金杜艺术中心虚拟影院 |哈里森·皮尔斯 Harrison Pearce | 联级防御 Defence Cascade
雕塑动能声音装置《联级防御》（Defence Cascade）于2018年在英国首次展出。作品的完整视频首次与观众进行线上共享，也使作品本身具有新的意义。
该作品由皮尔斯与作曲家亚历克斯·米尔斯合作。 他们围绕大脑生理学与“战斗或逃跑”反应展开讨论，这种看似失调的反应承载了太多的现代焦虑。 作品最终以一个动能装置呈现，由混合动力工厂和剧院自动化系统，医疗假肢材料和配乐组成。 介于具象与抽象之间，此装置探索了有关典型、后人文主义和生物技术的脆弱性概念。
雕塑部分的灵感来自皮尔斯自己的大脑扫描、医院经验、临床讨论和基于实验室的压力测试仪。 在模拟触摸并受声音和气压控制的情况下，作品就像经历了调查程序的身体一样施压与被施压，让人隐约觉得这既包含照顾与伤害行为，也有生命维持和折磨行为。 皮尔斯一直探索将医疗程序、劳动和胁迫描述为去人性化的意义； 并邀请作曲家为明确被认为非人类的材料配乐，使这项探索更具复杂性。
“尽管不打算对这件作品过度测定，但在过去的几周中，我总想起它。与最初根据自己个人医疗经验进行创作时相比，作品现在在情感体现上更加饱满。 当时，我努力寻求理性，抽象的想法（那些看不见但被认为满足对身体信仰的元素），以及我的想象力引发的恐惧，以及这些信念将如何不断改变我的身体和情感体验。 最终我对认知和经验产生了怀疑。 我想做一件可以容纳我这种感觉的作品，基于此，我几乎对其进行重新设计，并从远处观察。
在某种程度上，我觉得自己回到了见证新冠肺炎传播时的那种感觉中，但当下更强烈的感觉是，它们很可能被人类传播地如此彻底。
在制作作品期间，我认识到在对其进行抽象简化时，作品旨在从种族、性、性别甚至物种层面下暗指一切生物有机体。 但是现在，我意识到自己从未像人类，这种单一生物体一样，拥有令人信服的感觉。而且要感谢技术，就像没有形成单系进化枝的粘菌一样。 在微观和宏观之间意想不到地碰撞中，遍布在整个星球上的生物易失性的级联中总有一些统一的东西。 现在，我总想知道我们将如何重新构想我们所处的体系，这对人类的同理心意味着什么。”
The sculpture and kinetic sound installation ‘Defence Cascade’ was first exhibited in the UK in 2018. The full video documentation of it is shared here for the first time, but with renewed significance.
The work is a collaboration between Pearce and composer Alex Mills. They began with a discussion around brain physiology and the ostensibly misaligned ‘fight or flight’ response that underwrites so much modern anxiety. The result is a kinetic installation composed of a hybrid factory and theatre automation system, medical prosthetic materials and a musical score. Sitting somewhere between figuration and abstraction the installation touches on ideas about the fragility of embodiment, posthumanism and biotechnology.
The sculpture was inspired by Pearce’s own brain scans, hospital experience, clinical discussions and lab based stress-testing apparatus. In the simulation of touch, and controlled by sound and air pressure, the work exerts and is exerted upon like a body undergoing an investigative procedure that can appear ambiguously to be both an act of care and harm, of life support and of torture. Pearce has been exploring what is meant when medical procedures, labour and coercion are described as dehumanising; this exploration is compounded by inviting composers to lend a musical score to materials explicitly considered non-human.
“Although the work is not intended to be over determined it has jumped back into my mind these past few weeks. It feels more emotionally laden now than when I devised it in response to my personal medical experiences. At the time I struggled to accommodate rational, abstract ideas (the things I could not see but was asked to believe about my body) alongside the fear my imagination would induce and how these beliefs would continually change my felt experiences, both physical and emotional. I ended up with epistemic and empirical mistrust. I wanted to make a work that could house this set of sensations for me so I could almost restage them and watch from a distance.
To an extent I feel like I have returned to this cluster of sensations witnessing the spread of Covid-19 but what is more potent now is that they are likely shared so completely by humanity.
At the time of it’s making I recognised that in its reductive abstraction this work seeks to imply all biological organisms at a level below race, sex, gender or even species. Now, however, I recognise that never before have I had such a convincing sense of humans as a single organism – and thanks to technology, as though with the nemocentric intelligence of slime mould. In the extraordinary collision of the micro and macro there is something unifying in the cascade of our biological fallibility stretched across the planet. And now I wonder aimlessly how we will reimagine the system in which we find ourselves and what this will mean for human empathy.”
哈里森·皮尔斯是一名居住在伦敦的艺术家，主攻雕塑和装置作品。他曾于2007年温彻斯特艺术学院和2016年伦敦城市和公会艺术学校学习纯艺，并在2014年于伦敦大学攻读哲学学位。他的装置作品常常包含夸张的动力作品和声音组合，表现出心理戏剧研究和工业材料的结合。皮尔斯的作品不仅在国内外画廊和艺术机构展演，同时也被私人和公共机构所收藏。
Harrison Pearce is a London based artist who works in sculpture and installation. He studied Fine Art at Winchester School of Art (2007) and City & Guilds of London Art School (2016) as well Philosophy at University of London (2014). His installations often include theatrical kinetic works and sound compositions that combine psychological drama with scientific research and industrial materials. Pearce's work has been shown at galleries and institutions nationally and internationally and has been acquired for private and public collections.
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