李山 + 李泽民组合项目｜治疗
M'room
李山 + 李泽民组合项目｜《治疗》
AlessandroRolandi + Lei Chak Man collaborative project: “Therapy”
地址：北京朝阳区黑桥中心艺术幼儿园Mstudio
Address: Mstudio, Heiqiao CentralKindergarten, Chaoyang district, Beijing, China
时间：2017年12月5日 下午5点 12.05.2017, 5 PM
艺术家李山（Alessandro Rolandi）+ 李泽民（Lei Chak Man）将于12月5日下午5点首次合作呈现作品《治疗》。
“图像”的一般定义（来自拉丁语：意象）是一种描绘视觉的神器；但是如果我们更多地阅读拉丁文的原始单词“意象”，我们会发现它被翻译成更广泛的意义：
回声
鬼，幻影
理念
相像，图像，外观
雕像
在精神分析中，“意象”代表了一个“爱”的理想化的概念，在童年形成，在成人生活中保持不变。”
在昆虫学中，“意象”是经过变态的昆虫的最后一个发育阶段。
今天的世界是一个多方面的图像序列，仿佛现实一度汇聚成升华的，集中的和积累的经济和外观形式：盖伊·德波特所期待的景象，现在被称为后真理时代。
随着这个不可思议的意象艺术的崛起，艺术家逐渐从最重要的创作者转变为成千上万的创作者，最近成为新闻，广告，宣传，电影等现有图像的编辑，社交媒体。
德波的眼镜作为安迪·沃霍尔的空表面的镜子，以及马歇尔·麦克卢汉的媒介就是信息。
生活失去了对现实的把握，因为社会关系和存在本身是由一个空的迹象失效的体系所介导的，其唯一目的就是通过无休止的模拟来复制这种分离。
这是一个比喻本身。
控制不是通过操纵真实而是通过操纵真实的感知来实现的。
因此，越来越需要治疗作为生存，应付和功能的一种手段。
治疗不会颠覆这个体系：它可以让我们继续发展，让我们更新到规范，不断地重新启动我们。
然而，尽管有这种共谋，治疗也改变了我们，改善了我们，改变了我们，即使不是以更有意义的方式，至少在我们自己的更有弹性的版本中，能够以破坏性的变化速度进行操作。
与此同时，它确保我们通过支持和修复我们来服务于这个系统，同时也为这个增强的我们提供了抵抗和挑战的潜力。
自相矛盾的是，作为艺术家，我们创造的图像越来越无关紧要，当我们的关键干预是最需要的：当图像正在接管世界。
所有的信号似乎告诉我们，我们只剩下两个选择：跟随沃霍尔，喂养怪物，成为它的一部分，或通过绝望的形式的海盗和边缘性尝试抵抗。
在这两种情况下，治疗都保持了模棱两可的状态，但仍然可以用来测试边界，那么，如果它能帮助我们相信表面不是完全透明和反射的呢？
如果它能帮助我们用更多的名字来看待它，并用更多的名字来命名它，就像加拿大原住民因纽特人（inuit）在看雪一样，用7个以上的词来命名所有可能的状态？如果我们能够发现超出第一个欺骗性外观的图层，并证明下面还有什么东西呢？
形象作为阴影，幻影，投影，变形状态，在意象这个词的意思中提出。
如果这种东西仍然存在，超出了形象本身，被困在表面之后的东西会被释放出来吗？
系统无法重新捕获，编辑和无休止地复制的内容。
正如阿托德在“戏剧及其双重舞台”中所记载的，每一件事物都有一个双重性质：另一种性质和另一种无形的秩序；可以呈现并被目击的东西;一些危险的东西，这些经验可以帮助我们突破被困在其中的表面。
通过在M的房间进行的作品组合装置，我们试图将物理空间和虚拟空间转变成一种装置，在这种装置中，某些表面和某些图像会反射，碰撞和折叠，反过来在内部，以便观察是否有任何裂缝如果有一点点的光线可以逃离事件的视野，如果有一点点可以通过伤口进入。
我们将使用明确的图像，手势，镜像，和噪音来创造一个欺骗性的，矛盾的疗法会议，并将形象欲望机器的强制性重复反过来面对自己。
或不。
李山+李泽民
11.26.2017
Artist Alessandro Rolandi and Lei Chak Manwill present their first collaborative project titled “Therapy” on December 5th,2017, 5 p.m.
The general definition of “image” (fromLatin imago) is an artifact that depicts visual perception; yet if we read moreabout the Latin original word imago we discover that the it is translated witha broader spectrum of meanings:
echo
ghost, phantom
idea
likeness, image, appearance
statue
In psychoanalysis then imago stands for an“idealized concept of a loved one, formed in childhood and retained unalteredin adult life.”
And in entomology imago is the finaldevelopmental stage of an insect after undergoing metamorphosis.
Today’s world is one multifaceted sequenceof images as if reality had, at one point, converged into the sublimated,concentrated and accumulated form of economics and appearance: the spectacleanticipated by Guy Debord, now familiarly called the “post-truth” age.
Along this rising of an unthinkable imagomundi, artists have gradually shifted from being the most important creators ofimages to becoming mere image-producers among thousands of others and morerecently, to be editors of existing images produced by news, advertisement,propaganda, movies, social media.
Debord’s Spectacle as the mirror of AndyWarhol’s empty surface, and the manifestation of Marshall McLuhan’s the mediumis the message.
Life loses its grip on reality as socialrelationships and existence itself are mediated by a dis-functional system ofempty signs whose only purpose is that of replicating this dissociation throughan endless simulation.
