展讯｜王振飞＋王鹿鸣：沉默的表面
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我是一个对镜子感到害怕的人；
不仅面对着无法穿透的玻璃，
里面一个不存在的无法居住的空间
反映着，结束了又开始……
－J.L.博尔赫斯 《镜子》
“沉默的表面”诗出于博尔赫斯的《镜子》。人们每天面对镜子，面对自我的镜像，镜子好像比任何人都更了解自己。古人云“相知如镜”，镜子一直以来好像是另一个自我。直到现代我们才意识到，即便镜子真的了解我们，我们也未必了解镜子，博尔赫斯说“镜子窥伺着我们”，它是单向的、霸权的、魔性的，“在这种有照人镜子的房间里，什么事都发生，什么事都不记下”。
依据拉康，对镜像的意识来源于独立意志的出现，婴孩最初用镜子来辨清“当下的自己”，继而在镜像中不断求证自我与周围对象的关系。因此，镜子是人最初的定位装置，唯有镜子能够让人知晓自我在空间中的存在状态。沿此思路，镜像成为人的依据，人之所以存在，恰是由于有一个对象在证明，这个对象可以是镜子中对象化的自我，也可以是他人。如果说没有对象就没有自我，那么每个人某种程度上都是一个镜像。
但试想一下，如果人所面对的镜子中，自我的镜像消失了，这种情况下我们瞬间的感知会怎样冲击自我的存在经验？面对镜子，在日常经验里自我隐身，这种空无又是一种怎样描述的空无？王振飞和王鹿鸣的作品《存在》就是这样一面镜子，在镜面的内部没有主体，只有他者与周遭的空间。我们面对镜子，自我的镜像却从我们对面逃离，这是一个与“存在”开的玩笑，一种对认识论的嘲讽。
在《镜子》的结尾，博尔赫斯写道，
上帝创造了夜间的时光，
用梦，用镜子，把它武装，为了
让人心里明白，他自己不过是个反影，
是个虚无。因此，才那么使人害怕。
的确，“反影”和“虚无”让人害怕，那么当我们面对一种“无有的虚无”呢？那样的感受是什么呢？我们认为，《存在》是王振飞与王鹿鸣迄今最具哲学意味，也最为精当巧妙的作品。人们面对作品，很容易会被它所流露出的智慧及其表达的突破性所打动。
关于艺术家
王振飞与王鹿鸣，建筑师，艺术家，硕士毕业于荷兰贝尔拉格学院(Berlage Institute)，学士毕业于天津大学建筑学院。作为中国新生代建筑师中的佼佼者，王振飞与王鹿鸣的创作实践一直涉足当代艺术领域，二者从建筑师的视角出发，一贯准确而巧妙地处理人、作品与空间之间的关系，并常常在微小处和细节中透射形而上的哲学命题。
展览支持
此次展览由新世纪当代艺术基金会资助支持。
根据相关部门规定，LAB 47所在的东四七条30号场地被纳入“历史文化街区”的总体规划，将被重新整修。整修之后的场地将被还原成民宅，其呈现方式也背离了LAB 47 开放式展览的初衷。因此，我们非常遗憾地告知诸位，本次展览将是LAB 47的最后一次展览。今后我们将以其他方式参与中国当代艺术的观察、研究与实践。
I, who felt the horrors of mirrors
Not only in front of the impenetrable crystal
Where there ends and begins, uninhabitable,
An impossible space of reflections…
- J. L. Borges
The Silent Surface originated from J. L. Borges’s poem Mirrors. The mirror and mirror image exist in our everyday life. It seems they know us better even than any other people. The ancients used to say know each other like the mirrors to each other. Mirror has appeared to be another existence of oneself. Until the modern time, we started to realize we never had and hardly really understand the mirror. As Borges’s word, The crystal spies on us, thus it’s unidirectional, hegemonic, demonic. Everything happens and nothing is recorded/ In these rooms of the looking glass, / Where, magicked into rabbis, we/ Now read the books from right to left.
According to Jacques Lacan, awareness of images from the emergence of independent will. Baby first with the mirror to see "the present"， and then prove themselves continuously in the mirror with the surrounding objects. As aresult, the mirror is the first positioning device, and the mirror is the only thing can let a person know self-existence state in space. Along with this thought, the image forms the basis for people. People can feel oneself’s existence, just because of there’s an object in the proof, this object can be a mirror in the objectification of self or others. If say no object, no existence of oneself, then everyone is a mirror, to some extent.
But imagine, if a person faces in the mirror, the mirror image of the self-disappeared, what would be the perception of this situation? What impact would happen to our experience? In the face of the mirror, hiding in the everyday experience, how to describe this kind of void? Wang Zhen-fei and Wang Lu-ming’s "The existence" is such a mirror, which has no subject inside, only the others and the surroundings. We face the mirror, yet our mirror image have fled from it, this is a joke to the existence, a satire to epistemology.
At the end of Mirrors, Borges wrote:
God has created nighttime, which he arms
With dreams, and mirrors, to make clear
To man he is a reflection and a mere
Vanity. Therefore these alarms.
Indeed, the “reflection” and “vanity” are scary, but how if we face a “vanity of nothingness”? What will that feeling be?
We believe “The existence” is one of Wang Zhen-fei and Wang Lu-ming’s most sophisticated also ingenious series of artworks. It is easy to be touched by their wisdom when you face to the oeuvre.
Funding Credits
The Silent Surface is made possible through financial support from the New Century Art Foundation.
开幕时间：2016年9月25日 下午3点
地点：北京市东城区东四七条30号
Opening：September 25, 2016, 3:00 PM
Venue: 30 Dongsi Qitiao, Dong Cheng District, Beijing
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