HOW 新展预告 | 暗光 Noire Lumière

*海报灵感来自Tony Oursler《元素（6）》

展期：2020年11月15日-2021年4月5日

艺术家：乌拉·冯·勃兰登堡 (Ulla von Brandenburg)、何采柔、蒋志、娜布其、汤尼·奥斯勒（Tony Oursler）、劳瑞·普罗沃斯特 (Laure Prouvost)、邦尼·罗杰斯 (Bunny Rogers)、泽拓 (Hiraki Sawa)、孙原&彭禹、陶辉、杨福东、梁慧圭 (Haegue Yang)、杨健、杨沛铿

策展人：付了了

助理策展人：Zhanna Khromykh、王子遥

地址：昊美术馆（上海）一楼

主办：昊美术馆

Please scroll down for English version.

暗光

Noire Lumière

那天夜里，盲人梦见自己失明了。

盲人谈论着摆脱困境的方法。说那里的黑夜黑得彻底且令人痛苦是完全不对的。只要稍作适应，人就能清楚的辨别出一种光亮，它从黑暗各处散发出来，美妙地吸引着眼睛。这种独特的景象，只有当眼睛极度疲劳而失明之后才能在记忆中找到。

然而，什么都没有看到。

所以，我们必须等待。

这儿会有一天，这儿没有白天，这儿不是一个地方，不可能的声音不可行的存在物的出路，和一线微光的开始，一切会静悄悄空洞黑暗，就像现在，就像一会儿之后，但一切都已结束，一切都已表达，它说，它低低地说。

以上文本的拼贴构成了展览的索引，“暗光”即由此展开。

“暗光”首先提示了一种不尽明确的时间：无论是白日将尽、黎明之前或在彻底的黑夜中——暗光的时间是一种缠斗状态。当白昼以不断加速的势能前进，其所掠过的时空以技术的激进、灵晕的消失、身体的瓦解、话语的对立和权力的统一为语境，对灾难频发的世界进一步的摧枯拉朽。而当我们得以用如此明确语言来描述当前的世界，其本身就提示了一种因过度清晰化而产生的盲视，这种盲视意味着他者的失踪和边际空间的抹除：“当一个空间被抹平擦净，就变得透明了。边际和过道是秘密和谜题的的领地，也是他者诞生的源头”（韩炳哲，2017）。

作为展览的“暗光”并不致力于在该语境下实践对“灵晕”再次召唤，它将对幽暗的复归悬置于流变的情境之中，以作品本身为语境，向他者的不可能性敞开。展览在此“反转语境”下，由“暗光”和“暗光档案”两条相互交织的线索构成，邀请观者进入一个由一系列边际空间所连接的场域。

“暗光”是对异质性的激活。眼睛被白日刺伤而失明，意味着知觉的共同复苏。眼在这里并非看的唯一渠道，看也并不是眼的唯一使命（或命运）。我们在这里或可参照帕慕克在《我的名字叫红》中所描写的如何向失明的人解释红色的感觉：“如果我用手指触摸，它感觉起来会像是铁和黄铜之间的东西。如果我们品尝它，它就像腌肉一般厚而细腻。如果我们用嘴唇轻抿，它将会充满我们的嘴。如果我们嗅闻它，它的气味会像马。如果说它闻起来像是一朵花，那它就会像雏菊，而不是红玫瑰” 。而“暗光”所调动的知觉，固然也潜行于记忆、梦境甚至惊骇、失神的状态，但它并不指向神秘主义及借其笼统概括的尚不可知的一切。

因失明而脱离了身体系统的眼，调用的除了知觉之外，还有白昼和夜晚同构的症候所透露的蛛丝马迹，这种调用的行动或可理解为对失踪者的寻找。“暗光档案”即是将“暗光”带离神秘主义猜想的行动，一个隐匿于暗中的无名者与消失事物的显现。这些被调用的个人记忆、小道消息、语焉不详的记载或完全的缄默，与其说是在“真实”和“虚构”的合理性之间试探，不如说是一个个扬弃了这种二元表述的孤独追问，这种扬弃恰恰映射了宏大叙事对其档案化的褫夺。“暗光档案”试图连结和显现的正是这些孤独的追问，而这些可分享的孤独追问，是一种双向进行的运动，一方面作为对既有机制的易轨和逃逸，另一方面是对不可能的他者的无限接近。在这样一种运动中，历史方得以实现其自身。

