, Giclée Print
100cm × 150cm. © Liang Yingfei
Ice, as the source of water, is the true origin of life. Distant iceberg melted, becoming trickles of water, nourishing everything on earth. Tracing back into The Prose Edda, the world originated from a cow made from thawing frost, Audhumla. Four rivers of milk ran out from her teats, and she fed Ymir whose body parts composed the world. The cow made from frost can indeed be the best incarnation of glacier. Underneath the glacier, surface of stones were continuously ground. The ground mineral then made the trickle milky white, which served as the best fertilizer for farmlands and grasslands[1].
Genesis, Liang Yingfei, 2023, Giclée Print
230cm × 153.3cm. © Liang Yingfei
Within the school of psychoanalysis, even analysts with conflicted convictions are all clear about myths being the essential language in psychoanalysis[2]. To examine the myth from a psychoanalytic perspective, in human’s recognition, cow is the one that dedicates its whole life to helping mankind with farm work and nurturing them with its milk. Therefore, the mythical cow, as the incarnation of glacier, can capture the violence deeply rooted in the collective subconscious of mankind because except from being the motherland providing mankind with essentials to survive, glacier is also what mankind wants to conquer and control.
Sweet Home, Liang Yingfei, 2023, Giclée Print
144cm × 97cm. © Liang Yingfei
Sweet Home, Liang Yingfei, 2023, Giclée Print
90cm × 136.3cm. © Liang Yingfei
Sweet Home, Liang Yingfei, 2023, Giclée Print
61.6cm × 84cm. © Liang Yingfei
The notion of ‘collective unconscious’ came from the iceberg model proposed by the Swiss psychologist Carl Jung. According to Jung, the psyche is divided into the ego, the personal unconscious, and the collective unconscious[3]. He thinks that below the iceberg of one’s conscious mind, lies the invisible subconscious which decides most of mankind’s behaviors and expressions, whereas the creation of myths often carries with it a complex symbol, based on the fact that mankind longs to know the environment and explore the ultimate meaning of life. Therefore, the myths tend to embody an abundance of collective subconscious. The European myth goes that the Mountain Alps has been cursed[4], which may be because of humans’ fear for the potential destructive power of this giant piles of stones.
Sweet Home, Liang Yingfei, 2023, Giclée Print
78cm × 116.5cm. © Liang Yingfei
Sweet Home, Liang Yingfei, 2023, Giclée Print
32cm × 48.5cm. © Liang Yingfei
Historian James Oliver Robertson in American Myth, American Reality even defined myth as ‘what makes us into one’[5]. It is the myth that pierces the surface of everything and points directly to the collective subconscious of mankind. It harbors the truth transcending time and space and masters our thoughts, therefore making us into one. For instance, to use cow as the incarnation of glacier is not confined to Nordic myths. In the mountainous area of the Himalayas, the connection between the cow and the glacier can be seen everywhere. The icicle in the ice cave is called ‘the breast of cow’. When the ice floe breaks away from the ice chunk, it will be called ‘calf’[6]. Dreams and myths often harbor the wish and thoughts of humans[7], Thus, unknowingly in our collective awareness, we see the glacier as a selfless, dedicated and laborious cow, toiling without asking for something in return.
Sweet Home, Liang Yingfei, 2023, Giclée Print
63cm × 95cm. © Liang Yingfei
When Yingfei was in residence, she was inspired by what Jung proposed as ‘Myths are involuntary statements about unconscious psychic happenings’[8] and borrowed the character and structure from the myths to create a series of images and videos. Among her works, there are not only personal histories of residents in Swiss mountains, family photo albums, the data recording glacier retreat, but also re-creations using second-hand postcards and domestic waste. These works present the long-time connection between the Swiss people and glaciers, and explore their complex and profound emotions towards the nature. The use of mythological narratives is also to break the connection between the residents of the small town of Monthey and the glacier away from time and space, and to resonate with what lies in our subconscious — the relationship with nature and other beings.