This is a trope itself.
Control is exercised not by manipulatingthe real but by manipulating the perception of real.
Hence the increasing need of therapy as amean to survive, cope and function in the present condition.
Therapy does not subvert the system; itallows it to continue its development by keeping us updated to itsspecifications, by constantly rebooting us.
Yet, despite this collusion, therapy alsochanges us, improve us, transform us, if not in a more meaningful way, at leastin a more resilient version of ourselves, capable to operate within thedisruptive speed of change.
At the same time, it makes sure we servethe system by supporting and repairing us, but it also creates the potentialityfor this enhanced-us to resist and challenge it.
Paradoxically, as artists, the images wecreate are more and more irrelevant right when our critical intervention ismostly needed: when images are taking over the world.
All the signals seem to tell us that we areleft only with two options: following Warhol and feed the monster, becomingpart of it or try and resist through desperate forms of piracy and marginality.
In both cases, therapy maintains itsambiguity but remains available to test the boundaries, so, what if it couldhelp us to believe that the surface is not totally transparent and reflective?
What if it could help us to look at it withmore nuances and to name it with more names, as the Inuit populations look atthe snow, using more than 7 words to name all its possible states? What if wecould spot the layers beyond the first deceiving look and prove that there isstill something underneath?
The image as the shadow, the phantom, theprojection, the metamorphic state, suggested in the semantic of the word imago.
What if this something still existing,beyond the image itself, something trapped behind the surface, could beunleashed?
Something that cannot be recaptured, editedand endlessly reproduced by the system.
As Artaud evocated in his The Theatre andits Double, everything possesses a double. Something of another nature andanother invisible order; something that can be made present and be witnessed;something dangerous, the experience of which can help us breaking through thesurface we are trapped in.
With this collaborative installation atMstudio we are trying to turn the physical and the virtual space into a devicein which certain surfaces and certain images reflect, collide, and collapse on,against and within themselves, in order to observe if any crack on the iceappears, if a bit of light can escape the horizon of the events, if another bitcan get in through the wound.
We will use explicit images, gestures,mirrors, and noises to create a deceiving, paradoxical therapy session and turnthe compulsory repetition of the image-desire machine against itself.
Or not.
Alessandro Rolandi + Chak Man Lei
11.26.2017
李山（Alessandro Rolandi），1971年出生于帕维亚。他曾就读化学，实验剧院和艺术史。自2003年起在北京生活和工作。他是一个多媒体和概念艺术家，作家和策展人。他的创作重点在于模糊艺术与生活之间的界限，挑战“作者”的概念，在不同学科之间的边缘激活不可预测的物质和概念的空间和情景，并探索和激发现有的社会政治现实。自2009年以来，他一直在公共空间进行干预活动，行为和社会实践项目。2011年，他与北京和巴黎的伯纳德控制设备有限公司合作创建了社会敏感研发部门。他的作品曾在威尼斯双年展展出过两次，和中国，欧洲以及南北美洲的博物馆，画廊和其他机构也有展出。www.socialsensibility.org
www.alessandrorolandi.org
Alessandro Rolandi, born in Pavia in 1971. Studied Chemistry, Experimental Theatre and History of Art. Living and working in Beijing since 2003. Multimedia and conceptual artist, writer, and curator. His work focuses on blurring the boundaries between art and life, challenging the notion of authorship and activating unpredictable physical and conceptual spaces and contexts in the fringes between disciplines to explore and stimulate the existing socio-political reality. He has been working constantly in public space interventions, performances and social practice projects since 2009. In 2011 he created the Social Sensibility R&D Department in collaboration with Bernard Controls industries in Beijing and Paris. His work has been exhibited twice at the Venice Biennale and in several museums, galleries and institutions in China, Europe and North and South America.
www.socialsensibility.org
www.alessandrorolandi.org
李泽民，艺术家，1977年于香港出生，八岁举家移居澳门，十二岁移民加拿大。先后就读于加拿大多伦多安大略艺术与设计学院、法国国立高等美术学院、加拿大韦仕敦大学，获取艺术硕士学位，并于加拿大韦仕敦大学任教两年。2008年移居北京至今，曾担任《艺术地图》编辑、协助举办《2009首届北京798双年展》。个人展览包括《朝生暮死。》（颖画廊 北京 2017）、《活着说再见》（家里画廊 北京 2016）、《86400》（作者画廊 北京 2015）、《水墨》（头骨画廊 维农 加拿大 2014）、《浮白》（哪里哪里艺术空间 北京 2013）。
Lei Chak Man (1977-) was born in Hong Kong and moved to Macau when he was eight years old. At the age of twelve, his family immigrated to Canada. He continued his studies at the Ontario College of Art and Design (OCAD), the École Nationale Supérieure Des Beaux-Arts (ENSBA) in France, and at the Western University, earning an MFA degree in 2008. He also taught at the Western University for two years as an art instructor. Upon graduating, he moved to Beijing where he currently resides. Lei Chak Man worked as an editor for the Chinese contemporary art magazine Art Map, and as the administrator for the Beijing 798 Biennale (2009). A selection of his solo exhibitions are: “you can’t live forever.” (Ying Gallery, Beijing, 2017), Living to Say Goodbye (Jiali Gallery, Beijing, 2016), 86400 (The Author Gallery, Beijing, 2015), Ink Paintings (Headbones Gallery, Vernon, 2014), Surface Rising (Where Where Art Space, Beijing, 2013).
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