也正是这样一种运动，将“暗光”推进至一种决定的时间，一种指向成为之不可能性的成为。这个时间不断涌现于缠斗状态中，战斗还是消失？谁战斗还是谁消失？

“但问题依旧是：一个人如何让那以消失为本质的东西消失？” （布朗肖，1969）

让这问题悬而未决，让这问题不断重临。

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索引

若泽·萨拉戈玛，《失明症漫记》

布莱希特，《未来世代》

布朗肖，《亚米拿达》

帕慕克，《我的名字叫红》

巴塔耶，《无差异的生就是无》

布朗肖，《无尽的谈话》

贝克特，《贝克特诗选5:看不清道不明》

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关于策展团队

 付了了 | Fu Liaoliao 

昊美术馆策展人。她的策展研究涉及社会经济体系与技术发展语境中的艺术介入和理论批判、现场艺术和公共空间的功能及其边界等。她策划的展览包括“被打断的饭局”(2020)、“严肃游戏”(2019) 、“流动者会议”(2017)等，她亦曾经为托⻢斯·赫赛豪恩、何子彦、厉槟源等艺术家策划个展。

 Zhanna Khromykh 

俄罗斯艺术策展人和艺术史学家。毕业于莫斯科国立大学，并获得中国美术学院当代艺术和策展学硕士学位。现工作、生活于上海。2018年加入昊美术馆担任助理策展人，管理昊国际策展人驻留项目，参与策划展览以及讲座和表演。近年来，研究方向包括公共艺术与当代舞。

 王子遥 | Wang Ziyao 

王子遥，昊美术馆助理策展人，2018年硕士毕业于米兰新美院（NABA）视觉艺术与策展学，目前工作于上海。曾参与策划昊美术馆上海和温州的多个展览。

*Poster inspired by Elements (Six) of Tony Oursler

Duration：Nov.15th, 2020 – Apr. 5th, 2021

Artist：Ulla von Brandenburg, Joyce Ho, Jiang Zhi, Nabuqi, Tony Oursler, Laure Prouvost, Bunny Rogers, Hiraki Sawa, Sun Yuan & Peng Yu, Tao Hui, Yang Fudong, Haegue Yang, Yang Jian, Trevor Yeung

Curator : Fu Liaoliao

Associate curators: Zhanna Khromykh, Wang Ziyao

Venue：F1, HOW Art Museum (Shanghai)

Organizer: HOW Art Museum

Noire Lumière 

That night the blind man dreamt that he was blind. 

The blind talk about an escape. It is completely false that the darkness there is total or in any way: distressing. With a little adjustment, one succeeds very well in distinguishing a sort of clarity that radiates through the shadows and that is deliciously attractive to the eyes. And this unique perspective could only be attained through recollection after blindness descended, only after a lifetime of hard work and only after the eyes tired. 

But nothing, I see nothing. 

So we must still wait.

And were there one day to be here, where there are no days, which is no place, born of the impossible voice the unmakeable being, and a gleam of light, still all would be silent and empty and dark, as now, as soon now, when all will be ended, all said, it says, it murmurs.

Excerpted from several texts, the above passages constitute a point of departure of Noire Lumière. 

“Noire lumière”, first of all, refers to an ambiguous point of time: it may be when day is approaching its end, or dawn is coming or night is in its utmost depth. In other words, noire lumière is a state of fighting and tangling. While day is progressing with escalating potential energy, the time and space it sweeps past feature radicalization of technology, disappearance of aura, disintegration of the body, opposition of discourses, and concentration of power, which further impacts upon the world that has already witnessed frequent outbreaks of disasters. Actually, the fact that we are able to describe the world of today in such definite and unambiguous words indicates a kind of blindness incurred by the excessive clarification. And this blindness signifies the missing of the Other and the erasing of marginal space. “Space becomes transparent when it is smoothed out and leveled. Thresholds and transitions are zones of mystery and riddle – here, the atopic Other begins.” (Byung-Chul Han, 2017 )

Noire Lumière as exhibition does not intend to summon once again the “aura” under such a context. Instead, it suspends the come-back of darkness within a precarious scenario and weaves the works on show organically to create an overarching context, opening it up to embrace all the impossibilities of the Other. Under such a “reverse context”, the exhibition consists of two intertwined clues – “noire lumière” and “noire lumière archive”, which collectively invite audience into a field connected by a series of marginal spaces. 

“Noire lumière” is an activation of the heterogeneity. While the eyes are blinded by the piercing dazzle of the day, other senses are intuitively awakened. At this point, eyes are not the only channel to see, and “seeing” is not the only mission (or destiny) of eyes. In My Name Is Red, Orhan Pamuk presented a way to explain red to somebody who was blind and hence had never known red: “If we touched it with the tip of a finger, it would feel like something between iron and copper. If we took it into our palm, it would burn. If we tasted it, it would be full-bodied, like salted meat. If we took it between our lips, it would fill our mouths. If we smelled it, it’d have the scent of a horse. If it were a flower, it would smell like a daisy, not a red rose.” Senses mobilized by “noire lumière”, indeed, also sneak in between memory, dreamland, even terror and absent-mindedness; but they do not refer to mysticism and all that unknown and therefore roughly categorized in its name. 