Sins, Liang Yingfei, 2023, Giclée Print
61cm × 100cm. © Liang Yingfei
Sins, Liang Yingfei, 2023, Giclée Print
61cm × 97cm. © Liang Yingfei
The glacier is what provides the source of energy, and it is also the mother earth that contains a mysterious atmosphere. Countless lives are overwhelmed by its magnificent beauty and unknowingly absorb its nutrients, but there are also many lives swallowed by it and permanently buried within. Therefore, people feel awed by and afraid of it. The global warming melts the hard white blocks and raises the water level, thus the ghosts of the past buried deep in the iceberg resurface[9]. The glacier is alive, and it has always been moving and changing. But the accelerated rise in global temperature has led to changes in the life trajectory of the glacier. In the chapter Sweet Home, the residents of Monthey wrote: “Over time, the mountains have changed. The glaciers have retreated a lot, and the avalanche has destroyed the forest. It used to snow in December, but now the Christmas is ‘green’.”
Sweet Home, Liang Yingfei, 2023, Giclée Print
141cm × 94cm. © Liang Yingfei
Sweet Home, Liang Yingfei, 2023, Giclée Print
141cm × 94cm. © Liang Yingfei
The massive glacier is just like the aging Giant, left only with death. If the glacier dies, human life will also come to an end. Reflecting on the death of glacier is also to ponder over how should we live the life. At this silent night, I feel as though I’m hearing the sound of the glacier melting. This unheard concert will immediately turn into dying cries for help. Do you hear it?
Liang Yingfei, Sins, 2023, Single Channel Video,
(Monochrome, With Sound), 12‘53" © Liang Yingfei
Hero, Liang Yingfei, 2023, Single Channel Video,
(Monochrome, With Sound), 10‘55" © Liang Yingfei
References
[1] Andri Snær Magnason，in “Searching for the Holy Cow”，On Time And Water
[2] Rollo May，in “Foreword”，The Cry For Myth
[3] Carl Jung，On the Relation of Analytical Psychology to Poetry，1922
[4] Extended reading on the story of the cursed Alps: https://feel-albania.com/blog/bjeshket-e-namuna-accursed-mountains-and-their-legend/
[5] New York：Hill and Wang，1980.
[6] Andri Snær Magnason，in “Searching for the Holy Cow”，On Time And Water
[7] Rollo May ，in “In Search of Our Roots”，The Cry For Myth
[8] Carl Jung，C.G. Jung The Collected Works 9i
[9] For more stories of discovering deep-buried souls after the glacier melts, Extensive Reading：https://www.gq.com/story/missing-parents-melting-glacier-swiss-alps
ARTIST
LIANG Yingfei
A female visual storyteller, born in 1990 and living in Guangzhou, China. I have been a photojournalist since 2015, and most of my work deals with a wide range of contemporary social issues. I tell stories about the rapid changes in daily life in China, how people, especially those at the bottom of society, adapt to survive. My works usually penetrate deep into people’s minds to show their spiritual world. In contrast to traditional photojournalism, I try to give documentary photography a variety of expressions. I have participated in several important photography festivals and exhibitions inside and outside China. I am both a creative person and a good executor.
CURATOR
ZHANG Siyang
Curator and researcher of moving-image art. Graduated from Goldsmiths College, University of London with a Master's degree in Film and Screen Studies, her research focus on experimental media art. Topics of interest include reflecting the ontology of images and moving-images from the perspective of perceptual psychology, and the art practice of capturing human perceptions and emotions. Recent research focus on studying the changes of Proxemics in contemporary society. She is currently the assistant curator of Three Shadows Photography Art Centre.
About SMArt
SMArt was launched in 2014 by the Foundation for the Sustainable Development of Mountain Regions (FDDM) in close cooperation with the Swiss Agency for Development and Cooperation (SDC) and the Culture Service of Canton Valais. It relies on an extensive network of institutional and cultural partners in Switzerland and around the world. As the Chinese partner of the SMArt project, Three Shadows Photography Art Centre recommends photographers to live and work in Monthey during an open call. Artists ultimately research and create around topics such as “climate change,” "water management" and "mountain development” in the context of challenges facing mountain regions around the globe.
编辑/ 刘心平
设计/ 林洛熙
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