Eyes that are disconnected from the body system due to blindness mobilize not only other senses but also the inconspicuous traces emitted by the symptoms caused collectively by day and night. Such mobilization, in a sense, could be deemed as a searching for the missing. “Noire lumière archive” is in effect the action to take “noire lumière” away from mystical conjectures, to make the nameless hidden in the dark and the unseen on the verge of disappearance visible. The memories, hearsays, ambiguous records and complete silence that are to be mobilized, rather than probing between the rationalities of “reality” and “fiction”, manage to detach themselves from the lonely dualistic inquiries. Such detachment mirrors exactly power/grand narrative’s deprivation of their right to be archived. “Noire lumière archive” endeavors to connect and reveal these lonely inquiries. These lonely inquiries are shareable and represent a two-way movement. On the one hand, they stand for a detour and escape from the power mechanism; and on the other, they signify the infinite approach to the impossible Other. Within in this movement, history manages to realize itself. 

It is such a movement that makes “noire lumière” a decisive point of time – the becoming of the impossible. As this point of time constantly emerges in the state of fighting and tangling, to fight or to disappear? Who to fight and who to disappear? 

“But the question remains: How to make things that will eventually be gone disappear?” (Blanchot, 1969) 

Let the question remain suspending. Let it constantly emerge and reemerge.

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Excerpts:

José Saramago, Blindness

Bertolt Brecht, Future Generations

Maurice Blanchot, Aminadab

Orhan Pamuk, My Name is Red

George Bataille, The Undifferentiated Being is Nothing

Maurice Blanchot, The Infinite Conversation

Samuel Beckett, Text for Nothing

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ABOUT THE CURATORS

 付了了 | Fu Liaoliao 

Fu Liaoliao is a curator based in Shanghai. Her curatorial research and practice include the critiques in the context of socio-economic system, live-based works and the function of public space and its borders. Her recent curatorial works include Interrupted Meals (2020), Serious Games (2019) and Precariats’ Meeting (2017). She also curated solo shows for artists such as Thomas Hirschhorn (2018) and Ho Tzu Nyen (2018) and Li Binyuan (2019). She is currently the curator of HOW Art Museum.

 Zhanna Khromykh 

Zhanna Khromykh is a Russian art curator and art historian. After graduation from Moscow State University she received her master's degree in Contemporary art and Curatorial studies at China Academy of Art. Currently works and lives in Shanghai. In 2018, she joined the HOW Art Museum team as an Associate Curator and manager of the HOW International residency program. In recent years, her research focuses on public art and contemporary dance practices.

 王子遥 | Wang Ziyao 

Wang Ziyao is the assistant curator of HOW Art Museum. She mastered in visual arts and curatorial studies from the New Academy of Fine Arts (NABA), Milan and currently works in Shanghai. She has worked for several exhibitions and projects in HOW Art Museum Shanghai and Wenzhou. 

*图片致谢艺术家

翻译 Translate／邬晨云

编辑 Edit／Murphy

海报设计 Design／张琪

昊美术馆（上海） 

HOW ART MUSEUM (SHANGHAI)

图片©昊美术馆

昊美术馆（上海）是具备当代艺术收藏、陈列、研究和教育功能的全新文化机构，坐落于上海浦东，共有三层展览和活动空间，总面积约7000平方米，于2017年9月正式对外开放。昊美术馆首创“夜间美术馆”的运营模式，常规对外开放时间至夜间10点，目前特殊时期开放时间为上午11点至下午6点（周二至周日）。此举能让更多观众在工作之余前来美术馆观展，昊美术馆也举办“国际策展人驻留项目”、“户外电影节”、“雕塑公园”等国际交流项目和户外活动，以此建立全新的艺术综合体和浦东新地标。

特殊时期开馆时间周二至周日 11:00-18:00（每周一闭馆）

昊美术馆（温州） 

HOW ART MUSEUM (WENZHOU)

图片©昊美术馆

昊美术馆（温州）延续昊美术馆（上海）的“夜间美术馆”运营模式，是浙江省首家"夜间美术馆"，常规对外开放时间至夜间10点，目前特殊时期开放时间为下午1点至夜间8点（周二至周日）。昊美术馆（温州）将持续为公众呈现丰富的公共教育及户外艺术项目，引领融合艺术、设计、科技的全新生活方式。

特殊时期开馆时间

周二至周日 13:00-20:00

（每周一闭馆）

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